The Fiddler’s Companion

© 1996-2009 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 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]

 

 

 

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 tuning. 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."

 

TOOHEY’S FROLIC.  Irish, Jig. A Dorian. Standard tuning. AABBCC. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 184, pg. 43.

 

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 tuning. 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 tuning. 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||

 

TOOTH FAIRY, THE.  Irish, Jig. Composed by Orla Wynne (wife of Roscommon fiddler John Wynne) on the occasion in honor of a baby’s first tooth. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007).

 

TOP AND BOTTOM. English, Scottish; Jig. G Major. Standard tuning. AA'B. The melody was first printed by London publisher John Johnson in his Choice Collection of 200 Favourite Country Dances, vol. 6th (1751), followed by appearances in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances (London, 1757, reprinted around 1790). In Scotland it was published by Neil Stewart in his Select Collection of Scotch, English, Irish, & Foreign Airs, Jiggs, & Marches (Edinburgh, 1788). It even appears in the publication L’Echo, ou Journal de Musique Francoise (Liege, Belgium, 1758), as “Top and Bottom, contradanse Angloise.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 130. Fallibroome Collection, Book 4. Kerr (Merry Melodies), vol. 3; No. 256, pg. 28. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 5.

X:1

T:Top and Bottom

M:6/8

L:1/8

R:Jig

S:Kerr – Merry 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 :|

X:2

T:Top and Bottom

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

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

|:dcB cea|cBA Bdg|edc BAG|FGE D2d|gaf gaf|gaf gaf|gdc BcA|G3 G,3:||

 

TOP IT OFF (Cuir barr air). AKA and see "Connemara Jig." “Rouse It.” Irish, Slip Jig. D Major (Sullivan): D Major/Mixolydian (Breathnach). Standard tuning. 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 tuning. 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:Skinner – Harp 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’Neill – Music 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’Neill – Dance 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:Howe – 1000 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||

 

TOPAZ, THE.  English, Jig. D Major. Standard tuning. ABB. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 130. Fallibroome Collection, Book 3.

 

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 (fiddle). AAAABB'BB'CC'. Source for notated version: Donnell Cooley and Tim Hodgson [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 356.

 


TOPER'S DOUBLE, THE. AKA and see “Kennedy’s Jig.” Irish, Double Jig. E Minor. Standard tuning (fiddle). AABB. As “Kennedy’s Jig” the tune was printed in Joyce’s ‘’’Ancient Irish Music’’’ (1873, No. 19). Source for notated version: fiddler Nicholas Furlong (Mill of Rags, Wexford, Ireland) [Darley & McCall]. Darley & McCall (Feis Ceóil Collection of Irish Airs), 1914; No. 76, p. 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:Emin

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 (fiddle). 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 tuning. AABB. Sanella, Balance and Swing (CDSS).

 

TOQUE BLEU(E), LA/LE. AKA and see “La Tuque Bleue.”

 

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|]

 

TORID ROMANCE, THE.  Irish, Reel. D Mixolydian. Standard tuning. AA’BB. Composed by Leslie Harris. Trian.

X:1
T:Torrid Romance, The
M:4/4
L:1/8
C:Leslie Harris
R:Reel
K:DMix
DEFG ABcA|d2Ad cAGE|D/E/D CE DEFG|ABcA GECE|!
D2 E/F/G ABcA|d2Ad efge|dcAG E/F/G AB|1 ~c2Bd cAGE:|2 ~c2Bd cABc||!
d2Ad efge|d2Ad cAGA|d2Ad efge|a2^ga ef=ge|!
d2Ad efge|d2Ad cAGA|cAGE DECE|GAcd cAGE:|!

 

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 tuning. 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.

           

TORNADO REEL. American, Reel. A Major. Standard tuning. AABB. One of the compositions credited to J. Hand, whom New York researcher Don Meade finds is one of two fiddling brothers, John and James Hand, from the Boston, Massachusetts, area during the mid-1800’s. Cole (1000 Fiddle Tunes), 1940; pg. 35. Ryan’s Mammoth Collection, 1883; pg. 61.

           

TORRY BURN. See "Tory Burn Lasses."

           

TORTILLAGE, LE. Cajun. Recorded by accordion player Joseph Falcon (La.) for Arhoolie Records, c. 1963.

