The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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TOM - TON

 

 

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]

 

 

 


TOM A BEDLAM. AKA and see "Fly Brass," "The Jovial Tinker." English, Ballad Air (cut time). A Minor. Standard tuning. AAB. The air appears in Musick's Delight on the Cithren (1666). Bedlam, the popular contracted name for the Hospital of St. Mary of Bethlehem, was for centuries an institution for the insane in London. In 1815 it was moved from its original site to Lambeth (into buildings which now house the Imperial War Museum), and in 1931 it moved again to Beckenham in Kent.  The hospital of St. Mary Magdalen (Maudlin) was its counterpart institution, for females. Bishop Percy once remarked that "the English have more songs on the subject of madness, than any of their neighbours." The reason for this, suggests Chappell (1859), is that the dissolution of the religious houses in the 16th and 17th centuries left the care of the poor and ill unprovided for. "In consequence of this neglect, the idle and dissolute were suffered to wander about the country, assuming such characters as they imagined were most likely to ensure success to their frauds, and security from detection. Among other disguises, many affected madness, and were distinguished by the name of 'Bedlam Beggars'." Apparently many of these "beggars", probably a good many were mentally ill, called themselves Poor Tom, and, according to period accounts, either cajoled or intimidated servants to "give them what they demand, which is commonly 'Bacon', or something that will yield ready money." Tobler reports that in the 16th and 17th centuries, the Man in the Moon, long a symbol of insanity, was often depicted as a bent old man with a staff, leading a dog and carrying a thorn bush and a lantern. The tune was known in the Netherlands as “Verdwaelde Koningin,” published in 1649 in a volume called Der Fluyten Lust-Hof (The Flute’s Garden of Delights) by Jacob van Eyck (c. 1590-1657), a recorder player, carillonneur of the Utrecht Dom Cathedral, and director of all the bells and clock-chimes of the city. A text of the Dutch song can be found in a song-book called Minnaers Harten-jacht (Lovers heart hunt), printed in 1627, where it tells of a lost queen. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 175.

 

TOM AN t-SEARREACH (Knoll of the Foal).  AKA and see “Heather Island.” Scottish, Air.

 

TOM AND JERRY [1]. Old‑Time, Texas Style; Breakdown. USA; Missouri, Arkansas, Oklahoma, Texas, Virginia, Mississippi, Alabama, Arizona. A Major. AEae or Standard tunings. AABB. The title has several associations. A ‘Tom and Jerry’ was a concoction whose ingredients are whiskey, hot water, sugar, nutmeg, and whipped whites of eggs; it is sometimes known as a seasonal (New Year’s) drink, served in a special bowl (Thede, 1967). Present-day fiddlers probably remember Tom and Jerry as the cat and mouse antagonists of Saturday morning cartoons. However, the first famous association of the two names together was in the early years of the 19th century in a book called Life in London (1820-1821), by Pierce Egan (1772-1849). It features the characters of a young country squire, Jerry Hawthorne who is shown about town by his elegant cousin, Corinthian Tom, and Bob Logic, as rakes in Regency England who mis-adventured among upper-class society, especially at one of the most exclusive establishments of the fashionable Regency world: Almack’s Assembly Rooms in King Street, London. The book (which also had illustrations by George and Robert Cruikshank) was written in thick period slang and was enormously popular with the younger set of the era, although frowned upon by their elders. Due to the influence of the book, a ‘Tom and Jerry’ came to refer to a low drinking house in the Regency Period in England, and, further derived, referred to fighting, drinking and causing trouble (as in “we had a real Tom and Jerry that night”). Arizona fiddler Kenner Kartchner said the tune was from the South, and difficult to play in standard tuning. However, it is known as a Missouri piece and, in fact, “appears to be associated more with states west of the Mississippi River than with the Appalachians and deep South, although it can be heard throughout the South” (Beisswenger & McCann). The tune was played at a fiddlers' convention at the Pike County (Alabama) Fairgrounds, according to an account in the Troy Herald of July 6, 1926. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's (including Lon Jordan in 1941), and by Herbert Halpert in 1939 from the playing of Mississippi fiddlers Stephen B. Tucker and John Hatcher. Missouri fiddler Pete McMahan said (to Gordon McCann) that part of the tune was derived from “Once Upon a Cheek,” and that part of the tune sounds like “Bull at the Wagon Tongue.” Meade (2002) lists early recordings by Uncle Dave Macon (1927) and the Log Cabin Fiddlers (1929). The melody has become a flashy and elaborate standard at fiddle contests in modern times (Drew Beisswenger points to the difference between Ozark fiddlers Roger Fountain’s version and Lon Jordon’s AEae achaic-sounding version, for example).

***

Sources for notated versions: Ardell Christopher (El Paso, Texas) [Christeson]: Herman Johnson (Brody): J.S. Price (Pottawatomie County, Oklahoma) [Thede]: Roger Fountain (b. 1948, Pineville, Ark.) [Beisswenger & McCann]: Lon Jordan (early-mid 20th century, Farmington, Arkansas) [Beisswenger & McCann].

***

Beisswenger & McCann (Ozarks Fiddle Music), 2008; pgs. 35 & 88. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 23. Brody (Fiddler’s Fakebook), 1983; pg. 278. Thede (The Fiddle Book), 1967; pg. 50. Also published in Howe’s Musician’s Omnibus (1864).

***

American Heritage 1, Herman Johnson‑ "Champion Fiddling." County 707, Major Franklin‑ "Texas Fiddle Favorites." County 724, Benny Thomasson (Texas) ‑ "Country Fiddling." County 727, John Ashby‑ "Old Virginia Fiddling." County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'" Missouri State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911) ‑ "Boone County Fiddler." Missouri State Old Time Fiddlers' Association, Lymon Enloe (b. 1906). Rounder 0068, Mark O'Conner‑ "Pickin' in the Wind." Yodel-Ay-Hee 05, The Wildcats - "On Our Knees" (1992).

See also listing at:

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

X:1

T:Tom and Jerry

S:Sam Bush, Repertoire Tape, 1985

Z:Transcribed by Nigel Gatherer

M:2/4

L:1/8

K:A

EF|A2 Ac BAGB|ABcA ecAG|Acea (3f=gf ed|cedf edcB|

AAec BAGB|ABcA ecAG|Acea (3f=gf ed|cAec A2:|]

eg|aeca ecBc|defg agfg|egbe (3fgf eg|agbg aece|

aeca ecBc|defg agfg|egbe (3fgf eg|agbg a2:|]

 

TOM AND JERRY [2]. Scottish, Reel. D Major. Standard tuning. AABB. Apparently, this was the original tune from which the old‑time version derived. It’s provenance is labelled as “Scotch” in Ryan’s/Cole’s, although with what authority is not known. Perhaps the earliest recording is from 1905 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 45. Ryan’s Mammoth Collection, 1883; pg. 73.

X:1

T:Tom and Jerry

B:Ryan's Mammoth Collection (facsimile 1995)

N:labelled "Scotch" in the book

Z:Transcribed by Nigel Gatherer

M:2/4

L:1/8

K:D

A2|d2 fd efge|d2 fd efge|dfad' c'bag|fgab agfe|

d2 fd efge|d2 fd efge|dfad' c'bag|fgef d2:|]

AG|FAdA FAdA|GBdB GBdB|ABcd efge|fgef dcBA|

FAdA FAdA|GBdB GBdB|ABcd efge|fgef d2:|]

 

TOM AND JERRY [3]. Scottish?, Reel. C Major. Standard tuning. AABB. Howe (c. 1867) prints directions to a contra-dance with the tune. Hardings All Round Collection, 1905; No. 43, pg. 13. Howe (1000 Jigs and Reels), c. 1867; pg. 81.

