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] |
YOCK HER IN DE BIGHT, BOY. AKA
and see "The Sixer(ee)n."
Shetland, Hornpipe. Composed by Shetland fiddler Tom Anderson.
YOE, THE. Scottish,
Strathspey. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 98, pg. 13.
X:1
T:Yoe,
The
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 4, No. 98 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D<G
G>F D<G G>A|F2 A>F d>FA>F|D<G G>F D<G G>g|f>d
(3cBA (B<G)G2:|
|: g2
b>g d>gb>g|f2 a>f d>fa>f|1 g2 b>g
d>gb>g|a>gf>a g2g2:|2 (3bag (3agf g<d d>e|d>cB>A G2g2||
YON FLOWERY GARDEN. English, Waltz. Topic 12TS283, Ned Pearson. Topic TSCD 669, Bob Forrester
& Alf Adamson’s Border Square Dance
Band (et al) – “Ranting and Reeling: Dance Music of the north of England”
(1998. Harmonica player Forrester was from Carlisle, Cumberland).
YONDER COMES A COURTEOUS KNIGHT. English, Ballad Air (6/4 time). G
Mixolydian. Standard. ABC. The air appears in Deuteromelia (1609) and Pills
to Purge Melancholy (1698). Chappell (Popular
Music of the Olden Time), vol. 1, 1859; pg. 136.
YONKERS PIPER, THE. Irish, Reel. G Major. Standard. AABB. Composed by
Falmouth, Massachusetts, musician and writer Bill Black, for Yonkers, New York,
uilleann piper Jerry O’Sullivan. Black (Music’s
the Very Best Thing), 1996; No. 66, pg. 34.
X:1
T: Yonkers Piper
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
A | Bded BG G2 |
edBA GE E2 | gede gaba | gfgd BA A2 |
BGdG BG G2 | edBA
GE E2 | DEGD EGAB | cBAB G3 :|
A | degd egde |
agab agef | gdBd e2 dB | GABG ADFA |
dBcA Bdeg | agab agef | g2 dc BcdB | ADFA
G3 :|
YORK
COUNTY. American, Two-Step or Polka. C Major ('A' part) &
G Major ('B' part). Standard. AABB'. Source for notated version: Ben Guilmette
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 176.
YORK COUNTY HORNPIPE. Canadian, Hornpipe. Composed by
Earl Mitton (1926-1991), a native of Stewiacke, Nova Scotia. He learned to
fiddle as a child, and in the 1960’s played with his band (The Valley Rhythm
Boys) on radio and television out of Saint John, New Brunswick. He appeared on
the Don Messer television show and recorded for several Canadian labels. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑
"Maritime Dance Party" (1978).
YORK HORNPIPE. AKA and see "Kirk's Hornpipe." English,
Hornpipe. England, Yorkshire. D Major. Standard. AABB. The melody is more
common under the alternate title. Source for notated version: an MS collection
by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather
& Seattle]. Merryweather & Seattle (The
Fiddler of Helperby), 1994; No. 14, pg. 31.
YORK
HOUSE. English, Reel. England, North‑West. D Major.
Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 64.
YORK FUSILIERS, THE. AKA and see “Convention,”
"Shenandoah." English (originally), American; March or Country Dance.
D Major. Standard tuning. AABBCCDD. A British regimental march from the
Revolutionary War period that has found its way into American dance and martial
tradition, perhaps from early fife tutors (showing up in southwestern Pa.
marital bands as the march "Shenandoah"). It appears, for example in
Cushing Eell's tune manuscript of 1789 (page 19) from Norwich, Connecticut, and
in The Fifer’s Companion, printed by
Joshua Cushing in 1805. Eells also lists this song as “General Washington's March.”
The tune was also used for shape note hymns ("The Heavenly
Contention"). Morrison uses it for the contra dance "The
Convention." Morrison (Twenty-Four
Early American Country Dances, Cotillions & Reels, for the Year 1976),
1976; pg. 49. Sweet (Fifer’s Delight),
1965/1981; pg. 54.
