The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
Home Alphabetical Files
References
TE |
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] |
TE PETITE ET TE MEON. Cajun, Song Tune. USA, La. Recorded by the hackberry Ramblers on
Bluebird Records, a Cajun string band named after a small town near Lake
Charles, La.
TEA BAG BLUES. See "Teabag Blues."
TEA GARDENS. Canadian, Jig. Canada; Cape Breton, Prince Edward Island. G Major. Standard
tuning. AA’BB’. Composed by fiddler Angus Chisholm (1908-1979) for the Tea
Gardens Chinese resteraunt in Sydney, Cape Breton. Source for notated version:
Stephen Toole (1927-1995, Green Road, Queens County, Prince Edward Island)
[Perlman]. Cranford (Jerry Holland’s),
1995; No. 258, pg. 74. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 124. Shanachie 14001, "The Early Recordings of Angus
Chisholm.”
X:1
T:Tea Gardens
C:Angus Chisholm
D:Early Recordings of Angus Chisholm
Z:Nigel Gatherer
L:1/8
M:6/8
K:G
B2 c|d^cd b2 a|g2 d B2 d|cBc ezc|A3- A2 G|
FDF A2 d|f2 d A2 B|cBc edc|B3 B2 c|
d^cd b2 a|g2 d B2 d|cBc ezc|A3- A2 G|
DF A2 d|f2 d A2 B|cBc bfa|1g3:|2g3 g2||
z|B,DG BGD|BDG Bdg|e^de B2 =d|c3- c2 B|
ABc ABc|a2 g f2 e|d^cd ed=c|B3 d3|
B,DG BGD|BDG Bdg|e^de B2 =d|c3- c2 B|
ABc a2 g|f2 e A2b|c'bc' e2 f|g3|]
TEA IN THE MORNING ("Tea Air Maidin" or "Tae Ar
Maidin").
AKA and see "Flag of the Fire,"
"Jimmy Guiry." Irish, Slip Jig.
Ireland, Munster. G Major. Standard tuning. One part (Howe): AB (Cole): AAB
(Joyce, O'Neill): AABB (Kennedy, Stanford/Petrie). Source for notated version:
“A Munster jig from James Buckley. From (the Irish collector) Mr. P. Joyce”
[Stanford/Petrie]; Joyce noted the tune in 1853 from Buckley, a Limerick piper
[Joyce]. Cole (1000 Fiddle Tunes),
1940; pg. 75. Howe (1000 Jigs and Reels),
c. 1867; pg. 25. Joyce (Ancient Irish
Music), 1890; No. 82, pg. 84. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 82, pg. 19. O'Neill (Krassen),
1976; pg. 79. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1120, pg. 212. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 414, pg. 82. Ryan’s Mammoth Collection, 1883; pg. 106. Stanford/Petrie (Complete Collection), 1905; No. 923, pg.
234.
X:1
T:Tea in the Morning
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
414
Z:AK/Fiddler’s Companion
K:G
d2G GF/G/A/ B3|Gzd dzG ABc|d2G
GFG/A/ B3|edB AGF ABc:|
|:ded czd B3|Gzd dzG ABc|ded czd
B2c|dcB AGF ABc|ded czd B3|
Gzd dzG ABc|dzg fdc B2c|dcB AGF
ABc:|
TEA JIG, THE. AKA and see “Coolea
Jig,” “Cuil Aodha Jig.”
TEA POT, THE.
English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB.
The melody is unique to London publishers Charles and Samuel Thompson’s 1757
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 48.
X:1
T:Tea Pot, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:F
f2 cA|FEFG|ABcd|B2 A2|gedc|dBAG|AFED|C4:|
|:c2
eB|A^FGA|Bcd_e|FEFA|Bcde|fcdB|AdBG|F4:||
TEA REEL, THE. Irish, Reel. G Major. Standard tuning AAB. A
version of “The Boyne Hunt [1].” The
tune was played by Westmeath born piper R. W. O'Mealy, who died in 1947 in
Belfast. O'Mealy's setting was obtained
from one Piper Kelly in 1904.
X:1
T:The Tea Reel
R:Reel
D:R. L. O'Mealy : Piper Kelly
Z:Wilbert Garvin published in An
Piobaire, Oct. 1996
M:C
L:1/8
K:G
BAFA ~D2FA|~D2FA BE~E2|BAFA ~D2|ABde
fdd2:|
A2AF A2AF|GFGA BE~E2|A2AF A2F|ABde
fdd2|
A2AF A2AF|GFGA BE~E2|FGEF ~D4|ABDE
FDD2|
TEA ROOM, THE. English, Jig. England, Northumberland. F
Major. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 2; No. 272.
TEABAG BLUES. AKA and see "Oh Where, Oh Where, is
My Darling Tonight" (??). Old‑Time, Breakdown. G Major. GDad
tuning. AABB. A modern "old‑time" composition by West Coast
fiddler Hank Bradley. Source for notated version: Liz Slade (Yorktown, New
York) [Kuntz]. Kuntz, Private
Collection. Marimac 9009, Judy Hyman ‑
"Old Time Friends" (1987). Hank Bradley – “Poison Coyote Kid.”
X:1
T:Tea Bag Blues
M:2/4
L:1/8
C:Hank Bradley
N:GDAD tuning
K:G
G,>A, B,>G,|D>E D>D|G2 [G2c2]|(A [G3B3])| G,>A, B,>G,|D>E D2|D>E D>C|
B,>G, A,2| G,>A, B,>G,|D>E D>D|G2 [G2c2]|(A [G3B3])|d4|B3B|A2G2|G4:|
|:A/B/|cBcB|A2B2|(Bc2)(B|c3>)(c|c)A B2|AG E2|(AB2)(A|B2(AB|c2)cB|A2B2|
c>B
cc|d3 d|B>A B2|AG3 |G3:|
TEAC AN TEAMPUILL. AKA and see "The Templehouse (Reel)."
TEAC ANNSA GLEANN, AN. AKA and see "The
House in the Glen [1]."
TEAC BEAG TAOB AN
CNUIC(, AN). AKA and see "Hillside Cottage," "The Little House Under the Hill."
TEAC SMUITEAMAIL, AN. AKA and see "The Smoky House."
TEACH ANNESBROOK. AKA and see “Annesbrook House.”
TEACH AR AN gCOIRNÉAL, AN (The Corner House). AKA and see “The Corner House [1].”
TEACH ASHMOLEAN. AKA and see “Ashmolean House.”
TEACH BHAILE AN CHUAIN. AKA and see “Harbourstown House.”
TEACHÍN AN GHLEANNA. AKA and see "The Glen
Cottage Polka [1]."
TEACHÍNÍ GHORT NA
gCLOCH. AKA and see “The Rockfield Cottages.”
TEACHT NA N-GEANA
FIADHAINE (The Return of the
Wild Geese).
AKA and see "Sean Buidhe"
(Yellow John).
TEACHT TRÍD AN SEAGAL, AN. AKA and see “Coming Through the Rye.”
TEACTAIRE, AN. AKA and see "The Messenger."
TEAGUE'S RAMBLES. Irish, Air (9/8 time). C Major. Standard tuning. AABBCCDD. A lively
Irish air composed by the harper Tadhg MacDonal MacRory of Townagh, County
Clare, in the first half of the 16th century. It was printed by Playford in 1651
as "The Irish Lady" or "An(n)iseed Water Robin." The
melody can also be found in Hime’s New
Selection...Irish Airs (c. 1800). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 83, pg. 20.
TEAHAN’S DELIGHT. See “Matt Teahan’s Delight.”
TEAHAN'S FAVORITE
POLKA. AKA and see “Ballynahulla No. 1,“ “Ballyhoura Mountains,” “Cuz Teahan’s [1],” “Lucy Farr’s (Polka) [1],” “Mike Buckley’s Favourite.”
Irish, Polka. A Major. Standard. AABB. Carlin (Master Collection), 1984; No. 279, pg. 157. Taylor (Traditional
Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 35.
X:1
T:Teahan’s Favorite Polka
M:2/4
L:1/8
R:Polka
K:A
B | ce/c/ BA | FA AB | ce/c/ BA | Bc
e>f | ec BA | FA AB | cB/c/ ec | BA A2 :|
|: a>f ec | ecBA | afec | B/c/d
e2 | a>f ec | ecBA | cB/c/ ec | BA A2 :|
TEAMPALL AN
GHLEANNTÁIN [1]. AKA and see "Templeglantine Reel" [1].
TEAMPALL AN GHLEANNTÁIN [2]. AKA and see "Templeglantine Reel" [2], "The Maids of Mitchelstown."
tÉAN AR AN gCRANN, AN (The Bird on the Tree). AKA and see “The Bird in the Tree.”
TEANN A NALL IS CUM DO
GHEALLADH. AKA and see "Come Along and Keep Your
Promise."
TEAR IT TO RAGS (Stróic ina Ghiobail É). Irish, Single Jig (12/8 time). G
Major. Standard tuning. AABB. Source for notated version: fiddler and uilleann
piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the
1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 67, pg. 33.
TEAR THE CALICO [1] (“Strac an Eadaig/Cadas” or “Stróic an Ceaileacó”). Irish, Reel. G Major (E Minor?).
Standard tuning. ABC. Source for notated version: Chicago fiddler Liz Carroll
& accordion player Tommy Maguire [Breathnach]. Breathnach (CRÉ III), 1985; No. 137, pg. 64. O'Neill
(1850), 1903/1979; No. 1255, pg. 298. O'Neill (1001 Gems), 1907/1986; No. 525, pg. 98. Hemisphere
7243 8 31216 25, The Bothy Band - “Celtic Graces” (1994. Appears as “Rip the
Calico”). Mulligan, The Bothy Band - “Out of the Wind into the Sun” (1977.
Appears as “Rip the Calico”).
X:1
T:Tear the Calico [1]
T:Rip the Calico
R:Reel
M:4/4
L:1/8
K:G
GE ~E2 cABG|AG (3EFG AcBA|GE ~E2
cABG|ABGE D2 DE|
GE ~E2 cABG|AG (3EFG AcBA|d2 cA
BGAF|1GEDE G3 A:|
2GEDE G||GA|
Bd ~d2 cBAG|AG (3EFG AGAc|Bd ~d2
cBAG|ABGE D2 Dd|
Bd ~d2 cBAG|AG (3EFG AGAc|Bd ~d2
eBdB|AG (EFG cA{d}BA||
G2 BG ~G2 BG|AG (3EFG AcBA|G2 BG ~G2
BG|ABGE D2 DE|
G2 BG ~G2 BG|AG (3EFG AcBA|G2 BG ~G2
BG|ABGE D2 D2||
TEAR THE CALICO [2] (Stróic an Ceaileacó). AKA and see “Rip the Calico.” Irish, Reel. D Major.
Standard tuning. AB (Breathnach/No. 274): ABC (Breathnach/No. 245): ABBC (Moylan):
ABBCC (Taylor). Breathnach (1976) says “this is a wrenboys reel,” referring to
the ritual procession of boys in Ireland at New Year. David Taylor (1992) is of
the opinion the tune should be played at a steady pace with a hornpipe rhythm.
The 'B' part is very similar to the 'B' part of version #1. Sources for notated
versions: fiddler Tom Barrett, 1971 (Clonmel, County Tipperary) [Breathnach];
flute player James Murray (Co. Sligo) [Flaherty]; probably learned by accordion
player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) from the
playing of the Chieftains, recorded in recital at Na Píobairí Uilleann, March,
1987 [Moylan]. Breathnach (CRÉ II),
1976; Nos. 274, pg. 141, & 245, pg. 127 (appears as "gan anim,"
or untitled). Breathnach (CRÉ III),
1986; No. 137. Flaherty (Trip to Sligo),
1991; pg. 173 (appears as "unknown"). Moylan (Johnny O’Leary), 1994; No. 161, pg. 93. Taylor (Through the Half-door), 1992; No. 40,
pg. 28. Green Linnett GLCD 1119, Cherish the Ladies -
"The Back Door" (1992). Green Linnet GLCD 1187, Cherish the Ladies –
“One and All: the best of Cherish the Ladies” (1998). Shaskeen - "Shaskeen
Live."
X:1
T:Tear the Calico [2]
T:Rip the Calico
R:Reel
M:4/4
L:1/8
K:D
B|~d3 c defd|ef (3Bcd egfe|~d3 c
defd|efdB A3 :||
B|dB~B2 g2fd|ef (3Bcd egfe|dB~B2
g2fd|efdB A3 :||
e|fa{b}af gefd|ef (3Bcd egfe|fa{b}af
gefd|efdB A3 B|
fa{b}af gefd|ef (3Bcd egfe|fa~a2
bfaf|edef gefe||
X:2
T:Tear the Calico
M:C|
L:1/8
R:Reel
S:Brian Conway
K:D
A2 |: d2 {e}dc defd | edBd egfe | d2 {e}dc defd |1 eBdB A2 AB :|2 eBdB A3 ||
|: B | d ~B3 g2 fd | edBd egfe | d B3 g2 fd | eBdB A3 :|
|| g | f ~a3 g2 fd | edBd e^deg | f~a3 g2 fg | eBdB A3g | f~a3 g2 fd |
edBd e^deg | f~a3 bfaf | e^def g2 fe ||
TEAR THE CALLIES. AKA and see "Castle Jig [1],"
“Kerrigan’s Jig,” “The Kesh Jig [1],” "The Kincora Jig," “The Mountaineers' March.” Irish,
Slide (12/8 time). G Major. Standard tuning. AABB. Stanford/Petrie (Complete Collection), 1905; No. 523, pg.
132.
X:1
T:Tear the Callies
M:12/8
L:1/8
S:Stanford/Petrie (1905), No. 523
Z:AK/Fiddler’s Companion
K:G
G2E GAB A2G ABd | ede gdB AGA BGE |
G2E GAB A2G ABd | ede gdB AGA G2 :|
|: BGG dGG ege dGG | BGG dGG AGA BGE
| BGG dGG ege def | g3 aga bgg g3 :|
TEARS.
Canadian, Waltz. Canada, Cape Breton. A Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
303, pg. 108.
TEASSES MILL. Scottish, Strathspey. D Major. Standard tuning. AA'B. Composed by John
Forbes. Martin (Ceol na Fidhle), vol.
2, 1988; pg. 31.
TEATIME (WALTZ), THE. English,
Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 182, pg. 48.
TECHE SPECIAL. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major.
Standard tuning. One part. The tune was recorded in 1948 by accordion player
Iry LeJeune. Raymond Francois (1990) believes LeJeune played this song as early
as 1944, but that it was based on traditional music learned from Angelas
LeJeune. Related songs are Ambrose Thibodeaux's "How Come" and
"Bois Sec" Ardoin's "Quo' Faire?" Source for notated version: Iry LeJeune
(La.) [Francois]. Francois (Yé Yaille,
Chère!), 1990; pg. 282-284. Goldband Records
GB-LP7741, Iry LeJeune.
TED SMITH’S HORNPIPE. AKA – “Tite Smith’s Hornpipe.”
English, Hornpipe. D Major. Standard tuning. An irregular tune in the ‘A’ part.
From fiddler Stephen Baldwin (1873-1955) of Upton Bishop, Herefordshire, who
recorded it in 1954. Another version of the tune was published in Menteith
& Burgess The Coleford Jig,
Traditional Tunes from Gloucestershire (2004). Keith Chandler has found the
tune is named for gypsy fiddler ‘Tite’ Smith’, with whom Baldwin associated the
tune. Smith was born Josiah Smith but was known as ‘Tite Nepture’. He died in
1898 when aged about 70, in a ditch with only a few inches of water in it.
Smith had a local reputation as a tavern fiddler. Musical
Traditions MTCD334, Stephen Baldwin – “Here’s One You’ll Like, I Think” (2005).
TEDDY MALOS' JIG. American, Jig. G Major/Mixolydian. Standard tuning. AABB. Composition
credited to J. Hand in Cole's 1000.
Cole (1000 Fiddle Tunes), 1940; pg.
66. Kerr (Merry Melodies), vol. 2;
No. 266, pg. 29. Ryan’s Mammoth
Collection, 1883; pg. 95.
X:1
T:Teddy Malos’ Jig
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(c. 1883)
Z:AK/Fiddler’s Companion
K:G
(Bc) | dBG dBG | ege dBG | (ca)g
(Bg)B | cAG FED | dBG ecA |
fdB gag | fed cAF | AGG G2 :: G |
.G(gf) .g(ag) | =fde f3 | F{g}(gf) .f(gf) |
edc dcA | G{a}(gf) .g(ag) | =fde f3
| cde =fcA | AGG G2 :|
TEDDY O’NEILL. Irish, Air or Jig. D Major. Standard tuning. AB (O’Neill): AABB (Daly).
Source for notated version: O’Neill obtained the tune from the Rice‑Walsh
manuscripts, a collection of music from the repertoire of Jeremiah Breen, a
blind fiddler from North Kerry. O’Neill (Waifs
and Strays of Gaelic Melody), 1922. Gael-Linn
CEF176, Jackie Daly - “Many’s a Wild Night” (learned from manuscripts of tunes
written down by Pádraig O'Keeffe for his pupil, Paddy O'Connell of Cordal,
Castleisland).
