The Fiddler’s Companion
© 1996-2008 Andrew Kuntz
_______________________________
Home Alphabetical Files
References
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TRA - TRIO |
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
TRAB, TRAB. Scottish, Country Dance Tune (2/4 time). D Major. Standard. AABB'. Kerr
(Merry Melodies), vol. 3; No. 388,
pg. 43.
X:1
T:Trab Trab
M:2/4
L:1/8
S:Kerr – Merry Melodies, vol. 3, No. 388 (c. 1880’s).
Z:AK/Fiddler’s Companion
K:D
A | AABc | (d2 A)A | AeBc | d3A |
AABc | (d2 A)f | edBe | A3 :|
|: A | AeBc | (d2A)A | AeBc | d3f |
edcB | AdFB |1 AGEB | A3 :|2 AGEc | d3 ||
TRACES DE MON BOGHEI (By Buggy Tracks). Cajun, Waltz.
TRACEY DARE’S. Canadian, Jig.
TRACEY
TRACEY’S. Canadian, March (cut time).
TRADER BOATMAN. See “N....r Trader Boatman.”
TRADITIONAL JIG, THE. Irish, Jig. G Major. Standard. AABB. A
reworking of “McKenna’s Jig” by County Cavan/Philadelphia fiddler and composer
Ed Reavy (1898-1988). Reavy, No. 93, pg. 104.
X: 1
T:The Traditional Jig
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed took one of his favorite reels (McKenna's)
N:and changed it into his extraordinary little jig.
N:Any musician who has tried this feat knows how
N:frustrating it can be. I'm reminded of a story
N:once of one who tried to change a tune and failed.
N:All too quick to take credit for his own
N:latest "improvement" of an old tune, our would-be
N:composer waited anxiously for the praise he
N:so confidently expected. A crafty old judge of
N:tunes himself was only too happy to deliver the
N:final judgment:
N:Son, if you left out what you put in
N:and put back in what you left out,
N:it'd be a good tune.
K:G
B/2c/2 | dBG GFG | Bcd =fdB | cA=F FEF | CFA cBc | dBG GFG | Bcd ^fga |
gfd cAF | GAG G2 :: B/2c/2 | dgg gfg | bag agf | cde fef | agf agf | dgg gfg |
Bcd ^fga | gfd cAF | GAG G2 :||
TRADITIONAL JIG ON D. Canadian, Jig. Canada, Cape Breton. D Major (Dunlay & Greenberg/MacDougall):
D Mixolydian (Dunlay & Greenberg/MacPhee). Standard. AA’BB (Dunlay &
Greenberg/MacDouagall): AA’B (Dunlay & Greenberg/MacPhee). Sources for
notated versions: Doug MacPhee (who remembers the ‘old folks’ playing his second
turn, with the stress on the ‘C’ natural) and Mike MacDougall (Cape Breton)
[Dunlay & Greenberg], who (say Dunlay and Greenberg) may have learned it
from the playing of Buddy MacMaster, whose similar version comes from the
‘jigging’ of his mother. Dunlay & Greenberg (Traditional Violin Music of Cape Breton Island), 1996; pg. 112. PLP4-1012, Joe Cormier - “The Cheticamp Connection” (1983.
1st tune in “Jig Medley in D”).
TRADITIONAL JIG ON G. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB.
Apparently an old jig, according to Buddy MacMaster, who told Dulay &
Greenberg it had been played in Cape Breton for many years. Source for notated
version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay &
Greenberg (Traditional Violin Music of
Cape Breton Island), 1996; pg. 115. RDRC 850 , Raymond Ellis - “Dedicated to Mom and Dad”
(1994).
TRADITIONAL LADDIE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB.
Bremner’s “Highland
Laddie” bears some resemblence to this tune. Source for notated version:
John Campbell, learned from his father Dan J. Campbell (Cape Breton) [Dunlay
& Greenberg]. Dunlay & Greenberg (Traditional
Violin Music of Cape Breton Island), 1996; pg. 57. Shears (Gathering of the Clans Collection),
1991; pg. 47. JC 124, John Campbell - “Cape Breton
Violin” (1979. Appears as “Traditional Reel”). Smithsonian Folkways Records,
SFW CD 40507, The Beaton Family of Mabou – “
TRADITIONAL OLD (JIG). Canadian, Jig. Canada, Cape Breton. Celestial
Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).
