The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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TA

[COMMENT1] 

[COMMENT2] 

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, 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]

 

 

 

T. P. FEAHAN’S FAVORITE. Irish, Slide (12/8 time). E Dorian. Standard tuning. AAB. Treoir.

X: 1

T: T.P. Feahan's Favorite

S: "Treoir"

M: 12/8

L: 1/8

R: Slide

Z: Transcribed by Bill Black

K: Edor

B | efe B2 A GFE B2 A | FED A2 D d2 F A2 B |

efe B2 A GFE B2 A | FED AFA E3 E2 :|

A | B2 e ede f2 a afa | baf a2 f e2 d B2 A |

B2 e ede f2 a afa | baf a2 f e3 e2 B/A/ |

B2 e ede f2 a afa | baf a2 f e2 d B2 g |

faf f2 e efe B2 A | FED FAF E3 E2 ||[COMMENT3] [COMMENT4] 

 

T-AISEADH DO DH'EIREANN, AN. AKA and see "Crossing to Ireland." Cape Breton, Waltz or Air. G Aeolian/E Minor (Cape Breton versions) or F Minor (Fraser). Standard. AAB. Source for notated version: Winston Fitzgerald (Cape Breton) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 57. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 95, pg. 36 (appears in 12/8 time). Celtic 59 (SCX 57), Winston Fitzgerald‑ "A Selection of Winston Fitzgerald."

 

T-ATAIR SEAGAN BREATNEAC. AKA and see "Father Jack Walsh," "Tatter Jack Walsh."

 

T-ATAIR UA CEARBAILL, AN. AKA and see "Father O'Carroll."

 

T EN AS EN MAIS T EN AURAS PLUS. Cajun, Reel. G Major. Standard. AA. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 21.

 

TÁ AN COILEACH AG FÓGAIRT AN LAE [1] (The Cock is Announcing the Day). Irish, Jig. G Major. Standard. AABB. Source for notated version: fiddler Jim Mulqueeny (Kilfenora, Co. Clare) [Breathnach]. Breathnach (CRE II), 1976; No. 68 [1], pg. 38.

 

TÁ AN COILEACH AG FÓGAIRT AN LAE [2] (The Cock is Announcing the Day). AKA and see "When the Cock Crows it is Day [3]," "The Big Bow Wow," "The Beardless Boy," "The Dissipated Youth [1]," "Kate Kearney," "Seanbhean Chrion an Drantain." “Stagger the Buck.” Irish, Jig. G Major. Standard tuning. AABB. Similar to version #1, especially in the 'A' part. Breathnach (1985) finds nearly the same tune in the Darley & McCall Collection of Irish Music (1914) under the title “When the Cock Crows it is Day.” Aird (Selections, iii, pg. 190) gives is as “The Big Bow Wow.” Breathnach also states the O’Farrell’s setting of “When the Cock…” in his National Music (pgs. 20-21) explains the relationship with Bunting’s “Dissapated Youth,” O’Farrell’s own “Kate Kearney” (Pocket Companion, ii, pg. 132), and “Seanbhean Chríon an Drantáin.”  See also the related “Be easy, you rogue,” and “The Priest with the Collar.” Source for notated version: piper Seamas Ennis (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 68 [2], pg. 38. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 1, 21.

 

TÁ AN TEINE GAN COIGILT. Irish, Air (3/4 time). A Flat Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 1521, pg. 381.

 

TÁ BEAN AGAM FEM. AKA and see "I Have a Wife of My Own."

 

TÁ BOINÉAD AGAM. AKA and see "I Have a Bonnet Trimmed with Blue [1]."

 

TÁ BOTAININ AGAM-RA (I Have a Cottage on the Verge of the Mountain). Irish, Air (6/8 time). E Flat Major/Mixolydian. Standard tuning. One part. Source for notated version: T. Mc Mahon [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1505, pg. 376.

 

TÁ CAILIN AR AN BFIAD. Irish, Air (2/4 time). E Flat Mixolydian. Standard tuning. AB. Source for notated version: “From Mac Mahon” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1502, pg. 376.

                          

TÁ CORNAÍ AG TEACHT. AKA and see “Corney is Coming.”

 


TÁ CRANN AR AN gCOILL (There is a Tree in the Wood). Irish, Air (9/8 time). G Major/Mixolydian. Standard tuning. One part. O'Sullivan (1983) says the tune is one of a number of airs in the 9/8 meter used as the vehicles for folk songs, "the most celebrated being "Bean an fhir ruaidh" (The Redhaired Man's Wife). Source for notated version: the Irish collector Edward Bunting noted both music and words from blind Redmond Stanton, Westport, Co. Mayo, in 1802, according to the index of his 1840 collection. O'Sullivan/Bunting, 1983; No. 52, pgs. 81-82.

                       

TÁ CROTUIR AG TEACT. AKA and see "Corney is Coming."

                       

TÁ DHA GABHAIRIN BUI AGAM. Irish.

X:1

T:Ta Dha Gabhairin Bui Agam

M:C

L:1/8

K:G

DE | G2 GA B2 d2 | cBAG BAGA | B2 A2 A2 GA | B2 A2 A2 BA |
G2 GA B2 d2 | cBAG Bc AB | G2 E2 E2 DE | G2 E2 E2 ||

                       

TÁ DHA UILLIAM DAIBHIS ANNSAN AITSE. AKA and see "There Are Two William Davis's in This Place."

                       

TÁ DO MHARGADH DEANTA (Your Match Has Been Made). AKA and see “The Bargain is Over,” “(The/Your) Match Has Been Made.” Irish, Jig. Ireland, County Donegal. In Donegal, the tune is a ‘hauling home’ tune, played after the ceremony to bring the newlywed couple to their home. See also note for “Wedding Jig [1].”

                       

TÁ FÁINNE AIR. AKA and see “The Gold Ring [1],” “The Pharroh or War March.”

 

TÁ FIOS AGAM GO DE IS MAIT LEAT. AKA and see "I Know What You Like."

 

TÁ GLEAN BEG DRAIDEACTA (There is a little enchanted glen that I know). Irish, Air (4/4 time). F Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 1524, pg. 381.

 

TÁ MO GHRÁ I MEIRICEÁ. AKA and see “My Love is in America.”

 

TÁ NEAIC BEO. AKA and see “Jack’s Alive [1].”

 

TÁ ME I n-EAGMAIS ACH IOCF ADH ME FOS (I'm in debt but I'll pay them yet). AKA and see "Dissipated Youth" [2], "Moll Roe [3]," "Taim in Arrears," "The Monks of the Screw." Irish, Air (9/8 time). A Major. Standard. AB. No words have been found for this song-air. The alternate titles are variants of this melody, save for the "Dissipated Youth," which is the name Bunting affixed to the piece in his MS. He had previously printed a tune called "Dissipated Youth" in his 1796 collection but there is no connection between this melody and his earlier one. Source for notated version: the indes to the Irish collector Edward Bunting's 1840 collection gives the melody from "Mrs. B. at Oranmore, Co. Galway in 1839." O'Sullivan/Bunting, 1983; No. 141, pg. 197.

 

TÁ ME MA CHULLA’S NA DOUSHE ME. AKA and see “I am asleep and don't waken me [2].”

 

TÁ ME MO CHODLADH. AKA and see "I am asleep and don't waken me."

 

TÁ ME SASTA LE M' STAID. AKA and see "I'm Content With My Lot." See also "A Day after the Fair," "Contentment is Wealth."


 

TÁ MO CHLEAMHNAS DEANTA. Irish, Air. The air contains complete verses in English and Irish Gaelic, though according to Sean Ó Boyle (1976) the English ones are usually a translation or adaptation of the preceding Gaelic ones.  O Boyle contents the song reflects the bilingual period in the historical process of the supplanting of Gaelic by English in Ireland. The words (as recorded by the band Altan) begin:

***

Tá mo chleamhnas ‘a dhéanamh inniu agus inné

‘S ní mó ná go dtaitníonn an bhean udaí liom féin

Ach fuigfidh mé mo dhiaidh í, ‘s rachaidh mé leat féin

Síos fána coillte craobhaigh.

***

A match was a-making here last night

And it isn’t with the girl that I love the best

I’ll leave her behind and I’ll go along with you

Down by the banks of the ocean.

 

TÁ MO CHROIDHE CHOMH CHIAR DUBH LE H-AIRNE. AKA and see "My Heart is as Black as a Sloe."

 

TÁ MO GRAD GEAL IMTIGTE. AKA and see "The Gallant White Horseman."

 

TÁ MO MADRA. AKA and see “Beid Ril Againn De Domnaig,” Billy O’Rourke’s the Buachaill [1].”  AKA – “Ta mo Mhadra.” Irish, Slide (12/8 time). D Major. Standard. AABB. The song “Poor Nancy Died” goes to this tune. 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. 290, pg. 93.

 

TÁ MO MUIRNIN IN AMERICA. AKA and see "My Love is in America."

 

TÁ NA CAIMBÉALAIGH AG TEACHT. AKA and see "The Campbells are Coming [2]."

                       

TÁ NA LA. AKA and see “It is Day,” “Paddy, Will You Now?”

                       

TÁ NA LONGA AG SEOLAD. AKA and see "The Ships are Sailing."

 

TÁ RMOILIN I TEIUMAIR & etc., A. Irish, Air (3/4 time). F Mixolydian. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 1515, pg. 379.

 

TÁ SEÁINÍN BAILITHE LEIS CHUN NA FRAINCE. AKA and see “Johnny’s Gone to France [3].”

 

TÁ SEÁINÍN I NGRÁ LE MAILÍ. AKA and see “Johnny Loves Molly.”

 

TÁ SI AG IMTEACD. AKA and see "Off She Goes [1]."

 

TAAN SIOC IMTIGTE. AKA and see "The Frost is All Over [1]."

 

TABAIR DAM POG A CAIT. AKA and see "Kiss Me Kate."

 

TABAIR DO'M POG A TEAGAIR. AKA and see "Kiss Me Sweetheart."

 

TABAIR DUINN CEANN EILE. AKA and see "Give Us Another."

 

TABAIR DUINN DEOC UISGE. AKA and see "Give Us a Drink of Water [1]."

 

TABHAIR AMACH AGUS TAISPEÁIN DON SAOL Í. AKA and see “Take Her Out and Air Her [2].”

                       

TABHAIR CASADH DI SA CHOCA FÉIR.  AKA and see “Roll Her in the Haystack.”

 

TABHAIR CASADH SA LUACHAIR DI. AKA and see “Roll Her in the Rushes [2].”

                       


TABHAIR DOM DO LÁMH. See "Give Me Your Hand."

                       

TABHAIR PÓG DON BHRÍDEOIG SA LEABA (Kiss the Maid in Bed). AKA and see “Kiss the Bride in the Bed,” “Kiss the Maid in Bed.”

                       

TABLE MOUNTAIN ROAD. Old-Time, Breakdown. One of a family of tunes that includes "Brown's Dream,” “Brownstream,” Herv Brown’s Dream,” Jimmy Johnson Pass That Jug Around the Hill,” John Brown's Dream,” “Little Rabbit Pretty Little Gal [1],” “Stillhouse Branch” and others. The tune family is a common a popular one in the Blue Ridge Mountains, where it probably originated but has since been disseminated.

                       

TABLEAU, THE. Canadian, English?; Clog. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Hardings All-Round, 1905; No. 163, pg. 52. Messer (Way Down East), 1948; No. 87. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 163, pg. 110.

X: 1

T:Tableau Clog

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

(3def|a>gd>B A>GB>d|f>ec>A E2_E2|D>FA>g f>ed>e|B>c^c>d e>de>f|

a>gd>B A>GB>d|f>ec>A E2_E2|D>FA>g f>dA>d|G2B2 G2:|

K:D

B>_B|A>gB>^B c>ba>g|f>ad>f B>Af>d|c>eA>c G>Ac>B|A>B (3cde f>dA>F|

A>gB>^B c>ba>g|f>ad>f B>Af>d|c>Bg>e (3dcB (3ABc|d2f2 d2:|

           

TABLIER DU MACON, LE (The Mason's Apron). AKA and see "The Mason's Apron." French-Canadian, Reel. The melody is widely played in the Province of Québec. Green Linnett GLCD 3042, La Bottine Souriante - "Chic & Swell" (1988).

           

TABOUR. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 91.

X:1

T:Tabour

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

DEGA|BA/G/ EG|AA A2|A/B/A/G/ EG|DEGA|BB/A/ Bd|

ee d2|A/B/A/D/ G2::efgf|e/f/e/d/ Bd|ee d2|A/B/A/G/ EG|

efgf|e/f/e/d/ Bd|ee d>B|AG G2:|

                       

TADEEN THE DONKEY. AKA and see “Taidhgín an Asail.”

           

TADEEN THE FIDDLER’S JIG. AKA and see “Taidhgín an Asail.”

           

TADHG A RUN. AKA and see “Irish Hautboy,” “Lisdoonvarna Reel,” Primrose Girl [1],” “Rose in the Garden [1],” “Smuggler’s Reel.” AKA – “Tadhg a Rúin.” Irish, Reel. G Major. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 252, pg. 152 (appears as “Tadhg a Rúin”).

See also listing at: 

Alan Ng’s Irishtune.info

           

TADG AN TONCASTAC. AKA and see "Tim the Turncoat."

           

TADG AN TUIGEADOIR. AKA and see "Tim the Thatcher."

           

TADG OG UA MURCADA. AKA and see "Young Tim Murphy."

 

TADOUSSAC.  See “Reel de Tadoussac.”

           

TADY YOU GANDER. AKA and see "Daniel of the Sun."

           

TADY'S WATTLE (Maide Taidgin). AKA – “Tadie’s Wattle.” AKA and see “Comely Jane Downing,” "Maide Taidgin," “Tor(r)y Burn Lasses,” "Torryburn." Irish, Scottish; Reel. G Major. Standard tuning. AAB. 'Tady' i.e. Teddy, from Theodore. ‘Wattle’ refers to a stick. John Glen (1891) finds the earliest appearance of the tune in print in James Aird's 1782 collection. Aird (Selections), vol. 2, c. 1786; Pg. 5, No. 14 (appears as “Tadie’s Wattle”). O'Neill (Krassen), 1976; pg. 134. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1416, pg. 263. O'Neill (Dance Music of Ireland: 1001 Gems) 1907/1986; No. 653, pg. 117.

X:1

T:Tady’s Wattle

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 653

Z:AK/Fiddler’s Companion

K:G

G2 BG BddB|{d}cBcd efge|GBdG Bdgd|ecBc A2G2:|

||g2 (3aga bggd|{f}edef gdBG|g2 (3aga bggd|edcB A2G2|

bgaf gfed|egfa gedB|GBAc Bdgd|ecBc A2G2||

           

TAE AB'EA A THEASTAIONN IS TÚ TINN?  AKA and see "When sick is it tea you want? [1]"

           

TAE AR MAIDIN. AKA and see "Tea in the Morning."

           

TAE GLAS. AKA and see “Green Tea.”

           

TAFARN YR YSGUB. See “The Wheatsheaf.”

