The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

 

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TWA - TZ

 

 

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]

 

 

 

TWA FIDDLES AT DA FIRESIDE. Shetland, Air (4/4 time). G Major. Standard. AAB. "Composed on a stormy night in December, 1978, while sitting at the fireside with Linda Keen, a pupil form the USA, who immediately started harmonizing on her fiddle. When Tom was young, fiddle music was transmitted orally sitting at the fireside and watching the fingering and bowings of the older player" (Anderson). Anderson (Ringing Strings), 1983; pg. 98‑99 (includes harmony part).

 

TWAS A YOUTHFUL KNIGHT, WHICH LOVED A GALLANT LADY. AKA and see "Shepherd, Saw Thou Not," "Crimson Velvet." The air appears under this title in Friesche Lust‑Hof (Amsterdam, 1621).

 

TWAS DOWN IN THE MEADOWS. Irish, Air (3/4 time). D Major. Standard tuning. AB. "This is a song on the old and well‑worn theme of a young man returning disguised to his lover, and after an interview in which he proves her faithfulness, reveals himself and all is happy. I know nothing about the song farther than this‑‑that I learned it in my childhood from hearing it sung by members of my family. There were, of course, more verses; but those I give here are all that I can remember. As to the air:‑‑the first part is a version of the first part of 'Limerick's Lamentation' to which Moore has written his song 'When cold the earth': but the second part strays so widely from the corresponding part of Moore's air as to form, in fact, a different melody" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 421, pgs. 232‑233.

 

'TWAS IN THE END OF KING JAMES’S STREET. Irish, Air (4/4 time). D Mixolydian. Standard tuning. One part. "This air has clung to my memory from the dim days of my childhood. I remember four lines of the song; from which it appears that it belongs to Dublin, and commemorates some forgotten Dublin tragedy" (Joyce).

***

‘Twas in the end of King Jame’s Street

Young Square (sic) Brown and Miss King did meet.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 48, pgs. 26‑27.

X:1

T:’Twas in the end of King James’s Street

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D Mix

B/c/|d2 dc B2 GA|B2c2 A3d|d2A2G2 AG|FD D2 C3G|B2cB BA (3AGF|

G2G2A2 DE|FGAF GFEC|D4 D3||

                       

'TWAS ON A SUMMER MORNING (Air Maidin La Samrad). Irish, Air (2/4 time, "tenderly"). F Major. Standard. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 148, pg. 26.

X:1

T:Twas on a Summer Morning

M:2/4

L:1/8

R:Air

N:”Tenderly”

S:O’NeillMusic of Ireland (1903), No. 148

Z:AK/Fiddler’s Companion

K:F

c/d/4e/4 f>e d>c|c2 A(3F/A/c/|d2 G>A|F2 z||A/B/|cd/e/ fg|fe ze/f/|

gc/d/ e>d|c2 z c/d/4e/4|f>e {e}d>c|c2 A(3F/A/c/|d2 G>A|F3||

                       

‘TWAS ON A SUMMER EVENING [1]. Irish, Air (6/8 time). E Flat Major. Standard. One part. Stanford notes: “A duplicate of this tune occurs with the title ‘Twas on a Summer’s morning.’”Stanford/Petrie (Complete Collection), 1905; No. 431, pg. 109.

X:1

T:’Twas on a summer evening [1]

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 431

Z:AK/Fiddler’s Companion

K:E_

B/G/ | E2 F G2A | B2A B2G | E2F G2 A | (B3B2) B | g2f g2f | e2d B2d |

e2d B2B | (B3 B2) c/d/ | e2d B2c | _d22c d2e | E2F G2A | B3 Bcd |

e2d efg | B3 G2B | A2G E2E | (E3 E2) ||

 


‘TWAS ON A SUMMER EVENING [2]. Irish, Air (6/8 time). E Flat Major. Standard. One part. Source for notated version: “(The Irish collector) Mr. Joyce, from Joseph Martin” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 432, pg. 109.