TRADITIONAL REEL. AKA and see “Donald
Macleod’s Reel.”
TRADITIONAL STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. A Mixolydian. Standard
tuning. AAB. A pipe tune. Paul Stewart Cranford (1995) notes that Jerry
Holland’s setting, from Cape Breton fiddler Mike MacDougall, is a ‘Down North’
setting and “differs from the more common Inverness setting,” not least because
the parts are reversed. Source for notated version: fiddler Mike MacDougall
(Inverness, Cape Breton, 1928-1982) via Jerry Holland (Cape Breton) [Cranford].
Cranford (Jerry Holland’s), 1995; No.
4, pg. 2. Atlantica Music 02 77657 50222 26, Kyle
& Lucy MacNeil - “Atlantic Fiddles” (1994).
TRAFALGAR HORNPIPE. AKA and see "Passaic
Hornpipe." English (?), Hornpipe. A Major (Cole, Ryan): G Major
(Miller). Standard tuning. AABB. The 'A' part is shared also with "Brilliancy." The English victory at
the naval battle of Trafalgar was much commemorated in music and song, and on
inn signs in
X:1
T:Trafalgar Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A/E/A/c/ e/c/e/a/ | f/d/f/a/ e/c
/A/c/ | d/B/f/e/ d/c/B/A/ | G/A/B/c/ BE | A/E/A/c/ e/c/e/a/ | f/d/f/a/ e/c/A/c/
|
d/f/e/d/ c/B/A/G/ | AcA z ::
C/A/G/A/ c/A/G/A/ | F/A/E/A/ D/A/C/A/ | F/D/F/A/ d/c/B/A/ |
G/A/B/G/ EE | F/D/F/A/ d/c/B/A/ |
G/E/G/B/ e/d/c/B/ | A/a/g/f/ e/d/c/B/ | AcA z :|
TRAGEDY, THE. AKA and see "Blaris Moor" [3]. Irish, Air
(4/4 time). G Major. Standard. One Part. "From Mr. J.C. MacGowan of
Newtownards: 1873" (Joyce). Joyce (Old
Irish Folk Music and Song), 1909; No. 224, pg. 109.
TRAILIBANE BRIDGE (Droiciod Traig-Le-Bain). AKA and see “Little Red Lark of the
Mountain [2].” Irish, Air (6/8 time). G Dorian. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 428, pg. 75.
X:1
T:Trailibane Bridge
M:6/8
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 428
Z:AK/Fiddler’s Companion
N:”Moderate”
K:G Minor
G>AG GAc|d2=e f2 e/f/|d>cA
A>G^F|G2F D3|G>AG GAc|d2=e f2 e/f/|dcA G2G|
(G3G2)||f|g>fd fga|b2a
g2a|g>fd d>cA|G2F D2f|gfd fga|b2a g2f|dgb a>g^f|(g3 g2)f|
g>fd fga|b2 a/b/ g2a|g>fd
dcA|G2F D2^F|G>AG GAc|d2=e f2 e/f/|dcA G2G|(G3G2)||
TRAIN FORTY-FIVE. AKA and see "Reuban('s
Train)." Old‑Time, Breakdown. USA; Tennessee, Ky. The tune is
influential Laurel Bloomery, Tennessee, fiddler G.B. Grayson's reworked version
of an old banjo tune called "Reuban's Train." Grayson, born in 1887
in Ashe County, North Carolina, suffered from blindness from an early age and
tragically died in 1930 in the height of his musical prime in a road accident near
Damascus, Virginia. Joe Wilson learned the following lyrics from (Uncle) Willet
Tyree, who was a contemporary of Grayson who played with him:
***
You could hear the whistle blow
For a hundred miles
It's oh me, and it's oh my
What's gonna become of me?
Lord, Lord,what's gonna become of me?
