The Fiddler’s Companion

© 1996-2010 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). First printed by Nathaniel Gow in his Fifth Collection of Strathspey Reels (Edinburgh, 1809), where it is identified as “Irish,” although the fourth part is attributed to “Mr. Sharpe of Hoddam,” a gentleman-amateur violinist (see “Mr. Sharpe’s Delight” for more on him). 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. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 31. 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:|

X:2

T:Monaghan Jig, The

M:6/8

L:1/8

R:Jig

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Emin

~G2E EFE|GEG BGE|~G2E EFG|FDF AGF|G2E EFE|GEG AB^c|

d^cB ABG|FDF AGF::EGB efg|fe^d eBG|EGB eBG|FDF AGF|

EGB efg|fe^d|e=d^c|d^cB ABG|FDF AGF::~g2e efe|geg bge|

~g2e efg|fdf afd|g2e efe|geg bge|d^cB ABG|FDF AGF:||

“This Strain by Mr. Sharpe of Hoddam”

EGB EGB|eBG eBG|EGB EGB|eBG AFD|EGB GBe|Beg egb|ge^c|dBG|FDF AGF:||

 

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:Dmix

(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||

 

MONAHAN’S WALTZ.  Canadian, Waltz. From the Valcartier region of Québec.

           

MONALTRIE. Scottish, Air (3/4 time). D Major. Standard tuning. 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 tuning. 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 tuning. 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 tuning. 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 tuning. 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 tuning. 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 tuning. 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 tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 37.

           

MONDAY NIGHT.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 162.

X:1

T:Monday Night

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:D

g|f d2 f|e c2 e|dB AG|F A2 f|g b2 g|afed|c e2 g|f d2:|
|:A|F A2 =c|B G2 f|gfed|c e2 g|afec|dB AF|GE AG|F D2:||

 

MONESSEN. American, Reel. USA, southwestern Pa. D Major. Standard tuning. 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, Breakdown. USA, Missouri. D Major. Standard tuning . 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 [4]," "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 tuning. 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, directs 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. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., 1792; pg. 30. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 7. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 11 (arranged as a duet). Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 121, pg. 30. 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

X:4

T:Money in Both Pockets [1]

M:6/8

L:1/8

R:Jig

N:Gow notes that when this tune is danced, the 2nd part is only played to

N:the end of the eighth measure.

B:Gow – Third Collection of Niel Gow’s Reels (1792)

Z:AK/Fiddler’s Companion

K:D

f|:{c}d2F “tr”FEF|A2A AGF|{c}d2F “tr”FEF|A3 gfe|{c}d2F {G}FEF|

A>BA {B}AGF|”tr”E>FE EFA|”tr”B3 {A/B/}ABc:||(df)a afd|(ce).a ecA|

(df).a afd|”tr”g3 {f/g/}f2 f/g/|({f/g/}a>)gf ({g/a/}b>)ag|({f/g/}a>)gf “tr”e>de|

f<dB A<FA|”tr”B3 d2A|df/g/a afd|(c/d/e/)f/^g/a/ (f/e/)(d/c/)B/A/|”tr”(d/c/d/)e/f/g/ afd|

{a}gfg f2 f/g/|(a/g/)f/g/a/f (b/a/)g/b/a/g/|(a/g/)f/a/g/f/ {f}ede|f>dB A<FA|”tr”B3 ABc||

 

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, Barnes, Brody, Bronner, Christeson, Cole {reel}, Kennedy, Miller & Perron, O'Neill, Phillips, Plain Brown, Raven, Skinner, Sweet, White): G Major (nearly all versions): C Major (Howe/Accordeon): A Major (Beisswenger & McCann). Standard tuning. One part (Burchenal): AB (Cole {strathspey version}, O'Neill/1850 & 1001, Plain Brown, Surenne, White): AAB (Barnes, 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 (Beisswenger & McCann, 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. Perthshire fiddler John Fife copied “Money Musk” into his manuscript music book of around 1780 (he also apparently was a seaman, for there are indications in the manuscript that he saw conflict in the Caribbean and Mediterranean).

***

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.

***

Ensign and flute player Thomas Molyneaux, of the 6th Regiment, noted “Money Musk” into his copybook when stationed in Shelburne, Nova Scotia, in 1788. 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:

***

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.

***

English musicians’ manuscripts include “Money Musk” with regularity. The William Brown manuscript (Romford, England, c. 1797) has it.

***

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.

***

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.

***

“Money Musk” was a popular melody as well as a country dance in America by the 1790’s. American published versions of the music appear beginning in 1796 by B. Carr in Evening Amusements (Philadelphia), and both tune and dance were widely published after that, indicating enormous popularity in America in the last decade of the 18th century into the next. Manuscript versions are also numerous: one appears in Ann Winnington’s music manuscript book (No. 29), c. 1810—the frontispiece in the MS. indicates Winnington resided in New York (although she may have removed at some point to England). Elisabeth Crawford (Massachusetts) penned the dance figures in her 1794 commonplace book that contained the rules of grammar alongside 12 other country dance figures. Southington, Connecticut, musician Joel Allen copied “Money Musk” into his music copybook of around 1800, as did Thomas Cushing around 1805 and Silas Dickinson (Amherst, Massachusetts) around 1800. Onondaga, New York, fluter Daniel Henry Huntington copied it into his manuscript “Preceptor for the Flute” in 1817, as did Newburyport, Massachusetts, musician Samuel Morse in 1811. William Patten (Philadelphia, Pa.) noted it in his copybook from around 1800, as did Cherry Valley, New York,  fiddler George White, around 1790. In fact, the country dance "Money Musk” has remained a New England staple for two centuries, although one phrase of the original music has been dropped, while the dance measures stayed the same (thus "cramming 32 measures of dance in to 24 measures of music" note 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:

***

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.

