The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
Home Page
Fiddler’s Companion
Files References
|
TU |
|
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] |
TU ATTRAPES DU
TU FEIN IS ME FEIN (Yourself and Myself). AKA and see "Yourself Along with Me" [2].
Irish, Air (6/8 time). A Minor. Standard tuning. AABBCC. Source for notated
version: the Irish collector Edward Bunting (in whose 1840 collection the tune
appears) noted the melody from "McDermott at Castlebar in 1802," whom
O'Sullivan (1983) belives is Edward MacDermott Roe, one of the Irish harpers at
the second Granard festival in March, 1782. O'Sullivan/Bunting, 1983; No. 17,
pgs. 25-26.
TU M'A JETE DEHORS. Cajun. Victor Vi-21770 (78 RPM), Mause LaFleur
& Leo Soileau (1928).
TU PEUX PAS CASSER MON
COEUR (You Can't Break My
Heart). Cajun,
Waltz.
TU PEUX t' BLAMER. See "Lovesick Waltz."
TU VAS M' FAIRE MOURIR (You'll Make Me Die). Cajun, Two-Step (4/4 time).
TUAM NA FARRAIGE. AKA and see “The Atlantic Roar,” "The Atlantic Wave."
X:1
T:
R:hornpipe
C:Trad.
M:4/4
L:1/8
Q:50
K:G
cB|:AGAB AGEG|AGAB cBcd|(3efg fa g2
ed |1 B2 G2 G2:|2 c2 A2 A2||
|:(3efg |agab ageg | agab a2 ge |
dega g2 ed |1 B2 G2 G2 cB:| [2 c2 A2 A2 (3efg:|
agab ageg | agab a2 ge | dega g2
ed|B2 G2 G2 cB|
AGAB AGEG|AGAB cBcd|(3efg fa g2 ed
|1 c2 A2 A2 (3efg:| [2 c2 A2 A2 z2||
TUAR MÓR POLKA [1], THE. AKA and see “The Gullane (Polka) [3], “Tony Lowe’s Polka [2],” “The Toormore Polka [2],” “The Tournmore Polka,” “Wallace’s Cross.” Irish, Polka.
TUAR MÓR POLKA [2], THE. AKA and see “The Back of the Haggard,” “Dan O’Leary’s [2],” “Johnny O’Leary’s,” “The Maids of Ardagh,” “Sliabh Mhachaire [1],” “The Toormore Polka [2],” “The
Tournmore,” “Wallace’s Cross.” Irish,
Polka.
X:1
T:Tuar Mór Polka [2]
L:1/8
M:2/4
K:D
FG/A/ BA|de f2|fe/f/ gc|ed BA|FG/A/ BA|de
f2|fe/f/ gc|ed d2:|
|:ef/e/ ce|fe a2|ef/e/ ce|fe
c/B/A|ef/e/ ce|fe a2|ef/e/ dB|BA A2:|
TUAR MÓR POLKA [3], THE. AKA and see “Jim Keeffe’s (Polka) [3].”
Irish, Polka. D Major. Standard. AABB. Source for notated version: set dance
music recorded at Na Píobairí Uilleann in the 1980’s [
TUB DANCE. English, Slow Air or Waltz (3/4 time). G Major. Standard. AB. Knowles,
1995; pg. 4.
TUBBER FAIR. Irish, Jig. G Major. Standard. ABC. Composed by County
Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The title comes
from a reference by Synge to “Red Dan Sally’s ditch and drinking in Tubber
Fair.” Reavy (The Collected Compositions
of Ed Reavy), No. 94, pgs 105-106.
X: 1
T:Tubber Fair
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Synge told us of the things of this world the
N:world of "Red Dan Sally's ditch and drinking
N:in Tubber Fair." Being a fiddler of sorts himself,
N:John would have relished this little jig in G.
N:He would have thought it a fitting tune to
N:be played at Tubber Fair.
K:G
G/2A/2 | BGA B2 f | gef gfe | BdB AGA | BGE EFG | BGA B2 f | gef gfe |
BdB AGA | BGF G2 A || BGA B2 f | gef gfe | BdB AGA | BGE E2 F |
GEG FEF | EFG B^cd | edB AGA | BGF G2 e/2f/2 || gba gfe | Bd^c def |
g2 f gfe | Be^d e2 f | gbg faf | gfe def | gfe BcA | BGF G2 e/2f/2 |
gba
gfe | Bd^c def | gbg afd | Be^d e2 f | gbg faf | gfe def | gfe BcA | BGF G2 ||
TUCKER'S OLD BARN [1]. AKA - "Tucker's Barn." AKA and see "Kitty Puss," "Puncheon Camp(s)," "Old Time Mockingbird."