***
Hey, I'm walking these ties
I got tears in my eyes
Trying to read a letter
Trying to read a letter from my home
(spoken) And you know, I got this BAD news…
***
“Willet would drag out that word,
BAAAAAAAAD in harmony with the fiddle, making it sound like he had nine yards
of bow, then he'd whip back into the rhythm.”
It was one of the two tunes Monticello, Ky. fiddler Dick Burnett remembered
getting the most applause for when he performed. Influential versions were also
recorded by Bill Monroe and banjo player J.D. Crowe. Document Records 8054, Grayson & Whitter (Reissue.
1999). Gennett
6320 (78 RPM), 1927, G.B. Grayson. Victor 21189 (78 RPM), G.B. Grayson &
Whitter {Tenn.}. Old Hat Enterprises, “Music from the Lost Provinces” (1997).
Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”
TRAIN JOURNEY NORTH, THE. Scottish, Pipe Hornpipe. D Major. Standard
tuning. AA’BB’CC’DD’. Composed by T. Anderson. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 44. Temple
TP021, The Battlefield Band ‑ "On the Rise" (1986).
TRAIN ON THE ISLAND
[1]. Old‑Time,
Breakdown and Song. USA, western North Carolina, southwestern Va. (Galax, Round
Peak). A Major (not D Major as has been said of J.P. Nestor and Norman Edmonds'
version): G Major (Kimble/Molsky). AEae (Tommy Jarrell) or DGdg (Taylor Kimble,
Bruce Molsky) tunings. AABB. A common "band tune" characteristic
of Carrol and Patrick Counties,
southwestern Va., say Tom Carter and Blanton Owen (1976), who remark, “this
piece surfaces in the space between Hillsville and Meadows of Dan.” J.P.
Nestor, an early source for the tune who recorded it for Victor in 1927, lived
near Laurel Fork, Carroll County, southwestern Virginia. In his book When We Were Good, Robert Cantwell
suggests the name of the tune was adapted (by Nestor?) from the Irish reel “Lady on the Island.” Harry
Smith (Folkways FA2953, 1952) writes: “The sound of a train is here interpreted
on banjo and violin, with a meagre vocal adapted from a work song. The artists
are probably both from Virginia.” The title has become “distressed” among a few
fiddlers, and has been heard as “Training Island.” Source for notated version: Tommy Jarrell (
***
Train on the Island, listen to it squeal,
Go and tell my true love how happy I do feel.
***
Chorus
Train on the Island, hear that whistle blow,
Go and tell my true love I'm sick and I can't go.
***
Bring me a drink of water, bring it in a cup,
Me and my gal we fell out, we ain't never gonna make up.
***
Train on the Island, heading to the west,
Me and my gal we fell out, perhaps its for the best.
***
Make me a banjo out of a gourd, string it up with twine,
The only tune that I can play, I wish that gal was mine.
***
Show me the crow that flies so high, show me one that falls,
If I don't get the gal I love, I don't want none at all.
***
Went up on the mountain, went out on the plain,
Went up on the other side to hear my darlin' sing.
***
Yonder comes my true love, how do you reckon I know,
I tell her by her apron strings, tied up in a double bow.
(Tommy Jarrell)
***
Kuntz (Ragged but Right), 1987; pg. 317‑318. County 535, Nestor and Edmonds‑ "Round the Heart of Old Galax,
vol. 3" (various artists). County 778, Tommy Jarrell‑ "Pickin'
on Tommy's Porch" (1984. Learned from the singing of his father and
mother). Davis Unlimited 33002, Norman Edmonds. Folkways 2349, Nestor &
Edmonds – “American Folk Music” (1952). Rounder 0057, The Kimble Family ‑
"Old Originals, vol. 1" (1978). Rounder 0421, Bruce Molsky - “Big
Hoedown” (1997). Victor VI‑21070 (78 RPM), J.P. Nestor and Edmonds
(Galax, Va.) {1927}. In the repertoire of Luther Davis (Galax, Va.).
X:1
T:Train on the Island
M:2/4
L:1/8
N:AEae tuning
N:notation as fingered, not as
sounded.