X:1
T:York
Fusiliers, The
M:2/4
L:1/8
R:Air
Z:AK/Fiddler’s Companion
K:D
D2 FA
| de/f/ ge | fd cd | e/d/c/B/ A/G/F/E/ | D2 FA | de/f/ ge | fd c/d/e/c/ | d4 :|
|: fe e2
| fa a2 | fa fd | e/d/c/B/ A/B/c/d/ | fe e2 | fa a2 | fa fd | e4 :|
|: DA
A2 | DB B2 | AB A/G/F/E/ | Dd cd | DA A2 | DB B2 | AB A/G/F/E/ | E2 D2 :|
|:
A>G Fd | A>G Fd | BA GF | E/D/E/F/ E2 | A>G Fd | A>G Fd | Bb
f/d/e/c/ | dd d2 :|
YORK
RANT. AKA and see "Lord Holderness' Rant."
YORKSHIRE BITE [1], THE. AKA and see “Devil in the Kitchen [1],” “Miss Drummond of Perth [1],”
“Mountain Reel [4],” “The Titanic Highland.” English (?), Reel. A
Dorian. Standard tuning. AABB. Cole (1000
Fiddle Tunes), 1940; pg. 38. Ryan’s
Mammoth Collection; 1883; pg. 65.
X:1
T:Yorkshire
Bite [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s
Companion
K:A
Dorian
A(e/d/)
B/d/e/f/ | g(d/g/) B/g/d/B/ | A(e/d/) Bd/e/f/ | g/f/g/d/ BA | A(e/d/) B/d/e/f/
|
G(d/g/)
B/g/d/B/ | A(e/d/) B/d/e/f/ | g/f/g/d/ BA :: a(e/d/) c/d/e/f/ | g(d/g/)
B/g/d/g/ |
A(e/d/)
c/d/e/f/ | g/f/g/d/ BA | a(e/d/) c/d/e/f/ | g(d/g/) B/g/d/g/ | a/f/g/e/ f/d/e/f/
| g/f/g/d/ BA :|
YORKSHIRE BITE [2], THE. English, Country
Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody is from T.
Skillern's Twenty-Four Dances for 1788. Dance instructions along with
the music were printed in Samuel, Ann and Peter Thompson’s Twenty Four Country Dances for the Year 1789. No relation to
"Yorkshire Bite [1].” The “Yorkshire Bite” was a broadside ballad published in 1782, which relates the tale of a
farm lad who, flush with money from selling his master’s cow, frustrates a
robber by throwing it into the woods after he is accosted. While the villain thrashes through the brush
for the loot, the boy makes off with the felon’s horse and the accumulated
booty packed on it. Such stories (i.e. youths outwitting outlaws, i.e. the
trickster tricked) are apparently known throughout Europe. An American a
derivation of the song is found in “The Crafty Farmer”. The term ‘Yorkshire Bite’, meaning a condition of
overreaching, or trapping/being trapped in a profitless bargain, probably stems
from this.Another view of the origin of the term is presented by John Nicholson
(Folk Lore of East Yorkshire, 1890,
pg. 98, a view supported by Samuel Maunder in The Treasury of Knowledge and Library Reference, 1853):
***
When George
IV said to Jemmy Hirst, “So you are a Yorkshire bite?” Jemmy replied,
“Yes,
but not for thee!” and thought the term signifies keenness in the way of over-
reaching,
it probably had its origin in the proverbial Yorkshire hospitality, which
decreed
“You
mun hev a bite o’ summat afooar y’u gan,” and that meant the best the house
could provide.
***
Kidson (Old
English Country Dances), 1890; pg. 17.
X:1
T:Yorkshire Bite, The [2]
M:2/4
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:A
AAcA|ecBA|GABG|dBAG|AAcA|ecBA|fdBG|A2A2:|
|:ceAe|dfBd|ceAc|BGFE|ceAe|dfBf|edcB|A2A2:|
YORKSHIRE GREY. English, Country Dance Tune (6/8 time). D Major.
