The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
TIAC SIODA, AN. AKA and see "The Silken Wallet."
TIARNA GORDON, AN. AKA and see "Lord
Gordon's Reel," "The
Duke of Gordon's Rant."
TIARNA MAC DÓNAILL, AN. AKA and see "Lord
MacDonald('s Reel) [4]."
TIARNA MHAIGH EO. AKA - "Tiarna
Mhuigheo." AKA and see “Lord Mayo
[1].”
TIARNA MHUIGHEO. AKA and see “Lord Mayo [1].”
TIARNA WARAGA. AKA and see “Royal Charlie.”
TIARNA
TIBBIE
TIBBY/TIBBIE
FOWLER/FOULLER O'/IN THE GLEN [1]. AKA and see "Dunrobin Castle [1]."
Scottish, English; Strathspey or Country Dance Tune (4/4 time).
***
After the dance, followed a supper, where
cheerfulness and good humour
prevailed. Those who could sing entertained
the company, which remained
to a late, or rather early hour...I
particularly noticed Mrs. Grant of Caron, a
very pleasant sensible woman. Her two songs
were "Yowie wi the crookit
horn," and "Tibby Fowler in the Glen."
***
Glen (The Glen Collection of Scottish Music), Vol. 1, 1891; pg. 18.
McGlashan (Collection of Strathspey Reels),
c. 1781; pg. 3. Maggie’s Music MMCD222, Bonnie Rideout
– “Scottish Fire” (2000).
X:1
T:Tibby Fouller
O’ the Glen [1]
M:C|
L:1/8
R:Strathspey
S:McGlashan – Collection of Strathspey
Reels (c. 1781)
Z:AK/Fiddler’s Companion
K:Dmin
A|D/D/D D2
F>G A>F|G<GG<G A>GA>G|D/D/D D>DF>G A>c|
d<f
d>c A>G G<A|D/D/D D/D/D F>GA>F|G<G B<G c>G B<G|
D/D/D D/D/D
F>G A>c|d<f c>A A>G G||e|f<dc<A f>ga>f|g<gg<g
b<g a>g|
f<dd<f
A>GG>e|f<d c>A f>g a<f|g/g/g g/g/g b<g a>g|f<dc<A
f>ga>g|
d<fc<f A>G G||
TIBBY FOWLER O’ THE
GLEN [2]. AKA and see “The Fouller’s Rant.” Scottish, Slow
Strathspey. A Dorian. Standard. AAB. Paul Stewart Cranford (1995) and Dunaly
& Greenberg (1996) believe “Alec
Dan MacIsaac’s” to be a
X:1
T:Tibby Fowler o’ the Glen
M:C
L:1/8
R:Strathspey
S:Gow – 1st Repository (1799)
Z:AK/Fiddler’s Companion
K:Amin
B|A/A/A A>B G>ABd|e(AA>)B
d/c/B/A/ G>B|A/A/A A>B G>ABd|e(AA>)B GEE:|
a|g(ee>)g d>edB|g(ee>)g
a>b g<e|d>eg>b e>g (e/d/)c/B/|eAA>B GEE>a|
g(ee>)g d>e {e}d
{c}B|g(ee>)a (g<b)ae|g>be>g d>gB>d|eAA>B GEE||
TIBBIE INGLIS’ FANCY. AKA and see “Duncan Davi(d)son.” Scottish,
Strathspey. Ryan’s Mammoth Collection,
1883; pg. 170.
TI-BLANC DAVIS.
French-Canadian, A traditional
tune in the repertoire of fiddler Yvon Mimeault (b. 1928, Mont-Louis, Gaspé), learned
from a blind accordion player from Riviere Madeleine, Quebec, whose name is the
title. Yvon Mimeault – “Y’ était temps!/It’s About
Time.”
TIC TOC POLKA.
American, Polka. The melody originated in the Slovenian and Polish polka
scene in the
TICH’S REEL. English, Reel. Composed by Borders fiddler Willy Taylor, in honor of
Boys of the Lough member Tich Richardson.
TICKLE
HER LEG WITH THE BARLEY STRAW. AKA and see “Get Up Old Woman and
Shake Yourself,” “Go to the Devil and
Shake Yourself [3].” Irish, Jig. Green Linnet GLCD
3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears
as second tune of “Tickle Her Leg” medley).
TICKLE THE PIG. Irish, Jig. D Mixolydian. Standard tuning. AABB. Composed by
X:1
T: Tickle the Pig
C: © B.Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: Dmix
E | D2 F A2 F | GcB c2 B | Add ^cde | fdA cGE |
D2 F A2 F | GcB cde | dcA GEC | DED D2 :|
A | Add afd | Ace gfg | f2 a gfe | d2 e cBA |
Add
afd | Ace gfe | dcA GEC | DED D2 :|
TICKLE THE STRINGS. Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 250.
X:1
T:Tickle The Strings
M:4/4
L:1/8
S:Patrick Stack, Chicago
Z:Paul Kinder
R:Reel
K:G
d2 BA Bcde|dBAc BG G2|GBBd ceeg|1fgaf gfge:|2fgaf gfgf||
g2 bg agbf|g2 bg agef|g2 bg agba|gede g2 gg|
dgbg
dgbg|dgbg agec|Bcdg edeg|fgaf gfge||
TICKLE THE WIG. AKA and see “The Lass in the Parlour.” Irish,
Slip Jig.
TICKLISH REUBEN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
TICKNOR'S QUADRILLE. American, Quardrille (6/8 time). USA, Michigan. G Major. Standard
tuning. AA'BB. (H.) Ford, (Good Morning),
1926; pg. 47. Johnson (The Kitchen
Musician’s No. 7: Michigan Tunes), vol. 7, 1986‑87.
TICONDEROGA. American, Jig. D Major. Standard tuning. AABBAA.
X:1
T:
M:6/8
L:1/8
R:Jig or Quadrille
S:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:D
A|ABc d2e|fdB A2f|gfe ABc|d2f
A2A|ABc d2e|fdB A2a|
a2b a2A|ABc d2::Bc^c d2b|b2b bag|fed
ABc|ABc A3|
ABc [c2f2][cf]|[c2f2][cf] [cf]ed|cBA
GAB|1 def g3:|2 def g2||
TIDAL WAVE. American, Dance Tune (2/4 time). F Major ('A' part) & C Major ('B'
part), with Trio in B Flat Major. Standard tuning. ABBC. Composed by Eddie Fox. The tune is listed as a 'jig', referring not
to the familiar Irish 6/8 jig but rather a type of old-time 18th
century duple-time banjo tune. See “Annie
Hughes’ Jig,” also composed by Fox, for a sketch of the man. Cole (1000 Fiddle Tunes), 1940; pg. 79. Ryan’s Mammoth Collection, 1883; pg.
112.
