The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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

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

 

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

 

 

 

MON CHER COUSIN. See "Chanson de Limonade."

           

MON CHERE BEBE CREOLE. Cajun. Composed by Cajun fiddler Dennis McGee, who said, "I dreamed the tune in my sleep, and when I woke up I caught the violin and played the tune." Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930."

           

MON COEUR EST BARRE DANS L'ARMOIRE. See "Valse des Grands Chemins."

           

MON COEUR FAIT MAL (My Heart Hurts). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. Source for notated version: Rodney LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 422-423. Crazy Cajun Records, Rodney LeJeune.

           


MON COEUR T'APPELLE. Cajun. USA, La. A version of "J'ai Passe Devant Ta Porte," "which expressed grief at the unexpected death of a loved one...A much loved waltz (that) is an essential part of many Cajun musicians' repertoires" (Broven, 1983, pg. 18).

           

MON NOC CHARLOT. Cajun. Tracey Shwarz calls this song “oldtime” and “homestyle” as opposed to the “dancehall” style of Cajun

                       

MONAGHAN CLOAK (Fallaing Uí Mhuimhneacháin). Irish, Air (6/8 time, “Lively”). G Major. Standard tuning. AB. Source for notated version: a manuscript collection dated 1861, compiled by Church of Ireland cleric and uilleann piper James Goodman (1828-1896) who collected largely in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 2001; No. 32, pg. 16.

                       

MONAGHAN HILLS. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). Reavy’s mother was from County Monaghan. Reavy (The Collected Compositions of Ed Reavy), No. 69, pg. 76.

X: 1

T:Monaghan Hills

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:One of his tunes had to pay tribute to these hills;

N:not the Fork Hill region that Paddy Kavanaugh celebrated,

N:but the same nearby hills of Monaghan that Ed's mother

N:and his Aunt Ann spoke of in childhood stories. Ed's

N:mother played no musical instrument, but she could "lyddle"

N:all the great tunes of her region. This love of the tradition she

N:passed on to Ed.

K:G

DG (3GFG BGAB | cABc dfeg | (3fga fd ^cdec | AB=cA FGAF | G2 Bd cAFA |

GABd cABc | (3dcB (3cBA fdBd |1 cAFA G3 F :|2 cAFA G3 f ||

|: g2 bg BcdB | cbag fdde | f2 af ABcB | cbag fddf | g2 dg Bgdg |

cBAG FGAB | (3dcB (3cBA BGAG |1 FGAc BGGf :| FGAc BGGF ||

                                   

MONAGHAN {JIG}, THE (Port Muineacain). AKA and see "Clay Pipe,” “Cock Up Your Chin, Billy." Irish, Scottish; Double Jig. E Minor (O'Neill): E Dorian (Taylor). Standard tuning. AABBCC (O'Neill/1850 & 1001, Taylor): AABBCCDD (Carlin, O'Neill/1915 & Krassen). The melody was popularized by Irish fiddle master Michael Coleman (1891-1945) with his Columbia recording of October, 1921. Coleman, who recorded the tune early in his career, may have added the fourth part to the three found in Joyce, O’Neill and other 19th century collections. As  “Cock Up Your Chin, Billy” the tune was collected by Pigot and appears in Joyce’s Old Irish Folk Music and Songs (1909). See also the related “Scatter the Mud.” Sources for notated versions: from the manuscript collection of retired businessman and Irish music enthusiast John Gillan, collected from musicians in his home county of Longford and the adjoining Leitrim [O’Neill]; "This last strain is by Mr. Sharpe” (Gow). Carlin (Gow Collection), 1986; No. 354. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 51. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 142, pg. 82. O'Neill (Krassen), 1976; pg. 58. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1033, pg. 193. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 245, pg. 54. Taylor (Crossroads Dance), 1992; No. 38, pg. 29. Rounder CD 1087, Michael Coleman – “From Galway to Dublin” (1992. Reissue of the 1921 original). Shaskeen - "The Mouse Behind the Dresser." Shanachie 29009, "Andy McGann and Paul Brady" (learned from Michael Coleman). Shanachie SHA 79006, Mary Bergin "Feadoga Stain"