Standard tuning. AABB. Kidson suggests the 'A' part was derived from "Hunting the Hare" or "Green Gown." The second, ‘B’, part is two
measures longer (six in total) than the ‘A’ part music. The air appears in C.
and S. Thompson's Complete Collection of
Country Dances and Cotillions for the Harpsichord (c. 1775). Kidson (Old English Country Dances), 1890; pg.
15.
X:1
T:Yorkshire
Grey
M:6/8
L:1/8
R:Jig
S:Frank
Kidson – Old English Country Dances
(1890)
Z:AK/Fiddler’s Companion
K:D
dcd
AFA|dfd ecA|dcd AFA|dec d3:|
|:dA=c
BAG|eBd ^cBA|dA=c BAG|eBd ^cBA|efg fed|eBc d3:|
YORKSHIRE LAD, THE. English, Country Dance Tune (4/4 time). A Major.
Standard tuning. AABB. The piece is found in John Johnson's Choice Collection of 200 Favourite Country
Dances (vol. 4, 1748). Kidson finds in this tune the "earliest
germ" of the more famous "Keel Row"
or "Well May the Keel Row" (see note for "Weel May the Keel
Row") and the 'A' part indeed is quite similar. "Smiling Polly" and "The Dumb Glutton" also show strong
resemblances to this tune family. Kidson (Old
English Country Dances), 1890; pg. 18.
X:1
T:Yorkshire
Lad, The
M:C
L:1/8
S:Frank
Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:A
c2 Ac
d2 Bd|c/d/e/c/ Ac BG E2|c2 Ac d2 B/c/d/B/|c/d/e Aa g2e2:|
|:a2 c/d/e/c/
df b2|d/e/f Bd ce ae|f2 dB e2 cA|G/A/B EG A2 A,2:|
YORKSHIRE LASSES [1]. AKA and see "The Rollicking Irishman,"
"Top of Cork Road [1],"
"Cork Road," "Father
O'Flynn," "To Drink
With the Devil," "Trample
Our Enemies," "Bonny
Green Garters [1]," "The Irish
Lilt." English, Jig. D Major.
Standard tuning. AABB. Despite the numerous Irish alternate titles, the tune
seems to have first been printed in English collections, under the given title.
Moffat and Kidson have located the tune in collections of 1779 and 1781, while
the first Irish printing seems to have been in 1798. Longman and Broderip's Compleat Collection of 200 Favorite Country
Dances, Cotillions and Allemands, Vol. 2 (pg. 84) printed in London in 1781
appears to be one of the Moffat and Kidson sources. Nevertheless, ascription's
to Irish origins persist. Kennedy (Fiddlers
Tune Book), vol. 2, 1954; pg. 37 (appears as "The Rollicking
Irishman"). Raven (English Country
Dance Tunes), 1984; pg. 101.
X:1
T:Yorkshire
Lasses [1]
L:1/8
M:6/8
K:D
A|dAG FGA|Bcd
c2A|def efg|fdf edc|dAG FGA|Bcd c2A|def efg|fdd d2:|
|:g|fdf faf|ece eac|dcd Bed|cAA A2=c|BGB
BdB|^cAc cec|dBd eag|fdd d2:|
YORKSHIRE LASSES [2]. Irish, Reel. In
notes on their album "Traditional Music of Ireland and Shetland" How
to Change a Flat Tire says the tune is northern Irish, from Fermanagh, and that
it is traditionally played in that county first in the key of E Minor, then in
A minor. Cathal McConnell says it is an unusual tune because it is played in
octaves (an unusual style for Fermanagh), generally by two fiddles. At the key
change, one fiddle will take the high octave and the other takes the low
octave. Compass 7 4287 2, Cathal McConnell – “Long
Expectant Comes at Last” (2000. Learned from County Fermanagh fiddle player Big
John McManus, who had it from his uncle Hugh Gunn, also a fiddler, and from the
lilting of his mother Katie). Front Hall 018, How To Change a Flat Tire ‑
"Traditional Music of Ireland and Shetland" (learned from flute
player Cathal McConnell, Fermanagh).