B:Kuntz – Ragged but Right
K:A
c|e>(f e)c|e>(f|e)
e/f/|f/f/e/e/ f/f/a/a/|(A/e)(A e)A/B/|c/B/c/A/ B/A/A/B/|c/B/A/D/ E/D/D/E/|
D/D/E/E/ A/A/c/A/|(D/B)(D
B)A/B/|cc/A/ B/A/A/B/|c/A/B/A/ E/D/D/E/|
D/D/E/E/ A/A/B/B/|(D/A)(D/ A3:|
TRAIN ON THE ISLAND
[2].
Old-Time, Breakdown. A Major. Standard. AABB'. The tune is played slower than
the usual breakdown tempo. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 151.
TRAIN ON THE ISLAND
[3].
Old-Time, Breakdown. C Major. Standard. AB. This tune is related to "June Apple [1]." Source for notated
version: Stephanie Pausnitz [Silberberg]. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 156.
TRAIN ON THE MOUNTAIN. Old-Time, Breakdown and song. USA, central West Virginia. DGDG tuning. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the
Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by
Calhoun County, W.Va., fiddler from the playing and singing of his father).
TRALEE GAOL. AKA – “Tralee Jane.” AKA and see “Barrack
Hill,” “Haughs o’ Cromdale,” “O’Neill’s March [2].” Irish, Polka. A
Dorian. Standard. AABB. Related to the Scottish “Haughs of Cromdale.” Sullivan
(Session Tunes), vol. 2; No. 21, pg.
9.
TRALEE LASSES. AKA and see “Bundle of Straw,” “Corry Boys,” “Hare’s
Foot,” “Hare’s Paw [1],” “Jim Kennedy’s Favorite,” “Lowlands of Scotland,” “Low Park,” “Silvermines [1].”
TRALIBANE BRIDGE. AKA and see "Little
Red Lark of the Mountain [2]." Irish, Slow Air (6/8 time). G Minor.
Standard. AB. Tralibane Bridge, “ivyclad and ancient spans a rocky brawling
river named on the maps Owennashingaun,”
in the home of Capt. Francis O'Neill in County Cork.
***
Three townlands meet at this bridge, a significant circumstance
to at least one disciple of the ‘black art’, who one May morning
at sunrise stood knee deep in the rushing current and performed
certain mystic ceremonies. One consisted in dividing the waters
with a scissors along the imaginary lines of the townland
boundaries under the centre of the main arch. (O’Neill, Irish Folk Music, pg. 78)
***
This was one of O’Neill’s favorite
airs, though he remembered no songs to it. Two versions are given in Stanford/Petrie’s
Complete Collection (1905) from
County Mayo and Armagh, under the title “Little Red Lark of the Mountain.”
O'Neill (O’Neill’s Irish Music),
1915; No. 5, pg. 13.
X:1
T:Tralibane Bridge
M:6/8
L:1/8
R:Air
S:O’Neill – O’Neill’s Irish Music
Z:AK/Fiddler’s Companion
K:G Minor
G>AG GAc | d2=e f2e/f/ | d>cA
AG^F | G2F D3 | G>AG GAc | d2=e f2e/f/ | dcA G2G | (G3G2) ||
f | g>fd fga | b2a g2a | g>fd
dcA | G2F D2f | gfd fga | b2a g2f | dg bag^f | (g3g2)f | g>fd fga |
b2 a/b/ g2a | g>fd dcA | G2F D2^F
| G>AG GAc | d2e f2 e/f/ | dcA G2G | (G3G2) ||
TRAMP, TRAMP, TRAMP. AKA and see "God Save
Ireland." American, Air and March (6/8 time). USA, southwestern Pa. D
Major. Standard. AB. A staple fifer's march based on the extremely popular
Civil War song by George F. Root (1820-1895). Root was born at Sheffield,
Massachusetts, and studied music in Boston and Paris, earning a doctorate in
music at Chicago University. He was a supporter of music in the American school
curriculum. Other Civil War compositions of Root’s were “The Battle-Cry of
Freedom” and “Just Before the Battle, Mother.” “Tramp, Tramp, Tramp” is also
well-known as the melody of “God Save Ireland.” Source for notated version:
Clyde Lloyd (fifer from Indiana County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 564, pg.
