The Fiddler’s Companion

© 1996-2008 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]

 

 

 

TU ATTRAPES DU SIROP, LA (You Get Some Syrup There). AKA - "La Turtape de Saroid." Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Amede Ardoin recorded the tune some time ago, though the title was issued in mangled French as "La Turtape de Saroid." Source for notated version: accordion player Amede Ardoin (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 198-199. Old Timey Records OT-114, Amede Ardoin.

                       

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. USA, southwestern Louisiana. D Major. Standard tuning. One part. Source for notated version: Chester "Pee Wee" Broussard (La.) [Francois]. Francois (Ye Yaille, Chère!), 1990; pg. 485.

 

TU PEUX  t' BLAMER. See "Lovesick Waltz."

 

TU VAS M' FAIRE MOURIR (You'll Make Me Die). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. ABBB(Vocal)BBBBAABBAB(Vocal)ABBA. Related tunes, according to Raymond Francois (1990), are Ed Juneau's "Lake Arthur Stomp [2]" (not the usual tune associated with "Lake Arthur Stomp") and Rufus Thibodeaux's "La Danse de Port Arthur." Source for notated version: fiddler Wallace "Cheese" Reed & accordion player Marc Savoy (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 301-302. La Louisiane Records LL-8135, Wallace "Cheese" Reed.

 

TUAM NA FARRAIGE. AKA and see “The Atlantic Roar,” "The Atlantic Wave."

 

TUAMGREINE CASTLE. See “Tuamgraney Castle.

 

TUAMGRANEY CASTLE. AKA - “Tuamgreine Castle.”  AKA and see “Biddy Mickey’s,” “The Humours of Tuamgraney.” Irish, Hornpipe. G Major. Standard tuning. Gearóid Ó hAllmhuráin (1999) says the tune was collected by O’Neill during a trip to East Clare in 1906, where, in the Sliabh Aughty area, he had several tunes from fiddler Johnny Allen, a dance musician and contemporary of Pat Canny and a blind fiddler named Paddy MacNamara. The latter taught music in the region in the early part of the 20th century. See “Tomgraney Castle [1].” James Kelly - “The Ring Sessions.” Seamus Creagh - “Came the Dawn” (appears as “Julia Clifford’s”).

X:1

T:Tuamgraney Castle

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. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. This polka, along with No. 2, was collectively known as the “Tuar Mór Polkas” by source O’Leary. Tuar Mór is a village in west County Kerry, not far from Killarney. An A Mixolydian tonality is suggested in the first part up until the cadence on D Major, while the ‘B’ part is solidly in D. “Wallace’s Cross” is a related tune, as is an untitled polka in Breathnach (CRÉ II), 1976; No. 123. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Bulmer & Sharpley (Music from Ireland), vol. 4; 72. Ceol, vol. 5, No. 1 (appears as “Back of the Haggard”). Mallinson (100 Polkas), 1997; No. 73, pg. 28. Moylan (Johnny O’Leary), 1994; No. 87, pg. 49. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as first of “Tourmore Polkas”).

 

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. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major (‘A’ part) & A Mixolydian (‘B’ part). Standard tuning. AABB. Source O’Leary said the alternate title, “Back of the Haggard,” was the name Jack Sweeney had for the tune. Source for notated version: accordion player Johnny O’Leary (Slaibh Luachra region) [Moylan]. Bulmer & Sharpley (Music from Ireland), vol. 4; 73. Ceol, vol. 5, No. 1 (appears as “Back of the Haggard”). Mallinson (100 Polkas), 1997; No. 74, pg. 28. Moylan (Johnny O’Leary), 1994; No. 88, pg. 50. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 9. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

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 [Taylor]. Mallinson (100 Polkas), 1997; No. 75, pg. 28. Taylor (Music for the Sets: Yellow Book), 1995; pg. 11.

 

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. USA, North Carolina. D Major ('A' part) & G Major ('B' part). Standard. AAB. The tonality constantly shifts from D Major to G Major and back, and the 'A' part is irregular in metre. Source for notated version: Gaither Carlton (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 244. Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996. Learned from North Carolina musician Gaither Carleton). 

 

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 OLD PLACE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is, perhaps, "Tucker's Old Barn."

 

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. Taylor (Where’s the Crack?), 1989; pg. 5.

 

TUESDAY MORNING (Maidin De Mairt). Irish, Air. Ireland, Ulster. According to Ó Canainn (1978) this is one of the great Northern songs in Irish tradition.

 

TUGADH NA LÁMH. A clap dance performed in the Croaghs (Blue Stack Mountains), County Donegal.