X:1
T:Tidal Wave
M:2/4
L:1/8
R:”Jig”
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(C2F2) | (A2c2) |
(d/>.c/)(B/>.c/) d>/f?e/>f/ | c/A/z a/f/z | (C2F2) | (A2c2) |
f/>d/=B/>a/ (3g/a/g/ (3f/e/d/ |
(3c/g/f/ (3e/_e/d/ (3c/B/G/
(3E/D/_D/ | (C2F2) | (A2c2) | d/>.c/B/>.c/ d>/f?e/>f/ | c/A/z a/f/z
|
z/>b/(a/>.b/) (3d/e/^f/ g |
z/>a/(^g/>.a/) (3A/B/=B/ c | z/>d/(^c/>.d/)
(E/>=.c/)(=B/>.c/) | (F/>.A/)(c/>.e/) f ||
K:C
|: a | (g/>.f/)(d/>.B/) A>G
| ^F/>G/c/>e/ g>g | (=f/>g/B/>)g/ (f/>g/B/>)g/ |
(e/>gc/>)e/ (E/>G/c/>)e/ |
(g/>f/)d/>B/ A>G |
^F/>G/c/>e/ g>(^g | b/>a/)^c/>(d/ a/>g/)=B/>(=c/ |1
e/>d/)(A/>.B/) c :|2
e/>dA/>B/ c/>_B/G/>E/ ||
“Trio”
K:Bb
(F^F G>)D | (F^F G>)D |
F/>B/d/>f/ b/>ag/>f | (^fg)A z/>e/(c/>.A/) | (F^F G>)A, |
(F^F G>)A, | C/>F/A/>c/
a/>g/f/>e/ | (^cd)F z/>f/d/>B/ | (F^F G>)D | (F^F G>)D |
=F/>G/=B/>d/ g/>_a/g/>d
| c/>B/c/>d/ e>(^f | g/>)(d/e/>)(=B/ c/>)(d/e/>)(=e |
f/>)(^c/d/>)(A/ B/>)c/d |
(f^f g>)A | B/>d/f/>b/ Bz ||
TIDDLE TOOK TODFISH. Old‑Time, Breakdown. D Major. Standard tuning. AABB'. Bayard was
not able to trace this tune, though he notes a resemblance to "The Cosmopolite" in Cole's 1000 (pg. 31). I believe that the
first part of “Tiddle took Todfish,” however, is a variant of the second part
of “Liverpool Hornpipe [1].”
Source for notated version: David P. Gilpin, Connellsville, Pennsylvania,
September 22, 1943 (learned at Dunbar, Pennsylvania). Bayard (Hill Country Tunes), 1944; No. 17.
X:1
T:Tiddle Took Tod Fish
M:4/4
L:1/8
R:reel
N:David (Dave) P. Gilpin,
Connellsville, P.A. 1943 (in his 60’s)
N:Dave lost his ring finger in an
accident and had to relearn
N:his tunes using the first 2
fingers of his left hand.
N:Samuel P. Bayard (collector of
this tune) stated that Dave’s
N:playing was some of the best he’d
collected and the loss of fingers
N:was not at all a handicap.
B:Samuel P. Bayard – Hill Country Tunes (1944)
Z:Shawn Craver (www.shawncraver.com)
K:D
(3ABc)|d2[Af]e c2ec|BcdB AFDF|G2BG
F2AF|EDEF GABc|
d2fe c2ec|BcdB AFDF|B2BG F2AF|EGFE
D2(A2||
|:A)cef gf gz||Ace^g ag az|Acef
g2gf|1 faec d2B2:|2 faec d2||
TIDE AT THE TAING. Scottish, Air (6/8 time).
Scotland, Orkney. E Flat Major. Standard tuning. One part. A modern composition
by Orcadian fiddler Jennifer Wrigley. The Taing, on the island of Wyre, is a
prime viewing spot for Common and Grey seals. Martin (Traditional Scottish Fiddling), 2002; pg. 106. Jennifer & Hazel Wrigley – “Dancing Fingers.”
TIDE COME IN [1], THE. AKA and see "Till the Tide Comes In." English,
Country Dance Tune (4/4 time). England, Northumberland. G Major. Standard
tuning. AB (Kidson): AABB (Stokoe & Bruce). Kidson (1890) identifies this
as a popular Northumbrian song which has "been long known on the Tyne
banks." The version he prints is from A
Collection of Marches, Quicksteps, Strathspey, and Reels...adapted for the
Pianoforte by Thomas Calvert, Kelso (1799), and he finds a somewhat
different set in Topliff's Melodies of
the Tyne and Wear (c. 1812). Calvert was a musician who lived in Kelso, in
part supporting himself with “a
variety of music and instruments, instruments lent out, tun’d and repaired.” 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. Stokoe and Bruce (1882)
mention that Sir Cuthbert Sharpe, in his Bishoprick
Garland:
***
Till the tide comes in, till the tide comes in,
We'll sit upon the pier till the tide comes in.
***
Frank Kidson (1890) prints these
words from the "Tyne Songster" of 1840:
***
While strolling down sweet
A man-o'-war's blade I chanced to meet:
To drink a good glass till the tide came in.
***
A similar song appears in the
manuscript collection of Northumbrian collector John Bell (a librarian to the Society
of Antiquaries of Newcastle-upon-Tyne), and begins:
***
While strolling down by
A Shipmate there I chanc’d to meet;
“I’ll treat you with a pint of gin,”
Says he, “until the tide comes in,”
CHO:
Till the tide comes in, till the tide comes in,
Right merry will we be till the tide comes in;
We’ll music bring, and dance and sing
And kiss the pretty girls till the tide comes in.
***
Henry Robson, who wrote the list of
Northumbrian tunes previously referred to, also wrote a more modern song about
the beginning of the 19th century to the same air, and Stokoe and Bruce note it
is generally found in collections of local Northumbrian songs; it is perhaps
the one printed in the above "Tyne Songster." Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 177
(appears as "Till the Tide Comes In"). Kidson (Old English Country Dances), 1890; pg. 20.
X:1
T:Till the Tide Comes In
M:C
L:1/8
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
BA|GB d2d2 cB|Ac e2e2 dc|BdgB Aedc|B2G2G2 BA|GB d2d2 cB|
Ac e2e2 dc|BdgB Aedc|B2G2G2:|
|:(3def|gfgf gdBd|e2d2d2ef|gfgf gdBd|c2A2A2 BA|GB d2d2 cB|
Ac e2e2 dc|BdgB Aedc|B2G2G2:|
X: 3
T:The tide come in.
M:C
L:1/8
B:The Calvert Collection (1799)
Z:AK/Fiddler’s Companion
K:G
“tr” BA|G2 d2 d2 cB|c2 e2 e2 “tr” BA|G2 d2d2 “tr” AG|{G}F2 A2 A2 “tr” BA|
G2 d2d2 cB|cdef g2d2|(cd)ec (ABc)A|B2 G2 G2||ef|gfgd (BGB)d|e2 d2 d2 ef|
gfgd
(BGB)d|c2 A2 A2 ef|gfgd (BGB)d|(ef)ge “tr”(edc)B|(cd)ec (AB)cA|”tr” B2 G2 G2||
TIDE COME IN [2], THE (Tháinig an Taoide Isteach). AKA – “The Tide Came In,” “When the Tide Comes In.” AKA and
see “The Brown Casket/Chest,” “The Brown Coffin,” “(An) Comhra Donn.” Scottish (originally),
Irish; Hornpipe. G Minor (Kerr): D Minor (Miller). Standard tuning. AABB. Some
similarities to version #1. According to Donegal fiddler Danny O’Donnell the
tune was also called “Factory
Smoke Hornpipe” and “The Flowing
Tide [2]” (the latter title also belongs to a popular but unrelated
hornpipe). The tune is sometimes attributed to Tyneside fiddler and composer
James Hill (it is included in Graham Dixon’s 1987 book of Hill compositions, The
Lads Like Beer), but the attribution is conjectural. The Charlton Memorial Tune Book (1956) attributes an E minor
version of the tune (called “When the Tide Comes in”) to one Jack Davidson.
