The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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TOO - TOZ

 

 

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 concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html

 

 

TOO LONG IN THIS CONDITION. Scottish, Pipe Pibroch. This pipe pibroch, traditionally said to have been composed in response to the long exile of the Earl of Seaforth following the unsuccessful Jacobite rising of 1715, is attributed by some to Patrick Og MacCrimmon. A counter-claim is made for Patrick Mór MacCrimmon, who  is said to have composed it following the Battle of Worcester in 1651 (Collinson, 1975).

 

TOO MANY CHINCHES. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

TOO YOUNG TO MARRY [1]. AKA and see "Buffalo Nickel [1]," “Cat Ate the Handsaw,” "Chinky Pin," “Crooked Stovepipe [2],” "Darling Child," "Fourth of July," “Grey-Eyed Cat,” "Hair in the Butter," "I'm My Momma's Darling (Child)," “Lead Out,” “Liesel,” “Love Somebody [2],” "Midnight Serenade [1]," "My Love Is/She's But a Lassie Yet [1],” “Old Mose,” “Raymondville," "Richmond Blues," “Soapsuds Over the Fence [3],” "Sweet Sixteen," "Ten Nights in a Bar Room," "Yellow Eyed Cat." Old‑Time, Breakdown. USA; western North Carolina, southwestern Virginia. D Major. ADae (Tommy Jarrell) or Standard. AABB. Brody (Fiddler’s Fakebook), 1983; pg. 278. Kuntz, Private Collection. Songer (Portland Collection), 1997; pg. 198. Welling (Welling’s Hartford Collection), 1976; pg. 11. County 713, Cockerham, Jarrell and Jenkins‑ "Down to the Cider Mill." Folkways FA 2336, Clark Kessinger‑ "Fiddler" (appears as "Chinky Pin"). County 733, Clark Kessinger‑ "The Legend of Clark Kessinger" (appears as "Chinky Pin"). County 201, The Old Virginia Fiddlers‑ "Rare Recordings" (appears as "Midnight Serenade"). Rounder 0197, Bob Carlin ‑ "Banging & Sawing" (1985. Learned from Harold Hausenfluck). Voyager 316‑S, Vivian Williams and Barbara Lamb‑ "Twin Sisters" (appears as "Fourth of July").

X:1

T:Too Young to Marry [1]

M:2/4

L:1/8

N:ADae Tuning

Z:AK/Fiddler’s Companion

K:A

(f/g/|a)b ae|f/dd/ [df](f/g/|a)b ag/a/|b/a/b/g/ ef/g/|ab ae|f/dd/ [df]e/f/|g/f/e/d/ c/A/B/c/|

d/ff/ [df]:|

|:(A/B/|d/)B/A/G/ F/E/D/F/|G/A/B/(c/ d)(A/B/|d/)B/A/G/ F/E/D|[EA]>[FA] [EA](A/B/|

d/)B/A/G/ F/E/D/F/|G/A/B/(c/ d>)(A|A/)B/c/d/ e/g/f/e/|[df]>e [df]:|

 

TOO YOUNG TO MARRY [2]. AKA and see "My Love is/She's But a Lassie Yet [1], "Miss Farquharson's Reel." Scottish, Reel. The tune was know in Scotland under the title "My Love She's But a Lassie Yet," and still earlier in Robert Bremner's 1757 "Scots Reels" as "Miss Farquharson's Reel."

 

TOO YOUNG TO MARRY [3]. AKA and see "Trop Jeune Pour s' Marier."

 

TOOK HER OUT BEHIND THE BARN. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

TOORMORE JIG (Port an Túir Mhóir).  Irish, Jig. D Major. Standard. AABB. Editor Jackie Small (CRÉ V, 1999) says there are many Sliabh Luachra jigs with this name, although this one seems unrelated to any others by that name (Toormore is the name of a village in the region). Tunes that are related, finds Small, are “The Oak Stick,” “The Humours of Kilkee,” “Better than Worse,” and “Foxy Mary.” Source for notated version: Kerry fiddler Denis Murphy [Breathnach]. Breathnach (CRÉ V), 1999; No. 52, pg. 26.