X:1

T:’Twas on a summer evening [2]

M:6/8

L:1/8

N:”Allegretto”

S:Stanford/Petrie (1905), No. 432

Z:AK/Fiddler’s Companion

K:E_

B/A/ | G2B E2F | G3 e2B | AGF E2E | E3 E2F | G2B cdB | e2g f2d |

edc BAG | F3 F2A | G2B cdB | e3 f2e | dec BAG | F3 F2A |

G2B E2F | G3 e2B | AGF E2E | (E3 E2) ||

                       

'TWAS ON A WINDY NIGHT. AKA and see "Barney Brallaghan."

                       

'TWAS ON THE FIRST OF MAY BRAVE BOYS. AKA and see "Let Us Leave That As It Is," "Darby O'Leary," "Fagamaoid Sud Mar Ata Se," "Galbally Farmer." Irish, Air (6/8 time). G Major. Standard. ABChorus. Source for notated version: “From Rev. Meaze(sic), Rathmullen” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 388, pg. 98.

X:1

T:’Twas on the first of May, brave boys.

M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 388

Z:AK/Fiddler’s Companion

K:G

D | D2G G2G | G2F D2D | (DB)B Bc d | c3 z2A | B2B B2G |

A2F D2F | G2F D2D | (D3 D2) || D | D2d d2d | d2e =f2d | c2c (cB)A |

B3 z2c | d2d d2c | B2G B2c | d2G G2A | d3 || c2B | A2D D2E | (FE)F D2D |

D2G A2B | c3A2A | d2d dc B | c2B (AB) c | d2G FG A | G3 G2 ||

 

TWAS SO DIFFERENT IN THE MORNING. Irish, Air (4/4 time). G Major. Standard. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 55, pg. 36.

X:1

T:’Twas so Different in the Morning

M:4/4

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

DF | G2 GA B2 A>G | A2 AG E2 DF | G2G2G2 Bd | e4 d2d2 | e2 ed B2 Bd |

cBAG E2 DF | G<G B<d e2 dB | A4 G2 D2 | G2 GA B2 BA | G2 GE D2 DF |

G2GG G2 Bd | e4 d2 dB | e2 ed B2 Bd | cBAG E2 DE | G<G B<d e2 dB | A4 G2 ||

 

TWAS WHEN THE SEA WAS ROARING. AKA and see "Melancholy Nymph" (Handel). English, Air. Published by John Gay, The Beggar's Opera. Raven (English Country Dance Tunes), 1984; pg. 58.

 

TWAS WITHIN A FURLONG OF EDINBURGH TOWN. AKA ‑ "Edinburgh Town." Scottish, Sonata. G Minor (Johnson): A Minor (McLean). Standard. {Air} AABB, {Minuet} CCDD, {Giga} EEFF. The sonata was composed c. 1736‑40 by Charles McLean after Henry Purcell (1659‑95). Johnson (1984) states it was not based on a traditional tune, but on a mock‑Scottish theatre song composed in 1694 by Henry Purcell in London but altered and adapted by McLean. The title is the first line of Purcell's song. Source for notated version: the McFarlane MS, 1740 (appears as "Edinburgh Town") [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 66, pgs. 180‑182.

 

'TWAS WITHIN A MILE OF EDINBORO TOWN. AKA and see "A Mile From Edinburgh Town." Composed by an 18th century musician named James Hook (d. 1827).

 

TWEED SIDE. See "Tweedside."

 

TWEEDDALE CLUB, THE. Scottish (originally), Cape Breton; Strathspey. C Major (Athole, Glen, Gow, Skye): D Major (Kerr). Standard tuning. AB (Kerr): AA'BB' (Athole, Glen, Gow, Skye). Composed by Nathaniel Gow (1763-1831) who published it in the 3rd Book of Niel Gow & Sons in 1792. The river Tweed marks the division between England and Scotland and ‘Tweedale’ is the older name for the district now known as Peeblesshire in the Borders. The reel has become very popular among Cape Breton fiddlers and has been often recorded. Carlin (The Gow Collection), 1986; No. 227. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 18. Gow (3rd Collection of Niel Gow’s Reels), 1792; pgs. 14-15. Kerr (Merry Melodies), vol. 1; Set 28, No. 5, pg. 17. MacDonald (The Skye Collection), 1887; pg. 113. Preston & Son (24 Country Dances for the year 1796). Stewart-Robertson (The Athole Collection), 1884; pg. 69. Breton Books and Music, Theresa, Donald and Marie MacLellan – “The MacLellan Trio.” Capitol/EMI Records, “The Rankin Family” (1989). DAB4, Donald Angus Beaton – “A Musical Legacy” (1985). Round Records CDROUN7024, Joe MacLean – “Old Time Scottish Fiddle Music from Cape Breton Island” (1998). Rounder Records 7020, Alex Francis MacKay – “A Lifelong Home” (1997). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Tweeddale Club, The