***

In America, in contrast to New England and the eastern seaboard, the tune is very rare in the Southern Appalachians (Jabbour, Krassen/1973), though not unknown. It was recorded as one of the tunes played by fiddler Ben Smith, a Georgian in the Twelfth Alabama Infantry in the Civil War (as listed by Robert Emory Park in Sketch of the Twelfth Alabama Infantry, 1906) {Cauthen, 1990}. Another Civil War reference is to be found in Bell Wiley’s The Life of Johnny Reb, where it is listed among the favorite fiddle tunes of Confederate musicians. “Money Musk” was in the repertoire lists of two fiddlers who played in the Raleigh, North Carolina, fiddler’s convention, held in the decade before World War I. According to articles in the defunct Raleigh News and Observer, it was played by one Arnold A. Parish of Willow Spirngs (Wake County, N.C.) who competed in the 1906 contest, and by S.S. Ransdell (Louisburg, Granville, County, N.C.) a year earlier in the 1905 contest (Ransdell called the tune “Money Mush”). Gail Gillespie (Fiddle-L 1/04/03) points out that Parish’s town was on the border of Wake and Harnett Counties and that the latter had many Scots immigrants, “as recently as the 1840’s.” In the Midwest “Moneymusk” was much more common and the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Missouri fiddlers still play the tune (it was known as a difficult piece and a “big tune” in Mo. fiddle contests up until the 1970's, according to Howard Marshall, though its popularity has waned in recent years), and “Money Musk” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. John Hartford (2001) recorded a three-part version in the key of ‘A’ he learned from Missouri fiddler Roy Wooliver (“the little cross-eyed snaggle-toothed drifter who drifted in an out of almost everything we played, who was a major influence on Gene Goforth when Gene was young, who in turn was a major influence on everybody else who heard him”), that Hartford and Goforth both recorded as “Wooliver’s Money Musk.” Interestingly, Marshall notes “Moneymusk” is known as an “Irish” tune, a thought perhaps derived from its transmission through Scots-Irish immigrants to the mid-South American highlands, and thence to the Mid-West. Early-recorded American versions include that by Jasper Bisbee (for Edison), who was born in 1843, Col. John Pattee (for Columbia), born in 1844, Henry Ford’s Orchestra, and North Carolina fiddler Dad Williams.

***

Paul Gifford says he once heard the great Montreal fiddling cab-driver, Jean Carignan, play at a concert where he took requests.  Gifford asked for “Money Musk” and Carignan obliged, asking if he wanted the French, Scottish or Irish version!  Gifford suggested French, but Carignan played them all.

***

Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Highwoods String Band (N.Y.) and Delaware Water Gap [Brody]; Lewis L. Jillson (Bernardston, Mass.) [Linscott]; Henry Reed (W.Va) [Krassen]; John Baltzell (Ohio, 1923) [Bronner]; Archie Thorpe, c. 1940 (Hornell, N.Y.) [Bronner]; Steffy (Pa., 1949), William Shape (Greene County, Pa., 1944), James Morris (Greene County, Pa., 1944), and Samuel Losch (Juniata County, Pa., 1930's) [Bayard]; Alan Block and Ron West (Vt.) [Phillips]; Rodney Miller (N.H.) [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Gene Goforth (1921-2002, High Ridge, near St. Louis, Mo.), learned from Roy Wooliver [Beisswenger & McCann]; a c. 1847 manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Joshua Campbell’s 1788 Collection [RSCDS].

***

Adam, 1928; No. 59. Ashman (The Ironbridge Hornpipe), 1991; No. 40a, pg. 14. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 87. Bayard (Dance to the Fiddle), 1981; No. 343A‑D, pgs. 329‑331. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 45. Brody (Fiddler’s Fakebook), 1983; pg. 194‑195 (two versions). Bronner (Old-Time Music Makers of New York State), 1987; No. 5, pgs. 32‑33 (includes variations), and No. 18, pg. 87. Burchenal (American Country Dances, vol. 1), 1918; pg. 55. Cahusac (Pocket Companion...Flute), vol. 2, c. 1798, pg. 35. Cazden (Dances from Woodland), 1945; pg. 15. Cazden, 1955; pg. 31. R.P. Christeson (Old Time Fiddlers Repertory), vol. 1, 1973; pg. 15. Cole (1000 Fiddle Tunes), 1940; pg. 31 & pg 128. Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 11. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 63, pg. 153. Ford (Traditional Music in America), 1940; pg. 52. Ford (Good Morning, Music Calls and Directions for Old Time Dancing), 1943 (4th edition). Gow (Complete Repository), Part 1, 1799; pgs. 10-11. Harding Collection (1905, 1932) and Harding Original Collection (1928); No. 44. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 13 (Strathspey). Howe (Complete Preceptor for the Accordeon), 1843; pg. 30. Howe (School for the Violin), 1851; pg. 21. Howe (Diamond School for the Violin), 1861; pg. 41. Howe (1000 Jigs and Reels), c. 1867; pg. 74. Hunter (Fiddle Music of Scotland), 1988; No. 84 (two settings). Jarman (Old Time Fiddlin' Tunes), No. or pg. 28. Johnson (Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 11. Kennedy (Fiddler’s Tunebook), vol. 2, 1954; pg. 17. Kerr (Merry Melodies), vol. 2; No. 116, pg. 14. Kimball, Sackett’s Harbor. Krassen (Appalachian Fiddle), 1973; pg. 70‑71. Linscott (Folk Songs of Old New England), 1939; pg. 98. MacDonald (The Skye Collection), 1887; pg. 12. Martin (Traditional Scottish Fiddling), 2002; pgs. 49 & 54. McGlashan, 1781; pg. 19. McGoun (Repository of Scots and Irish Airs, Strathspeys, Reels, etc., Glasgow) 1803. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 107. O'Neill (Krassen), 1976; pg. 125. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No., 1361, pg. 254. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 614, pg. 111 ("Irish style"). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 221. Peacock (Peacock’s Tunes), c. 1805/1980; No. 8, pg. 2. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 155 (two versions). Plain Brown Tune Book, 1997; pg. 35. Raven (English Country Dance Tunes), 1984; pg. 171. Robbins, 1933; Nos. 120 and 177. Robinson (Massachusetts Collection of Martial Music), 2nd ed., 1820; pg. 53. Royal Scottish Country Dance Society, Book 11, No. 2. Ruth (Pioneer Western Folk Tunes), 1948; No. 20, pg. 9. Ryan’s Mammoth Collection, 1883; pgs. 57 & 168. Skinner (Harp and Claymore), 1904; pgs. 106-107 (includes a pipes set). Stewart-Robertson (The Athole Collection), 1884; pg. 158. Surenne (Dance Music of Scotland), 1852; pg. 8. Sweet (Fifer’s Delight), 1965/1981; pg. 61. Sym, 1930; pg. 5. White’s Unique Collection, 1896; No. 54, pg. 10. White's Excelsior Collection, 1907; pg. 27. Adelphi 2004, Delaware Water Gap‑ "String Band Music." Alcazar Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts" (1980). Celtic CX022 (78 RPM), “Little” Jack MacDonald. CLM 1006, Carl MacKenzie (appears as “Sir Archibald Grant of Mony Musk Strathspey”). Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007). Decca 14023 (78 RPM), Alex “Alick” Gillis/The Inverness Serenaders. Edison 51354 (78 RPM), John Baltzell (Ohio), 1923. Edison 51381 (78 RPM), Jasper Bisbee (Michigan), 1923. F & I 001, Fiddlesticks & Ivory ‑ "Ghillies On The Golden Gate.” F&W Records 3, "Canterbury Country Dance Orchestra." Folkways RBF 115, Joseph Guilmette – “Masters of French Canadian Music, vol. 4” (originally recorded 1931). Fretless 118, Marie Rhines‑ "The Reconcilliation." John Edwards Memorial Foundation  JEMF‑105, Ron West ‑ "New England Traditional Fiddling" (1978). June Appal 007, Tommy Hunter‑ "Deep in Tradition" (1976. Learned from a Library of Congress recording). Living Folk LFR‑104, Allan Block ‑ "Alive and Well and Fiddling." Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." Philo 1010, Jean Carignan‑ "Hommage a Joseph Allard." PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Two versions: one from Henry Reed, Glen Lyn, Va.,; one from Buck Brewer, Marion, Ky., who was a musician on riverboats that ran on the Ohio and Mississippi Rivers). Rodeo RLP 75, John A MacDonald ‑ "Marches, Strathspeys, Reels and Jigs of the Cape Breton Scot." Rounder 0045, Highwoods String Band‑ "Dance All Night." Rounder 0042, John Hartford – “Hamilton Ironworks” (2001. Appears as “Wooliver’s Money Musk”). Rounder CD0388, Gene Goforth – “Emminence Breatkdown” (1997). RTE Records, Jimmy Lyons - “The Donegal Fiddle.” Rounder, Walt Koken – “Finger Lakes Ramble.” Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England – “Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire” (1999). TAC002, Don Bartlett & The Scotians ‑ "Play Favourites" (as Sir Archibald Grant Of Monymusk). Victor 263527-b (78 RPM), Joseph Allard.

