The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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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] |
TRISTRAM. English, Country Dance Tune (6/8 time).
TRISTRAM SHANDY. See the “An
Bothar o thuaidh go dti Arainn” (
TRISTRAM SHANDY [2].
English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB.
The melody was first printed by London publishers Charles and Samuel Thompson
in the 1765 country dance collection. It later appeared in Straight and
Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1
(London, 1775), and Skillern’s Complete Collection of Two Hundred and Four
Reels…Country Dances (London, 1780). It was also included by Northumbrian
musician William Vickers in his 1770 music manuscript collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 99.
X:1
T:Tristram Shandy [2]
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
(Bc)|(dB)(Bg)|(gf)(ed)|(ed)(cB)|(cF)(Fd)|(dB)(Bg)|(gf)(bf)|(dB)(FA)|B2:|
|:”tr”FE|DFBd|fdbf|dBFD|E(CC)E|DFBd|fdbf|dBFA|B2:||
TRIUMPH [1], THE. AKA ‑ "Follow Your Lover." English,
Scottish; Country Dance Tune (2/4 or cut time) or Hornpipe (2/2 time). G Major
(Barnes, Karpeles, Kennedy, Raven, Sharp, Sumner, Trim): A Major (Athole,
Hunter, Kerr, Skye). Standard tuning. AB (Raven): ABC (Barnes, Kennedy): AABC
(Hunter, Karpeles, Kerr, Sharp): AABBC (Athole, Skye): AABBCC (Sumner, Trim).
The melody was very popular in the late 18th and 19th
centuries throughout
***
At five minutes to twelve the soft tuning was again heard in the
back quarters; and when at length the clock had whizzed forth
the last stroke, Dick appeared ready primed, and the instruments
were bolkly hankled; old William readily taking the bass‑viol
from off its accustomed nail, and touching the strings as irreligiously
as could be desired. The country‑dance called 'The Triumph, or
Follow My Lover', was the figure with which they opened. The
tranter took for his partner Mrs. Penny, and Mrs. Dewy was chosed
by Mr. Penny, who made so much of his limited height by a judicious
carriage of his head, straightening of the back, and important flashes
of his spectacle‑glasses, that he seemed almost as tall as the
tranter.
***
Allison Thompson (Dancing Through Time, 1998) describe the
dance as one in which “the man leads, not his own partner, but his neighbor’s
partner down the length of the set, while her own partner follows jealously
behind them. All three dancers then turn, and the lucky lady processes back to
her place, while the two rival gentlemen hold hands in a triumphal arch over
her head. The three-some figure of the dance mirrors the love triangle
perfectly” (pg. 186). Although dance and tune are English in origin, “The
Triumph” (tune and dance) has also been a staple of Scottish country dancing.
There is some slight divergence of dance and melody (Scottish versions have no
syncopation in the second part), although they remain closely related (see
Christopher Walker, Folk Music Journal,
vol. 8, no. 3, 2001). Hardy uses the features of the dance to literary
advantage—again from Under the Greenwood Tree:
***
(Dick Dewey has Fancy Day
for his partner, and, in the progress of the dance, his rival Mr. Shiner)
"…according to the interesting rule laid down, deserted his own partner,
and made off down the middle with this fair one of Dick's ... Then they turned
and came back, when Dick grew most rigid around his mouth, and blushed with
ingenuous ardour as he joined hands with the rival and formed the arch over his
lady's head; relinquishing her again at setting to partners."
***
The author of English Folk-Song and Dance found “Triumph” among the country dance
melodies in the repertoire of fiddler William Tilbury (who lived at Pitch Place,
midway between Churt and Thursley in Surrey), who used, in his young days, to
play the fiddle at village dances. He had learned his repertoire from an uncle,
Fiddler Hammond, who had been the village musician before him, and who died
around 1870. The conclusion was that this and a number of dances of this type
survived in English tradition (at least in southwest
***
Sources for notated versions: the
1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; J. Scott Skinner
(1905) [Barnes]. Aird (Selections of Scotch, English, Irish and Foreign Airs),
vol. 5, 1797; No. 155. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 133. Callaghan (Hardcore
English), 2007; pg. 51. Hunter (Fiddle
Music of Scotland), 1988; No. 319. Johnson (A Further Collection of
Dances, Marches, Minuetts and Duetts of the Latter 18th Century),
1998; pg. 16. Karpeles (A Selection of
100 English Country Dance Airs), 1951; pg. 5. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 25, pg. 13. Kerr (Merry Melodies), vol. 1; No. 1, pg. 21. MacDonald
(The Skye Collection), 1887; pg. 167.
Raven (English Country Dance Tunes),
1984; pg. 169. Sharp (Country Dance Tunes),
1909; pg. 8. Stewart-Robertson (The
Athole Collection), 1884; pg. 142. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; No. 181, pg. 94. Trim (Thomas Hardy),
1990; No. 2.