X:1

T:Tom and Jerry [3]

M:2/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:C

G | cc/e/ gg/e/ | fa a/g/d/c/ | cc/d/ ed/c/ | c/d/e/d/ c/B/A/G/ | cc/e/ gg/e/ | fa a/f/d/c/ |

cc c/d/e/c/ | d2 c :: B/c/ | dd/B/ Ge/f/ | gg/e/ cd/e/ | f/e/f/g/ a/g/f/e/ | d/c/B/A/ G/A/B/c/ |

dd/B/ Ge/f/ | gg/e/ cd/e/ | f/e/f/d/ cB | d2c :|

 

TOM AND JERRY [4]. AKA and see "Highland Laddie." English, March or Polka (2/4 time). England, Yorkshire. D Major. Standard tuning. AABB. The tune is the well-known "Highland Laddie." See note on the literary characters Tom and Jerry in “Tom and Jerry” [1]. 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. 118, pg. 63.

           

TOM AND MARY.  English, Jig. G Major. Standard tuning. AABB. The melody first appears in print (as do many in Charles and Samuel Thompson’s 1757 country dance collection) in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 19.

X:19

T:Tom and Mary

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G2A B2c|dcB A2B|c2d e>dc|B>cd {e}d2B|cde cBA|Bcd BAG|ABc BcA|BG2 G2:|

|:d|g>ab g2d|ef/g/e d2B|cde gdc|”tr”B3 A2D|G2B d2B|e/f/ge d2G|E2c BcA|BG2 G2:||

 

TOM BÁN’S. Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: the late tin whistle player Micho Russell (Doolin, County Clare), named for Tom Bán, a local fiddler from whom Russell obtained the tune [Black]. Black (Music’s the Very Best Thing), 1996; No. 298, pg. 160.

X:1

T: Tom Ban's

S: Micho Russell

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

e | d2 d2 BGBd | egfa g3 e | d2 de dBGA | BAAB A3 B |

d2 d2 BGBd | egfa g2 fg | a2 ag fdef | gbaf g3 :|

e | dg (3gfg dg (3gfg | dg (3gfg agfg | a2 ab agfg | agfe dcBc |

dg (3gfg dg (3gfg | dg (3gfg agfg | a2 ag edef | gbaf g3 :|

           

TOM BARRETT'S. AKA and see “The Queen’s Polka,” “Top of the Maol.” Irish, Polka. Breathnach. Tom Barrett was a fiddler from Listowel, County Kerry, a friend of Brendan Breathnach, whose collecting efforts he aided. Flying Fish, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland."

           

TOM BHETTY’S HORNPIPE.  AKA and see “Duck’s Eyeball [2],” “Rainbow Schottische.” Irish, Hornpipe. In the repertoire of Tommy Bhetty McCarthy. See note for “Rainbow Schottische.”

 

TOM BHEATTY’S WALTZ. See “Tommy Bheatty’s Waltz.

           

TOM BIG BEE RIVER. AKA and see "Tombigbee Waltz."

           

TOM BILLY MURPHY’S. AKA and see “Sheehan’s (Jig). Irish, Jig. E Minor. Standard tuning. AABB. Source O’Leary remarked that Kerry musician Murphy had a vast repertoire, a “world of music”: “Padraig (O’Keeffe) got all his music from Tom Billy. Poor Tom wouldn’t see him at all, Padraig taking it down shorthand” (Moylan). This tune was often paired with “Hennigan’s Favourite” by O’Leary. See also the related “Jackson’s Post-Chaise.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 182, pg. 105.

 


TOM BILLY'S {JIG} [1] (Port Tom Billy). AKA and see "The Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna," "The Clare Jig [1]," "Delaney's Drummers," "The Kitten and the Frog," "Kitty in the Fog," “The Mug of Brown Ale [2],” “Old Man Dillon,” "One Bottle More [2]," "Paddy in London" [2], "Paddy O'Brien's (Jig) [3],” “The Raffle Jig,” "The Rambler From Clare [1]," "The Stonecutter's Jig," “Winter Apples [2],” "Young Tom Ennis." Irish, Jig. A Mixolydian. Standard tuning. AABB'CC' (Breathnach, Mulvihill, Songer): AA’BB’C (Moylan). Tom Billy Murphy (1879-1944), a native of Ballydesmond, west Kerry, was an influential fiddler and teacher in the Sliabh Luachra region of the Cork-Kerry border during the early twentieth century, and was a contemporary of the great Kerry fiddler Padraig O’Keeffe. Tom Billy himself learned much of his repertoire from a blind fiddle player named Taidhgin an Asail (Tadhg O Buachalla/Tadeen the Fiddler). Source Johnny O’Leary played extensively with fiddler Denis Murphy who was known for his vast repertoire, much of it Tom Billy’s. O’Leary never heard Murphy play this particular tune until he recorded it however, “He kept tunes up his sleeve all the time that I usen’t get. I got the land of my life when I asked him for it and ‘I thought you had it’, he says, ‘I always had that after Tom Billy.’ But he knew well I hadn’t it.”  Sources for notated versions: fiddlers Julia Clifford & Denis Murphy (west Kerry, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Kevin Burke (Portland, Oregon) [Songer]. Breathnach (CRE III), 1985; No. 13, pg. 7. Breathnach (CRÉ II); No. 48, pg. 27 (appears untitled). Bulmer & Sharpley (Music from Ireland), 1974, vol. 3; No. 68. Moylan (Johnny O’Leary), 1994; No. 241, pgs. 139-140. Mulvihill (1st Collection), 1986; No. 88, pg. 83. Songer (Portland Collection), 1997; pg. 194. Vallely (Learn Tin Whistle with the Armagh Pipers Club), vol. 3, 5. Claddagh Records CC5/Shanachie 34002, Denis Murphy & Julia Clifford ‑ "The Star above the Garter" (1969). Co. Donegal fiddler Tommy Peoples has recorded as "Paddy O'Brien's" on his Ovation album "Tommy Peoples: Master Irish Fiddle Player."

 

TOM BILLY'S (JIG) [2]. AKA – “Tom Billy’s Favourite.” AKA and see “Blathana an earraigh,” “Flowers of Spring [2],” “Katie’s Fancy.” Irish, Jig. A Dorian. Standard tuning. AA’BB’. Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]. Breathnach (CRÉ II), 1976; No. 31, pg. 19 (appears as “Flowers of Spring/Blathanna an Earraigh”). Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3; No. 67. Ceol, vol. 2, No. 4. Moylan (Johnny O’Leary), 1994; No. 242, pg. 140. Taylor (Music for the Sets: Blue Book), 1995; pg. 4 (appears as “Tom Billy’s Favourite”). Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter” (1969). Shanachie 79044, Tommy Peoples - "The Iron Man." Tara 2006, “Tony Linnane & Noel Hill.”

X:1

T:The Flowers of Spring

T:Tom Billy's Jig

B:Breathnach, CRE II, no. 31

S:Denis Murphy

R:double jig

M:6/8

L:1/8

K:Ador

G|ABA ABd|edB G2 B|dBB GBB|ABd efg|

(4ABcA ABd|edB G2 B|dBB GBB|ABA A2:|

|:d|eaa {b}aga|bab age|ege GBd|ede {a}ged|

eaa {a}aga|bab age|(4efge dBG|ABA A2:|

 

TOM BILLY’S (JIG) [3]. AKA and see “Chalk Sunday.” Irish, Jig. A Major. Standard tuning. AA’BB’.

X:1

T: Tom Billy's

M: 6/8

R: Jig

S:From Maurice O'Keeffe, who learned it from Johnny Dennihy who said it was from

S:blind fiddler Tom Billy Murphy.