X:1
T:Teddy O'Neill
D:Jackie Daly, "Many's a Wild
Night", track 9(c)
M:6/8
L:1/8
R:Jig
Z:Transcribed by Paul de Grae
K:D
de | "D" f2 f fef |
"G" gBe "A" dcB | "D"Add dcd |
"Em" faf "A" eAe
| "D" f2 f fef | "G" gBe "A" dcB |
"D" Adf agf |
"A" eBc "D" d :||: cd |
"A" e2 e edc |
"D" def "G" gec | "D" Add dcd |
"Em" faf "A" eAe
| "D" f2 f fef | "G" gBe "A" dcB |
"D" Adf agf |
"A" eBc "D" d :||
***
D / | G A | D / | Em A | D / | G A |
D / | A D :||
A / | D G | D / | Em A | D / | G A |
D / | A D :||
X:2
T:Teddy O'Neill
M:6/8
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Air
K:D
"Andante"F/2G/2|Aff f2 e/2f/2|gBe dcB|Add dcd|fee e2 F/2G/2|!
Aff f2 e/2f/2|gBe dcB|Adf a2 g/2f/2|e<ac d3||!
eee e2 d/2e/2|gBe dcB|Add dcd|fee e2 F/2G/2|!
Aff
f2 e/2f/2|gBe dcB|Adf a2 g/2f/2|e<ac d2||
TEDDY YOU GANDER. AKA ‑ "Thady You Gander." AKA
and see "Daniel of the Sun [1],"
"The Leg of (a) Duck,"
"Buck(e)y Highlander,"
"From the Court to the
Cottage," "O My Dear Judy,"
"O My Dear Father,
Pity Your Daughter," "I gave
to my Nelly," "Girls of
the West," "'Tis Sweet
to Think," "The Bottle of
Brandy," "Bully for You,"
"Petticoat Loose [1],"
"Nelly's Jig," "The Bonny Highlander," "She is/She’s the girl
that can do it," "Sonny Dan."
TEE REE REEL, THE (Ríl an Tí-Rí). Irish, Reel. A Dorian. Standard tuning.
AA’BB’. Related to “Dowd’s Favorite,”
recorded as “O’Dowd’s Favorite” by Sligo/New York fiddler Michael Coleman in
1921. Source for notated version: the c. 1960's collection of Jack Wade (County
Monaghan) [Breathnach]. Breathnach (CRE
IV), 1996; No. 178, pg. 83.
TEELIN, THE. AKA and see “Tom Tailor’s Highland.” Irish,
Highlands. Ireland, southwest Donegal highlands. A Mixolydian. Standard tuning.
AAB (Feldman & O’Doherty/Byrne): AABB (Feldman & O’Doherty/Doherty). There
are several tunes called “Teelin Highland,” which come from the small village
of Teelin, Donegal. Caoimhin Mac Aoidh states that most of them came through
the playing of Con Cassidy who would have obtained them from his cousins,
Frank, Paddy and Johnnie Cassidy. Composer credit for “The Teelin Highland” is
attributed to Johnnie Cassidy, Franks older brother. Sources for notated
versions: fiddler John
Doherty (1895-1980, County Donegal) [Feldman & O’Doherty, pg. 80];
fiddlers Francie and Mickey Byrne (Couty Donegal) [Feldman & O’Doherty, pg.
173]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 80 & pg. 173. Green
Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990. Learned
from Belfast musicians Dermie & Tara Diamond and Andy Dixon).
TEELIN POLKA [1], THE. AKA and see “Nicky’s
Archive.” Irish, Polka. D Major. Standard. AA’BB’. Teelin is a small
village in County Donegal. The tune seems to be associated with the
Kilcar/Glencolmcille area of Donegal, according to Mick Brown. A barndance
adaptation goes by the modern name of “Nicky’s Archive.” The tune was sourced
by the band Skylark from Danny O’Donnell, who had it from a first cousin of
Francie Byrne, in America (Mick Brown).
X:1
T: Teelin Polka [1]
S: Dermot Mclaughlin, Nicky McAuliffe
Z: Transcribed by Paul de Grae
M: 2/4
L: 1/8
K: D
AF A>B|AG G/F/E/d/|cE c>B|Ad/e/ f/e/d/B/|
AF A>B|AG G/F/E/d/|cE c/d/c/B/|1 A/F/G/E/
Dd/B/:|2 A/F/G/E/ D/E/F/G/ ||
Af f>d|ed d/c/B/c/|Bf g>f|e/d/c/B/
A/G/F/G/|
Af
f>d|ed dA/d/|cE c>B|A/F/G/E/ D/E/F/G/:|
TEELIN POLKA [2], THE. Irish, Polka. G Major. Standard.
X:1
T:Teelin Polka, The [2]
L:1/8
M:2/4
R:Polka
K:G
dc|B2D2 G3A|B2A2 ABcd|
TEETOTAL. American, Slip Jig. C Major. Standard tuning. AB. Composed by one A.
Gunn, according to the editor of Cole's
1000. Cole (1000 Fiddle Tunes),
1940; pg. 70. Ryan’s Mammoth Collection,
1883; pg. 100.
X:1
T:Teetotal
M:9/8
L:1/8
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:C
c>AG GEC DEG | c>AG GEC D2E |
c>AG GEC DEG | cAc GEG A2c |
c>AG GEC DEG | c>AG GEC D2E |
c>AG GEC DEG | cAc GEG A2c ||
c>eg gea gec | c>eg gec c2e |
c>eg gea gec | cBA GEC E2G |
c>eg gea gec | c>eg gec e2g |
agf gfe dcB | cAc GEG A2c ||
TEETOTALER'S FANCY. See "Temperance Reel," "Teetotaler('s Reel)."
TEETOTALER('S REEL). AKA and see "Temperance Reel,"
"The Bowl of Coffee,"
"O'Connell's Welcome to
Clare,” "Kingsport," “Oh My Foot,” "Old Tiddley-Toe,” “Rocky Road to Denver,” “Where is My Other Foot?” Also
called "The Devil in Georgia
[1]" by Doc Roberts (Ky.). AKA – “Teetotaler’s Fancy.” Irish, Old‑Time,
New England; Breakdown or Reel. G Major ('A' part) & E Minor ('B' part).
Standard tuning. AB (O'Neill): AABB (most versions). The word "teetotaler"
has nothing to do with any meaning built around "total" and
"tea" to mean temperance, but rather is said to come about from the
stammered pronunciation of "total" by a Richard Turner of Preston,
England, in 1832. In that year a society in the town was formed, pledged to
abstain from intoxicating liquors. There were many who urged that temperance
did not mean total abstinence, when an emotional Turner piped up that
half-and-half measures were of no use, and that “nothing but te-te-total would
do.”
***
Taylor (1992) thinks the version in
Roche (No. 80) uses "curious notation which suggests perhaps a Scottish
origin." See also the great Kerry fiddler Padraig O’Keeffe’s version of
the tune called “Road to Newbridge.”
The melody appears as “The Peeler’s
Jacket [3]” in the American collections of White and Robbins and Bayard’s Dance to the Fiddle, although the
“Peeler’s” title is usually given for another tune in Irish tradition. Other
American titles include “Oh My Foot,” “Where is my Other Foot” and “Rocky Road
to Denver.” Sources for notated versions: Frank George (W.Va.) [Krassen]; Kenny
Baker [Devil's Box, Phillips]. The Devil's Box, vol. 23, #2, Summer
1989; pg. 13. Krassen (Appalachian Fiddle),
1973; pg. 62. Jarman (Old Time Fiddlin'
Tunes); No. or pg. 22. Kerr (Merry
Melodies), vol. 1; No. 12, pg. 35. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 88. O'Neill (Dance Music of Ireland:
1001 Gems), 1907/1986; No. 795, pg. 138 (appears as "Teetotaler's
Fancy"). Phillips (Traditional
American Fiddle Tunes), 1994; pg. 238. Roche
Collection, 1982, [1] vol. 1; No. 155, pg. 61 and [2] vol. 3; No. 80, pg.
24. Ryan’s Mammoth Collection, 1883;
pg. 39. Taylor (Through the Half-door),
1992; No. 49, pg. 34. Columbia C 33397, Dave Bromberg
Band ‑ "Midnight on the Water" (1975). County 785, Kenny Baker ‑
"Highlights." F&W Records 2, "F&W String Band 2".
Fretless 103, "Clem Myers: Northeast Regional Fiddle Champion 1967 &
1970." Fretless 201, Jerry Robichaud‑‑"Maritime Dance
Party." Front Hall 01, Bill Spence and Fennig's All‑Stars‑‑"The
Hammered Dulcimer." Shaskeen - "Shaskeen Live." Pibroch
MacKenzie – “The Mull Fiddler” (1969). Topic TSCD 602, Michael J. Grogan –
“Irish Dance Music” (1995. A reissue of the 1946 original).
|:G2 GF GA
Bc|dB ge dB Ac|BE ED EF GA|BG AF GF ED|
DG GF GA
Bc|dB ge dB Ac|BE ED EF GA|Bd AF G4:|
|:Be ed
e3f|ge af gf ed|Bd d^c d3e|fd af gf ed|Be ed e3f|
ge af gf ed|BE ED EF GA|Bd AF G4:|
TEIG MOIRA'S DAUGHTER (Ingean Teig Maire). AKA and see "I Wish You Were My Darling," "It's a Pity the Officer's Son is Not With Us," "I Wish the Shepherd's Pet Was Mine." Irish, Air (4/4 time, "with expression"). G Major. Standard. AB. Francis O’Neill remembered the tune from his Bantry, west Cork, boyhood being sung by his parents. It begins:
***
Johnny bought a beaver hat,
Then Johnny bought a new cravat;
Johnny bought more things than that,
To coax Teige Maire’s daughter.
***
O'Neill (1850), 1903/1979; No. 17,
pg. 3.
X:1
T:Teig Maire’s Daughter
M:C
L:1/8
R:Air
N:”With expression”
S:O’Neill – Music of Ireland (1903), No. 17
Z:AK/Fiddler’s Companion
K:G
G|B{c/B/}ABc dedB|c{d/c/}Bce dB
G>A|B{c/B/}ABc dedB|cBG>G G3 G/A/|
B{c/B/}ABc dedB|c{d/c/}Bce dB
G>A|B{c/B/}ABc dedB|cB GA/B/ c2 {d/c/}BA||
G2 {A/G/}FD DCB,C|DcBG AF
DE/F/|G>A/2G/2 FD DCB,C|DEFD GcBA|
G>A/2G/2 FD DCB,C|DcBG AF
DE/F/|G>A/2G/2 FD DCB,C|DEFD G3||
TEIGE MAIRE'S DAUGHTER. AKA and see "Teig Moira's
Daughter."
TEIGE'S RAMBLES. Irish, Air (6/8 time). A Minor. Standard. One part. Source for notated
version: Mr. Deasy of Clonakilty, Co. Cork (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 745, pgs. 368‑369.
X:1
T:Teige’s Rambles
M:6/8
L:1/8
S:Joyce – Old Irish Folk Music
and Song (1909)
Z:AK/Fiddler’s Companion
K:A Minor
E | A>BA/B/ c>ed/c/ | BGG G2E
| A>BA/B/ c>ed/c/ | BEE E2 c/d/ |
e>fe/f/ d>ed/e/ | c/B/c/e/d/c/
{c}B2B | c/B/c/e/d/c/ d/c/d/f/e/d/ | cAA A2 ||
TEIMEAL EIBLIN. AKA and see "Eveleen's Bower."
TEIN'-AIGHEAR AIR GACH
BEANN DIUBH. AKA and see "The Bon‑Fire [1]."
TEINE MONA AR LASAD, AN. AKA and see "The
Blazing Turf Fire."
TÉIR ABHAILE ‘RIÚ. Irish, Air. See note for “The Tidy Woman.”
TEKELY. English, Jig. F Major (Kershaw): C
Major (Howe). Standard tuning. AB (Howe): AABB (Kershaw). Tekeli (1806)
was a operatic work for the theatre by Norwich-born organist and composer James Hook (1746-1827), very
popular in the early 19th century, although not a lasting work. This
march or jig began to appear in musicians’ manuscripts and published
collections beginning in 1806, from both sides of the Atlantic, spelled
variously as “Tekeli,” “Takele,” “Tekely,” “Tekeele,” etc. In America it can be
found in the music manuscript collections of Abel Shattuck (begun in 1801),
fifer Joseph Hooves (begun in 1800, New Ipswich, Mass.), fiddler George White
(begun 1790, Cherry Valley, N.Y.), and pianist Ann Winnington (c. 1810, New
York). American published collections of the era that contain the tune are Willig’s
Collection of Popular Country Dances, vol. 1 (Philadelphia, 1812), Edward
Riley’s Flute Melodies (New York, 1814), James Hulbert’s Complete
Fifer’s Museum (Greenfield, Mass., 1811), and Henry Moore’s Merrimack
Collection of Instrumental and Martial Musick, vol. 1 (Concord, 1833).
English manuscripts that contain the melody include that of Joseph Kershaw, a
fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th
century, whose manuscript dates from around 1820 onwards. English published
versions by Ball and Goulding are referenced below. Jamie Knowles
remarks that the tune survived as a Merry-go-round tune at Southport Fairground
until Victorian days. See “Quick Step in Tekeli” for another melody from that
work. Ball (The Gentleman’s Amusement, Book 3), 1815; pg. 1. Howe (Complete Preceptor for the Accordeon),
1843; pg. 25. Goulding (Twenty Four Country Dances for the Year 1808),
1808; No. 20. The Joseph Kershaw Manuscript, 1993; No. 20.
X:1
T:Tekeli
M:6/8
L:1/8
R:March
S:Howe – 1000 Jigs and Reels (c. 1867) pg. 164
Z:AK/Fiddler’s Companion
K:C
G | c2c (cBc) | A2 (c G2)G | (GAB cde) | f2d B2G | c2c (cBc) | (A2c) G2G |
(GAB cde) | (fdB) c2 || G | (c2d e3) | (efe) {e}(d2c) | {e}(d2c) {e}(d2c) |
{e}(d2c d2e) | (c2d e3) | (efe d2c) | {e}(d2c d2e) | c3c2 ||
X:1
T:Quick Step
in Tekeli
M:6/8
L:1/8
R:March
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
d2c d2e | c2d e3 | efe d2c | d2c d2 e | c3 c3 :|
X:3
T:Tekeli
M:6/8
L:1/8
R:Jig
S:Ann Winnington’s music
manuscript book (no. 24), c. 1810
N:The frontispiece indicates
Winnington resided in New York.
Z:AK/Fiddler’s Companion
K:D
A | d2d dcd | B2d A2A | ABc def | g2e c2A | d2d dcd | B2d A2A | ABc def | gec d2 ||
d2e f2f | fgf fed | {f/}e2d {f/}e2d | {f/}e2d {f/}e2f | d2e
f2f | fgf fed | {f/}e2d f2g | ….
X:4
T:Tekeli
M:6/8
L:1/8
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:C
G|c2c cBc|A2c G2c|GAB cde|f2d
B2G|c2c cBc|A2c G2c|GAB cde|fdB c3:||
c2d [c3e3]|efe d2c|{e}d2c {e}d2c|{e}d2c {e}d2e|c2d [c3e3]|efe d2c|d2c d2e|d3 c2||
TELEGRAPH, THE. AKA and see "The Shannon Breeze [1]," "What the Devil Ails You [2]?,"
"The Rathkeale Hunt," "Rolling on the Ryegrass,"
"Roll her on the banks," "The Railway Station," "Punch for the Ladies [2],"
"The Piper's Lass," "Old Molly Ahern," "McCaffrey's Reel," "Maureen Playboy," "Strac an Mhuc an Leine,"
"Sean‑Mhaire Ni
Eachthighearn." Irish, Reel. D Mixoldyian. Standard tuning. AAB. The
melody appears in Church of Ireland cleric James Goodman’s mid-19th
century music manuscripts as “The Telegraph,” although it is best known
nowadays as “Rolling on the Ryegrass.” Goodman (1828-1896) was an uilleann
piper, and an Irish speaker who collected locally in County Cork and elsewhere
in Munster. He also obtained tunes from manuscripts and printed collections.
Shields/Goodman (Tunes of the Munster
Pipers), 1998; No. 91, pg. 40.
X:1
T:Telegraph, The
M:C|
L:1/8
R:Reel
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the
Munster Pipers, No. 91 (1998)
K:D Mixolydian
(A>BAF) (DF)(AF)|G2 BG
eBAF|(A>BAF) (DF)(AF)|G2F2E2D2:||
(Ad)(de) f2 .d.d|g2 .e.e f2
.d.d|(Ad)(de) f2 df|g2 fg e2d2|
Adde f2 .d.d|g2.e.e f2.d.d|(Ad)(de)
f2a2|agfg e2 dz||
TELEGRAPH HORNPIPE. American, Hornpipe. G Major ('A' part) & D Major ('B' part).
Standard tuning. Composed by "Hall," according to Ryan’s/Cole's 1000. Christeson (Old Time Fiddlers Repertory, Vol. 2),
1984; No. 113, pg. 72. Cole (1000 Fiddle
Tunes), 1940; pg. 104. Ryan’s Mammoth
Collection, 1883; pg. 140.