X:1
T:Triumph, The [1]
M:C|
L:1/8
R:Country Dance
B:The Athole Collection
Z:AK/Fiddler’s Companion
K:A
a|eccA dBBG|Aaag gffa|eccA dBBG|A2c2A2:|
|:z|B2e2c2e2|B2e2c2e2|BBBd ccce|c2B2A2:|
z|c2 cd e2c2|B2 Bc d2B2|cBcd eagf|edcB A2 AB|
c2 cd fedc|B2 Bc edcB|c2 cd eagf|edcB Aagf||
X:2
T:Triumph, The [1]
M:C
L:1/8
S:Joshua Gibbons music ms. (1823-26)
K:G
g2|:dBAG cAGF|Ggfg e2d2|dBAG cAGF|1 G2G2G2g2:|2 G2G2G2z2||
|:A2c2B2d2|A2c2B2d2|AAAc BBBd|dcAF G4:|
|:B3d dc BA|B2B c2B2|GABc defg|1 dcAF G4:|2 dcAF G2||
TRIUMPH
[2], THE. English,
Polka. G Major. Standard tuning. AABBCC. Source for notated version: a c. 1847
music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire,
England [Plain Brown Tune Book]. Plain Brown Tune Book, 1997; pg.
55.
TRIUMPHAL MARCH. Irish, March. D Major. Standard tuning. AABBCC. Roche Collection, 1982, vol. 3; No. 205, pg. 79.
TROIS CANNARDS, LES. French, Bourree A Deux Temps (2/4 time). G
Minor. Standard tuning. AABB. Composed by Bernard Blanc. Stevens (
TROIS GRANDE LUTHIERS, LES. Scottish, Air. A Major. Standard tuning. AB.
From J. Scott Skinner's collection The Harp and Claymore, composed by him.
Perhaps a reference to the 3 great Italian violin makers of Cremona,
Stradivarius, Guarnari and Amati, however, Skinner dedicated the melody to
William Croall, Abercomby Place, Edinburgh. Skinner (The Scottish Violinist), pg. 47. Skinner (Harp and Claymore), 1904; pg. 158.
X:1
T:Trois Grande Luthiers, Les
M:C
L:1/8
R:Air
N:”Slowly and gushingly.”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
(EF/G/) (A>B) (A/G/).F/.G/ (AE) |
E.F/.G/ (Ac) (c/B/)(B/F/) {F}G2 |
(EF/G/) (A>B) (A/G/).F/.G/ .A.c |
eA d(c/{e}d/) {E/G/}B>>A A2 ||
(cd/e/) (AB/c/) (dc){c}.B.A | (GA/B/)
(EA) .G.F E2 | (EF/G/) (A>B) (A/G/).F/.G/ Ac |
eA d(c/{e}d/) {E/G/}B>>A A2 ||
TROLL SOUP. American, Reel. F Sharp Minor.
Standard tuning. AABB. Composed by
TROMBONE RAG. Old‑Time, Novelty Rag.
TROMORE JIG, THE. AKA and see “The Angry Peeler,” “The Cook in the Kitchen [2],” “The Drunken Gaugher [2].” Irish, Jig. G Major. Standard tuning. AABB.
X:1
T:The Tromore Jig
S:Jimmy
McHugh ‑
M:6/8
L:1/8
R:Jig
Z:transcribed by Ted Hastings
K:G
A|BAB GED|EDE GED|BAB dBG|ABA AGA|!
BAB GED|EDE GED|BAB dBA|GAG G2:||!
A|BAB dBd|e/2f/2ge dBG|BAB dBG|ABA AGA|!
BAB
dBd|e/2f/2ge dBG|BAB dBA|GAG G2:||
TROON HOUSE. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in John Riddell's 1766 collection
(pg. 56).
TROOPER, THE. Irish, Slide (12/8 time).
TROOPER AND THE MAID, THE. English, Reel. G Major. Standard tuning. AABB.
X:1
T:The Trooper and the Maid
M:2/4
L:1/8
R:Reel
K:G
D|G2GA|Bd de/f/|gB B/A/G/A/|BA AB|G2GA|Bd de/f/|gB AB/A/|G3:|
|: c|Bd ga/g/|fe e/f/g/e/|dB AG/A/|BA AG/A/|Bd ga/g/|fe
e/f/g/e/|dB AG/A/|B G G:|
TROOPER'S WIFE, THE. Irish, Air (6/8 time). D Mixolydian. Standard
tuning. AAB. Source for notated version: "Paddy Conneely, the Galway
piper," via Forde (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 455, pg. 255.