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:Money Musk

L:1/8

M:4/4

K:G

e|"G"d<GB>G d>Gc>e|"G"d<GB>G "D"A/B/A c>e|

"G"d<GB>G "G/B"B/c/d d>g|"C"e>c"D"A>d "G"B<G G:|!

f|"G"g2d>g B>gd>f|"G"g>d"Am"c>g "G/B"B>g"D"A>f|

"G"g>de>g "G/B"d>gB>g|"C"e>c"D"A>d "G"B<GG>f|!

f|"G"g>dd>g B>gd>f|"G"g>d"Am"c>g "G/B"B>g"D"A>f|

"G/B"g>d"C"e>g "G/B"d>g"Am"c<g|"G/D"B<g"D"A>c "G"B<G G|!

|:g|"G"G/G/G B>G B/dG/ c<e|"G"G/G/G B<g "D"A/A/A c<e|

"G"G/G/G B<G "G/B"B/c/d d<g|{de}"F"=f>c A/B/c "G"B<G G:|!

z/d/|"G"g>d B<g d<gB>d|"G"g>d "Am"c<g "G/B"B<g"D"A>d|

"G"g>d B<g "G/B"d<gB<g|"C"e/f/g "D"A/B/c "G"B<GG>d|!

"G"g>d B<g d<gB>d|"G"g/f/e "G/B"d<g "G"B<g"D"A>d|

"G"g>d "C"e<g "G/B"d<g"Am"c<g|"G/D"B<g"D"A<g "G"B<G G|]

X:2

T:Monymusk

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

e|d<G B>G d>G c<e|d<G B>G (3ABA c>e|d<G B>G B<d d>g|

e>cA>d ~B<GG:|

|:f|g>dB>g d>gB>g|g>dB>g c>gA>f|1 g>de>g d>gB>g|e>cA>d B<GG:|2

g>de>g d<bc<a|B<gA<g B<GG||

X:3

T:Money Musk

M:2/4

L:1/16

Q:122 C:Trad.

S:from Cyril Stinnett (Mo.)

R:Reel

A:Missouri

B:transcribed in OTFR as #18

D:taken from the playing of Cyril Stinnett

Z:B. Shull, trans.; R. P. LaVaque, ABCs

K:A (

e2|:e)Acf ecdf|eAc(A Bc)d(f|e)(Ac)d eag(e|f)dBe cAAe|! eAcf ecdf|eAc(A Bc)d(f|e)(Ac)d eaf(e|f)dBe cAAA|! |Aeae (fg)ae|ceae B(Bc)(B|A)cae (fg)ae|fdBe cAAA|! Aeae (fg)ae|ceae B(Bc)(B|A)cae (fg)ae|fdBe cAAe-|! |a-e)(fa) (ea)ce|aedb caBe|(aef)a (ea)ce|fdBe cAAe|! (ae)(fa) (ea)ce|aedb caBe|(aef)a (ea)ce|fdBe cAAA|! |a2c'(a ba)c'b|(ae)ac' (bc')d'b)|a(ec')a f(ad)(c'|bd')bg a2c'(b-|! -a-e)ac' (ba)c'b|(ae)ac' (bc')(d'b)|a(ec')a f(ad')(c'|bd')bg a2(c'a):|

X:4

T:Moneymusk

M:4/4

L:1/8

O:Probably a version from Teelin, County Donegal.

K:A

af || eAcA e2 (3agf | eAdc BEGB | eAcA e3a | fdBa (3gfe (3agf | eAcAe2(3agf |\

eAcA Bcdf | eccB cdea | fdBc defg || a2ea ceA2 | aAce fBB2 | a2ea ceA2 |\

dcBc defg | a2ea ceA2 | aAce fBBe | (3agf (3gfe (3fed (3cBA | (3fga (3gfe fgaf ||

X:5

T:Moniemusk Reel, The

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

N:O’Neill remarks: “The first and second parts as above noted constitute the originaltune N: composed by Daniel or Donald Dow, a musician of note who died at Edinburgh in

N: 1783. The third was substituted for the more difficult second by modern fiddlers, and N: the fourth, the editor memorized from the playing of Wm. McLean, the greatest

N: Highland piper of his day in Chicago, some fifty years ago.”