Kerr (Merry Melodies), vol. 3; No.
363, pg. 40. Kohler’s Violin Repository (appears as “Factory Smoke”).
Miller (Fiddler’s Throne), 2004; No.
318, pg. 187. Danny O’Donnell – “Ón tSean-Am Anall”
X:1
T:Tide Come In, The [2]
M:C
L:1/8
R:Hornpipe
K:Gmin
(dc)|BAG^F GABc|B2G2G2 (bg)|fedc
Bced|(3cdB (3ABG F2 (dc)|BAG^F GABc|
dg^fa g2 (g=f)|edcB ceAc|B2G2G2:|
|:(^fg)|bgdB gdBG|DGBd gdbg|afcA fcAF|CFAc BAG^F|G^FGA BABc|
dg^fa
g2 (g=f)|edcB ceAc|B2G2G2:|
X:2
T:Th\'ainig an Taoide Isteach (The
Tide Came In)
S:Danny O'Donnell
D:On tSean - Am Anall
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C|
K:Gmin
dc|BAGF GABc|d2G2 G2ag|fedc
BcdB|(3cdc (3BAG F2dc|\
BAGF GABc|dgf<a g2gf|edcB (3cde
dc|B2G2 G2::ga|\
bgdB gdBG|DGBd gdbg|afcA fcAF|CFAc
dcBA|\
BAG^F GABc|dgf<a g2gf|edcB (3cde
dc|B2G2 G2:|
TIDESWELL MORRIS
PROCESSIONAL, THE. English, Morris Dance Tune (2/2
time). F Major. Standard tuning. AB. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 34 (hornpipe). Raven (English
Country Dance Tunes), 1984; pg. 77.
X:1
T:Tideswell Morris Processional
L:1/8
M:2/2
K:F
A>cc>f f>cc>c|f>dc>B A2F2|A>cc>f f>cc>f|f>dc>B A2F2||
B>c
(3dcB A>c c2|B>c (3dcB A2F2|B>c (3dcB A>c c2|d>f e>g f4||
TIDEWATER REEL, THE. Irish, Reel. G Major. Standard tuning. AABB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No.
34, pg. 147.
X:1
T: Tidewater Reel
S: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
E | DEGA BGBd | g2 dc BdcA | Bdef gdBd | cABG AcBA |
DEGA BGBd | g2 dc BdcA | Bdef gdBG | AcBA G3 :|
A | dfaf g2 dc | BdcA BE (3EDE | BGBd g2 dc | BdcA G3 B |
dfaf
gbbg | edef gdBG | DEGA BedB | AcBA G3 :|
TIDY WOMAN, THE. AKA and see “The Tidy
Girleen.” Irish, Single Jig. A Dorian. Standard tuning. AABB. A single jig
version of the better-known “Behind the Bush in the
Garden [1].” Jerome Colburn points out it is also the air of the
song "Téir Abhaile 'Riú” (recorded on Clannad 2), and suggests the name
"Tidy Woman" might have originated in a garbling of the Irish Gaelic
song title. Scottish versions
of the tune are “Wha’ll
(Who’ll) be King but Charlie?” and “Royal
Charlie,” and, in
X:1
T:The Tidy Woman
S:John Williams, Green Linnet CD
#1157
S:The Dance Music of Ireland: Jigs
and Reels, CELT 9001 (Celtophile), 14b
Z:Jerome Colburn
M:12/8
K:ADor
edB | c2 A AGE c2 A AGE | G2 E D2 E
~G3 GEG |\
A2 B c2 d efg e2 d | c2 A BAG A3 ::
A2 B |\
c2 B c2 d efg e2 d | c2 B c2 d ~e3
A2 B |\
c2 B c2 d efg e2 d | c2 A BAG A3
:|**
TIE-HACKER HOEDOWN, THE. Old-Time. USA, north-central Missouri. C
Major. Howard Marshall explains that a tie-hacker was an itinerant worker who
cut ties from the north Missouri forest for the railroads in the late 1800's,
following the Civil War. They were often Irish or Scots-Irish who lived in
camps in the white oak woods and some of their music was preserved in the
Wilson family, Howard’s source. MSOTFA 202-CD, Nile
Wilson (Linn County, Mo.). Voyager VRCD 344, Howard Marshall & John
Williams – “Fiddling Missouri” (1999. Learned from Niles Wilson of Bucklin,
Mo.).
TIE THE BONNET ("Neasg An Biread" or "Ceangal an
Boinead").
AKA and see "The Cottage
in the Grove [2]," "Down
with the Mail," "The
Faraway Wedding [1]," "The Gravelled Walks to Granny,"
"The Highland
Man that Kissed his Grannie [1]," "In and Out (of) the Harbour,"
"Jenny Lace your Tight,"
"Jenny Tie your Bonnet,"
"Lassie(s) tie your Bonnet(s),"
"Lizzie's Bonnet," "The Rambler's Rest," "Upstairs in a Tent [2]." Irish,
Reel. A Mixolydian: A Dorian (O’Neill/1001). Standard. AAB (O'Neill/1850): AABB
(Mulvihill, O'Neill/Krassen). “Gravel Walks (to Granny)” is a related tune.
Sources for notated versions: Jim McElhone (Co. Derry) [Mulvihill]; Abram
Sweetman Beamish, a native of the adjoining parish to that of Caheragh, County
Cork, where Francis O’Neill was born--although O’Neill got seven tunes from
Beamish, only the “Fairhaired Boy” and “Tie the Bonnet” were previously known
to him despite their common place of origin [O’Neill]. Giblin (Collection of Traditional Irish Dance Music),
1928; 30. Mulvihill (1st
Collection), 1986; No. 135, pg. 36. O'Neill (Krassen), 1976; pg. 124.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1351, pg. 252.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 606, pg. 110.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Tie the Bonnet
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
606
Z:AK/Fiddler’s Companion
K:A Dorian
A2 Ag fdec|A2 Ac BGGB|A2 Ag
fdef|gfge dBGB:|
A2 af gfed|cAeA cAce|a2 af gfef|gfge
dBGB|a2 af gfed|
cAeA cAce|afge fdef|gfge dBGB||
TIE THE PETTICOAT
TIGHTER (Ceangail An
Cota-Beag Nios Daingne). AKA and see "The Bonny
Highlander," “Petticoat Loose
[1],” "Yourself Along
with Me [1]." Irish, Single Jig. A Minor. Standard tuning. AABB'.