X:1
T:Telegraph Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
B/A/ | G/D/B,/D/ G/F/G/A/ | B/A/B/c/
d(3d/e/f/ | g/f/e/d/ c/B/A/G/ | F/G/A/F/ D/c/B/A/ |
G/D/B,/D/ G/F/G/A/ | B/A/B/c/
d(3d/e/f/ | g/f/e/d/ c/B/A/G/ | F/e/d/F/ G :|
|: A/G/ | F/A/f/e/ d/^c/B/A/ |
G/B/g/f/ e/d/^c/B/ | ^c/e/b/a/ g/e/B/c/ | e/d/f/d/ A/B/A/G/ |
F/A/f/e/ d/^c/B/A/ | G/B/g/f/
e/d/^c/B/ | ^c/e/b/a/ g/e/B/c/ |1 dfd :|2 d/e/^c/e/ d/=c/B/A/ ||
TELEGRAPH POST, THE. Scottish, Hornpipe. C Major. Standard tuning.
AA’AA’BB. Kerr (Merry Melodies), vol.
4; No. 301, pg. 32.
X:1
T:Telegraph Post, The
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 301
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
(gf)|egec dfdB|cdec G2c2|d^cde
fed=c|B2g2g2| egec dfdB|
cdec G2c2|Aagf edcB|d2c2c2::G2|GEGc
AFAc|BGBd c2 (de)|
fefg agfe|dcBA G2G2|A^GAF BAB=G|cBcA
d2 (cB)|cagf edcB|d2c2c2:|
TELEPHONE HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. In February, 1877,
the first news dispatch was made between Boston and Salem, Massachusetts. Many of the titles in Ryan’s Mammoth Collection have Massachusetts (and New York)
associations, and Ryan’s publisher was located in Boston. The advent of the
telephone in the area must have had some great impact. Cole (1000 Fiddle Tunes), 1940; pg. 112. Ryan’s Mammoth Collection, 1883; pg.
150.
X:1
T:Telephone Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ |dd/e/ d/A/F/A/ | dd/c/
d/e/f/e/ | dd/e/ d/A/F/A/ | B/A/G/F/ E/A/B/c/ | dd/e/ d/A/F/A/ |
dd/c/ d/e/f/a/ | b/a/g/f/ g/f/e/d/ |
c/A/B/c/ d :: (b/a/) | g/f/e/d/ c/A/B/c/ | d/e/f/g/ a(g/f/) |
e/d/c/B/ ^A/F/^G/A/ | B/c/d/e/
f(=g/a/) | .b/(e/^d/e/) .a/(d/c/d/) | .g/(c/^B/c/) .f(B/^A/B/) |
a/b/g/a/ f/g/e/f/ | dfd :|
TELEPHONE REEL. AKA and see "Bunch of Kemp," “Bunch of Keys [1],” "Down the Hill," "Ducks on/in the Pond," "Flowers of Limerick [1],"
"The Mills are Grinding
[1]," "Molly Maguire [1],"
"Old Town Reel," "Paddy on the Turnpike [2],"
"Pigeon on the Pies,"
"A Rainy Day [1]," "Salt River [2]." American, Reel.
G Minor. Standard tuning. AABB. A note by the editor of Ryan’s Mammoth Collection states "As performed by C.W.
Knowlton." Alexander Graham Bell’s telephone was invented in 1876, which
dates this reel, as Ryan’s was published in 1883. It was first publicly
exhibited in the 1876 Centennial Exposition in Philadelphia, but initially did
not catch on, until Bell began to give more public demonstrations. Cole (1000 Fiddle Tunes), 1940; pg. 38. Ryan’s Mammoth Collection, 1883; pg. 65.
X:1
T:Telephone Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G Minor
D | (D/G/)z/^F/ G>A | B>GB/
(d/c/)B/G/ | (C/F/)z/=E/ F>G | A>FA/ (e/d/)A/F/ |
(D/G/)z/^F/ G>A | B/(A/B/)c/
d/(c/d/)(e/ | f/)(g/f/)d/ c/(B/A/)c/ | B/(G/A/)(^F/ G) :|
|: d | (d/g/)z/^f/ g>a |
b/(a/g/)(a/ b/)(a/g/)a/ | (c/f/)z/f/ f>g | a/(g/f/)(g/ a/)(g/f/)c/ |
(d/g/)z/^f/ g>a | b/(a/g/)(f/
{e}d/)(^c/d/)(e/ | f/)(g/f/)d/ c/(B/A/)c/ | B/(G/A/)(^F/ G) :|
TELEVISION REEL, THE. Canadian, Reel. A Major. Standard tuning.
AABB. Composed by John Durocher. Composed by Sarnia, southwestern Ontario,
fiddler John(ny) Durocher (1934-1989). According to the story told by Ron
Ritchie (Fiddler Magazine, vol. 12,
No. 2, Summer 2005; pg. 27), Composed by Sarnia, southwestern Ontario, fiddler
John(ny) Durocher (1934-1989). According to the story told by Ron Ritchie (Fiddler Magazine, vol. 12, No. 2, Summer
2005; pg. 27), the tune was named for a severe tornado in 1951 in the Sarnia
region. Don Messer, the influential radio fiddler, and his show had been booked
to play at a dance pavilion on the shores of Lake Huron that day, and the storm
made a mess of the outdoor venue. The show went on, however, with the floor
being quickly swept clear, and although some danced around felled trees that
night it was one of the largest crowds ever at the venue. Durocher, in
attendance at the event, had composed a fiddle tune and wanted to present it to
Messer; they met after the show, and this tune, “The Television Reel” became
the first of many Durocher was to write to be recorded by Messer. [See also Durocher’s tune “Tornado Hornpipe”].
***
John was born the youngest of
sixteen children, to a modest family of few resources. He quit school in his
young teens to help make family ends meet and remained a factory worker for
most of his life, not even possessing a drivers license. John came to fiddling
when he found a broken fiddle in the trash one day and asked the owner for permission
to retrieve it; with some repair work he had his first instrument. A few
lessons from a local teacher (which served to teach him how to read and write
music), were all the formal music education John received. He was a prolific
composer of fiddle tunes, however, and named them for sports and current
events, family and friends and topics of his day, explains Ritchie. Durocher’s
music was picked up by radio fiddler Don Messer, who included many of his tunes
in his broadcasts and printed collections, helping Durocher to become quite
influential in the Ontario scene for his compositions. John was born the
youngest of sixteen children, to a modest family of few resources. He quit
school in his young teens to help make family ends meet and remained a factory worker
for most of his life, not even possessing a drivers license. John came to
fiddling when he found a broken fiddle in the trash one day and asked the owner
for permission to retrieve it; with some repair work he had his first
instrument. A few lessons from a local teacher (which served to teach him how
to read and write music), were all the formal music education John received. He
was a prolific composer of fiddle tunes, however, and named them for sports and
current events, family and friends and topics of his day, explains Ritchie.
Durocher’s music was picked up by radio fiddler Don Messer, who included many
of his tunes in his broadcasts and printed collections, helping Durocher to
become quite influential in the Ontario scene for his compositions. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 72, pg. 47.
TELL
HER I AM [1] ("Inneos/Innis
Di Go B-Fuilim," or "Abair Lei go bhFuil Me"). AKA and see “Boys of the Town [4],” "Jackson's Daisy." Irish, Double
Jig. G Major. Standard tuning. AABB (Cole, Laufman, O'Neill/1850 & 1001):
AABBCC’ (Harker/Rafferty), AA'BBC (Breathnach): AA'BBCC' (Cranitch,
O'Neill/Krassen). Charlie Piggott, in his book Blooming Meadows (1998, written with Fintan Vallely), relates the
story regarding a remark by the famous County Sligo fiddler Michael Coleman
(1891-1945), then living in New York. Coleman was performing when a female
admirer asked her companion to find out from the fiddler whether or not he was
married. “Tell her I am,” he replied.
Coleman’s version of the tune was in three parts and most similar to
O’Neill’s original two-part version in the first part. Coleman recorded the jig
in New York in 1927, paired (as the second tune) with “Trip to Sligo.” Piggott
further says that Galway accordion player Joe Cooley (who also lived for some
time in America) also fancied the jig, which he learned in the 1940’s in Dublin
from the playing of Kilkenny fiddler John Kelly. A bemused Cooley often, tongue
in cheek, asked his flatmate for the name of the tune, anticipating the reply.
Invariable it came in a tortured, garbled, improperly understood variation,
“Tell Her Who Am I.” Coleman’s setting is certainly the standard setting
nowadays for the tune, although not the earliest one. O’Neill printed the tune in 1903, a different setting than that
employed by Coleman (who was a boy of 12 in County Sligo at the time). Ryan’s Mammoth (1883) includes the tune
in a setting more akin to Coleman’s (see version [2], below), which is also
similar to a setting collected by Church of Ireland cleric and uileann piper
James Goodman in Munster in the 1860s, under the title “Humours of Ballymore.”
Breathnach finds the alternate title “Jackson’s Dasey” (sic) in a manuscript
from Castleisland, County Kerry. There
is an internet report that the tune, differently interpreted, is popular with
Orange marching bands. Paul de Grae writes: “The only time I’ve heard O’Neill’s
setting played is by the anonymous céilí band on a Peter Sellers comedy
recording from 1960. It’s one of ‘Three Folk Songs, Collected in Hi-Fi’,
introduced by Sellers impersonating a German ethnomusicologist: the ban,
allegedly ‘Pat O’Shaughnessy and His Men of Shamrock’, breaks up in disorder
when one member (Sellers again, of course) accuses another of playing a bum
note. It can be found on the internet.”
***
Sources for
notated versions: fiddler Michael Coleman (Co. Sligo, Ireland/N.Y.C.)
[Breathnach, Miller & Perron]; piper Bernard Delaney, originally from
Tullamore, County Kerry [O’Neill]; New Jersey flute player Mike Rafferty, born
in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 33, pg. 15. Cole (1000 Fiddle Tunes), 1940; pg. 55. Cranitch (Irish Fiddle Book), 1996; No. 15, pg. 130. Cranitch (Irish Session Tunes: Red Book), 2000;
15. Harker (300 Tunes from Mike Rafferty),
2005; No. 228, pg. 70. Laufman (Okay,
Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall),
1973; pg. 23. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 38. O'Neill
(Krassen), 1976; pg. 20. O'Neill (Music of Ireland: 1850 Melodies),
1903; No. 749, pg. 140. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 37, pg. 23. Ryan’s Mammoth Collection, 1883; pg. 85.
Vallely (Learn to Play the Tin Whistle
with the Armagh Pipers Club), vol. 2, No. 4. Green
Linnet SIF1035, Brian Conway & Tony De Marco - "The Apples in
Winter" (1981). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill
- “The Lonesome Touch” (1997). Intrepid Records, Michael Coleman - “The Heyday
of Michael Coleman” (1973). Shanachie Records, "The Classic Recordings of
Michael Coleman."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Tell Her
I Am [1]
M:6/8
L:1/8
R:Jig
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 37
Z:AK/Fiddler’s Companion
K:G
D|edB
GAB|DED GAB|DED cBA|BGE E2d|edB GAB|DED GAB|AGE cBA|BGG G2:|
|:d|B/c/dB
def|gfe dBG|ABA AGA|BGE E2d|Bcd def|gfe dBG|AGE cBA|BGG G2:|
TELL HER I AM [2]. American, Jig. G Major. Standard tuning. AA’BB’. No relation to “Tell
Her I Am” [1]. Cole (1000 Fiddle Tunes),
1940; pg. 55. Ryan’s Mammoth Collection,
1883.
X:1
T:Tell Her I Am [2]
L:1/8
M:6/8
K:G
e|dcA G2B|DDD G2B|ABA cBA|BGE
c2e|dcA G2B|DDD G2B|
ABA cBA|1 BGE c2:|2 BGE E2||:c|BGB
d2d|BGB d2d|BGB d^cd|
e=cA A2c|BGB def|gfe dcB|AGA cBA|1
BGE E2:|2 BGE c2e||
TELL HER I AM [3]. AKA and see “Brennan’s
Favourite,” “Richard
Brennan’s Favorite.” Irish, Double Jig. D Major. Standard tuning. AABB.
Does not seem to resemble “Tell Her I Am [1].” Source for notated version:
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan]. Moylan
(Johnny O’Leary), 1994; No. 173, pgs.
99-100.
TELL HER I AM [4]. Irish, Jig. D Major. Standard tuning. AABB’. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 40.
X:1
T:Tell Her I Am [4]
L:1/8
M:6/8
K:D
ed|B2B BAB|GBd gdB|A2A AGA|Bee
dBA|B/c/dB BAB|GBd g2d|efg eag|fdc d:|
ef|g2g f2f|efe dBA|G2G AGA|Bee
def|gbg faf|ege dBd|efg eag|fdc def|g2g f2f|
efe dBA|G2G AGA|Bee def|gAA fAA|ege
dBd|efg eag|fdc d||
TELL HER I NEVER. Irish, Jig.. D Major.
Standard tuning. AABB. McGuire
& Keegan (Irish Tunes by the 100,
vol. 1), 1975; No. 34, pg. 9.
TELL HER LIES AND FEED HER CANDY [1]. AKA - "Feed Her Candy." Old-Time, Breakdown. USA, Kentucky. A
Major. Standard or AEae tunings. AB (Silberberg): AABB (Songer). The tune was
recorded in the field from Barren County, Kentucky, fiddler Sammy Walker. Kerry
Blech later remarked that Songer and
Curly’s version has the order of the parts (as well as the title) reversed from
the one he learned from the Walker tape. Source for notated version: Kerry
Blech (Seattle) [Songer]. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 156. Songer (Portland
Collection), 1997; pg. 78 (appears as “Feed Her Candy and Tell Her Lies”).
X:1
T:Tell Her
Lies and Feed Her Candy [1]
M:C|
L:1/8
K:A
(3efg|a2 e2
fecd|ec Bc A2 (3efg|a2aag2a2|b3 ab2 (3efg|
a2ee
fecd|ecBc A2 AB|cBAF E2F2|1 A4 A2:|2 A4 A4||
|:c4
B2cc|ecBc A2 AB|c2ccB2c2|e3 fe2(c2|
c2)c2B2c2|ecBc
A2 AB|cBAF E2F2|1 A3B A4:|2 A4A2||
TELL HER LIES AND FEED HER CANDY [2]. Old-Time, Breakdown. USA, Kentucky. A different tune with the title,
recorded by Bruce Green from the playing of Kentucky fiddler James Hood in
1974.
TELL ME, DAPHNE. AKA and see "Daphne and
Corydon." The air is found under this name in the Fitzwillaim Virginal Book.
TELL ME, DEAR EVELEEN (Innis Do'm A Eiblin Dileas). AKA and see "On a Green Bank
Mary Was Seated." Irish, Air (4/4 time). C Major. Standard tuning. AB.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 444, pg. 78.
X:1
T:Tell Me, Dear Evelee
L:1/8
R:Air
M:C
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 444
Z:AK/Fiddler’s Companion
K:C
c2 c>c B2 B>B|AcBA ^G E2z|A2
A>A ^GE zE|A2 B>B c2 zB|c2 ec B2 dB|
AcBA ^G E2z|A2A2 cBA^G|A2 Bd
c3z||ABcd e2 z2|f2 ed e2A2|A2A2 f3e|
{e}d2 {d}c2 B4|{A}e4 A3c|BcBA ^G
E3|A2A cBA^G|A2 Bd c4||
TELL ME WHAT THE
FIDDLE SAYS. Northumbrian. The title appears in
Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800. Also appearing
in the list, and perhaps another tune, is "Thou and I shall go together,
that's what the Fiddle says".
TEMPERANCE REEL. AKA and see "Devil in
Georgia [1]" (Doc Roberts title), "Teetotaler('s
Reel)," “Oh My Foot,” "Old Tiddley-Toe," "Kingsport," “Rocky Road to Denver,” “Six Hand Reel,” “Where is My Other Foot?” Irish,
American; Reel. USA; New England, Michigan, West Virginia. G Major. Standard
tuning. AABB. The tune, a North American version of the Irish “Teetotaler,”
dates from the 19th century. Ken Perlman (1979) is of the opinion the tune is
related to a Co. Kerry polka entitled "Pigtown" (which also goes by several
other names including "Pigtown Fling",
"Ston(e)y Point [1]" and
others). Ford prints a version under the title “Six Hand Reel,” presumably
collected in Missouri, as were most of his tunes, however, other Missouri
titles include “Rocky Road to Denver” (Roy Wooliver/Gene Goforth) and “Where is
My Other Foot?” (Lonnie Robertson). The earliest American recording of the tune
is by Joseph Samuels in 1919 (Meade). Allan's
Irish Fiddler, No. 51, pg. 13 (appears as "The Teetotaller").
Brody (Fiddler’s Fakebook), 1983; pg.
274. Cole (1000 Fiddle Tunes), 1940;
pg. 9 (also appears on pg. 16 as "Teetotaler's Reel"). Ford
(Tradtional Music in America), 1940; pg. 92 (appears as “Six Hand Reel”).
