The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
_______________________________
Home Alphabetical Files
References
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
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.
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
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
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
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
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 – “
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 (
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).
X:1
T:Top of Balvenie, The
L:1/8
M:C
S:
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
***
The tune was cited as frequently
having been played for
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
M:6/8
L:1/8
R:Jig
K:D
dAF DFA | Bed cBA | dcd
dcd
BGB Bcd | AFA ABc | dcd efg | fdd d2 :|
TOP OF
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
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
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
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
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 (
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
X:1
T:Top of the Morning, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
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
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:
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>,
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 ‘
***
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.
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
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
X:1
T:Tossing on the Waves
M:6/8
L:1/8
R:Air
N:”Palyful”
S:O’Neill – Music of
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.
T'OTHER SIDE OF
***
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
Cho:
Take off your coat, boys, and roll up your sleeves,
For
So take off your coats, boys, and roll up your sleeves,
For
***
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
X:1
T:Touch Me if You Dare [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of
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’ (
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.
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
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.
TOUQUE BLEU, LA. See “Tuque Bleue.”
TOUR OF
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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