X:1

T:Monaghan Jig, The

Z:By Phil Sexton

M:6/8

L:1/8

K:E Minor

BGE ~E3|BGE FGA|BGE ~E3|AFD FGA|BGE ~E3|BGE FGA|dcB A{c}AG|

FDF AFD|BGE ~E3|BGE FGA|BGE dBG|AFD FGA|BGE ~E3|BGE FGA|

dzB ABA|FDF AFD|]

EGB e{a}eg|fed edc|DFA dAG|FDF AFD|EGB ezg|fed edc|dcB A{c}AG|

FDF AFD|EGB ezg|fed edc|DFA dAG|FDF AFD|EGB ezg|fed edc|dcB cBA|

FDF AFD|]

~g3 ezf|geg bge|fg{a}g ~e3|{a}fed dfa|~g3 ezf|geg bge|dcB A{c}AG|FDF AFD|

~g3 ~e3|gza bge|~g3 ~e3|fed afd|~g3 ezf|geg {c}bge|dcB cAG|FED AFD||:

EGB eBG|BGE ~F3|ez2 BGE|~F3 AFD|EGB GBd|Bdg egb|fed ABG|FDF AFD:|

 

MONAGHAN SWITCH, THE. AKA and see “The Monaghan Twig [1].”



MONAGHAN TWIG [1], THE. AKA and see “Johnny Mhosai’s Reel,” “The Ladies of Tullybardee,” “The Monaghan Switch,” “The Muineachan Switch,” “Our Boys [1]," “The Tinker’s Apron,” “Tom Keane’s Reel.” Irish, Reel. Ireland, County Donegal. A Mixolydian. Standard tuning. AB (Black): AAB (Sullivan): ABB’ (Feldman & O’Doherty). The late John and Mickey Doherty, influential Donegal fiddlers, played the tune in the key of D. It appears in ‘A’ in Padraig Mac Aodh O’Neill’s work Songs of Uladh, under the title “The Muineachan Switch,” and was collected by him in 1903 from the playing of Fawans, Kilmacrannan, Donegal, farmer and schoolmaster Mac Suibhne, who had learned it from an old Glenswilly fiddler named Llilliam Ua Curthainn. It has become popular again with modern Donegal fiddlers [Caoimhin Mac Aoidh, 1994]. Bill Black (1996) notes that the source for O’Brien and Kelly’s version is fiddler Seán Maguire’s father Johnny, a County Cavan whistle player. Sources for notated versions: Paddy O’Brien & James Kelly [Black]; John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]; the 1979 recording by James Kelly, Paddy O’Brien & Dáithí Sproule [Taylor/Tweed]. Black (Music’s the Very Best Thing), 1996; No. 171, pg. 90. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 70 (appears as “The Monaghan Switch”). Sullivan (Session Tunes), vol. 2; No. 14, pg. 6. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 19. DMP Records, Karen Tweed – “Drops of Springwater” (1994). Shanachie 29015, Paddy O’Brien & James Kelly - “Is It Yourself?” (1979). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

X:1

T: Monaghan Twig

S: J.Kelly - P.O'Brien

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Amix

ed | cAAB cded | cAAG E2 ed | cAAB cded | BAGB d2 ed |

cAAB cded | cAAG E2 ed | cAAB cded | BAGB d3 A ||

Bdef gfed | cdef e2 cA | (3Bcd ef gfed | BAGB d3 A |

cded cded | cdef g2 ge | cA A2 ecef | gfge dged ||

 

MONAGHAN TWIG [2], THE. Irish, Reel. D Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 169, pg. 20.

X:1

T:Monaghan Twig [2]

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 169  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D Mixolydian

(3ABA (AG) FDGE|FDGF (3EBE E2|(3ABA (AG) FDGE|FDGE (3DED D2:|

|:cA (3Bcd (3dcA AB|cABG (3EGE E2|cA (3Bcd (3ecA AG|FDGE (3DED D2||

           

MONALTRIE. Scottish, Air (3/4 time). D Major. Standard. One part. Morison (Highland Airs and Quicksteps, vol. 1). No. 6, pg. 3.

X:1

T:Monaltrie

M:3/4

L:1/8

R:Air

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:D

F2 FE D2 | (EF) A4 | f2 (fe) d2 | (ef) A4 | d>B A>B D2 | (EF) A4 | d>B BA F2 | (FE) D4 ||

 

MONALTRIE'S. Scottish, Reel. F Major. Standard tuning. AABCBCDD'. The melody appears in Robert Petrie's c. 1790 1st collection, which was dedicated to Mrs. Farquharson of Monaltrie. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 38. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 16.