YORKSHIRE TRIP (An Turas go Yorkshire). AKA and see “Trip to Yorkshire.” Irish, Slip Jig. G
Major. Standard. AABBCC. Breathnach (CRÉ
IV), 1996; No. 36, pg. 20.
YORKSHIREMAN IN LONDON,
THE. English, Reel. D Major.
Standard tuning. One part. Originally set in the key of ‘G’ in Gibbons’ mss. Source
for notated version: the 1823-26 music mss of papermaker and musician Joshua
Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
Sumner (Lincolnshire Collections, vol. 1:
The Joshua Gibbons Manuscript), 1997; pg. 5.
X:1
T:Yorkshireman in London, The
M:C|
L:1/8
R:Reel
S:Joshua Gibbons mss (1823-26)
Z:AK/Fiddler’s
Companion
K:G
g|dcBA GF G2|GdBd GdBd|dcBA GFGf|gfed ef g2|
fbfb fbbg|fafa faaf|fbfb fbba|gfed ef g2||
YOU
AND I. Canadian, Reel. Canada, Cape Breton. G Mixolydian.
Standard tuning. AABB. Identified as a “French” reel by editor Paul Cranford,
who states the traditional tune was popularized in Cape Breton by fiddler Angus
Chisholm, and is now played throughout the island. Some fiddlers, notes
Cranford, tend to sharpen some of the ‘f’ notes and flatten some of the ‘b’
notes in the tune. Source for notated version: learned by Brenda Stubbert (b.
1959, Point Aconi, Cape Breton) from her father, Robert Stubbert, who had the
tune from Irish-style fiddlers Hughie Jackson (St. Peter’s, Cape Breton) and
Hoe Confiant (Northside, Cape Breton) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 77, pg.
28. WMT002, Wendy MacIsaac – “That’s What You Get”
(1997?).
YOU ARE MY LOVE IN THE HAY ALL NIGHT.
Irish, Air (6/8 time). A Dorian. Standard tuning. AB. One more member of the
ubiquitous "(Oro) Welcome Home"
tune family. Words to the first half were:
***
You are my love in the hay all night (x3)
Till six o'clock in the morning.
***
Source
for notated version: Mrs. Anastasia Corkery (Co. Cork and southwestern Pa.,
1930's) [Bayard]. Bayard (Dance to the
Fiddle), 1981; Appendix No. 36, pg. 587.
YOU ARE WELCOME AS THE FLOWERS IN MAY. Old‑Time.
USA, Tenn. Recorded by Chatanooga, Tenn., fiddler Jess Young for Gennett in
1924.
YOU
BET. American, Reel. G Major. Standard tuning. AABB.
Composed by James (“Jimmy”) Hand, according to Ryan’s Mammoth Collection (1883), but the ‘A’ part is very similar
to “Off/Going to California [1].”
There is also a Johnny Hand to whom several tunes are attributed in Ryans, and
they probably were brothers from the Boston area, or perhaps father and son.
Cole (1000 Fiddle Tunes), 1940; pg.
20. Ryan’s Mammoth Collection, 1883;
pg.
X:1
T:You
Bet
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D |
G>B A/G/E/D/ | G/B/d/g/ e>f | {a}g/f/g/e/ d/B/A/c/ | B/G/A/F/ G/F/E/D/ |
G>B A/G/E/D/ |
G/B/d/g/
e>f | {a}g/f/g/e/ d/B/g/e/ | d/B/A/B/ G :: .g(d/g/) e/d/g/d/ | e/a/a/b/
a/g/e/f/ | .g(d/g/) e/d/g/d/ |
e/g/f/a/
.g(g/a/) | b/b/b/e/ a/a/a/f/ | {a}g/g/g/e/ .d(e/f/) | {a}g/f/g/e/ d/B/g/e/ |
d/B/A/F/ G z :|
YOU BROKE MY CUP AND SAUCER. AKA and see "Same Old Cup and Saucer."