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:C

c|G<E c>G A>G E<c|G<E c>E d<D D>c|1 G<E c>G A>Bc>A|G<cE<c D2C:|2

G<E c>G A>B c<a|g>cf>e d2c||:e/f/|g<c g>e c>g e<g|a<d a>f d>e f<a|1

g<c g>e c>ge>g|(3 faf (3ege d2c:|2 g<c a>f e<c B>G|A<c G>c D2C||

X:2

T:Tweeddale Club, The

M:C
L:1/8

R:Strathspey

C:Nathaniel Gow

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pgs. 14-15  (orig. 1792)

Z:AK/Fiddler’s Companion

K:C

c|G<Ec>G “tr”A>GEc|G<EcE dDDc|1 GEcG A>BcA|GeEc “tr”D2C:|2

GEcG A>Bca|gcfe “tr”d2c||:e/f/|gcg>e cgeg|ada>f “tr”d>ef>a|1 gcge cgeg|

(3faf (3ege “tr”d2c:||2 geaf ecBG|A<cE<c “tr”D2C||

 


TWEEDSIDE. AKA ‑ "Kilrush Air" (Irish). Scottish, English; Air (3/4 time). England, Northumberland. G Major (Geoghegean, Neil): D Major (Livingston): A Major (O’Farrell). Standard tuning. One part (Neil): AABB (Geoghegan, Livingston, O’Farrell). Tweedside refers to the River Tweed which rises at Hart Fell near a steep‑sided valley called the 'Devil's Beeftub' and which, for much of its length, marks the border between England and Scotland. The tune, sometimes erroneously credited to James Oswald (it does appear in his Caledonian Pocket Companion of 1760) was an extremely popular vehicle for airs in ballad operas beginning with Allan Ramsay's The Gentle Shepherd (1725). It was also employed, to name just a few early works, for songs in John Gay’s Polly (1729), Henry Lintot’s The Footman (1732), Henry Ward’s Happy Lovers (1736), Thomas Gataker’s The Jealous Clown, or the Lucky Mistake (1730), and two works by Scriblerus Secundus, the Genuine Grub-Street Opera (1731) and The Welsh Opera, or the Grey Mare the Better Horse (1731). Its popularity continued through the latter part of the 18th century.

***

As an instrumental piece, “Tweedside” also appears in numerous publications in England and Scotland, including—to name some of the earlier appearances—the Scottish McFarlane Collection of 1740, Adam Craig’s Collection of the Choicest Scots Tunes (1730), Francis Peacock’s Fifty Favourite Scotch Airs (1762), and Englishman Daniel Wright’s Compleat Collection of celebrated country Dances (1740). It apparently suffered from the vagaries of fashion, for we read in a 1755 Edinburgh concert program that "Tweedside" was "newly set in the Italian manner (for the sake of variety) by Signor Pasquali" (Emmerson, 1971), and it was included in the McLean Collection of 1772, in drawing‑room style. “Tweedside” can be found as well in many instrument tutorial publications of the period. 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.

***

Like most popular airs, “Tweedside” was imported to America and appears in several late 18th century and early 19th century publications, such as Riley’s Flute Melodies, vol. 2 (1817), and the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Aird (Selections), vol. 4, 1796.Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c, 1745-46; pg. 24. McGibbon (Scots Tunes, book III), c. 1762; pg. 68. Neil (The Scots Fiddle), 1991; No. 55, pg. 75. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 158-159 (appears as “Tweed Side”).