Similarities to the “Behind
the Bush in the Garden [1]” family of tunes. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 792, pg. 147. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 371, pg. 76.
X:1
T:Tie the Petticoat Tighter
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
371
Z:AK/Fiddler’s Companion
K:A Minor
B|c2A BGE|c2A BGE|G2G G2d|G2G
G2B|c2A BGE|c2A BGE|A2A A2e|A2A A2:|
|:B|cde dcB|cBA BGE|g>ag
gdB|g>ag gdB|1 cde dcB|cBA BGE|aba aec|aba aec:|2
cde def|edc BAG|A2A A2e|A2A A2||
TIE THE RIBBONS [1] ("Neasg Na Criosaide" or "Ceanga(i)l
na Ribíní").
AKA and see "Trim the Bonnet," “Big
Pat’s Hat,” "Big Pat's (Dandy)
Reel," "The Clady Reel,"
"The Dandy Reel," “Drogheda Bay” (Matt Molloy), “The Green Ribbons Reel,” “The Groom in His Shirt,” "The Hills of Clady," "Jimmy the Creelmaker," "O'Connell's Trip to
Parliament [2],” "The Pigeon House,"
"Salamanca [3],” “Trim the Bonnet." Irish, Reel. E
Minor. Standard tuning. AB (O'Neill/1850, 1001 & 1915): AA'BB'
(O'Neill/Krassen). O’Neill’s “Trim the Bonnet,” from Waifs and Strays of Gaelic Melody (80), is a version of this tune, says
Breathnach (1976). Source for notated version: fiddlers Owen Kelly and Jim
Donaghy, 1968 (Co. Tyrone, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 284, pg. 145. O'Neill
(O’Neill’s Irish Music), 1915/1987;
No. 235, pg. 124. O'Neill (Krassen), 1976; pg. 124. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1352, pg. 252. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 607, pg. 110.
X:1
T:Tie the Ribbons [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
607
Z:AK/Fiddler’s Companion
K:E Minor
BGEF GBAG|FGAG FDDc|BGEF G2 ef|gefd
Beed|BGEF GBAG|
FGAG FDDc|BGEF G2 ef|{a}gefd
Beef||gfga bgeg|fgag fddf|
gfga bgef|gefd Beef|gfga bgeg|fgag
fd (3def|gabg fgaf|gfed Beed||
TIE THE RIBBONS [2] (Ceangal na Ribíní). AKA and see “Dublin Lasses” [2]. Irish, Reel. E
Dorian. Standard tuning. AABB. A variation of version #1. Source for notated
version: fiddler Bobby Casey (County Clare, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 179, pg. 81. Comhaltas Ceoltoiri Éireann CL17, Bobby Casey, Junior Crehan
& John Kelly ‑ "Ceol an Chlair vol. 1" (1979).
TIE YOUR DOG, SALLY GAL. AKA and see "Tight
Your Dog." Old-Time, Breakdown. G Major. Standard tuning.
AA'BBB'B'CCC'C'. Source for notated version: African‑American fiddler
Will Adam (born in the 1890’s, whom Mike Seeger recorded in Maryland in the
early 1950's) via fiddler Kerry Blech (Seattle, WA) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol.
2, 1995; pg. 149. Chubby Dragon Productions CD-1001,
Will Adam - "A Tribute to the Appalachian String Band Festival: Clifftop,
West Virginia.” Smithsonian‑Folkways SF CD 40097, “Close To Home: Old
Time Music From Mike Seeger's Collection (1952‑1987).”
TIE YOUR SCABBARD DOWN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
TIED TO A WIFE. AKA and see "My
Mind Will Never Be 'Aisy.'"
TIEF ON DA LUM [1], DA. Shetland, Reel. AKA and see "Haad Dee Tongue, Bonnie Lass."
TIEF ON DA LUM [2], DA. Scottish.
TIENNE DE LA BARRET. French, Scottish (2/4 time). G Major. Standard tuning. AABB'. Stevens (Massif Central), vol. 1, 1987; No. 16.
TIENNET. French, Bourree a 3 Temps (3/8 time). G Dorian. Standard tuning. AABB. Composed
by Patick Bouffard. Stevens (Massif
Central), vol. 2, 1988; No. 19.
TIERMACLANE FANCY. Irish. Composed by John Joe Casey (b. 1912) of Clarecastle, a fiddler
and flute player who was a member of the Fergus Céilí Band in the 1950’s and
1960’s. He composed the tune for the 1961 Fleadh in Miltown and won first prize
with it.
TIERNA (Tighearnach). Irish, Air (4/4 time). G Mixolydian. Standard
tuning. AB. Tierna is Irish Gaelic for ‘Lord’. Source for notated version: Mr.
Flattely of Co. Mayo (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 751, pg. 371.
TIERNA VUJOE. Irish. The air was recorded by the Belfast
Evening Star of July 15, 1792, as having been played in competition by one of
ten Irish harp masters at the last great convocation of ancient Irish harpers,
the Belfast Harp Festival, held that week.
TIERNEY’S. AKA and see “Kitty
Linnane’s Favourite,” “Kilfenora
Reel [6].” Irish, Reel. The tune was recorded under this title by the
Kilfenora Ceili Band.
TIFFANY’S FANCY. AKA – “Harris No. 4.” In the repertoire of Champion, central New York
State fiddler Winifred “Murph” Baker.
TIGER HORNPIPE, THE (Cornphíopa an Tíogair). AKA and see “Frank Roche’s Favourite,” “Here Awa’,” “John Roche’s Favorite,” “Lady Ann Hope [1],” “Miss Thornton’s {Reel},” “O’Loughlin’s Reel,” “Salamanca [2],” “Signora Ferze’s Hornpipe.”
Irish, Hornpipe. G Major. Standard tuning. AB. A hornpipe setting of the
Scottish reel “Lady Ann Hope,” attributed to John Pringle. Paul de Grae
speculates the title is a whimsy of Denis Murphy’s who worked for a time in the
Bronx Zoo, New York. “Miss Thornton’s Reel” is a related tune. See also reel
settings in Breathnach CRÉ V (No.
120). Source for notated version: Sliabh Luachra fiddler Denis Murphy (County
Kerry) [Breathnach]. Breathanch (CRÉ V);
No. 211, pg. 211.
TIGER RAG. AKA and see “Chinese Breakdown.”
Old-time, Breakdown. A version of “Chinese Breakdown [1]” by
Melvin Robinette (1905-1999), a fiddler from Tullahoma, Tennessee, who was
inspired early on by Fiddlin’ Cowan Powers.
Document Records 8055, “Grayson &
Whitter, Vol. 2” (Reissue. 1999).
TIGGIT ALONG THE ROOM. AKA and see "The Swaggering
Jig [1]," "The Noggin of Cream,"
"The Silly Old Man [1],"
"Girls take care how
you marry," “Give
Us a Drink of Water [2]," "Just at/in the height of
her bloom," "Welcome the
Piper," "Failte don
Piobaire," "Taim in
Arreir dTigh an Oil." Breathnach (1985) found the title in a
manuscript from County Limerick.
TIGH EACH(A)INN
(Hector's Home).
AKA - "The Auld Road to Towie."