 

TOORMORE POLKA [1]. AKA and see “Tournmore Polka,” “Tuar Mór Polka [1].” Irish, Polka. The title comes from Sliabh Luachra accordion player Johnny O’Leary. The group De Dannan recorded the polkas under the title “Johnny O’Leary’s.” The melody, points out Paul de Grae, appears as untitled polka in Martin Mulvihill’s First Collection (1986, no. 9 in polka section). Bulmer & Sharpley (Music from Ireland), vol. 4, No. 73. Claddagh CC 29, The Chieftains - “Chieftains 8.” Shanachie 79050, the Chieftains - “The Chieftains in China.”

 

TOORMORE POLKA [2]. AKA and see “Maids of Ardagh,” “Sliabh Mhachaire [1],” “Tony Lowe’s Polka [2],” “Tournmore Polka,” “Tuar Mór Polka [1],” “Wallace’s Cross.” Irish, Polka. “Wallace’s Cross” is a related tune, as is an untitled polka in Breathnach (CRÉ II), 1976; No. 123. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 72.

 

TOORMORE SLIDE, THE. AKA and see “(An) Chóisir,” “The House Party,” “Jack Regan’s.” Irish, Slide (12/8 time). B Minor. Standard. AABB. Cranitch (Irish Fiddle Book), 1996; No. 29, pg. 136. Cranitch (Irish Session Tunes: Red Book), 2000; 29. Moylan (Johnny O’Leary), 1994; No. 238 (appears as “Jack Regan’s”). Paul McGratten – “The Frost is All Over.” Any Old Time – “Phoenix.”

X:1

T:The House Party

T:The Toormore Slide (Matt Cranitch's Irish Fiddle Book)

D:"The Night of the Fair", Dan Herlihy, track 1(b)

R:slide

M:12/8

Z:transcribed by Paul de Grae.

L:1/8

K:Bm

F2 B BAB d2 e faf|e3 efe c2 e a3|F2 B BAB d2 e faf|

1 e2 d B2 A B3 B2 A:|2 e2 d B2 A B3 d2 e|

|:f3 efe ded c3|BAB dcB A2 F F2 E|F2 B BAB d2 e faf|

1 e2 d B2 A B3 d2 e:|2 e2 d B2 A B3 B3||

 

TOP AND BOTTOM. Scottish, Jig. G Major. Standard tuning. AA'B. Kerr (Merry Melodies), vol. 3; No. 256, pg. 28.

X:1

T:Top and Bottom

M:6/8

L:1/8

R:Jig

S:KerrMerry Melodies, vol. 3, No. 256  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

g3 dBd | g3 dBd |1 gfe dcB | edc BAG :|2 bag fed | Ad^c d3 ||

|: dcB cea | cBA Bdg | edc BAG | FGE D3 |

gaf gaf | gaf gaf | gdc BcA | GGG G3 :|

 

TOP IT OFF (Cuir barr air). AKA and see "Connemara Jig." “Rouse It.” Irish, Slip Jig. D Major (Sullivan): D Major/Mixolydian (Breathnach). Standard. AAB (Sullivan): AABB' (Breathnach). Breathnach (1963) states Levey’s (1858) “Connemara Jig” is a version of this tune. Levey includes the tune in his second volume (1873) under the title “Rouse It,” set in the key of F. Current versions of the tune feature an extra beat on the last bar of the first part (with an irregular ‘B’ part as well), possibly in imitation of Seamus Ennis’s version. See also the related reel-time first part of “The Sunny Banks.” Sources for notated versions: piper Seán Potts (Ireland) [Breathnach]; Tommy Reck [Sullvian]. Breathnach (CRÉ I), 1963; No. 69, pg. 29. Sullivan (Session Tunes), vol. 3; No. 13, pg. 5. Gael-Linn CEF060, “Paddy Glackin.” Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Tommy Potts – “The Liffey Banks.” Tommy Reck – “The Drones and Chanters: Irish Pipering” (1971). 