501. Sweet (Fifer’s Delight),
1965/1981; pg. 11.
TRAMP WALTZ. American, Waltz. Edison 5411 (78 RPM), 1927,
John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan
Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught
Baltzell to play the fiddle}.
TRAMPER DOWN. Canadian, Reel. Canada, Cape Breton. A Major. AEae or Standard. AA’BB’.
Dunlay & Greenberg report that Buddy MacMaster thinks this reel may have
been composed by Sandy MacLean. Sources for notated versions: Kinnon Beaton
(Mabou Coal Mines, Cape Breton) and Buddy MacMaster [Dunlay & Greenberg].
Dunlay & Greenberg (Traditional
Celtic Violin Music from Cape Breton), 1996; pg. 133. ACC-4968, Kinnon Beaton - “A Sprig of Ivy” (1989. Appears as
“Traditional Reel”). ACC4-9270, Howie MacDonald - “Live and Lively” (appears as
“Angus Allen Gillis Reel”). ACC-49398, Brenda Stubbert - “House Sessions”
(1992). CEI 8001, Winnie Chafe - “Echoes” (1988. Appears as “Traditional
Reel”). Rounder C-7013, Joe Cormier and Edmond Boudreau - “Old Time Wedding
Reels” (1992. Appears as unlisted 2nd tune in “Annie is My Darling” medley).
Overton 1829-I-LM 88, Dwayne Cote - “Introduction” (1992. Appears as
“Traditional Reel”).
TRAMPLE OUR ENEMIES. AKA and see "Top of
Cork Road [1]," "Father
O'Flynn," "Rollicking Irishman," "To Drink with the Devil,"
"Yorkshire Lasses [1]."
TRAMPS, THE. AKA and see “Reel
of Bogie.” Irish, Reel. Green Linnet SIF‑1110,
Tony DeMarco ‑ "My Love is in America: The Boston College Irish
Fiddle Festival" (1991).
TRANSTRAND. Swedish, Waltz. Sweden, Dalarna region. D Minor. Standard. AA'BB. A
traditional Swedish waltz from Transtrand, in the Dalarna region of Sweden. It
is also published in the 1974 publication "Latar frran Dalarna"
(Tunes from Dalarna), by Paul Backstrom, where it is referenced with the
notation: "Vals played in the style of Omas Ludvig, as heard by Per
Jonsson in Transtrand, collected by Karl Spore in 1923." Source for
notated version: Bertil Ferneborg (Vansbro, Dalarna, Sweden) via David Kaynor
(MA) [Matthiesen]. Matthiesen (Waltz Book
II), 1995; pg. 60.
TRAP HILL TUNE. Old‑Time, Breakdown. USA, southwestern Pa. Rounder Records 0058, Hus Caudill ‑ "Old
Originals, Vol. 2" (1978).
TRASNA AN MHÓINTEÁIN
GO PEIGE. AKA and see "Over the Moor to Peggy."
TRASNA NA dTONNTA. AKA and see “Westering Home.”
TRAVEL BY STEAM. AKA and see "Swaggering Boney."
An alternate name for "Swaggering Boney" in the Costwold village of
Longborough, England.
TRAVELLER [1], THE (An Siubaltac). AKA and see "Traveller's Reel [1]." AKA and see "Walker Street." Irish, Reel. G Major.
Standard. A French-Canadian variant is “Reel
des Ouvriers” (The Laborer’s Reel). Comparing the titles, Kate
Dunlay suggests that the "Traveller" title may stem from the French travailler,
to work or labour. AB (O'Neill/1850 & 1001): AA'BB'
(O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 150. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1495, pg. 276. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 719, pg. 126. Green Linnet SIF‑104, Joe Burke & Michael Cooney ‑
"The Celts Rise Again" (1990). Green Linnet SIF‑1069, Joe
Burke, Michael Cooney ‑ "Happy to Meet & Sorry to Part" (1986).