           

TOR(R)Y BURN LASSES. AKA and see “Comely Jane Downing,” "Larry Bourn," "Tady's Wattle." AKA ‑ "Torry Burn," "Torryburn Lasses." Scottish, Reel or Country Dance Tune. G Major. Standard tuning. AB (Surenne): AAB (most versions). Torryburn Lasses is also the name of a Scottish country dance. Carlin (The Gow Collection), 1986; No. 453 (appears as "Torry Burn"). Gow (Complete Repository), Part 2, 1802; pg. 15 (appears as “Torry Burn”). Hunter (Fiddle Music of Scotland), 1988; No. 204. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3. Kerr (Merry Melodies), vol. 1; No. 4, pg. 23. MacDonald (The Skye Collection), 1887; pg. 98. Stewart-Robertson (The Athole Collection), 1884; pg. 159. Surenne (Dance Music of Scotland), 1852; pg. 30 (appears as “Torry Burn”).

X:1

T:Torry Burn

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:G

D|G2BG BddB|c2ec efgB|G2BG Bcdg|edcB A2G:|

d|g2 bg afed|edef geBG|g2bg afed|edef g2ga|bagf gfed|

edef geBG|cBcd efge|dBGB A2G||

X:2

T:Torry Burn. a Reel.

R:reel

M:C

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones, 2005

K:G

D | G2 (BG) (Bd) d2 | c2 (ec) (eg) g2 | G2 (BG) Bcdg |  edcB A2 G :||

d | g2 (bg) afed | e>def gdBG | g2 (bg) afgd | edef g3 a | bagf gfed |

{f}edef gdBG | cBcd efge | dBGB A2 G |]

           

TOSA-VALSEN. Swedish, Waltz. D Minor ('A' part) & D Major ('B' part). Standard tuning. AA'BB. Source for notated version: Kerry Elkin (Mass.) [Matthiesen]. Matthiesen (Waltz Book I), 1992; pg. 51. Elin Music, Asa Jinder (nyckelharpa player) ‑ "Asa Junder 1985."

           

TOSA WALTZ. Irish, Waltz. Composed in 1996 by fiddle player Michael Cassidy, of the group Craobh Rua, for friends in Wauwatosa, Wisconsin, when he was on a trip to the United States.

           

TOSS THE FEATHERS [1] ("Craith na Cleití/Cleiteacha,” "Umpuig an Clumac" or “Scaipeadh na gCleití”). AKA and see “Geatley’s,” “The Humours of Ballagh,” "The Mountain Lark," "The New Reel [1]," “Piper’s Choice,” "Thornberry's," "Thresh the Feathers." Irish, Reel. Ireland, Co. Clare. E Aeolian (Breathnach CRE 2, Stanford/Petrie, Taylor/Crack): E Dorian (Bayard, Breathnach Vol. 1, Feldman & O’Doherty). Standard. AB (Breathnach, Feldman & O’Doherty, Stanford/Petrie): AAB (O'Neill/Krassen, Phillips, Taylor/Crack): AA'B (O'Neill/1001): AABB (Brody): AABB' (Bayard). Identified by Stanford/Petrie as a Clare reel. Breathnach (1976) says it is known in County Tipperary as “Thresh the Feathers” and “The Humours of Ballagh.” The title supposedly is a euphemism for engaging in sexual intercourse, although Joyce thought the title referred to feathers in a headress or helmet. O’Neill (1913) quotes a grand story in which this tune is mentioned, told by Turlogh McSweeney, ‘The Donegal Piper’, a famous uilleann piper of the latter 19th century (which will make a bit more sense by reading the note for “The Wild Irishman [3]” first):  

***

...when I was living alone in the little cabin after my mother died—

God rest her soul—there came to the door in the dusk of the evening

a stranger and nothing less than a piper, by the way, who with a

‘God save all here,’ introduced himself as was customary. I invited

him in, of course, and after making himself at aise he says, ‘Would

you like to hear a ‘chune’ on the pipes?’ ‘I would that,’ said I, for

you know a piper and his music are always welcome in an Irish home.