X:1

T:Tweed Side

M:3/4

L:1/8

R:Air

N:Set as a “duett”

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:A

(c>B) | A2E2F2 | (A>G)(AB) (cd) | (c2B2) (cB) | A2E2F2 | A2 (ed)(cB) | {B}A4 (cB) |

A2E2(F>G) | (A>G) (AB) c>d | (c2B2) A>B | (c>d/2e/4) (dc) (BA) |

(B>c/2d/4) E2 “tr”G2 | {F/G/}A4 :: (c>d) | {f}e2 dcBA | e2 (fe) {e}(dc) | (c2B2) (c>d) |

e2 (dc) (BA) | (A>G) (AB) (cd) | e4 (f>g/2a/4) | (fe)(dc)(BA) | (d>c) (fe) (dc) |

(c2B2) (A>B) | (c>d/2e/4) (dc) (BA) | B2 (E>d) (cB) | A4 :|

X:2

T:Tweed Side

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 68  (c. 1762)

Z:AK/Fiddler’s Companion

K:A

 c>B | A2E2F2 | A3Bcd | ({c}”tr”B4) cB | A2E2F2 | A2 (ed)(cB) | A4 cB |

A2E2F2 | (AGA)Bcd | “tr”B4 AB | c2 (dc)(BA) | B2E2”tr”G2 | A4 :: c>d | ({c/d/}e2) (dc)(BA) |

e2 (fe)(dc) | B3 Bcd | e2 (dc)(BA) | e2 (fe)(dc) | e4 ({f/g/}a2) | ({f}e2) (dc)”tr”(BA) |

c2 (dc)(BA) | “tr”B4AB | c2 (dc)(BA) | B2E2”tr”G2 | A4 :: c>B | A2E2F2 | (A/E/D/E/) (A/E/)(B/E/) (c/E/)(d/E/) |

{c}[E4B4] cB | A2E2F2 | A(c/d/) edcB | A4 cB | A2E2F2 | (A/E/F/G/) (A/B/c/d/) (e/c/B/A/) |

“tr”[E4B4] AB | (c>d/2e/4) dcBA | (Fd) “tr”B3A | A4 ::  c>d | ({c/d/}e2) (dc) (BA) | (e/c/B/A/) (a/g/f/e/ d)c |

B3Bcd | ({c/d/}e2) (3dec (3BcA | e>=g fe (dc/)d/ | e4 ({f/g/}a2) | ({f}e2) dcBA | (ef/4=g/4) fedc |

“tr”[E4B4] AB | (c/e/d/c/) (d/e/f/g/) (a/e/d/c/) | (3d/c/B/ (3c/B/A/ “tr”B3A | A4 :|

N:””The two last strains 8 notes higher”

({A/B/}cB | A2E2FG | A/(E/F/G/) (A/E/)(B/E/) (c/E/)(d/E/) | [E4B4] cB | A2E2FG | Afed (3e/d/c/ (3d/c/B/ |

A4(cB) | A/B/c/A/ E/E/”tr”(E/>D/2E/4) F/F/(G/F/4/G/4) | (A/E/)(G/E/) (A/E/)(G/E/) (A/E/)(B/E/) (c/E/)(d/E/) |

[E4B4] AB | (cd/4e/4) dcBA | f>B “tr”B3A | A4 :: c>d | ({c/d/}e2) dcBA | (ef/8e/8d/8e/8) fedc |

“tr”B4cd | ({c/d/}e2) dcBA | e2(fe)(dc/d/) | e3(f/g/ a/f/g/a/) | ({f}e2 dcBA | (cd/4e/4) dcBA | “tr”B4AB |

c/c/”tr”c/>B/c/4) d/d/”tr”(d/>c/d/4) e/e/”tr”(e/>c/e/4) | f>B “tr”B3A | A4 :|

X:3

T:Tweed Side

M:3/4

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

KG

BA | G2D2E2 | G3A Bc | {B}A4 BA | G2D2E2 | G2 cBAB | G4 BA | G2D2E2 |

c2 edcB | {B}A4 GA | BdcB AG | D2 cB AB | G4 :: Bc | ({B/c/}d2) cBAG | d2 edcB |

A4 Bc | d2 cBAG | GFGABc | d4 (ef/g/) | edcB AG | c2 edcB | “tr”A4 GA | BdcB AG |

D2 cB AB | G4 ||

                       

TWEEDSIDE LASSES, THE. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABB'. Composed by Alexander Walker (1819-1905). According to Paul Stewart Cranford (1991) the tune still has currency among Cape Breton fiddlers. Source for notated version: Walker’s Castle Newe collection (1866) [Henderson]. Henderson (Flowers of Scottish Melody), 1935. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 61, pg. 22.