Rounder 1087, Eleanor Kane/Neary - "From Galway to Dublin: Early Irish
Traditional Music" (1992. A reissue of the 1935 original).
X:1
T:Traveller, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 719
Z:AK/Fiddler’s Companion
K:G
D2|G2 BG dGBG|ABcd cBAG|Bdgd (3efg
dB|cBAG FADF|G2 BG dGBG|
ABcd cBAG|Bdgd (3efg dB|BGAF
G2||Bd|{a}g2 dg Bgdf|gabg agef|
g2 dg BgdB|cBAG FADF|{f}g2 dg
Bgdg|gabg agef|gfga gfed|(3efg fa gedB||
X:2
T:Traveller, The
R:reel
D:Bothy Band: 1975
Z:id:hn-reel-475
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
G2BG dGBG|ABcd cBAG|(3Bcd gd egdB|cBAG FADF|
G2BG dGBG|ABcd cBAG|(3Bcd gd egdB|1 cAFA G2D:|2 cAFA G3d||
|:g2dg egdg|~g2bg agef|g2dg egdB|cBAG FAD2|
g2dg egdg|~g2bg agef|~g3a gfed|1 (3efg fa gdef:|2 (3efg fa gedB||
TRAVELLER [2], THE (An Triallaire). Irish, Slow Air (4/4 time). C Major. Standard
tuning. AB. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 472, pg. 82.
X:1
T:Traveller, The [2]
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 472
Z:AK/Fiddler’s Companion
K:C
ef|g2 ge f3a|g>agf edcB|~c3d e2
dc|_BGFE F2 EF|GA_BG c2f2|edcB {d}cBGE|
F2 {A}G>F E2C2|C6||G2|cdef g3a|b2
ge f2 ef|g3f edcB|~c3d e2 ed|c3_B GFEF|
G>ABG cBGE|F2 {A}G>F E2C2|C6||
TRAVELLER BENIGHTED IN
SNOW, THE (Siubhal an
t-sneachd tra oidhche). Scottish, Slip Jig. C Minor. Standard. AAB. "The traveller,
benighted in snow, was most pathetically
described in Gaelic words, repeated by the editor's father,‑‑and
the air conveys a feeling which the mind readily associates with such a
bewildering occurence,‑‑nay, even with his having perished there,‑‑See
note for 'The High Road to Fort Augustus,'" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 10, pg. 4.
X:1
T:Traveller benighted in snow, The
T:Siubhal an t-sneachd tra oidhche
L:1/8
M:9/8
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:C Minor
g/>f/|e2 d/c/ c>BG BFB,|ecc cGc e2g|fdB bag fdB/c/2d/2|e>dc Gc=B c2:|
E/D/|Cce Cce BFB,|Cce cGc e2g|e<ge d<bg fdB/c/2d/2|e>dc Gc=B c2 E/D/|
Cce Cce BFB,|Cce cGc e2g|Eeg DBf B,Bd|e>fg G,C=B, C2||
TRAVELLER’S JOY. AKA and see “(An) Gabhrán.” Irish, Reel.
TRAVELLER'S REEL [1]. See "The Traveller [1].”
TRAVELLER'S REEL [2]. AKA and see "Le Reel des
Voyageurs."
TRAVELLING THE ROUGH
COUNTRY (Shiulbhail na
Garbhlich). AKA and see “Lord Dunmore.”
TRAVER’S JIG. See “Traver’s Reel [1].”
TRAVER'S REEL [1] (Ríl Uí Threabhair). Irish, Reel. A Dorian ('A' part) & G Major
('B' part). Standard tuning. AB (Breathnach/CRE
II): AA’BB’ (Breathnach/Man & his
Music). The title probably refers to a County Leitrim born flute player
named Hugh Travers who was a member for a time of the Dublin Metropolitan Garda
Ceili Band, along with whom he recorded some 78 RPM sides in the 1930s
(Philippe Varlet). There is a jig version of the tune derived from the reel.