YOU CAN'T BREAK MY HEART. AKA and see "Tu Peux Pas Casser Mon Coeur."
YOU GENTLEMEN OF ENGLAND. AKA and see "When the Stormy Winds do Blow."
English, Irish; Slow Air (4/4 time). F Major. Standard tuning. One part.
"When an English or a Scotch song caught the popular taste in Ireland, it
was quite usual to sing the words to an Irish air when the proper air was not
known. Many an English and Scotch song I learned in that way in my early days‑‑especially
those of Burns‑‑and of some I give the Irish airs in this book. The
proper English air of this song is given in Chappell's Popular Music of the Olden Time, p. 293: I give the Irish air to
which we sang it.
***
You gentlemen of England that live at home at ease,
How little do you think upon the dangers of the seas;
Give ear unto the mariners, and they will plainly show
All the cares and the fears when the stormy winds do
blow." (Joyce).
***
Source
for notated version: "Patrick MacDowell, the distinguished sculptor: born
in Belfast 1799: died in 1870" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 553, pg. 293.
YOU GET SOME SYRUP THERE. AKA and see "La Tu Attrapes du Sirop."
YOU HAD SOME, YOU WON'T HAVE ANY MORE. AKA
and see "T'en As Eu, T'en
N'auras P'us."
YOU KNOW I'M YOUR PRIEST. AKA and see "Ballinamona," "Wedding of Ballinamona,"
"Wedding of Ballyporeen."
YOU MARRIED MY DAUGHTER, AND (BUT) YET YOU DIDN'T. AKA
and see "Cobbler's Reel [1]".
New England, Canadian; Reel. G Major. Standard tuning. AABB'. The tune is originally
called "The Cobbler's Reel" (Reel du cordonnier), although another
tune also called "The Cobbler's Reel" is the "Shoemaker's Reel." The curious title
has been interpreted in various ways, including a meaning taken as ‘you had
relations with my daughter, but never married her.’ Tom Paley thinks the tune
and name might have its origins in France. Source for notated version: The
Riendeau Family [Brody]. Brody (Fiddler’s
Fakebook), 1983; pg. 295. Welling (Welling’s
Hartford Tune Book), 1976; pg. 16. County 725, The Riendeau Family‑ "Old‑Time
Fiddling." Front Hall 010, Fennigs All Stars‑ "The Hammered
Dulcimer Strikes Again." Philo 2000, “Louis Beaudoin” (1973. Appears as
”Wilfrid Guillette’s Favorite Reel,” Beaudoin’s title honouring a friend,
learned from an Isadore Soucy record).
X:1
T:You Married My Daughter, But Yet
You Didn’t
L:1/8
M:C|
K:G
B2d2|g2
g2 agfa| g2 g2 e2 g2|f2 ff gfeg|ff f2 B2 d2|g2 g2 agfg|g2 g2 B2 d2|
fgfe
dcBA|G4 : :BcdB|G2 G2 BcdB|d2 c2 ABcA|F2 FF ABcA|e2 d2 BcdB|
G2 G2
Bcdc| d2 c2 ABcA|F2 fe dcBA|G4:|
YOU MAY IF YOU PLEASE.
English, Jig. D Major. Standard tuning. AABB. Source for notated
version: the 1823-26 music mss of papermaker and musician Joshua Gibbons
(1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner
(Lincolnshire Collections, vol. 1: The
Joshua Gibbons Manuscript), 1997; pg. 72.
YOU MAY TALK AS YOU PLEASE. AKA and see "Daniel of the Sun."
YOU NEED NOT FEAR (Ni Baogal Duit). Irish, Air (4/4 time,
"animated"). G Major. Standard tuning. AB. Source for notated
version: Chicago Police Sergeant James O’Neill, O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 525, pg. 92.