Old-Time, Breakdown.
TUCKER'S OLD BARN [2]. Old-Time, Breakdown. G Major. Standard. ABB'.
The 'B' part is irregular. Not related to version #1. Source for notated
version: Armin Barnett (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 244.
TUCKER'S
TUEHEY'S REEL. AKA and see "The
Gossan that beat his father," "The
Yeoman's Reel," "The Laurel
Bush," "The Castlebar
Traveller," "The Showman's
Reel," "Spence's Reel
[1]," "The Reel of Bogie,"
"The West Gale," "The Humours of Loughrea,"
"Lough Aisles Return."
TUESDAY AFTERNOON. Irish, Reel. D Major. Standard. AABB.
TUESDAY MORNING (Maidin De Mairt). Irish, Air.
TUGADH NA LÁMH. A clap dance performed in the Croaghs (
TUGBOAT. Old‑Time, Breakdown.
TUGGERMAN'S JIG. Canadian (originally), American;
Jig.
TUHY’S FROLIC. AKA and see “Geese in
the Bog [2].” Irish, Jig. B Minor. Standard. AABBCCDD. The tune was
originally printed in O’Farrell’s Pocket
Companion for the Irish or Union Pipes. A member of the “Geese in the Bog
[2]” family of tunes. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 104-105. Treoir.
X: 1
T: Tuhy's Frolic
S: Treoir
N: from "O'Farrell's Pocket Companion for
the Irish Union Pipes"
Z: Transcribed by Bill Black
M: 6/8
L: 1/8
Q: 325
R: jig
K: Bm
A | dcd AGF | DED AGF | dcd AGF | EFA B2 c |
dfd AGF | DGD AGF | G3 FAd | EFA B2 :|
c | d2 e fdB | Bcd ecA | dfe fdB | ecA B2 c |
dfe fdB | Bcd ecA | dcB AGF | EFA B2 :|
c | dDD ADD | BDD AGF | dDD AGF EFA B2 c |
dDD ADD | BDD AGF | G3 FAd | EFA B2 :|
d | f/g/af fdB | efe ecA | f/g/af fdB | ecA B2 c
|
dfa
fdB | Bcd edc | dcB AGF | EFA B2 :|
TUIGE GAN GRÁ A'M DO
MHÁIRE?
AKA and see "Why
didn't I love Maire?"
TUILCEANAC, AN. AKA and see "The Luck Penny."
TUILE SA SPÉ, AN. AKA and see “The Spey in Spate.”
TUILLE SONAIS DUINN. AKA and see "More Luck to
Us."
TUÍODÓIR AERACH, AN. AKA and see “The Merry Thatcher.”
TUIREADH IAIN RUAIDH. AKA and see "Iain
Ruairidh's Lament."
TUIREAMH UI
RAGHALLAIGH (Lament for
O'Reilly). AKA
- "O'Reilly's Lament."
Irish, Air (4/4 time). F Major. Standard. One part. The lamented O'Reilly was
one Maolmordha or Miles (surnamed 'The Slasher'), who was probably the son of
Maolmordha Dha (Deas), according to the Irish collector Edward Bunting, and was
also called 'Miles the handsome.' He was "'The Queen's O'Reilly' in the
reign of Elizabeth I of
***
The fate of the battle is past
O'Reilly stood firm to the last
Yet he still kept the day
Till he fell to the ground
There his bosom all gored
And still grasping his sword
O'Reilly was found. [Bunting]
***
Source for notated version: J.
O'Reilly, Esq.,
TÚIRÍN GARBH, AN. Irish, Jig. D Major. Standard.
AABB. The title is a placename in the Sliabh Luachra region of Kerry,
Anglicised as Tureengarbh. Jackie
Small (CRÉ V) notes the tune was
played by famed Kerry fiddler and teacher Pádraig O’Keeffe. Small also
identifies the tune as “related to one that nowadays is usually called ‘Joe
Cooley’s Jig’. Joe Cooley called that jig ‘The Bohala Jig’, and it is called
‘Cruach Mhártain’ in west Kerry.” Breathnach (CRÉ V), 1999; No. 44, pgs. 22-23.
