The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
Home Alphabetical Files
References
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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 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.
***
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 |
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
X:1
T:Tatter the Road
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of
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).
TAYLOR BROWN. Rounder 0436, Bill Mustain –
“Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”
TAYLOR RYAN. Canadian, Reel.
X:1
T:
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|
|: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||
X: 1
T:
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 ||
TAYMOUTH. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Daniel Dow's c. 1775 collection
(pg. 12).
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 “
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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[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.