The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

Home       Alphabetical Files      References

 

TIA - TIM

[COMMENT1] 

 

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]

 

 

[COMMENT2] 

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 WELLINGTON. AKA and see "Lord Wellington [1]," "Fairy Hurlers," "Walsh's Favourite," "The Galway Rambler," "Paddy Finlay's Favourite."

 

TIBBIE DUNBAR. AKA- “Sweet Tibby Dunbar.” AKA and see “Highway to Dublin,” "Johnny/Johnnie McGill/MacGill," “Langstrom’s Pony.” Scottish, Air (6/8 time). The title is from the Robert Burns song set to the tune of "Johnny McGill," a Scotch Jig.

 

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). England, Northumberland. D Minor/F Major. Standard. AB. The tune appears in one of the earliest Scottish fiddler's MS repertory books, c. 1705, in the private collection of Frances Collinson (1966). It also is included in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and somewhat later in Alexander McGlashan's 1780 collection (pg. 3). 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. “Tibby Fowler” is also a Scottish song whose singing was mentioned by Alexander Jaffray in his sketch of the assembly at Aberdeen in 1777 in Recollection of Kingswells. Jaffray gives an account of the various assemblies or country dances and recalls them as convivial affairs:

***

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 Cape Breton variant of this piece. Gow (Complete Repository), Part 1, 1799; pg. 6. Inverness Collection.

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 United States and then migrated to fiddle repertoire, according to Paul Tyler.

 

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 Falmouth, Massachusetts, musician and writer Bill Black, inspired by the pig in the movie Babe, who thought he was a sheepdog. Black (Music’s the Very Best Thing), 1996; No. 315, pg. 169.

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. Ticonderoga is a Mohawk Indian word meaning “between the two great waters,” a reference to its location between lakes Champlain and George in New York state. Ford has a companion piece of sorts in his collection, called “Crown Point [1],” the name of a Colonial fort near Ticonderoga that anchored the other approach to Lake George/Lake Champlain. Ford (Traditional Music in America), 1940; pg. 106.

X:1

T:Ticonderoga

M:6/8

L:1/8

R:Jig or Quadrille

S:Ford – Traditional Music in America (1940)

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 Sandgate street,

A man-o'-war's blade I chanced to meet:

To the sign of the Ship I hauled him in

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 Sandgate Street,

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 Cape Breton as “I Won’t Do the Work.”

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 Groves, identifies it as a version of "The Rogue's March" and says “Tight Little Island” was a popular humorous song. As “The Island” it was written by Thomas Dibdin about 1798, and sung by a singer named Davies at Sadler’s Wells in that year. Knowles (Northern Frisk), 1988; No. 65. Raven (English Country Dance Tunes), 1984; pg. 119. Wade (Mally’s North West Morris Book), 1988; pg. 32.

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 :|

 

______________________________________

Home       Alphabetical Files      References

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

                       


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]Note:  The change to pitch (12) and font (1) must be converted manually.