TÚIRNE MHÁIRE (Mary’s Spinning Wheel). Irish, Slide (12/8 time). G Major.
Standard. AABB. Cranitch (Irish Fiddle
Book), 1996; pg. 42. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 28.
X:1
T:Túirne Mháire
L:1/8
M:12/8
K:G
D2G G2G F2G A2c|B2c A2G F3 D3|D2G
G2G F2G A2c|B2c A2F G3 G3:|
|:B2d d2d d2d d2B|c2B A2G F3 D3|D2G
G2G F2G A2c|B2c A2F G3 G3:|
TÚISÉARA, AN. AKA and see "The Gauger."
TÚISÉARA AR A MHEISCE, AN (The Drunken Gauger). AKA and see “The Drunken Gauger [1].” Irish,
Jig. G Major. Standard. AABB. Source for notated version: the late fiddler Bobby
Casey (
TUISTIUN, AN. AKA and see "The Fourpenny
Bit."
TULCHAN LODGE. Scottish, Strathspey. A Major. Standard. AB. Composed by J. Scott
Skinner (1841-1927), appearing in his Logie
Collection. Tulcan Lodge, near Advie in Speyside, was the Scottish home
where J. Scott Skinner, early in his career as a
dancing master, taught the family of Lady Chetwode of Oakley. Source for
notated version: Winston Fitzgerald (1914-1987,
X:1
T:Tulchan Lodge
M:C
L:1/8
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:A
C<E A>B c>B A2 | D<F
B>c e>d B2 | C<E A>B c>A e>c | d/c/B A/G/F (3EFE (3DCB, |
C<E A>B c>B A2 | D<F B>c
d>c B2 | C<E A>B c>A a>f | (3efe (3dcB c<A [CA] ||
g | a<A c>e {g}a>g c>A |
D<F B>c d>ef>g | a<A c>e {g}a>e c>A |
d/e/f B/c/d G/A/B (3efg | a<A
c>e {g}a>e c>A | D<F B>A {G/A/}GF {E/F/}E>D |
C<E A>B c<A a>f | (3efe
(3dcB c<A [CA] ||
TULIP, THE. Scottish, March. Composed by James Oswald and
printed in his Airs for the Spring,
c. 1747. Several song and dance tunes are descended from this one, including
the Irish anthem "The Wearing of
the Green" and the morris dance air "Balance the/a Straw [1]."
X:1
T:The Tulip
N:from James Oswald's 'Airs for the
Seasons'
N:'copyright
L:1/8
Q:112
M:C|
K:G
Z:Bruce Olson
d>c|{c/2}B2B>B B>d~c>B|{B/2}A2A>A
A2 B>c|\
B2(3dcB
~A>GA>B|G2G>GG2::g>f|\
~e2d4(3 GBd|{d/2} c2 B>B
B2g>f|
~e2d4c>B|~A>GA>B
D2d>c|{c/2}B2B2B>gd>B|\
{B/2}A2A2A>Bc>d|e>gd>B
A>cB>A|\
G2G>GG2:|]
TULLA REEL, THE (Ríl na Tulaí). AKA and see "Cooley's Reel [1]" “Joe Cooley’s Reel [2],” “Lutrell Pass.” E Minor. Standard. AABB. Source for notated
version: accordion player Sonny Brogan (County Sligo/Dublin,
TULLAGH REEL, THE. AKA and see “Paddy Ryan’s Dream [1].” Irish,
Reel. A Dorian. Standard. AB. Source for notated version: blind fiddler Michael
Duffy (
TULLAGHAN LASSIES. Irish,Reel.
TULLAMORE PIPER, THE (An Piobaire Ua Tulad-Moir). AKA and see "Bummer's Reel [1]," "Reilly's Own." Irish, Hornpipe. D
Major. Standard. AABB. The hornpipe is often played as a reel in
X:1
T:Tullamore Piper, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
fe|dfAd f2 fe|d2 ba ^gaed|ceAc
eAce|dfba ^ga=ge|dfAd f2 fe|d2 ba ^gaed|
ceAc eAce|d2f2d2||A2|B2c2d2 cB|BA^GA
F2 ed|ceAc eAce|dfba ^gafd|
B2c2d2 dB|BA^GA F2 ed|ceAc
eAce|d2f2d2||
TULLEYNET/TULLEYMET
HALL. AKA and see "Lord Blantyre's." Scottish, Reel.