                       

TWELFTH STREET BLUES. Old‑Time, Country Blues. USA, Georgia. C Major ('A' and 'C' parts) & F Major ('B' part). Standard tuning. AABC. Bill Shores was (according to Wayne W. Daniel, Pickin’ on Peachtree, 1990), “a native Alabaman who spent most of his life in the Rome, Georgia, area.” His band consisted of himself on fiddle, Melvin Dupree on guitar and Fred Locklear on mandolin. The tune was recorded in Atlanta on March 15, 1929 and released on OKeh records. Source for notated version: Bill Shores with Dupree's Rome Boys (Ga.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 155.  County 514, Dupree's Rome Boys ‑ "Hell Broke Loose in Georgia" (orig. rec. in 1929).

 

TWELFTH STREET RAG. American, Ragtime. C Major. Standard tuning. AB. The tune was recorded in 1935 for Bluebird Records by the Novelty Four: Marion Brown (guitar), Cliff Vaughn (guitar), Pink Lindsey (fiddle) and Raymond Lindsey (tenor banjo). Source for notated version: Danita Rast Hartz [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 35.

 

TWELFTH VIRGINIA. AKA and see "Old Greene County [1]," "Kramar," "Bitnar," "Bittner," "Old Wilkinsburg March," "Mount Pleasant," "Old Number Two." American, March (time). USA, southwestern Pa. D Major. Standard tuning. ABC. A staple fife march in southwestern Pennsylvania and apparently American in origin, according to Bayard (1981). Source for notated version: From the Wilkinsburg (martial) Band via Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 387F, pg. 370.

 


TWELVE DAYS OF CHRISTMAS, THE. English, Air. England, Northumberland. G Major. Standard tuning. One part. Not the tune we now associate with the song. "This is one of the quaintest of Christmas carols now relegated to the nursery as a forfeit game, where each child in succession has to repeat the gifts of the day, and incurs a forfeit for every error. The accumulative process has always been a favourite game with children, and in early writers from Homer downwards this repetition is often employed. The twelve days, extending Christmas Day to Epiphany, were usually amongst our ancestors the days of the whole year wherein to make merry and fraternize in mirth and good fellowship. The music of the first and last verses only are here given, as each verse not only commemorates the gifts of the preceding days, requiring no slight effort of memory on the part of those who try it. The melody for each gift is the same in all the repetitions, so that the last verse contains the whole of the tune, and the total number of gifts amount to three hundred and sixty five‑‑one for each day in the year; the twelve pear trees being in commemoration of the twelve days of Christmas" (Bruce & Stokoe). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 129‑131.

X:1

T:Twelve Days of Christmas, The

L:1/8

M:2/4

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

N:The first verse (“On the first day of Christmas”) is the first line of music.

N:The second line of music picks up from “The twelth day of Christmas…”

Z:AK/Fiddler’s Companion

K:G

D|G2 GA|(GF) ED|GG BG|d3F|G2 (Bd)|cA (GF)|G3||/

D|G2 GA|(GF) ED|GG BG|d4|c2 Ac|BG z2|cc Ac|Bg z2|

c2Ac|BG z2|c2 Ac|BG z2|c2 Ac|BG z2|c2 Ac|Bg z2|c2 Ac|

d2d2|G2B2|E2 z2|F2 AF|D2 z2|G2B2|E2 z2|F2 AF|D2 EF|

G2 (Bd)|cA (GF)|G3||

 

TWELVE LOCKS, THE. AKA and see "The Twister," "Jackson's Reel [2]," "The Dublin Reel," "The Dublin Lasses [3]," "Athens," "Victor Wild," "The Clogher Reel," "The Union Reel," "The Westmeath Hunt," "The Shuffle Reel," "Miss Daly's Reel."