TROP JEUNE POUR S'
MARIER (Too Young to Marry). Cajun, Waltz. USA, southwestern
Louisiana. D Major. Standard tuning. One part. The original recording of the
tune was by Doris Matte. Source for notated version: Jimmy Venable (La.)
[Francois]. Francois (Yé Yaille, Chère!),
1990; pgs. 483-484. Bee Records BEE-104, Jimmy
Venable. Swallow Records SW-LP6007, Doris Matte.
TROT ALONG (MY HONEY). Old-Time, Breakdown. C Major. Standard tuning. AABC. Source for notated
version: Howard Forrester [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 154.
TROTTING DOWN THE LANE. Irish, Hornpipe. Composed by
TROTTING TO LARNE. Irish, Slip Jig. A Major. Composed by John T. Blair in 1957. Larne is
in County Antrim. Ossian OSS 84, Boys of the Lough -
“The Open Road.” Whistle Music (tape), Sarah Bauhan – “Chasing the Moon”
(1991).
X:1
T:Trotting to Larne
C:John T. Blair (1957)
M:9/8
L:1/8
R:Reel
Z:John Skelton,
N:Originally in A, transposed by
John Skelton, who
N:got the tune from Cathal McConnell
K:D
A2f A2f‑fed|A2f A2f‑fed|B2d
G2B dcB|A3 Ade fdB|
A2f A2f‑fed|B2g B2g ged|c2e
A2a bag|1 f3 edc dcB:|2 f3 edc d2c||
B3 AGF A3|AGF AGF Adc|B3 AGF A2F|G2E
EFD CB,A,|
Adf d2A ded|Bdg d2B ded|cea g2e
bcg|1 faf edc d2c|2 f3 dcB||
X:2
T:Trotting to Larne
R:G Major
C:slip jig
N:Vol3, S-1
M:9/8
L:1/8
K:G
"G"D2B D2B BAG | D2B D2B
BAG |
"C"E2G C2E GFE |
"G"DED DEG "Em"BGE |
"G"D2B D2B BAG |
"C"E2c E2c cAG |
"D"F2A D2d
"C"edc |1 "G"BdB "D"AGF "G"~G3 :|2
"G"BdB "D"AGF "G"Ggf |:
"Em"~e3 "G"dcB ~d3 | ded dcB
"D"dgf |
"Em"~e3 "C"edc "G"d2B |
"Am"cBA "G"ABG "D"FED |
"G"DGB G2D G2F |
"Am"EAc A2G A2G |
"D"FAd "Am"cBA
edc |1 "G"BdB "D"AGF "G"Ggf :|2 "G"BdB
"D"AGF "G"~G3 ||
TROTTO. English.
TROUBLE AMONG THE
YEARLINGS. See "Hell Among(st) the
Yearlings [1]."
TROUBLE IN MIND. Old‑Time. A Major. AEae tuning. AABB. Jeff Titon (2001) says this
tune is normally regarded as a banjo tune. Source for notated version: John M.
Salyer (Salyersville, Magoffin County, Ky., 1941-42) [Titon]. Titon (Old
Time
TROUBLE ON THE MIND. AKA “Trouble on My Mind.” See “Trouble in Mind.”
TROUBLE ON THE WAY. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
TROUBLED CHILD, THE (An Leanbh Aimhreidh). AKA and see “The Peevish Child.” Irish, Slow Air (4/4
time). A Dorian. Standard tuning. AB. "According to Dr. Petrie this
beautiful air was composed by Jerome Duigenan, a celebrated Co. Leitrim harper
of the eighteenth century (for whom see Bunting: 1840; Pref., p. 77). Petrie
does not state where or from whom he obtained his setting (Stanford‑Petrie,
No. 591, ‘The Peevish Child’).” Joyce printed a set he obtained from an 1846
publication by Cork collector William Forde, who had originally noted the tune
from Hugh O'Beirne, a professional fiddler from Ballinamore, Co. Leitrim, who
was described as “a man of exceptional musical taste and culture.” Joyce considered
O’Beirne’s version “decidedly better" than the one Petrie collected. The
melody also appears in Donal O’Sullivan’s Songs
of the Irish, where it is one of four songs in the ‘Suantrai’ (lullaby or
sleep music) section. O’Sullivan prints words thought to have originated in
County Mayo, which begin:
***
Chuaidh me go tigh na banaltra
Le tuitim ceo na h-oiche,
‘S ni raibh do chaoimhtheach leap’ aici
Ach a leanbh ban a’ caoine.
Goide ‘bheir ‘on leanbh siorghul;
‘Se duirt si go mba faisean do
Bheith a’ cronan ins an oiche.
***
The mother stood beside her gate,
On the fields the dew was lying,
But her little baby crying.
I asked, “What ails the little one?
Why is he always fretting?”