Scottish, Strathspey. E Minor ('A' part) & G Major ('B' part). Standard. AAB
(Athole, Skye): AABB' (Kerr). Kerr (Merry
Melodies), Vol. 2; No. 136, pg. 16. MacDonald (The Skye Collection), 1887; pg. 85. Stewart-Robertson
(The Athole Collection), 1884; pg.
179.
X:1
T:Tigh Eachainn
T:Auld Road to Towie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
K:G
g|e/e/e e>g e2 d>c|B>AA>G B>AA>B|d/d/d d>g e2 d>g|B<G G>A B<GG:|
d|g>ab>g a>eg>B|B>AA>G B>AA>B|d/d/d d>g e2 d>g|B<G G>A B<G G>d|
g>ab>g
a>eg>B|B>AA>G B>AA>B|d>eg>d e<gd<g|B<G G>A
B<GG||
TIGH IAIN GHROIT. AKA and see "Johnny
Groat's (House)."
TIGH N' DUIN. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by James
Stewart-Robertson, editor of The Athole
Collection. Stewart-Robertson
(The Athole Collection), 1884; pg.
258.
X:1
T:Tigh ‘n Dùin
M:C
L:1/8
R:Strathspey
C:James Stewart-Robertson
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
B|E/E/E G>A e2 B>e|d>BA>d A>GF>D|E/E/E G>A B>AG>f|
(3gag (3fe^d e2 e:|
f|e<B e>f g>eB>e|g<b a>g f<d d>f|e<B e>f g>eB>f|(3gag (3fe^d e2 e>B|
e<B
e>f g>eB>e|g<b a>g f<d d>f|g<ef>d
e>Bd>A|B/A/G/F/ d>F E2 E||
TIGH NA G-CEILLIGHE A
B-CLOCH. AKA and see "The House of the Kiely's
on the Cliff."
TIGHEARNA BHRODHI. AKA and see "The Laird of
Brodie."
TIGHEARNA CHUIL
FHODAIR. AKA and see "Lord President Forbes."
TIGHEARNA
GHLINNEMOREASTUINN. AKA and see "Glen Moriston."
TIGHEARNACH. AKA and see "Tierna."
TIGHT BREECHES. AKA and see “Whiskey and Beer.”
Irish, Slip Jig. D Mixolydian. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 84, pg. 20.
TIGHT LITTLE ISLAND, THE. English, Air and Jig. England, North‑West.
D Major (Raven): G Major (Wade): F Major (Knowles). Standard tuning. AABB
(Knowles, Raven): AA'B (Wade). Tune used for a single step dance in the North‑West
(England) morris dance tradition. Kidson, in
X:1
T:Tight Little Island, The
M:6/8
L:1/8
K:D
A/G/ | F>FF FGA | B>BB Bcd |
A>AA AGF | A3 E2 A/G/ | F>FF FGA |
B>BB Bcd | A>AA AGF | E3D2 ::
D | d2d cBA | B3A2A | d2d cBA | B3A2G |
F>FF FGA | B>BB Bcd | A>BA AGF
| E3D2 :|
TIGHT SUSPENDERS. Scottish (?), Reel. D Major.
Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 191, pg.
44.
TIGHT YOUR DOG. AKA and see "Tie Your Dog,
Sally Gal."
TILDEN. Old-Time, Breakdown. D Major. AAB. A modern composition by Seattle
musician Hank Bradley. Source for notated version: Ken Kosek [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 211.
TILDY MOORE. Old‑Time, Breakdown. Folkways FTS 31062 ‑
"Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from
the playing of Roscoe Parish and Bruce Molsky).
TILL AN CRODH A DHONNA
CHAIDH!
See “Turn back the cows,
Duncan.”
TILL AN CRODH FAIDH AN
CRODH (Milking Song). Scottish, Slow Air (2/4 time--'A'
part, 3/4 time--'B' part). E Minor. Standard tuning. AABB'. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 18.
TILL THE COWS COME
HOME. American, Dance Tune. D Major.
Standard tuning. AABB. Ford (Traditional
Music in America), 1940; pg. 103.
X:1
T:Till the Cows Come Home
M:2/4
L:1/8
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:D
Aa Aa|Aa a/f/d/f/|ea ce|d/c/d/f/
e/d/c/B/|Aa Aa|
Aa a/f/d/f/|ea ce|d/c/d/e/
d2::a^gba|=gfed|cBB^A|
(B2 B)c|Bggf|(g2 g)f|eaa^g|(a2
a2)|a^gba|=gfcB|
cBB^A|(B2 B)c/B/|=ABcd|efaf|B2c2|(d2
d2):|
TILL
THE TIDE COMES IN I'LL SIT ON THE PIER. AKA and see "The Tide Come In [1]."
TILLY FINN’S. AKA and see “Cill Abhaill,” “The Farewell Reel,” “The Killavil Reel [1],” “Mick Finn’s.” Irish, Reel.
TILLY PLUMP. AKA and see "Antony
Murray('s Reel)." Shetland, Reel. Shetland; Herra, (island of) Yell.
The tune is a variant of the Scottish strathspey "Antony Murray's
Reel."
TIM CASEY'S. Irish, Polka. GN1, Joe Thoma ‑ "Up
the Track: Traditional Music from Kenmare."
TIM DILLON’S (Ríl Thaidhg Diolún). AKA
and see “Tommy Peoples’ (Reel)
[1].” Irish, Reel. B Minor & D Major. Standard tuning. AB. Source for
notated version: fiddler Jim Mulqueeny [Breathnach]. Breathnach (CRÉ V), 1999; No. 206.
TIM FINNEGAN’S WAKE. See “Finnegan’s Wake [1].”
TIM FITZPATRICK'S . Irish, Reel. Ireland, County Sligo.
D Major. Standard tuning. AABB’. Composed by Tim Fitzpatrick, a New York
accordion player and contemporary of the great Sligo fiddler Michael Coleman,
who often accompanied New York fiddler Lad O'Beirne. Black (Music’s the Very Best Thing), 1996; No.
69, pg. 36. Green Linnet SIF1035, Brian Conway &
Tony De Marco - "The Apple in Winter" (1981. The 'B' part of Fitzpatrick's
setting was changed by O'Beirne, which appears on this recording).
X:1
T: Tim Fitzpatrick's
S: Conway - DeMarco
Q: 350
Z: transcribed by B.Black
R: reel
M: 4/4
L: 1/8
K: D
d2 (3DDD EDB,D | d2 ef gbag | fedc dgfe | dB B2 AFFA |
d2 (3DDD EDB,D | d2 ef gbag | fedc dBAF | AFEG FD D2 :|
df (3fff gfeg | fdad bdad | g2 fg efge | dB B2 AFFA |
|1 df (3fff gfeg | fdad bdad | gfec dBAF | AFEG FD D2 :|
|2
d2 (3DDD EDB,D | d2 ef gbag | fedc dBAF | AFEG FD D2 ||
TIM GRIFFIN'S SLIDE
[1]. AKA
and see "John Kelly's
Slide [1]."