X:1

T:Monaltrie’s

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:F

C|F2 fd cAFA|BGAF EGGC|F2 Ff cAFA|BgcA F/F/F F:|

|:c|fefg agaf|efgc egga|fefg agaf|egcb affc|fefg agaf|efgc efga|

bgaf ecfd|cBAG AFF||c/B/|AFCF AFCF|AFCF BGGB|AFCF BGEG|cABG AFF:|

c|fcAc fgag|fcAf egga|1 fcAc fdBd|cBAG AGF:|2 bgaf gefd|cABG AFF||

X:2

T:Monaltries Reel

C:Robert Petrie

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 16

L:1/8

M:C|

R:Reel

K:F

C | F2fd cAFA |BGAF (EGGC) | F2Ff  cAFA | BGcA F/F/F F :|

c | (Tfefg) agaf | efgc (egga) | (Tfefg) agaf | egcb (affc) |

(Tfefg) agaf | efgc efga | bgaf ecfd | c(BTAG) AFF ||: c/B/ | AFCF AFCF |

AFCF (BGGB) | AFCF  BGEG | cABG AFF :|

%Petrie omitted the repeat sign at the beginning of the above line -SW

|: c | fcAc (Tfga).g | fcaf e(gga) |1fcAc fdBd | .c(BAG) AFF :|2 bgaf gefd | cABG AFF |]

 

MONALTRIE’S STRATHSPEY. Scottish, Strathspey. F Major. Standard. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie, whose 1790 collection was dedicated to Mrs. Farquharson of Monaltrie. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 18.

X:1

T:Monaltrie's Strathspey

C:Robert Petrie

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 18

L:1/8

M:C

R:Strathspey

K:F

A/B/ | c>AF<c _e/d/c/B/ f>d | c<ATa>f gGGA/B/ | c>AF<c  _e/d/c/B/ fd | c<eg<b a<ff  :|

f/g/ | {f/g/}a>fg>e  f<de<c | f>d d/c/B/A/ BGGf/g/ | {b}a>f{a}g>e  f<de<c | d<Bb>g a<fTf>g |

(3afa (3geg (3fdf (3ece | .f(dTc>A)    B(GGD) | C>FA,>F B,>FC>F | D<(dTc>B) AFF |]

           

MONARCH CLOG. American, Clog. D Major. Standard. AABB. Al Smitley suggests it is just possible the tune may have been named for the ship-of-war Monarch, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. However, it is more probable the title is simply one of the superlatives affixed to many aspects of the 19th century stage in an attempt to aggrandize the melody (and the performance). Cole (1000 Fiddle Tunes), 1940; pg. 118. Ryan’s Mammoth Collection, 1883; pg. 155.

X:1

T:Monarch Clog

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(f>.e) | (e/>.d)(c>.d) D>FA>d | c>B ^A>B E>FE>D | C>EG>B ^G>AB>c | d>ef>d A2f>e |

e>dc>d D>FA>d | c>B^A>B E>FE>D | C>EG>B ^G>Af>e | d2f2d2 :|

|: (EF) | (AG) (A,2 A,>.C)(E>.G) | (Fd) D4 (d>.c) | (B>.c)d>^d e>=dB>^G |

A>A^G>A ^A<B^B<c | (3dcd (d2D>F)(A>.d) | (3B^AB (E2E>F)(G>.B) |

(A>g)e>c A>GE>C | D2{c}d2D2 :|

           

MONA'S DELIGHT (Eunysagh Vona). AKA and see “Miss Lacey’s Hornpipe.” English, Hornpipe. England, Isle of Mann. A Major. Standard. AABB. This tune, from the Isle of Mann, has an associated dance which features an unusual step approximately R-L-R, then clunking the inside of one foot against another. Since the dance was sometimes performed in clogs, this could be quite audible. The tune was collected by Mona Douglas, a well-known Manx dance teacher, who says she collected it “from Manx fisherman and country-folk.” It is published in her Five Manx Folk Dances. Carlin (Master Collection), 1984; No. 24, pg. 25.