           

TAGGART’S HORNPIPE.  American, Hornpipe. B Flat Major. Standard tuning. AABB. Composed by New Hampshire fiddler John Taggart (1854-1943). Source for notated version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart, entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.) [Miller]. Miller (Fiddler’s Throne), 2004; No. 316, pg. 186. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

 

TAGGART’S REEL [1].  American, Reel. A Major. Standard tuning. AABB. Source for notated version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.) [Miller]. Miller (Fiddler’s Throne), 2004; No. 253, pg. 153. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

 

TAGGART’S REEL [2].  American, Reel. D Major. Standard tuning. AABB. Source for notated version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.) [Miller]. Miller (Fiddler’s Throne), 2004; No. 254, pg. 153. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

 

TAGGART’S REEL [3].  American, Reel. G Major. Standard tuning. AABB. Source for notated version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.) [Miller]. Miller (Fiddler’s Throne), 2004; No. 255, pg. 155. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

 


TAIBHSE CHONAILL (Conall’s Ghost). Irish. Ireland, Teelin area, County Donegal. Fiddler Con Cassidy told the story of three men who were making poitin from a still they had situated by a stream. The first batch of the brew had just been deemed satisfactory by a taste test when a thick fog came down from Sliabh Liag and obscured the area. Not wanting to become disoriented, they set out for home, but one man, Conall, became separated from the other two and did become lost. While he was wandering he heard all the while a piper playing a tune, and being musical he picked it up, and when he finally did make it home he found he could still play the tune. The folk about thought the piper to have been a fairy piper and from that time on called the tune “Taibhse Chonaill” (Caoimhin Mac Aoidh, 1994). A version of this tune was also in the repertoire of Donegal fiddler John Doherty as “The Ghost of Bunglass.”

           

TAIDHGÍN AN ASAIL’S JIG (Port Thaidhgín an Asail). AKA and see “The Child’s Ramble to the Cat’s Saucer,” “The Kitchen with No Food,” ”Tadeen the Donkey,” “Tadeen the Fiddler’s Jig,” “Where is the Cat?” Irish, Slide (12/8 time). G Major. Standard. AABB. Taidhgín an Asail (Tadeen the Fiddler), or Tadhg Ó Buachalla, was a blind Sliabh Luachra fiddle player from whom Tom Billy Murphy (1879-1944), the influential west Kerry fiddler (father of Dennis Murphy and Julia Clifford), learned his music. Tom Billy called the tune “The Kitchen with No Food” and usually followed it with “The Lonesome Road” (Moylan). Source for notated version: Tom Billy Murphy via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Denis Murphy, 1967 (Gneeveguilla, County Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 38, pg. 22. Moylan (Johnny O’Leary), 1994; No. 251, pgs. 144-145. Mulvihill (First Collection), 1986; No. 10 in slide section (untitled). Globestyle Irish CDORBD 085, Jackie Daly - “The Rushy Mountain” (1994. Reissue of Topic recordings). Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002). Topic 12T357, “Jackie Daly” (appears as “Where is the Cat?”).

           

TAIGEIS AGUS DEALG INNT/INNTE. AKA and see "The Haggis."

           

TAIGH AN DROMA. AKA and see "Tyndrum."

           

TAIGH BHEALLADRUM. AKA and see "Belladrum House."

           

TAIGH IAIN GROT. AKA and see "John o'Groat's House."

           

TAIGHEAN GEALA SHEILDAIG. See "The White Houses of Sheildaig."

           

TAIGHNEAS AG AN GCROSBHOTHAR, AN. AKA and see "The Dispute at the Crossroads."

           

TAIL OF HALLEY'S COMET. Old‑Time, Breakdown. Halley’s comet travels on a 76 year elipse, and last visited Earth in 1986—although it was disappointingly dim. Some years however, the comet is quite spectacular, as it was in the year 1066 when the comet was so bright that it terrified millions of Europeans and was widely credited with the Norman victory at the Battle of Hastings. The tune by the Hayseeds was probably inspired by the appearance of 1910. Marimac 9110, The Happy Hayseeds ‑ "It'll Never Happen Again: Old Time String Bands, vol. 1" (orig. rec. 1930).

           

TAIL OF MY COAT, THE. Irish, Double Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 220, pg. 24.

X:1

T:Tail of My Coat, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 220  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

B3d3 | ece d3 | B3d3 | cBc ABc | B3d3 | ece d3 | gfe dcB | ABG FED :|

|: GBd dBd | ece dBG | GBd dBG | EAG FED | GBd dBd | ece def |

gfe dcB | ABG FED :|

           


TAIL TOD(D)LE. AKA and see "Lasses Gar Your Tails Toddle," “Little Wot Ye Wha’s Coming.” Scottish; Air, Reel or Strathspey; Welsh?, Reel. D Major {Kerr, Martin, Williamson}: G Major {Aird}: C Major {Jones}: A Mixolydian ('A', 'B', 'E' and 'F' parts) & A Minor ('C' and 'D' parts) {Gow}. Standard tuning. AAB (Gow/Repository): AABB (Jones, Martin): AABBCCDD (Aird): AABBCCDDEEFF (Gow/First Collection). The earliest printings of the melody are in the Sinkler Manuscript of 1710 (where it is an untitled tune) and the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), of 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." It was printed by Young with variation sets, as it was in  James Aird's Selection of Scotch, English, Irish and Foreign Airs (vol. 2, 1782—sometimes dated 1785—, No. 97), as well as in Gow’s First Collection of 1784. Gow attributed the melody to “the late Mr. Nisbet of Dirleton” in his 1784 publication, but in a later publication said it was “supposedly Welsh.” Robin Williamson included it in 1976 book in a section on Welsh tunes, apparently on the strength of the Gow remark, albeit in a Scots setting, and suggested that the title might have been a garbled version of an original Welsh title. Gow’s attribution references William Nesbit of Direlton who died in 1783 (making him “the late Mr.”) or his son, also William Hamilton Nisbet (1747-1822) of Dirleton, an East Lothian laird and amateur musician who was a member of the Edinburgh Musical Society for much of his life (Johnson, 1984). William the younger married Mary (nee Manners) Nisbet, and their only child and daughter, Mary, was at her birth in 1778 one of the richest heiresses in the world. She later became the Countess of Elgin. Dirleton is an ancient castle and estate in Haddington, Lothian and Tweeddale, and the Nisbet family, through a series of inheritances were immensely rich and powerful. They were not, however, ennobled primarily due to their staunch Jacobite history. Johnson (1984) says that William was also an amateur musician who was a member of the Edinburgh Musical Society for much of his life. It may be that he enjoyed playing the tune, and it became associated with him, at least in the Gows’ minds. Period tunes were also composed for Nisbet’s daughter—see “Miss Nisbet of Dirleton” and “Miss Nisbet of Dirleton’s Minuet.” See also Nisbet’s own composition “Mr. Nisbet of Dirleton’s Favorite.”

***

English printings followed the earliest Scottish ones fairly quickly. It appears, for example, in Walsh’s Third Book of the Compleat Country Dancing Master (London, 1735). Walsh printed it again in his Caledonian Country Dances, book 1, under the title “Fiddle Faddle,” and, again as “Tail Todle” in his 1749 Compleat Country Dancing Master, Volume the Third. The latter publication was part of a series of reissues of his older publications, with tunes arranged in new sequences. A Northumbrian version, “Little Wot Ye Wha’s Coming” appears in Northumbrian Minstrelsy (1882).

***

Whatever its original provenance, “Tail Todle” became very popular in Scotland and was played there as a reel or a song. The song was a bawdy one, to be sung by a girl about how Tammy made her tail todle. The reel-setting of the tune is particularly associated with Scottish sword dancing (as is "G(h)illie Callum"). Words, which appear in Merry Muses of Caledonia (1799) and the Scots Musical Museum (No. 572), to the song go:

***

O tail toddle, tail toddle,                       

Tammy gars my tail toddle,                        (gar = make)

But and ben wi' diddle doddle

Tammy gars my tail toddle.

***

Our Gudewife held o’er to Fife,

For tae buy a coal-riddle;

Land or she came back again,

Tammie gart my tail toddle.

***

Twain, twain, made the bed,

Twain, twain, lay th’gither;

When the bed began to heat,

The yin lay in abin the tither.

***

When I’m deid I’m out o’ date,

When I’m seik I’m fu’ o’ trouble;

When I’m weel I step about,

An’ Tammie gars my tail toddle.

***

Jenny Jack she gae a plack,

Helen Wallace gae a boddle;

Quo; the bride, its oe’r little,

For tae mend a broken doodle.

***

Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 97, pg. 36. Carlin (The Gow Collection), 1986; No. 224 (strathspey version). Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 29. Gow (Complete Repository), Part 1, 1799; pg. 37. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 4. Kerr (Merry Melodies), vol. 4; No. 71, pg. 10 (reel). Martin (Ceol na Fidhle), vol. 1, 1991; pg. 43. Martin (Traditional Scottish Fiddling), 2002; pg. 89. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 44 (Reel version). “Fiddlers Three Plus Two.” Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999). Culburnie COL 119D, Alasdair Fraser – “Skyedance Live in Spain” (2002).

See also listing at:

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

X:1

T:Tail Toddle

M:C

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

G/G/G BG c2 GE | G/G/G BG A2 FD | G/G/G BG cABG | A/B/c B/c/d A2 FD :|

|: c2 GE EcGE | c2 GE DAFD | c2 GE d/c/B/A/ BG | A/B/c B/c/d A2 FD :|

|: G/G/G BG cABE | G/G/G BG ADFD | G/G/G BG cABG | A/B/c B/c/d c2 AF :|

|: c2 cE EcGE | c2 Ec DAFD | c2 Ec (d/c/B/A/) BG | A/B/c B/c/d A2 FD :|

                                   

TAILIUR AN CHRIDI MOIR. AKA and see "The Blackbird."

                       

TAILIUINIR MAGAID & etc., A. AKA and see “The Funny Tailor.” Irish, Air (9/8 time) F Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 1517, pg. 379.

                       

TAILLIUIR AN MAGIAD. AKA and see "The Funny Tailor."

                       

TAILLIUIR CAMCOSAC, AN. AKA and see "The Bow-Legged Tailor."

                       

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

                       

TAILOR MADE, THE. Scottish, Jig. A modern composition by Edinburg musician, teacher, compiler, collector and editor Nigel Gatherer.

X:1

T:Tailor Made, The

C:Nigel Gatherer

M:6/8

L:1/8

K:Bminor

Bc|dcB f2 B|F2 B Bcd|efg fed|cBA edc|dcB f2 B|F2 B Bcd|

efg f2 e|dBB B2::f|b2 f gfe|d2 B Bcd|cBA eAA|fAA e2 a|

b2 f gfe|fdB Bcd|cBA f2 e|dBB B2 f|b2 f gfe|d2 B Bcd|

cBA eAA|fAA e2 c|dcB edc|fed cde|fed cBA|FBB B2:|]

           

TAILOR TARTAN. Scottish, Reel. G Major (‘A’ part) & E Minor (‘B’ part). Standard tuning. AA’BB’. Composed by A.M. Volti (perhaps related to the Carl Volti who contributed several tunes to the Kerr’s collections). Kerr (Merry Melodies), vol. 4; No. 93, pg. 12.

X:1

T:Tailor Tartan

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 93  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d2 | Bcde d2g2 | egfe d2B2 | cded cBAG |1 FGAB A2 :|2 FAed G2 ||

|: (GF) | E2e2 gaba | gfe^d efge | fgfe f2B2 |1 fgfe f2 :|2 fagf e2 ||

           

TAILOR’S FANCY, THE.  AKA and see “Ambrose Moloney’s,” “McCabe’s Reel [1].” Irish, Reel. Coleman Center CD CC004, Deirdre Collis & Maria Lynn McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo.”)

 

TAILOR'S MEASURE, THE. AKA and see "The Taylor's Measure."

           

TAILOR'S THIMBLE [1], THE (Méaracán an Tailiur). Irish, Double Jig. D Major. Standard tuning. AA'BB'. A version of the Scottish jig “Banks of Allan.” O'Neill (Krassen), 1976; pg. 30. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 827, pg. 154. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 91, pg. 31.

X:1

T:Tailor’s Thimble, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 91

Z:AK/Fiddler’s Companion

K:D

D|DFF FED|FAA A2 d/c/|Bdd Add|Bdd AFE|DFF FED|

FAA A2c|B/c/dB AGF|1 EFE E2:|2 EFE D2||

|:e|fgf fed|faa a2f|efe edB|def g2g|fgf efe|ded cBA|B/c/dB AGF|1 EFE E2:|2 EFE D2||

 


TAILOR'S THIMBLE [2], THE (Méaracán an Táilliúra). AKA and see “The Gravel Walk(s),The Highland Man that Kissed His Grannie [1],” “Jenny Tie Your Bonnet,” “Stenson’s No. 1.” Irish, Reel. A Mixolydian/Dorian ('A' part) & G Major ('B' part). Standard tuning. AB (Flaherty, O’Malley): AABB (Breathnach). Tailor’s thimbles were sturdy rings of metal often made without a top, or cap, as the tailor would push the needle from the side of the device. See also an untitled reel in Breathnach, vol. 3, 1985; No. 143, pg. 67. The tune, a single reel whose title is perhaps better known as a jig, was recorded in New York in 1928 during the 78 RPM era by Sligo fiddler James Morrison {died c. 1947} and County Leitrim born flute player John McKenna {1880-1947} (paired with “The Red-Haired Lass”). Morrison, who also played the tin whistle, was nicknamed “The Professor” for his teaching and his formal musical skills. That the sobriquet was well-deserved is illuminated by Frank Flynn, who remembered that Morrison had never heard “The Tailor’s Thimble” before McKenna played it for him.  Morrison took the tune down in notation on the spot and two days later the pair recorded it. The melody is in the “Gravel Walks”/”Highlandman” family of tunes. Sources for notated versions: tin whistle player and flutist Éamonn de Stabaltún/Ned Stapleton (Dublin, Ireland) [Breathnach]; tin whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, County Sligo) [Flaherty]; students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. Breathnach (CRÉ I), 1963; No. 125, pg. 51. Flaherty (Trip to Sligo), 1990; pg. 134. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 2, pg. 1. Coleman Center CD CC004, Paddy Ryan & Jim Corry – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Gael‑Linn Records, John Kelly ‑ "Seoda Ceoil I" (1968. Appears as an untitled reel). Hare’s Ear Music Publications 002, Paul McGrattan – “Keelwest” (2003). Tara CD 4011, Frankie Gavin – “Fierce Traditional” (2001).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Tailor’s Thimble, The [2]

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:A Dorian

cA (3BAG AedB|cAA2 BGBd|cA (3BAG ABcd|1 efge dBGB:|2 efge dega||\

b2gb a2ga|bage dega|1 b2gb a2gd|efge dega:|2 bgaf gfed|eage dBGB||

X: 2

T: Tailor's Thimble [2]

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Reel

K: Ador

CA{B}A^G A2 ed | cA~A2 dBGB | cA{B}A^G A2 (3Bcd | efge dBGB |

CA~A2 EA~A2 | cA~A2 dBGB | cA{B}A^G A2 (3Bcd | efge dega ||

b2 gb abga | bg{a}ge dega | bg~g2 ag~g2 | efge dega |

b2 gb abga | bg{a}ge dega | bg~g2 ag~g2 | efge dBGB ||

 

TAILOR'S THIMBLE [3], THE (Méaracán an Táilliúra).  Irish, Reel. D Mixolydian. Standard tuning. AAB. Unrelated to “Tailor’s Thimble [2], save some similarity in the opening bars. See also the related “Beauty Spot.” Source for notated version: fiddler Tom Barrett (Listowel, County Kerry) [Breathnach]. Breathnach (CRÉ V), 1999; No. 153, pg. 76.

