The Fiddler’s Companion
© 1996-2008 Andrew Kuntz
__________________________________________
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MON |
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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
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 (
MON COEUR EST BARRE
DANS L'ARMOIRE. See "Valse des Grands Chemins."
MON COEUR FAIT MAL (My Heart Hurts). Cajun, Waltz.
MON COEUR T'APPELLE. Cajun.
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
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
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
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.
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 (
X:1
T:Monaltrie
M:3/4
L:1/8
R:Air
S:Morison –
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>,
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>,
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.
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.
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
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
MONESSEN. American, Reel.
MONEY AND CORN. Old‑Time, Breakdwon.
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
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 – “
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.
|
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
Z:AK/Fiddler’s Companion
K:C
G | c2E
|: 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
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>,
N:Petrie's
First Collection, page 11
L:1/8
M:6/8
K:D
A
| d2F FEF | ABA AGF | d2F TFEF |
d2F
FEF | ABA AGF | EFE EFA | BcTB B2 :|
|:
A | dfa afd |cea ecA | dfa afd | g3 f2g
|
agf
bag | agf
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)
%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:
|
See also listings at:
Alan Ng’s Irishtune.info |
X:1
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.
|
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,
***
Linscott (1939) says the melody was
called "The Countess of Airly" in the early 18th century, and came
from the
***
***
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.
***
Caoimhin
MacAoidh (1997) has remarked that “Moneymusk” was absorbed into Irish tradition
through the
***
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
***
In
***
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.
***