X:1
T:Mona’s Delight
D:Swarbrick, Lift the Lid and Listen
Z:Nigel Gatherer
M:2/4
L:1/16
K:A
E2 | A2AB c2BA | B2Bc d2cB | A2Ac e2cA | GBE2 GBE2  |
A2AB c2BA | BABc d2cB | cecA BdBG | A2A2 A2 :|
cd | e2ed cde2 | d2dc Bcd2 | c2cB ABcA | BAGF EFGE  |

c2cB ABc2 | d2dc BcdB | cBAc BAGB | A2A2 A2  :|]

           

MONASTERADEN FANCY, THE. AKA and see “Come West Along the Road.”

           

MONASTEREVIN FANCY, THE (Rogha Mhainistir Eimhín). Irish, Reel. See also the related “Kitty Gone A-Milking.” Breathnach (CRÉ V), 1999; No. 189.

 

MONCK'S MARCH. AKA and see "Monk's March."

           

MONCRIEFFE HOUSE. Scottish, Strathspey. B Flat Major. Standard. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 38, pg. 14.

           

MONDAY MORNING [1]. English, Jig. D Major. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 113.

 

MONDAY MORNING [2] (Maidin Dia Luain). AKA and see “Lady Forbes,” “Lady Harriet Hope,” "Miss MacDonald's [2],” “Victory [2]." Irish, Reel. G Major. Standard. AAB. Source for notated version: Dillon [O’Neill]. O'Neill (Krassen), 1976; pg. 156. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1525, pg. 282.

X:1

T:Monday Morning [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1525

Z:AK/Fiddler’s Companion

K:G

GBdg edcB | g2 (3bag aAAB | GBdg edcB | cedc BG G2 :|

g2 (gf) gbag | fgaf bgaf | g2 (gf) gbag |fgaf bgg2 | Bggf gbag |

fgag bgaf | gbag fagf | (3efg fa gedB ||

 

MONDAY MORNING [3]. Irish, Reel. D Major. Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 37.

           

MONESSEN. American, Reel. USA, southwestern Pa. D Major. Standard. AABB. A fife tune named for the southwestern Pa. town in which a martial band was organized. Bayard (1981) was not able to trace the tune satisfactorily to antecedents. Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960), Charles Ganiear (Greene County, Pa., 1960), Hoge MS. [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 141A‑C, pg. 77.

           

MONEY AND CORN. Old‑Time, Breakdwon. USA, Missouri. D Major. Standardtuning . AABB. A derivative of "The Wind That Shakes/Shook the Barley [1]." Source for notated version: Bill Driver (an African-American fiddler from Cole County; Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 58.


           

MONEY I WANT, THE. AKA and see "Quinn's Jig," "Two and Sixpenny Girl," "The Spirits of Whisky [2]," "The Three Little Drummers [1]," "Ryan's Travels," "The Aherlow Jig," "Connie O'Connell's (Jig) [1]." Irish, Jig. According to Breathnach (1985), this was a County Tipperary title.

           

MONEY IN ADVANCE. American, Clog. F Major (‘A’ part) & D Minor (‘B’ part){Cole, Ryan}: C Major (‘A’ part) & A Minor (‘B’ part) {Miller}. Standard. AABB (Cole, Miller, Ryan): AA’BB’ (O’Malley). Cole (1000 Fiddle Tunes), 1940; pg. 116. Miller (Fiddler’s Throne), 2004; No. 300, pg. 178. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 146, pg. 79. Ryan’s Mammoth Collection, 1883; pg. 154. Rounder CD 7018, Frank Ferrel – “Boston Fiddle: The Dudley Street Tradition” (1996).

X:1

T:Money in Advance

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(A>.B) | (c>.A)(f>.d) c>Af>d | (3cdc (3BAG F2 G>A | B>AB>c d>ef>d | a>g (3fed c2 A>B |

c>Af>d c>Af>d | (3cdc (3BAG F2 G>A | B>AB>c d>ef>g | a>fc>A F2 :: (a>.g) |

(3faf (3dfd (3AdA (3FAF | (D>.F)(A>.d) f2 (e>.d) | g>fg>a b>ag>f | e>d ^c>B A2 a>g |

f>ed>^c d>f A2 | b>ag>f e>g ^C2 | A>^ce>b a>gf>e | d2f2d2 :|

           