 

TAILOR’S THIMBLE [4], THE.  AKA and see “Dudeen,” “Duidín Reel,” “Old Dudeen.” Irish, Reel. B Minor. Standard tuning. Shanachie 78030, Danú – “Think Before You Think” (2000. Learned from Brendan Mulvihill).

See also listing at: 

Alan Ng’s Irishtune.info

           

TAILOR'S TWIST, THE (Casadh an Táilliúra). AKA and see "The Jolly Butchers," “Spellan the Fiddler.” Irish, Hornpipe. D Major. Standard tuning. AABB. It has been suggested that a ‘tailor’s twist’ refers to thread that is stored by twisting in a figure ‘8’ pattern around two dowels, rather than around a spool. The tune was first recorded by fiddler James Morrison (1893-1947) on August 10th, 1935, for Columbia Records, one of a set of two hornpipes. Morrison was born in Drumfin, near Collooney, south County Sligo and died in New York in 1947. He was a contemporary of Sligo fiddler Michael Coleman, and was nicknamed ‘the Professor’ because of his love of teaching the instrument. The New York connections of the tune continued with the late fiddlers Andy McGann and Paddy Reynolds, who recorded it in the late 1970’s, to the present with Brian Conway’s recording. The tune was also associated with piper Tommy Reck, from whom Brendan Breathnach transcribed the tune for his CRÉ III. In fact, the tune has become an important piece in the modern uilleann pipe repertoire, popularised by not only Reck but Liam O’Flynn and Brian McNamara as well. It appears in the Roche collection under the title “The Jolly Butchers.”

***

A story appears in the memoirs of harper Arthur O’Neill (1734-1818) that involves an understandable change in mood of a group of tailors…a tale with a twist, if you will. O’Neill remembered:

***

In the County of Tyrone I met three brothers, named Ned, Frank and

James MacAleer. They all played well but Ned was far the best. He

was very comical. He lived upwards of five years in France in the Irish

Brigades and would now and then assume the title of ‘The Celebrated

Leeriano from Paris’, as poor Ned could speak French very fluently. He

was a slave to that pernicious beverage that generally leaves itinerants in

that situation that they will either pledge their own or any gentleman’s

harp sooner than want it. Pox on you, Carolan! You certainly must have

been half mulvadered when you composed your ‘Receipt for Drinking

Whiskey’—otherwise I am pretty sure you would never be a composer,

as the effects of that cordial had so happy an effect that your ideas floated

faster on you than perhaps might have done if there was no such liquor

to be had.

***

At one time when poor Ned MacAleer assumed the name of Leeriano

he went to Counsellor Stewart’s of Bailieborough, in the County of

[Cavan], at which time Harry Fitzsimons the harper was there.

Leeriano was announced. He was ordered to play in the hall for a

specimen (ed: audition).  At the time, there were some tailors at

work in the hall for the servants, where Leeriano began to play some

Irish airs—jigs, reels, etc. Mrs. Stewart after some time came from

the parlour to the hall and said she was much disappointed, as some

of her own countrymen could excel him. MacAleer, chagrined, started

up and exclaimed, ‘Madam, as you were pleased to let me play in the

hall I played you tailors’ and servants’ music, which would otherwise

be different.’ ‘Damn your soul, you humping rascal!’ says Snip

bouncing off the floor, who was going to destroy poor MacAleer with

his goose (ed: a pressing iron), and if it was not for some interference

he was determined to revenge the mighty insult. Fitzsimons knew MacAleer,

who undeceived Mrs. Stewart respecting his foreign descent, and probably

was jealous of him being the best performer.

***

Source for notated version: piper Tommy Reck (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 213, pg. 98. Bulmer & Sharpley (Music from Ireland), vol. 3; 76. Miller (Fiddler’s Throne), 2004; No. 317, pg. 186. Peoples (Fifty Irish Fiddle Tunes), 1986; 22. Phillips (Fiddlecase Tunebook), 1989; pg. 46‑47. Roche Collection, 1982, vol. 2; No. 208, pg. 9. Treoir, vol. 36, No. 2, 2004; pg. 25. Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Drumlin Records, Brian McNamara – “A Piper’s Dream.” Folkways FTS 31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos." Green Linnet Records SIF 1008, Tommy Reck ‑ "The Stone in the Field" (1977). Piping Pig Productions PPPCD001, Jimmy O’Brien-Moran – “Seán Reid’s Favourite” (1996). Shanachie 29004, "Andy McGann and Paddy Reynolds." ‘Ón tSean-Am Anall’ (Danny O’Donnell).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Tailor's Twist, The

R:hornpipe

S:From Liam O'Flynn

M:4/4

L:1/8

K:D

A>F|D>AF>D A>Fd>c|B>gf>e e>ba>g|f>dA>F G2g>f|(3efe (3dcB A>GF>E|

D>AF>D A>Fd>c|B>gf>e e>ba>g|f>dA>F G>ge>c|d2f2d2:|

f>g|a>ga>f d>fg>a|b>ag>f e>Ac>e|g>fg>A (3Bcd e>f|(3gag (3fgf e>gf>e|

d>e f/e/d/c/ d>AF>A|B>gf>e e>ba>g|f>dA>F G>ge>c|d2f2d2:||

X:2

T:Tailor’s Twist

M:4/4

L:1/8

R:Hornpipe

S:Kevin Burke

K:D

(3GFE|D>A,F>D A>Fd>A|B>ge>d c>ba>g|f>ed>c B>ge>d|

(3cdc (3BcB AGFE|DA,FD AFdA|Bged cbag|fedc Bgec|1

d2 dc d2:|2 d2 dc defg||: a2 {b}af defa|bagf eAce|

gfge cdef|(3gfe (3fed egfe|d2 (3gfe dAFA|Bged cbag|

fedc Bgec|1 d2 dc defg:|2 d2 dc d2||

                                                           

TAILOR'S WEDDING, THE (Banais an Tailliuir). AKA and see “Larry Redican’s (Jig),” "The Legacy [2]," "Skiver the Quilt [1]." Irish, Double Jig. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. Source for notated version: Highland piper Joe Cant [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 848, pg. 158. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 109, pg. 33. Taylor (Through the Half-door), 1992; No. 54, pg. 39. Shaskeen - "Joys of Life."

X:1

T:Tailor’s Wedding, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 109

Z:AK/Fiddler’s Companion

K:G

D|GFG BGB|def g2b|GFG B2e|dBA A2D|GFG BGB|def g2 f/g/|agf gfe|dBA A2:|

|:(3B/c/d/|efe edB|ded dBd|efe edB|dBA ABd|efe edB|def gfg|agf gfe|dBA A2:|

                       

TÁIM AG FEITEAM LEAT. AKA and see "I'm Waiting for You [1]."

                       

TÁIM BREOITE GO LEOR. Irish, Air.  A Gaelic version of the English Childe ballad "Lord Randal."

                       

TÁIM GAN AIRGEAD. AKA and see "I Have No Money."

                       

TÁIM I MO CHODHLADH IS NA DUISIGH ME. AKA and see "I am asleep and don't waken me [2]."

           

TÁIM IN ARRÉARS. Irish, Air. This song is a variant of "Ta Me I n-Eagmais Ach Iocfadh Me Fos" (I'm in debt but I'll pay them yet), printed by Bunting in 1840. It appears in Hannagan's Londubh an Chairn (No. 56) and Costello's Amhrain Muighe Sheola; the words are also in O'Daly's Miscellany.  One other version, a song by John Murphy, appears in the journal Ceol (volume 2, No. 4, pg. 105), where it is stated "Moll Roe [3]" is a common name for the tune, according to Breathnach. Several songs exist: Finghin na Meamhna, in his 1939 work Amhráin na nGleann (Songs of the Glen), gives sixty-four verses of  “Taim in Arrears,” attributed to poet Uileog Ó Céirí, who lived in the vicinity of Castleisland in the 19th century. It is set to the tune of “Siúd ort, a mháthair mo chéile” (‘Here’s to you, mother-in-law’) {see Stanford/Petrie, No. 1460 & 1486}. Most modern players know the modern tune for the song as “The Swaggering Jig.” Tim Dennehy recorded a County Clare version in English on his CD “Farewell to Milltown Malbay.”  The chorus goes:

***

Mar atáimse 'n arréars, in arréars
Táimse in arréars i dtigh an óil,
Táimse 'n arréars, in arréars
Is ní fada go mairfeadsa beo.

***

X:1
T:Ta\'im i n-Arr\'ears
S:{\it Amhr\'ain na nGleann,} p. 53
Z:Jerome Colburn
M:3/4
L:1/8
K:G
A2 | B2 e2 e2 | e2 d2 B2 | d2 B2 A2 | B2 e2 e2 | e2 d2 B2 | d2 z2 e2 |
f2 e2 e2 | e2 f2 e2 | d2 B2 A2 | B2 B2 B2 | A2 F2 F2 | E2 z2 F2 |
F2 E2 E2 | E2 z2 FE | D2 z2 E2 | F2 E2 E2 | E2 F2 A2 | B2 z2 B2 |
B2 A2 F2 | E2 B2 E2 | D2 z2 EE | F2 B2 B2 | A2 F2 E2 | E2 z2 :|**

           

TÁIM IN ARRÉIR dTIGH AN ÓIL. AKA and see "Taim in Arrears." "Tiggit along the Room," "The Silly Old Man," “Jockey has gotten a wife,” “McDonnell’s Rant,” "The Noggin of Cream," “An Seanduine Coileáilte,” "The Swaggering Jig [1]," "Welcome the Piper," "Girls take care how you marry." Breathnach (1985) found the title in a manuscript from West Cork, but cautions that there are two other tunes to which “Táim in Arrears” is also sung. This tune is a variant of “An Seanduine Coileáilte.”

 


TAIMG AN NATA AM’ LATAIR GAN MOILL. Irish, Air (6/8 time). G Major. Standard tuning. ABB. Source for notated version: “From Frank Keane” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1085, pg. 275.

 

TÁIMSE AR AN mBAILE SEO. Irish, Air (12/8 time). D Major. Standard tuning. One part. The melody is better known as the song “The Wild Colonial Boy.” Ó Canainn (Traditional Slow Airs of Ireland), 1995; pg. 13.

 

TÁIMSE IM' CODLAD/CHODLADH [1]. AKA – “Táimse am Chodladh.” AKA and see "I am Asleep {and Don't Waken Me} [1]." Irish, Air (3/4 time, “Slow with feeling” {Goodman}). G Mixolydian (Roche, Tubridy): D Major/A Mixolydian (Crantich). Standard tuning. AAB. See note for “I am asleep” for more information about this ancient melody. Source for notated version: the 1861 manscript collection of James Goodman, an Anglican cleric who collected in County Cork [Shields]. Cranitch (Irish Fiddle Book), 1996; No. 97, pg. 166. Roche Collection, 1982, vol. 1; No. 54, pg. 27 (traditional version). Shields (Tunes of the Munster Pipers), 1998; No. 20, pg. 12. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 46. Bedspring Music, Billy (Belinda) Jones – “Turn to Me.” Daris, Delores Keane – “Eist Aris.” Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Globestyle Irish CDORBD 085, Julia Clifford - “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Rounder Records 82161-6006-2, Maida Sugrue – “Traditional Irish Music in America: Chicago.”

X:1

T:Táimse im’ chodladh [1]

M:3/4

L:1/8

R:Air

K:G

AF|G3A Bc|d2f3e|d4cA|GF D4|B4 AG|Ad3 c/A/ F|G4F2|G4 AF|G3A Bc|

d2f3e|d4 cA|GF D4|B4 AG|A d3 c/A/ F|G4 F2 G4||AB|c A3 d2|f4 d/e/f|

g4f2|ga d4|e|g3 g a/g/f|g4 fe|d4 cA|GA G4|de|f3 g a/g/f|g3 fe|d3 cA|

GF D4|B4 AG|A d3 c/A/F|G4F2|G4||

 

TÁIMSE IM' CODLAD [2]. AKA and see "I am Asleep and Don't Waken Me [2].)" Irish, Air (3/4 time). A Mixolydian. Standard tuning. ABB. "From Thomas Moore's Melodies" (Roche). Roche Collection, 1982, vol. 1; No. 53, pg. 27.

 

TÁIMSE MO CHODLADH. Irish, Air (3/4 time). G Major. Standard tuning. AAB. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 54, pg. 49.

 

TAITNEAM AN RINCEOIR. AKA and see "The Dancer's Delight."

 

TAITNEAM AN SEANDUINE. AKA and see "The Old Man's Delight."

 

TAITNEAM AN TEAGLAIG. AKA and see "The Pleasures of Home."

 

TAITNEAM UILLIAM MIC FLANNCADA. AKA and see "Bill Clancy's Delight."

 

TAITOU. AKA and see "Polka Piquee."

 

TAK’ YOUR AULD CLOAK ABOUT YE. Scottish, Slow Air (3/4 time). B Flat Major. Standard tuning. AB. Gow (Complete Repository), Part 4, 1817; pg. 14.

X:1

T:Tak’ your auld Cloak about ye

M:3/4

L:1/8

R:Slow Air

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

N:”Slow, with expression”

K:Bb

F|B>B B3d|c>B A3c|BA G3A|^FG D3A|B>B B3d|cB A3c|

BA ~GA/B/ AG|^FG D3|| A|B>F ~F3E|D>F ~F3E|DG ~G3A|

Bc d3c|B>B B3B|cd f3 ^f| g>d e2 d>c|(c/B/)(A/G/) G3||

 

TAKATIND (AFTER JOHANNES DAHLE). Norwegian, Slatt (2/4 time).  A Major. ADae tuning. One part. Composed by the great Tinn, Telemark district, fiddler Johannes Dahle. The story of the tune goes that Dahle, returning in the company of friends from a rare appearance at a national festival, was in a subdued mood, feeling disillusioned with the competative atmosphere he had recently endured. The company stopped for a short time in one of the more isolated parts of Rauland where Dahle's spirits were condsiderably lifted by watching the antics of a powerful young horse exhibiting before wild mares. This stallion, Takatind, had been sent by the Norwegian government for breeding purposes to improve the stock, and was already famous in the region for his prowess. Upon returning home with good humour restored, Dahle composed this tune in the halling form, which is an acrobatic solo male dance. Source for notated version: Johannes Dahle (Tinn, Telemark, Norway) [Hopkins]. Hopkins, 1986; Ex. 5, pg. 111.


                       

TAKE A DANCE. English, Jig. B Minor. Standard tuning. AABB. The tune dates to 1750 when it was first printed in London publisher David Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances. Subsequently it appeared in John Johnson’s Two Hundred Favourite Country Dances, vol. 8 (London, 1758) and Rutherford’s Complete Collection of 200 Country Dances, vol. 2 (London, 1760), as well as Charles and Samuel Thompson’s 1765 collection.  Barnes (English Country Dance Tunes), 1986. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2 ), 1765; No. 14. Flying Fish FF90564, Bare Necessities – “Take a Dance” (1991).

X:1

T:Take a Dance

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bmin

B2c d2e|fed “tr”c3|B2c d2e|f2g fdB|B2c d2e|fed “tr”c3|A2B c2d|e2a ecA:|

|:(a2f) (g2e)|(f2d) “tr”c3|B2c d2e|f2g fdB|aaf gge|ffd c3|A2B c2d|e2a (ec)A:||

                       

TAKE A KISS OR LET IT ALONE. AKA and see "The Rakes of Clonmel [2]." Irish, Double Jig. A Minor/Dorian. Standard tuning. AB. Source for notated version: “From Mr. Pigot’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 861, pg. 214.