She answered, “When the night draws on
He cries for want of petting.”
***
Padraigin Ni Uallachain finds the
words similar to a Ranfast,
TROUP HOUSE. Scottish, Strathspey. B Flat Major. Standard
tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie, who was employed at Troup
House, and who dedicated his Second
Collection of Strathspey Reels and Country Dances, in which this tune
appears, to his patron, Mrs. Garden of Troup.
X:1
T:Troup
House
C:R.
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 11
L:1/8
M:C
R:Strathspey
K:Bb
"^Slow"
F
|B>c ({Bc}d)>c (B/A/)(B/c/) (e/d/)(c/B/)|Bf (g/f/)(e/d/) TdccF|\
B>c
({Bc}d)>c (B/A/)(B/c/) d>c |BF F/G/F/E/ DB,B, :|
(d/e/)|f>g
(g/f/)(e/d/) f(b/g/) (f/d/)(c/d/)|B>c B/c/d/e/ Tdcc(d/e/) |\
f>g
(g/f/)(e/d/) f(a/g/) f(d/c/) |B>c (B/c/d/e/) Tc2 ({Bc}B)(d/e/)|
f>g
(g/f/)(e/d/) f(b/g/) (f/d/)(c/d/)|B>c
B/c/d/e/ Tdccd/c/|\
BdGB
FB (G/F/)(E/D/)|E>G F/G/F/E/ DB,B, |]
TROUSERS ON, THE. AKA and see "Come
Ashore, Jolly Tar, With Your Trousers/Trowsers On," "Jacky Tar," "The Cuckoo,"
"The Cuckoo's Nest [14],"
"An Spealadoir" (The Reaper).
TROWIE BURN, DA. Shetland, Air (irregular rhythm). E Minor. Standard tuning. AAB. ‘Burn’
= small stream or brook. "This beautiful air is attributed to Fredamann
Stickle, the legendary Unst fiddler. The 'Trows' are Shetland's Faeries or
little folk. 'Dey come oot in mass aboot da end of November and go back again
aboot da fower an' twentyith night, what dey ca' Up‑Helly‑A'. From
a tape recording of the late Fraser Hughson of Aith" (Anderson, 1983). The
collector Pat Shuldham‑Shaw had the tune from Fredamann's grandson, John
Stickle, in 1947. His ancestor Fredamann was a seaman for the German Merchant
Marine who was shipwrecked off the Shetlands and stayed after he was
rescued. Family lore has it that
Fredamann, a fiddler, either played so constantly or was so disliked that the
rest of his crew, fed up, threw him overboard. Some feel there is a similarity
with the English song “Lyke-Wake Dirge.”
X:1
T:Trowie Burn, Da
C:Fredamann Stickle
A:Shetland
M:2/4
L:1/8
R:Air
N:Grace notes omitted
B:Adapted from "Ringing
Strings" by Tom Anderson
Z:Transcribed by Nigel Gatherer
K:Emin
G2>A (3Bed|(3BAG A2>c|BA
AG/A/|B>A G<E|
G2>A (3Bed|(3BAG (3Bcd|eE
B>A|G<
g>a (3baf|\
M:3/4
L:1/8
g>d B<G A>c|\
M:2/4
L:1/8
BA (3AGA|B>A G<E|g>a (3baf|\
M:3/4
L:1/8
g>d B<G (3Bcd|\
M:2/4
L:1/8
eE B>A|G<
M:3/4
L:1/8
g>d B<G A>c|\
M:2/4
L:1/8
BA AG/A/|B>A G<E|G2>A
(3Bed|(3BAG (3Bcd|eE B>A|G<E E2|]
TROWIE REEL [1]. Shetland, Shetland Reel. Shetland, Unst. A trowie is the term used in
Shetland for ‘fairy’.
TROWIE REEL [2]. Shetland, Shetland Reel. Shetland, Fetlar.
TROWSERS ON. AKA and see "Jacky Tar,"
"Come
Ashore, Jolly Tar, with Your Trousers/Trowsers On," "The Cuckoo's Nest [14]," "The
Cuckoo," "An Spealadoir"
(The Reaper).
TROY TOWN. English, Ballad Air (4/4 time). G Major. Standard tuning. ABC. The air
appears in Playford's Musical Companion (1673)
and Pills to Purge Melancholy (1707
& 1729). The air is attributed by Playford to one John Wilson, a professor
at the University of Oxford, though Chappell (1859) says this can hardly be the
original air as Wilson was not born until 1594 and the ballad (under the name
"The Wandering Prince of Troy") was entered in the Stationers'
Company register in 1603. Chappell (Popular
Music of the Olden Time), vol. 1, 1859; pg. 183.
TROY’S WEDDING. Scottish, Pipe Jig. D Major.