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 238. Ruth (Pioneer Western Folk Tunes), 1948; No. 121, pg. 42. Ryan’s Mammoth Collection, 1883; pgs. 32
& 39. Spandaro (10 Cents a Dance), 1980; pg. 28. Sweet (Fifer’s Delight), 1965/1981; pg. 63. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑
"Maritime Dance Party" (1978). Arhoolie C‑334, Seamus Connolly ‑
"Masters of the Folk Violin" (1989). Folkways FA 2381, "The
Hammered Dulcimer as played by Chet Parker" (1966). Fretless 201, Jerry
Robichaud‑ "Maritime Dance Party." Front Hall 01, Fennigs All
Stars‑ "The Hammered Dulcimer." Front Hall FHR‑017,
Michael & McCreesh ‑ "Dance Like a Wave of the Sea" (1978).
Rounder 7008, "Jerry Holland." June Appal 014, John McCutcheon‑
"The Wind That Shakes the Barley" (1977. Learned from W. Frank
George, Princeton, W.Va.). Rounder 0085, "Tony Rice." Rounder Select
82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music”
(reissues, orig. released 1977).
X:1
T:Temperance Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/ |: G{A}G/F/ G/A/B/c/ | d/B/g/e/ d/B/A/c/ | B/E/{F}E/D/ E/F/G/A/ | B/G/A/F/ G/F/E/D/ |
G{A}G/F/ G/A/B/c/ | d/B/g/e/ d/B/A/c/ | B/E/{F}E/D/ E/F/G/A/ | B/d/A/F/ G :|
|: B | B/e/e/d/ e>f | g/e/a/f/ g/f/e/d/ | B/d/d/e/ d>e | g/e/a/f/ g/f/e/d/ | B/e/e/d/ e>f |
g/e/a/f/ g/f/e/d/ | B/E/{F}E/D/ E/FG/A/ |1 B/d/A/F/ G :|2 B/G/A/F/ G/F/E/D/ ||
X:2
T:Six Hand Reel
T:Temperance Reel
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/|G{A}G/F/
G/A/B/c/|(d/B/)g/e/ d/B/A/c/|B/E/{F}E/D/ E/F/G/A/|(B/G/)(A/F/) G/F/E/D/|
D/G/{A}G/F/ G/A/B/c/|d/(B/g/)(e/
d/)B/A/c/|B/E/{F}E/D/ E/F/G/A/|(B/d/)A/F/ G:|
|:B|(B/e/)e/d/ e>f|(g/e/)a/f/
g/f/e/d/|B/d/d/e/ d>e|(g/e/)a/f/ g/f/e/d/|
(B/e/)e/d/ e>f|(g/e/)a/f/
g/f/e/d/|B/E/{F}E/D/ E/F/G/A/|B/d/A/F/ G:|
TEMPEST [1], THE (Ap Shenkin). AKA and see "Ap Shenkin," "The Dear Little Island," "Even and Odd, Like Tom
with His Hod," "Mississippi."
English, American; Jig. USA; Vermont, New Hampshire, Maine. G Major (most
versions): C Major (Howe/Accordeon).
Standard tuning. AAB. The tune is linked with a country dance of the same name
in New England, perhaps the one performed at the 150th anniversary celebration
of the town of Lancaster, New Hampshire, in August, 1914 (according to a
playbill of the time). Howe (c. 1867) printed dance instructions with the tune,
which was included in his section of Contra Dances. The title appears in a list
of the repertoire of Maine fiddler Mellie Dunham. The elderly Dunham was Henry
Ford's champion fiddler in the late 1920's. Source for notated version: Edson
Cole (Freedom, N.H.) [Linscott]. Cole (1000
Fiddle Tunes), 1940; pg. 24. DeVille, 1905; No. 69. Howe (School for the Violin), 1851; pg. 35.
Howe (Complete Preceptor for the
Accordeon), 1843; pg. 18. Howe (Diamond
School for the Violin), 1861; pg. 41. Howe (1000 Jigs and Reels), c. 1867; pg. 75. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No.
93, pg. 46. Kerr (Merry Melodies),
vol. 3; pg. 29. Linscott (Folk Songs of
Old New England), 1939; pg. 114. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 4. Raven (English Country Dance Tunes), 1984; pg.
103. Robbins, 1933; No. 24. Ryan’s
Mammoth Collection, 1883; pg. 174. Sweet (Fifer’s Delight), 1965/1981; pg. 29. White's Excelsior Collection, 1907; pg. 75. Victor 20001 (78 RPM), Mellie Dunham, 1926 (appears as
"Boston Fancy" {the name of a dance}).
X:1
T:Tempest [1]
M:6/8
L:1/8
K:G
dc|B2B Bgf|e2e efg|ded dcB|cBc Adc|B2B Bgf|e2e efg|ded cBA|GAG G2 :|]
||ga|b2g a2f|gfe d2c|Bdg dBG|FAA Aga|b2g a2f|gfe agf|bag fge|dgf edc|
B2B Bgf|e2e efg|ded dcB|cBc Adc|B2B Bgf|e2e efg|ded cBA|GAG G2|]
TEMPEST [2], THE. AKA and see "La
Tempete." English, Reel. England, Wiltshire. D Major. Standard tuning.
ABCD. Kennedy (Fiddlers Tune Book),
vol. 1, 1951; pg. 32. Raven (English
Country Dance Tunes), 1984; pg. 149. Front Hall
010, Bill Spence and Fennig's All‑Stars‑‑"The Hammered
Dulcimer Strikes Again."
TEMPEST [3], THE. AKA and see "Jenny Lind (Polka) [1]." New
England, Polka. G Major. Standard tuning. AABB. Miller & Perron (101 Polkas), 1978; No. 78.
TEMPEST [4], THE. AKA and see "The Storm." English,
Air (4/4 time). This English air, unrelated to versions 1-3, was the vehicle
for many songs, including the 18th century English broadside "The Saylor's
Complaint" and George Alexander Stevens' "Cease, rude Boreas; or, The
Storm," printed in the 1754 The
Muses' Delight. In America the tune can be found as the song "The
Storm" in The American Musical
Miscellany of 1798.
TEMPEST [5], THE. AKA and see “Casey’s Reel.” Irish, Reel. D Dorian.
Standard tuning. AABB. “The Tempest” was collected from the playing of fiddler
John Kelly Sr. by Brendan Breathnach. Fiddler Séamus Connolly also remembers
hearing the tune played by fiddle masters Kelly and Joe Ryan on Ciarán
MacMathuna’s broadcasts on Irish radio in the 1960’s. Connolly & Martin (Forget Me Not), 2002; pgs. 108-109.
Miller (Fiddler’s Throne), 2004; No.
256, pg. 154. Arfolk, Castle Ceili Band – “Irish
Traditional Pub Music.” Green Linnet SIF 1016, The Irish Tradition – “The
Corner House” (1978). Green Linnet SIF, James & Sean Keane – “Roll Away the
Reel World.” Roaring Mary – “Roaring Mary.” Shanachie 79053, Various – “Irish Women in America.”
Shanachie 34008, Andy McGann & Paddy Reynolds – “Traditional Music in
Ireland.” Foley & Davey – “Skin and Bow.”
See also listings at: Jane
Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:Tempest, The
R:reel
Z:transcribed by Philippe Varlet
L:1/8
M:C|
K:Ddor
d2cA GE~E2|DEcE dEcE|d2cA
GEcE|{G}EDCD EDD2|
d2cA GE~E2|DEcE dEcE|DEFA
GEcE|{G}EDCD EDD2:||
d2ed cAGc|AdcA GE~E2|d2ed cdef|edcA
da{b}ag|
eage dcAB|cAGc AcGE|DEFA
GEcE|{G}EDCD EDD2:||
X:2
T:The Tempest
S:Paddy O'Sullivan
N:Paddy says it was brought from
America by Tom Carmody,
N:who played box with James Morrison
and who retired to
N:Ballybunnion, not very far from
Paddy's home in Ardfert.
R:reel
Z:transcribed by Paul de Grae
M:4/4
L:1/8
K:Dmix
d2 cA GE ~E2|DEGE cE ~E2|AdcA GE
~E2|EDCD ED ~D2|
d2 cA GE ~E2|DEGE cE ~E2|DEGE
ABcA|EDCD ED ~D2||
||:d2 Ad cAdc|AdcA GE ~E2|d2 Ad
cAag|edcA d3 g|
(3efg dg ed d2|cAGB AE ~E2|DEGE
AEcE|~EDCD ED D2:||
TEMPLE BARR. AKA and see “Masquerade Royal.” English, Country Dance Tune (2/2 time).
G Minor. Standard tuning. AB. “Temple-Barr”
appears in the second volume of the Dancing Master, 3rd
edition (1726, pg. 187), published in London by John Young, heir to Playford’s
long-running series. London’s Temple Bar was originally built in 1670 and stood
in the vicinity of Fleet Street and the Strand. It was dismantled in 1878 when
Fleet Street was widened and moved to Theobalds Park in Chestnut. There has
been previous gateways on the site, wooden structures the last of which was
destroyed in the Great Fire. The 1670 structure was the most elaborate, built
by masons Joshua Marshall and Thomas Knight (although traditionally attributed
to Sir Christopher Wren), featuring a main arch that spanned the roadway with
pedestrian arches on either side. There was a central room at the top and four
statues: Charles II, Queen Anne (consort of James I and formerly a princess of
Denmark), James I and Charles I, all the work of John Bushnell.
***
Temple Bar from the Strand, 1829.
***
Barnes (English Country Dance
Tunes, vol. 2); 2005; pg. 128. Raven (English
Country Dance Tunes), 1984; pg. 17.
X:1
T:Temple Barr
M:2/2
L:1/8
K:Gmin
G2A2 | B2G2B2c2 | d4 d2 cB | A2B2c2d2 | B2G2G2A2 | B2G2B2c2 |
d4 d2 cB | A2G2A2^F2 | G4 || d2e2 | f2e2f2g2 | f4 f2ed | c2d2e2d2 |
c4 dcde | d4c4 | B4 G2A2 | B2G2B2c2 | d4 d2 cB | A2B2c2d2 |
B2G2G2A2 | B2G2B2c2 | d4 d2 cB | A2G2A2^F2 | G4 ||
TEMPLE CHANGE, THE. AKA and see “Clashing at Her,” “Cockleshells,”
“The High Caul/Caul'd Cap,” “The Hielan Laddie [1]." English,
Country Dance Tune (2/2 time). D Minor. Standard tuning. AB. Sharp notes: “To
the tune of Cockle Shells.” Sharp (Country
Dance Tunes), 1909/1994; pg. 54.
X:1
T:Temple Change, The
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Dmin
A2|F3G A2c2|A2d2 cAGF|A2G2G2
FG|A2G2G2D2|F3G A2c2|A2d2 cAGF|
A2D2D2C2|F2D2D2||c2|dcdc A2c2|dcdc
A2 GF|A2G2G2 FG|
A2G2G2 c2|dcdc A2c2|dcdc A2
GF|A2D2D2C2|F2D2D2||
TEMPLE HILL. Irish, Reel. Ireland, County Cork. A Dorian. Standard tuning. AAB
(Stanford/Petrie): AABB (McGuire & Keegan). Petrie identifies this as a
tune from County Cork. The reel is sometimes amalgamated with another reel in
the Petrie collection (they are paired together on the same page) called “Molly on the Shore [1] &
[2].” Sources for notated versions: “A Cork Reel. From P. Carew’s MSS”
[Stanford/Petrie]; Leo Ginley [McGuire and Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), No. 63, pg. 17. Stanford/Petrie (Complete Collection), 1905; No. 901, pg.
228. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington,
Paul De Grae - “The Smoky Chimney” (1996. Learned from Clare fiddler Martin
Hayes).
T:Temple
Hill
M:C|
L:1/8
R:Reel
K:Ador
EAAB e2 dB
| e2 dB GABG | EAAB edef | (3gfe dB BAAG | EAAB e2 dB |
E2 dB GABG
| EAAB edef | (3gfe dB BA A2 :: ea (3aaa b2 ag | egdg egdg |
eg (3aga b2
ag | egdB BAAd | ea (3aaa b2 ag | egdg egdg | bgaf gefd | (3efg eB BA A2 :|
X:2
T:Temple
Hill
M:C
L:1/8
R:Reel
S:Stanford/Petrie,
No. 901 (1905)
Z:AK/Fiddler’s Companion
K:Ador
EAAB e2
dB|e2 dB GABG|EAAB edef|gedB BA A2:||ea a2b2 ag| egdg egdg|
ea a2b2
ag|egdB BAAd|ea a2b2 ag|egdg egdg|bgaf gefd|e/f/g dB BA A2||
TEMPLE RAKES, THE.
English, Jig (12/8 time). G Major. Standard tuning. AABB. The melody
first appears in print in John Johnson’s 200 Favourite Country Dances
(London, 1756). The Temple Rakes, or Innocence Preserved by anonymous
was published in 1735, referring to the unruly gatherings of young gentlemen,
who generally engaged in drinking and whoring, but who also could gather for
organized gangs who vandalized and perpetrated assualts. The Mohocks were on
such group that terrorized the populace around Charing Cross in the early 18th
century. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 83.
X:1
T:Temple Rakes, The
M:12/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G3 BGB dBd g3|A3 cAc ece a3|G2 BGB dBd gab|afd ge^c d3 D3:|
|:d3
=f3 egB c3|e3 g3 fa^c d3|A3 =c3 BdF Ggf|dBG cAF G3 G,3:||
TEMPLECROSS. Irish, Hornpipe. D Major. Standard tuning. AA’B. Composed by R. L.
O’Mealy. Treoir.
X: 1
T: Templecross
C: R.L. O'Mealy
S: Treoir
M: 4/4
L: 1/8
Q: 325
R: Hornpipe
K: D
A>F | FGAF D3 F | defd (3Bcd A>G | FAdf
gfed |(3Bcd ef e2 AG |
FGAF D2 (3AAA | defd (3Bcd A>G |FAdf gfed |1
dfec d2 :|2 d2 (3fgf d2 ||
(3Abc | d2 fd ec (3ABc | d2 fd ecAG | FADF gfed
| (3Bcd ef e2 (3ABc |
d2 fd ec (3ABc | d2 fd ecAG | FADF gfed | dfec
d2 (3ABc |
d2 fd ec (3ABc | d2 fd ecAG | FADF gfed | (3Bcd
ef e2 A>G |
FGAF
D3 F | defd (3Bcd A>G | FAdf gfed | dfec d2 ||
TEMPLEGLANTINE REEL
[1], THE (Teampall an
Ghleanntáin).
Irish, Reel. A Major. Standard tuning. AB. Templeglantine (which means “Valley
Church”) is a small town in the North Kerry/Limerick border area (i.e. north
Sliabh Luachra). Anthony Buffery is of the opinion this tune is a member of a
tune family derived from “Captain Byng” (see note for “Captain Byng”). Source for notated
version: fiddler Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 153, pg. 81.
TEMPLEGLANTINE REEL
[2], THE (Teampall an
Ghleanntáin).
AKA and see “The Clock in the
Steeple,” “Jumping Geordie,” “Kilwinning’s Steeple,” "The Pope's Toe," "The Prince of Wales' Fancy."
Irish, Reel. D Mixolydian. Standard tuning. AB. Anthony Buffery notes
similarities with “Captain Byng,” “Brosna Polka No. 3,” “Mrs. Ryan’s,” “The Stool of Repentance” (slide), “Pope’s Toe,” “Maids of Mitchellstown,” “My Love is in the House,” and
“The Silver Slipper.” “They are all different settings but recognizably
derived from the same root tune,” states Anthony. Source for notated version: fiddler Denis
Murphy, 1967 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 280, pg. 143.
TEMPLEGLANTINE (SLIDE). Irish, Slide (12/8 time). D Major. Standard tuning. AABB.
Templeglantine (which means “Valley Church”) is a small town in the North
Kerry/Limerick border area. Black (Music’s
the Very Best Thing), 1996; No. 249, pg. 133.