                       

TAKE BACK THE VIRGIN PAGE (Tog Air Ais An Duille Glan). Irish, Air (3/4 time, "gracefully"). F Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 593, pg. 104.

X:1

T:Take Back the Virgin Page

M:3/4

L:1/8

R:Air

N:”Gracefully”

S:O’Neill – Music of Ireland (1903), No. 593

Z:AK/Fiddler’s Companion

K:F

c3 B A2|f3 e d2|c2 BAGF|A3G G2|c3B A2|~f3g a2|F>G A3F|G4||

f3 ede|f3F F2|f3 efg|a3f d2|c2 {c}B2 A2|~f3 g a2|F>G A3G|F4||

                       

TAKE HENCE THE BOWL (Tog Uadso An Cupan). Irish, Air (4/4 time). G Major. Standard tuning. AB. Source for notated version: Mrs. Cantwell [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 304, pg. 53.

X:1

T:Take Hence the Bowl

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 304

Z:AK/Fiddler’s Companion

K:G

D2 c>B B2 AB|d3c A2 z2|c2 cc c2Bc|e2d2 z4|d2cB B2AG|A3B c2d2|G2 B>G d2 cA|

(G4 G2) z2||A2 AA A2 B^c|^c d3 z2 d2|e2 d^c B A2 G|G2F2 z4|d2 =cB B2 AG|

A3B c2d2|G2 B>G d2 cA|(G4 G2)z2||

                       

TAKE HER AWAY DOWN TO THE QUAY, WE DON’T WANT HER AT ALL TODAY. Irish. The tune was played as part of the Dingle Wren tradition by fife and drum band. The tune was transcribed by Steve MacDonogh in his book “Green and Gold,” that used the 1982 Wren event as an opportunity to explore historic and folklore background of the tradition.

X:1
T:Take her away down to the Quay, We don't want her at all today
B:Green and Gold, Steve MacDonogh, Brandon, 1983
N:a Dingle Wren tune
N:transposed from Eb

Z:Transcribed by Paul de Grae
M:2/4
L:1/8
K:G
DG B2|cA B2|BA/G/ FG|AG FE|
DG B2|cA B2|BA/G/ FG|AG G2:|
d2 Bd|ec d2|BA/G/ FG|AG ED|
d2 Bd|ec d2|BA/G/ FG|AG G2|
d2 Bd|ec d2|BA/G/ FG|AG FE|
DG B2|cA B2|BA/G/ FG|AG G2||

                       

TAKE HER OR LEAVE HER. AKA and see “Barr na Feirste,” “Behind the Haystack [1],” "Christmas Day in the Morning [3],” “(An) Bhláthach Mhuimhneach,” “Munster Buttermilk [4],” "The Sports of Multyfarnham," “Squeeze Your Thighs.”

                       

TAKE HER OUT AND AIR HER [1]. AKA and see "The Ships Are Sailing [1]." Irish, Reel. E Minor. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 174, pg. 68.

 

TAKE HER OUT AND AIR HER [2] (Tabhair Amach agus Taispeáin don Saol Í). AKA and see “Farewell to Leitrim,” "Jenny Picking Cockles." Irish, Reel. D Major. Standard tuning. AABB. Not related to version #1. Source for notated version: from fiddler Paddy Nugent, Pomeroy, County Tyrone via the Liam Donnelly (County Tyrone & Belfast) collection, mid-20th century [Breathnach].  Breathnach (CRÉ IV), 1996; No. 135, pg. 67. Taylor (Where’s the Crack), 1989; pg. 10.

 

TAKE HER OUT AND AIR HER [3]. Irish, Reel or Country Dance Tune (2/2 time). Ireland, County Cork. A Dorian. Standard tuning. AB (Stanford/Petrie): AAB (Sharp). Petrie identifies this as a Cork reel. Alan Jabbour says the tune is from a large tune family that includes O’Neill’s “Touch Me if You Dare [1]” and “Kit O’Mahony’s Hornpipe,” Joyce’s “Miss Redmond’s Hornpipe” and Ford’s “Rattlesnake Bit the Baby," "Katy Did [2]." Jabbour collected a tune from Glen Lyn, Virginia, fiddler Henry Reed, who learned the tune as a boy from an elderly fiddler and fifer named Quince Dillon, who was said to have participated int he Mexican-American War of the mid-19th century (see American Memory website http://memory.1...:@field(Title+@band(British+Field+March+[transcription]). Reed called the tune a ‘British field march’ and maintained it had been played by British bands during their retreat from their defeat at the hands of Andrew Jackson at the Battle of New Orleans in the War of 1812. Jabbour finds Ira Ford’s “Gilderoy [4]” and a tune called “Lovely Molly” in a manuscript collection of dance tunes from the latter 18th century as variants. Sharp’s version is identical to that published by Stanford in his 1905 edition of Petrie’s collection. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. Sharp (Country Dance Tunes), 1909/1994; pg. 62. Stanford/Petrie (Complete Collection), 1905; No. 397, pg. 101. 

X:1

T:Take Her Out and Air Her [3]

M:2/2

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:Amin

A2B2|c2A2B2^G2|A2G2E2^F2|G2A2B2c2|d2B2G2B2|

c2A2B2^G2|A2G2E2D2|E2A2A2^G2|A4:|

||A2B2|c2d2e2^f2|g4 e2g2|a4 e2d2|c2A2A2B2|c2d2e2^f2|g2^f2g2d2|

e2a2a2^g2|a4 A2B2|c2d2e2^f2|g4 e2g2|a2g2e2d2|c2A2A2B2|c2A2B2^G2|

A2G2E2D2|E2A2 A2^G2|A4||

                       

TAKE IT EASY (Tog Go Reid E). AKA and see “Hey Jenny Come Down to Jock.” Irish, Double Jig. G Major ('A' part) & E Minor ('B' & 'C' parts). Standard tuning. AABBCC. O'Neill (Krassen), 1976; pg. 68. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1089, pg. 205. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 282, pg. 61.

X:1

T:Take it easy

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 282

Z:AK/Fiddler’s Companion

K:G

D|G3 ABd|edB A2B|G3 ABd|ede E2D|G3 ABd|edB A2G|def gdB|cAF G2:|

|:f|gfe agf|gfe def|gfe agf|gab e2f|gfe agf|gfedef|gab dBG|cAF G2:|

|:d|e3 dBG|BAG ABd|e3 dBG|A2B E2d|e3 dBG|BAG ABd|efg dBG|cAF G2:|

           

TAKE ME AS I AM. Old-Time, Breakdown. Cartunes 105, Bruce Molsky and Bob Carlin – “Take Me as I Am” (2004. Sourced to Belton Reeese {AFS-3793}).

 


TAKE ME BACK TO GEORGIA. AKA and see  "Boston Boy," “Ladies in the Ballroom [2]," "Rattlesnake Bit the Baby," "Katy Did [2]." Old‑Time, Breakdown. USA, north Georgia. C Major. Standard tuning. AB (Silberberg): AABB (Brody). North Georgia fiddler Lowe Stokes recorded the tune in 1929 with guitarist Mike Whitten. Sources for notated versions: Lowe Stokes (north Georgia) via the New Lost City Ramblers [Brody]; Carthy Sisco [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 272. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 156. Columbia 15486 (78 RPM), Lowe Stokes and His North Georgians (late 1920’s). County 705, Sonny Miller‑ "Virginia Breakdown" (appears as "Katy Did.” Miller learned the tune from the Lowe Stokes record which had “Take Me Back to Georgia” backed with “Katy Did,” only the record in Miller’s possession had the labels reversed, thus he actually learned “Take Me Back” under the other title). Document 8045, “Lowe Stokes, Vol. 1: 1927-1930” (reissue). Folkways FA 2492, New Lost City Ramblers‑ "String Band Instrumentals" (1964). Rounder 0040, "Pickin' Round the Cookstove." Rounder 0069, David Grisman‑ "Rounder Album" (appears as "Boston Boy").

 

TAKE ME BACK TO TULSA. Western Swing, Song Tune. A Bob Wills and the Texas Playboys western swing hit whose title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

TAKE ME HOME TO MAYO. Irish, Waltz. The late D/C# box player Jim Coogan (New York) said when he played dances the dancers would sing the echoes while waltzing. The chorus (with echoes) goes:

***

Take me home to Mayo (Mayo)
Across the Irish Sea
Take me home to Mayo (Mayo)
Where once I roamed so free
Take me home to Mayo (mayo)
There let my body lie.
Home again in Mayo (Mayo)
Beneath an Irish sky

***

                                               

TAKE ME JENNY. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. A country dance adaptation of a popular 18th century slip-song, printed on numerous song sheets and in songsters. The first line goes: "Sweetest of pretty maids, let Cupid incline thee." The country dance was first published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773), followed by printings in Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Skillern’s Compleat Collection of Two Hundred and Four Reels…Country Dances (London, 1780). It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, and appears in the music copybook of American fiddlers John and William Pitt Thompson (1788, Norwich, Conn.) and John Greenwood’s commonplace book (1785). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 115.

X:1

T:Take me Jenny

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

B2 AG|ABcA|B2 AG|e A2d|B2 cd|efgd|e2 Ad|BG G2::d>edg|e>=feg|d>e {d}dc/B/|B3 A|

d>edg|e>=feg|d>e {d}dc/B/|B3 A|d>c B2|e>d c2|g2 d=f|ec c2|B>c d2|e>fga|b(gg)d|eg g2:||

           

TAKE ME NOW WHILE I'M IN HUMOR. AKA and see "Tow Row Row, Johnny Will You Now."

                       

TAKE ME RIGHT. English, Jig. G Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s third country dance collection (London, 1773). “Take Me Right” is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. It was penned into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.), as were numerous tunes from the Thompson’s 1773 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 45.

X:1

T:Take me Right

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2g G2g|bfe d2g|edc B>AG|FAG FED|G2g G2g|gfe d2g|egf ed^c|d3 D3:|
|:d2D d2D|dcB c3|c2[Cc] c2[Cc]|cBA B3|G2A B2c|def gfe|dcB AGF|G3 [G,3G3]:||

           

TAKE ME TO THE LAND OF JAZZ. American, Song Air. Lowe Stokes (1898-1983) was a north Georgia fiddler who was a member of the famous Skillet Lickers but who also fronted his own bands and made recordings in his own name. The song was recorded by Stokes in 1928, fronting a band that included fellow fiddler Clayton McMichen, who sang on this tune with jazzy guitar licks by Perry Bechtel. Document 8045, “Lowe Stokes, Vol. 1: 1927-1930” (reissue).

                       

TAKE MY LIFE FOR HIS SHE SAID. Irish, Slow Air (2/4 time). G Major. Standard tuning. AB. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 624, pg. 319.

           

TAKE MY LOVE TO THAT YOUNG MAN (Beir mo ghradh). AKA and see "Take My Love Unto the Young Man."

           

TAKE MY LOVE UNTO THE YOUNG MAN. Irish, Air (2/4 time). A Major. Standard. One part. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection indicates the tune was noted from "J. McCracken, Esq. Moneymore."

           

TAKE OUT FOR THE KITCHEN. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

TAKE THE BREEKS WITH THEE. Scottish, Air? Played by the rear section of Loyalist Scottish troops as they marched into Perth and Dundee during the ill‑fated Jacobite rebellion of 1715, led by the Earl of Mar (Bobbing John). See also note for "Wilt Thou Play Me Fair, Highland Laddie?" [Winstock, 1970].

           

TAKE THE BULL BY THE HORNS. Irish, Jig. Ireland, Donegal. D Major. Standard tuning. AABBCC. Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992. Learned by accordion player Maureen Doherty Macken from the playing of her father, Tom Doherty).

X:1

T:Take the Bull by the Horns

M:6/8

L:1/8

R:Jig

K:D

|:a2e cee|f2e cBA|a2e cee|fed cBA| a2e cee|fed cBA|dfd cec|BcBA2B:|

|:A2B cBA|aed cBA|dfd cec|BcB Bcd| A2B cBA|aed cBA|dfd cec|BcBA3:|

|:cAA eAA|cAA eAA|dBB fBB|dBB fed| cAA eAA|cAA eAA|dfd cec|BcBA3:|

           

TAKE THE SHACKLES OFF.  See “Judge Parker.”

 


TAKE YOUR CHOICE (Tog Do Roga). AKA and see “Dan Backus’ Favorite,” "Going to the Fair," “Jim Coleman’s [1],” “Liverpool Jack’s,” “Miss McGuiness [3],” “Terence’s Ramble.”  Irish, Reel. G Major. Standard tuning. AAB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). Breathnach (CRÉ III), 1985; No. 178 (appears as “Gan Ainm/No title”). O'Neill (Krassen), 1976; pg. 93. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1187, pg. 224. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 466, pg. 90.

X:1

T:Take Your Choice

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 466

Z:AK/Fiddler’s Companion

K:G

ge|:dG (3GGG dGBd|efga bage|dG (3GGG dGBd|egdB BA A2|

dG (3GGG dGBd|efga bage|dGFG BABd|efga bg g2:|

|:g2 ba gddg|egdg egdg|a2 ba geef|gedB BA A2|bagb agfa|egdg egdg|bgaf gfed|efga bg g2:|

           

TAKE YOUR FOOT OUT OF THE MUD (AND PUT IT IN THE SAND). Old‑Time, Breakdown. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's. Brunswick 243 (78 RPM), Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn.).

           

TAKE YOUR HAND AWAY. AKA and see "The Swallow's Tail Reel."

           

TAKE YOUR HAT OFF TO THE LADIES.  AKA and see "Stop Tune."

 

TAKE YOUR SHACKLES OFF OF ME.  See “Judge Parker.”

           

TAKING A WIFE. AKA and see “Welcome, Charlie Stewart(, You’re Welcome).”

           

TAKING OF BEAUMONT HAMEL. Scottish, Pipe March (2/4 time). A Major. Standard tuning. AABB’CCDD’. Composed by John MacClellan, D.S.M., a poet and painter from Dunoon, Scotland, who was formerly Pipe‑Major of the 8th Battalion, Argyle and Sutherland Highlanders during World War I. The engagement at Beaumont Hamel took place on the opening day of the Battle of the Somme, in 1916, when British and Canadian forces (including the 1st Lancashire Fusilers, below) attacked following the detonation of a huge mine that was laid in a tunnel beneath the German lines. It was not successful, and the attacks were beaten back with huge loss of life. One regiment sustained 684 casualties out of the 752 men who attacked. The fortified village was finally taken by the Highland Division in bloody combat over several days in November, at the end of the battle.

***

Photo by Geoffry Malins. 1st Lancashire Fusilers poised for the attack on Beaumont Hamel.

***

Martin (Ceol na Fidhle, vol. 3), 1988; pg. 27. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 31. Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008. Learned from box player Ken ‘Cam’ MacKay).

           

TALADH. Scottish, Jig. C Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 289, pg. 31.

X:1

T:Taladh

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 289

Z:AK/Fiddler’s Companion

K:C

G|cec A2c|GAG GGA|GAG GAc|e2g fed|cec A2c|GAG GGA|GGf efd|c3c2:|

|:G|c2e g2e|f2d gec|cde f2d|e2c dcA|c2e g2e|f2d gec|ede GAG|e2g fed:|

 

TALADH CHRIOSTA (Christ Child's Lullaby). Scottish, Slow Air (3/4 time). A Mixolydian. Standard tuning. One part. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 40.