Standard tuning. AABBCCDE. Composed by Colin Magee. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 49.
MacCrimmon (Collection of Bagpipe Music
Book 2).
X:1
T:
M:6/8
L:1/8
K:D
Aaa Bac|aad aea|faa gec|dcd f2d|…
TRUAGH NACH BFAICIM MO
GRADH ('Tis a pity I don't
see my love).
See "'Se Mo Chreach Mhaidne."
TRUDE EVANS. Old‑Time, Breakdown. USA, West Virginia. D Major. Standard
tuning. AABB (Brody): AA'BB' (Phillips). A version of the tune "Walking in the Parlor [1]"
titled by French Carpenter after the woman from whom he learned the tune.
Source for notated version: Kenton Sears [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 280.
Phillips (Traditional American Fiddle
Tunes, vol. 1), 1994; pg. 243. Rounder 0035, Fuzzy
Mountain String Band‑ "Summer Oaks and Porch" (1973. Learned
from French Carpenter,
TRUE BLUE. English, Air or Jig. D Major.
Standard tuning. AABB. The melody appears in Cumbrian musician John Rook’s
manuscript book (Multum in Parvo, or a
Collection of old English, Scotch, Irish, Welsh Tunes, pg. 226), dated
1840.
X:1
T:True Blue
M:6/8
L:1/8
R:Jig
S:John Rook manuscript (Cumbria,
1840)
Z:AK/Fiddler’s Companion
K:D
A/B/c/|d2d dcB|ABG F2D|E2e efg|g3
efg|gag fgf|
efd c2A|Egf edc|d3 D2::g|g2d
f/g/af|ecA A2g|
f2d def|g3 efg|gag fgf|efd c2A|Egf
edc|d3 D2:|
TRUE BLUE HORNPIPE. English, Hornpipe. G Major.
Standard tuning. AABB. The melody also appears in the Cumbrian musician John
Rook’s manuscript book (Multum in Parvo,
or a Collection of old English, Scotch, Irish, Welsh Tunes, pg. 226), dated
1840. The title perhaps refers to a naval or nautical stage character. Barry
Callaghan (2007) notes there was an entertainment (composer unknown) staged in
London in 1790 by the name “True Blue,” although no connection has been
established to the melody. There were also at least two famous thoroughbred
race horses named True Blue in the 18th century. Source for notated
version: the Browne family manuscripts of Troutbeck, Cumbria, in England’s Lake
District [Callaghan]. Callaghan (Hardcore
English), 2007; pg. 25.
X:1
T:True Blue – A Hornpipe
M:C
L:1/8
R:Hornpipe
S:Rook manuscripts (Cumbria, 1840)
N:”By A.M. Hope”
Z:AK/Fiddler’s Companion
K:D
ag|fd’af dfaf|gfed cdef|gfga
bagf|e2A2A2ag|fd’af dfaf|
gfed cdef|gbag fedc|d2d2d2::AG|FAdf
gedc|dfac’ d’afd|
gfga bd’c’e’|d’2d’2d’2 ag|fd’af
dfaf|gfed cdef|gbag fedc|d2d2d2:|
TRUE BRITON, THE. AKA and see “Grand Parade [1],” “Moon and Seven Stars,” “Seven Stars.” English, Reel. A Major.
Standard tuning. AABB. The tune under this title appears unique in published
form to London publisher Charles and Samuel Thompson’s 1765 country dance
collection. However, it had widespread currency under the titles “Seven Stars”
or “Moon and Seven Stars” on both sides of the Atlantic. Seattle (William Vickers), 1987, Part 2; No. 212.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 124.
X:1
T:True Briton, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
Ac”tr”BA Ac”tr”BA|afec BABc|Ac”tr”BA Ac”tr”BA|BABc fefa:|
|:ecaf
ecBA|ecaf {f}e2 {d}c2|ecaf ecBA|BABc A4:||
TRUE LOVE CAN NE'ER
FORGET (Ni Dearmadeann
Fiorgrad).
Irish, Air (2/4 time). G Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 88, pg. 15.
X:1
T:True Love Can Ne’er Forget
M:2/4
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 88
Z:AK/Fiddler’s Companion
N:”Moderate”
K:G
D|G2 AB|A>G Ez|D2 GB|d>c A2|G2
AB|A>G Ez|D2 B>A|G2z||d|d>d cB|
c>B A2|B>B AG|A>G F2|GG
A>G|FB Ad|^cB A>F|D2 EF|G2 AB|A>G Ez|
D2 GB|d>c Az|G2 AB|{B}A>G
Ez|DB {B}A>G|G2 z||
TRUGH. Irish. The tune was recorded by the Belfast
Northern Star of July 15, 1792, as having been played in competition by one
of ten Irish harp masters at the last great convocation of ancient Irish
harpers, the Belfast Harp Festival, held that week.