R:Reel

K:G

e|dGBG dGce|dGBG ABce|dGBG Bcdg|ecAd BG G2:|

|:gddg Bgdg| gdcg BgAf|gdeg dgBg|ecAc BG G2:|

|:gdBd edBd|gdBd eA A2|1gdBd edBc|dcAc BG G2:|

2gefd ecdc|BcAc BG G2||g2 gf g2 (3def|

g2 fg ef d2|g2 af g2 dc|BcAc BG G2|g2 gf g2 (3def|

g2 fg ef d2|gefd ecdc|BcAc (3BAG (3gfe||

X:6

T:Money Musk

C:Joseph Allard

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

ge|:dGBG dGce|dGBG ABce|dGBG dGBg|BeAc BGGe|!

dGBG dGBe|dGBG ABce|dGBG dGBg|BeAc BGG2:|!

|:gdeg dgBa|gdca BAAf|gdeg dBca|BgAd BGGf|!

gdeg dgBa|gdca BAAf|gdeg dBca|BgAf gGG2:|!

X:7

T:Monie Musk

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

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 11

L:1/8

M:C

R:Strathspey

K:A

f|e<Ac>A e>Ad<f|e<Ac>A (B/c/B) d>f|e<Ac>A  c<(ee>a)|fdBe cAA :|

g|a<ee>a c<ae>g|a<ec>a c>aG>g |a<e f>a e>ac<a  |f>dB<e c<(AAg)|

a<ee>a c<ae<g|a<ec>a c>aB>g |a<ef<a eada |caBa cAA |]

 

MONEY MUSK [2]. American, Reel. A Major. Standard tuning. AA'BB. A variant of the American 'A' major versions of the tune, however, distinct enough to be accounted a separate version. Source for notated version: Joe Greene [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 156.

 


MONEY MUSK [3]. Old-Time, Breakdown. A Major. Standard tuning. AA'BB'CC'DD'. As with version #2, this American variant is distinct from other versions. Source for notated version: Alan Jabbour with the Hollow Rock String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 156. Kanawha 311, Alan Jabbour.

 

MONEY MUSK [4]. Old-Time, Breakdown. A Major. Standard tuning. AA'BB'CC' (the 'A' part is irregular, having nine measures, the last of which is in 2/4 time). The original tune is unrecognisable in this version, though it retains some rhythmic elements. Source for notated version: Bruce Greene with Jim Taylor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 157. Jim Taylor – The Civil War Collection (1996).

                       

MONEY SPIDER, THE. Irish, Reel. B Flat Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. The name derives from the superstition that spiders are good luck and will bring money. Keegan (The Keegan Tunes), 2002; pg. 45.

                       

MONFERRINE. Italian, Jig. A dance from the Montferrat, Piedmont, region of northern Italy. The form became popular in England around the year 1800, although the spelling of the name varied: monfrina, monfreda, and monfredina, for example. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

           

MONFRINA.  English, Jig. A Major. Standard tuning. AABB. See note for “Monferrine.” Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 19.

X:1

T:Monfrina

M:6/8

L:1/8

R:Jig

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:A

{B}A>GA|c2A {B}A>GA|c2A A>GA|B2B e2e|c2A {B}A>GA|c2A {B}A>GA|c2A {B}A>GA|B2B e2e|A3:|

|:AGA|B>cB e2e|c2A {B}AGA|BcB e2e|c3 A3|f2d {e}dcB|e2c {d}c>BA|Bdc {c}BAG|A3:||

           

MONIEMUSK. AKA and see "Money Musk."

           

MONK, THE. AKA – “The Monk’s Jig.” AKA and see “Reverend Brother’s Jig,” “The Friar’s Jig,” “Port an Bráthair,” “Port Padraig na Carra.” See also note for “Gander in the Pratie Hole.”

           

MONKEY HORNPIPE, THE.  English, Hornpipe. From the playing of Horsted Keynes, Sussex, concertina player Scan Tester (1887-1972). Fellside Records FECD192, Spiers & Boden – “Tunes” (2005). Veteran VTVS03/04, Scan Tester – “I Never Played to Many Posh Dances” (re-release of 1990 Topic album 12TS455/6).

 

MONKEY IN THE DOG CART. See ‑ "Monkey on a Dog Cart."

           

MONKEY IN THE BARBERSHOP. AKA‑ "Flop‑Eared Mule."

           

MONKEY ON/IN A/THE DOG CART. Old‑Time, Breakdown. USA; Mississippi, Missouri. C Major. Standard tuning. AA'BB. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. Sometimes the following ditty is sung to the ‘B’ part:

***

Monkey in a dog cart, dollar in his hand;

Monkey in a dog cart, looks/dressed like a little man.

***

Source for notated version: Wil Gilmer with the Leake County Revelers [Phillips]. Phillips, 1994; pg. 157. County 532, "The Leake County Revelers: 1927‑1930 Recordings" (1975). Voyager 340, Jim Herd - "Old Time Ozark Fiddling" (Learned from the Leake County Revellers recording. Herd was originally from the Missouri Ozarks).  Northwest Folklife (cass.), Jim Herd – “Washington Traditional Fiddler’s Project, Vol. 1” (1993).

           

MONKEY ON A STICK. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

MONKEY SHOW. AKA and see "Going Down (to) Town [1]." Old‑Time, Breakdown. USA, Kentucky. According to Guthrie Meade (1980) this tune is a unique version of "Going Down Town," a tune which dates to before the Civil War, recorded by southern Kentucky fiddler H.L. Bandy for Gennett in 1928. Morning Star 45005, H.L. Bandy - "Way Down South in Dixie."

           

MONKEY'S WEDDING. Canadian, Reel. RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑ "Bowing the Strings with Ned Landry."

           

MONK’S JIG (Port an Bhráthar). AKA and see “The Brother’s Jig,” "Did you see my man looking for me? [2]"  Port Padraig na Carra,” “Reverend Brother’s Jig,” “Sonny Brogan’s [2],”  “Sonny Brogan’s Fancy.” Irish, Double Jig. A Dorian. Standard tuning. AABB. Breathnach (1963) states: “O’Neill (Waifs and Strays, No. 24) has a jig of that name and a verse of a song that goes with it and this verse does not at all fit the jig I have.” “Did you see my man looking for me” was Seán Potts’ name for the tune. The tune is sometimes called Sonny Brogan’s as the tune was associated with the County Sligo/Dublin accordion player. According to piper Néillidh Mulligan the title refers to piper Brother Gildas (Padraig Ó Seaghdha 1882—1961), who learned the jig from piper Tom Rowsome (d. 1928), who in turn had the tune from his famous piping uncle Leo, who called it “Butler's Jig.” See also note for the closely related “Gander in the Pratie Hole.” Sources for notated versions: fiddler Tommy Peoples (County Donegal) [Sullivan]; piper Seán Potts (1851-1976, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 21, pg. 10. Sullivan (Session Tunes), vol. 3; No. 1, pg. 1. Green Linnet CSIF 3010, Kevin Burke & Michael O'Domhnaill - "Promenade" (appears as “Reverend Brothers Jig”). "The High Part of the Road", Shanachie 29003, Tommy Peoples – “The High Part of the Road” (1976).