MONEY IN BOTH POCKETS [1] ("Airgiod Ann Gac Pocad" or "Airgead in Gac Poca"). AKA and see “Trip to Galloway [2].” Scottish, English, Irish, American; (Slow, according to Gow) Jig. England; North‑West. D Major (most versions): C Major (O'Neill). Standard tuning. AB (Raven): AAB (Gow): AABB (most versions): AABBCC (O’Farrell): AABBCCDD (Petrie). An early American country dance by the same name is printed in Morrison. According to Johnson the tune and/or the dance dates to c. 1785, although there are several printings around that time, including Robert Petrie’s 1790 collection and Malcolm MacDonald’s c. 1792 printing in his 3rd collection. It is the same contra dance Johnson prints for the tune "Maid of the Mill [1].” Source for notated version: Lefty Head via George Penk (Portland, Oregon) [Songer]. Carlin (The Gow Collection), 1986; No. 355. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 7. Kerr (Merry Melodies), vol. 1; No. 49, pg. 40. Knowles (Northern Frisk), 1988; No. 128. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 8. Morrison, 1976; pg. 33. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 152. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 746, pg. 139. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 35, pg. 22. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 11. Raven (English Country Dance Tunes), 1984; pg. 118. Songer (Portland Collection), 1997; pg. 138. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." The New England Tradition - “The New England Tradition.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Money in Both Pockets [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 35

Z:AK/Fiddler’s Companion

K:C

G | c2E EDE | GAG GFE | c2E EDE | G2g fed | c2E EDE | GAG GFE | DED DEG| ABA A2 :|

|: G | ceg gec | Bdg dBG | ceg gec | f3 e2f | gfe agf | gfe dcB | cBA GEG | ABA A2 :|

X:2

T:Money in Both Pockets [1]

M:6/8

L:1/8

R:Jig

S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)

Z:AK/Fiddler’s Companion

K:D

d2F “tr”FEF | ABA AGF | d2F “tr”FEF | A3 gfe | d2F FEF | ABA AGF | E2E EFA |

B3B2A :: dfa afd | cea ecA | dfa afd | “tr”g3 f2g | agf bag | agf ede | fdB AFA | B3B2A :|

X:3

T:Money in Both Pockets [1]

C:Trad., Irish?

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 2/28/04

N:Petrie's First Collection, page 11

L:1/8

M:6/8

K:D

A | d2F FEF | ABA AGF | d2F TFEF | ABA  gfe |

d2F FEF | ABA AGF | EFE  EFA | BcTB B2 :|

|: A | dfa afd |cea ecA | dfa  afd | g3 f2g |

agf bag | agf ede | fdB AFA | BcB B2 :|

z |: dcd dAF | ABA AGF | Tdcd  dAF | Aaf  gfe |

%Petrie omitted the 8th rest at the beginning of the above line -SW

dcd dAF | ABA AGF| E2E  EFA | BcB  B2z :|

%Petrie omitted the 8th rest at the end of the above line –SW

|: Tdcd afd | cea ecA | Tdcd  afd |Tgfg  f2g |

(f/g/af) (g/a/bg) | (f/g/af) ede | fdB AFA | BcB  B2z :|

%Petrie omitted the 8th rest at the end of the above line -SW

 

MONEY IN BOTH POCKETS [2] (But Not Mine). Irish, Reel. D Major. Standard tuning. AABB (McGuire & Keegan): AABB’ (Harker/Rafferty). Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].  Harker (300 Tunes from Mike Rafferty), 2005; No. 53, pg. 17. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 46, pg. 12.

See also listings at: 

Alan Ng’s Irishtune.info

X:1

T:Money in both pockets [2]

M:C|

L:1/8

R:Reel

Z:Lesl

K:D

e4 f{g}fe|:dA~A2 dAFA|dAaf g2fe|dA~A2 dAFA|GFEF GAB2| dA~A2 dAFA|

dAaf g2fe|dA~A2 dAFA|GFEF GABc|| d2df edcA|(3Bcd ef gefe|d2df edcA|

GFEF GABc| d2df edcA|(3Bcd ef g2ef|aaea aged|1 (3Bcd ef g2fe:|2 (3Bcd ef gefe|d8||

 

MONEY IN BOTH POCKETS [3]. Old‑Time; Reel. USA, north Georgia. A Major. AEae tuning. AABBCC. Source for notated version: fiddler Liz Slade (Yorktown, New York), who learned it from a Skillet Lickers recording [Kuntz]. Kuntz, Private Collection. Marimac 9059, Chirps Smith - “Midwestern Harvest” (1994).