K: A

A2B cBc | Ace a2f | ecA BAF | BcB {d}BAF |

A2B cBc | Ace a2f | ecA BAB |1 cAA AFE :||2 cAA A2f ||

ece a2f | ece a2f | ecA BAF | BcB {d}BAF |

A2B cBc | Ace a2f | ecA BAB |1 cAA A2f :||2 cAA AFE||

 

TOM BILLY’S (JIG) [4]. AKA and see “The Cordal Jig,” “Julia Clifford’s (Jig) [2],” “Padraig O’Keeffe’s (Jig) [2],” “Wren’s Nest [2].” Irish, Jig. A version of O’Neill’s “Morgan Rattler. 

 

TOM BILLY’S JIG [5]. AKA and see “Rattle the Quilt.” Irish, Jig. A note with the tune in Treoir says “—see Padraig Ó Caoimh’s manuscript.” Treoir, vol. 2, No.3, pg. 12. Whirling Discs WHRL001, Dervish – “Harmony Hill.”

                                      

TOM BILLY’S (SLIDE). Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AA’BB (Breathnach): AA’BB’ (Breathnach). Source for notated version: Tom Billy Murphy of Kingwilliamstown (1879-1944) via accordion player Johnny O’Leary (Sliabh Luachra region) [Breathnach, Moylan]. Breathnach (CRÉ II); No. 60 (appears untitled). Moylan (Johnny O’Leary), 1994; No. 118, pgs. 68-69. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

                       

TOM BILLY’S FAVOURITE [1]. AKA and see “Denis Murphy’s Slide” [2]. Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - “The Rushy Mountain” (1994. Reissue of Topic recordings).

 

TOM BILLY’ S FAVOURITE [2]. See “Tom Billy’s Jig [2]."

                       

TOM BILLY’S FAVOURITE [3]. See “Dingle Regatta.”

           

TOM BILLY’S HORNPIPE. AKA and see “Mike Sullivan’s Hornpipe [1]."

                       

TOM BILLY'S POLKA [1] (Polca Tom Billy). AKA and see  Ballydesmond Polka”  [3], “Gneevequilla Polka.” Irish, Polka. Ireland, County Kerry. A Dorian. Standard tuning. AA'BB. The title honors Tom Billy Murphy of Kingwilliamstown (1879-1944), an influential fiddler in the Sliabh Luachra region of the Cork/Kerry border. As part of the  “Ballydesmond Polkas” it is the third tune in the series. Source for notated version: fiddler Paddy Cronin (Co. Kerry) [Breathnach]. Breathnach (CRÉ  III), 1985; No. 73, pg. 36. Outlet Records OAS 3002, Paddy Cronin - "Kerry's Own Paddy Cronin" (1977). Chieftains – “Chieftains 5” (appears as last of “Three Kerry Polkas”).

 


TOM BILLY’S (POLKA) [2]. AKA and see "Lass o' Gowrie [1]," "Loch Erroch Side," “Loch Ericht Side,” "I'm O'er Young to Marry Yet [3]," "Lakes of Sligo," “Over the Hills to Glory,” "Rocky Road to Dublin [4]" (Pa.). Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. Source O’Leary usually paired this tune with “Dan O’Connell’s Favourite.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 222, pg. 128.

                                      

TOM BILLY’S REEL [1]. AKA and see “McBand’s Reel.” Irish, Reel. Ceol, vol. 5, No. 1.

              

TOM BILLY’S REEL [2]. AKA and see “Humours of Scartaglen,” “The Gleanntán Reel [4],” “The New Post Office.” Irish, Reel. D Major. Standard tuning. AABB. The title honors Tom Billy Murphy of Kingwilliamstown (1879-1944), an influential fiddler in the Sliabh Luachra region of the Cork/Kerry border. The melody is heard in both two- and three-part versions under the various alternate titles. Source for notated version: accordion player Eoghan O’Sullivan and fiddler Gerry Harrington (County Cork) [Songer]. Songer (Portland Collection), 1997; pg. 195. Shanachie 34002, Dennis Murphy & Julia Clifford - “The Star Above the Garter” (196?. Two part version).

 

TOM BILLY’S (REEL) [3]. AKA and see “Charlie Mulvihill’s (Reel) [2],” “Cronin’s Fancy Hornpipe,” “The Doon Reel [2],” “The Kilfenora Reel [3],” “O’Keeffe’s Reel [2],” “O’Keefe’s Speed the Plow,” “Speed the Plow [2].” Irish, Reel. D Major. Standard tuning. AABB. Not “Tom Billy’s Reel” [1] or [2]. Bulmer & Sharpley (Music from Ireland), vol. 1, No. 41. Mallinson (Essential), 1995; No. 9, pg. 4. Shanachie 79023, "Chieftains 3" (1971/1982).

X:1

T:Tom Billy's Reel

T:O'Keefe's Plow

M:C|

L:1/8

R:Reel

N:O'Keefe's Plow

Z:Roger Landes

K:D

dcdA BAFB|AF F/2F/2F EFDE|F/2F/2F AF G/2G/2G BG|ABde fdec|d/2d/2d dA BAF

B|AF F/2F/2F/2 EFDE|F/2F/2F AF G/2G/2G BG|1ABde fe e/2e/2e:|2ABde fdde||

fa a/2a/2a afdf|g/2g/2g fg edBd|fa a/2a/2a bafd|ABde fe e/2e/2e|fa a/2a/

2a afdf|g/2g/2g fg|{f}edBA|F/2F/2F AF G/2G/2G BG|1ABde fe e/2e/2e:|2ABde fdec||

 

TOM BILLY’S (REEL) [4]. AKA and see “Bank of Turf [1]." Tommy Peoples – “The Iron Man” (appears as “Tom Billy’s”).

           

TOM BILLY’S WALTZ. Irish, Waltz. D Major. Standard tuning. AA’BB’. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 272, pg. 155.

           

TOM BOWLING.  English, Air. A song composed by Charles Dibdin (1745-1814), a very popular English musical dramatist of his era, in memory of his older brother Thomas Dibdin. Charles was the 18th son of a silvermaker, understandably driven to poverty, and Tom was some 29 years older and something of a father-figure to Charles. The elder brother had been an East India trade sea-captain, killed when his ship was struck by lightning. The song (also called “The Sailor’s Epitaph”) first appeared in The Oddities, performed at The Lyceum Theatre in 1789. Words begin:

***

Here, a sheer hulk, lies poor Tom Bowling

The darling of the crew;

No more he’ll hear the tempest howling

For death has broach’d him to.

His form was of the maliest beauty,

His heart was kind and soft,

Faithful, below he did his duty,

But now he’s gone aloft.

***

It is well-recorded that the song was American transcendentalist Henry David Thoreau’s favourite song.

 

TOM BRIGGS' (JIG). American, Dance Tune (2/4 time). D Major. Standard tuning. AABB.  In this case the term "jig" refers to a kind of syncopated old‑time dance tune, much associated with the banjo and almost always in 2/4 time; it does not refer here to the more familiar 6/8 Irish jig. John Hartford (Devils Box) thinks the use of the word ‘jig’, as in 'jig dancing' and the derogatory name for African-Americans, is derived from this. However, the term ‘jig’ in the British Isles long has been used generically for any kind of solo dance step, and it is likely the same usage migrated to America. Tom Briggs, according to Edward Le Roy Rices’ Monarchs of Minstrelsy (New York, 1911) was:

***

...one of the earliest and greatest banjo performers in minstrelsy; when he first went

on the stage, in the early 40’s, he travelled under the name of Fluter. He invented the

banjo thimble in 1848 [used for rapid tremolo picking], and it came into general use three

 years later. He was the first to do the bell chimes  [i.e. harmonics] , and gave imitations

of a horserace on the banjo. He played successful engagements in the 40’s and 50’s with

Wood’s Minstrels, likewise Buckley’s Serenaders.  September 20 1854, he left New York

with E.P. Christy’s Minstrels to play an engagement in San Francisco; he contracted an

illness on the way, and was unable to play. Tom Briggs died in San Francisco October 23,

1854; aged 30 years.  (pg. 46)

***

Briggs had been taught to play by one of the first minstrel performers, Billy Whitlock, an original member of the seminal Virginia Minstrels (Dan Emmett’s group) and was quite famous as a banjoist in his day. Unfortunately, as Rice mentions above, he contracted typhoid fever while crossing the jungles of the Isthmus of Panama in the years following the California Gold Rush, and died soon after reaching California on the ship the Golden Age. A fretless banjo tutor, Briggs’ Banjo Instructor, was published in his name in 1855, having been completed by his friend (and fellow-minstrel performer) James Buckley (for more on whom see note for “Dar’s Sugar in the Gourd”). The tutor has been reprinted recently (1992), and is often referred to for learning the minstrel style of playing. Cole (1000 Fiddle Tunes), 1940; pg. 80. Kerr (Merry Melodies), vol. 2; No. 425, pg. 48. Ryan’s Mammoth Collection, 1883; pg. 113.