X:1
T: Templeglantine
Q: 375
R: slide
Z:Transcribed by Bill Black
M: 12/8
L: 1/8
K: D
F2 A AFA Bcd A2 A | F2 A D2 F E3 EDE |
F2 A AFA Bcd A2 A | F2 A E2 F DED D3 :|
f2 d B2 A Bcd A2 A | f2 e def e3 ede |
f2
d B2 A Bcd A2 A | F2 A E2 F DED D3 :|
TEMPLEHOUSE (REEL), THE (Teac An Teampuill). AKA- “Temple House Reel.” AKA and
see "The Evergreen," “Evergreen Lasses,” “The Fowling Piece,” "Monongahela College" (Pa.), "Mother Carey's," "Old Temple House Reel,” “Pretty Maids of Bulgaden,”
“Pretty Girls of Bulgaden,” “Rising of
the Lark,” “The Tipsy House." Irish, Reel. E Minor (most
versions): E Dorian (Feldman & O’Doherty]. Standard. AB (Allan's, Flaherty,
Tubridy): AAB (Harker/Rafferty, Kennedy, O'Neill/1001, O’Neill/Waifs): AABB'
(O'Neill/Krassen). The melody is current in both jig and a reel forms. As
O’Neill (1913) remarks: “Each in its class is a tune of distinct merit, though
identical in tonality.” Templehouse is the name of a lake in County Sligo. 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 melody was recorded in 1931 by
Galway’s Ballinakill Ceili Band (paired with “Knocknagow
Reel”) under the title “The Fowling Piece.” The band’s pianist Anna
Rafferty, points out guitarist Paul de Grae, unusually centered her
accompaniment on C major chords. O’Neill (1922) remarks: “Altho the
‘Templehouse Reel’ first appeared in print in the O'Neill Collections, a more
fluent setting of it memorized from the playing of ‘Jimmy’ O'Brien may be
permissible. The latter, dealt with at considerable length in Irish
Minstrels and Musicians hailed from the County Mayo, and was a very tasty
performer on the Irish or Union pipes. He died at Chicago in 1885.” See also
the Shetland tune “Up and
Down/Doon The/Da Harbour.” Sources
for notated versions: conical ("Clark's") whistle player Jim
Donoghue, 1910-1990 (Drimacoo, Monasteraden, County Sligo) [Flaherty]; fiddler
Simon Doherty (County Donegal) [Feldman & O’Doherty]; Jimmy O’Brien
(Chicago) [O’Neill/Waifs]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Allan's
Irish Fiddler, No. 65, pg. 16. Feldman & O’Doherty (The Northern Fiddler), 1979; pgs. 105
& 244b (appears as untitled reel). Flaherty (Trip to Sligo), 1990; pg. 178. Harker (300 Tunes from Mike Rafferty), 2005; No. 120, pg. 36. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 190, pg. 44. O'Neill (Krassen),
1903/1976; pg. 101. O'Neill (Dance Music
of Ireland:1001 Gems), 1907/1986; No. 505, pg. 96. O’Neill (1913), pg. 134.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 269. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 19. Copely
Records 9-119 (78 RPM), Paddy Cronin (195?). Gael-Linn CEF 114, Noel Hill &
Tony MacMahon - "I gCnoc na Graí." Library of Congress, 1938, Patrick
Bonner, St. James, Beaver Island, Michigan.
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Templehouse Reel, The
M:C|
L:1/8
K:E Minor
D|EFGA BGAF|D2 FD ADFD|EFGA
BEED|dBAc BEED|EFGA BGAF|
D2 FD ADFD|EFGA BEED|dBAc BE E2||
g2 ef gfeg|f2 df afdf|g2 ef
gfge|dBAc BE E2|g2 ef gfeg|
f2 df afde|faaf gfed|dBAc BE E||
X:2
T:Templehouse Reel, The
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:Emin
EFGA BEFE|"tr"D2 (3FED ADFD|EFGA BABc|1"tr"dBAc BAGF:|2"tr"dBAc BE E2||
"tr"g2 ef "tr"g2 eg|fddg fd d2|"tr"g2 ef "tr"g2 gb|"tr"afdf ge e2|
gfef gfeg|fdde fddg|fgaf gfed|BcAc BAGF||
X:3
T:Templehouse, The
R:reel
D:Matt Molloy
D:Noel Hill and Tony MacMahon: I gCnoc na Gra\’i
Z:id:hn-reel-262
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Em
EFGA BFAF|D2 (3FED ADFD|EFGA BE~E2|1 B2Ad BEED:|2 B2Ad BE~E2||
g2ef gfeg|fdde fd~d2|g2ef gfed|(3Bcd Ad BE~E2|
g2ef gfeg|fdd^c dfaf|~e3f gfed|(3Bcd Ad BEED||
TEMPLEHOUSE JIG [1] (Port Tig-Teampoll). Irish, Jig. E Minor. Standard tuning. AABB'.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 755, pg. 141.
X:1
T:Templehouse Jig [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 755
Z:AK/Fiddler’s Companion
K:Emin
EFE G2A | B2F G2E | DED F2D | A2D
F2D | EFE G2A | B2F G2A |
BcB AGF | BGE E2 :: f | g2f e2f |
g2f e2g | faf d2f | faf d2f |1 g2f e2f |
G2f e2d | BcB AGF | BGE E2 :|2 b2g
a2f | g2e f2d | BcB AGF | BGE E2 ||
TEMPLEHOUSE JIG [2] ("Port
Tig-Teampoll" or "Port an Teampall"). AKA and see
"Dunkeild House," "Grey Goose" [3], "Jackson's Rowly Powly."
Irish, Double Jig. E Minor. Standard tuning. AAB (Kerr, Levey, Martin): AABB'
(O'Neill). The tune was first printed as in O'Farrell's
Pocket Companion for the Irish or Union Pipes (vol. II, pg. 101), c. 1811,
under the title "Jackson's Rowly Powly." See also “Templehouse Reel.” Kerr (Merry Melodies), vol. 1; No. 25, pg. 33. Martin (Taigh na Teud), 1990; pg. 6. Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. 55, pg. 24. O'Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 756, pg. 141. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 41, pg. 23. O'Neill (1913),
pg. 134. Drumlin Records, Brian
McNamara – “A Piper’s Dream.”
X:1
T:Templehouse Jig [2]
M:6/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 41
Z:AK/Fiddler’s Companion
K:Emin
D|EFE G2A|BAB G2E|DED FEF|A/B/dB
AFD|EFE G2A|BAB gfe|dBA GBA|GEE E2:|
|:f|ggg eee|gfg efg|fff ddd|fef def|1
ggg eee|gfg edB|dBA GBA|GEE E2:|2
gfg aga|bge
edB|dBA GBA|GEE E2:|
T:Temple
House
M:6/8
L:1/8
R:Jig
S:Levey – Dance Music of Ireland, 2nd
Collection (1873)
Z:AK/Fiddler’s Companion
K:Emin
BcB cBA | BGE E2 :| f | gbg ege | gbg ege | faf dfd | faf def | gbg ege | gbg ege |
gbg faf | bge e2f | gbg ege | gbg ege | faf dfd | faf def | gfe agf | bag fed | BcB BAG | BGE E3 ||
TEMPTATION RAG. Old-Time, Country Rag. A 1909 composition of Thomas Henry Lodge, and
also popular on the vaudeville stage.
TEMPTING SPOT, THE. Irish, Reel. D Major. Standard tuning. AB.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 300, pg. 150.
X:1
T:Tempting Spot, The
M:C
L:1/8
R:Reel
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
c | ABGB Addc | ABGF EF G2 | ABGB
AddB | cAGE FDDc | ABGB Addc | ABGF EF G2 |
AGAc BABd | cAGE FD D :: g | edcd
eddg | edcd eaag | edcd eddc |
ABcd eddg | edcd eddg | edcd eaag |
(3efg dB cABG | ABcd ed d :|
TEMPY. AKA – “Tempie.” AKA and see "I Wish I Was a Mole in the
Ground." Old‑Time, Song and Breakdown. USA; Tennessee, western North
Carolina. G Major. Standard or ADae tuning. Cartunes
105, Bruce Molsky & Bob Carlin – “Take Me As I Am” (2004. Sourced to Joe
Birchfield and the Roan Mountain Hilltoppers). County Records, Tommy Jarrell ‑
"Tommy Jarrell's Banjo Album." Heritage Records, Joe Birchfield/Roan
Mountain Hilltoppers – “Music of Tennessee.” June Appal Records, Plank Road
String Band. Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer
Banjo" (1980).
T'EN AS EU, T'EN
N'AURAS P'US (You Had Some, You
Won't Have Any More). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major.
Standard tuning. AABB(Vocal)AABB(Vocal)AABB. Related songs, according to
Raymond Francois (1990), are Amede, Ophy and Cleoma Breaux's "Vas Y
Carrement," "Step it Fast," Aldus Roger's "Steppin'
Fast," "Robe a Josephine," "Canadi Canada" and
"Boui de Peau d' Lapin." Source for notated version: Amede, Ophy and
Cleoma Breaux; Moise Robin; Raymond Francois (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 296-298.
TEN CENT PIECE. Old‑Time, Breakdown. USA, Arkansas. County
519, Reaves White County Ramblers ‑ "Echoes of the Ozarks, vol.
2."
TEN LITTLE INDIANS. AKA and see “Betty Martin,” “Fire on/in the Mountain [1],”
“Hog Eye [1].” Old-Time, Breakdown. From
a family of tunes that includes the variants listed above, as well as several
more. See note for “Fire on the Mountain.” The tune was played under this title
by Sam Connor and Dent Wimmer.
TEN MILE. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
52.
X:1
T:Ten Mile
M:2/4
L:1/8
R:Breakdown
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:G
A|Bd d/c/d/(f/|e)d d/cB/c/|dA/B/
cB/A/|GB B/A/B/z/|
Bd d/c/d/(f/|e)d d>e|f/g/f/e/
d/c/B/A/|G3:|
|:A|de/f/ g/a/g/e/|fe e>f|ed/d/
^cd/d/|ed de/f/|
g>f g/a/g/e/|fe e>e|f/g/f/e/
d/=c/B/A/|G3:|
TEN NIGHTS IN A BAR
ROOM. AKA and see "Chinky Pin [1]," "Yellow Eyed Cat," "I'm My Momma's Darling (Child),"
"Darling Child," "Fourth of July," "Too Young to Marry [1],"
"My Love
Is/She's but a Lassie Yet [1]," "Sweet
Sixteen," "Lead Out,"
"Hair in the Butter,"
"Farmer Had a Dog,"
"Richmond Blues," "Love Somebody [2]." Old-Time,
Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB’. The tune is a
member of a large tune family that includes “Lead Out” (Tommy Jackson), “Love
Somebody [2],” and “Darling Child,” among many others. Source for notated
version: Lyman Enloe (1906-1997, Missouri) [Beisswenger & McCann].
Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 32. County CD-2707, Lyman Enloe – “Fiddle Tunes I Recall”
(originally recorded 1973).
TENDING THE STEER. Scottish. Traditional. Flying Fish FF‑299,
Battlefield Band ‑ "There's a Buzz" (1982).
TENPENNY BIT [1], THE. AKA and see “The Three Little Drummers [1].”
Irish (originally), English, American; Double Jig. A Dorian. Standard tuning.
AABB. From the 16th to the 19th centuries a common term
for a small piece of money, especially the lowest denomination of silver coin,
was ‘bit’ (and its variant ‘bite’). Thus, ‘fourpenny-bit’, and the title of
this tune, ‘tenpenny-bit’. A secondary meaning (that does not preclude the
first—both could well have been meant) is ‘bit’ as referring to a woman,
usually in a sexual way. In this sense a ‘tenpenny bit’ may refer to a prostitute.
The jig is popular in several genres: New England contra dance musicians play
it, and it is one of the jigs commonly played by English musicians for rapper
sword dancing (along with “The Blackthorn Stick” and “Connaghtman’s Rambles”).
A version appears in Harding’s All Round
Collection (1905) under the title “Made
in Ireland,” but that sounds like a made-up name for an untitled jig.
Similar to “The Three Little Drummers [1].” Allan's
Irish Fiddler, No. 20, pg. 6. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983
(revised 1991, 2001); pg. 7. Kennedy (Fiddlers
Tune Book), vol. 1, 1951; No. 77, pg. 38. Kerr (Merry Melodies), vol. 1; No. 1, pg. 36. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 48. Miller
& Perron (New England Fiddlers
Repertory), 1983; No. 10. Raven (English
Country Dance Tunes), 1984; pg. 106. Sweet (Fifer’s Delight), 1965/1981; pg. 36. Topic
TSCD 669, Davie Rogerson (et al) – “Ranting and Reeling: Dance Music of the
north of England” (1998. Northumbrian fiddler Rogerson was born in 1901).
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:Tenpenny Bit, The [1]
M: 6/8
L: 1/8
R: Jig
K:Ador
|:eAA eAA|BAB GBd|eAA eAA|def
g2f|eAA eAA|BAB GBd|def gdB|BAG A3:|
|:eaa eaa|bab g2f|eaa eaa|bge
g2f|eaa eaa|bab gfe|def gdB|BAG A3:|
TENPENNY BIT [2], THE ("Cuin/Bonn Deic-Pingine," or "An
Píosa Deich bPingine"). AKA and see "The new Tenpenny,"
"Are You Shot?" “Joe Conway’s,” "The Ducks and The Oats." Irish,
Double Jig. A Dorian. Standard tuning. AABB (most versions): AA’BB (Harker/Rafferty).
Petrie prints the tune under the title “The New Tenpenny.” 'B' part nearly the
same as version #. “The Ducks and the Oats” title is sometimes heard in the
Sliabh Luachra region of Cork/Kerry. A version was recorded by New York/County
Sligo fiddler Paddy Killoran (1904-1965) in 1934. Killoran emigrated from
Emlagation, near Ballymote, Sligo, to the United States in 1922, settled in the
Bronx and ran a bar, played and recorded both on his own, in duets, and with
groups. Sources for notated versions: flutist Peter Horan & fiddler Freddy
Finn (Co. Sligo, Ireland) [Breathnach]; Abram S. Beamish (County Cork)
[O’Neill]; flute player Colm O’Donnell (b. 1962, Aclare, County Sligo)
[Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Breathnach (CRÉ
III), 1985; No. 32, pg. 15. Flaherty (Trip
to Sligo), 1990; pg. 19 (appears as “Unknown”). Harker (300 Tunes from Mike Rafferty), 2005; No.
200, pg. 62. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
929, pg. 173. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 162, pg. 41. Tubridy
(Irish Traditional Music, Vol. 1),
1999; pg. 32. Coleman Center CD CC004, Jim Murphy,
James Murray, Kevin Brehony – “The Mountain Road” (1999. Various artists. “A
Compilation of tunes popular in South Sligo”). Green Linnet SIF1035, Brian
Conway & Tony De Marco - "The Apple in Winter" (1981. Learned
from the 1934 Paddy Killoran 78 RPM recording). Mulligan Records LUN, Freddy
Finn & Peter Horan. Matt Molloy – “Music at Matt Molloy’s.” Rounder CD 1087, Paddy Killoran – “From Galway to Dublin”
(1992. Reissue of 1934 original).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Tenpenny Bit, The [2]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
162
Z:AK/Fiddler’s Companion
K:Ador
A/G/|EAA G2A|Bed Bcd|edB G2A|B2A
GED|DED G2A|Bed Bcd|ede gdB|BAG A2:|
|:d|e2f gfg|eag fed|e2f gfg|efg a2
a|bgb afa|gfe def|gfe fdB|BAG A2:|
X:2
T:Tenpenny Bit, The [2]
R:Jig
Z:Transcribed by Mike Hogan
M:6/8
L:1/8
K:G
|:edB G2A |Bed Bcd|edB G2A|BAF GFE|
DED G2A|Bed Bcd|ede gdB|BAG A2d:||
|:e2f g2f|eag fed|e2f ~g3|efg ~a3|
bag agf|gfe def|g2e fdB|ABG ABd:||
TENPENNY BIT [3], THE ("Cuin Deic-Pingine" or "An Piosa
Deich bPingne"). AKA and see “The Bridal Jig [2].” Irish, Double
Jig. A Dorian. Standard tuning. AABB. Breathnach’s source Rowley did not have a
name for the tune, although Breathnach recognized it as being a variant of “The
Tennpenny Bit” printed by O’Neill. Source for notated version: Chicago fiddler
James Kennedy who had the tune from his father, a celebrated local fiddler from
Ballinamore, County Leitrim [O’Neill]; fiddler George Rowley/Seoise Ó
Roghallaigh (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 24, pg. 11. O'Neill (Krassen), 1976; pg. 43.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 930, pg. 173.
X:1
T:Tenpenny Bit, The [3]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 930
Z:AK/Fiddler’s Companion
K:Amin
A/G/ | EAA G2A | Bed Bcd | edB G2A |
B2 {c/B/}A GED |
DED G2A | Bed Bcd | ede gdB |
{c}BA^G A2 :|
|: d | e2^f gfg | eag fed | e2^f gfg
| e^f^g a2a |
b^gb a^fa | gfe de^f | gfe fdB |
{c}BA^G A2 :|
TEN PENNY MONEY. Irish, Jig. B Minor. Standard tuning. AABBCC. The melody is a variant
of "Paddy O'Rafferty."
"It was the tune used by street players of charm the biggest tips
(Williamson, 1976)." Source for notated version: Michael Goreman (Ireland)
[Williamson]. Williamson (English, Welsh,
Scottish and Irish Fiddle Tunes), 1976; pg. 86.
TENPENNY PIECE, THE (An Píosa Deich bPingne).
Irish, Slip Jig. G Major. Standard tuning. AABB. Not related to the
double jig “Tenpenny Bit” tunes. Source for notated version: Dublin piper,
broadcaster and music collector Séamus Ennis [Breathnach]. Breathnach (CRÉ V), 1999; No. 63, pg. 32. RTÉ RTECD 199, Seamus Ennis – “Return from Fingal” (1997.
Archive Recordings).
TEN PERSON'S POLKA. Finnish, Polka. A version of "Soldier's Joy [1]."
TEN POUND FIDDLE, THE. Scottish (originally), Canadian, Reel. Canada,
Cape Breton. A Major. Standard tuning. AB (Cranford, Hunter, Phillips,
Skinner): AAB (Martin). Composed by the great Scottish composer and fiddler J. Scott Skinner (1841-1927), who recorded it on a 78
RPM the year he died. The pound, of course, is a British monetary unit. See
entry for Skinner’s “The Baker” for Donegal
fiddler John Doherty’s blending of the two melodies. Sources of notated
versions: Angus Chisholm (Cape Breton) [Phillips]; Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]; Hector MacAndrew
[Martin]. Cranford (Winston Fitzgerald),
1997; No. 79, pg. 35. Hunter (Fiddle
Music of Scotland), 1988; No. 255. Martin (Traditional Scottish Fiddling), 2002; pg. 124. Phillips (Fiddlecase Tunebook), 1989; pg. 47.