See also listings at:

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

X:1

T:Money in Both Pockets [3]

L:1/8

M:C|

N:AEae tuning

N:Notated as fingered, not as sounded

Z:AK/Fiddler’s Companion

K:A

|:(e|a)ece aece|aecA B(Ac)e|aece aecA|BAB(B A3):|

|:(e|f)ece fec2|fecA Bace|fece fecA|BAB(B A2:|

|:(D|D)E GE DEGE|DEGB c2c2|DEGE DEGB|cAB(B A3 (D:|

                                   


MONEY MUSK/MONYMUSK. AKA – “Moniemusk.” AKA and see "The Countess of Airly (early 18th century)," "Sir Archibald Grant of Monemusk's Reel." Scottish (originally), English, Irish, Canadian, Old‑Time, American; Reel, Strathspey, Highland, Breakdown.  USA; New York State, Ohio, Michigan, Arkansas, Missouri, Nebraska, Maine, New Hampshire, Alabama. England; Shropshire, Northumberland. Ireland, Donegal. A Major (Ashman, Brody, Bronner, Christeson, Cole {reel}, Kennedy, Miller & Perron, O'Neill, Phillips, Plain Brown, Raven, Skinner, Sweet, White): G Major (Athole, Cole {strathspey}, Cuillerier, Ford, Gow, Honeyman, Hunter, Johnson, Martin, O’Neill/Waifs, Peacock, Phillips, Surenne): C Major (Howe/Accordeon). Standard tuning. One part (Burchenal): AB (Cole {strathspey version}, O'Neill/1850 & 1001, Plain Brown, Surenne, White): AAB (Gow, Hunter, Martin, Skinner): AA'B (O'Neill/Krassen): AABB (Ashman, Brody, Ford, Howe/Accordeon, Kennedy, Linscott, Miller & Perron, Peacock, Raven, Sweet): AABB' (Athole, Kerr, Skye): AA'BB' (Cuillerier): ABC (Honeyman): AABBCC (Christeson): ABCCDD (Cole): AABBCCD (O’Neill/Waifs): AABBCCDD (Brody): AA'BB'CC'DD (Phillips/Block): AA'BCAA'BC' (Phillips/Miller). A pipe tune (written within the range of nine notes, with the so-called ‘double tonic’ tonality) and the name of an Aberdeenshire, Scotland, estate called Monymusk House, long in the possession of the Grant family. ‘Moneymusk’ is the ‘Englished’ version of the Gaelic words Muine Muisc meaning a noxious weed or bush. The tune was composed by Daniel (sometimes Donald) Dow (1732‑1783) in 1776 and first appeared in his Thirty Seven New Reels, c. 1780 (pg. 5), under the title "Sir Archibald Grant of Monymusk's Strathspey” (Sir Archibald, the third Baronet, founded the town of Archiestown, near Monahoudie Moss on Speyside. He died in 1796 in Aberdeenshire). Dow was born in Kirkmichael, Perthshire, and became a music teacher in Edinburgh where he taught, among other instruments, the guitar. His compositions were well received in his lifetime and survive today. When he died in the winter of 1783 at the age of 51 he was buried in the Canongate Churchyard; a concert to benefit his widow and children was given shortly after his death in St. Mary's Hall, Niddry's Wynd, where he had often given his own concerts over the years.

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Linscott (1939) says the melody was called "The Countess of Airly" in the early 18th century, and came from the village of Monymusk, in Aberdeenshire, Scotland, although by what authority he makes this claim is not known. Bayard (1981) states that even if there was not one particular tune that was a direct predecessor of Dow’s melody, he certainly had access to earlier models for it, for both "The Ruffian's Rant" and "Roy's Wife of Aldivalloch" are cognate and contain similar melodic material. MaryAnne Alburger (1983) also identifies Daniel Dow as the composer of "Sir Archibald Grant of Monemusk's Reel," and adds that when the Gows published it in their 1799 Repository, Part First, they altered it rhythmically (by adding more 'Scots snaps' and smoothing out some dotted patterns for variety) and shortened the name to "Monymusk, A Strathspey." It has since that time been generally known simply as “Monymusk” or its alternate spellings and variations. Christine Martin (2002) uses the tune as an example of one of the vehicles for a foursome reel, and says “Monymusk” is often used for dancing the Highland Fling.