X:1

T:Christ Child's Lullaby, The

S:Various

Z:Nigel Gatherer

M:3/4

L:1/4

K:C

G|G2 A|d d2|c d2|G2 c|B2 G|A d2|c d2|F2 f|

G2 A|d2 d|c d2|G2 G|G2 D|F G2|G2-|G z:|]

 

TALENCOURT, LE. French-Canadian, Reel. D Major. Standard tuning. AA’BB’. A ‘crooked’ tune. Guy Bouchard states the this tune comes from the Saguenay region of Québec, recorded on a 1930’s 78 RPM release by the duo of Bouchard and Villeneuve (fiddle & accordion). Source for notated version: Daniel Roy [Remon & Bourchard]. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 25. 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

X:1
T:Talencourt, Le
N:Quebecois 'crooked' tune from 1930's recording. 38bar
A:Quebec
D:'Airs Tordus' Les Tetes de violon
O:Canada
Z:Neil Brookes
M:2/4
L:1/16
Q:1/4=120
K:D
A3B|A2.d2.d2f2|edcBABcd|efedcdef|.g4.f2ed|cdecd2fd|cdecd2fd|

cde^ga2ed|c2AcB2^G2|A4:|:a3g|f2e2defd|e4edeg|

fgfedefd|e4edeg|f2efg2fg|a4abag|fafdegec|d4:|

                       

TALES OF BARNAGROVE. Irish, Reel. A Major/Mixolydian. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 71, pg. 78.

X:1

T:Tales Of Barnagrove

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:What we feel in Paddy Kavanaugh's verses we can also

N:hear in Ed's tunes: the simplicity of country people,

N:their old roads and villages, and the nearby rising

N:Monaghan hills. Tales of Barnagrove tells how Ed

N:felt about his early native experiences in that

N:region of Ireland.

K:A

cd | eA (3cBA EAcd | eAce aecd | eA (3cBA agec | dB=GB d2 cd |

eA (3cBA EDCD | EAcd ef=gd | ea (3aga =gece | dB=GB A2 :||

cd | ea (3aga bgag | ea (3aga edcd | eg (3gfg agfg | (3ef=g fg gdBG |

ea (3aga bgag | edcB cdef | gfge a^gec | dBGB A2 :||

                       

TALISKER [1]. Scottish, Strathspey. A Major. Standard tuning. AAB.  Composed by J. Scott Skinner (1843-1927); it appears in his Logie Collection. It and Skinner's reel of the same name are presumably written after the famous Scotch whisky. MacDonald (The Skye Collection), 1887; pg. 31. Skinner (The Scottish Violinist), pg. 8.

X:1

T:Talisker [1]

M:A

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

~A2 A>a e<A c>d|(e>A a>)e f>BB>c|A2 A>a e<A c>e|(d/c/B) e>d c>A A:|

a|b>ga>f e<A c>d|(e>Aa>)A f>BB>a|(b>ga>)f e<A (c>d)|e>Aa>e c>AA>a|

(b/a/g) a>f e<A (c>d)|e>Aa>e f>BB>c|~A2 A>a e<A c>e|d/c/B e>d c>A A||

 

TALISKER [2]. Scottish, Reel. D Major. Standard tuning. AAB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927). MacDonald (The Skye Collection), 1887; pg. 36.

X:1

T:Talisker [2]

M:C|

L:1/8

R:Reel

S:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:D

c|d2 fd (AF)GA|Bcde dABc|d2 (fd) AFGA|Bdce d2 d:|

B|AFGA Bcdf|edcB cAAB|AFGA Bcde|fedc d2 dB|AFGA Bcde|

edcB cAAc|d2 fd (AF)GA|BGEC D2D||

           

TALK AS YOU PLEASE.  AKA and see “Donal O’Grady.”

           

TALK TO DINAH. Old-Time, Breakdown. USA, Missiouri. A Major. According to Missouri fiddler Pete McMahon, sources Searns and Jackson were the only fiddlers to originally play this tune (Howard Marshall). “Talk to Dinah” is now one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Voyager VRCD 3 44, Howard Marshall & John Williams  – “Fiddling Missouri” (1999. From Franklin, Mo., fiddlers Claude Stearns and Charlie Jackson via Pete McMahan).

                       

TALK TO US OF DRINKING. AKA and see "Parlez-nous a Boire."

                       

TALKIN' FIDDLE BLUES. See "Lee Highway Blues."

                       

TALKING TO THE DEVIL. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

TALL 'AM BU GNA DO MHACLEOID, AN. AKA and see "The Hereditary Hall of M'Leod."

 

TALL SLENDER MAIDEN, THE (An Og-Bean Caol Fada). Irish, Air (2/4 time, "with expression"). D Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 586, pg. 103.

X:1

T:Tall Slender Maiden, The

M:2/4

L:1/8

R:Air

N:”With expression”

S:O’Neill – Music of Ireland (1903), No. 586

Z:AK/Fiddler’s Companion

K:D

d/e/|f>e dB|d>B AF|A>B dd|d3 d/e/|f>e d/e/f/g/|af dd/e/|fa gf|e3 d/e/|

f>e d/e/f/g/|af dd/e/|ff ed|B3 d/e/|f>e dB|d>B AF|A>B dd|d3||

 

TALLAPOOSA BOUND. Old‑Time, Breakdown. USA, north Georgia. Fiddler A.A. Gray and guitarist John Dilleshaw recorded four sides together in Atlanta in March, 1930, including “Tallapoosa Bound”/”Streak O’ Lean-Streak O’ Fat” and “N….r Baby”/”The Old Ark’s a’Moving.” Vocalion 5430 (78 RPM), 1930, A.A. Gray (north Georgia) {recorded with "7 Foot Dilly," AKA John Dillishaw}.

 

TALLEWAN. American, Jig. G Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 20.

 

TALLY HO!  English, Jig. A Major. Standard tuning. AB. Raven (English Country Dance Tunes), 1984; pg. 119.

 

TAM BAIN'S LUM. Scottish, Hornpipe. D Major. Standard tuning. AABBCCDD. Composed by Pipe Major Donald Shaw Ramsay. A 'lum' is a tall hat. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 51. Rounder 7006, Theresa and Marie MacLellan - "A Trip to Mabou Ridge."

 

TAM LIN REEL. AKA - “Tamlyn.” AKA and see “The Glasgow Reel,” “The Howling Wind.” Irish, Reel. D Minor (Black): A Minor (Taylor). Standard tuning. AABB. The tune has been set in D Minor, E Minor and A Minor (for flute). Paddy O’Brien played it in D Minor. It is often heard in sessions played first in D Minor, then in A Minor for a variation. Composition credited to Dublin musician Davey Arthur (originally from Edinburgh, Scotland), according to notes on Steeleye Span’s CD “Time” (Shanachie 79099), formerly of the group The Furey Brothers and Davey Arthur, though he now performs on his own. Rumor has it that it was later renamed as "The Howling Wind" by Paddy O'Brien because he liked the tune, but not the name (which apparently derives from the famous Child ballad about fair Janet and her lover, enchanted by elves). In fact, O’Brien’s version is a somewhat altered development of Arthur’s original. Currently the melody has currency with many musicians who play for Irish step-dancing competitions, and (or because) it has influentially been recorded for step dance practice by piano accordion player Pat King. Feis musicians tend to refer to the the tune as “The Glasgow Reel,” and dancers are apparently quite taken with the tune. The tune was recorded as “Tam Lin, Prince of Pipers” on the album “Emigrant,” the first album in which the group was named The Furey Brothers and Davy Arthur. Black (Music’s the Very Best Thing), 1996; No. 149, pg. 78. Taylor (Where’s the Crack), 1989; pg. 6 (appears as “Tamlyn”). Green Linnet SIF 1102, Phil Cunningham - “Palomino Waltz.” Donnell Leahy - “Leahy.” Catriona McDonald and Ian Lowthian – “Opus Blue.”

X:1

T:Tam Lin

M:4/4

L:1/8

K:Em

B,E (3EFE DEFD|C2EC GCEC|D2FD ADFD|CDEG FEDC||

B,E (3EFE DEFD|C2EC GCEC|D2FD ADFA|1GFED B,EED:|2GFED B,EEB||

|:eBBA GEGB|eBBA GEGB|dA (3AAA FAAB|dAAB defd||

eBBA GEGB|eBBA GEDE|CB,CD EDEF|1GBAF GEGB:|2GBAF GEE2||

X:2

T:Tam Lin

M: 4/4

L: 1/8

K: Am

EA (3ABA GABG| F2AF cFAF|G2BG dGBG|FGAc BAGF|

EA (3ABA GABG|F2AF  cFAF|G2BG dGBG|1cBAG EAAG:|2cBAG EAA2||

aeed cAce|aeed cAce|gd (3ddd Bdde|gdde gabg|aeed cAce|aeed cAGA|FEFG AGAB|1cedB cAce:|2cedB cAAG||

X:3

T: Tam Lin

S: B. Conway

C: D. Arthur

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Dm

A,D (3DED CDEC | B,2 DB, FB,DB, | C2 EC GCEC | FEDC DEDC |

A,D (3DED CDEC | B,2 DB, FB,DB, | C2 EC GCEC | FEDC A,D D2 :|

dA A2 FADA | dA A2 fed=B | cG (3GGG dG (3GGG | =Bc c2 dcAc |

dA A2 FADA | dA A2 FADA, | B,2 B,A, B,CDE | FDGF ED D2 :|

                                   


TAMAVUILN. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

           

TAMBOURIN, LE.  French, Country Dance (6/8 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 55.

X:1

T:Tambourin Le

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 55

Z:AK/Fiddler’s Companion

K:A

DFA DFA | DGB DGB | DFA DFA | A,CE A,CE | DFA DFA | Bcd AGF |

GFE A,B,C | D3 D3 :: dfa dfa | dgb dgb | efg Bed | c3 (A2B/c/) | dBG ecA |

fdB efg | fed Adc | {e}d3d3 :|

                       

TAME HER WHEN DA SNAW COMES. Shetland, Reel. G Major. Standard tuning. AABB. "The ... title refers to the fact that the best time to tame a Shetland pony is when the snow lies on the ground, because then they are hungry" (Boys of the Lough). A traditional reel "well known over most of the country districts of Shetland. The tune is a variant of the Shetland traditional song 'Boanie Tammy Scollay'" (Anderson). Anderson (Ringing Strings), 1983; pg. 92.  Boys of the Lough, 1977; pg. 17. Transatlantic TRA 311, Boys of the Lough ‑ "Lochaber No More."

 

TAMEEN'S REEL (Ríl Taimín). Irish, Reel. G Major. Standard tuning. AB. The tune belongs to the “Pretty Girls of Mayo” family of tunes. Paul de Grae finds variants in Ryan’s Mammoth Collection (1883) under the title “Irishman’s Love [2],” O’Neill’s “Sweet Biddy of Ballyvourney,” and as "Ceol na gCeártan" ("The Music of the Forge") in The Dance Music of Willie Clancy. Source for notated version: fiddler Patrick Kelly, 1966 (Cree, Co. Clare, Ireland), who played the tune on tin whistle [Breathnach]. Breathnach (CRÉ II), 1976; No. 159, pg. 84.

 

TAMERACK 'ER DOWN REEL. AKA – “Tamarack ‘er Down.” Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Mixolydian. Standard tuning. AABB. A somewhat irregular tune--the ‘A’ part has five measures, the ‘B’ part four; Burt Feintuch (2004) notes that this kind of ‘crooked’ but driving tune is unusual in Cape Breton tradition. Ken Perlman (1996) suggested the “circularity” of the ‘A’ part had something to do with the repetitive nature of the work of logging. A tamerack is a kind of tree. The late Ontario fiddler Graham Townsend's father, Fred Townsend, was a caller for Don Messer's Islanders and used a call that goes "Tamarack 'er down on the old plank floor, that's all there is, there ain't no more!" The tune was composed by Mabou Coal Mines, Cape Breton, Nova Scotia, fiddler Donald Angus Beaton (1912-1982). Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 90. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

X:1

T:Tamerack ‘er Down Reel

C:Donald Angus Beaton

M:4/4

L:1/8

K:Amix

f| ecBc AFEF| A2 af ecce| =g2 fa ecBc| AFEF A2 Af| ecBc A2 A:|!

f| eAce =g2 fa| eAce fBBa|1 ecce f2 af| ecBc A/2A/2A A|2 ecce fgaf| ecBcA/2A/2A A||

 

TAMHAIN AN GHADHAIR. Irish, Air. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

 

TAMLYN. AKA and see “Tam Lin.”

 

TAMMANY RING. AKA and see “Coey’s Hornpipe,” “The Southern Shore,” “Wonder Hornpipe.” American, Clog. B Flat Major. Standard tuning. AABB. Named for the associates of the infamous political machine in New York City in the 1870’s, led by “Boss” Tweed, head of the Tammany Hall Democratic Party. Cole (1000 Fiddle Tunes), 1940; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 157.

X:1
T:Tammany Ring (clog)
B:Ryan's Mammoth Collection
M:4/4
L:1/8
R:hornpipe

Z:Paul de Grae
K:Bb
(3FGA|B>fd>B A>ec>A|B>fd>B F2 B>A|G>Be>d c>BA>G|F>f=e>f g>f_e>c|
B>fd>B A>ec>A|B>fd>B F2 B>A|G>Be>d c>BA>c|B2 d2 B2:||:c>B|
A>f=e>g f2 c>B|A>f=e>g f2 g>f|=e>fg>a b>cd>e|f>=ef>g f>ec>_e|
d>^cd=c =B>df>d|c>dc>B A>BA>F|B>df>b g>ec>A|B>df>b B2:||

 

TAMMY SULLIVAN’S. Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton musician J.P. Cormier. Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996. Learned from J.P. Cormier, “who played it in {MacMaster’s} kitchen one afternoon”).

 


TAMONY’S HORNPIPE. AKA and see “The Friendly Visit,” “Smith’s Favourite,” “Smith’s Hornpipe [1].” Irish, Hornpipe. A Major. Standard tuning. AABB. Caoimhin Mac Aoidh (1994) explains that O’Neill’s source was a fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain O Tiomanai, who was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great grandson of the renowned poet Tadhg An Fhile O’Tionamai An Aighe. Timoney emigrated to the United States at the beginning of the 20th century and arrived in San Francisco just after the great earthquake of 1906. O’Neill (1922) calls “Tamony’s” a variant of “Smith’s Hornpipe [1],” printed in his Irish Music for Piano or Violin. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 308.

X:1

T:Tamony's Hornpipe

M:4/4

L:1/8

S:Joseph P. Tamony, San Francisco

Z:Paul Kinder

R:Hornpipe

K:A

cB|(3AcA EG Acec|dfBa gebg|aece fecA|GABc dBGB|

(3AcA EG Acec|dcBa gebg|aecA GBed|(3cdc (3BcB A2:|

|:cd|(3efe ce Acea|(3faf df Bgfg|ae^de fecA|GABc =dcdf|

(3efe ce Acea|(3faf df Bgfg|aecA GBed|(3cdc (3BcB A2:||

 

TAMPICO HERMOSO (Beautiful Tampico). Mexican, Polka. USA, New Mexico. A fairly modern composition.

 

TAM’S GREY MARE. Scottish, Reel. E Dorian. AAB. Composed by Joseph Lowe, who produced a collection of dance music in the 1840's. Cranford (Jerry Holland’s), 1995; No. 133, pg. 38.

 

TAM'S HUNTING HORN. Scottish, Jig. C Major. Standard tuning. AA'BB. Composed by Isaac Munro. Hunter (Fiddle Music of Scotland), 1988; No. 282.