X:1

T:Port an Bhráthar (The Monk's Jig)

M:6/8

L:1/8

S:Tommy Peoples, The High Part of the Road

R:jig

D:Shanachie 29003

Z:Philippe Varlet

K:Ador

{d}cAA ~c2 A|~d3 ege|AcA {d}cde|dcA AGE|

A/A/AA (B~c2)|~d3 eza|aba ged|{d}cAG A2 A-|

AB/B/B ~c3|~d3 ege|AcA {B}cde|dcA {c}AGE|

A/A/AA (B~c2)|~d3 ede-|eae {a}ged|{cd}cAG A2 e-||

eaA aba|gef ~g2 e|~a2 e ~a3|{ga}ged {cd}cAA|

a/a/a e- eaa|{ga}gef ~g2 e|~a3 {ga}ged|{cd}cAG A2 e-|

eaA aba|gef ~g2 e|~a3 aba|{ga}ged {cd}cAA|

~a2e ~a3|{ga}gef ~g2 e|~a3 {ga}ged|{cd}cAG A3||

X:2

T:Port an Bhráthar

T:The Monk's Jig

T:The Reverend Brother's Jig

B:Breathnach, CRE I, no. 21

S:Seán Potts, pipes

M:6/8

L:1/8

R:Jig

K:A dorian

e/d/|cAA c2 e|dcd e2 e|AAA c2 e|dcA A2 G|

EAA c2 e|dcd e2 a|aba ged|cAA A2:|:(3B/^c/d/|

eaa aba|gef ged|eaa aaa|gef g3|

eaa a2 a|aba ged|ced e2 d|cAA A2:|

                                   


MONK'S MARCH. AKA and see "General Monk's Goosestep," "The Review [2],” "Belle Isle's March." English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AAB (Carlin): AABB (x4), AA (Mallinson): AABA (x4) AA (Bacon). Kidson (Groves) says a tune by this name first appears in Playford’s Dancing Master of 1665 as “The L(ord) Monks March.” The melody was in tradition was collected from dancers in the village Sherborne, Gloucestershire, in England's Cotswolds. It is still popular in English sessions in modern times, although considered to be a ‘beginner’s tune’. The dance itself is a heel-and-toe step dance which is said to be a satire on a Colonel or General Monck, who, while he sympathized with the Royalist cause during the English Civil War, fought on the side of Cromwell's Roundheads. The story goes that Monck resolved his moral conflict by marching to battle so slowly that he missed each conflict.

***

General Monk.

***

In Wales the same tune is known as well as “Flaunting Two ” (printed in 1794), and also as “The Hemp Dressers” and “The Monks March.” The latter is said in Wales not to refer to General Monck, but rather to a melody sung by the monks of Bangor who were massacred in 613. Another variant of the melody is the Northumbrian “Proudlock’s Hornpipe.” Regarding the alternate title “Belle Isle’s March,” Kate Van Winkler Keller (1992) suggests it may refer to the small island of Belle-Île-en-Mer, located off the coast of Brittany, that was occupied by the British from 1761 to 1763. The march was published in a song-sheet under the “Bellisle” title to commemorate the occasion in  1763 when King George III reviewed troops in Hyde Park. Interestingly, as “Belisle March” it appears in the music mansuscript book of a Revolutionary War soldier in Amercia (see note for “Belle Isle’s March”). Bacon (The Morris Ring), 1974; pg. 287. Carlin (Master Collection), 1984; No. 34, pg. 31. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 9, pg. 6. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994). Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

X:1

T:Monk’s March, The

M:2/2

L:1/8

S:Bacon

K:A

E | A2 A>c B2 B>d | c2 a>f e3d | cecA BdBG | A2A2 A3 :|

|| A | e>fed c2c2 | d>edc B2B2 | e>fed c2c2 | d>efd B2 |

A2 A>c B2 B>d | c2 a>f e3d | cecA BdBG | A2A2 A3 ||

                       

MONK'S MARCH WITH THE WANDERS. English, Country Dance Tune (2/2 & 6/8 time). F Major. Standard tuning. AABB'CCDD'. The tune dates to 1713. Barnes (English Country Dance Tunes), 1986.

                       

MONKS OF THE SCREW, THE (Bratar Na N-Ol). AKA and see "Ta Me I n-Eagmais Ach Iocfadh Me Fos" (I'm in debt but I'll pay them yet). Irish, Air (6/8 or 9/8 time). D Major (O’Neill): C Dorian (Stanford/Petrie). Standard tuning. AB. This is a version of the melody "Ta Me I n-Eagmais Ach Iocfadh Me Fos." The Monks of the Screw were a convivial social club that existed in Dublin between the years 1779 to 1785 (‘screw’ means drink). Their "Prior" was a famous lawyer named John Philpot Curran who wrote a song called "The Monks of the Screw" to a tune that Petrie (1855) believes he learned "in his own loved county of Cork." Curran's daughter Sarah was engaged to be married to Robert Emmet, one of the leaders of the failed rising of 1798, who was captured, hanged and beheaded. There is a modern-day traditional band from the Slibah Luachra region of County Kerry/Cork that call themselves The Monks of the Screw. Source for notated version: “From William H. Curran, Esq.” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 20, pg. 4. Stanford/Petrie (Complete Collection), 1905; No. 490, pg. 124.

X:1

T:Monks of the Screw

M:6/8

L:1/8

R:Air

N”Moderate”

S:O’Neill – Music of Ireland (1903), No. 20

Z:AK/Fiddler’s Companion

K:D

d|d2 z/A/ A2z/G/|F D3 zA|AGF Gac|(d3 d2)z/d/|dAA A<AG|F D3 zA|AGF GAc|(d3d2)||

d/e/|fef g>fe/d/|c A3 zf|fef g>fe|(d3 d>(3ef/g/|a>gf gfe|f A3 zA|A>GF Gac|(d3 d2)||

                       

MONKTON’S FOOT.  English, March (4/4 time). A Major. Standard tuning. AB. Source for notated version: General John Reid’s Marches, A Collection (London, 1795) [Miller]. Miller (Fiddler’s Throne), 2004; No. 349, pg. 204.

 

MONMOUTH ASSEMBLY.  AKA and see “The Burlesque.”

 

MONOGRAM HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 109. Ryan’s Mammoth Collection, 1883; pg. 146.