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Cape Breton, Nova Scotia, fiddlers, who have retained the old Scottish fiddling tradition, play the tune as a strathspey in G Major, as set in older collections in Scotland. Later Scottish fiddlers were more classically trained on their instruments, and as a result the music tended to be more formal and virtuostic, as in the playing of J. Scott Skinner and others of his ilk. Some Scottish fiddlers became skilled enough on their instruments to vary the playing of ‘traditional’ tunes and venture further afield musically than the usual ‘fiddle keys’. When Jamie Duncan tried it, however, he was taken to task by a local fiddling tailor:

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I’ve keepit dacent company a’ my days and I’m nae gaun to change my

ways noo. At this moment Jamie Duncan’s playing ‘Mony Musk’ in

four flats, and I say that the man that wad do that is fit for ony kin’ o’

rascality.

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Caoimhin MacAoidh (1997) has remarked that “Moneymusk” was absorbed into Irish tradition through the Ulster counties, but was played as far south as Clare and Cork. In Donegal (in the north of Ireland) this and other strathspeys were converted into a form called the ‘highland,’ similar to a strathspey but with a less pronounced rhythm. Likewise, Fintan Vallely, in his book Blooming Meadows (1998), writes that in Donegal “Moneymusk” was “strikingly converted from a strathspey to the high-rhythm, house-dance variant, The Highland.” Donegal fiddlers play the tune in the key of ‘A’ Major. “The Peeler’s Pocket” is a related Irish reel.

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Paul Gifford reports that a history of Romanian music by Poslusnicu gives that “Money Musk” (recorded as “manimasca”) was one of the dances at a nobleman's ball in Bucovina, Moldavia, sometime after 1812, and that the music was not unlikely played by Jewish musicians.

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In America the tune was published in 1796 by B. Carr in Evening Amusements (Philadelphia), and soon became a staple of the dance circuit. See also the version in Ann Winnington’s music manuscript book (No. 29), c. 1810. The frontispiece in the MS. indicates Winnington resided in New York. A country dance called "Money Musk," danced in New England, has remained the same for two centuries, although one phrase has been dropped from the tune while the dance measures stayed the same, thus "cramming 32 measures of dance in to 24 measures of music" (Tony Parkes/Steve Woodruff). In some New England dance circles this dance was traditionally danced immediately after the break, where, for just one example, presumably this was so when it was danced in August, 1914, at the 150th anniversary celebration of the founding of the town of Lancaster, N.H. (it was listed on a playbill preserved in the town history). Peter Yarensky remembers that it used to be the first dance after the break for years at New Hampshire dances, and that “some people would line up for Money Musk before the break even began…”  By the 1970’s the tune dance was considered a “chestnut” and it is rarely performed today in New England. Howe (c. 1867) and Ford (1940, pg. 214) also print versions of the contra dance, though without source references. Paul Gifford remembers seeing the dance on a surviving card from Abraham Lincoln’s Inaugural Ball. The melody appears in George P. Knauff's Virginia Reels, volume I (1839) under the title "Killie Krankie," a title that was actually the title of the dance that "Money Musk" was associated with at the time (In northern Ireland the tune is still known as “Killiecrankie Highland.”). The melody was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and it appears in a repertoire list of Mainer Mellie Dunham (an elderly fiddler who was Henry Ford's champion fiddler in the late 1920's). It was also once popular in coastal areas of the South, as attested to in the following passage from A Contribution to the History of the Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher. It describes a country dance in Craven County, South Carolina in the early 1800’s:

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Nothing can be imagined more simple or more fascinating that those Pineville balls.

Bear in mind, reader, that we are discussing old Pineville as it existed prior to 1836.

No love of display governed the preparations; no vain attempt to outshine a com-

petitor in the world of fashion. Refreshments were provided of the simplest character,

such only as the unusual exercise, and sitting beyond the usual hours of repose, would

fairly warrant. Nothing to tempt the pampered appetite. Cards were usually provided

to keep the elderly gentlemen quite, and the music was only that which the gentlemen’s

servants could produce. The company assembled early. No one ever though of

waiting until bedtime to dress for the ball; a country-dance always commenced the

entertainment. The lady who stood at the head of the dancers was entitled to call for

the figure, and the old airs, Ca Ira, Moneymusk, Haste to the Wedding, and La Belle

Catharine were popular and familiar in Pineville long after they had been forgotten, as

dances, everywhere else.

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