X:1

T:Tom Brigg’s

M:2/4

L:1/8

R:”Jig”

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D |: D/F/z/A/ d/A/F | G/B/z/d/ d/g2 | D/F/z/A/ d/A/F/ | E4 | D/F/z/A/ d/A/F | G/B/z/d/ g2 |

f/e/d/f/ e/d/c/e/ | z/d/A/F/ D2 :: f/a/z/a/ a/f/a | f/a/z/f/ e/f/d | g/b/z/g/ b/g/b | g/b/z/f/ e/f/d |

f/a/z/f/ a/f/a | f/a/z/f/ e/d/e/g/ | f/e/d/f/ e/d/c/e/ | z/d/A/F/ D2 :|


           

TOM BRODERICK’S JIG.  AKA and see "Bob Thompson's Favourite," "The Coravat Jig [1]," “The Geese in the Bog [2],” "The Green Meadow [2]," "The Humours of Limerick [2]," "Jackson's Walk to Limerick," "Jackson's Trip to Limerick," "Jackson's Coola," “The Lark’s March,” “Mist on the Meadow,” “Morrison’s Fancy,” "The Mountain Lark [5]," "The Piper's Frolic," “Thrush in the Straw [1],” “Tom Broderick’s Jig,” "Tuhy's Frolic," "Twice Tricked,” "Wiseman's Favourite." Irish, Jig. D Major. Standard tuning. AABBCCDDEE. Tom Broderick was a neighbour of young Mike Rafferty’s in Ballinakill, who gave him this tune along with several others [Harker]. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 165, pg. 51.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

 

TOM BROWN'S BURLETTA. AKA and see "Jiggs On Parade." American Veteran Fifer, 1927; No. 30.

           

TOM BUSBY'S. Irish, Double Jig. E Dorian. Standard tuning. AABB. Piper Tom Busby emigrated from County Fermanagh to the United States in the 1930’s, and learned to play the pipes in the Connaught style. His teacher was Mike Carney. Billy and Charlie Taylor, famous uilleann pipe makers who emigrated to America in the 19th century, mad a set of pipes for Tom Kerrigan, their first customer after coming over and landing in New York (where Kerrigan put them up), then to Philadelphia. Kerrigan’s set of pipes devolved to piper Busby, who had moved to New York, who in turn gave them to a man named Martin Kerrigan of County Wexford, who claimed to be a relation of Tom Kerrigan. Taylor (Crossroads Dance), 1992; No. 41, pg. 31. Shaskeen - "Mouse Behind the Dresser." Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996). Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

                       

TOM CAT RAG. Old-Time, Breakdown. G Major. Standard tuning. AB. Source for notated version: Jack Link [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 158.

                       

TOM CAWLEY’S. AKA – “The Wind off the Lake.” AKA – “Tommy Cowley’s.” Irish, Jig. G Major. Standard tuning. AABB. Tom Cawley was a fiddler from the Tubbercurry, Doocastle, County Sligo, region who emigrated to the United States in the early 20th century. He made some important recordings during the “golden age” of Irish traditional music in the 1920’s-1940’s, often paired with another fiddler, Francis Cashin. The duo recorded “The Silver Tip” in 1929, and a year later recorded in Chicago the reel “Wheels of the World.” Cawley eventually settled in New York and played in various bands in Harlem in the 1930’s (personal communication from his grandson, Matt Cawley). He died around 1940. Source for notated version: fiddler Johnny McGreevy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 3, pg. 3 (appears as “Tommy Cowley’s Jig”). Treoir, vol. 32, No. 4. Green Linnet Records SIF 1023, Joe Shannon & Johnny McGreevy ‑ "The Noonday Feast" (1980).

X: 1

T: Tom Cawley's

N: "TC was a fiddler from Doocastle, Co.Sligo" (near Brendan Tonra's

N: home town - BB)

M: 6/8

L: 1/8

Q: 325

S: Treoir 32/4

Z: Transcribed by Bill Black

R: jig

K: G

D | GBB BAB | GBB BAG | FAA A2 D | FAA A2 D |

GBB BAB | GBB BAG | def gdc | BGG G2 :|

g | aba  afd | gag gfe | d^cd gdB | BAA A2 g |

aba afd | gag gfe | d^cd gd=c | BGG G2 :|

                       

TOM CLAIR’S MAGGIE. AKA and see “Lady’s Bonnet,” “Reel with the Beryle.” Irish, Reel. E Minor. Standard tuning. AA’B. O’Neill (1922) remarks: “The first part of Mr. Clair's tune differs but little from ‘Drowsy Maggie’ in common circumstances.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 300.

X:1

T:Tom Clair's Maggie (#300)

M:4/4

L:1/8

S:noted from Clair's playing by Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:Emin

B|:"tr"E2 BE dEBE|"tr"E2 BE AFDF|1"tr"E2 BE d2 d2|e2 dB AFDF:|

2GFEF GFGB|dedB AFDF||(3Bcd ef e3 g|

fd ~d2 fd ~d2|g2 "tr"gf g2 g2|afdf afdf|

a2 "tr"af g2 eg|e2 ef B3 A|DGGF GABd|(3efg dB AFDF||

           

TOM CLARK’S FANCY. AKA and see “Green Fields of Ros(s)beigh,” “The Kerry Reel [1].” Irish, Reel. Recorded by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) for the Victor company in Camden, New Jersey, in 1927 (Victor 21593B).

                       

TOM COLLINS’. Irish, Jig. Philippe Varlet suggests it is a version of “The Angry Peeler.Moher – “Over the Edge.”

                       

TOM CONNER'S JIG (Port Taim, Uí Chonchúir). Irish, Jig. D Major. Standard tuning. AABB. Breathnach (1976) notes that Tom Connor was an old fiddler from County Cork who liked to play this tune for dancers. Source for notated version: fiddler Denis Murphy, 1967 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 57, pg. 33. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

           

TOM CONNOR'S HORNPIPE (Cornphíopa Thomáis Uí Chonchuir). AKA and see “Killaloe Hornpipe,” “Widow Cantwell’s Fancy.” Irish, Hornpipe. G Major. Standard tuning. AABB. The melody was collected by O’Neill as “The Widow Cantwell’s Fancy” and, in the mid-19th century, by Church of Ireland cleric and uilleann piper James Goodman (1828-1896) as “The Killaloe Hornpipe.” Source for notated version: fiddler Denis Murphy, 1970 (Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 304, pg. 155.

           

TOM CROMWELL. AKA and see “Kerry No. 1.” Irish, Polka. D Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 34.