Sources for notated versions: flute player Matt Molloy (Ireland) [Breathnach];
piper Liam Ó Floinn (Kildare) [Breathnach/Man
& his Music]. Breathnach (CRÉ III),
1985; No. 99, pg. 51. Breathnach (The Man
& his Music), 1996; No. 3, pg. 102. Mulligan
Records LUN 004, "Matt Molloy" (1976).
X:1
T:Travers's Reel
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
K:G
ge|dBBA B2 GB|dBGB AGED|~G2 Bd
gaba|gedB A2 ge|
dBBA ~B3 c|d2 BG AGED|GABd gaba|gedB
G2:|:GA|
Bd ~d2 ed ~d2|gd ~d2 edBA|Bd ~d2
edef|gedB A3 c|
Bd ~d2 ed ~d2|gd ~d2 edBA|Bdde
gaba|gedB G2:|
X:2
T:Travers's Jig
N:based on Travers's Reel
M:6/8
L:1/8
Z:Transcribed by Paul de Grae
K:G
dBA B2 e|dBG AGE|GBd gfg|edB ABc|
dBA B2 c|dBG ABA|GBd gfg|1edB G2
e:|2 edB G2 A||
Bdd edd|gdd edc|Bdd edd|gdB A2 c|
Bdd edd|gdd edc|Bde gfg|edB G3:|
TRAVER'S REEL [2]. Irish, Reel. G Major. Standard tuning. AB. A different tune than
“Traver’s Reel” [1]. Source for notated version: whistle player Des O’Conner
(Dublin) [Breathnach]. Breathanch (CRÉ II),
1976; No. 202, pgs. 104-105 (appears as “Gan anim/untitled”). Vallely (Play Fifty Reels with the Armagh Pipers Club),
1982; 42.
TRAVERSE THE ROUGH
HILLS.
AKA and see “Lord Dunmore.”
TREALOCK LAUDER. AKA and see "The Barony Jig [1]," "The Fisherman's Jig," "The Green Gates [2]," "Redican's Mother," "The River Lee," “Turlough, the Brave.” Irish, Slip Jig. D Major. Standard tuning. AABBCC. The title is a garbled version of the Irish Toirdhealbhach Láidir, which means ‘strong or brave Turlough’. O’Neill gives the Irish title as “Toirdhealbhach Treun” (see “Turlough, the Brave”), although the latter word is spelled tréan in modern usage. It also means ‘strong or brave’. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 136.
X:1
T:Trealock Lauder
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:D
|: d | gag fdB BAF | gfe fdB B2A | gag fdB AFd | EFE EFA B2 :|
|:
c | dFd FdB AFD | ded def g2e | ded fdB AFD | EFE EFA B2 :|
TREASNA AN DROICIOD GO
MAIRGREADIN. AKA and see "Over the Bridge to Peggy [2]."
TREASNA AN RIASC GO
MAIRGREADIN. AKA and see "Over the Moor to Maggie [2]."
TREASURES OR WEALTH. AKA and see "Ciste No Stor."
TREE OF LIBERTY, THE. Irish, Air (6/8 time). C Major. Standard
tuning. One part. "From an anonymous correspondent from Dundalk"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 216, pgs. 105‑106.
TREIGTEOR DANA, AN. AKA and see "The Bold
Deserter."
TRELAWNY. English, Air and March. England, Cornwall. The origins of the tune are
unknown but it appeared in military use in the early 19th century and is
believed to have been adopted by the bands of the volunteer Regiments of
Cornwall. The tune is also associated with the song 'The Noble Duke of York'.
Words set to the tune illustrate the Cornish concern for the fate of Bishop
Trelawny, one of the six bishops arrested and put in the Tower by James II.
They begin:
***
A good sword and a trusty hand!
King James's men shall understand
***
And have they fixed the where and when?
And shall Trelawny die?
Then twenty thousand Cornish men
Will know the reason why.
TRENCHMORE. AKA and see “Willy
Prethe/Prithee Goe/Go to Bed.” English, Country Dance Tune (6/4 time). G
Major. Standard tuning. One part (Barnes, Raven): AB (Chappell). The music for
this dance tune was printed in Deuteromelia
in 1609. The dance itself, also called Trenchmore, was, according to
Grattan-Flood (1906), an Irish import to England (ed.: Flood was quick to make
such unsubstantiated claims, although this one seems likely to be true, c.f.