TIM HARDING’S. AKA and see “Austin Barret’s,”
“The Blasket Sound Jig,” “Dusty Windowsill,” “Harding’s Jig,” “Harland’s,”
“Johnny Harling’s,” “The Howling Jig.”
TIM HOGAN'S JIG ("Port Teige Ua T-Ogain" or "Port Tadg
Ui h-Ogain"). AKA and see “Drimcong,” “Droim
Chonga.” Irish, Jig. A Dorian. Standard tuning. AABBCC. See also the
related “Bimid ag Ól.” Breathnach (CRE I), 1963; No. 26. O'Neill (Krassen),
1976; pg. 52. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1012, pg. 189. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 226, pg. 51.
X:1
T:Tim Hogan’s Jig
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
226
Z:AK/Fiddler’s Companion
K:Amin
ABA A3|A2A g3|ABA A2e|edc BAG|ABA A3|A2A
g3|de^f gfg|edc BAG:|
|:e^f^g abc’|bag a2g|e^f^g aga|ba^f
ged|e^f^g abc’|bag gfe|de^f gfg|edc BAG:|
|:cec BdB|A/B/cd ecA|cec BdB|G/A/Bc
dBG|cec BdB|A/B/cd ecA|de^f gfg|edc BAG:|
TIM HORTON’S
STRATHSPEY. Canadian, Strathspey. Canada, Cape
Breton. B Minor. Standard tuning. AABB’. Composed by fiddler Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry
Holland’s), 1995; No. 61, pg. 18.
TIM MALONEY’S. See “Tim Mulloney.”
TIM Ó MAOLDÓMHNAIGH. AKA and see "Tim Mulloney."
TIM MOLONEY. See “Tim Mulloney.”
TIM MULLONEY (Tim Ó Maoldómhnaigh). AKA and see "Molony's Reel,” “Tim
Maloney.” Irish, Reel. G Major. Standard tuning. AB (Mulvihill): AABB (most
versions). The tune appears as “Molony’s Reel” in Darley & McCall’s Feis Ceoil Collection of Irish Airs
(1914). Sources for notated versions: tin whistle player Pat White/Padraic de
Faoite (Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim)
[Mulvihill]; set dance music recorded at Na Píobairí Uilleann in the 1980’s
[Taylor]; from a tape of fiddler Sean Maguire made for Lou Quinn [O’Malley].
Breathnach (CRÉ I), 1963; No. 88, pg.
39. Mulvihill (1st Collection),
1986; No. 108, pg. 29 (Appears as “Tim Moloney’s”). O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No. 47, pg. 24 (appears as “Tim Maloney”). Taylor (Music for the Sets: Yellow Book), 1995;
pg. 6 (appears as “Tim Maloney’s”). Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 19 (appears as “Tim
Moloney”).
X:1
T:Tim Mulloney
M:C|
L:1/8
R:reel
K:G
DGGF GABd|dedB gedB|G2BG dGBG|c2BG
AGEG|
DG~G2 Bd~d2 | dedB d2 gf | (3efg ed
Bdef | gedB AGEG :|
|: dg~g2 bg~g2 | eB{c}BA (3Bcd ef |
(3gfg bg abge | (3ded BG AGEG |
dg~g2 bg~g2 | eB(3cBA B2 gf | efed
(3Bcd ef | gedB AGEG :|
X:2
T:Tim Moloney's
R:reel
Z:id:hn-reel-616
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
K:G %GRK:50477707
DG~G2 BddB|dedB gedB|G2BG dGBd|c2Bc AGEG|
DG~G2 BddB|dedB d2gf|efed (3Bcd ef|gedB AGEG:|
|:dg~g2 bgge|dBBA B2ef|g2bg abge|d2BG AGEG|
dg~g2 bgge|dBBA B2gf|efed (3Bcd ef|gedB AGEG:|
TIM SULLIVAN’S. Irish, Hornpipe. Ireland, Sliabh Luachra region of the Cork-Kerry
border. A Major. Standard tuning. AA’BB. Moylan (1994) notes this hornpipe was
associated with Annaghbeg, Co. Kerry, musician Tim O’Sullivan, and, though a
hornpipe, it has a structure similar to that of a polka and is played “at the
fast end of the range for hornpipes, or, if you like, at the slow end of the
range for polkas.” Source for notated version: Annaghbeg, Co. Kerry, musician
Thadelo Sullivan (Tim O’Sullivan) {1904-1978} via Sliabh Luachra accordion
player Johnny O’Leary (recorded in Ballydesmond, 1973) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 14, pg. 9.
TIM THE MARKET MAN (Taidgin a Margad). AKA and see "Jolly Weaver," "Thiegeen a
variga." Irish, Reel. A Minor. Standard tuning. AB. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 690, pg. 122.
X:1
T:Tim the Market Man
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
690
Z:AK/Fiddler’s Companion
K:Amin
A>AGE (3AcA GE|(3AcA GE G2
(3EFG|A A2c BGGB|AddB {d}ccec|
A>AGE (3AcA GE|(3AcA GE G2
(3EFG|A A2 c BGGB|Ad{e}dB c2 cd||
e e2 d ef g2|GAGE G2 EG|A A2 c
BGGc|Ad{e}dB c2 cd|(3efg ed ef g2|
GAGE G2 (3EFG|A A2 c BGGc|Ad{e}dB c2
z2||
TIM THE PIPER. AKA and see “Cashel Jig,” “Custom House,” “Darby Gallagher’s [1],” "East at Glendart," “Humours of Glendart,” "Shins Around the Fireside [2],"
TIM THE THATCHER (Teig/Tadg an Tuigeadoir). Irish, Single Jig. A Major/Mixolydian.
Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 739, pg. 138. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 375, pg. 76.
X:1
T:Tim the Thatcher
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
375
Z:AK/Fiddler’s Companion
K:A
E|A>BA c2A|d2B G2B|A>BA
c2A|B2E GAB|A>BA c2A|dBd e2 e/f/|gag gfe|dBG A2:|
|:d|e>fe d2B|e2A A>Bd|e>fe
d2B|dBG GBd\e>fe d2B|e2f g2a|bag gfe|dBG A2:|
TIM THE TURNCOAT (Teige/Tadg an Toncastac). AKA and see “The Goodnatured Man,” “The Steamboat.” Irish, Hornpipe. G Major.
Standard tuning. AABB. Mulvihill (1st
Collection), 1986; No. 23, pg. 95. O'Neill (Krassen), 1976; pg. 197.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1697, pg. 316.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 895, pg. 154.
X:1
T:Tim the Turncoat
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland:
1001 Gems (1907), No. 895
Z:AK/Fiddler’s Companion
K:G
B>d|(3gfg b>g e2
d>c|B>cd>B G2G2|DGBG DGBG|dcBc A2d2|
(3gfg b>g e2 d>c|B>cd>B
G2G2|FGAB cBce|dcAF G2:|
|:Bc|dcde dBGB|c2 Bc AF D2|G2 Bc
defg|agfe dcBc|dcde dBGB|
c2 Bc AF D2|g2 Bc dgfg|ecAF G2:|
TIMBER STAIRS. Shetland, Shetland Reel. Shetland, Whalsay. The title comes from a
Scottish song text, and the tune was popular in mainland Scotland in the early
18th century.