X:1
T:You
Need Not Fear
M:C
L:1/8
R:Air
N:”Animated”
S:O’Neill
– Music of Ireland (1903), No. 525
Z:AK/Fiddler’s Companion
K:G
G |
G3A cBAG | A3B dcBA | G2 Bd edcB | B4A2 zG | G3F E2D2 |
E2
G>A B3e | d3e B2 A/G/B/A/ | G6 z || d | d2 ef g3 f/e/ | d3 e B2 ze |
d3e
dBAG | B3 c/B/ A2 zG | G2 Bd e3d | g3a {a}g2 fe | dBge dBA>B | G6 z ||
YOU NEVER CAN TELL. Old‑Time. The title appears
in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954.
YOU NEVER DID HEAR. AKA and see "The Grumbling Rustic."
YOU NEVER SAW HER EQUAL (Ni Faiceas Riam A Coimionann).
Irish, Reel. G Major/A Dorian. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1233, pg. 232.
X:1
T:You
Never Saw Her Equal
M:C|
L:1/8
R:Reel
S:O’Neill
– Music of Ireland (1903), No. 1233
Z:AK/Fiddler’s Companion
K:G
Bc | dBGB (3ABA GB | dBGB A2 Bc | dBGB
(3ABA GB |
cABG A2 Bc | dBGB (3ABA GB | dBGB A2 Bd | gfga bagf |
gedB A2 || Bd | (3efe de gedg | (3ege dB A2 Bd | (3efe de gedB |
cABG A2 Bd | (3efe de gedg | (3ege dB A2 Bd | (3efg (3fga gedB | cABG A2 ||
YOU NEVER SAW ROSEY (Ni Faiceas Roisin A Riam).
Irish, Slow Air (3/4 time). G Major. Standard. One part. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 246, pg. 42.
X:1
T:You
Never Saw Rosey
M:3/4
L:1/8
N:”Slow”
S:O’Neill
– Music of Ireland (1903), No.246
Z:AK/Fiddler’s Companion
K:G
G/>A/B/c/ | d3f g2 | fd3 B>G |
{G/A/B/}A4 G2 | G6 | .d2 .d2 ga | b2a2 gf |
d2 gf d>{f}e | d4 c/d/e/f/ | a2g2 fe | c f2 dBG | {G/A/B/}A4 G2 | G4 ||
YOU NOBLES OF INIS EALGA. Irish, Air (6/8 time). F Major.
Standard. AB. Stanford/Petrie (Complete Collection),
1905; No. 845, pg. 211.
X:1
T:You
Nobles of Inis Ealga
M:6/8
L:1/8
R:Air
S:Stanford-Petrie
(1905), No. 845
Z:AK/Fiddler’s Companion
K:F
F | FFF fff | fgf fff | ddd ccc |
AAA G2G | FGF f2f | fgf f2e | deA cdA | f3f2 ||
f/g/ | afd gec | cef g2 f/g/ | afd fdc | cAF
G2G | FFF fef | fgd f2e | deA cdA |
f3 f2
f/e/ | de/d/c/A/ cd/c/A/G/ | {F}f3 f2 ||
YOU ROGUE, YOU DAR’N'T MEDDLE ME (A Cladaire na Bain Liom). AKA
and see “Touch Me If You Dare
[1].” Irish, Reel. A Dorian (O’Neill): B Minor (Levey). Standard tuning. AB
(Levey): AAB (O’Neill). Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. 72, pg. 32. O'Neill
(Dance Music of Ireland: 1001 Gems),
1986; No. 632, pg. 114.
X:1
T:You
Rogue, You Darn’t Meddle Me
M:C|
L:1/8
R:Reel
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 632
Z:AK/Fiddler’s Companion
K:A
Minor
AB|cABG
AGE^F|GABc dBGB|cABG AGED|EAAB A2:|
||E2|ABcd
e2 e^f|ge^fd ecAG|ABcd e2 e^d|eaag a2a2|
X:2
T:You Rogue, You
Darn’t Meddle Me
M:C
L:1/8
R:Reel
S:Levey – Dance Music of Ireland, 2nd
Collection (1873)
Z:AK/Fiddler’s Companion
K:B Minor
de | fgfe fdBc |
defg afba | fgfe fdBd | cdec d2 (de) | fgfe fdBc |
defg ac’bg |
fgfe fdBc | dfec d2 || (FE) | FABc d2 (cd) | Bedc BAFD |
FABc dcdf | ecAc
B2 FE | FABc dcde | fedc dcBA | BGFE FDBG | FEDC D2 ||
YOU STAY AWAY A LONG TIME. AKA and see “Breeches Mary,” “Catholic Bill’s,” “Din Tarrant’s Favorite,”
"The Humours of Kilkenny."