TRUMLO, THE. "(An)
Bristin Mire,” "Cunla," "Friar's Breeches," "Friar's
Britches," “Frieze
Breeches/Britches [1],” “Gallagher’s
[1],” "I
Buried My Wife (and Danced on Her Grave)," “On St. Patrick’s Day I was Gay.”
TRUMPET, THE. Cape Breton, Reel. Rounder
7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton
Island" (1974).
TRUMPET HORNPIPE [1], THE ("Crannciuil Earglain" or
"Crannciuil an Barra-Buad"). Irish, Hornpipe. G Major. Standard tuning.
AA'BB. Bain (50 Fiddle Solos), 1989;
pg. 28. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1586, pg. 294. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 833, pg. 144.
X:1
T:Trumpet Hornipe [1]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 833
Z:AK/Fiddler’s Companion
K:G
(3DEF|G2 GG G2G2|BGBd gdBG|D2 DD D2
D2|FDFA dcAF|
G2 GG G2G2|BGBd g2z2|fafd egec|1
(3ddd fe dcAF:|2 d2dd d2d2||
|:e2ee e2e2|fgaf gfed|c2cc B2BB|ABAG
FGEF|
D>G(3GTFG E>G(3GFG|D>G(3GFG
BGFD|Bdfe dcAF|G2 GG G2z2:|
TRUMPET HORNPIPE [2] (Crannciuil Earglain). AKA – “Trumpet Reel.” AKA and see “Captain Pugwash,” “Hasils’,” "Thunder Hornpipe." Irish,
Scottish, English; Hornpipe. England; Shropshire, Lancashire. G Major (Ashman,
Craig, Hunter, Kerr, Martin, O'Neill, Sweet): E Flat Major (Cranford, Honeyman,
Skinner): B Flat Major (Plain Brown Tune Book). Standard tuning. AB
(Skinner): AAB (Hunter): ABB (Honeyman): AABB (Ashman, Craig, Kerr, Martin,
O'Neill/1850, Plain Brown): AA'BB (Cranford, Sweet): AA'BB' (O'Neill).
According to editor Gordon Ashman, "Today no one can play this tune
without the words 'Captain Pugwash' coming to mind." Captian Pugwash is a
childrens show for which the “Trumpet Hornpipe” is used as a theme, and so
strong is the association that “Captain Pugwash” is used as an alternate title.
The tune appears to have been extremely popular from the mid-19t
century, given its appearance in musician’s manuscript collections of that era,
although in modern times it is sometimes considered somewhat of a beginner’s
tune at English sessions. In the Joseph Kershaw manuscript (c. 1820 onwards)
the tune appears as “Hasils’”, from North West England. See also the American
variant "Thunder Hornpipe." Sources for notated versions: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]; a c. 1847 music
manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain
Brown Tune Book]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford];
Chicago Police Sergeant James O’Neill, a fiddler originally from County Down
and Francis O’Neill’s collaborator [O’Neill]. Ashman (The Ironbridge Hornpipe), 1991; No. 108, pg. 44. Craig (The Empire Collection of Hornpipes), c.
1890’s; pg. 4. Cranford (Winston Fitzgerald),
1997; No. 40, pg. 15. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 55. Hunter (Fiddle Music of Scotland), 1988; No. 326. Kerr (Merry Melodies), vol. 1; No. 27, pg. 45.
Martin (Ceol na Fidhle), vol. 2,
1988; pg. 41. O'Neill (Krassen), 1976; pg. 171. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1587, pg. 294. Plain
Brown Tune Book, 1997; pg. 49 (appears as an untitled hornpipe from the
Ellis Knowles MS). Skinner (Harp and
Claymore), 1904; pg. 139. Sweet (Fifer’s
Delight), 1965/1981; pg. 63. Tradition 2118, Jim
MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and
Reels" (1979). “James F. Dickie’s Delights” (1976).
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:Trumpet Hornipe [2]
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1587
Z:AK/Fiddler’s Companion
K:G
D|GG/G/ GG/G/ | B/G/B/d/ g/d/B/G/ |
DD/D/ DD/D/ | F/D/F/A/ d/c/A/F/ |
G/G/G G/G/G | B/G/B/d/ g/d/B/G/ |
A/B/c/d/ e/f/a/e/ |df d :|
|: z | dd/d/ dd/d/ | d/B/g/f/
e/d/c/B/ | c/d/e/c/ d/c/B/A/ | G/B/A/F/ G/F/E/D/ |
D/G/F/G/ E/G/F/G/ | D/G/F/G/
E/G/F/G/ | d/G/F/G/ d/c/B/A/ | GB G :|
TRUNKLES [1]. English, Morris Dance Tune (4/4 time). G Major. Standard tuning.