TIME IS DRAWING NIGH, THE. Irish, Air (4/4 time). E Dorian. Standard
tuning. AB. "I found this pathetic little song and the air among the Pigot
Collection. Both are now published for the first time: but I have a copy of the
words printed on a ballad‑sheet. The lover is a young soldier, who is
broken‑hearted on being ordered off on foreign service" (Joyce).
Joyce (Old Irish Folk Music and Songs),
1909; No. 423, pgs. 234‑235.
TIME O' DAY, THE. Irish, Slip Jig. E Minor. Standard tuning. AB.
Petrie (1855) notes: “same melody as ‘Ride a Mile.’” Source for notated
version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Cole (1000 Fiddle Tunes), 1940; pg. 59.
Kennedy (Fiddler’s Tune-Book: Slip Jigs
and Waltzes), 1999; No. 85, pg. 20. Ryan’s
Mammoth Collection, 1883; pg. 88. Stanford/Petrie (Complete Collection), 1905; No. 978, pg. 249.
X:1
T:Time o’ Day, The
M:9/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Emin
g | BcB B2A G2A | B2d ded d2g | BcB
B2A G2A | Bde e2d e2g | BcB B2A G2A |
B2d ded d2g | BcB B2A G2A | Bde e2d
e2 || B | def gag fed | B2d d2c d2g |
D2c B2A G2A | B2e e2d e3 | def gag
fed | B2d d2c d2g | d2c B2A G2A | B2e e2d e2 ||
TIME TO GO. See "The White Crow."
TIME WE HAD IN BANSHA, THE. Irish, Reel. D Major/Mixolydian/Dorian.
Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and
composer Ed Reavy (1898-1988). According to Ed’s son Joe, the tune commemorates
the time the local fife and drum corps visited Bansha. Reavy (The Collected Compositions of Ed Reavy),
No. 28, pg. 30.
X:1
T:Time We Had In Bansha, The
M:2/2
L:1/8
C:Ed Reavy
R:Reel
N:The tune commemorates the day the local
N:fife and drum corps went to Bansha.It happened over seventy years ago,
N:but Ed remembers it as yesterday.
Z:Joe Reavy
K:D
A, ||: D2 FA =cBA=F | ED^CD EFGE | D2 (3FED FAdB | cege fdde |
fgaf dfed | =cAG=F EC (3CB,C | DEFG AB=cA |1 G=FEG FDDA, :|2
G=FEG FDDg :| fgag fddB | =c2 gc acgc | fgaf gfge | cdeg fddf |
a^gaf gfge | cded cAGE | D2 (3FED FGAB |1 =cAGE =FDDg :|2
=cAGE D3 ||
TIME’S A TELL TALE.
English, Jig. D Major. Standard tuning. AABB. The title is from a
five-act comedy by Henry Siddons (1774-1815), performed in Drury Lane in 1807.
Siddons was an actor and theatre manager in London and, later, Edinburgh, who
wrote some works for the stage (although to mediocre reviews). Cahusac (Annual
Collection of Twenty-Four Country Dances for the Year 1809), 1809; No. 2.
X:1
T:Time’s a Tell Tale
M:6/8
L:1/8
R:Jig
B:WM Cahusac – Twenty Four
Country Dances for the Year 1809, No. 2
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
Z:AK/Fiddler’s Companion
K:D
A|d2d dcd|a2a age|d2d dcd|e2c
ABc|d2d dcd|
a3 age|d3 {f}ede|(d3 d2)::F/G/|A2A
Adc|B2B BGF|
E2E EAG|G3 F2F/G/|A2A Adc|B2b
bge|c2a ABc|(d3 d2):||
TIMES ARE MIGHTY HARD. AKA and see "Behind the Bush in the
Garden [1]."
TIMMY CLIFFORD’S. AKA
and see “Micho Russell’s Jig [1].” Irish,
Slide. G Major. Standard tuning. AABB. The tune was recorded by the group The
Smoky Chimney as “Micho Russell’s,” but recorded by Solas as “Timmy
Clifford’s.” The latter title honors Tim Clifford, originally from Scartaglin,
who at one time lived next door to Seamus Egan in Chicago, from whom Egan
learned the tune. Clifford presently lives in the northwest suburbs of the
city, but spends part of the year back in Kerry. It is a setting of “The Munster Lass.” Solas.
X:1
T:Timmy Clifford’s
L:1/8
M:12/8
R:slide
Z:Gary Chapin
K:G
GBd e2d dBd g3|GBd ceb agf g3|GBd
e2d dBd gab|d'3 b3 agf g3::
e=fe d2c BAG ABc|e=fe d2c BAG
A3|e=fe d2c BAG ABc|c3 B3 AGF G3:||
TIMOTHY DOWNING (Teige Ua Donnaig). AKA and see "Downing's Reel," "Peata Mamai [1]," “Mama’s Pet,” "Mamma's Pet,"
"The First House in/of
Connaught." Irish, Reel. A Dorian. Standard tuning. AB (O'Neill/1850):
AABB' (O'Neill/Krassen). Timothy Downing was a gentleman farmer and neighbor to
Francis O’Neill as a boy in County Cork. He taught O’Neill the rudiments of
playing the flute. Source for notated version: Beamish [O’Neill]. O'Neill
(Krassen), 1976; pg. 121. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1334, pg. 249.
X:1
T:Timothy Downing
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1334
Z:AK/Fiddler’s Companion
K:Amin
c2 Bc AB G2|cde^f {a}gede|c2 Bc AB G2|ea{b}ag
efde|(3cdc (3BcB (3ABA G2|
cde^f {a}gede|(3cdc (3BcB (3ABA
G2|ea{b}ag (3efe d2||aede g2 ag|ed^cd efge|
aede g2 ag|ea{b}ag efde|aede g2
ag|ed^cd e^fge|c2 cc d2 dd|ea{b}ag efde||
TIMOTHY SHARP.
English, Jig. D Major. Standard tuning. AABB. The melody was originally
published in Charles and Samuel Thompson’s Compleat Collection, vol. 3
(London, 1773). As with numerous other tunes from the Thompson’s 1773
collection, it was entered into the 1788 music manuscript copybook of fiddlers
John and William Pitt Turner (Norwich, Conn.). Timothy Sharp is the main
character in a stage play called The Lying Valet (1741) by David
Garrick, whose lies attempt to help his penniless master pass for a man of
fortune. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 3), 1773; No. 174.
X:1
T:Timothy Sharp
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
A|dAd
“tr”d3|eAe “tr”e3|eag fed|ced cBA|dAd “tr”d3|eAe “tr”e3|fag fed|a3 A2:|
|:(a|a)f^d eBG|EGB E2(g|g)ec fdA|FAF D2A|Bge caf|Bge cBA|Bdg afd|gec d2:||
TIMOUR THE TARTAR. AKA and see "Peter Street
[1]," “Babes in the Woods
[3],” “Blackling Races,” "Blanchland
Races." Scottish, Reel. A Major. Standard tuning. AB (Athole,
Emmerson, Honeyman, Hunter, S. Johnson, Kerr, Skinner, Skye): AABB (Raven,
Shears): AABB' (Brody, Cranford, Phillips). Timour the Tartar was otherwise
known as Timur the Lame, Tamburlaine and Tamerlane, who lived from c. 1336 to
1405. The Tartars were Mongol Turks, and Timur was a devout Muslim, descended
from the infamous conqueror Genghis Khan.