X:1
T:Top It Off
R:slip jig
D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin
Z:id:hn-slipjig-46
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:9/8
L:1/8
K:D
A2F F2F d2A|Bcd e2c d2B|A2F F2F d2A|1 Bcd A2F D2B:|2 Bcd A2F D2g||
|:f2d d2d d2f|e2=c c2c c2e|1 d2B B2B B2d|^c2A AAA A2g:|2 d2A Bcd e2^c|d3 d3 d2B||

 

TOP OF BALVENIE, THE. Scottish, Strathspey. G Major. Standard. AABB'. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 23.

X:1

T:Top of Balvenie, The

L:1/8

M:C

S:Marshall1845 Collection

Z:AK/Fiddler’s Companion

K:G

g|G<G (Bc/d/) Gc Bc/d/|DAFD cedB|G<G (Bc/d/) Gc (Bc/d/)|eg (f/g/a/f/) gGB:|

|:g|dgBg dgbg|dgBg aAce|1 dgBg dgbg|(3efg (3fga gG Bg:|2

G>G (Bc/d/) Gc (Bc/d/)|eg f/g/a/f/ gGB||

 

TOP OF BEN LOMOND, THE. Scottish, Pipe March. Seaforth Highlander’s collection. Queen’s Own Highlander’s Collection, Book 1.

X:1

T:The Top Of Ben Lomand

C:Scottish March

M:6/8

L:1/8

Q:1/4=120

K:D

a | f<af {G}d>fd | B<dB {G}A2 B | d>ef a>fd | {g}e>fd {g}e2 a |

f<af {G}d>fd | B<dB {G}A2 B | d>ef a>f{g}e | {B}d3 d2 :||:

g | a2 (3A/A/A/ f2 (3A/A/A/ | B<dB {G}A2 B | d>ef a>fd | {g}e>fd {g}e2 g |

a2 (3A/A/A/ f2 (3A/A/A/ | B<dB {G}A2 B | d>ef a>f{g}e | {B}d3 d2 :||

 

TOP OF CORK ROAD [1], THE (Mullac Botair Corcaig). AKA and see "Bonny Green Garters [1]," "Cork Road," "Father O'Flynn," "Rollicking Irishman," "To Drink With the Devil," "Trample Our Enemies," "Yorkshire Lasses [1]." Irish, American; Double Jig. USA; New England, southwestern Pa., southern N.Y.  D Major (most versions): C Major (Howe, Joyce). Standard tuning. AABB. Bayard (1981) says that despite the Irish-ness of its title, English versions in print predate Irish ones. He reports that Moffat found no earlier Irish versions that 1798, while Kidson found English versions (as "The Yorkshire Lasses") from 1789 and 1781. The melody serves as the vehicle for Alfred Percival Graves’ song “Father O’Flynn,” published in 1874. New York researcher, musician and writer Don Meade says: “The title track of Tommy Peoples’ Shanachie LP The High Part of the Road is a back translation into English of an Irish translation of “The Top of the Road” (Ard an Bothar), which Breandan Breathnach in Ceol Rince na hEireann, vol. 1 mistakenly applied to the preceding jig in Ryan’s Mammoth Collection, a two-part version of ‘The Blooming Meadows.’”

***

The tune was cited as frequently having been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). Perhaps the earliest recording is from 1905 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960), Hoge MS (a fife MS from Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 450A‑C, pgs. 429‑430. Cole (1000 Fiddle Tunes), 1940; pg. 56. Harding's All‑Round (1905, 1932), No. 176. Harding Collection (1915) and Harding's Original Collection (1928), No. 87. Howe (1000 Jigs and Reels), c. 1867; pg. 19. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 13.  Joyce (Ancient Irish Music) 1873/4th ed.; No. 48, pgs. 48-49. Kerr (Merry Melodies), vol. 1; pg. 38. Kerr (Merry Melodies), vol. 3; No. 189. Kerr (Merry Melodies), vol. 4; pg. 22. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 33. Moffat (202 Gems of Irish Melody), pg. 50. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 163, pg. 91. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1031. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 244, pg. 54. Robbins, 1933; No. 127. Roche Collection, 1982, vol. 1; No. 97, pg. 42. Ryan’s Mammoth Collection, 1883; pg. 85. Songer (Portland Collection), 1997; pg. 198. Sweet (Fifer's Delight), 1964; pg. 48. White's Excelsior Collection, 1907; pg. 3.