Skinner (The Scottish Violinist), pg.
5. Shanachie 14001, "The Early Recordings of
Angus Chisolm" (a Cape Breton fiddler who recorded the tune in the 1930's
in a medley with “The Baker”).
X:1
T:Ten Pound Fiddle, The
M:C|
L:1/8
R:Reel
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:A
E | {G}A2 ED CEAf | eAfA GBBG |
{G}A2 EC DFBA | GBeg aAAE |
A/A/A ED CEAf | eA[fa]A GBBG | A/A/A
EC DFBA | GBeg aA A || g |
{g}a/a/a ea .c.a.A.g | aec[ea] fBBg
| a/a/a ec f/f/f dB | GBeg aAA(a |
.g.a).e.a .c.a.A.a | caAa fBBc |
{G}A2 EC DFBA | GBeg aA A ||
TEN POUND FLOAT, THE. AKA and see “Coleman’s Cross [2],” “Éilís ní Bhrógaín,” “Killavil Reel [2],” “Killavil Fancy." Irish, Reel. G
Major. Standard tuning. AB (Taylor): AABB (Miller & Perron). A ‘float’ is
the money used to start off a till so that change is available for the first
customers. The "Ten Pound Float" title for the tune comes from the
English folk-revival group Steel Eye Span, according to Philippe Varlet. Source
for notated version: Chris Dewalo (Phila., Pa.) [Miller & Perron]. Miller
& Perron (Irish Traditional Fiddle
Music), 1977; vol. 2, No. 42. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
106. Taylor (Through the Half-door),
1992; No. 4, pg. 5. Castle Music CMCD 781, Steeleye
Span – “Lark in the Morning” (2003/1972). Shaskeen - "Joys of Life."
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Killavil Fancy
T:Ten Pound Float, The
M:C|
L:1/8
B:Mulvihill – 1st Collection (13)
Z:AK/Fiddler’s Companion
K:G
DGBG A2 BA|GE {F}(3EDE cEGE|DGBG A2 BA|GE{F}ED EGGA|
~B3d A2 BA|GE {F}(3EDE cE {F}(3EDE|DGBG A2 BA|GE{F}ED EG G2||
G2 BD edge|dB {c}(3BAB dBAB|G2 Bd eg {b}(3gfg|dBAG EGGA|
G2
Bd edge|dB {c}(3ABA dega|bgag egde|gedB AGEG||
TEN POUND LASS, THE. English, Country Dance Tune (2/2 time). G
Dorian. Standard tuning. ABB. Sharp (Country
Dance Tunes), 1909/1994; pg. 23.
X:1
T:Ten Pound Lass, The
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Gmin
A2A2 d4|^F3G A2c2|B2G2G2A2|B2 cB
A2G2|
A2A2d4|^F3G A2c2|B2G2G2A2|B2 cB
A2G2||
|:A2A2 f4|=e2f2g2 fe|d2d2 g2a2|b2
c’b a2g2|[c2f2][c2f2] [A4f4]|
^F3G A3c|B2G2G2A2|B2 cB A2G2:|
TEN STEPS FORWARD. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954. Bascom Lamar Lunsford (b. 1882) played a song called “Ten Steps”
(which he recorded playing on Marcus Martin’s fiddle), and said of it: “When a
boy of ten, I used to ride behind my father over to Little Ivy in Madison
County, NC, to hear my great uncle Os Deaver play the fiddle. He was a good
old-time fiddler. He played a tune called ‘Ten Steps’; I have never heard it
played since I was a boy.” Smithsonian/Folkways
CD40082, Bascom Lamar Lunsford - “Ballads, Banjo Tunes & Sacred Songs of
Western North Carolina.”
TEN STRIKE. American, Polka or Two Step (4/4 time). USA, Michigan. C Major.
Standard tuning. AABB. The tune is in aural tradition in the southwest U.S. as
“Oklahoma Rooster.” Source for
notated version: fiddler Les Raber (Hastings, Michigan). McCosh (Gems of the Ballroom), c. 1890’s
(Appears as 4th change of "Ten Strike Quadrille"). Johnson (The Kitchen Musician's No. 7: Michigan Tunes),
Vol. 7, 1986‑87; pg. 13.
X:1
T:Ten Strike
M:2/4
L:1/8
K:C
cG/G/ c/G/c/e/|gg/a/ g/e/c/e/|dg/g/
Bg/g/|cBAG| cG/G/ c/G/c/e/|
gg/a/ g/e/c/e/|dg/g/ B/c/d/B/|ce
c2:|
|:a>a aa|A/^G/A/B/ c/B/A|g>g
gg|G/^F/G/A/ B/A/G|fA/A/ fA/A/|
eG/G/ eG/G/|dG/G/ dB|ce c2:|
TENDRESSE, LA. French, Country Dance (2/4 time). G Minor. 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. 38.
X:1
T:Tendresse, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 38
Z:AK/Fiddler’s Companion
K:Gmin
.G.B (.d^.f) | g2 f_e | .d(c BA) | (BA) G2 | .G.d .B.d | ^Fc Ac | BG B^c | d4 :|
|:
.B(d fa) | b2 ag | fe dc | {e}(dc) .B2 | ^C2 A,2 | D2 ^f2 | gc BA | G4 :|
TENNESSEE BREAKDOWN
[1]. Old‑Time,
Breakdown. USA, Tennessee. C Major. Standard tuning (fiddle). The tune may have
been composed by Tenn. fiddler Jess Young. Part of it is similar to a later tune
called "Indian Creek" by Arthur Smith. The title appears in a list of
traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954.
TENNESSEE BREAKDOWN
[2?].
Old-Time, Breakdown. G Major. Standard tuning (fiddle). AABBC. Source for
notated version: Little City String Band [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; p. 238.
TENNESSEE DOG. Old-Time. Rounder Cd0278, Mike Seegar –
“Solo—Old Time Country Music” (1991).
TENNESSEE GREY EAGLE. Old-Time, Breakdown. USA, Missouri. C Major. Standard tuning (fiddle).
AA’BB’. The tune, which is different than the several common “Grey Eagle” key-of-‘A’ variants,
sounds like Enos Canoy's "Raccoon and the Possum," according to
Seattle fiddler Kerry Blech. There are other key of ‘C’ variants of “Grey
Eagle” in Ozark regional repertoire. It was reputed to have been the first
fiddler-President, Thomas Jefferson’s favorite fiddle tune. Source for notated
version: Jim Herd (1919-2002) [Beisswenger & McCann]. Beisswenger &
McCann (Ozark Fiddle Music), 2008; pg. 58. Rounder
0437, Jim Herd – “Traditional Fiddle
Music of the Ozarks, vol. 3: Down in the Border Counties.” Voyager 340, Jim
Herd - "Old Time Ozark Fiddling” (2000. Various artists).
TENNESSEE HORNPIPE. Amercian, Jig. USA, southwestern Pa. G Major. Standard tuning (fiddle).
ABBC. The tune is found in waltz form as "The Shepherd's Wife [1],"
while Messer's "Bell's Favorite"
has a general resemblance. Source for notated version: Sylvester Clark (fiddler
from West Virginia and Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 499, p.
458.
TENNESSEE MOUNTAIN FOX
CHASE. Old‑Time, Breakdown. USA,
Tennessee. C Major. Standard tuning (fiddle). AABB (Silberberg): AABBCC'
(Phillips): AA'BB'CC' (Reiner (Anick). Hunting motifs have lent themselves to
descriptive musical pieces in several genres of traditional music on both sides
of the Atlantic (c.f. the various “Fox Chase” tunes). “Tennessee Mountain Fox
Chase” was recorded in 1927 by fiddler Dudley Vance and his group the Tennessee
Breakdowners. Vance, a regionally popular fiddler from Bluff City, eastern
Tennessee, travelled 150 miles to a recording session in Winston-Salem, North
Carolina, where the Breakdowners recorded six sides for OKeh Records (although
only two were released). The recordings, including the test pressings that were
not issued, were preserved by the Vance family, including the “Tennessee
Mountain Fox Chase.” The melody has since become, “a darling number of the old
time revival,” according to Kerry Blech, who opines that it was “a brilliant
tune, exceedingly well-played” [Old Time
Herald, vol. 6, no. 2, review of County 3511]. Vance took first prize in
Mountain City, Tennessee, fiddlers’ convention held in May, 1925, beating
Charlie Bowman and Uncle Am Stuart, who came in second and third, respectively.
The contest has been made famous by a much-reproduced photograph of some of the
contestants, including the elderly Uncle Am. Several years later, around
1930-32, Vance’s likeness, posed while playing
the fiddle, was drawn by Appalachian artist Thomas Hart Benton (1889-1975) in a
pencil, ink and sepia wash picture. A young Ralph Blizzard was influenced by
Vance (along with Charlie Bowman and John Dykes) who lived not far from
him.
***
The tune is labelled “Washington
County Fox Chase” in the “Roots N' Blues - The Retrospective (1925-50)”
collection. Source for notated version: Dudley Vance () [Reiner & Anick];
Kirk Sutphin with the Hollow Rock String Band [Phillips]; Greg Canote (Seattle)
[Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; p. 140. Reiner & Anick (Anthology of Fiddle Styles), 1989; p.
104. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 157. County 525, Fiddlin' Dud Vance and his Tennessee
Breakdowners ‑ "A Fiddlers' Convention in Mountain City,
Tennessee." County Records CD3511, Fiddlin' Dud Vance and his Tennessee
Breakdowners – “Rural String Bands of Tennessee” (reissue recording). Yodel‑ay‑hee
Records #108327, Critton Hollow Stringband ‑ "Poor Boy" (1979).
Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).
TENNESSEE REEL. American, Reel. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
90.
X:1
T:Tennessee Reel
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/|GB/G/c/G/B/G/|c/G/B/G/
A/D/E/F/|GB/G/ c/G/B/G/|E/A/A/B/ G:|
|:(3d/e/f/|g(3a/g/f/
g/d/B/d/|g(3a/g/f/ g/a/b/d/|g(3a/g/f/ g/d/B/d/|e/g/f/a/ g:|
TENNESSEE ROLL. Old‑Time, Breakdown. USA, Ga. Decca 5169
(78 RPM), Curly Fox (Ga.) {1935}.
TENNESSEE TWO-STEP,
THE. Canadian,
Two-Step. G Major. Standard tuning. AA’BB’. Source for notated version: Johnny
Morrissey (1913-1994, Newtown Cross (late of Vernon River), Queens County;
Prince Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 150.
TENNESSEE WAGON. AKA and see "Wagoner [1]."
TENNESSEE WAGONER. AKA and see "Wagoner"
and versions, and "Rolling River."
Old‑Time, Breakdown. USA; Tennessee, southwestern Pennsylvania, northern
New York, Missouri, Arkansas. C Major.
Standard tuning. AB (Bayard): ABB’ (Beisswenger & McCann). This popular
tune appears in a variety of variants and title spellings (see note for
“Wagoner”) that usually vary from state-to-state, with the name of the states
often interchangeable. The tune is derived from "The Belle of Claremont Hornpipe,"
according to both Christeson and Bayard, though Bayard further believes it to
be composite in nature and traceable to older tunes. The first part he thinks
derived from "Billy in the Lowland/Lowground," while the second is a
strain from an old Scottish air "The
Gaberlunzie‑Man" (the earliest version of which can be found in
Thompson's Orpheus Caledonius, 1725,
pg. 23). This second strain has an old and venerable history in folk‑process;
the second half of both "Wagonner" and "Gaberlunzie"
greatly resemble the Scots tune "Johnny
Cope" and "Keep Off the Grass," states Bayard. Even the
second half of the well‑known "Mississippi Sawyer [1]"
may be derived from this element. It
was in repertoires of Uncle Jimmy Thompson 1848‑1931 (Texas, Va.) under
above title and as "Wagner," and the John Lusk Band (Black string
band from the Cumberland Plateau region of Ky.) as "Rolling
River." In fact, it was supposed
to have been the first tune Uncle Jimmy played on Nashville’s WSM in November,
1923, in what was to become the very beginning of the Grand Old Opry (Wolfe,
1997). The tune was recorded for the Library of Congress by
folklorist/musicologist Vance Randolph, from the playing of Ozark Mountain
fiddlers in the early 1940's. Sources for notated versions: Bradley Grimshaw
(northern N.Y., 1958), David Gilpin (elderly fiddler from Fayette County, Pa.,
1949), and John Filby (elderly fiddler from Greene County, Pa., 1947) [Bayard];
Jim Herd (1919-2002, originally from Eastview, Mo.) [Beisswenger & McCann].
Bayard (Dance to the Fiddle), 1981;
No. 181A‑C, pgs. 137‑138. Beisswenger & McCann (Ozark Fiddle
Music), 2008; pg. 58. Marimac 9017, Vesta Johnson
(Mo.) ‑ "Down Home Rag." Marimac AHS #3, Glen Smith – “Say Old
Man” (1990. Learned from John Rector). Missouri State Old Time Fiddlers'
Association, Dwight Lamb (b. 1934) - "Old Ladies Pickin' Chickens."
Rounder 0157, Art Galbraith (Springfield, Mo.) - "Simple Pleasures."
Rounder 0437, Jim Herd – “Traditional
Fiddle Music of the Ozarks, Vol. 3: Down in the Border Counties” (2000. Various
artists).
X:1
T:Tennessee Wagoner
M:2/4
L:1/8
K:C
a/g/|e/ c c/ c(c|c/)d/e/f/ gg/g/|e/d/B/A/ G>A|G/A/B/c/ d/a/g/a/|
e/ c c/ c(c|c/)d/e/f/ gg/(a/|a/)g/a/g/ e/g/a/g/|e/ c c/ c:|
|:(G,|C)C/C/
B,/C/(D|E/)G/A/B/ c/B/A|B,/B,/B,/B,/ A,<B,
TENNESSEE WALTZ [1]. AKA and see "Wednesday Night Waltz." Old‑Time,
Waltz. The tune bears a close resemblance to “Wednesday Night Waltz.” Columbia 15377-D (78 RPM), The Roane County Ramblers (1928).
County 403, "Roane County Ramblers" (East Tennessee).
TENNESSEE WALTZ [2]. Country, Waltz. A hit tune for
Country and Western stylist Patti Page. The melody has been credited to Pee Wee
King, with help from fiddler Tiny “Redd” Stewart (according to Wayne W. Daniel,
Pickin’ on Peachtree, 1990, pg. 148).
X:1
T:The Tennessee Waltz
C:Acuff-Rose (BMI)
M:3/4
L:1/8
K:D
D>E|"D" F2 A2
D>E|"Dmaj7" F2 A2 d>e|"D7" f2 f2 e2|"G" d2
B2 B>c|
"D" d2 A2 F2|"G"
B2 "D" A2 F2|"A" E4 z2|z4 D>E|
"D" F2 A2
D>E|"Dmaj7" F2 A2 d2|"D7"f3 g f>E|"G" d2 B2
B>c|
"D" d2 A2
F2|"A7" G2 F2 E2|"D" D4 z2|z4 :|
d>e|f2 f3 f|"F#7" e4
f>e|"G" d2 B2 d2|"D" A4 "G" B>c|
"D" d2 A2 F2|"G"
B2 "D" A2 F2|"E7" E4 z2|"A" z4 D>E|
"D" F2 A2
D>E|"Dmaj7" F2 A2 d>e|"D7" f2 a2 f>e|"G"
d2 B2 AB/c/|
"D" d2 A2
F2|"A7" G2 F2 E2|"D" D4 :|
TENPENNY... See "Ten Penny..."
TENT AND BRANDY. English, Country Dance Tune (cut time). B Flat
Major. Standard tuning. AABB. Tent was a deep red Spanish wine. The
mixture of tent and brandy was called ‘Coke Upon Littleton’ in 18th
century slang usage, which itself is derived from the lawyers’ name for the
translation and reprint of Littleton’s 1465 book Tenures, with
commentary by Sir Edward Coke. The melody was first published in John Johnson’s
Choice Collection of 200 Favourite Country Dances, vol. 6 (London,
1751). It was included in the 1790 music manuscript copybook of London musician
Thomas Hammersley. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 37.
X:1
T:Tent and Brandy
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
f3g AB/c/ B2|{c/d/}e3 d/c/ dcBb|caBg AfGe|dc/B/ AB c2F2:|
|:f
f2 f2 f2 f|f_agf ed c2|e e2 e2 e2
e|egfe dcBa|bedc B4:||
TENT AT THE FAIR, THE (An Bot Ag An Aonac). Irish, Reel. D Major. Standard
tuning. AAB (O'Neill/1850): AABB' (O'Neill/Krassen). Source for notated
version: Chicago Police Sergeant James O’Neill, a fiddler originally from
County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen),
1976; pg. 154. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1517, pg. 280.
X:1
T:Tent at the Fair, The
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1517
Z:AK/Fiddler’s Companion
K:D
A | d2 AF DdAF | d2 AF EecA | d2 AF
DdAF | ec (3ABc d2d :|
|| A | d2 fd adfd | adfd cdef | d2
fd adfa | gfed cdef |
d2 (3fed adfd | adfd cdef | afge
fdef | gfed cABc ||
TENTE REDDE. French, Bourree (3/8 time). C Major. Standard tuning. AABBCC. From the
Auvergne province of central France. Stevens (Massif Central), vol. 1, 1987; No. 48.