           

TOM DEERING'S RAMBLES. American, Reel. G Major. Standard tuning. AABB. Composition credited to Edwin Christie in Ryan’s Mammoth Collection. This is not the Edwin Christy of blackface minstrel fame, however, but rather a journeyman composer of light music from Boston by the name of Edwin P. Christie. Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 65.

X:1

T:Tom Deering’s Rambles

M:

L:1/8
R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

GB dg | ea/g/ f/d/e/f/ | g/d’/c’/e/ d/c’/b/d/ | ^c/d/b/a/ f/d/=c/A/ | GB dg | ea/g/ f/d/e/f/ |

g/d’/c’/e/ d/c’/b/d/ | ^c/b/a/f/ g2 :: {g/a/}g/f/g/a/ b/g/d/B/ | a/>a/”tr”a {^g/a/}f/>d/”tr”d |

{^c/d/}g/a/b/c’/ d’/b/g/b/ | a/d’/^c’/d’/ =c’/a/f/d/ | {g/a/}g/f/g/a/ b/g/d/B/ |

a/>a/”tr”a {^g/a/}f/>d/”tr”d | {^c/d/}g/a/b/c’/ d’/b/c’/a/ | b/g/a/f/ g2 :|

           

TOM DEY STRATHSPEY. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Scottish fiddler-composer J. Scott Skinner (1843-1927). The melody appears in J. Murdoch Henderson’s collection of Skinner’s music published in 1957 (The Scottish Music Maker). Source for notated version: Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 13, pg. 6. Henderson (The Scottish Music Maker), 1957. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 194. Jerry Holland – “Crystal Clear” (2000). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Tom Dey

M:C

L:1/8

R:Strathspey

C:J. Scott Skinner

K:A

c3d|e4 f3e ce3 A3B|c4 B3A FA3 EC3|D4 F3D C3E A3a|ec3 Ac3 B4 (3B2c2d2|

e4 f3e ce3 A3B|c4 B3A FA3 EC3|D4 F3D (3C2E2A2 (3c2e2a2|ec3 Bc3 A4:|
|:e4|a4 b3a gb3 e4|f4 (3f2a2f2 ea3 c3A|dB3 e3d ce3 c3A|B3d (_d2e2f2 e4 (3e2f2g2|

af3 b3a gb3 e4|fd3 (3f2a2f2 ea3 c3A|(3F2G2A2 (3B2c2d2 (3c2d2e2 (3f2g2a2|(3e2d2c2 (3B2A2G2 A4:||

 

TOM DILLANE’S. AKA and see “Dillane’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. Black (Music’s the Very Best Thing), 1996; No. 334, p. 178.

X:1

T: Tom Dillane's

S: M. Mulvihill

Q: 325

R: hornpipe

Z:Transcribed by Bill Black.

M: 4/4

L: 1/8

K: D

AG | (3FED FA d2 dA | (3Bcd ef g2 g2 | fafd eged | c2 A2 ABAG |

(3FED FA d2 dA | (3Bcd ef g2 g2 | fafd (3efg ec | d2 d2 d2 :|

fg | afdf afdf | bgeg bgeg | afdf afdf | e2 A2 ABAG |

(3FED FA d2 dA | (3Bcd ef g2 g2 | fafd egec | d2 d2 d2 :|

           

TOM DOWD'S FAVOURITE (Rogha Thomáis Uí Dhubhda). AKA and see "Maide Fuinnseoige." Irish, Reel. E Minor ('A' part) & G Major ('B' part). Standard tuning (fiddle). AB. The tune is related to “The Ashplant [1].” Source for notated version: flutist John Keegan/Seán Mac Aodhgain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 115, p. 48.

X:1

T:Tom Dowd’s Favorite

M:C|

L:1/8

R:Reel

K:Emin

GA|BE~E2 GEDE|GEDE G3A|BE~E2 GED2|BcdB A2 GA|

BE~E2 GEDE|GEDE G3A|BE~E2 GED2|BcdB A2EF||

G2 G2 GBdB|G2 GB AGED|G2 GF GABd|gedB AGEF|

G2 G2 GBdB|G2 GB AGED|G2 GF GABd|gecB A2||

           

TOM DUFF. Irish, March. G Major. Standard tuning. AB. Roche Collection, 1982, vol. 2; No. 330, p. 57.

           

TOM FAOI BLAT, AN. AKA and see "The Bush in Bloom."

           

TOM FITZMAURICE'S REEL. AKA and see "Corney is Coming." Irish, Reel. D Mixolydian. Standard tuning (fiddle). AA'B. O'Neill (Krassen), 1976; p. 161.

           

TOM FITZMORRIS’S [1]. AKA and see “The Hawthorn Blossom.” Irish, Reel. G Major. Standard tuning (fiddle). AAB. Identified by Philippe Varlet. Source for notated version: fiddler Andrew Davie (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]. Flaherty (Trip to Sligo), 1990; p. 113 (appears as “Unknown”).

 

TOM FITZMORRIS’S [2]. Irish, Reel. A Major. Standard tuning. AAB. Identified by Philippe Varlet. Source for notated version: fiddler Andrew Davie (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]. Flaherty (Trip to Sligo), 1990; p. 114 (appears as “Unknown”).

 


TOM FLEMING'S. AKA and see “Fahy’s Jig (3) “Matt Hayes’s Jigs.” Irish, Jig. D Major. Standard tuning (fiddle). AABB. Named after the local source, Co. Kerry, Ireland, button accordionist Tom Fleming, the leader of the Brosna Ceili Band. However, the tune is a composition of fiddler Paddy Fahy’s. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 343, p. 193. Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987. Learned from Tom Fleming). John Whelan (et al) – “The Big Squeeze.”

           

TOM FOWLER’S HORNPIPE. AKA and see “Tom Tollin’s Hornpipe.” AKA – “Tom Tolley’s.” English, Hornpipe.

           

TOM FRIEL’S.  Irish, Jig. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 46.

X:1
T:Tom Friel's
D: Mary Mac Namara: The Blackberry Blossom
D: Bernard O'Sullivan and Tommy Mac Mahon: Clare Concertinas
Z: I wrote Mary Mac Namara's version in D
Z: despite she plays it in G because it is Described like a D tune in NG's Index of tunes
Z: and because it suits more the Uilleann Pipes
B: Geraldine Cotter's Tutor for the Tin Whistle
R:Jig
M:6/8
L:1/8
K:D
: dcd fed | BdB AFE | DFA fed | efe ABc |\
dcd fed | BdB AFE | DFA fed | AFE D2A :||\
: dcd baf | baf edB | dfb afd | efe edB |\
dcd baf | baf edB | AFA fed | AFE D2A :||

           

TOM HEPPLE’S POLKA. English, Polka. England, Northumberland. Topic 12TS283. Topic TSCD 669, Adam Gray (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Gray, born in 1903, was a fiddler and policeman who lived in Bardon Mill, Northumberland).

 

TOM HICKEY.  Old-Time, Breakdown. In the repertoire of fiddler James “Skeeter” Walden (Busch, Arkansas). See note for “Rachel [1].”

 

TOM HILL'S HORNPIPE (Cornphíopa Thomáis a Chnoic). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: fiddler John Kelly/Seán O'Kelly (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 212, pg. 85.

                       

TOM HOWARD'S HORNPIPE. Scottish, Hornpipe. A Major. Standard tuning. AABBAA. Kerr (Merry Melodies), vol. 1; No. 16, pg. 44.