Taking his pipes out of the bag, he laid them on the bed beside him,

and what do you think but without anyone laying a finger on them,

they struck up “Toss the Feathers” in a way that would make a cripple

get up and dance. After a while, when they stopped, he says, ‘Will you

play a ‘chune’ for me now?’ I said I would and welcome, pulling the

blanket off my pipes that were hid under the bedclothes, to keep the

reeds from drying out. ‘Give us “Seaghan ua Duibhir an Gleanna”

says I to the pipes, and when they commenced to play, the mysterious

stranger, who no doubt was a fairy, remarked ‘Ah! Mac, I see you

are one of us.’ With that both sets of pipes played half a dozen ‘chunes’

together. When they had enough of it, the fairy picked up his pipes and

put them in the green bag again. If I had any doubts about him before,

I had none at all when he said familiarly, ‘Mac, I’m delighted with my

visit here this evening, and as I have several other calls to make I’ll

have to be after bidding you good night, but if I should happen to be

passing by this way again, I’ll be sure to drop in.

***

The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). See also the tune “Shanks Mare,” the ‘County Clare “Toss the Feathers.”’

***

Sources for notated versions: Kevin Burke (Ireland) [Brody, Phillips]; Samuel Losch (elderly fiddler from Juniata County, Pa., 1930's) [Bayard]; fiddler Jim Mulqueeny (Kilfenora, Co. Clare, Ireland) [Breathnach vol. 2]; fiddler John Kelly/Sean O'Kelly (Ireland) [Breathnach vol. 1]; Frank Keane (Stanford/Petrie); fiddles Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Bayard (Dance to the Fiddle), 1981; No. 38, pgs. 32‑33. Breathnach (CRÉ I), 1963; No. 195, pg. 76 (a Clare setting). Breathnach (CRÉ II), 1976; No. 291, pg. 148. Brody (Fiddler’s Fakebook), 1983; pg. 279. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 168. Mallinson (Essential), 1995; No. 38, pg. 17. O'Neill (Krassen), 1976; pg. 100. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 502, pg. 95. Phillips (Fiddlecase Tunebook), 1989; pg. 50. Stanford/Petrie (Complete Collection), 1905; No. 462, pg. 116. Taylor (Where’s the Crack), 1989; pg. 16. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Mulligan 004, "Matt Molloy." Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet 1010, "Mick Moloney." Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997). Green Linnet GLCD 3009/Mulligan 021, Kevin Burke‑ "If the Cap Fits" (1978). Green Linnet SIF‑3036, Phil & John Cunningham ‑ "Silly Wizard: Live in America" (1986). Green Linnet SIF‑104, John & Phil Cunningham ‑ "The Celts Rise Again" (1990). Mulligan 017, "Molloy, Brady and Peoples."

X:1

T:Toss the Feathers [1]

M:4/4

L:1/8

K:Em

EB B2 dB B2|EBBA FDFA|BE E2 B2 AB|1 defe dBAF :|2 defe dABA |

Beed e2 de|fede feed|febe febe|fede feed|

Beed e2 de|fede fgaf|b3 g a3 f|egfe dBAF |>|

X:2

T:Toss the Feathers [1]

M:C

L:1/8

N:”A Clare Reel”

S:Stanford/Petrie (1905), No. 462

Z:AK/Fiddler’s Companion

K:E Minor

E2 BE E2 BE | E2 BG AF DF | E2 BE E2 Bc | dc dB AF DF |

E2 BE E2 BE | E2 BE AF DF } ED EF GA Bc | dcdB AFDF ||

Be ed efge | fe de fg af | g2 bg f2 bg | afdf a2 gf | gabg fgaf |

gf ge dB AF | GFEF GABc | dcdB AFDF ||

 

TOSS THE FEATHER(S) [2] (Umpuig Na Clumac). Irish, Reel. D Dorian. Standard tuning. AAB (Roche): AA'B (O'Neill): AABB (Taylor). Related to the above. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1224, pg. 231. Roche Collection, 1982, vol. 1; No. 147, pg. 59. Taylor (Where’s the Crack), 1989; pg. 5.

X:1

T:Toss the Feathers [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1224

Z:AK/Fiddler’s Companion

K:D Dorian

D2 (AD ED)A>D | D2 (AG EG)G>E | D2 (AD ED)EG |1 A(d{e}dB) {d}cAGE :|2

AcGE AD D2 || Ad2 d d2 (cd) | edcd edcd | edad fdad | edce edce | e a2^g e =g2e |

dfed {d}cAGE | D2 (ED) EAAB | cded {d}cAGE ||

 