 

TA’N COILEACH AG FOGAIRT AN LAE. Irish, Double Jig. G Major. Standard tuning. ABB’. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 134, pg. 107.

           

TANEY COUNTY BREAKDOWN. Old‑Time, Breakdown. USA, Mo. A Major. Standard tuning. AA’BB’. Composed by Missouri fiddler Lonnie Robertson in the early 1960's. Robertson told Gordon McCann in an interview that he had newly composed the tune for a square dance, and, since no other title came to mind he called it after the local where he was were playing. Source for notated version: Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 126. Caney Mountain Records CEP 102 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1965).

           

TANEY COUNTY SPECIAL.  AKA and see “The Devil’s Ball,” “Whiskers.” Old-Time, Country Rag. USA., Missouri. The tune was called “Taney County Special” by Ozarks fiddler Jim Beeler.

 

TANK, THE. Scottish, English; Country Dance Tune (2/4 time) or Hornpipe. England, Shropshire. A Major (Kerr/vol. 1): G Major (Ashman): B Flat Major (Kerr/vol. 4, Kershaw). Standard tuning. AB (Kerr): AABB (Ashman, Kerr/Vol. 4, Kershaw). Moore's (in Ashman) and Kershaw’s versions are both simplified ones. The melody (in B flat) appears in the manuscript copybook of Ann Winnington, c. 1810, from New York City. Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; contained in the Joseph Kershaw manuscript—Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards [Kershaw]. Ashman (The Ironbridge Hornpipe), 1991; No. 73b, pg. 30. Kerr (Merry Melodies), vol. 1; No. 12, pg. 29. Kerr (Merry Melodies), vol. 4; No. 307, pg. 32. The Joseph Kershaw Manuscript, 1993; No. 29.

X:1

T:Tank, The

M:C|

L:1/8

S:Kerr’s Fourth Collection of Merry Melodies (c. 1875), No. 307

Z:AK/Fiddler’s Companion

K:Bb

B2b2G2g2 | (fg)fe dc B2 | de f2 ef g2 | f2a2b2 z2 :: B2 Bd (f2f2) | geec cAAF |

B2 Bd (f2f2) | gecA B2F2 | B2 Bd (f2f2) | geec cAAF | Bcde fgab | gecA B2 z2 :|

           

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

           

TANKARD OF ALE. English, Hornpipe? (3/2 time). England, North‑West. A Minor. Standard tuning. AABBCCDDEE. Knowles (Northern Frisk), 1988; No. 126 (variations composed by Ian McGrady).

           

TANNER'S HORNPIPE. Gid Tanner and the Skillet Lickers' cover title for "Ricketts Hornpipe." Decca 5657B (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.) {1934}.

           


TANNER'S RAG. Old‑Time. Presumably a Skillet Lickers' cover version. Bluebird 5657A (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.) {1934}.

           

TANNING THE LEATHER. Irish, Jig. G Major. Standard tuning. AABB’. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 136.

X:1

T:Tanning the Leather

M:6/8

L:1/8

S:Rice-Walsh manuscript

Z:AK/Fiddler’s Companion

K:G

c|BGG DGG|BGG G2 c|BGG DGG|GBA/2G/2 F2 c|

BGG DGG|BGG c2 A|B/2c/2dB cAG|FDD D2:|

|:d|gdc BAG|GBd def|gdc BAG|FAA ABd|

1gdc BAG|GBd c2 A|B/2c/2dB cAG|FDD D2:|

2gfg/2f/2 gdc|BGB c2 A|B/2c/2dB cAG|FDD D2||

                       

TANSEY’S FAVOURITE [1] (Roghe Mhic an Tánaiste). AKA and see “Bloom of Youth,” “Downshire Reel,” “Gardiner’s Favorite [1].” Irish, Reel. G Major. Standard tuning. AA’B. O’Neill prints the tune as “Bloom of Youth,” Goodman gives it as “Downshire Reel” and McNulty has it as “Gardiner’s Favourite.” Similar in parts to “Lucky in Love.” Sources for notated versions: Planxty [Sullivan]; Paddy Killoran [Breathnach]. Breathnach (CRÉ III), 1985; No. 136, pg. 64. Sullivan (Session Tunes), vol. 3; No. 53, pg. 22.

 

TANSEY’S FAVOURITE [2]. Irish, Jig. G Major. Standard tuning. ABC. The titles of this tune and “Brides Favourite” were reversed on the Steeleye Span album “Below the Salt.”

X: 1
T:Tanseys Favorite
R:Jig
M:6/8

L:1/8
K:G
G2A|~B3 ~A3|BdB BAG|~B3 dcB|ABA DFA|…

           

TANTE DALLI. See "Blues Francais."

           

TAOB IAR DE'N IOTLANN. AKA and see "Back of the Haggard."

           

TAOB-IAR DE'N SGEAC ANNSA GAIRDIN. AKA and see "Behind the Bush in the Garden [1]."

           

TAOB MUIC-FEOIL, AN. AKA and see "The Flitch of Bacon."

           

TAOB SIAR DE'N CRUAC-FEUR. AKA and see "Behind the Haystack [2]."

           

TAOBH TUATH NAN GARBH BHEANN. AKA and see "The North Side of the Grampions."

           

TAOISEAC BUINGE, AN. AKA and see "Captain Byng."

           

TAOISEAC-LUINGE, AN. AKA and see "The Sea Captain."

           

TAOISEAC UA NEILL, AN. AKA and see "Captain O'Neill."

           

TAP HOUSE, THE. AKA and see "The Tap Room."

           

TAP O' NOTH. Scottish, Strathspey. E Flat Major. Standard tuning. AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 104, pg. 36.

           


TAP ROOM, THE. AKA and see "The Tap House," "In the Tap Room," "Banrion Bhealtaine," "B(h)aintreach na Radaireacht," "The Blossom of the New Tree," "Captain Murray's Reel," "Cock your pistol Charley/Charlie [2]," "Granshaw Glens," “Hard Road to Travel [2],” "Hopetoun House," "The Ladies Tight Dress," "Lord Edward," "Miss Fargherson's New Reel," "The Mountain Lark [7]," "Polly's Reel," "The Rakes of Abbey," “The Ranting Widow,” "Roll out the Barrel," "Scotch Maggie," "The Scotch Bonnet," "A Short Way to Heaven," "Sweet Molly [4],” “Tap the Barrel,” "The Youngest Daughter [1]." Irish, Reel. E Dorian. Standard tuning. AB (Flaherty): AAB (Taylor). “The Tap Room” was first recorded by County Sligo/New York fiddler James Morrison in the 1930's. Taylor (1992) remarks that "The Queen of May" in Breathnach (CRÉ I) has a second part that "is obviously from the same roots as 'The Tap Room,'" but the 'B' part of O'Neill's "Kitty Losty's Reel" is nearly exactly the same as Taylor's for this tune. See also related tune “Return to Milltown.” The tune “Hard Road to Travel [2]," learned by flute player Mike Rafferty (b. 1927, Ballinakil, east Galway) from his father Barrel Rafferty, is ‘the old way of playing’ “(In the) Tap Room” (Harker, 2005). “The Tap Room” was recorded by James Morrison, and later by Frankie Gavin with De Danann. Sources for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, County Sligo) [Flaherty]; fiddler Frankie Gavin [Black]. Black (Music’s the Very Best Thing), 1996; No. 211, pg. 114. Flaherty (Trip to Sligo), 1990; pg. 120. Taylor (Crossroads Dance), 1992; No. 27, pg. 20. Shaskeen - "My Love is in America." Shanachie 79006, Mary Bergin – “Feadog Stain” (originally released by Gael-Linn, 1979).

X:1

T:Tap Room, The

S: F. Gavin

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Edor

E2 Bc d2 Bc | dBAF DEFD | E2 Bc d2 Bc | dBAF GEED |

E2 Bc d2 Bc | dBAF DEFD | afge fdec | dBAF DEFD :|

Beef gfed | B2 AF DEFD | Beef gfed | B2 Ac BE E2 |

Beef gfed | B2 AF DEFD | afge fdec | dBAF BE E2 :|

X:2

T:Tap Room, The

R:Reel

H:From Paddy Canny & P. J. Hayes

M:4/4

L:1/8

K:E Dorian

E2 BE cdBE | (B2A)F DEFD | E2BE cdBE | (3BcB Ac BAFD | E2 dE cEBE |

(3BcB AF DEFA | (af)ge fdBc | dBAc BE{F}ED :: Bdef gfed | (3BcB AF DEFA |

Bdef gfed | BdAd BAFA | Bdef gfed | (3BcB AF DEFA | afge fdBc | dBAc BE{F}ED :|

           

TAP THE BARREL. AKA and see “Glorious Return to Milltown,” “Return to Milltown,” “Tommy Peoples' (Reel) [6].” Irish, Reel. D Major. Standard tuning. AAB. See also the “Tap Room” family of tunes. A slightly different setting of the tune is associated with Donegal fiddler Tommy Peoples. Caoimhin Mac Aoidh believes Julia Clifford learned the tune from her teacher, Padraig O’Keeffe, the renowned Sliabh Luachra fiddler. He believes O’Keeffe sourced the tune from the Roche Collection. Source for notated version: Kerry fiddler Julia Clifford, who had no name for it, but whose version was very close to the one printed in the Roche Collection [Breathnach]. Henrik Norbeck points out the similarity in structure between “Tap the Barrel" and the first two parts of “College Grove(s).” Breathnach (CRÉ II), 1976; No. 266. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2; No. 30 (appears as untitled reel). Flaherty (Trip to Sligo), 1990; pg. 36 (appears as unknown reel). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 189, pg. 44. Roche Collection, 1982, Vol. 1; No. 145, pg. 58.

X:1

T:Tap the Barrell
M:C|

L:1/8

R:Reel
K:Dmix
D2FD ADFD | cAGE CEGE | D2FD ADFD | cAGE ADD2 |
D2FD ADFD | cAGE CEGE | D2FD ADFD | cAGE ADD2 :|
|: d3g faed | cdef g2fe | d3g faed | cAGE EDD2 |
d3g faed | cdef g2fe | fafd (3efg ed | cAGE EDD2 :|

 

TAPPING TOES.  Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 26.

 

TAPPIT HEN, THE. Scottish, Jig. A Mixolydian. Standard tuning. AABB. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Kerr (Merry Melodies), vol. 4; No. 261, pg. 28. Tolman (Nelson Music Collection), 1969; pg. 1.
X:1

T:Tappit Hen, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 261

Z:AK/Fiddler’s Companion

K:A

a | AAA c2A | d2e f3 | AAA c2A | dB=G Bcd | eAA cAA | d2e fga |

ece dB=G | AAA A2 :: e | c2e ece | AA=g f3 | c2e ecA | B2c dB=G |

c2e ece | aa=g f^ga | ece dB=G | AAA A2 :|

                       

TAR A LEIT A CAITILIN. AKA and see "Kitty Come Over."

                       

TAR ANOIS NO FAN. AKA and see "Come Now or Stay."

                       

TAR BELL. Old-Time, Breakdown. C Major. Standard tuning. AB. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 156.

                       

TAR GO DI'N PROINN. AKA and see "Come to Dinner."

                       

TAR LIOM ANOIS. AKA and see "Come With Me Now."

           

TAR-RIA WALTZ. Old-Time, Waltz. A Major. AEac# tuning. Rounder 0437, Jim Beeler Kate  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties.”

           

TAR RIVER.  Old-Time, Breakdown. USA, Oklahoma. A Major. AEae tuning. AA’BB’.

X:1

T:Tar River

M:C

L:1/8

R:Reel

S:Earl Collins, via Tom Sauber

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

(EF|:A2 Ac (BA)AB | (cA)ec (BA)EF|A2 Ac (BA)AB|cAec A2 EF|

A2 Ac BAAB|cAec BAFA|EF A2 ABAB|1 cABc A2 EF:|2 cABc A2 (g||

|:a2) ea fecd| efed cAAA|a2 ea fecd|efga b2(e2|e)fae fecd|efed cBAF|

EF A2 ABAB|1 cABc A2g2:|2 cABc A4||

                       

TAR ROAD TO SLIGO. AKA and see “Coleman’s Jig [4],” “The Coach Road to Sligo [2],” “The Races at Carrick.” Irish, Jig. B Minor ('A' part) & D Major ('B' part). Standard tuning. AABB'. The melody was first recorded in New York in 1927 by fiddler Michael Coleman, originally from County Sligo, as part of his “Tobin’s Fancy” medley. “The Races at Carrick” is a related tune. Source for notated version: a recording of Michael Coleman [Miller & Perron]. Carlin (Master Collection), 1984; No. 256, pg. 147. Cranford (Jerry Holland’s), 1995; No. 239, pg. 69. Mallinson (Essential), 1995; No. 91, pg. 39. Miller & Perron (Irish Traditional Fiddle Music) vol. 2, 1977; No. 43 (appears as “Coleman Jig”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 37. Peoples (Fifty Irish Fiddle Tunes), 1986; No 8. Ace of Hearts AH 95, "Irish Dance Party." Green Linnet SIF 3011, “The Bothy Band, 1975.” RC2000, George Wilson – “The Royal Circus” (2000).

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:Tar Road to Sligo

M:6/8

L:1/8

R:Jig

K:D

fdB Bcd | ecA BAG | FGA ABc | dB/c/d efg | fdB Bcd | ecA BAG | FGA a2g | fdc d3 :|

Adf Adf | gag efg | afd d2d | Bed cBA | Adf Adf | gfg ~e3 | afd bge | edc d3 |

Adf Adf | ~g3 efg | afd d2d | Bed cBA | fdA gec | a3 bge | ~a3 bge | edc d3 ||

                       

TAR SUAS NA STAIGRE LIOM. AKA and see "Come Upstairs with Me."

                       

TARA BROOCH, THE. AKA and see “The Athlone Hornpipe,” "Paddy O'Brien's Hornpipe [1]," "The Western Hornpipe." Irish, Hornpipe. C Major. Standard tuning. AABB. The Tara Brooch has been called the most beautiful brooch ever fund in Ireland, and dates from the 8th century. Discovered in 1910 near the Hill of Tara at Bettystown, County Meath, it now is in the possession of the National Museum in Dublin. The brooch is crafted in silver and inlaid with precious stones.

***

The Tara Brooch, rear view.

***

McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 86, pg. 21. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 41. Lochshore CDLDL 1215, Croab Rua - “The More that’s Said the Less the Better” (1992).

                       

TARA HILL. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 100, pg. 113.

X: 1

T:Tara Hill

R:Hornpipe

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:A little-known hornpipe of Ed's that could

N:in time become one of his most popular compositions.

K:G

(3def | gd^cd BGDC | B,DGB edcB | cAFD ^CDFA | (3cBc ed cAFA |

BGDC B,G,B,D | GABd cAFA | fed^c =cAFA | GDB,D G2 :|| (3def |
gdcd edcd | eaa^g a2 ef | gfge fdcA | Gggf gedc | BGDC B,G,B,D |

GABd cAFA | fed^c =cAFA | GDB,D G2 :||

 

TARA REEL, THE.  Irish, Reel. E Dorian. Standard tuning. AABB. 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. 59, pg. 19.

 

TARA’A HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AB. Composed by tin whistle player Donogh Hennessy.