X:1

T:Tom Howard’s Hornpipe

M:C
L:1/8
R:Hornpipe

S:Kerr – Merry Melodies, vol. 1, pg. 44  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

A>Bc>d e>ca>e|f>ga>f e>ca>e|f>ga>f e>cA>c|B>AG>F E2E2|A>Bc>d e>ca>e|

f>ga>f e>ca>e|f>ag>f e>dc>B|A2c2A2::B>cd>e d>BG>B|A>ce>g a2 e>g|

a>fd>f e>cA>c|B>AG>F E2 F>A|B>cd>e d>BG>B|A>ce>g a2 b>a|g>bg>e f>af>^d|e2g2e2:|

                       

TOM IS GONE TO THE FAIR. Irish, Hornpipe. G Major. Standard tuning. AABB. "From memory, as I heard it played in early days" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 11, pgs. 8‑9.

X:1

T:Tom is gone to the fair

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:G

B>A|G2 DG BGBd|c>BAB cdef|g>fgd ecBG|EcBA GFED|

G2 DG BGBd|c>BAB cdef|g>fec BGED|E2G2G2:|

|:Bd|e2 dB GBdg|fdcA GFED|EA A2 B>AGE|EcBA GFED|

G>FGA BABd|cBcd edef|g>fec BGED|E2G2G2:|

                       

TOM JONES. English, Jig. D Major. Standard tuning. One part (O’Neill): AABB (Thompson). A very popular English melody that appears in numerous mid-18th century publications and musicians’ manuscripts, named for the title character of Henry Fielding’s novel The History of Tom Jones, a Foundling (1749). It was first printed by London publishers R. Baldwin in The London Magazine; or, The Gentleman’s Monthly Intelligencer (1750), S. Urban in Gentleman’s Magazine and Historical Chronical, David Ruthford in his Choice Collection of Sixty of the Most Celebrated Country Dances (1750), and John Johnson in his Choice Collection of 200 Country Dances, vol. 5 (1750). This was followed by printings in Walsh’s Compleat Country Dancing Master, vol. 5 (London, 1754), Charles and Samuel Thompson in their Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765), and James Aird in Selections of Scotch, English, Irish, and Foreign Airs, vol. 5 (Glasgow, 1797). “Tom Jones” also appears in the music manuscript collections of Northumbrian musician William Vickers (1770) and Cheapside, London, musician Walter Rainstorp (begun in 1747). In America, it appears in the music copybooks of Luther Kingsley (Mansfield, Conn., 1795), flute player John Bartlett (Mass., 1790), and keyboard player John Ives (New Haven, Conn., c. 1800). Source for notated version: copied from Aird’s Selections of Scotch, English, Irish and Foreign Airs [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 95. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 200.

X:1

T:Tom Jones (#95)

M:6/8

L:1/8

S:Aird's Selections 1782-97

Z:Paul Kinder

K:D

[A3c3a3] [A3c3g3]|fdf ecA|d2 f ecA|d2f ecA|

dcd ede|fef gfg|a2 d c2 B|A3 A3|

D2 F E2 G|F2 A G2 F|GAB ABc|B3 A3|

GFG AGA|BAB cBc|d2 G F2 E|D3 D3||

X:2

T:Tom Jones

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

a3 g3|fdf ecA|d2f ecA|d2f ecA|dcd ede|fef ^gfg|a2d cdB|(A3 A3):|

|:D2F E2G|F2A EFG|F2d AB=c|{d}(B3 B2)F|GFG AGA|BAB ^cBc|d2G FGE|D3 D3:||

                       

TOM KEANE'S REEL (Ríl Thomáis Uí Chéin). AKA – “Tom Kane’s.” AKA and see “Monaghan Twig [1],” “The Tinker’s Apron.” Irish, Reel. A Dorian. Standard tuning. AA'B. The tune is named after Dublin fiddler John Kelly Sr.’s uncle. Philippe Varlet says Breathnach should have transcribed the tune in two sharps (A Mixolydian). Source for notated version: fiddler John Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 152, pg. 71. Gael‑Linn Records CEF 018, John Kelly & Willie Clancy ‑ "Seoda Ceoil I" (1968).

X:1

T:Tom Keane’s Reel

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:G Mixolydian

A|BGGA BGdG|BGG2 F3A|BGGA BGdG|1 BGA2 G3A:|2 BGA2 G2Bc||\

dgga dedc|Bcde f2ef|dgga dedc|BG (3ABA G2Bc:||

X:2
T:Tom Kane's Reel
R:Reel
M:4/4
L:1/8
K:G
BGGA BGdG|BGGE =F3c|BGGA BcdG|1 BGFA G3A:|2 BGFA G4|]
dggf d3c|Bcde =f3e|dggf dedc|1 BGAF G3B:|2 BGAF G4|]

 

TOM MACCORMACK'S. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’. Composed by Cape Breton fiddler Angus Chisholm (1908-197). Cranford (Jerry Holland’s), 1995; No. 217, pg. 63. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

                       

TOM MAHON’S. Irish, Single Jig. G Major. Standard tuning. AABB. Source for notated version: Joe Keegan, father of fiddler and pianist Josephine Keegan, and himself a flute player, “from the County Laois side of Partartington” [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 99, pg. 27.

                       

TOM MARSH’S HORNPIPE. Canadian, Hornpipe. Canada, Cape Breton, Nova Scotia. B Flat Major. Standard tuning. AABB. The tune was composed by Cape Breton musician Vincent MacGillivray. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; pg. 5. Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.” Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

                       

TOM McCOLL'S FAREWELL. Irish (?), Reel. A Minor. Standard tuning. AA'BB'. Welling (Hartford Tunebook), 1976; pg. 26 (includes one variation).

                       

TOM McELVOGUE’S. Irish, Jig. G Major. Standard tuning. AA’BB’.

X:1
T:Tom McElvogue's
R:jig
C:Tom McElvogue
D:Across the Waters
Z:Jeff Myers
M:6/8
L:1/8
Q:3/8=102
K:G
~G3 ~d3|cAG FAF|~G3 ~d3|dge =fdc|
G2G dBd|cAG FAF|GBd cAG|1 FAF G2 D:|2 FAF G2 d|
|:~g3 gfd|fed cAF|G2G ~d2d|cAG FAF|
~G2g ege|fed cAF|G2G ~d3|1 cAF G2d:|2 cAF G2D||

`                      

TOM McGUIRE'S [1]. Irish, Reel. D Major. Standard tuning. ABCD. Taylor (Where’s the Crack), 1989; pg. 17.

                       

TOM McHALE'S JIG. Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: Tom McHale, a tin whistle player from County Roscommon [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 24, pg. 6.

                       

TOM McKERRON.  Scottish, Reel. A Major. Standard tuning. AABB. Composed by Charlie McKerron.

X:1

T:Tom McKerron

M:4/4

L:1/8

R:Reel

C:Charlie McKerron

K:A

ga | ec (3ccc BcAF | EC (3CCC B,CA,B, | C2 EC FCEC |
DF AF EGBG | ec (3ccc BcAF | EC (3CCC B,CA,B, | C2 EC DFAF |
EGBG A2 :: eg | g a2 a feec | A2 A2 FEEe |
ae(3eee feec | Bcec B2 ce | g a2 a feec | A2 A2 FE E2 |
C2 EC DFAF | EGBG A2 :| AB |:

 

TOM McVICAR’S. Irish, Polka. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 75.

           

TOM MELLIN’S.  English, “Old” Hornpipe (3/2 time). Offord (John of the Greeny Cheshire Way), 1985. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.”

           

TOM MICK’S. See “Port Tom Mick’s.

                       

TOM MORAN’S FANCY. Irish, Slide (12/8 time). Breathnach (CRÉ II), 1976; No. 80 (appears as untitled slide).

                       


TOM MORRISON’S FAVOURITE. AKA and see “Rakes of Clonmel [2].” Irish, Jig. A Dorian. Standard tuning. ABB’. Tom Morrison was a concert flute player from west Kerry. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 264, pg. 151.