TOSS THE FEATHERS [3] ("Umpuig Na Clumac" or "Croith na Cleiteacha"). Irish, Reel. D Mixolydian (Mallinson, O'Neill, Taylor): D Major (Breathnach). Standard tuning. AB (Tubridy): AA'B (O'Neill): AABB (Taylor, Vallely): AABB' (Breathnach): AA’BB’ (Mallinson). Related to version #1, especially in the 'B' part. Taylor (1992) remarks "It's as if the O'Neill version is at the stage where the tune was half-way through changing from E minor to D, or vice versa." Sources for notated versions: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]; flute player Matt Molloy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 112, pg. 56. Mallinson (Essential), 1995; No. 63, pg. 27. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1225, pg. 231. Taylor (Crossroads Dance), 1992; No. 15, pg. 13. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 26. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 26, pg. 14. Mulligan Records LUN 004, "Matt Molloy" (1976). Shaskeen - "Mouse Behind the Dresser." Shanachie 29003, Tommy Peoples & Paul Brady - "The High Part of the Road."

X:1

T:Toss the Feathers [3]

M:4/4

L:1/8

S:Kevin Burke

R:Reel

Z:Barney

K:Dmix

D2 (3FED AD (3FED | AB cA GE ~E2 | D2 (3FED A2z A | (3B^cd ed =cA GE|

D2 (3FED AD (3FED | AB cA GE ~E2 | cA BG A3 A| (3B^cd ed =cA GE|

D2 (3FED AD (3FED | AB cA GE ~E2 | D2 (3FED A2z A | (3B^cd ed =cA GE|

D2 (3FED AD (3FED | AB cA GE ~E2 | cA BG A3 A | (3B^cd ed =cA GE||

Ad ~d2 Ad ~d2 | Ad ^cd ed cd | ea a^g a2 a=g|ea ag ed^cd |

ef (3gfe af (3gfe | {=f}^f2 ed cA AB | cA BG A3 A | (3 Bcd ed cA GE |

Ad ~d2 Ad ~d2 | Ad ^cd ed cd | ea ag ab ag | ea ag ed^cd

ef (3gfe af (3gfe | {=f}^f2 ed cA AB | cA BG A3 A | (3 Bcd ed cA GE || D8

                       

TOSSING OF THE HAY, THE (Ag Umpuide An Rinead). Irish, Air (2/4 time). G Major. Standard tuning. One part. See note for “The Enniskillen Dragoon(s) [1]” for brief discussion of the structure of this melody and partial list of similarly constructed tunes. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 179, pg. 31. O’Neill (1913), pg. 114.

X:1

T:Tossing of the Hay, The

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 179

Z:AK/Fiddler’s Companion

K:G

D2 | GA> Bc | dg fd | ec AF | G2 (3def | gf eg | fg af | gf ed | g2 (3def |

gf eg | fg af | gf ed | g2 BA | G>A Bc | dg fd | ec AF | G2 ||

                       

TOSSING ON THE WAVES (Ag Cornad Air Na Tonntaib). Irish, Air (6/8 time, "playful"). G Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 228, pg. 39.

X:1

T:Tossing on the Waves

M:6/8

L:1/8

R:Air

N:”Palyful”

S:O’Neill – Music of Ireland (1903), No. 228

Z:AK/Fiddler’s Companion

K:G

B2B dcB | c2A B2G | GBd GBd | FAd FAd | GAB cde | f2e d2c |

c2B c2d | GBA G3 || bag fe^d | egb e3 | gfe dcB | ceg c’3 |

Bcd edc | BAB GAB | c2B c2d | GBA G3 ||

                       

TOSSPOT, THE. AKA and see “Queen of the West.” Irish, Hornpipe.

 

TOSVALEN. Scandinavian, Waltz. D Minor (‘A’ part) & D Major (‘B’ part). Standard tuning. AB. Source for notated version: Alan Ede [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 159.

                       

TOTAR’S HORNPIPE. Canadian, Hornpipe. Canada, Cape Breton. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

T'OTHER SIDE OF JORDAN. AKA and see "Kingdom Coming," "Other Side of Jordan." American, Dance and Air. G Major. Standard. AABB.

***

I just arrived in town to pass the time away,

And I settle all my business accordin',

But the weather turned so cold I heard a feller say:

"I wish I was on 'tother side of Jordan."

Cho:

Take off your coat, boys, and roll up your sleeves,

For Jordan is a hard road to travel.