 

TWELVE PINS. Irish, Reel. G Major. Standard tuning. AABB'. Composed by County Leitrim born pianist, fiddler and composer Charlie Lennon, named for mountains in Ireland. Mr. Lennon holds a PdD. in physics. Taylor (Where’s the Crack?), 1989; pg. 4.

X:1

T:Twelve Pins

M:C

L:1/8

K:G

dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | de fg af ge |

dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | dB cA BG G2 :|

|: f2 fe de fg | ad ~d2 dc AB | c3d cB AB | cA dc AG EG |

f2 fe de fg | ad ~d2 dc AB | c3d cB AB | cA GE FD D2 :||

X:2

T: The Twelve Pins

M:4/4

L:1/8

C:Charlie Lennon

R:reel

Z:Barney

K:G

dB (3BBB dB GB|dA (3AAA dA FA|DE FG AB cA|de fg ab ge|

dB (3BBB dB gB|dA (3AAA fd AF|DE FG AB ce|d2 cd AG G2|

dB (3BBB dB gB|dA (3AAA fd AF|DA FG AB cA|de fg (3agf ge|

dB (3BBB dB gB|dA (3AAA fd AF|DA FG AB cA|d2 cd AG G2||

f3 e de fg|ad fd cA AB|cA (3AAA DF AB|ce dB {d}cA A2|

(3fgf ef de fg|(3agf ga fd AB|(3ccB {d}cB cB Ad|(3ccc dc AG G2|

fd (3ddd ad (3ddd|{g}fd ed cA AB|ce dB cd eg|ab ga fd de|

~f3 g ~a3 g|~f3 d cA AB|cB cB cB AB|(3ccc dB AG G2||

                       

TWENTY EIGHTH OF JANUARY. AKA and see "Miller's Reel [1]," "The Twenty Second of February." Old‑Time, Breakdown. USA, West Virginia. A Dorian (Am). Standard tuning. AB (Silberberg): AABB (most versions). Alan Jabbour detects the title of this tune as a condensation of the names of two other tunes; the well‑known "The Eighth of January" (the date of Andrew Jackson's victory at New Orleans) and "The Twenty Second of February" (the date of Washington’s birthday and the title that "Miller's Reel" appears under in George Knauff's 1839 publication). He believes "The Twenty Eighth of January" to be a minor version of "Miller's Reel," and begs comparison with Indiana fiddler John Summer's "Same Time Today As It Was Yesterday." A few older fiddlers suggested that the 28th of January is the date that Napoleon began his disastrous retreat from Russia, however, historically this is not correct as Napoleon began his retreat from Moscow in October, 1812. The tale seems simply to be a condensation of “Bonaparte’s Retreat” stories with this tune. Modern ‘revival’ fiddlers source the tune from Bluefield, West Virginia, fiddler Franklin George, who learned it from his mentor Jim Farthing. Farthing was a fiddler from Virginia near the North Carolina border who had moved to West Virginia for mining related jobs and who performed carpentry with George’s father. Sources for notated versions: W. Frank George (W.Va.) and Dave Milefsky [Krassen]; Armin Barnett [Phillips]; Stephanie Prausnitz [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 280. Krassen (Appalachian Fiddle), 1973; pg. 36. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 246. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 160. Songer (Portland Collection), 1997; pg. 203. Spandaro (10 Cents a Dance), 1980; pg. 47. Reed Island Rounders - “Wolves in the Wood” (1997. Learned from West Virginia sources). Rounder 0010, "Fuzzy Mountain String Band" (1972).

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T:28th of January

L:1/8

M:C|

K:A Dorian

“Am”A,A,CC “Dm”DDFD|”Am”A,A,CC “Dm”D4|”Am”ABcB AGEG|

ABcB AGE2|”Am”A,A,CC “Dm”DDFD|”Am”A,A,CC “Dm”D4|”Am”Acda (3gfe dc|

“G”AG “Am”A2 A4:|

|:e a3 abag|egab a2gf|efga bagf|efga bagf|e2a2 abag|egab a2gf| efgf edcA|EG A2A4:|

                       

TWENTY FIFTH K.S.O.B.'s. Scottish, March. Traditional. Olympic 6151, The Scottish Fiddle Festival Orchestra ‑ "Scottish Traditional Fiddle Music" (1978).