X:1

T:Tara'a Hornpipe

C:Donogh Hennessy

D:"The Hurricane", Mark Crickard (fiddle) and Donogh

D:Hennessy (guitars, mandolin, low whistles, keyboard)

D:privately issued, c. 1990

R:hornpipe

N:to be played slowly and in even (not dotted) time

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:D

D2 FA dAFD|E2 GB edcB|A2 FA fedc|dcBc dgfe|

D2 FA dAFD|E2 GB edcB|A2 FA fedc|dcBc defg||

a2 ag fgaf|gfef g2 fe|df ~f2 dfed|cAA^G A3 F|

G3 F GA (3Bcd|AFDF A2 GF|G2 GF GABd|ABcB AGFE||

           

TARBOLTON LODGE. See "Tarbolton Reel."

           


TARBOLTON REEL. AKA and see "Hatton Burn," “Calum Bridge,” "Cooleen Bridge," “Paddy in the Cornfield.” AKA ‑ "Tarbolton Lodge." Scottish (originally), Irish, Canadian; Reel. Canada; Québec, Prince Edward Island, Cape Breton, Ontario. E Dorian (Em). Standard tuning. AB (Athole, Mitchell, Skye): ABB (Moylan): AABB (Allan, Brody, Harker/Rafferty, Mallinson, Perlman, Taylor): AA'BB' (Carlin, Tubridy). Several writers have commented on the ‘Scottishness’ of the tune, suggesting its origins in that country, and, in fact, the town of Tarbolton lies in Ayrshire in western Scotland, not far from the banks of the River Ayr. Its name—Tor-Bealtiunn or Beltane Hillock—belies its association with the Druidic celebration of Beltane, held on May 1st. At that time fires would be lit in sacred places, most often on hills. The Scots national poet, Robert Burns, lived with his family of origin near the town for some years when he was a young man. It was at the Bachelors’ Club in Tarbolton, in an upstairs room, that Burns was initiated into Freemasonry, where he attended dancing classes, and where he helped found the Bachelors’ Club debating society. The great Sligo/New York City fiddler Michael Coleman recorded this in 1934 as the first tune in a very famous medley with “Longford Collector” and “The Sailor's Bonnet.” The tunes are still commonly played together as a set at modern sessions. It has been suggested that Coleman might have learned “Tarbolton” from Cape Breton musicians in Boston.

***

Sligo fiddler Michael Coleman (1891-1945)

***

Sources for notated versions: fiddler Jean Carignan (Montreal) [Brody]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 56, pg. 14. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 76, pg. 85 (appears as “Michael Coleman’s Reel”). Brody (Fiddler’s Fakebook), 1983; pg. 273. Carlin (Master Collection), 1984; No. 228, pg. 133. Harker (300 Tunes from Mike Rafferty), 2005; No. 125, pg. 38. Kerr (Merry Melodies), vol. 1; Set 19, No. 2, pg. 12 (appears as "Tarbolton Lodge"). Lyth (Bowing Styles in Irish Fiddle Music, vol. 1), 1981; 30. MacDonald (The Skye Collection), 1887: pg. 75 (appears as "Hatton Burn"). Mallinson (Essential), 1995; No. 59,pg. 26. Mitchell (Dance Music of Willie Clancy), 1993; No. 14, pgs. 36-37. Moylan (Johnny O’Leary’s), 1994; No. 277, pg. 158. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 110. Stewart-Robertson (The Athole Collection), 1884; pg. 246 (appears as "Tarbolton Lodge"). Sullivan (Session Tunes), vol. 2; No. 3, pg. 2. Taylor (Through the Half-door), 1992; No. 43, pg. 30. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 22. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994). Columbia 35612, "The Chieftains" (1978). Gael-Linn CEF 045, “Paddy Keenan” (1975). Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997. Appears as “Tarbolton Lodge”). Green Linnet SIF‑1110, Johnny Cronin, Paddy Cronin, James Kelly & Johnny McGreevy ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Island ILPS 9501, "The Chieftains Live" (1977). Kicking Mule 216, Arm and Hammer String Band‑ "New England Contra Dance Music." Leader LEACD 2004, “Martin Byrnes” (1969). Mulligan 004, "Matt Molloy." Philo 2001, "Jean Carignan" (learned from a 1934 Michael Coleman recording for Decca). Rounder 7002, Graham Townsend‑ "Le Violin/ The Fiddle." Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). Shanachie 33001, Michael Coleman‑ "The Wheels of the World." Shaskeen - "Shaskeen Live."

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:Tarbolton Lodge

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Emin

F|Eee^d e2 BA|GBAF GEEF|Ddd^c d2 AF|GBAG FDDF|

E(ee)^d efga|fedf eBBA|GABG FGAF|BGAF GE E||

f|gfef gebe|gebe geef|defg adfd|ABAG FDDF|

G2BG F2AF|Eeef gefd|B^cdB AGFA|BGAF GEE||

 

TAREIS LUIDE NA GREINE. AKA and see "After the Sun Goes Down."

 

TARHEEL BREAKDOWN. Old-Time, Breakdown. A variant of Arthur Smith's "North Carolina Breakdown."

 

TARISTEAC ON BAISTEAC. AKA and see "Come in from the Rain."

 

TARLAND MEMORIES. AKA ‑ "George Rose Wood." Scottish, Slow Air (4/4 time). D Major. Standard tuning. AB. One of the last compositions of self‑taught Scots fiddler Peter Milne (1824-1908), who was one of J. Scott Skinner's teachers. Milne performed in theaters until his opium addiction reduced him to busking on ferryboats crossing the Firth of Forth, until the roadbridge was built and this income too was denied him. Milne died destitute in a mental institution, a victim of an addiction contracted by taking Laudanum (an opium derivative) for an injury. The alternate title is "George Rose Wood," named for J. Scott Skinner's chief concert agent from 1922‑1925, the end of his career. Hardie (Caledonian Companion), 1992; pg. 96. Henderson (Flowers of Scottish Melody), 1935.

 


TARMON'S POLKA (Polca Uí Tharmáin). AKA and see "The Boys of the Town [3]." Irish, Polka. G Major. Standard tuning. AABB (Mulvihill): AA'BB' (Breathnach). Sources for notated versions: accordionist Martin Mulvihill (Bronx, New York) [Breathnach]; Paddy Egan [Mulvihill]. Breathnach (CRÉ III), 1985; No. 76, pg. 37. Mulvihill (1st Collection), 1986; No. 12, pg. 113. Green Linnet Records SIF 1012, "Martin Mulvihill" (1978).

X:1
T:Boys of the Town
T:Tarmon's Polka
B:Ceol Rince Na hEireann Book 3
N:Bars 3+7 should be | GG AG/A/ |
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
DG GB | A/B/A/G/ ED | G2 AG/A/ | BA A2  |
DG GB | A/B/A/G/ ED | G2 AG/A/ | BG G2 ||
Bd cB | AG ED | G2 AG/A/ | BA A2  |
Bd cB | AG ED | G2 AG/A/ | BG G2 ||

 

TARNIVAH REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

 

TARR I n-EINFEACT LIOM-SA. AKA and see "Come Along with Me [1]."

..............

TARRAING AGUS SÁITH ARÍS. AKA and see "Pull the Knife and Stick it again."

 

TARRAING GO CAOIN AN SGEOL (Consider the story well). AKA and see "Bunter's Delight," "Plancam Peirbhig." Irish, Air (9/8 time). D Minor/Mixolydian. Standard tuning. One part. Flood (History of Irish Music) finds the tune published by Playford in 1713 and by B. Cooke in 1795, and states it was popular in England under the title "Bunter's Delight." It is a variant of "Plancam Peirbhig," notes O'Sullivan (1983), which appears in Poets and Poetry of Munster, volume I, pgs. 92-93. Source for notated version: the melody was noted by the Irish collector Edward Bunting at Tipperary in 1797. O'Sullivan/Bunting, 1983; No. 74, pgs. 116-117.

 

TARRAING THAR TIMPEALL AN BHÓTHAIR Í (Drag Her Around the Road). AKA and see “Drag Her Around the Road.”

 

TARRANT’S [1]. AKA and see “Thadelo’s Slide.” The title refers to West Kerry musician Din Tarrant.

 

TARRANT’S [2]. AKA and see “The Cobbler,’ “Din Tarrant’s [9]," “Din Tarant’s No. 1,” “O’Keeffe’s (Polka) [2].” 

                       

TARRANT’S [3]. AKA and see “Dan Sweeney’s,” “Johnny Leary’s,” “Mick Howard’s,” “Munster Bank,” “The Sod of Turf We Took to School.” Irish, Polka.

                       

TARRY WOOL (WOO') Scottish, English; Air (4/4 time). England, Northumberland. G Major. Standard tuning. AB. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. A popular Scots song in the 18th and early 19th centuries, the title refers to wool that has been fouled with tar from the efforts of shearers to bind the wounds of sheep during the shearing process. The song “Tarry Woo” appears in Johnson's Scots Musical Museum (1787‑1803), vol. 1, No. 45, and Glen (1900) traces it back to a McGibbon collection of 1746. It also appears in Smith's Scottish Minstrel (1820‑24), vol. 2, pg. 4, McGlashan's A Collection of Reels (1781), vol. 2, pg. 13, Ritson's Scottish Song, and Crosby's Caledonian Musical Repository (1811), pg. 106. The melody also appears in late 18th century manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. See note for “Lewis Gordon.” Words to the song begin:

***

Tarry woo, and Tarry woo,

Tarry woo is ill to spin,

Card it well, and card it well,

Card it well e’re ye begin.

When it is carded, wrought and spun,

Then the work is half in done;

But when woven, drest and clean,

It may be cladding for a queen.

***

Howe (1000 Jigs and Reels), c. 1867; pg. 155.

X:1

T:Tarry Woo

M:4/4

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

(G3A B2) (AG) | E>DEG {G}A4 | G3A B2 (AB) | (cB)(AG) (B>c) d2 |

G3A B2 (AG) | E>D EG {G}A4 | G3A B2 (GB) | (cB)(AG) (B>c) d2 ||

e2 (ge) d2 (ed) | B2 (gB) {B}A4 | e2 (ge) d3e | g>a (ba) g4 | e2 (ge) d2 (ed) |

(cB)(gB) A3B | (G>ABc) (d>edc) | B2 (AG) B>c d2 ||

 

TARS OF THE VICTORY, THE. AKA and see “News of the Victory,” “The Willow Tree [2]". English, Jig. G Major. Standard tuning. AABB. The title refers to the ordinary sailors ('Jack Tars') of H.M.S. Victory, Lord Nelson's flagship at Trafalger. The melody appears in the early 19th century Thomas Hardy family manuscripts, Devon, and the music manuscript of Rev. Robert Harrison (Brampton, Cumbria, 1820). In America the jig was published in John Paff’s The Gentlemens Amusement, No. 2 (New York, 1812-1815) under the title “Tars of the United States,” a change necessitated by the state of war between England and the United States at the time. Callaghan (Hardcore English), 2007; pg. 65. Trim (Thomas Hardy), 1990; No. 58. Wilson (Companion to the Ball Room), 1816.

 

TARS OF THE UNITED STATES.  See “Tars of the Victory.”

 

TART AR AN ÓL (Thirsty for Drink). AKA and see "The Humours of Ross [1]." Irish, Double Jig. G Major. Standard tuning. AABB. Roche Collection, 1982, vol. 3; No. 94, pg. 29.

 

TARTAN ON THE HEATHER, THE. Irish, Strathspey. Ireland, County Donegal. A Major. Standard tuning. AA’B. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 80.

 


TARTAN PLAID, THE. AKA and see "Wild Salamanca", "Salamanca {Reel} [1]," "The Maigue's Tide," "The Coronation Reel." Irish, Reel. Co-composership of the tune was credited to North Kerry fiddler Paddy Bawn O’Sullivan by himself. A version of this tune appears as an untitled reel in Brendan Breathnach’s CRÉ V (1999, No. 204, pg. 97), obtained from a Radio Éireann recording of Glin, County Limerick, fiddler Mrs. Long.

 

TARTAN PLAIDIE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. When a fashion for Scottish dancing hit London at the turn of the 18th century, “The Tartan Plaidie” was one of the tunes danced to, as we see in this excerpt from a London paper called The Star (06/01/1799), which reported on a recent ball at Oatlands Palace, Surrey, England:

***

At the fete given by Her Royal Highness, the Duchess of York, at Oatlands on the 30th of May (1799),

the dances were as follows: 1. Ramah Droog. 2. Miss Murray of Auchtertyre. 3. The Tartan Plaidie.

4. Lady Harriet Hope’s Reel. And lastly, the enchanting tune of Miss Gordon of Troupe’s Strathspey

was called for by Princess Augusta, and danced twice over by all the fet. Between the second and

third dance, Their Majesties desiring to see the Highland Reel in all its purity, it was danced by the

Marquis of Huntley and the Lady Georgiana Gordon, Colonel Erskine and Lady Charlotte Durham,

with all the elastic motion, hereditary character, and boundless variety of the Scottish dance.

***

 

TARTAR, THE. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody was first published in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 2:340, 1757). It was picked up by publisher J. Johnson for Two Hundred Favourite Country Dances, vol. 8 (London, 1758, pg. 100). There have been several Royal Navy ships called The Tartar—perhaps there is a connection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 1.

X:1

T:Tartar, 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:D

D2 (3Bcd)|BGAF|GABG|E2B2|D2 (3Bcd|BGAF|defd|B2d2:|

|:defd|ecdB|AcdF|E2B2|DEFG|ABAF|GEAF|D2d2:||

 

TARVES TRIPPER, THE. Scottish, Strathspey. F Major. Standard tuning. AB. Composed in 1933 by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), called the greatest exponent of the Scottish fiddle in the 20th century. Henderson dedicated the tune to Jamie Morrison, an Abderdeen violinist and dancing master. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 152, pg. 61. Henderson (Flowers of Scottish Melody), 1935.

           

T'AS PASSE PAR LA FENETRE. See "Longue Pointe Two-Step."

           

T'AS VOLE MON IDEE (You Stole My Mind). AKA and see "Valse de Carencro," "Valse a Alida."

           

TASMAN'S HUNT. English, Reel. B Minor. Standard tuning. ABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 198.

           

TASSEAU WALTZ. AKA and see "Valse de Tasseau."

           

TASTE DA GREEN. AKA and see "Da Aald Wife o Niddister." Shetland, Shetland Reel. D Major. Standard tuning. AABB. This reel celebrates the coming of spring, when sheep could again graze off the new grass of the meadows. A variant of the tune was also found on Yell, Shetland, though with the parts reversed. Source for notated version: Arthur Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 23. Hunter (Fiddle Music of Scotland), 1988; No. 221.

           

TASTE OF GAELIC, A (Blasad Ghaidhlig).  AKA and see “The Scotch Patriots Reel.” Scottish, Reel. D Major. Standard tuning. AABB. A variant of “Lord Gordon’s.” The tune was first recorded in 1936 by Angus Allan Gillis and Dan J. Campbell on 78 RPM. The Gaelic title “Blasad Ghaidhlig” comes from Mary MacDonald, via pianist Doug MacPhee. Mark Wilson suggests the “Taste of Gaelic” title stems from the saying that musicians who played with a “pure drop” traditional style had “Gaelic in their music.” Cranford (Jerry Holland: The Second Collection), 2000; No. 127, pg. 48. Green Trax CD Trax 203, Buddy MacMaster – “Judique Flyer.” Rounder Records, John L. MacDonald with Doug MacPhee – “Formerly of Foot Cape Road.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

TATER BLOSSOM. Old-Time, Breakdown. A Minor. Standard tuning. AB. Source for notated version: Lynn Smith [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 237.