Donnolly, cited below). The first record of the tune and dance is in an account
of the Christmas festivities at the court of Edward VI of England in 1551, where
a list of expenses for the year’s Lord of Misrule (the character responsible
for overseeing the celebrations) included, for his dancers, the cost of thre
garments of sarsenett with iij payre of sloppes of owde store, for them that
daunsed trenchemore… The dance featured a number of ‘tricks’ or ‘capers’
and seems to have been a large, boisterous activity. Thomas Deloney, writing in
his work The Gentle Craft, Part II
(London, c. 1598), describes a character who “like one dauncing the trench more
he stampt up and downe the yard, holding his lips in his hands.” It was
mentioned in a 1564 morality play by William Bulleyn, where a minstrel was
described as "dancing Trenchmore”; William Sampson’s The Vow Breaker
(1636) gives: “We had a Wedding to day and the young fry tickle Trench-more.”
Some time after its introduction the dance was sufficiently common as to
attract allusion in both literature and common usage—any unrestrained, wild
activity was likely to provoke comparison with ‘dancing Trenchmore’, and, on a
more sinister note, one recorded letter threatens that a man will be made to
talk by being suspended so that his feet barely touch the ground, so that he
will ‘dance Trenchmore’ in his agony (see Donnolly).
***
Irish musicologist Grattan Flood
(unfortunately, not the most reliable of sources) asserts the name ‘Trenchmore’
is an Anglicised corruption of "Rinnce Mor" or the "Rinnce
Fada," the Long Dance, which is alluded to in The Complaint of Scotland, dated 1549. Seán Donnolly (in his
article Trenchmore: An Irish Dance in
Tudor and Stuart England?) disagrees and refers to the Oxford English Dictionary (1914) which suggests the name is either
a proper noun—a name or place. Donnolly thinks the former unlikely as surname
variants are quite rare, however, he finds evidence that Trenchmore is a
place-name and that in Middle English the word trench, along with the usual
meanings, could also mean ‘a cutting through a wood.’ He finds a reference to
an Irish placename that fits perfectly; Trenchmore (in Irish An Trinse Mór, or ‘the Great Trench’), a
townland of 424 in the parish of Coolaghmore, barony of Kells, County Kilkenny.
There was a castle of Trenchmore that belonged to the Butler family,
Anglo-Norman earls (and also dukes and marquises) of Ormond, that has since
disappeared but that is referred to in records of the 17th and 18th
centuries. Donnolly thinks it likely the ‘the great trench’ was a defensive
earthwork or boundary trench marking old borders.
***
Donnolly contends that calling a
tune or dance by a place-name was common enough in England and Scotland after
the Reformation, and points to hymns and psalm-tunes that commonly were
referred to by recognizable points on the map: “Dundee,” “York,” “Windsor,”
“Hackney,” “Bangor,” “Newtown,” “Coleshill” (known by Scottish Presbyterians as
“Dublin”) and “Athlone” (a title used by the Church of Ireland for a tune
attributed to the harper Turlough O’Carlolan).
Place-names were used in Playford and there are indications that
place-names from Ireland in connection with dances are also quite old (a
country-dance called “Cork” was published in 1773, for example). It is entirely
possible, asserts Donnolly, that the Irish “Trenchmore” was introduced to
England by one of the Butlers, specifically Tomás Dubh Butler (1532-1614), 10th
Earl of Ormond, called “Tom Duff” by Tudor courtiers. Tomas was one of a group
of noble children educated who were selected by Henry VIII to be educated with
his son Edward, and it is recorded that in 1552, when the school group formally
disbanded, Ormond participated in the year’s Christmas festivities which
featured the first introduction of “Trenchmore.”
***
Chappell (1859) says the origin of
the tune stems from "at least" as early as Henry VIII's time (the mid‑1500's),
either as a song or dance tune. He quotes Selden from Table Talk:
***
The court