© 1996-2008 Andrew Kuntz
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TWA - TZ |
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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] |
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
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 (
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
***
‘Twas in the end of King Jame’s Street
***
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
X:1
T:Twas on a Summer Morning
M:2/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill –
Music of
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
'TWAS
WITHIN A MILE OF
TWEEDDALE CLUB, THE. Scottish (originally),
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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).
***
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.
X:1
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
(c2B2) (A>B) | (c>d/2e/4) (dc) (BA) | B2 (E>d) (cB) | A4 :|
X:2
T:
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:
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
TWELFTH
TWELVE DAYS OF
CHRISTMAS, THE. English, Air.
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
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
dB (3BBB dB gB|dA (3AAA fd AF|DE
dB (3BBB dB gB|dA (3AAA fd AF|DA
dB (3BBB dB gB|dA (3AAA fd AF|DA
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.
X:1
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
TWENTY MAY PLAY AS
WELL AS ONE. English.
TWENTY NINTH NOVEMBER, THE.
English, Hornpipe.
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
X:1