So take off your coats, boys, and roll up your sleeves,

For Jordan is a hard road to travel. (Ford)

***

Ford (Traditional Music in America), 1940; pg. 82 (additional verses on page 400).

                       

TOU ROU ROU. AKA and see "Tow Row Row."

                       

TOUCH AND TAKE. AKA and see "Oaken Leaves [1]." English, Country Dance Tune (6/8 time). A Major. Standard. One part. The melody dates to 1652. Barnes (English Country Dance Tunes), 1986. Karpeles (100 English Country Dance Airs), 1951; pg. 16 (appears as "Oaken Leaves"). Raven (English Country Dance Tunes), 1984; pg. 20. Sharp (Country Dance Tunes), 1994; pg. 40.

X:1

T:Touch and Take

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:A

A>Bc d2A | d2e f>ed | e>fg ag2 | f3e3 | c2A F2B | G2E e2c | d>ef e>dc | B3A2z :|

                       

TOUCH ME IF YOU CAN. AKA and see “Touch Me if You Dare [2].

                       

TOUCH ME IF YOU DARE [1] (Buin Liom Ma's B-Fearr Leat). AKA and see "You Rogue, You Daren't Meddle Me." Irish, Reel. A Dorian, Standard. AAB. Alan Jabbour says the tune is from a large tune family that includes Petrie’s “Take Her Out and Air Her [3]," O’Neill’s “Kit O’Mahony’s Hornpipe,” Joyce’s “Miss Redmond’s Hornpipe” and Ford’s “Gilderoy [2].” American fiddler Henry Reed had a variant (called simply “British Field March”) from an elderly fiddler and fife player named Quince Dillon, and claimed it had been played by the British to retreat in the Battle of New Orleans. See also the related reel “Old Torn Petticoat.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1388, pg. 258. Roche Collection, 1982, vol. 3; No. 85, pg. 26.

X:1

T:Touch Me if You Dare [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1388

Z:AK/Fiddler’s Companion

K:A Minor

AB | cABG AGE^F | GABc dBGB | cABG AGED | EAA^G A2 :|

|| E2 | ABcd e2 e^f | ge^fd ecA^G | ABcd e2 e^d | eaa^g a2 a2 |

ABcd e^de^f | ge^fd ecAB | cABG AGED | EAA^G A2 || 

 

TOUCH ME IF YOU DARE [2] ("Buin Liom Ma's B-Fearr Leat" or "Do Dubslan Baint Liom"). AKA and see “Back in the Garden,” "Johnny Reidy,” “Touch Me if You Can." Irish, Reel. G Major. Standard. AB (Mulvihill, O'Neill/1850 & 1915): AA'B (O'Neill/Krassen): AABB (Flaherty, Harker): AA’BB’ (Taylor). Sources for notated versions: flute player Pat Meehan (b. 1960, Killaraght area of south Sligo [Flaherty]; “from my mother” [Mulvihill]; fiddler Nellie Kennedy (Chicago) whose brother, fiddler James Kennedy also contributed to O’Neill’s collection, and whose father was a County Leitrim fiddler of local renown from whom she learned this tune [O’Neill]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Flaherty (Trip to Sligo), 1990; pg. 108. Harker (300 Tunes from Mike Rafferty), 2005; No. 23, pg. 8. Mulvihill (1st Collection), 1986; No. 33, pg. 9. O'Neill (Krassen), 1976; pg. 130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1387, pg. 258. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 631, pg. 114. O’Neill (O’Neill’s Irish Music), 1915; No. 245, pg. 129. Taylor (Music for the Sets: Yellow Book), 1995; pg. 30. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 20.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Touch Me if You Dare [2]

L:1/8

M:C|
K:G

dc|BG G2 AGED|BG G2 Bdgd|BG G2 AGED|EAAG A2 dc|

BG G2 AGED|BGGA Bdgd|B2 BG AGED|EGGF G2:|

|:GB|dega bgag|egdg egdB|dega bgag|eaag a2 ge|

dega bgag|egdg egdc|BG G2 AGED|EGGF G2:|

                       

TOUCHE PAS CA TU VOIS (Don't Touch What You See). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Composed by Moise Robin after he was tricked out of all the money on his person during a fateful trip to Port Arthur, Texas (Francois, 1990). Source for notated version: accordionist Moise Robin (La.) [Francois]. Francois (Yé Yaille Chere!), 1990; pgs. 474-475. Jadar Records J118-2, Moise Robin.