                       

TOM MORRISON’S REEL. Irish, Reel. G Major. Standard tuning. AABB’. The tune was recorded as a schottische on a 78 RPM in 1927 by Tom Morrison as “Sweet Flowers of Milltown,” and is a variant of the “Off to California” family of tunes. Morrison (1889-1958), the ‘Dunmore Flash’, was a flute player from near Glenamaddy, in the Dunmore area of County Galway. Morrison sometimes partnered with renowned fiddler Michael Coleman for duet recordings. Songer (Portland Collection), 1997; pg. 196. Green Linnett GLCD Kevin Burke - “Portland.”

                       

TOM MURRAIN, AN (The Hillock of Bent-Grass). Scottish, Air. A lost tune attributed to the harper John Garbh Maclean, Laird of Coll.

                       

TOM NOKES' JIG. AKA and see "Rantin' Roaring Willie," "The Mitford Galloway," "Come Open the Door, Sweet Betty." English, Slip Jig. C Major ('A' part) & A Minor ('B' part). Standard tuning. AABB'. Tom Nokes was an English actor popular during the reign of Charles II. Chappell (1859) notes that "Come Open the Door, Sweet Betty" appears in the first part of "Tom Nokes' Jig," and though the time is different, they are evidently founded on a common ancestor or that one is a derivative of the other. The air appears in Apollo's Banquet (1669). Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 148.

X:1

T:Tom Nokes’ Jig

M:9/8

L:1/8

S:Chappell – Popular Music of the Olden Time (1859)

Z:AK/Fiddler’s Companion

K:C

e2|dBG A2B cde|dBG A2B c2:|

|:c|BcA ^G2E G^FE|1 AAB ^G2A B2:|2 AAB ^G2A A2||

 

TOM PRICK’ITS FAVOURITE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody and title are unique to London publisher Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 38.

X:1

T:Tom Prick’its Favourite

M:2/4

L:1/8

N:The ‘c’ note in the seventh measure of the 1st part may be played sharp.

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

g2 fe|d2e2|dcBA|B2G2|g2 fe|d2g2|fdec|d4:|

|:d2 cB|ceac|BcBG|AFED|ABcd|ef g2|dcBA|G4:||

                       


TOM RAE REEL. Canadian, Reel. Canada, Cape Breton. Composed by the late Inverness, Cape Breton, Nova Scotia, fiddler Dan R. MacDonald. Paul Stewart Cranford says it was one of the prolific MacDonald’s best-known reels. MacDonald (Heather Hill Collection). Rounder SS‑0145, Carl MacKenzie (Nova Scotia) ‑ "Traditional Music on Rounder: A Sampler" (1981). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

                       

TOM RILEY POLKA, A. Old-Time.

X:1

T:A Tom Riley Polka

C:from John W. Summers

H:JWS learned this tune from Tom

H:Riley, fiddler from KY.

N:The figures in the first 2 halves of

N:bars 1 and 2 were frequently used by

N:JWS. The second note is tied to the lower

N:note of the double-stop, while the upper

N:note of the d-s is caught by a scooping

N:down of the bow hand.

Z:Transcribed by Joel Shimberg

M:C|

L:1/8

Q:375

K:G

vduc|vBuG u+G2B2+ +G2vB2+ GG|uEuC u+C2E2+ v+C2E2+ (3EFE|\

DEFG ABcA|"a"BG +G2B2+"a"[G2B2]:|

Bc|:"b"d2B2"b"g4|(3fgf e2 (+e2c2+ +e2e2+)|\

e2"c"d"c"e dAFG|A2G2"d"G2B"d"c|

"e"d2B2"e"g3 B|c2A2a3g|f2 "f"AB cAFA|1"f"G6Bc:|\

+B2g2+ +gB+ +gB+ +g2B2+||

"options:"z4z4|"a"B2 GG"a"G2||"b"d2Bd"b"g4||"c"d"c"d||\

"c"d2||"d"GBG""B||"e"d2Bd"e"g3||"f"a2e2f2|1 "f"g6||

                       

TOM SAWYER. Old‑Time. The title appears in a list of "forgotten" tunes compiled by W.E.G. of Verbena, Chilton County, Alabama, appearing in the Union Banner of September 29, 1921 (Cauthen, 1990).

                       

TOM SIMPSON TUNE, THE. Old‑Time, Breakdown. USA, Missouri. C Major. Standard tuning. AABB. Christeson: "Tom Simpson was a Dixon, Missouri, fiddler who migrated to Granite City, Illinois, as quite a number of others did, during World War I. There were many job openings in Granite City at the time." Source for notated version: John Aaron (Dixon, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 37.

                       

TOM(M) STEELE ("Tomas Stiul" or "Tomas Ua Cruaid"). AKA and see "Cill Beathach," “Drogheda Lasses,” “Hand Me Down the Tackle,” "The Hielanman's Kneebuckle," "The Laurel Groves.," “The Pure Drop [2],” "Reidy Johnson's [2]." Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850 & 1001): AAB (Miller & Perron/2006): AABB' (Cranford/Holland, Miller & Perron/1977): AA'BB' (O'Neill/Krassen). Tom Steele was a colleague of the Irish patriot Daniel O'Connell. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). The tune was recorded by the Flanagan Brothers in 1928, and by Sligo fiddler Michael Coleman in 1921 (albeit under the title “Reidy Johnston’s,” the name of a female Irish-American accordion player). Dublin piper Tommy Reck recorded the melody as a pipe solo in his first commercial release, for the Copley label, paired with “The Scholar” and “The Salamanca.” Pipers tend to call the tune “Hand Me Down the Tackle.” Source for notated version: fiddler Séamus & Manus McGuire (Co. Sligo) [Miller & Perron]. Carlin (Master Collection), 1984; No. 214, pg. 126. Cranford (Jerry Holland: The Second Collection), 2000; No. 106, pg. 41. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 2. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 107. O'Neill (Krassen), 1976; pg. 109. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1271, pg. 239. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 539, pg. 100. Copley 9-191, Tommy Reck. Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy Cronin" (1977). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Tom Steele

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 539

Z:AK/Fiddler’s Companion

K:D

d>D (3DDD F>A (3ABc|dfaf gfec|d>D (3DDD Fadc|BGEF GABc|

d>D (3DDD F>A (3ABc|dfaf (3gag bg|afge fdec|BGEF GABc||

d2 fd adfd|(3ded af gfec|d2 fd adfd|BGEF GABc|

d2 fd adfd|(3ded af g2 fg|(3agf (3gfe fdec|BGEF GABc||

 

TOM(M) STEELE [2].  AKA and see “The Killavil Reel [1],” “Mick Finn’s,” “Tilly Finn’s.” Irish, Reel. D Major. Standard tuning. AA’BB’. The tune is (mistakenly?) called “Tom Steele” in Flaherty’s book, perhaps because the ‘B’ part has some small resemblance to “Tom Steele [1].” The usual title for the melody is “Killavil Reel.” Source for notated version: fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 70.

                       

TOM SULLIVAN'S. AKA and see “Gather ‘Round the Fire.” Irish, Polka. D Major. Standard tuning. AB (Cowdery): AABB (Sullivan): AABB’ (Mallinson). The melody is based on a melodic variant of "The Job of Journey Work [1]." See also the related "Matt Hayes's Polka [2]." Cowdery (The Melodic Tradition of Ireland), 1990; Ex. 33A, pg. 91. Mallinson (100 Polkas), 1997; No. 83, pg. 32. Sullivan (Session Tunes), vol. 2; No. 20, pg. 9. Globestyle Irish CDORBD 085, Jackie Daly - “The Rushy Mountain” (1994. Reissue of Topic recordings).

                       

TOM SULLIVAN'S HORNPIPE. Canadian, Hornpipe. G Major. Standard tuning. AABB. Credited to Jim Magill by Jarman, but may be an attempt to gain copyright. Jarman, 1944; pg. 4.