X:1

T:Monogram Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

B/c/ | ({e}d/)^c/d/B/ G/B/d/g/ | g/f/a/f/ d/e/d/c/ | (c/B/)d/B/ (B/A/)c/A/ | (A/G/)B/A/ (G/F/)E/D/ |

| ({e}d/)^c/d/B/ G/B/d/g/ | g/f/a/f/ d/f/a/c’/ | (c’/b/)(b/a/) | (a/g/)(g/f/) | ggg :: f/g/ |

({b}a/)^g/a/f/ d/f/a/b/ | c’/b/d’/b/ gd | e/g/d/g/ e/g/d/g/ | e/g/c’/b/ a/g/f/e/ |

({e}d/)^c/d/B/ G/B/d/g/ | g/f/a/f/ d/f/a/c’/ | (c’/b/)(b/a/) (a/g/)(g/f/) | ggg :|

                       

MONONGAHELA COLLEGE. AKA and see "Taylor's Quickstep [1]," "Dandy Jim o' Carloline [2]." American, March. USA; southwestern Pa., Albemarle County, Va.  D Major. Standard tuning. AB. A once very well‑known fife march from southwestern Pa. Bayard (1981) sees this piece as a condensed or contracted form of a longer piece, probably "The Templehouse (Reel)." Monongahela College is an institution of learning in western Pennsylvania. Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944), Samuel Palmer (Fayette County, Pa., 1944), Mount Pleasant Tablatures, Hoge MS. [Bayard]. Bayard (Dance to the Fiddle), 1981A‑D, pgs. 183‑185. Southern Folklore Quarterly, vol. VI, pg. 10.

                       


MONONGAHELA MARCH. AKA and see "Clicksticks," "O Dear Mother My Toes Are Sore [2]," "Jinny, O Jinny, My Toes Are Sore." American, March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AB. Monongahela City is a town in southwestern Pennsylvania. Source for notated version: Mount Pleasant Tablatures (fife MS.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 453D, pg. 436.

                       

MONROE COUNTY QUICKSTEP. AKA and see "Taylor Quickstep [2]." Old‑Time, Quickstep. USA, Kentucky. F Major ('A' part) & C Major ('B' part). Standard tuning. AA'AA'BBBB. Source for notated version: Leonard Rutherford (KY) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 89. Morning Star 45003, Rutherford and Foster ‑ "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky" (1980. Originally recorded for Gennett in 1929).

 

MONROE STOMP. Old-time, Breakdown. F Major. Standard tuning. From north Louisiana fiddler Hiter Colvin. Named for Monroe, Louisiana.

 

MONROE'S FAREWELL TO LONG HOLLOW. Bluegrass, Breakdown. Composed by the legendary "father of bluegrass," mandolinist Bill Monroe. Bee Balm 302, “The Corndrinkers.” Rounder 0175, James Bryan ‑ "Lookout Blues" (1983).

 

MONROE'S HORNPIPE. Bluegrass, Breakdown. USA, Kentucky. A Major. Standard tuning. AABB. Composed by mandolinist Bill Monroe, the "Father of Bluegrass." Source for notated version: Bill Monroe [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 195. Decca 74601, Bill Monroe‑ "Bluegrass Instrumentals." Voyager 301, Byron Berline‑ "Fiddle Jam Session." County 761, Kenny Baker‑ "Kenny Baker Plays Bill Monroe."

 

MONRO'S RANT, THE. Scottish, Strathspey. D Major. Standard tuning. AB. John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 15). Surenne (Dance Music of Scotland), 1852; pgs. 158-159.

X:1

T:Monro’s Rant, The

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 158-159   (1852)

Z:AK/Fiddler’s Companion

K:D

D2 F>D (A<D)F>D | E2 F>A B>A(B<d) | D2 F>D (A<D)F>D | E>FE>D B,2 A,>B, |
D2 F>D (A<D)F>D | E2 F>A B>A(B<d) | D2 F>D (A<D)F>D | E>FE>D B,2 A,>B, ||

d>ed.c (d<A)A>d | B>cd>e (f<B)B>c | d>ed>B A>Fd>B | (A<F)E>D B,2 A,>B, |

d>ed>c (d<A)A>d | B>cd>e (f<B)B>c | d>ed>B A>Fd>B | (A<F)E>D B,2 A,>B, ||

 

MONS COEUR EST BARRE DANS l'ARMOIRE. See "Valse des Grands Chemins" (Highway Waltz).

 

MONSIGNOR'S BLESSING, THE (Beannacht an Mhoinsíneora). AKA and see “Father Kelly’s (Reel) [3],” “Over the Bog Road.” Irish, Reel. D Major. Standard tuning. AB. The melody is similar to “Twin Katy’s,” "The Humours of Newcastle" and "Captain Kelly's Reel." Source Kathleen Collins also called the tune “Captain Kelly’s Reel,” according to Brendan Breathnach, the name of a similar tune in the O’Neill collections (See  "Captain Kelly('s)/Kelley Reel [1]”). Source for notated version: fiddler Kathleen Collins [Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 67, pg. 35. Breathnach (CRÉ III), 1985; No. 157, pg. 73. Cranitch (Irish Fiddle Book), 1996; No. 63, pg. `50. Taylor (Crossroads Dance), 1992; No. 17, pg. 14. Shanachie Records 29002, "Kathleen Collins" (1976. Learned from the late Kerry fiddler Johnny Cronin). Shaskeen - "The Mouse Behind the Dresser." Matt Cranitch – “Take a Bow.”

X:1

T: Monsignor's Blessing

S: Kathleen Collins

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

DE | F2 FD EA, A,2 | DEFD EA, A,2 | DFEF D2 dB | AFEG FDDE |

F2 FD EA, A,2 | DEFD EA, A,2 | DFEF D2 dB | AFEG FD D2 ||

dcdf ecAd | (3Bcd Ad BdAc | dcdf ecAd | (3Bcd ec d3 A |

dcdf ecAd | (3Bcd Ad BdAc | dcdf e2 ed | cdec dBAG ||

X:2

T:The Monsignor's Blessing

L:1/8

M:C|

Z:Transcribed by Brad Maloney

R:Reel

K:D

DE|.F~F2D E~A,3|DEFD E~A,3 |DEFD (3EFE dB|AFEG FD :||D2||

dcdf ecAd | (3B cd Ad BdAd | dcdf ecAd |1 (3Bcd ec dcdA :|2 (3Bcd ec d2 |]

 

MONTAGNARDE [1]. French, Bourree a 3 Temps (3/8 time). D Mixolydian. Standard tuning. AABB. Composed by Jean‑Christophe Bonnet. Stevens (Massif Central), 1988; No. 29.