TENTH (BATALLION) H.L.I. (Highland Light Infantry)
CROSSING THE RHINE. Scottish, March (6/8 time). D Major.
Standard tuning. ABCD (Sweet): AABBCCDD (Martin). Composed by Pipe Major Donald
Shaw Ramsay. Martin (Ceol na Fidhle),
vol. 1, 1991; pg. 18. Sweet (Fifer’s
Delight), 1965/1981; pg. 37.
X:
1
T: the 10th Brigade Highland Light Infantry Crossing the Rhine
C: P.M. Donald Shaw
R: jig/march
Z: 1997 by John Chambers <jc@trillian.mit.edu>
M: 6/8
L: 1/8
F:http://trillian.mit.edu/~jc/music/abc/Contra/jig/10thBrigadeCrossingTheRhine.abc
K: D
A \
| "D"d>fA d2f | f>ga f>ed | "A"c>de Ace |
e>fg "(D)"fed \
| "D"d>fA d2f | f>ga f>ed | "A"c>de Ace |
"D"d3 z2 :|
|: g \
| "D"a2f d2f | f<af f>ed | "A"c>de A>ce |
e>fg "(D)"fed \
| "D"a2f d2f | f<af f>ed | "A"c>de Ace |
"D"d3 z2 :|
|: A \
| "D"d3 A>df | f<af f>ed | "A"c3 A>ce | e>fg
"(D)"fed \
| "D"d3 A>df | f<af f>ed | "A"c>de Ace |
"D"d3 z2 :|
|: g \
| "D"a>Aa A>df | f<af fed | "A"c2e A>ce |
e>fg "(D)"fed \
| "D"a>Aa A>df | f<af fed | "A"c>de Ace |
"D"d3 z2 :|
TENTH OF JUNE, THE. AKA and see "Charles of Sweden,” “The Cheat,” “Cheat or Swing,” "Come Jolly Bacchus," “The Coquette [3],” "First of August," "Frisky Jenny," "The Gallant Weaver," “In My Cottage Near the/a Wood,”
“Pretty Polly [5],” "Twenty First of August,"
"The Weaver's March."
English, Reel. A Dorian. Standard tuning. AABB’. The title date is the birthday
of James the Pretender, Prince of Wales. Aird
(Selections of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 20, pg. 8.
X:1
T:Tenth of
June, The
M:C|
L:1/8
S:Aird,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:Ador
EAAB c2
(ce) | d(cBA G)ABG | AD E/E/E c2 ce | dBgB A/A/A A2 :|
|: agea
geae | gddg BGdB |1 agea geae | fdgB A/A/A A2 :|2 cAdB ecfd |(f/e/f/g/) a.c
A/A/A A2 ||
TENTH OF OCTOBER, THE.
American, Jig. C Major. Standard tuning. AA’BB’. Composed by Vermont
fiddler Pete Sutherland. Sutherland (Bareface),
1984; pg. 14.
TERENCE'S RAMBLE. AKA and see “Dan Backus'
Favorite,” “Jim Coleman’s [1],”
“Liverpool Jack’s,” “Miss McGuiness [3],” "Take Your Choice." Irish, Reel. F
Major. Standard tuning. AABB. Cole (1000
Fiddle Tunes), 1940; pg. 10. Ryan’s
Mammoth Collection, 1883; pg. 32.
X:1
T:Terence’s Ramble
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
c/F/ (3F/F/F/ c/F/A/F/ | d/e/f/g/
a/f/e/f/ | c/F/ (3F/F/F/ c/F/A/c/ | d/f/c/A/ A/G/G |
c/F/ (3F/F/F/ c/F/A/F/ | d/e/f/g/
a/f/e/f/ | c/F/ (3F/F/F/ c/F/A/c/ | d/f/c/A/ G/F/F :|
|: ga/g/ fc | d/f/c/f/ d/f/c/f/ |
ga/g/ f/d/d/e/ | f/d/c/A/ A/G/G |
ga/g/ fc | d/f/c/f/ d/f/c/f/ |
.a/.f/(3g/4f/4e/4 f/d/d/e/ | f/d/c/A/ G/F/F :|
TERESA HALPIN'S REEL. Irish, Reel. G Major. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 138, pg. 56.
TERIBUS. Scottish, March (2/4 time). Scotland, Border region. D Major. Standard
tuning. AA'B. The title is thought to be a pre‑Christian invocation to
the Viking gods Thor and Odin, states Neil (1991). The tune is particular to
the Scottish Border town of Harwick, whose natives are known locally as
"Teries." Both references are dialect survivors from the burthen of
an ancient song of the gleomann or scald, or the heathen Angle warrior, and
related to the slogan "Tyribus ye Tyr, ye Odin" or "Tyr halb us,
ye Tyr ye Odin" (Tyr keep us both Tyr and Odin). Christine Martin (2002)
prints the tune along with “The Sweet Maid of Glendaruel” and “Corriechoilles
Welcome to the Northern Meeting” as a set for the dance The Gay Gordons. Martin
(Ceol na Fidhle), vol. 2, 1988; pg.
44. Martin (Traditional Scottish Fiddling),
2002; pg. 73. Neil (The Scots Fiddle),
1991; No. 23, pg. 33.
TERPSICHORDIAN
HORNPIPE. American, Hornpipe. D Major.
Standard tuning. AABB. Terpsichore was the Greek muse of dancing and choral
singing. Cole (1000 Fiddle Tunes),
1940; pg. 106. Ryan’s Mammoth Collection,
1883; pg. 142.
X:1
T:Terpsichordian Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | d2c2 | dd/A/ F/A/d/e/ |
.ff/e/ d/e/f/d/ | e/a/f/d/ e/d/B/c/ | d2c2 | dd/A/ F/A/d/e/ |
f/e/f/a/ g/f/e/d/ | c/d/e/c/ d ::
(c/d/) | (.e/>.A/)(3A/^G/A/ f/a/f/d/ | (.e/>.A/)(3A/^G/A/ d/A/F/D/ |
(.e/>.A/)(3A/^G/A/ g/f/e/d/ |
e/d/c/B/ A(c/d/) | (.e/>.A/)(3A/^G/A/ f/a/f/d/ |
(.e/>.A/)(3A/^G/A/ d/A/F/D/ |
A,/D/F/A/ B/c/d/B/ | A/G/F/E/ D :|
TERRELL TEXAS BLUES. Old-Time, Country Rag. C Major. Standard tuning. AABBCDD'. From the
playing of the East Texas Serenaders. A shift to the second or third position
on the violin will facilitate this tune. Source for notated version: Oscar
Harper [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 142.
TERROR OF DEATH, THE. Irish/Scottish, Air. A composition of Ulster
born (d. 1653) harper Rory Dall O’Cahan, found at the end of Bruce Armstrong’s
“The Highland Harp.” (See note for “Give
Me Your Hand”).
TERRY ALT’S JIG. AKA
and see “The Mountain Brow.” Irish,
Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music
of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997;
No. 182, pg. 43.
X:1
T:Mountain Brow, The
T:Terry Alt’s Jig
M:6/8
L:1/8
R:Jig
K:G
D|DGG Gdd|edB (d2 B)|DGG Bdd|edB
AFD|DGG Bdd|
edB gfe|dBG AGA|BGG G2::B|def
gfg|agf edB|
eef gfg|agf (e2d)|def gfg|agf
gfe|dBG AGA|BGG G2:|
TERRY “CUZ” TEEHAN’S [1].
Irish, Barndance. E Dorian. Standard tuning. AABB’.
X:1
T:Terry
“Cuz” Teehan’s [1]
M:C|
Q:1/2=80
L:1/8
R:Barndance
K:Edor
B2BA
B2BA|dBAF DEED|B2BA B2BA|dBAF FEE2:|
|:Beef
g2fe|d2 (3Bcd ADFA|1 Beef g2fe|dBAF FEE2:|2 Beed BAFE|DEED E4||
TERRY “CUZ” TEEHAN’S
[2]. Irish, Barndance. A Major. Standard
tuning. AABB.
X:1
T:Terry “Cuz” Teehan’s” [2]
M:C|
Q:1/2=80
L:1/8
R:Barndance
K:A
AF|E2EF A2AB|ceec BAF2|f2ec
ABBA|ecBA FAAF|
E2EF A2AB|ceec BAF2|f2ec ABBA|ecBc
A2:|
|:af|ecef a2af|ecBA FAAB|cBBA
cBBA|cBBA FAaf|
ecef a2af|ecBA FAAB|cBBA cBBA|ecBc
A2:|
TERRY ‘CUZ’ TEAHAN’S
POLKA [1]. AKA and see “Ann Sheehy McAuliffe,” “Cousin’s Delight,” “’Cuz’ Teahan’s
Polka.” Irish, Polka. G Major (Mallinson, Taylor/Tweed): D Major (Deloughery).
Standard tuning. AABB. The story goes that Teahan (originally from County
Kerry) earned the moniker ‘Cuz’ when he worked for the Chicago fire department.
When he would meet a likely Irish musician who was jobless, he would direct him
to the firehouse with instructions to inform the powers that be he was Terry's
cousin and was here for the job. In Paul Deloughery’s book Sliabh Luachra on
Parade the title is given as “Ann Sheehy McAuliffe.” Deloughery (Sliabh
Luachra on Parade). Mallinson (100
Polkas), 1997; No. 70, pg. 27 (appears as “Cousins’ Delight”). Taylor (Traditional
Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 35 (appears as
“Untitled” polka).
X:1
T:Terry "Cuz" Teahan's
Polka
M:2/4
L:1/16
C:Cuz Teahan
S:Mary Rafferty
R:Polka
D:Sliabh Note
K:G
(B2d2) ( B2d2)|g4 g4| (B2d2) (B2d2)|
(B2A2) (A2G2)| (B2d2) (B2d2)|
g4 g3f| (g2e2) (d2B2)| A2BA G4:|!
(b2a2) (a2g2)|(e2g2) d4|(b2a2)
a2ga|(b2a2) a4|g3a (b2g2)| (e2g2) d4|
B2AB(d2B2)| A2BA G4:|
X:2
T:Ann
Sheehy McAuliffe
M:2/4
L:1/8
C:Cuz Teahan
B:"Sliabh Luachra on Parade", Paul Deloughery
R:Polka
D:Sliabh Note
K:D
D/E/|: FA FA | d2 dG | FA FA | FE ED/E/ |
FA FA | d2 d2 | Bc/B/ AF |1 EF DD/E/:|2 EF De
|:fa/f/ ed | Bd A2 | fa/f/ ed | fe ef |
dd/e/ fd | Bd A2 | FE FA/F/ | EF De:|2 EF D2 ||
TERRY ‘CUZ’ TEAHAN’S
POLKA [2]. See “Cuz Teahan’s Delight.”
TERRY HEIGH HO THE
GRINDER [1] (Toirdealbac {Eig
Og}/{Ucon an} An Meilteoir). AKA and see “The Grenadiers,” “The Grinder(s),” “'Tis Little for Glory I Care,"
"Margery Grinder," "Search All the World Over."
Irish, Slip Jig. A Dorian/G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 51
(appears as "Terry Heigh"). O'Neill (Krassen), 1976; pg. 82. O'Neill
(Music of Ireland: 1850 Melodies), 1903/1979; No. 1139, pg. 215. O'Neill
(Dance Music of Ireland: 1001 Gems),
1907/1986; No. 427, pg. 84. Ryan’s
Mammoth Collection, 1883; pg. 80 (appears as “Terry Heigh”).
X:1
T:Terry Heigh Ho the Grinder [1]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
427
Z:AK/Fiddler’s Companion
K:A Dorian
ABA A2B G3|ABA A2B d2B|ABA A2B
G3|GAG GAB d2B:|
|:gfg edc BAG|gfg efg a2f|gfg edc
BAG|ABA A2B d2B|
gfg edc BAG|gfg efg a2a|bag agf
gfe|dBA A2B d2B||
TERRY HEIGH HO THE
GRINDER [2] (Toirdealbac Eig Og
An Meilteoir)
Irish, Slip Jig. A Dorian/G Major. Standard tuning. AABB. Source for notated
version: the renowned uilleann piper Patsy Touhy (1865-1923), born near
Loughrea, County Galway. Tuohey spent most of his life in America [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1140, pg. 215.
X:1
T:Terry Heigh Ho the Grinder [2]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Music of Ireland (1903), No. 1140
Z:AK/Fiddler’s Companion
K:A Dorian
B | AGE A2B G2B | A2G ABd e2d | gdB
AGE G2A | GEE GAB d2B :|
|: dgg edB BAB | dgg edB d2B | dgg
edB BAB | GEE GAB d2B :|
TERRY LANE’S WALTZ. Irish, Waltz. D Major. Standard
tuning. AA’BB’CC’. Source for notated version: accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 273, pgs.
155-156.
TERRY TEAHAN'S (POLKA)
[1]. Irish, Polka. D Major. Standard
tuning. AA'BB'. Teahan is an accordion and concertina player from County Kerry.
Taylor (Where’s the Crack?), 1989;
pg. 29. Green Linnet SIF‑1105, Patrick Street ‑
"Irish Times" (1989. Appears as last tune ot "The Newmarket
Polkas").
TERRY TEAHAN’S (POLKA)
[2]. AKA and see “The Newmarket,” “Sharon Shannon’s (Polka).”
Irish, Polka. A Major (Mallinson): G Major (Tubridy). Standard tuning. AABB’
(Mallinson): AA’BB’ (Tubridy). Mallinson (100
Polkas), 1997; No. 82, pg. 31. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 8.
X:1
T:Terry Teahan’s [2]
R:Polka
L:1/8
M:2/4
K:A
E2 Ec|BA FA|E2 Ec|BA AF|E2 Ec|BA
FA|E2 ec|1 BA AF:|2 BA A2||
|:ce B>c|BA FA|ce B>c|BA A2|ce
B>c|BA FA|E2 ec|1 BA A2:|2 BA AF||
TERRY TEAHAN’S POLKA
[3]. See “Terry 'Cuz' Teahan’s Polka.”
TERRY TEEHAN'S (REEL). Irish, Reel. G Minor. Standard tuning. AABB’.
X:1
T:Terry Teehan's
M:4/4
L:1/8
R:Reel
N:Bare - bones version of Mike
McGoldrick's version, eg not even
N:attempting to duplicate variations
and ornamentation
D:Michael McGoldrick : Fused
Z:Steve Mansfield March 2001
K:Gm
G2GF G2FG | BGFD B,CDF |
G2GF G2FG | BGFD C4 ::
GccB dedc | B2GB FB,DF |
1 GccB dedc | BGFD C4 :|
2 GccB GFDC | B,CCB, C4 ||
TERRY TEEHAN'S (SLIDE). AKA and see “Baile an
tSamhraidh,” "Murphy's," “Terry
Teahan’s Favorite.” Irish, Slide (12/8 time). E Dorian. Standard. AAB.
Teahan is an accordion and concertina player from County Kerry. Sullivan (Session Tunes), vol. 2; No. 37, pg. 15.
Taylor (Music for the Sets: Blue Book),
1995; pg. 13. CBS 36401, The Chieftains 9 "Boil
the Breakfast Early.”
X:1
T:Terry Teehan’s (Slide)
N:Chieftains play on C whistles
Z:Transcribed by Phil Sexton
M:12/8
L:1/8
K:E Dorian
e3 B2A FED B2E|FED A2D d2D A2d|e3
B2A FED B2E|FED F2A F2E E3:|
B2e ede f2a afa|baf a2f e2d B2A|B2e
ede f2a afa|baf a2f e3 e2d|
B2e ede f2a afa|baf a2f e2d B3|faf
f2e efe B2A|FED F2A F2E E3||
TERRY TEAHAN’S
FAVORITE. AKA and see “Terry Teehan’s (Slide).
TERRY WALSH'S REEL. English, Reel. A Minor. Standard tuning. AABB. A modern composition by
Ian McGrady. Knowles (Northern Frisk),
1988; No. 134.
TERRY'S RAG. AKA and see "Red Neck Mother."
Old-Time, Country Rag. B Flat Major. Standard tuning. AA'B. Composed by Terry
Morris. Source for notated version: Tony Ludiker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 143.
TERRY’S TRAVELS. Irish. An early composition of whistle player
Darach de Brun’s, recorded on Oisin’s first album in 1976.
T'ES PETITE ET T'ES
MIGNONNE (You're Small and
You're Cute).
Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning.
AABB(Vocal)BBAABB(Vocal)BB. Source for notated version: Dudley and James Favor
[Francois]. Francois (Ye Yaille, Chère!),
1990; pgs. 280-281. Old Timey Records OT-114, Dudley
and James Favor.
TETE-A-TETE HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. Composed by Harry
Carleton. Cole (1000 Fiddle Tunes),
1940; pg. 106. Ryan’s Mammoth Collection,
1883; pg. 142.
