The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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YN - YZ

[COMMENT1] [COMMENT2] 

[COMMENT3] [COMMENT4]               

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|

ABcd ede^f|ge^fd ecAB|cABG AGED|EAAB A2||

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.

***

During her short voyage, the vessel experienced a variety of casualties. When

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:Youghal Harbor

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.