 

TUGBOAT. Old‑Time, Breakdown. USA; West Virginia, Virginia, Nebraska Oklahoma, Texas. G Major. Standard. AABB (Christeson, Phillips): AA'BBC (Frets). Similar to “Sandy River Belle.” Charles Wolfe (1997) states Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) first recorded the tune (in 1929 for Brunswick under the name The Kessinger Brothers, although Clark’s accompanist was his nephew, Luke).  Other fiddlers learned the tune from Kessinger’s recording, among them Texas fiddler Benny Thomasson, who was instrumental in inserting the melody into the Texas contest tune repertoire where it remains a popular piece. “Tugboat” was in the repertoire of Missouri fiddler Cyril Stinnett, learned perhaps from Bob Walters, who probably learned it from the Kessinger Brothers’ Brunswick record (Christeson, 1984). The tune was also in the repertoire of West Virginia fiddler Edden Hammons, who played it in standard tuning. Sources for notated versions: Clark Kessinger (West Virginia.) [Christeson]; Mark O'Connor and Benny Thomasson (Texas) [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 75. Frets Magazine, "Byron Berline: The Fiddle," June, 1988; pg. 55. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 244. Brunswick Records (78 RPM), Kessinger Brothers. Missouri State Old Time Fiddlers' Association, Bob Walters (1889-1960) - "Drunken Wagoneer." Sugar Hill Records 3750, Byron Berline & John Hickman ‑ "Double Trouble." Edden Hammons Collection, Disc 2.

                                   

TUGGERMAN'S JIG. Canadian (originally), American; Jig. USA; New England, northern New York. D Major ('A' part) & A Major ('B' part). Standard. AABB (Bayard): AABB’ (Perlman). Perlman (1996) cites the tunes provenance as the Canadian Maritimes. Sources for notated versions: Bradley Grimshaw (northern N.Y., 1958) [Bayard]; Leonard McDonald (b. 1933, Emyvale, Queens County, Prince Edward Island) [Perlman]. Bayard (Dance to the Music), 1981; No. 571, pg. 509. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 133. Folkways 8826, Per's Four‑‑"Jigs and Reels."

                                   

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 England and was colonel of horse in the army commanded by Lord Castlehaven in the wars which followed the rebellion of 1641. Miles the Slasher was slain while valiantly defending the bridge of Finea against Monro's Scotch in 1644. O'Sullivan gives Bunting's MS version in 4/4 time, though the collector's 1840 volume gave the tune in 3/4 time.

***

The fate of the battle is past

O'Reilly stood firm to the last

His friends round him lay

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., Belfast, 1806 [Bunting]. O'Sullivan/Bunting, 1983; No. 144, pgs. 201-202.

                       

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 (County Clare) [Breathnach]. Breathnach (CRÉ III), 1985; No. 61, pg. 30.

                       

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, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 98, pg. 41. Hardie (Caledonian Companion), 1992; pg. 56. Hunter (Fiddle Music of Scotland), 1992; No. 152. Skinner (The Scottish Violinist), pg. 4.

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 13 Oct 1747'

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, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 200, pg. 77.

                       

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 (Co. Clare, Ireland), who played at one of the Feis Ceoil competitions in the early 20th century [Darley & McCall]. Cranitch (Irish Fiddle Book), 1996; No. 77, pg. 154. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 15, pg. 7. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 461, pg. 89 (appears as “Paddy Ryan’s Dream”).

                       

TULLAGHAN LASSIES. Irish,Reel. Ireland, County Donegal. See also the variants "Lough Island Castle" and "Sean sa Ceo/Cheo."  Caoimhin Mac Aoidh (1994) identifies the parent of all these tunes to be the Scottish reel "Sleepy Maggy/Maggie," and relates that Simon (Ballinamore) Doherty (of the great musical Doherty family of Donegal) remarked that the melody came from the piping tradition of the many members of his family.  Mac Aoidh finds further evidence for the tune's piping sources in Brendan Breathnach's 1965 field recording of other members of the Doherty family, fiddlers John and Mickey, in which  Mickey droned an accompaniment employing double stops and trills while John played the melody; an imitation of the pipe sound. This style was repeated in the playing of the tune by Donegal fiddlers Francie Dearg and Mickey Ban O'Byrne, while fiddler Neillidh Boyle confirmed that the piece had piping origins.

                       

TULLAMORE HARBOUR.  Irish. The melody has been attributed to Irish fiddler Dan Cleary (1918-2004), of Ballinamere, County Offaly. Cleary played a number of instruments, including the uilleann pipes, piano and tin whistle, and was a member of a number of céili bands in the mid-20th century, notably the Ballinamere Céili Band, which won All-Ireland titles in the mid-1950’s. Like “Trip to Durrow”, another of Cleary’s compositions, this tune may stem from Cleary’s days as a young man with the Colmcille Céili Band, of Durrow, Co. Offaly, who played regularly in the Forresters Hall in Tullamore (see Treoir, vol. 38, No. 2, 2006, pgs. 37-38).

 

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 Cape Breton, as in Andrea and Kinnon Beaton’s rendition on “The Beaton Family of Mabou” (2004).  Source for notated version: Chicago musician Bernard Delaney [O’Neill]. O'Neill (Krassen), 1976; pg. 215. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1773, pg. 330. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

X:1

T:Tullamore Piper, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1773

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 Alstead, New Hampshire, fiddler and composer Randy Miller. Miller (Fiddler’s Throne), 2004; No. 320, pg. 188.

 

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||

                       

TULLOCH CASTLE. Scottish, Air (4/4 time). C Minor. Standard. AAB. Composed by J. Scott Skinner (1842-1927) for a place he visited in Scotland in September, 1890. Skinner (Harp and Claymore Collection), 1904; pg. 16.

X:1

T:Tulloch Castle

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.

They're douff and dowie at the best

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;

Nor fortes wi' pianos mix‑‑‑‑

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