                       


TWENTY FIRST OF AUGUST. AKA and see "Charles of Sweden,” “The Cheat,” “Cheat or Swing,” "Come Jolly Bacchus," “The Coquette [3],” "(Glorious) First of August," "Frisky Jenny," "The Gallant Weaver," “In My Cottage Near a Wood,” “Pretty Polly [5],” "The Tenth of June," "The Weaver's March.” The twenty-first of August is the birthday of the English king, William IV, in 1765.

                       

TWENTY FIFTH’S OWN SCOTTISH BORDERERS’ FAREWELL TO MEERUT, THE. Scottish, March (2/4 time). D Major. Standard tuning. AABBCCDD. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 25.

                       

TWENTY MAY PLAY AS WELL AS ONE. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       

TWENTY NINTH NOVEMBER, THE.  English, Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. Composed by teacher, musician, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: the T. Armstrong manuscript (c. 1850), in the John Armstrong of Carrick collection [Dixon]. Dixon (Remember Me), 1995; pg. 18.

 

TWENTY NINTH OF MAY, THE. AKA ‑ "All Things Bright and Beautiful," "May Hill, "The Jovial Crew," "The Jovial Beggars," "Restoration of King Charles." English, Morris and Country Dance Tune (2/2 or 4/4 time). D Major (Barnes, Karpeles, Kidson, Raven, Sharp): G Major (Bacon, Callaghan, Mallinson). Standard tuning. AB (Sharp): AAB (Barnes, Karpeles, Kidson, Raven): AABA (Bacon): AABB, x4 (Callaghan, Mallinson). The air was published in Playford's Dancing Master of 1686 and all later editions, sometimes even appearing twice, with different names (such as "The Jovial Beggars"). It also appears in Playford’s Apollo’s Banquet. The title date refers to the day Charles II landed in England in the year 1660 to be returned to the crown. An act of Parliament later that same year decreed the date should be a day of thanksgiving, to “be celebrated in every church and chapel in England and the dominions thereof.” It was observed until 1859. The date, probably by design, happened to be the king’s birthday as well as his return day. Nigel Gatherer communicates that the day is also known as "oak-apple day" after Charles’s celebrated hiding in an oak tree at Boscobel. Previous to his triumphal return to power, Charles had been forced to flee the country. In September, 1651, Oliver Cromwell and his Roundheads defeated the loyalist Scottish army at Worcester and King Charles was obliged to quickly seek safety in other parts of the kingdom. Travelling up the west of England toward Scotland he was advised there was a haven for a rest at Boscobel. There he admitted by sympathetic Catholics who, to further protect him, had him don peasant's attire. Commonwealth troopers were soon on the scent however, and scoured the area for fugitives from the battle, obliging Charles to hide in a bushy oak tree for the whole day. Soon after the incident was idealized by the population, and the thought of an oak hiding the rightful king was transformed into an archetype (or perhaps associated with a more ancient archetype) so that the Royal Oak became a treasured symbol. Loyalists sported sprays of oak in their hats, and eventually 'Oak Apple-day' became a term for restoration day. Gatherer says that to this day it is one of the most popular names for pubs in England. The morris dance version was collected from the village of Headington, Oxfordshire, in England's Cotswolds. The Anglican church has long had a hymn set to the tune. There is a “29th of May” in the music manuscript of John Winder (1789, Wyresdale, Lancashire), although the tune is that of “When the King Enjoys His Own Again.” Bacon (The Morris Ring), 1974; pg. 189. Barnes (English Country Dance Tunes), 1986. Callaghan (Hardcore English), 2007; pg. 52. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 52. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 15. Kidson (Old English Country Dances), 1890; pg. 2. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 4, pg. 9. Raven (English Country Dance Tunes), 1984; pg. 25. Sharp (Country Dance Tunes), 1909/1994; pg. 27.

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