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:Top of Cork Road  [1]

M:6/8

L:1/8
R:Jig

K:D

dAF DFA | Bed cBA | dcd ede | faf ecA | dAF DFA | Bed cBA |

dcd ede | fdd d2 :: g | fdf fga | ece efe | dcd fed | cAA A2=c |

BGB Bcd | AFA ABc | dcd efg | fdd d2 :|

 


TOP OF CORK ROAD [2], THE. Irish, Jig. A Dorian. Standard tuning. Recorded by Johnny Cronin and Joe Burke.

 

TOP OF MAOL. See “Top of the Maol.

 

TOP OF SWEET DUNMUL, THE. Irish, Air (2/4 time). C Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 560, pg. 142.

X:1

T:Top of Sweet Dunmul, The

M:2/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 560

Z:AK/Fiddler’s Companion

K:C

E/F/ | Gc cB/c/ | d>f ed/e/ | cB/A? GG | G3f | e>c dc/A/ | G>F EG | cG AB/c/ |

d3f | e>c dc/A/ | G>F EG | cG A/c/f/>e/ | d3 E/F/ | Gc cB/c/ | d>f e>d | c/G/A/G/ GG | G3 ||

 

TOP OF THE CLIFF, THE. AKA and see “Anderson’s (Reel) [2],” "Miss Lane's Fancy,” “My Love is on the Ocean [1],” "The New Mown Meadows," “Old Silver Spear,” “The Silver Spear,” "The Silver Tip [1]," "Sliabh Bana." Irish, Reel. G Major. Standard tuning. AABB. The melody appears in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Goodman printed another version of the tune as “The Silver Top.” Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 88, pg. 39.

X:1

T:Top of the Cliff, The

M:C|

L:1/8

R:Reel

S:James Goodman manuscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 88  (1998)

K:G

A2 DE D2 EG|A2 BG AGEG|A2 DE D2 EG|G2 AG EF G2|A2 DE D2 EG|

A2 BG AGEG|c2 z2 B2 z2|G2 AG EF G2::Bd d2 ed d2|A2 BG AG E2|

Bd d2 eddB|G2 AG EF G2|Bd d2 eddB|A2 BG AG E2|c2 z2 B2d2|G2 AGEF G2:|


                       

TOP OF THE GRAMPIANS.  Scottish, Strathspey. G Major. Standard tuning. AB. Attributed to Colin MacPherson, Carnoustie, “The Banffshire Bard,” by J. Scott Skinner (1904). Skinner (Harp and Claymore), 1904; pg. 57.

X:1

T:Top of the Grampians

M:C

L:1/8

R:Strathspey

C:Colin MacPherson

S:SkinnerHarp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:G

B | d>ed>B A<G G>B | A<ee>d e>ge<d | d>ed>B A<GG>E | D>B,D>E ({E}G2 GB |

d>ed>B A<GG>B | A<ee>d e>ge<d | B<ee>d B<dd>B A>GA<B G2G || d | g>bag e<g d2 |

eaag e<aa>b | g>ba>g e<g d2 | g<gb>a g2 g>d | g>bag e<g d2 | e<aa>g e<aa>b |

({g}b>ga>f (3gfe d>B | c>Ad>B G2G ||

 

TOP OF THE HILL [1], THE (Mullac A Cnuic). Irish, Jig. A Dorian. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 45. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 947, pg. 176.