X:1
T:Tete-a-tete Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
G/D/E/D/ B,/D/G/B/ | d/^c/d/e/
d/B/A/G/ | c/E/d/c/ B/D/c/B/ | A/d/B/G/ A/G/E/F/ |
G/D/E/D/ B,/D/G/B/ | d/^c/d/e/
d/B/A/G/ | c/E/d/c/ B/D/c/B/ A/d/c/A/ G2 :|
|: g/d/b/g/ f/d/a/f/ | e/c/g/e/
d/B/A/G/ | g/d/b/g/ f/d/a/f/ | e/g/c/e/ d2 |
g/d/b/g/ f/d/a/f/ | e/c/g/e/
d/B/A/G/ | D/G/G/D/ E/G/c/e/ | d/c/B/A/ G2 :|
TEVIOT BRIDGE/BRIG. AKA and see “Boys of
Ballinafad.” AKA – “Pivot Brig,” "Teviot/Tiviot Jig." Scottish
(originally), Canadian; Jig. Canada; Cape Breton, Prince Edward Island. G Major
(Skye): A Major (Athole, Gow, Hunter, Kerr, Neil, Perlman, Phillips, Sweet).
Standard tuning. AB (Neil): AAB (Athole, Gow, Hunter): ABB (Skye): AABB (Kerr,
Phillips, Sweet): AA’BB (Cranford/Fitzgerald): AA’BB’ (Perlman). Composed by
Alexander Givan (1752‑1803) of Kelso, Scotland, where the Teviot Bridge
is located. An early printing appears in Thomas Calvert’s 1799 collection.
Calvert was a musician from Kelso and a note with his collection states
that Calvert supplied “a variety of music and instruments, instruments lent
out, tun’d and repaired.” The
tune has been associated with a particular country dance. The jig was esteemed
by Cape Breton fiddler Winston “Scotty” Fitzgerald. See also the Irish “Father Hanley’s Jig” which shares a
similar second part (and which the late New York Irish-style fiddler Andy
McGann used to “Teviot Bridge” with). Sources for notated versions: Ron West
(Vt.) [Phillips]; Gus Longaphie (b. 1914, Little Harbor, North-East Kings
County, Prince Edward Island; now resident of Souris) [Perlman]; Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 70 (appears as “The Pivot Brig”).
Cranford (Winston Fitzgerald), 1997;
No. 173, pg. 69. Gow (Complete Repository),
Part 4, 1817; pg. 24. Hunter (The Fiddle
Music of Scotland), 1988; No. 304. Jarman (Old Time Fiddlin' Tunes), No. or pg. 16. Kerr (Merry Melodies), vol. 1; pg. 31. MacDonald (The Skye Collection), 1887; pg. 176. Neil (The Scots Fiddle), 1991; No. 27, pg. 36. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 141. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 381 (appears as "Teviot
Jig"). Ryan’s Mammoth Collection,
1883; pg. 102 (as “Pivot Brig”). Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 157. Stewart-Robertson
(The Athole Collection), 1884; pg.
134. Sweet (Fifer’s Delight),
1965/1981; pg. 27. Celestial Entertainment CECS001,
Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). Chonnachta CICD 173,
Brian Conway – “Consider the Source” (2008). Fretless 132, "Ron West:
Vermont Fiddler." Rounder Records 7057, Jerry Holland – “Parlor Music”
(2005). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou
– “Cape Breton Fiddle and Piano Music” (2004).
X:1
T:Teviot Bridge
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A Major
f|ecA E2A|F2A E2A|EFE E2c|d2c B2f|ecA E2A|F2A E2c|d2f ecA|B3A3:|
f|ecA Ace|fgf fga|ecA AcA|BGE E2f|ecA Ace|agf edc|d2f ecA|B3 A2f|
ecA Ace|fgf fga|ecA ABA|BGE E2f|ece fdf|agf edc|dfa ecA|B3 A2||
X:2
T:Tiviot Bridge
M:6/8
L:1/8
R:Jig
B:Calvert Collection - Page 11
N:Now known as Teviot Brig. The Teviot flows into the Tweed just West of
N:Kelso. This bridge is almost certainly the one over the Teviot, a
N:mile out of Kelso.
Z:P Whittaker
K:A
f | ecA E2 A | F2A E2A | ABA A2c | {ABc}d2cB2A |
ABA E2 A | F2A E2c| {c}[d2f2]b ecA | ~B2 A/2B/2 [C2A2]||
f | ece ece | fdf fga | ece ecA | BGE EGf |
ece fdf |{fg}agf edc| [d2f2]b ecA | ~B2 A/2B/2 [C2A2]||
X:3
T:Teviot Bridge
M:6/8
L:1/8
R:Jig
S:Brian Conway (03/06)
Z:AK/Fiddler’s Companion
K:A
(f||e)cA E2A|({G}F)DF E2 F|E2(C
EFA|d2c Bcd|ecA E2 A|({G}F)DF E2c|
def ecA|[G3B3] [E2A2] f|ecA E2
A|({G}F)DF E2F|E/E/EC EFA|d2 c Bcd|
ecA E2 A|({G}F)DF E2 c|def
ecA|[G3B3] [E2A2]||:f|ecA Ace|[d3f3] a2 f|
ecA AGA|BGE E2f|ecA Ace|fdf a2
(f|{a}g)eg fdf|1 [c3e3] [c2e2]:|2 ece dcB||
TEXARKANA HORNPIPE. AKA and see “Morning Fair,” “Tomorrow Morning.”American, Hornpipe. D
Major. Standard tuning. One part (Burchenal): AABB (Cole). As “Tomorrow
Morning” the tune appears in O’Neill. Burchenal (American Country Dances, vol. 1), 1918; pg. 7. Cole (1000 Fiddle Tunes), 1940; pg. 98. Ryan’s Mammoth Collection, 1883; pg.
132.
X:1
T:Texarkana Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(f/e/) | d/A/F/A/ d/f/e/d/ |
e/c/A/c/ e/g/f/e/ | f/a/f/d/ B/g/e/d/ | .c.A .A(f/e/) | d/A/F/A/ d/f/e/d/ |
e/c/A/c/ e/g/f/e/ | f/a/f/d/
B/g/e/c/ | ddd :: (f/g/) | a/f/d/e/ f/g/a/f/ | e/d/c/d/ .e(e/g/) | f/e/d/f/
e/d/c/e/ |
d/c/d/B/ .A(f/g/) | a/f/d/e/
f/g/a/f/ | e/d/c/d/ .e(e/g/) | f/e/d/f/ e/d/c/e/ | ddd :|
TEXAS. AKA – “New Castle.” Old‑Time, Breakdown. USA; Virginia, West
Virginia. A Mixolydian. Standard tuning. AB (Silberberg): AABB (Phillips). A
‘crooked’ tune (the first strain always has 17 beats, the second has 13) from
fiddler Henry Reed, of Glen Lyn, Virginia. Alan Jabbour dubbed it “Texas”
because Reed told him he had no name for it but learned it from ‘a fellow
either going to Texas or from Texas’. At some point Reed told Jabbour the man
who played the tune was a Mr. Drummond(s). The tune was popularized under the
title “Texas” by Jabbour through his playing with the Hollow Rock String Band.
However, when the folklorist later visited Reed the old fiddler said “with
certainty” that the correct title was "New Castle," referring to the
county seat of Craig County, Virginia (it should also be noted that it is said
that New Castle is the seat of a county in Texas). Jabbour believes he may have
misheard or misunderstood the “Texas” title. Fiddler Bertram Levy played the
tune as “The Road to Texas,” perhaps after Jabbour’s title. See also West
Virginia fiddler Melvin Wine’s distanced but recognizable variant “Charleston Girls.” Another West Virginia
version is an untitled variant learned by fiddler and bagpiper Frank George
from his grandfather. Folklorist Gerald Milnes says West Virginia variants were
played only along the southern border and in the south central portion of the
state. Most versions are in mixolydian or sometimes dorian: Reed himself played
it with a natural 7th note (G) and with a third falling between the
natural and sharp. Versions exist that are ‘folk processed’ and distanced from
the Henry Reed version. Some of these altered versions stem from the Sweets
Mill, California, old time musicians who reworked (intentionally or not) the
tune from a Henry Reed tape brought back in the early 1970’s (Jack Aldrich).
Jabbour suggests theses chords as possible accompaniment.
***
1st
strain: AAAA GGDD AAAEE AEAA (repeat)
2nd strain: AADD DDGEE AEAA (repeat)
***
or alternatively,
***
1st strain: AAAA GGDD AAAAA AEAA (repeat)
2nd strain: AADD DDDAA AEAA (repeat)
***
Sources for notated versions: Ken
Kosek [Phillips]; Tony Mates [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 239. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 158. Folkways FA-204, Bruce Hutton – “Old
Time Music, It’s All Around” (1978). Heritage (Galax) 039, Ron Mullennex – “Old
Five String.” Heritage (Galax) 066, Mac Benford’s Old Time Band – “Texas Music”
(1986). Jack Rabbit 001, “The Last Straw String Band.” Library of Congress (AFS
130325b08), Henry Reed. Library of Congress (AFS 12705b15), Henry Reed (under
the title “New Castle”). Marimac 9009, Dave Spilkia & Maggie Holtzberg ‑
"Old Time Friends" (1987). Pete Sutherland – “Eight Miles from Home.”
X:1
T:Texas
L:1/8
M:4/4
S:From a transcription by Alan
Jabbour of the playing of Henry Reed
K:D
(3e/f/g/|a)a a2 (gf)
(f/e/d)|(g>f) (ga/g/ f) d2 (3[A/e/]f/g/|a)a/b/ a2 g>f e>(f|
e>)d c<A (B/A/B/A/) c A2
(3[A/e/]f/g/|a/)(ab/) a2 (gf) e>(f|
e)d cA (B/A/B/A/) c A2
(A|A/)(B/=c/B/) (A/B/c/d/ e)d2 (d|
d/)e/f/e/ (d>f) gf e>(f|e)d cA
(B/A/B/A/) c A2 (A|
A/)(B/=c/B/) (A/B/c/d/ [Ae]) d2
(d|d/)e/f/e/ d2 (gf) (e>f|e)d cA| (B/A/)(B/A/) c A2||
TEXAS BARBED WIRE. Old‑Time, Breakdown. G Major. Standard tuning. AABB. The tune is
probably from Texas fiddler Bob Wills. Kuntz, Private Collection.
TEXAS BELL(S). Old-Time, Breakdown. AEac# tuning.
The melody, from fiddler W.E. Claunch of Guntown, Mississippi, features fiddle
strings plucked to represent bells. Claunch recorded the tune for the Archive
of Folk Song, Library of Congress. Yodel-Ay-Hee 05,
The Wildcats - "On Our Knees" (1992).
TEXAS BLUES. See "Blues de Texas."
TEXAS COW THIEF. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
TEXAS CRAPSHOOTER. Old-Time, Country Rag. F Major. Standard tuning. ABB'. Source for
notated version: Hugh Farr [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 144.
TEXAS DIXIE. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
TEXAS FAIR. Old-Time, Breakdown. C Major (Phillips): B Flat Major. Standard tuning.
AB (Silberberg): AABB (Phillips). From the playing of the Leake County Revellers,
c. late 1920’s. Source for notated versions: Kerry Blech (Seattle) [Phillips,
Silberberg]. Phillips (Traditional
American Fiddle Tunes), 1994; pg. 239. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 158.
TEXAS GALES. AKA ‑ "Texas Gals." AKA and see “Knockin’ at Your Door [2].”
Old‑Time, Breakdown. USA. C Major. Standard tuning. AABBCC. The title is
sometimes given as “Texas Gals.” The “Texas Gales” title comes from the Doc Watson
recording of the tune, but Kerry Blech, for one, believes it was a miss-hearing
of “Texas Gals,” spoken in a North Carolina drawl. See also Gene Goforth’s
cognate “Knockin’ at Your Door.” Source for notated version: The Hillbillies
[Brody]. Brody (Fiddler’s Fakebook),
1983; pg. 274. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 239. County
405, "The Hillbillies." Document 8040, “The Hill Billies/Al Hopkins
and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2”
(reissue). Folkways FA 2366, "Watson Family." Kicking Mule 206, Eric
Thompson‑ "Kicking Mule's Flat Picking Guitar Festival."
Mountain 310, Tommy Jarrell ‑ "Joke on the Puppy" (1976.
Learned from Rafe Brady). Ridge Runner 0005, Roland White‑ "I Wasn't
Born to Rock 'n Roll." Rounder CD0403, The Freight Hoppers - “Where’d You
Come From, Where’d You Go?” Vanguard VSD 6576, Doc Watson‑ "Ballads
From Deep Gap." "Wretched Refuse String Band.”
TEXAS GALOP. AKA and see "Texas Quickstep [1]."
TEXAS GALS. See "Texas Gales."
TEXAS
QUICKSTEP [1]. AKA and see "Black Jack [2],"
"Cherokee Polka," “Spanish Polka,” "Texas Galop."
Old‑Time, Breakdown. USA; Texas, Oklahoma, Arizona. D Major. Standard
tuning. AABB (Thede): AA'BB' (Phillips). The tune was recorded by fiddler A.L.
“Red” Steeley (1893-1969), from the Arlington, Texas, area for Brunswick in
October, 1929. Steeley along with friend J.W. ‘Red’ Graham on banjo were billed
as “The Red Headed Fiddlers.” They were, however, originally from Alabama,
Steeley moving to Texas at around age 10. Steeley hailed from Scotsboro and his
grandmother’s brothers were the famous Taylor brothers, Bob and ‘Alf’, fiddlers
and politicians from Tennessee (one became Governor of the state). “Cherokee
Polka” is a closely related tune, while “Rachel”
is an alternate title. “Rachael” or “Rachael’s Hornpipe,” has been attributed
to Rachael Jackson, wife of President Andrew Jackson, according to the Texas Old
Time Fiddling Association’s website (http://www.texasoldtimefiddlers.org/Monthly%20texas%20fiddle.htm).
The two-step part of Lonnie Robertson’s “Hazy
Hills Waltz” is a variation of “Texas Quickstep,” according to the
composer. Sources for notated versions: Jim Black (Beaver County, Oklahoma)
[Thede]; Red Steeley & Kenny Baker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 143. Ruth (Pioneer Western
Folk Tunes), 1948; No. 10, pg. 5. Thede (The Fiddle Book), 1967; pg. 145. County
517, The Red Headed Fiddlers – “Texas Farewell” (reissue recording). 5 String
Productions 5SP05002, The Hoover Uprights – “Known by their Reputation” (2005).
Voyager VRCD347, “Vivian and Phil Williams, Live” (learned from a Bill Monroe
recording).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Texas
Galop
T:Texas
Quickstep
T:Spanish
Polka
L:1/8
M:2/4
S:Viola
“Mom” Ruth, 1948
K:D
DF/A/
dF|GB/d/ gB|Ac/e/ ac|e/d/c/B/ A/G/F/E/|DF/A/ dF|GB/d/ gB|
Ac/e/
ac|d3e::f2g2|a/g/f/e/ d2|eaea|f/e/d/B/ A2|DF/A/ dF|GB/d/ gB|Ac/e/ ac|
e/d/c/B/
A/G/F/E/|DF/A/ dF|GB/d/ gB|Ac/e/ ac|1 d3e:|2 d2a2|d’4||
TEXAS QUICKSTEP [2]. Canadian, Breakdown. D Major.
Standard tuning. AABB. Related to version #1, but more of a reel. Composition
of the melody is credited to Canadian fiddler Jim Magill in Jarman's. A close
relative, an untitled lancers tune collected from a Prince Edward Island,
appears in Bayard (Dance to the Fiddle,
1981, Appendix No. 5, pg. 574), while another tune, called "The Elk's Festival" is similar.
Jarman (The Cornhuskers Book of Square
Dance Tunes), 1944; pg. 8.
TEXAS QUICKSTEP [3]. AKA and see "Circus Piece," "Mississippi Breakdown [2]."
Brunswick BR 285 (78 RPM), A.L. Steeley (1929).
TEXAS SANDY HILL. Old-Time, Breakdown. C Major. Standard tunig. AABB. Source for notated
version: Stuart Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 240.
TEXAS SCHOTTISCHE. AKA and see "Military
Schottische."
TEXAS SERENADE. AKA and see "Fort Worth Rag."
Old-Time, Country Rag. F Major ('A' part) & C Major ('B' part). Standard
tuning. AAB. Source for notated version: Hollis Taylor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 145.
TEXAS WAGONER. See "Wagoner [1]," etc.
Recorded in 1929 by Texas fiddler Eck Robertson with his family band for Victor
Records. County 202, "Eck Roberstson: Famous
Cowboy Fiddler." County 527, Eck Robertson (Texas) ‑ "Old‑Time
Fiddle Classics, vol. 2." Victor 40145 (78 RPM), Eck Robertson (West
Texas), 1929.
TEXAS WALTZ. Old-Time, Waltz. Document 8038, The Red Headed Fiddlers – “Texas Fiddle
Bands” (reissue).
TEXEL ISLAND, THE.
English, Jig. C Major. Standard tuning. AABB. The melody appears in
Thompson’s Twenty Four Country Dances for the Year 1800 (London). Texel
(pronounced ‘Tessel’) Island is in North Holland Province, Netherlands,
the largest of the Frisian Islands in the Wadden Sea. There was a naval battle
there in August, 1673, between the allied English and French against the Dutch
during the Third Anglo-Dutch War. It resulted in a strategic victory for the
Dutch. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 129.
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