           

TATER PATCH. Old‑Time, Breakdown. USA, North Carolina. A Mixolydian. AEae or Standard tuning. AAB (Brody): AABBB (Johnson, Phillips). A Blue Ridge Mountain regional dance piece. Mt. Airy, western North Carolina, fiddler Tommy Jarrell related to musician and folklorist Mike Seegar:

***

There was a fellow by the name of Ike Leonard...he was a working

in the potato patch and this tune come in his mind. And he just

throwed down what ever he was a doing and went to the house

and got his banjo and played it. It must have happened about

1910...before 1920. I got it through (his uncle) Charlie Barnett

Lowe...along in the '20's. Charlie Barnett's brother married Ike

Leonard's widow so I got the straight story to 'The Tater Patch

Tune'...the way it was told to me now.

***

In The Portland Collection the tune is directly attributed to Jarrell’s frequent playing partner banjo player Charlie Lowe, with the same story (i.e. that the tune came to Charlie while he was out in the field digging potatoes and that he ran to the house, got out his banjo and played it). This latter attribution comes from Mt. Airy region fiddler Ernest East. Sources for notated versions: Ruthie Dornfeld (Seattle, Washington) [Phillips]; Paula Walters (Corvalis, Oregon) [Songer]. Brody (Fiddler’s Fakebook), 1983; pg. 273. Johnson (Kitchen Musician No. 2: Old-Timey Fiddle Tunes), 1982 (revised 1988 & 2003). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 238. Songer (Portland Collection), 1997; pg. 192. County 778, Tommy Jarrell ‑ "Pickin' on Tommy's Porch" (1984). Rounder 0045, Highwoods String Band‑ "Dance All Night."

See also listings at:

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

                       

TATERO. Spanish, Jig. Spain, Aragon.

X:1

T: Tatero
O: Aragon
M:6/8

L:1/8

Z:Manuel Waldesco
K:Cmin
g2f|:ede fef|gfg a2g|fef agf|1g2e g2f:|2e3g2f|
|:ede fef|gfg a2g|fef agf|1g2e g2f:|2e3c2c|
|:cBB BAA|A2G2 GG |AAA BBB|1d2c2cc:|2c3c2c
|:cBB BAA|A2G2 GG|AAA BBB|1d2c2cc:|2c6

                       

TATER'S ON THE TABLE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

T'ATHAIR JACK WALSH. See "Tatter Jack Walsh."

 

TATTER JACK. The tune is a member of the "Bung Your Eye" group of airs, which include "Off to the Hunt," "Mount Your Baggage [1]," "The Antrim Lasses," "Bonnie Strathmore," and "The Boys of Carrigallen," among others. American Veteran Fifer, 1927; No. 28.

 

TATTER JACK WALSH (T'Athair Jack Walsh). AKA ‑ "Tatter Jack Welch." AKA and see “Cone’s Favourite,” "Father Jack Walsh," “Harry Barrett’s Favourite,” "Kitty of Ballinamore," "So Now My Dear Johnny," "To Cashel(l) I'm Going [1]."  Irish, Jig and Air. D Mixolydian (Allan, Breathnach, Carlin, Harker/Rafferty, Hinds, Mulvihill, O'Neill, Taylor, Tubridy): D Major (Cole, O'Neill/1001, Russell). Standard tuning. AABB (most versions): AA’BB (Harker/Rafferty, Russell). A frequently played jig played under several names. The name derives from the Irish title "An t‑Athair Jack Walsh;” Athair meaning Father, as in a Catholic priest and the form An t-Athair being Irish Gaelic usage before a proper name. Carlin begs comparison with "Kate Caulfield's Jig" which he thinks is probably a variant of this tune. Tunes which are the same basic melody are "The Palatine's Daughter," "The Garden of Daisies [2]", "Savourna Delight," and "An (Garbh‑) Chnoicin Fraoigh" (The Rough, Heathy Little Hill). See also the possibly partly-related “Little Brown Jug.” The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

***

The title is among those mentioned in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of which goes:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls - 
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see 
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright - 
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,” - 
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”

***

Sources for notated versions: Bobby Brown (Toronto) [Hinds]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; fiddler Aggie Whyte, of the famous east County Galway ceili band The Ballinakill Traditional Players [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 32, pg. 8. Breathnach (CRÉ V), 1999; No. 12, pg. 8. Cole (1000 Fiddle Tunes), 1940; pg. 61 (appears as "Tatter Jack Welch") and 72. Harker (300 Tunes from Mike Rafferty), 2005; No. 174, pg. 54. Hinds/Hebert (Growling Old Woman), 1981; pg. 24. Joyce (Old Irish Folk Music and Songs), 1909; Nos. 9, 169, 191, 254, and 492. Kerr (Merry Melodies), vol. 1, pg. 39. Levey (Dance Music of Ireland), pg. 8. Miller and Perron (Traditional Irish Fiddle Music, vol. 1), No. 39. Mulvihill (1st Collection), 1986; No. 22, pg. 69. O'Neill (Krassen), 1976; pg. 38. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; Nos. 885 and 434. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 136. Petrie‑Stanford (Complete Collection), Nos. 731, 325, and 505. Reavy, No. 21. Robbins, Nos. 55 and 31. Roche Collection, vol. 1, No. 9. Russell (The Piper’s Chair), 1989; pg. 28. Taylor (Crossroads Dance), 1992; No. 43, pg. 33. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 36. Gael-Linn CEFCD 142, Seán Ryan – “Siúil Uait/Take the Air.” Shaskeen - "Mouse Behind the Dresser." Dervish – “A Midsummer’s Night Session” (Video. Performed with flute player Seamus Tansey).

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:Tatter Jack Walsh

M:6/8

L:1/8

K:D Mixolydian

e|fef ded|cAB c2A|dcA GFG|Add efg|fef ded|cAB c2A|dcA GFG|Add d2:|

|:A|dfa afd|dfa a2f|gef g2a|gef gfg|afd ded|cAB c2A|dcA GFG|Add d2:|


 

TATTER JACK WELCH. See "Tatter Jack Walsh."

 

TATTER THE ROAD (Stracad/Buail an Botar). Irish, Single Jig. D Major/G Major (O’Neill): D Mixolydian/G Major (Stanford/Petrie). Standard tuning. AAB (Stanford/Petrie): AABB (O’Neill). The modal modality of Stanford/Petrie’s version works much better. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 906, pg. 169. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 381, pg. 77. Stanford/Petrie (Complete Collection), 1905; No. 522, pg. 132. 

X:1

T:Tatter the Road

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 381

Z:AK/Fiddler’s Companion

K:G
d|cAG F2D|G2G G3|ABA A2G|F2G A2d|cAG FED|G2G G3|ABA B2G|AFD D2
:|

|:d/e/|f2d d2e|f2d cBA|B2G ABc|B2G AFD|f2d efg|f2d cBA|B2G cAF|G3 G2:|

 

TATTOO.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. There were many such-titled tunes as “tattoo” is a generic term in martial music. This melody appears unique to Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 13.

X:1

T:Tattoo

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

(A/B/c/)|ddd(c/B/) AF dF|AF fd|AFGF|ddd(c/B/)|AF de|fdec|d2 D:|

|:(f/g/)|aaa(g/f/)|gefd|afge|fdec|aaa(g/f/)|gefd|edec|d2 D:||

 

T’AULD WIFE OF COVERDILL.  See “The Old Wife of Coverdale.”

           

TAUNTON DEAN. AKA and see "There Was An Old Fellow at Walthan Cross." The tune was printed under this title in the ballad opera The Jovial Crew (1731).

           

TAY IN A BUCKET. Irish, Hornpipe. Tara Records 4008, “Josephine Marsh” (1996).

                       

TAYLOR.  AKA and see “The Drummer,” “Good Morning to Your Night Cap [2].”

 

TAYLOR BROWN. Rounder 0436, Bill Mustain  – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”

                       

TAYLOR RYAN. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 41, pg. 15.

           

TAYLOR'S FANCY (Rogha an Táilliúra). AKA and see "Paddy Taylor's (Slide)." Irish, Slide (12/8 time). D Mixolydian. Standard tuning. AABB. The melody is called “Paddy Taylor’s Slide” in Treoir, V, 6. Source for notated version: flute player Paddy Taylor (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 55, pg. 24. Claddagh Records CC8, Paddy Taylor ‑ "The Boy in the Gap" (1969).

           

TAYLOR’S (HORNPIPE). AKA and see “Bealltaine,” “Butchers of Bristol,” “Five Miles From Town [2],” “Geary’s Hornpipe,” “May Day [2],” “Mullingar Races [2]," “The Rover Through the Bogs.” Irish, Hornpipe. G Major. Standard tuning. AA’BB’CC’. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 129, pg. 65.

X:1

T:Taylor’s

M:C|

L:1/8

R:Hornpipe

B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 129  (1976)

Z:AK/Fiddler’s Companion

K:G

(3DEF|:GABG ABcA|dg{a}gf dedc|(3Bcd BG (3ABc AF|GBAF DEFD|

GABG AB (3cBA|defa gfdc|(3Bcd (3Bcd cAFA|1 (3GBd (3gdB G2 (3DEF:|2 G2 {A}GF G2 (3def||

|:gfga gfdg|~g2 af gfde|=fefg fecf|~=f2 cf dcA^F|

GABG ABcA|defd gfdc|(3Bcd (3Bcd cAFA|1 GBAF G2 (3def:|2 GBAF G2 ag||

|:(3faf de fgaf|gfga bgag|(3faf de fgaf|gfdB cAFA|

GABG ABcA|defa gfdc|(3Bcd (3Bcd cAFA|1 (3GBd (3gdB G2 ag:|2 GBAF G2z2||

           

TAYLOR’S (JIG). AKA and see “Banks of the Shannon,” "Foynes Jig,” “Paddy Taylor’s [2].” 

 

TAYLOR'S MARCH [1]. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. ABC. Source for notated version: Mount Pleasant Tablatures (a fife MS from southwestern Pa., 1950's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 228E, pgs. 187‑188.

 

TAYLOR'S MARCH [2?]. Old‑Time. The tune was not used for dancing. It is perhaps "Taylor's Quickstep" [2]. Recorded by Herbert Halpert for the Library of Congress (2743-A-3), 1939, from the fiddling of H.L. Maxey (Franklin County, Va.).

 

TAYLOR’S MARCH. See “Bob Taylor’s March.”

 

TAYLOR'S MEASURE, THE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 353.

 

TAYLOR'S QUICKSTEP [1]. AKA and see "Monongahela College," "Dandy Jim o' Caroline [2]" (Pa. floater). American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) believes this tune was derived from the Irish tune that, in both jig and reel versions, is called "The Templehouse." Source for notated version: Mount Pleasant Tablatures (a fife MS from southwestern Pa., 1950's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 226B, pg. 184.

 

TAYLOR'S QUICKSTEP [2]. AKA and see "Monroe County Quickstep." Old‑Time, Quickstep. USA, Kentucky. F Major (‘A’ part) & C Major (‘B’ part) Standard tuning. The late prof. Charles Wolfe believed that Kentucky fiddler Leonard Rutherford, who recorded the tune in 1929, may have learned it from one of the famous fiddling governors of Tennessee, Alf and Bob Taylor. The previous year, though, Rutherford had recorded with Dick Burnett, Byrd Moore, and a fiddler named Jim Taylor from Norton Virginia (just over the state line from Kentucky). It is not known if the latter had anything to do with this tune. The tune was also released under the title "Monroe County Quickstep." See also "Washington Quadrille" and "Up and Down Old Eagle Creek." See note for “Bob Taylor’s March” for more on the brothers. Rounder 1004, "Ramblin' Reckless Hobo: the Songs of Dick Burnett and Leonard Rutherford."

 

TAYLOR’S REEL. Irish, Reel. Composed by Paddy Taylor, a London-based flute player. The tune was popularized by the Castle Ceile band in 1966. Paddy Keenan - “The Smoky Chimney.”

 

TAYLOR’S REEL. Irish, Reel. A Major. Standard tuning. ABC. O’Malley Collection, 1976; No. 35, pg. 18 (source unknown).

X: 1

T: Taylor's

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: Reel

K: A

A,2 CE ABcA | B^ABc dB ~B2 | A,2 CE Acaf | ecBd cA A2 |

A,2 CE Aafe | dcdB AGEC | A,2 CE A2 af | ecBd cA A2 ||

aece a2 fa | acAc BAFA | aece fbaf | ecBd cA A2 |

aA (3cBA fAcA | (3dcB (3cBA BAFG | A2 ce fbaf | ecBd cA A2 ||

ce ~e2 ceae | fc~c2 BAFA | (3cde af ecAF | EFAB cA A2 |

e^def ecAc | ecae cB~B2 | A2ce fbaf | ecBd cAA2 ||

 

TAYLOR'S TWIST. AKA and see "Tailor's Twist."

 

TAYMOUTH. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Daniel Dow's c. 1775 collection (pg. 12).

                          

TAYMOUTH CASTLE. AKA and see “Taymouth House.”

                          

TAYMOUTH HOUSE. Scottish, Reel. A Mixolydian. Standard tuning (fiddle). AB (Surenne): AABBCCDD (McGlashan). It is perhaps the “Taymouth” whose appearance John Glen (1891) finds earliest in print in Daniel Dow's c. 1775 collection (p. 12). McGlashan (A Collection of Reels), c. 1786; p. 10. Surenne (Dance Music of Scotland), 1852; p. 91 (appears as “Taymouth Castle”).

X:1

T:Taymouth House

M:C|

L:1/8

S:McGlashan – Reels

Z:AK/Fiddler’s Companion

K:Amix

|:ceea faea|faeg f2B2|ceea faea|feac B2A2:|

|:ceeA cAec|dffB dBfB|ceeA cAec|dfce B2A2:|

|:ceea faea|faeg f2B2|ceea faeg|faec B2A2:|

|:ceAe cAec|dfBf dBfB|ceAe cAec|fdec B2A2:||

                       

TAYMOUTH HERMITAGE. Scottish, Jig. D Major. Standard tuning. AABB. Composed by Macolm MacDonald. MacDonald (A Collection of Strathspey Reels, vol. 1); pg. 3.

X:1

T:Taymouth Hermitge

M:6/8

L:1/8

R:Jig

S:MacDonald – Collection of Strathspey Reels, vol. 1

Z:AK/Fiddler’s Companion

K:D

F/G/ | AFD AFD | GE=C C2 F/G/ | AFD AFD | AFD AFA | BGB AFD |

GEC =CFG | AFA dAG | F3D2 :: g | fdd def | ge=c (c2g) |

fdd def | g3e2g | fdd def | gec c2g | f[ca]f geg | f3d2 :|

           

TAYNADALOCH HOUSE. Scottish, Reel. D Major. Standard tuning. AAB. Composed by Malcolm MacDonald, appearing in his first collection, dedicated to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1); pg. 14.

X:1

T:Taynadaloch House

M:C|

L:1/8

R:Reel

S:MacDonald – Collection of Strathspey Reels, vol. 1

Z:AK/Fiddler’s Companion

K:D

F | (D/E/F/G/) (AF) (D/E/F/G/) (AF) | (D/E/F/G/) (AF) BEEF | (D/E/F/G/) (AF) (D/E/F/G/) (AF) | GBEG FD D2 :|

f | (a>ba>)f dfaf | gebf geef | a>ba>f  dfaf | geaf d2 (df) |

a>ba>f dfaf | gebf geeg | f>aef dBGF | (D/E/F/G/) AE FD D ||

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