Like his forbearer, Timur created an empire by the sword, although it
did not long survive his death. Raised to the throne of Smarkand in Tukestan in
1369, Timur soon set about conquering huge territories, from India to Syria. He
died of a camp fever just before a planned invasion of China. He was the
subject of a grand romantic melodrama in two acts by the prolific Matthew
Gregory Lewis (1775-1818), with music by Matthew Peter (M.P.) King. Timour the Tartar was first acted at
Covent Garden in April, 1811, and proved a very popular theatre piece from
which several melodies appear in period music collections (King’s “Grand
Cavalry March,” for example, was often reproduced). It was a caricature of Napoleon,
with whom Britain had been engaged in a protracted struggle, and has Timour, of
low origin, usurping the throne and raising up his needy relations to princely
dignity. The play featured horses brought onto stage, which was a response to a
revival of Bluebeard at a competing
London venue, which first introduced them. Eino Railo (in his book Haunted Castle: A Study of the Elements of
English Romanticism, 2003) remarks:
***
The play has no claim to be regarded as dramatic art, but is simply a
circus piece,
ranking among the spectacles which great variety theatres sometimes
offer their
audiences. For such a purpose Timour was very well suited, for in addition to
possessing an exciting plot—a series of hairbreadth escapes—it is a fine
costume
play. Timour enters clad in a yellow satin shirt, red trousers, green
boots, a dagger
inlaid with gold at his belt, a gleaming turban on his head and a gold
chain round his
neck; the pretty head of the heroine Zorilda was covered by a helmet,
her breast by
a silver corselet, while her dress was white satin petticoat, richly
ornamented, long
crimson train; her boots were yellow. When she rode on the stage perched
on a
magnificent stallion, the audience was completely won over. Timour was given fourty-
four times in succession and was revived as late as 1831, on that
occasion at Drury Lane.
***
Lewis first gained popularity with a
gothic novel called The Monk (1796),
condemned for its horror, violence and eroticism, but nonetheless widely read.
It earned its author the sobriquet of ‘Monk’ Lewis and made him famous in
fashionable society. His Tales of Terror
(1799) were dedicated to Lady Charlotte Campbell (see “Lady Charlotte
Campbell(‘s Reel) [2]), afterward Bury, with whom he was in love. Lewis
also wrote ballads, many of which were sung to music of his own composition. He
was a clever, kind and good man, as both Lord Byron and Sir Walter Scott
attest, although Byron complains that Lewis was often a “tiresome bore”—“My
only revenge or consolation,” wrote the poet, “used to be setting him by the
ears with some vivacious person who hated bores especially.” Apparently Lewis
and William Sheridan (another English author and playwright) disliked each
other and had a running feud. Lewis once offered to bet Sheridan “a very large
sum—I will bet you what you owe me as Manager, for my (1797 play) Castle Specter.” “I never make large bets,” said Sheridan,
“but I will lay you a very small one. I will bet you what it is worth.” While Byron was abroad Lewis
sent him the following epigram upon Sheridan:
***
For worst abuse of finest parts
Was Misophil begotten;
There might indeed be blacker hearts,
But none could be more rotten.
***
It is not known if the fiddle tune
“Timour the Tartar” comes from the play, or whether it was written by M.P. King
or not, however, it appears to have been associated with Lewis’s work, and,
indeed, it sounds theatrical. Uilleann pipers, not being able to play in the key
of A, render the tune in G Major. The alternate title “Peter Street” comes from
the c. 1880's Ryan’s Mammoth Collection,
while Kerr prints it (vol.1, pg. 22) as “Babes in the Woods.” Paul Stewart
Cranford says the tune was popularized among Cape Breton fiddlers by the
influential recordings of Winston Fitzgerald. Martin uses the tune as an
example of Scottish ‘back bowing’, or playing a up bow on the strong beat of
the bar (i.e. bars two and four, etc.). Sources for notated versions: Dave
Swarbrick (England) [Brody]; Scott Skinner (Scotland) [Phillips]; Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Brody (Fiddler’s Fakebook), 1983; pg. 277. Cranford (Winston Fitzgerald), 1997; No. 83, pg. 36. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971;
No. 50, pg. 141. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 22. Hunter (Fiddle Music of Scotland), 1988; No. 257 (arranged for strings by
James Hunter). S. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 12. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No.
17, pg. 9. Kerr (Merry Melodies),
vol. 1; Set 30, No. 2, pg. 18. MacDonald (The
Skye Collection), 1887; pg. 6. Martin (Traditional
Scottish Fiddling), 2002; pg. 17. Phillips (Fiddlecase Tunebook), 1989; pg. 49. Raven (English Country Dance Tunes), 1984; pg. 164. Shears (Gathering of the Clans Collection, vol. 1),
1986; pg. 47 (pipe setting). Skinner (Harp
and Claymore), 1904; pg. 111. Stewart-Robertson
(The Athole Collection), 1884; pg.
40. Tolman (Nelson Music Collection),
1969; pg. 9. Glencoe 001, Cape Breton Symphony‑
"Fiddle." Fretless 118, Marie Rhines‑ "The
Reconcilliation." Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots
are Showing” (2000). Transatlantic 337, Dave Swarbrick‑
"Swarbrick." Topic 12T280, J. Scott Skinner‑ "The
Strathspey King." “Fiddlers 5.”
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:Timour the Tartar
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
E|A2 (c/B/A) eA (c/B/A)|(eA)aA
gAfA|A2 (c/B/A) eA (c/B/A)|BEdE cEBE|
A2 (c/B/A) eA (c/B/A)|(eA)aA
gAfA|eaec eaec|BABc A2A2||E (G/F/E) BE (G/F/E)|
BEdE cEBE|A2 (c/B/A) eA
(c/B/A)|(eA)aA gAfA|(e^d)ec (ag)af|e^dec (ag)af|
ecag fedc|BAGF EFGE||
TIMPAN REEL. Irish. A setting of “The Jolly
Tinker [2].” Chieftians 5.
TIMPEALL AN tSEOMRA. AKA and see “All Around the
Room.”
TIM’S KERRY PONY.
English, Morris Dance Tune (2/4 time). D Major. Standard tuning. AABB.
X: 1
T: Tim's Kerry Pony
M: 2/4
L: 1/8
R: polka
S: Tim Radford / Jan Elliott
Z: Transcribed by Bill Black
H: English traditional (morris dance)
K: D
FA AB/2c/2 | dc BA | FA AB/2c/2 | dF E2 | FA
AB/2c/2 | dc BA | Be Be | Bc d2 :|
fd fd | e>c BA | fd fd | Be e2 | fd fd |
e>c BA | Be Be | Bc d2 :|
______________________________________
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[COMMENT2]Note: The change to pitch (12) and font (1) must be converted manually.