The Fiddler’s Companion
© 1996-2008 Andrew Kuntz
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Home Alphabetical Files
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation, 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
B2 e
B2 e
faf
f2 e efe B2 A | FED FAF E3 E2 ||[COMMENT3][COMMENT4]
T-AISEADH DO
DH'EIREANN, AN. AKA and see "Crossing to Ireland."
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." Irish, Jig. G Major. Standard. 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 (
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. 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. 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
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.
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.
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
***
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:
TÁ MO MUIRNIN IN
TÁ NA CAIMBÉALAIGH AG
TEACHT. AKA and see "The Campbells are Coming [2]."
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.”
TABLEAU, THE. Canadian, English?; Clog. G Major ('A' part)
& D Major ('B' part). Standard. 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
TABOUR. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in
X:1
T:Tabour
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in
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
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
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
TAGGART’S
REEL [1].
American, Reel. A Major. Standard tuning. AABB. Source for notated
version: the 1938 typewritten manuscript of
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. William Nisbet died in January of 1783 (thus Gow’s
“late Mr. Nisbet”), and clearly, versions of the tune predate him, making the
attribution erroneous. He was the husband of Mary Hamilton of Pencaitland, whom
he married in 1747 in a union of two powerful East Lothian families, and was a
Freemason and Grand Master of the Grand Lodge of Scotland in 1746-1747. 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.”
***
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.