YOU STOLE MY HEART AWAY (Do Goidais Mo Croide Leat).
Irish, Air (6/8 time, "cheerfully"). G Minor. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 527, pg. 91.
X:1
T:You
Stole My Heart Away
M:6/8
L:1/8
R:Air
N:”Cheerfully”
S:O’Neill
– Music of Ireland (1903), No. 527
Z:AK/Fiddler’s Companion
K:G
Minor
B/A/ | G2g gfe | dcB AG^F | G2g
g/a/ba | g2^f g2 B/A/ | G2g gfe |
dcB
AG^F | G2g g/a/ba | g3 g2 || A | B>cB d<fB | A>GA FGA |
B>AB
G2d | gab d2a | bag fed | cdB AG^F | G2g g/a/ba | g3 g2 ||
YOU TOLD ME A LIE. Old‑Time. The title appears in a list of
traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954.
YOUGHAL
HARBOUR [1] (Calad n-Eocaill). Irish
(originally), New England; Hornpipe. E Minor or G Major ('A' part) & G
Major ('B' part). Standard. AABB. Youghal is a
sea-side town in the east of County Cork, Ireland; its harbor separates the
counties of Cork and Waterford, where the Blackwater enters the sea. The name
derived from the Irish word Eochaill, meaning ‘yew wood’ and speaks to the
wooded condition of the area in ancient times. The town grew up along a strip
of flat land that was easily defensible and provided access to the estuary, but
other side of the harbor was prone to silting and was thus never developed. A
steep slope situated behind the town led to development north and south along
the water, resulting in a characteristic long narrow profile. Youghal was
well-situated for trade having access to sea and the interior via the
Blackwater, and became a famous port for the rich agricultural lands of east
Cork.
***
Despite the
ancient maritime heritage of the community, not every voyage was successful. In
August 1849, Queen Victoria paid her first visit to Ireland at Queenstown (now
Cobh) and a group from Youghal viewed the occasion. They had an adventurous
journey on board the steamer Arab.
***
leaving Youghal, she came into collision
with a schooner, and injured her. On
reaching Capel Island, she took fire; but
it was soon extinguished. She sank a
boat in Cork Harbour, and periled the
lives of two sailors in it; and on reaching
the Royal Presence, her flag, which bore
the Arms of Youghal, could not be lowered,
it having fouled somewhere in the
rigging. (A Handbook for
Youghal)
***
Bulmer
& Sharpley (Music from Ireland),
vol. 2, No. 83. O'Neill (Krassen), 1976; pg. 182. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1633, pg. 303. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 861, pg. 149. Tolman (Nelson Music
Collection), 1969; pg. 14.
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 861
Z:AK/Fiddler’s Companion
K:G
BA |
GFEF GABd | egfa gage | dcBA G2 Bd | cBAG EcBA | GFEF GABd |
egfa
gage | dcBA BGEF|G2G2G2 :: dc | Bdef g2 fg | agfg edge | dcBA G2 Bd |
cBAG
EcBA|GFEF GABd| egfa gage | dcBA BGEF | G2G2G2 :|
YOUGHAL HARBOUR [2]. Irish, Set Dance
(cut time). G Major. Standard tuning. AAB. Related to version #1. The tune has
six bars in the ‘A’ part and fourteen in the ‘B’ part. Roche Collection, 1982, vol. 3; No. 186, pg. 65. Vallely (Learn
to Play the Fiddle with Armagh Pipers Club), 197?; No. 34, pg. 32.