A Dorian. Standard. AAB (Athole, Gow): AABB' (Kerr). One of the two most famous
melodies (with "Ayr Races") composed by Niel Gow's third son, John.
Carlin (The Gow Collection), 1986;
No. 315. Kerr (Merry Melodies), vol.
2; No. 73, pg. 10. Stewart-Robertson
(The Athole Collection), 1884; pg.
56.
X:1
T:Tullymet Hall
M:C|
L:1/8
R:Reel
B:Stewart-Robertson: The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
e|cAeA e2dg|BGgG Bdd>e|cAec dgde|cdBd cAA:|
^g|a^gae cAec|^fdgd BGG^g|a^gae cAec|^fd^ge aAAg|
a^gae
cAec|^fdgd BGdB|cA^GB AcBd|cedf eAA||
TULLICH FARM. American, Hornpipe. A Major.
Standard. AABB. A modern composition by
TULLOCH. AKA and see "Huilichan." Scottish, Reel. A Mixolydian.
Standard. AB. Cole (1000 Fiddle Tunes),
1940; pg. 33. Honeyman (Strathspey, Reel
and Hornpipe Tutor), 1898; pg. 23. Ryan’s
Mammoth Collection, 1884; pg. 59.
X:1
T:Tulloch
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
f|”tr”e2 (Ac/d/) ecAa|”tr”e2 (AB/c/)
dB=GB|”tr”e2 (Ac/d/) eAce|(BE) (cd/e/) dB=GB|
|”tr”e2 (Ac/d/) ecAa|”tr”e2 (AB/c/)
dB=GB|”tr”e2 (Ac/d/) eAce|(BE) (cd/e/) dB=GB||
“tr”(cA) (cd/e/)
“tr”(cA)(AB)|”tr”(cA) (cd/e/) dB=GB|”tr”cA) (cd/e/) cAcA|(BE) (cd/e/) dB=GB|
“tr”(cA) (cd/e/)
“tr”(cA)(AB)|”tr”(cA) (cd/e/) dB=GB|”tr”(cA) (cd/e/) “tr”(cA) (cd/e/)|(BE)
(cd/e/) dB=GB||
X:1
T:
M:C
L:1/8
R:”Pastoral” Air
C:J. Scott Skinner
N:”Wierdly and slowly.”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:C Minor
G | (e>d) (c>=B) ({B}c2) (_BA)
| (GB/A/) (G/F/) (E/F/) ({F}G2G .G | (e>d) (c>=B) c2 (_BA) |
G(B/A/) (G/F/) ({F}E/)D/ ({D}C2) C
:| G | (g/f/e/d/) (e/d/c/=B/) (c/=B,/C/D/) ({D}E/D/E/F/) |
(GB/A/) (G/F/E/F/) ({F}G2G .G |
(g/f/e/d/) (e/d/c/=B/) (c/=B,/C/D/) EF |
(GB/A/) (G/F/) ({F}E/D/) ({D}C2) C G
| (g/f/e/d/) (ed/c/=B/) (c/=B,/C/D/ E/D/E/F/) |
(GB/A/) (G/F/) (E/F/) (G2G) .A/.=B/
| (c/d/e/).c/ .g/.c/.c’/.c/ (e/d/c/=B/) c/C/E/F/ |
(G/=B/c/A/) (G/A,/G,/G/) ({G}C2)C ||
TULLOCHGORUM/TULACH
GORM [1] (The Blue-Green
Hill). AKA ‑
"The Corn Bunting," "The
Blue Hill," "The Green Hill." Scottish, English; Rant or
Strathspey. England, Northumberland. G Mixolydian (most versions): G Major
(Johnson, Peacock, Plain Brown). Standard: F Mixolydian (Johnson). One
part (Hunter): AB (Carlin/Gow, Cole, Gow, Hardie, Johnson/Emmerson, Skinner,
Surenne): AAB (Athole, Emmerson, Honeyman, S Johnson, Kerr, Skinner): AA'B
(Carlin/Master, Howe): AABB (Alburger, Bremner, Kennedy): ABC (Plain
Brown): AABBCCDD (Peacock). The title means "Blue‑Green
Hill" in Gaelic, and port-a-beul words have been set to “Tulach Gorm.” The
tune and song appear to be quite old; music historian Francis Collinson finds
that a tune in the Rowallan lute
manuscript (c. 1612-1628) called “Ouir the Deck Davy” has a “distinct
resemblance” to “Tullochgorum.” The earliest record of this tune appears in
David Young's Duke of Perth MS (AKA
the Drummond Castle MS) of 1734; it
is also found in the Gillespie Manuscript
of Perth (1768), and John Glen (1891) finds it in Robert Bremner's 1757
collection (2nd part, pg. 16); these early versions show little of the later
strathspey rhythm, at least as noted, and appear as rants. J. Scott Skinner (1904) notes:
“’Tullochgorum’ is stated by some authorities to have originally borne the