 

MONTAGNARDE [2], LA. French, Bourree (3/8 time). From the Auvergne region of central France. D Major. Standard tuning. AABB. Stevens (Massif Central), 1988; No. 50.

 

MONTAGNARDS LAURENTIENS [1] (Laurentien Highlanders). French-Canadian, Reel. D Major. Standard tuning. AABB’CC.

X:1

T:Montagnards Laurentiens [1]

M:4/4

L:1/8

K:D

f2AA Acde | d2c2c3g | g2AA Acef | e2d2d3f | f2a2a3f | g2b2b4 |

a2c'b agfe | dd'afd4 :: e2 B2e3B | efedc2A2 | BABcd2B2 | A2AB cBA2 |

e2B2e3B | efedc2A2 | BABcd2B2 |1 A2(3Acea4 :||2 A2(3Acea2 || B2 |

d6B2 | e3fe2B2 | d3d dcde | d2b2a2g2 | f6a2 | e6d2 | f8 | f2f2e2B2 |

d6 B2 | e3fe2B2 | d3d dcde | d2B2d2g2 | e6g2 | d6d2 | c2d2e2f2 | g6 :||

 

MONTAGNARDS LAURENTIENS [2] (Laurentien Highlanders). French-Canadian, Reel. G Major. Standard tuning. AA’BB’. The Laurentiens are a range of the Appalachian chain in Quebec.

X:1

T:Montagnards Laurentiens  [2]

M:4/4

L:1/8

K:G

b8 | b2g2f2e2 | d8 | d2B2d2g2 | f8 | f2 dd efed | b8 | b2 dd efed | b8 |

b2g2f2e2 | d8|d2B2d 2g2 | f6e2 | d2d2e2f2 | g8|1 g2d2e2d2:||2 d8 ||

A2f2A2f2 | A f2 A f4 | a2 ab ag e2 | f afe d2 B2 | A2 f2 A2 f2 |

A f2 A f4 | a2 ab ag e2|1 d2 (3dfa g4 :||2 d8||

                       

MONTEZUMA.  American, Hornpipe. D Major. Standard tuning. AABB. A title probably inspired by the Mexican-American War. American Veteran Fifer, 1902. Bruce and Emmett (Drummer’s and Fifer’s Guide: or Self-Instructor), 1862. Mattson and Walz (Old Fort Snelling…Fife), 1974; pg.42.

X:1

T:Montezuma

B:Bruce & Emmett

M:2/4

L:1/8

Q:1/8=180

K:D

|: f/g/|a/f/g/e/ f/d/e/c/|d/f/e/c/ AA/G/|F/A/d/f/ g/f/e/d/|c/d/e/c/ Af/g/|

a/f/g/e/ f/d/e/c/|d/f/e/c/ AA/G/|F/A/d/f/ g/e/d/c/|ddd :|

|: c/d/|e/-A/A/A/ e/A/e/A/|e/A/f/A/ e/A/f/a/|g/f/e/d/ d/c/B/A/|B/G/D/G/ BA/G/|

F/A/d/c/ B/B/e/d/|c/A/B/c/ d/e/f/g/|a/f/b/g/ f/e/d/c/|ddd :|

                       


MONTGOMERIE'S HORNPIPE. Scottish, Hornpipe. D Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 2; No. 347, pg. 38. Stewart-Robertson (The Athole Collection), 1884; pg. 298.

X:1

T:Montgomerie’s

M:C|

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

A,2|D2 D2 DEFD|A2 A2 ABcA|d2 df edcB|A^GAB A=GFE|D2D2 DEFD|

A2A2 ABcA|BdcB AGFE|D2 D2 D2:||:de|fdfg fedc|dcde dcBA|Bcdc B2 ef|

gafg e2 de|fdfg fedc|dcde dcBA|Bcde fgef|d2 d2 d2:|

 


MONTGOMERIE'S RANT. Scottish, Strathspey Reel. The dance instructions, but not the music for the tune clearly marked 'Strathspey Reele,' appear in the Menzies Manuscript, 1749, in the Atholl Collection of the Sandeman Library, Perth. It seems to be the earliest allusion to the strathspey as a class of instrumental music or dance, states Emmerson (1971). Today it is traditional to play "Lady Montgomerie's Reel" for the Scottish country dance. Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

 

MONTH OF AUGUST.  English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 100.

X:1

T:Month of August, 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:A

Acec|aedc|fgaf|ec”tr”BA|Acec|fgaf|geB^d|e2E2:|
|:egbg|aedc|fdcB|ecBA|defd|cdec|dbBg|a2A2:||

 

MONTH OF JANUARY, THE. Irish, Slow Air (4/4 time). A Mixolydian. Standard tuning. One part. Ó Canainn (Traditional Slow Airs from Ireland), 1995; No. 110, pg. 93.

 

MONTH OF MARCH, THE. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 158.

X:1

T:Month of March, 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:A

A A2 c|B B2 c|A A2 c|BE “tr”E2|A A2 c|B B2 d|cABG|A2 [A,2A2]:|

|:ecAe|fdBf|ecAc|BG E2|ecAe|fdBd|cABG|A2 [A,2A2]:||

 

MONTH OF MAY [1], THE. AKA and see “The Merry Month of May.” English, Jig and Morris Dance Tune (6/8 time). G Major. Standard tuning. AB (Bacon‑Brackley): AABB (Raven): AA’BB (Callaghan): AABCBCB (Bacon‑Field Town). The tune was collected in the Cotswold villages of Field Town (Leafield, Oxfordshire) and Brackley (Northamptonshire). Versions of the melody can also be found in the music manuscript copybook of Michael Turner (1796-1885), for fifty years a Parish Clerk, Sexton and choir leader of a church in Warnham, Sussex. His gravestone reads:

***

His duty done, beneath this stone

Old Michael lies at rest

His rustic rig, his song, his jig

Were ever of the best.

With nodding head the choir he led

That none should start too soon,

The second he sang full true

His viol played the tune

And when at last his age had passed

One hundred—less eleven,

With faithful cling to fiddle string

He sang himself to heaven.

***

Bacon (The Morris Ring), 1974; pgs. 100 & 164. Callaghan (Hardcore English), 2007; pg. 61. Raven (English Country Dance Tunes), 1984; pg. 125. Townsend (English Dance Music, vol. 1), 1993.