X:1

T:Top of the Hill, The [1]

M:6/8

L:1/8

R:Jig

S:O’NeillMusic of Ireland (1903), No. 947

Z:AK/Fiddler’s Companion

K:A Minor

ABc e2A | g2A e2A | ABc e2A | gze dBG |

ABc eAA | gAA eAA | BGB gfe | dge dBG :|

|: gAg g2f | e^f^g a3 | aAa gze | dge dBG |

gAg g2f | e^f^g a3 | aAa g2e | dge dBG :|

 

TOP O' THE HILL [2]. Canadian, Reel. A Major. Standard tuning. AA. The tune was composed by Manitoba fiddler Andy DeJarlis. Sannella, Balance and Swing (CDSS). Fretless 200a, Yankee Ingenuity‑‑"Kitchen Junket" (1977).

                       

TOP OF THE MAOL. AKA and see “The Groves of Gneeveguillia,” “Maol Mountain,” “Murphy’s Delight,” “The Queen’s Polka,” “Tom Barret’s.” Irish, Polka. A Dorian. Standard tuning. AABB. The title is probably correctly called “Top of Maol” (pronounced Mile) as Maol is a village in the Sliabh Luachra (Rushy Mountain) region of the Cork/Kerry border. Alan Ward, in his booklet "Music from Sliabh Luachra," references the tune and remarks that "Maol Mountain and Maol Bog are north of Lisheen." The “Murphy’s Delight” alternate title is from a recording by Jimmy Doyle and Dan O'Leary called "Traditional Music from the Kingdom of Kerry." Breathnach (CRÉ II), 1976; No. 119 (appears as untitled polka). Breathnach (CRÉ III), 1986; No. 63. Cranitch (Irish Fiddle Book), 1996; pgs. 67 & 70. Mallinson (100 Polkas), 1997; No. 77, pg. 29. Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - “The Rushy Mountain” (1994. Reissue of Topic recordings). Kicking Mule KM‑327, "Scartaglen" (1984. Learned from Tony Sullivan).

 

TOP OF THE MORNING [1], THE (Scot na Maidne). AKA and see "Come Down and Let Me In," "Miss Flynn." Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 167. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1571, pg. 291. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 821, pg. 142.

X:1

T:Top of the Morning, The

M:C|

L:1/8

R:Hornpipe

S:O’NeillDance Music of Ireland: 1001 Gems (1907) No. 821

Z:AK/Fiddler’s Companion

K:G

(3DEF|GFGA G2 AB|cAFA G2 AB|cBce dBGB|AGFE DEFD|

GFGA G2 AB|cAFA G2 AB|cBce dBAB|G2 GG G2:|

|:AB|cBcd e2dc|BABc d2 BA|GFGA B2 AG|A2de dcAF|

GFGA G2 AB|cAFA G2 AB|cBce dBAB|G2 GG G2:|

 

TOP OF THE MORNING [2] (An Tucfadh Tu A Vaile Lun). Irish, Jig or Air. G Major. Standard tuning. AABB’. Howe (1,000 Jigs and Reels), c. 1867; pg. 22.

X:1

T:Top of the Morning [2]

M:6/8

L:1/8

R:Jig

S:Howe1000 Jigs and Reels  (c. 1867)

Z:AK/Fiddler’s Companion

K:G

d2g fdc | B2d cAG | GBA ABG | GBA ABc | e2g fdc | B2d cAF | GAG GAG |

GAG G>AB/c/ :: d2e c2d | B2d cAG | GBA ABG | GBA ABc | d2e ddc | BdB cAF |

GAG GAF |1 GAG G>AB/c/ :|2 GAG G3 ||

 

TOP OF THE MORNING [3] (Mora dhuit ar Maidin!).  Irish, Reel. Breathnach (CRÉ V), 1999; No. 181.

 

TOP OF THE ROAD, THE. AKA and see "High Part of the Road." Irish, Double Jig. G Major. Standard tuning. AABB (Phillips): AA’BB (Mulvihill). Source for notated version: the Bridge Ceili Band [Mulvihill]. Source for notated version: Becky Tracy [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 383. Mulvihill (1st Collection), 1986; No. 59, pg. 77.

 

TOP OF THE SLIEVE GULLION, THE. Irish, Air (3/4 time, "slow and sad"). F Major. Standard tuning. One part. "Song on James Murphy, who was executed on that hill in 1798" (Joyce). Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 627, pg. 320.