title of ‘Corn Bunting’. By others it is thought to be derived from the tune of
an old Scottish song…’Jockie’s fou and Jenny fain’…” Tullochgorm is also the
name of a Scottish dance of twelve steps, and was one of several taught by Cape
Breton fiddler Donald "the Tailor" Beaton of South West Margaree (who
was an itinerant tailor). The title appears in Henry Robson's list of popular
Northumbrian song and dance tunes ("The Northern Minstrel's Budget"),
which he published c. 1800. "Tullochgorum" was one of the tunes Niel
Gow played for Robert Burns in October, 1787, when Burns visited the fiddler at
his home in Dunkeld (see also "Loch
Erroch‑side," "Lament
for Abercairney"). In fact, it is one of the most famous tunes in the
repertoire, and must be mastered by every serious strathspey player, according
to Hunter (1979); Niel Gow and J. Scott Skinner
"built their reputations on the performance of it." Skinner wrote a
set of six famous variations on the tune, though those printed in the McGlashan Collection may be the
earliest. Words were set to it by the Rev. John Skinner (1721‑1807),
pastor of the Episcopal Chapel at Langside near Peterhead, which begin:
***
There needsna be sae great a phrase,
Wi' dringing dull Italian lays,
I wadna' gi'e our ain Strathspeys,
For half a hundred score o' 'em.
Douff and dowie, douff and dowie,
They're douff and dowie at the best
Wi' a' the variorum:
They're douff and dowie at the best,
Their allegros and a' the rest,
They canna please a Highland taste,
Compar'd wi' Tullochgorum. (The Songs of Scotland, 1887)
***
Hunter (1979) remarks that Rev.
Skinner came to the defense of Scottish folk music at a time when fashion ran
to the Italian musical influence among the middle and upper classes of
Scotland. Robert Burns ("Amang the trees") and Robert Fergusson (1750‑1774),
in "Daft Days" (in Scotland the 'daft days' are the Christmas‑New
Years holiday period), also joined his fight. "Daft Days" includes
the following excerpt:
***
Fiddlers! your pins in temper fix
And roset weel your fiddlesticks;
But banish vile Italian tricks
Frae out your quorum;
Gie's Tullochgorum.
***
Nigel Gatherer found the following passage in
an old book called The Fiddle in Scotland (n.d.) by Alexander G.
Murdoch, from an account by Peter Stewart, who accompanied Niel Gow during the
Burns visit:
***
Arriving at Dunkeld, [Burns]...put up at the
principal inn...[He] was
fortunate in making the acquaintance of Dr Stewart, an enthusiastic
amateur violin player. At the dinner table he quoted to his guests the
well-known local ditty-
. Dunkeld
it is a little toon,
. An' lies intil a howe;
. An' if ye want a fiddler loon,
. Spier ye for Niel Gow.
Burns expressed much delight at the proposal...a visit was at once
agreed to.
***
The greeting was a cordial one on both sides, and the meeting of Burns
and Gow - both geniuses of the first order in their respective lines -
was mutually worthy of each other. The magician of the bow gave them a
selection of north-country airs mostly of his own spirited composition.
The first tune was "Loch Erroch Side" which greatly delighted the
poet,
who long afterwards wrote for the same melody his touching lyric "Oh,
stay, sweet warbling woodlark, stay!"
At Burns's