                       

TOUCHING CLOTH. Irish,  E Major. Standard. Composed by James Kelly.

 

TOUCHSTONE, THE. English, Country Dance Tune (4/4 or cut time). D Major. Standard tuning. AABB. Raven indicates it was published before 1730, though Barnes and Johnson date it to c. 1773. Johnson (1988) prints a contra dance to the tune. Barnes (English Country Dance Tunes), 1986. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 9. Raven (English Country Dance Tunes), 1984; pg. 29.

                       

TOUGH LUCK. Old-Time. The piece is known as a banjo song and employs a special tuning on the instrument.

                       

TOUJOURS APRES ESPERER (Still Waiting). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Source for notated version: Robert Bertrand (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 476-477.

 

TOUQUE BLEU, LA.  See “Tuque Bleue.”

 

TOUR OF SCOTLAND.  American, Reel. D Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler and composer Randy Miller. Miller (Fiddler’s Throne), 2004; No. 259, pg. 156.

 

TOURNAFULLA SLIDE, THE. Irish, Slide. “Dan Patsy’s Slide,” “Jimmy Doyle’s (Slide),” “John Dore’s Favourite,” “Paudy Scully’s,” “Turnip Jig.” Irish, Slide. Dan Herlihy – “The Night of the Fair.”

 

TOURNER À TROIS (Turning by Threes).  English, Waltz. B Minor. Standard tuning. AB. Composed in 1998 by Paul Machlis. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 134.

 

TOURNIORE LASSES. AKA and see “Johnny Mickey’s,” “Johnny Mickey Barry’s,” “Polca an dreoilin,” “The Wren.

 

TOURNMORE POLKA. AKA and see “Toormore Polka [2],” “Tuar Mór Polka [1].

 


TOUS LES DEUX POUR LA MEME (Both for the Same One). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AB(Vocal)A(Vocal)AA'. The tune is the first that Cajun fiddler Dennis McGee learned to play the day he received his first instrument. Related tunes, according to Raymond Francois (1990), are Leroy "Happy Fats" LeBlanc's and Ervin Vin Bruce's versions of "La Valse de Sainte Marie," Blackie Forestier's "All for the Same" and Merlin Fontenot's "Les Maringouins." Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 292-293. La Louisiane Records LL-LP126, Lawrence Walker. 

 

TOUS LES SOIRS (Every Night). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. A modern song originally recorded by Dee Landry. Source for notated version: Joe Bonsall (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 478-479. Swallow Records SW-LP6049, Joe Bonsall.

 

TOW HOUSE POLKA. English, Polka. G Major. Standard tuning. AABBCCDD. The Tow House was located about a quarter of a mile from the Northumbrian village of Bardon Mill, home of fiddler and policeman Adam Gray (b. 1903). Miller & Perron (101 Polkas), 1978; No. 83. Topic 12TS283. Topic TSCD 669, Adam Gray (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998).

 

TOW ROW ROW, JOHNNY WILL YOU NOW? (Tou Rou Rou). AKA and see "It is Day," "Paddy Will You Now?" "Take me now while I'm in humor." Irish, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The 'B' part is twice as long as the eight-bar 'A' part. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 989, pg. 170. O’Neill (1913), pg. 122.

X:1

T:Tow Row Row

M:2/4

L:1/8

S:O’Neill – Dance Music of Ireland:1001 Gems (1907), No. 989

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/|gB BA/G/|FA AB/A/|Gg g/f/g/a/|bgg (3d/e/f/|

gB BA/G/|FA AB/A/|Gg g/f/g/a/|bgg:|

|:B/c/|dB de/f/|gfed|dB de/f/|gfed|e/e/e/e/ ed|gBBA|G/G/G/F/ GA|BGED|

G/G/G/F/ GB|A/A/A/A/ AB|Ggfe|edBA|G/G/G/G/ GB|A/A/A/A/ AB|Ggfa|g3 g:|

 

T’OWD WIFE OF COVERDALE.  See “Old Wife of Coverdale.”

                       

TOWER OF LONDON QUICKSTEP, THE. New England, Quickstep. G Major. Standard tuning. AABB. Composed by New England dance caller and musician, Ralph Page. Page (Ralph Page Book of Contras), 1969; pg. 7.

                       

TOWER OF SCOLTY, THE. Canadian, Strathspey. Canada, Cape Breton. E Major. Standard tuning. AB. Composed September, 1944, by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 30 (arranged by J.M. Henderson).