X:1

T:Month of May [1]

M:6/8

L:1/8

R:Jig

K:G

D | G2G GFG | A2B c2d | e2e dBG | GFG AFD | G2G GFG | A2B c2d |

efg dcB | AGG G2 :: B | A2A A2B | cdc Bd \ g2d g2d | BAG d3 |

A2A A2A | cdc Bcd | efg dcB | AGG G2 :|

 

MONTH OF MAY [2], THE. Irish, Scottish; Hornpipe. G Major. Standard tuning. AABB (O'Neill): AA'BB (Kerr). Kerr (Merry Melodies), vol. 3; No. 346, pg. 37. O'Neill (O’Neill’s Irish Music), 1915; No. 382, pg. 182.

X:1

T:Month of May, The [2]

M:C

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

d2 | gdgd BcdB | ecec A2 AB | cAcA FGAF | GABc d2d2 | gdgd BcdB |

ecec A2 AB | cAcA FGAF | G2B2G2 :: D2 | B,DGD BAGF | ECEG cBAG |

FDFA dcBA | GFGA B2D2 | B,DGD BAGF | ECEG cBAG | FGAB cdef | g2b2g2 :|

                       

MONTMARQUETTE'S MARCH. French‑Canadian, March. A Major. Standard tuning. AA'B. Composed by Alfred Montmarquette (1870-1944), a master accordion player from Montreal, Québec, who recorded in the 20's and 30's. Carlin (Master Collection), 1984; No. 97, pg. 61.

           

MONTMORANCY. English, Jig. A Minor. Standard tuning. AABB. The melody appears in G. Willsim’s Recueil de 24 Contredances Angloise Les Plus Usite, printed in the Netherlands in 1755. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 88 (appears as “Mr. Epstein’s Esplanade”, the title of a country dance by Liz Snowden set to the tune).

           

MONTREAL [1]. AKA ‑ "Montreal Breakdown." Canadian, Reel. G Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 28. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 52, pg. 33. F&W Records 1, "F&W String Band."

X: 1

T:Montreal Reel

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

d2|gfga g2f2|e^def e2=d2|cBcd c2B2|A6f2|

a^gab a2=g2|fefg f2e2|d^cd^d e2f2|g6:|

|:B2|D2D2 G2B2|d6^cd|e2d2 B2G2|F6FE|

D2F2 A2c2|e6de|f2e2 c2F2|GFGA G2:|

 

MONTREAL [2]. English, Country Dance Tune (6/8 time). England, Yorkshire. C Major. Standard tuning. AAB. 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. 67, pg. 45.

                       

MONTREAL HORNPIPE. See “London Hornpipe [1]” family of tunes.

                       

MONTROSE LASSES. AKA and see "Derwentwater's Farewell," "My Dear and Only Love Take Heed."

                       

MONTROSE RACES. Scottish, Strathspey. G Minor. Standard tuning. AAB. The melody was included by Kirkmichael, Perthshire, fiddler and composer Robert Petrie in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 2).

X:1

T:Montrose Races, A Strathspey

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

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 2

L:1/8

M:C

R:Strathspey

K:Gm

d|B>GD<G B>G e/d/c/B/|A<FC<F A>F d/c/B/A/|B<GD<G B>G e/d/c/B/|A>f d/c/B/A/ B<GG :|

^f|g>dB<g d<gB<g|A<fc<f A>F A/B/c/A/|g>dB<g d<gB<g|A>F A/B/c/A/ B<GG>^f|

g>dB<g d<gB<g|A<fc<f A>F A/B/c/A/|B<Gc<A d<Be<c|d>D d/c/B/A/ B<GG|]

 

MONTROSE'S MARCH. AKA and see "Captain Collins," "Rock and the/a Wee Pickle Tow," "The Retreat," "The Pretender's March," "The Onehorned Cow [2]," "Carawith Jig," "Green Goose Fair [1]," "O'Sullivan Mor(e’s March) [1]," "Painneach na nUbh [1],” “The Scotch March [1]." English. Published by Playford in his Musick's Recreation (1669). The title refers to the heroic Marquess of Montrose (1612-1650), James Graham, a 17th century Scottish aristocrat chosen by Charles I of England to quell a rebellion in Scotland, and reputedly a man who lived scrupulously and bravely. Montrose originally supported the National Covenant and fought for the Covenant in the Bishops’ Wars, but as the upheaval escalated he had doubts and found himself turning against the extremist Presbyterian view toward Charles I. He was subsequently jailed in Edinburgh Castle for five months as he would not support the Scottish Parliament. In 1644 he became the King’s lieutenant in Scotland and embarked upon a campaign with a small motley army of Scots and Irish. An outstanding leader and a skilled general, he won six victories for the crown, but when he entered the Lowlands his small army’s numbers dropped, and his tiny army was taken by surprise in September 1645 at Philiphaugh, near Selkirk, by the forces of David Lesley. Montrose managed to cut his way free with a few of his men, but his army perished (along with their families who had accompanied them) in the slaughter that followed. The King ordered Montrose to make his way to Norway, and in Europe he was honored by the French and Germans, however, when Charles I was executed Montrose felt he could no longer remain on the Continent. He returned to Scotland in 1650 in an attempt to recover Scotland for Charles II, but was shipwrecked in Orkney, surviving with only 200 of his men, a force too small to defend themselves. Betrayed by MacLeod of Assynt for the incredible sum of £25,000, Montrose was executed without at trial at Edinburgh in May, 1650, ordered by the Scottish parliament to be hanged then disembowelled.  His body parts were displayed in cities across the kingdom for ten years, until the restoration of Charles II, when the new monarch arranged a grand funeral for him.  Sir Walter Scott’s novel A Legend of Montrose (1819) concerns his career.

***

Montrose. James Graham.

***

X:1

T:Montrosses' March

B:Musick's Delight on the Cithren, Playford

N:as printed in CRE II, no. 12 (ii)

N:time signature changed to 6/4 from original "3"

Z:Transcribed by Paul de Grae

M:6/4

L:1/4

K:G

GBB B2 e|d>eB A2 G|G/A/BB B2 A|BGG [GBdg]:|

|:eeg eeg|eeg edB|dde dde|d2 e dBG|G/A/BB B>^cB/c/|

d>Bc/d/ e3|de/d/c/B/ A2 G|G/A/BB B2 A|BGG [GBdg]:|

           


MONTUA, THE. AKA and see "Donegal Boys," “The Groves of Mt. Talbot,” "I Wish I Never Saw You," "Magic Slipper [1]," "Maud(e) Millar [2],” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” "My Love is Fair and Handsome [1]," "Paddy McFadden's [1]."

                       

MONYMUSK. AKA and see "Money Musk/Monymusk," "Sir Archibald Grant of Monemusk's Reel."

                       

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