 

TOP OF THE STAIRS. Irish, Reel. Composed by Chicago fiddler Liz Carroll, while sitting at the stairtop playing a button accordion. Green Linnet SIF 1139, “Eileen Ivers” (1994).

 

TOP THE CANDLE (Deasaid/Deisig an Coinneal). AKA and see “The Dusty Miller [9].” Irish, Slip Jig. D Major. Standard tuning. AAB. Source for notated version: Chicago fiddler James Kennedy who had the tune from his father Peter, a celebrated local fiddle master from Ballinamore, County Leitrim [O’Neill]. O'Neill (Krassen), 1976; pg. 82. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1142, pg. 215. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 428, pg. 84. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004. Learned from the playing of the late fiddlers Pat and Frank Reilly of Drumbreilly, Leitrim).

X:1

T:Top the Candle

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 428

Z:AK/Fiddler’s Companion

K:D

DED AzF F2D|c2E EzF G2E|DED AzD F2D|A,2D DzF ED2:|

||f2 g/f/ ezd c2A|Bze ezd c2A|B2 c/B/ AzG F D2|A,2D DzF ED2|

f2 g/f/ ezd c2A|Bze ezd c2A|B3 A2G FE2|D/F/z E/G/z F2E||

 

TOPCROFT REEL. English, Reel. A Major. Standard tuning. AB. Knowles (A Northern Lass), 1995; pg. 11.

 

TOPEKA POLKA. American, Polka. B Flat Major ('A' and 'B' parts) & E Flat Major ('C' part). Standard tuning. AAAABB'BB'CC'. Source for notated version: Donnell Cooley and Tim Hodgson [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 356.

 


TOPER'S DOUBLE, THE. Irish, Double Jig. E Minor. Standard tuning. AABB. Source for notated version: fiddler Nicholas Furlong (Mill of Rags, Wexford, Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 76, pg. 35.

X:1

T:Toper’s Double, The

M:6/8

L:1/8

R:Jig

S:Darley & McCall – The Feis Ceóil Collection (1914), No. 76

Z:AK/Fiddler’s Companion

K:E Minor

B>EE B>EE | B>AG FED | A>DD A>DD | A>GF EFG |

B>EE B>EE | D>FA d3 | e>dc B>cA | B>EE E3 :|
|: e>fe edc | def g3 | f>dd a>dd | e>fe edc | e>fe edc |

d>ef g3 | e>dc B>cA | B>EE E3 :|

 

TOPS OF THE BRANCHES (Barraidh Na G-Craobh). Irish, Slow Air (3/4 time). D Major/A Mixolydian. Standard tuning. One part. Source for notated version: "Sent to me...during 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great enthusiast in Irish music and song" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 258, pg. 124.

X:1

T:Tops of the branches, The

M:3/4

L:1/8

R:Air

N:”Slow and with feeling”
S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

AB|c2d2e2|d3c (3BAG|F4 E/F/G|F2D2D2|D4 AG|A2d2e2|f4 ed|e4 dc|B2A2F2|

E4 AG|F2D2E2|DFABcd|e4 dc|B2A2F2|d4 AB|c2d2e2|d3c (3BAG|F4 E>G|F2D2D2|D4||

 

TOPSEY TURVEY. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. See also “Breast Knot.”

 

TOPSFIELD HORNPIPE. AKA and see "Walter's Fancy." New England, Hornpipe. D Major ('A' part) & B Minor ('B' part). Standard. AABB. Sanella, Balance and Swing (CDSS).

 

TOQUE BLEU(E), LA/LE. French‑Canadian, New England; Reel. G Major. Standard. AABB. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 159. Page (Ralph Page Book of Contras), 1969; pg. 3.

X:1

T:La Toque Bleue

M:C|

L:1/8

K:G

d2BG d2BG|FG AB cB AG|d2BG d2BG|FG AF G4:|

|:G2GG FG AB|cA cd Bc AF|G2GG BG dc|Bc AF G4:|

 

TOR-COILLE UI CONSAIDIUN. AKA and see "Considine's Grove{s}."