                       

TOWER WAITS HORNPIPE. English, “Old” Hornpipe (3/2 time). G Minor. Standard tuning. AABB. The tune appears in Walsh’s Lancashire Jigs, Hornpipes, Joaks, etc. (c. 1730). Waits were paid musicians who served as civic functionaries, akin to the town crier.

X:1

T:Tower Waits Hornpipe

B:Walsh

M:3/2

L:1/8

Z:Transcribed by Henry Ford

K:Gm

g4 bag^f g4|edcB AGFE DCB,A,|B,4 GFED E2 G2|cded cABc ^F2 D2| g4 bag^f g4|\

edcB AGFE DCB,A,|B,2 G2 A,2 G2 G,2 ^F2| GEDC B,GA,^F G,4::\

f4 dBcA BFGE| E2 C2 E2 G2 c4| g4 ecdB cABG| ^F2 D2 ^F2 A2 d4|\

d2 b2 BAGF E2 C2| c2 a2 AGFE D2 B,2| G,2 g2 ^fdec dAB^F| GEDC B,GA,^F G,4:|

                       

TOWIE CASTLE. Scottish, Slow Air (2/4 time). A Major. Standard tuning. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No. 161, pg. 55.

 

TOWN CRIER, THE. Scottish, Reel. A Minor. Standard. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 144, pg. 17.

X:1

T:Town Crier, The

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 144  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

(e^d)ef ecA2|(=d^c)de dB G2|e^def e2a2|1 edcB ABcd:|2 edcB A2 (AB)||

|:cdef gece|dcBA GABG|cdef gecd|1 (ea)a^g a2 AB:|2 (ea)a^g a2 (cd)||

 

TOWN GREEN POLKA. English, Polka. England, Northumberland. G Major ('A' and 'B' parts) & C Major ('C' part). Standard tuning. ABCC. Composed by musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Dixon notes that Town Green (Knarsdale) is a hamlet near Eals, on the west bank of the River South Tyne. Source for notated version: piper and fiddler Tom Armstong’s c. 1850 manuscript, in the collection of John Armstrong of Carrick [Dixon]. Dixon (Remember Me), 1995; pg. 39. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 55. PCCD001, Pauline Cato – “The Wansbeck Piper.” Topic 12TS388, High Level Ranters – “Four in a Bar.”

 

TOWN OF COOTEHILL, THE. Irish, Jig. F Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Cootehill is the town nearest the village of Barnagrove, County Cavan, where Reavy was born. Reavy revisited the place in the late 1960's and thought it little changed from his boyhood. Reavy (The Collected Compositions of Ed Reavy), No. 85, pg. 93. Danny O’Donnell – “Ón tSean-Am Anall” (Donegal fiddler O’Donnell knew Reavey when he lived in America for a time).

X: 1e

T:Town Of Coothill, The

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:Ed's own town in Cavan, just a short distance from his

N:native village, Barnagrove. He was amazed at how little

N:the town had changed when he visited there in '69 -

N:"Only the lane where the fish was sold has

N:changed," he remarked. "It's still the same old Cootehill."

K:F

FAc faf | ece gfe | bgf ece | gfe fcA | FEF Acf | eGA BAG | Adc BGE | FGF F3 :||

Acf Acf | dBB B2 A | GBd GBd | ecc cde | faf ebg | ece gfe | fcA BGE | FGF F3 :||

 

TOWN OF GALWAY. Irish, Waltz. G Major. Standard tuning. One part. From an early 20th century song (by Francis Fahey?) that begins:

***

I left my old sweetheart one morning in May,
And twas just as the liner was leaving he quay;
When I held her closely and i heard her say,
You'll remember me dear and the Town of Galway.

***

Copley Records, Joe Derrane.

X: 1
T:Town of Galway
R:waltz
B:Jim Coogan's Session Tunes
Z:Music: Jean Lewis
Z:abc's: Michael Hogan
M:3/4

L:1/8
K:G
B,C|D3|E2 F|G3|A2 B|A3|G2 E|D3|B,2 C|
D3|E2 F|G3|A2 B|B3|E2 B|A3|A B c|
d3|e2 d|B3|A2 G|E3|G2 E|D3|DB,C|
D3|E2 F|G3|c2 B|A3|G2 A|G3|G||


 

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