AABBCCDD. From the area of Sherborne, England. Raven (English Country Dance Tunes), 1984; pg. 81.
TRUNKLES [2]. English, Morris Dance Tune (4/4 time). A Major (Bacon‑Bledington):
F Major (Bacon‑Headington, Raven‑Bucknell): G Major (Mallinson‑Bledington,
Bacon‑Bucknell, Fieldtown): D Major (Bacon‑Oddington). Standard
tuning. AABBCCDD (Raven‑Bucknell): AABBBCCC (Bacon‑Kirtlington):
AABBBCCC {x2}, AABBBDDD {x2}, AA (Bacon, Mallinson‑Bledington, Bucknell,
Headington): AABBCAABBCAABBDAABBD (Bacon‑Fieldtown): AABBBCCCA {x2},
AABBBDDDA {x2} (Bacon‑Oddington). A popular morris tune collected (along
with variant dances) from the villages of Bledington (Gloucestershire),
Bucknell (Oxfordshire), Fieldtown (actually collected in Minster Lovell near
Leafield, Oxfordshire), Headington (Oxfordshire), Kirtlinton (Oxfordshire) and
Oddington (Gloucestershire) in England's Cotswolds. Cecil Sharp danced Trunkles
in his first appearance publicly dancing morris at an event in America during the
First World War, when he toured and taught extensively in the US and Canada. He
wrote in his diary on July 3, 1918:
***
At the demonstration in the morning I danced Trunkles—the first time I
have
danced a corner Morris in public and aquitted myself if not exactly to
my
own satisfaction fairly well. I am much stronger than I was and with
practice
believe I might do the Morris in a quiet staid sort of way!
***
Source for notated version:
Fieldtown version from Daniel Lock (Minster Lovell, England), 1911, via Cecil
Sharpe [Bacon]. Bacon (The Morris Ring),
1974; pgs. 86, 120, 156, 226 & 272. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 6, pg. 5. Raven (English Country Dance Tunes), 1984; pg.
81. Carthage CGLP 4406, Hutchings et al - "Morris
On" (1983/1972). Fellside Records FECD192, Spiers & Boden – “Tunes”
(2005. Headington version).
TRUNKLES [3]. English, Morris Dance Tune. A
Mixolydian. Standard tuning. AABAAA. From the Oxfordshire village of Wheatley. Fellside Records FECD192, Spiers & Boden – “Tunes”
(2005. Learned from Dyk Brooker, who played for Wheatley Morris).
X:1
T:Trunkles [3]
M:4/4
L:1/8
N:Wheatley
K:Amix
c2ee a2e2|c2ee a2e2|dc/d/c B2A2|cefd
B2A2|
c2ee a2e2|c2ee a2e2|dc/d/c b2f2|ecec
B2A2||
EcEc Ecc2|B2c2 Ecc2|B2A2 Ecc2|ecfd B2A2|
E2c2 Ecc2|B2B2 Ecc2|B2A2 Ecc2|ecec
B2A2||
X:2
T:Trunkles [3]
M:4/4
L:1/8
N:Wheatley
K:G
B2dd g2d2|B2dd g2d2|c2cB A2G2|Bdec
A2G2|
B2dd g2d2|B2dd g2d2|c2cB A2e2|dBdB
A2G2||
EBEB EBB2|A2B2 EBB2|A2G2 EBB2|dBdB
A2G2|
E2B2EBB2|A2B2 EBB2|A2G2 EBB2|dBdB
A2G2||
TRUSAIDH MI NA
COLLEAGAIN. AKA and see "The Cockle Gatherer."
TRUSTY DICK. AKA and see “When the King Enjoys His
Own Again.”
TRUTHFUL JOHN. AKA and see "Seaan An Eithig."
TRY IF IT IS IN TUNE. AKA and see "Feagh an
Gealeash" (Find the Key).
TRYING TO GO TO SLEEP. Irish, Reel. A Dorian. Standard tuning. AB. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 296.
X:1
T:Trying To Go To Sleep
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:A Dorian
cd|efed c2 A2|"tr"BAGA c2 d2|efed c2 A2|"tr"BAGB A2 cd|
efed c2 A2|"tr"BAGA c2 d2|"tr"aged c2 A2|BAGB A2||
cd|efed c2 d2|ef g2 ea a2|efed c2 d2|ea"tr"ag a2 "tr"ag|
efed
c2 d2|ef g2 ea a2|"tr"aged c2 d2|eaa"tr"g a2||
T-SEALG, AN. AKA and see "The North Hunt {Medley}."
tSEAMRÓG, AN. AKA and see “The Shamrock
(Slip Jig).”
tSEAN COULIN (The Old Coulin). Irish, Air (3/4 time). D Major. Standard
tuning. One part. Green Linnet SIF‑1084, Eugene
O'Donnell ‑ "The Foggy Dew" (1988. Learned from the singing of
Sean O Se).