           

TOR SPIONÁN, AN. AKA and see "The Gooseberry Bush."

           

TORE OF TROUP, THE.  Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie. The melody was included in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 2), dedicated to his patron and employer, Mrs. Garden of Troup.

X:1

T:The tore of Troup, A Strathspey

C:Robert Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 2

L:1/8

M:C

R:Strathspey

K:F

C|F3 F CFA,F|F3A B(GGA)| F3F CFA,F|BG A/B/c/B/ AFF:|

c|fafc AFcA |B>c d/c/B/A/ B(GGc)| fafc AFcA |BdTc>B AFFc|

fafc AFcA |B>c d/c/B/A/ BGGA  |TB(ABc) defd |cABG AFF|]

 

TORN JACKET, THE. AKA – “Connie O’Connell’s.” Irish, Reel. D Major. Standard. AABB. Composed by Kilnamartyra (near Ballyvourney in west Cork) fiddle player Connie O’Connell. Sources for notated versions: Willie and Siobhán Kelly (New Jersey) [Black]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 284, pg. 152. Harker (300 Tunes from Mike Rafferty), 2005; No. 124, pg. 37. Drumlin Records, Brain McNamara – “A Piper’s Dream.” Green Linnet SIF 1162, Kevin Crawford – “The ‘D’ Flute Album” (appears as “Connie O’Connell’s”). Kells Music KM9509, Mike and Mary Rafferty – “The Dangerous Reel” (1995). Spin CD 1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

See also listings at: 

Alan Ng’s Irishtune.info

X:1

T:Torn Jacket, The

C:Connie O'Connell

D:The Smoky Chimney

N:played in B flat on album, on tuned‑down fiddle

R:reel

M:4/4

L:1/8

K:D

F3 A d2 ed|cAAB cd e2|FEFA dfed|cAGE EDDE|

F3 A d2 ed|cAAB cdec|Adde f2 ed|cAGE EDDE:|

|:FAdf a2 fa|g3 a gfed|cAAB cdef|gfed cAAG|

FAdf a2 fa|g3 a gfef|g2 ba gfed|cAGE ED D2:|

X:2

T: The Torn Jacket

S: Connie O'Connell via Willie & Siobhan Kelly

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

F3 A dfed | cA A2 (3Bcd ed | FAAF dfed | cAGE FDDE |

FEFA dfed | cA A2 (3Bcd ec | dcde fded | cAGE ED D2 :|

FAdf a3 f | g3 f gfed | cA A2 (3Bcd ed | g2 ed cAGE |

FAdf a3 f | g3 f gfef | g2 ba gfed | cAGE ED D2 :|

           

TORN PETTICOAT [1], THE. Irish, Reel. Ireland, County Clare. A Dorian. Standard. AABB. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 32. Boys of the Lough, 1977; pg. 10. O'Neill (Krassen), 1976; pg. 57. Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976). Transatlantic TRA 311, Boys of the Lough ‑ "The Piper's Broken Finger."

 


TORN PETTICOAT [2], THE. AKA and see “The Worn, Torn Petticoat.” Irish, Slide (12/8 time). Ireland, West Kerry. A Dorian. Standard. AABB’. A slide-time variation of version #1. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 76, pg. 44. Moylan (Johnny O’Leary), 1994; No. 82, pg. 47 (appears as “The Worn Torn Petticoat”).

           

TORNADO HORNPIPE. Canadian, Hornpipe. B Flat Major. Standard. AABB. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989). According to the story told by Ron Ritchie (Fiddler Magazine, vol. 12, No. 2, Summer 2005; pg. 27), the tune was named for a severe tornado in 1951 in the Sarnia region. Don Messer, the influential radio fiddler, and his show had been booked to play at a dance pavilion on the shores of Lake Huron that day, and the storm made a mess of the outdoor venue. The show went on, however, with the floor being quickly swept clear, and although some danced around felled trees that night it was one of the largest crowds ever at the venue. Durocher, in attendance at the event, christened his tune the “Tornado.” John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his compositions. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 119, pg. 74.