X:1
T:tSean Coulin, An
M:3/4
L:1/8
R:Air
S:Eugene O’Donnell
Z:AK/Fiddler’s Companion
K:D
FG | A2d2de | f2d2 FG | A2 AB AG |
F2D2 FG | A2d2de | f2d2FA |
B2Bd cB | (A2 A2) FG | A2A2 AB/c/ | d3e
fd | A2 AB AG | FE D2 FG |
A2f2 ef | de f2 FA | G3F E>F |
(D2D2) ||
tSEAN-SCEACH, AN (The Old
Bush). AKA and
see “The Old Bush [2].”
tSEANBHEAN BHOCHT, AN (The Poor Old Woman). AKA and see "The Old Woman's Hornpipe,"
"The Poor Old Woman,"
"The Poor Woman," “Primrose Lass,” "Sam King's Tune," "Sam Pipe's Funeral March,"
“The Shan Van Vocht [2].” Irish,
Reel or Hornpipe. G Major. Standard tuning. One part: AABBCC (Harker/Rafferty).
'The poor old woman' is an allegorical name for Ireland, used, for example, in
the first line of an old song that went:
***
Oh the French are on the sea, says the Sean Bhean bhocht,
***
The line refers to the hoped-for
intervention of the French in the cause of Irish independence in the 17th
and 18th centuries. A reel version of the air “Shan Van Vocht” was
incorporated by the English group Steeleye Span for their piece "Four
Nights Drunk.” The tune closely shares melodic material with “Bantry Bay Hornpipe” and “Tomeen O’Dea’s Reel,” with which it is
paired in the Tubridy book. Brendan Breathnach was of the opinion that the
original air was related to, and perhaps descended from a Scots air. Sources
for notated versions: piper Liam Ó Floinn/O’Flynn (Kildare) [Breathnach/Man & his Music, Ceol]; New Jersey
flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Breathnach (The Man & his Music),
1996; No. 4, pg. 103. Ceol, vol. 8,
Dec. 1984. Harker (300 Tunes from Mike
Rafferty), 2005; No. 257, pg. 79. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 25. Drumlin Records, Brian
McNamara – “A Piper’s Dream” (a version attibuted to Séamus Ennis).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
R:reel
S:John Doherty
D:The Star of Donegal (Folktracks
075)
Z:Close but not fastidiously exact
transcription; Doherty plays the tune
Z:through twice. Transcribed by Larry Sanger.
M:4/4
L:1/8
R:Reel
K:G
c2|:BG G/G/G AEGE|DEGA BAAc|BG G/G/G
AEGE|DEGA BGGA:|
Bddg edgd|Bdgd eAAc|Bddg edgd|B/c/B
Ac BGGc|
Bddg edgd|Bdgd eAAc|Bdef g/a/b
ge|dBge dADc||
X:2
T:An tSean
Bhean Bhocht
M:4/4
L:1/8
R:Reel
S:Ceol
K:G
dc|Bdgf
gedc|B2GF G2 dB|ceaa afdB|c2A2A2dc|Bdgf g2 (3cBA|
GDBD
GBdB|ceaf (3gfe dc|B2G2G2:|
dc|:(3Bcd gd Bdgd|BdcA G2dB|ceae ceae|cABG A2 dc|(3Bcd gd Bdgd|
BdcA G2 dB|ceaf (3gfe dc|1 B2G2 G3A:|2 B2G2G2||
|:ga|bgaf (3gfe dc|B2G2G2 ab|(3c’ba (3bag afdB|c2A2A2ga|
bgaf g2(3cBA|GDBD GBdB|ceaf (3gfe dc|B2G2G2:|
tSEANBHEAN BHOCHT [2], AN. AKA and see "Jerry Daly's Hornpipe [1]," "Logan Water.” Irish, Hornpipe. A Dorian. Standard tuning.
tSEANBHEAN SULTMHAR, AN. AKA and see “Humours of
Bandon," “Plangsty Callagh,” “Terry’s Rambles.” Irish, Jig. As “The
Humours of Listivain” it appears in Jackson’s
Celebrated Irish Tunes (c. 1775), a collection from the famous 18th
century gentleman piper Walker ‘Piper’ Jackson of the townland of Lisduan in
the parish of Ballingarry, Aughrim, County Limerick. However, it appears the
tune is older than this, for as “The Humours of Bandon” it was known as far
back as 1690 when the Irish (who had learned it from the supporters of William
III) played it when they sacked Kilbrogan (Winstock, 1970, pg. 26).
tSEANBHRÓIGÍN BHOG. AKA and see “The Old
Slipper Shoe.”
___________________________________
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