           

TOM TAILOR’S HIGHLAND. AKA and see “The Teelin (Highland).

           

TOM THE BARBER.  English, Jig. F Major. Standard tuning. AABB. The tune appears in 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. There is a Child ballad, “Willie O’Winsbury” (#100), that has the alternate titles “John Barbour,” “Johnny Barbary” and “Tom the Barber,” about a lad who seduces the king’s daughter but he charms the ruler, who forgives all. The title “Tom the Barber” may have ‘stuck’ due to associations with a historical figure, one Tom the Barber who led anti-Irish riots in London in the 1730’s.

X:1

T:Tom the Barber

M:6/8

L:1/8

R:Jig

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:F

|: c/B/ | AFF F2A | BGG G2e | ({g}f)ed cdB | AFF F2 :|

|: f/g/ | aga fga | “tr”gfg efg | “tr”gfg efg | “tr”fef agf |

ecc c2c | dBd bdc | “tr”cAc acA | BAB dcB | AFF F2 :|

                       

TOM THE BLACKSMITH. AKA and see "The Boyne Hunt [1]."

                       

TOM THE BOOGER. Old-Time, Breakdown. USA, central West Virginia. DGdg tuning. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from the playing and singing of his father. Sampson did not recall anyone else ever playing it).

                       

TOM THE FISHERMAN. AKA and see "Bumper Allen's Delight," “Dairymaid [4],” "Tabhair pog don Bhrideoig sa Leaba," "The Maids of Tipperary," "Kiss the Maid in Bed."

                       

TOM THE TAILOR’S. Irish, Highland. Ireland, Donegal.

                       

TOM TINKER [1]. AKA and see "Tom Tinker's My True Love."

 


TOM TINKER [2]. English, Country Dance Tune (3/4 time). G Major. Standard tuning. AAB. The air appears in Playford's Dancing Master (1650‑98). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 310‑311.

                       

TOM TINKER'S MY TRUE LOVE. English, Air and Country Dance Tune (3/4 time). F Major. Standard tuning. AAB. Published by Playford, The English Dancing Master (1651) [appears as "Tom Tinker"], John Gay, The Beggar's Opera (1729) [appears as "Which way shall I turn me?"], and D'Urfey, Pills to Purge Melancholy (vol. VI, 1720). Kidson (1922) declares it is a "very coarse song." Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 311. Raven (English Country Dance Tunes), 1984; pg. 67 & 46.

X:1

T:Tom Tinker’s My True Love

M:3/4

L:1/8

R:Air

S:Beggar’s Opera (1729)

Z:AK/Fiddler’s Companion

K:F

d2 de fd|g2d2d2|B2G2G2|G4 DD|GF GA Bc|d2d2A2|F2D2D2
D6|d2 de fd|g2d2d2|B2G2G2|G4 D2|GF GA Bc|d2d2A2|F2D2D2|D6||

A3B AG|F2D2D2|B3 c BA|G2E2E2|c3d cB|A2d2c2|B2G2G2|G6||

                       

TOM TOLLIN’S. AKA – “Tom Tollus Hornpipe,” “Tom Tolley’s Hornpipe,” “Tom Fowler’s Hornpipe.” Scotch, English, Welsh; Hornpipe. G Major. Standard tuning. AABB. First printed by Scottish Borders printer James Aird in his Selections of Scotch English, Irish and Foreign Airs, vol. 1 (Glasgow, 1778). It appears in the 19th century manuscripts of English musicians Rev. Robert Harrison (Brampton, Cumbria, 1820) and James Winder (Wyresdale, Lancashire, 1835-41), both under the title “Tom Fowler’s Hornpipe.” The tune appears in Robin Huw Bowen’s pocket tune book collection Llewely Alaw, No. 32. It appears to be a version of “Tom Fowler’s/Tom Tolley’s,” particularly in the ‘A’ part, although the ‘B’ part has an additional eight bars more than “Tom Fowler’s Hornpipe.” In America, a version of the tune appears under the title “General Wayne’s March” in Samuel Holyoke’s Instrumental Assistant (Albany, N.Y., 1800). Aird (Selections), vol. 1, 1778. Callaghan (Hardcore English), 2007; pg. 25. EFDSS CD13, Magnetic North – “Hardcore English” (2007. Various artists). YDW CD05, Magnetic North – “The Miller’s Jig.”

X: 1
T:Tom Tollin’s Hornpipe
M:4/4
L:1/16
S:Llewelyn Alaw MSS National Library of Wales. NLW MSS 329-337
R:Hornpipe

Z:Mary Humphreys
K:G
B3c | d3cB3A G3gf3g | e8 d4 B4 | c3de3d c3BA3G | G3FA3F D3CB,3A, |

B,3CD3E F3GA3B |  c8 e4 d4 | c3BA3G D3GF3A | G4 B4 G4 :|
|: d4 | g4 b3g d4 b4 | a8 g4 g4 | b3ag3f a3gf3e | e8 d4 d4 |
g3dd3d a3dd3d | b3dd3d c'3dd3d | b3db3d c'3dc'3d | b3db3d c'3dc'3d |
c'3ba3g f3ed3c| c8 a8 | a3gf3e d3cB3A | B8 g8 |
g3fe3d c3BA3G | E8 e8 | d3cB3A D3GF3A|G4 B4 G4 :|

X:2

T:Tom Tolley’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

K:G

B/c/|d/c/B/A/ G/g/f/g/|e2 d2|c/d/c/B/ A/B/A/G/|F2E2|D/E/F/G/ AB|

c>d/2e/4 dc|B/A/G/A/ DF|G3::d|gb/g/ ea/g/|f2d2|

ga/g/ ea/g/|f2 de/f/|g/d/d/d/ g/d/d/d/|g/d/g/d/ g/d/d/d/|g>f e/d/c/B/|

A/B/A/G/ F>E|D/E/F/G/ AB|c>d/2e/4 dc|B/A/G/A/ DF|G3:|

                       

TOM TRAINOR’S. Irish, Jig. E Major/Mixolydian. AA’BB’. Learned by Karen Tweed from fiddle player Tom Trainor. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 2.

           

TOM TULLY. Irish, Set Dance (2/4 time). G Major. Standard tuning. AABB. O’Neill (O’Neill’s Irish Music), 1915; No. 400, pg. 192.

X:1

T:Tom Tully

M:2/4

L:1/8

R:Set Dance

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

(B/c/) | (d/c/B/A/) (B/g/f/g/) | e2d2 | (c/d/)(c/B/) (A/B/)(A/G/) | F3E2 | D/E/F/G/ AB |

(c>d/2e/4) dc | B/A/G/A/ EF | G3 :: d | g(b/g/) e(a/g/) | f2d2 | gb/g/ ea/g/ | f2 de/f/ |

g/d/d/d/ g/d/d/d/ | g/d/g/d/ g/d/d/d/ | g>f e/d/c/B/ | A/B/A/G/ F>E |

D/E/F/G/ AB |(c>d/2e/4) dc|B/A/G/A/ EF | G3 :|

                       

TOM WAGNER. AKA ‑ "Wagoner [2]." Old‑Time, Breakdown. USA, Arizona. C Major. Standard tuning. AA'BBCC. Arizona fiddler Kenner C. Kartchner said: "(Tom was the) son of Dan (Wagner), (and) a wealthy Texas cowman and banker (who had a famous ranch in the panhandle). They held rodeos, with the best fiddlers extent. One of them composed this hoedown in honor of Tom" (Shumway). Source for notated version: Kenner C. Kartchner (Arizona) [Shumway]. Shumway (Frontier Fiddler), 1990; pg. 271.

                       

TOM WARD'S DOWNFALL (Bascadh Thomáis Mhic an Bháird). AKA and see "Bascadh Thomais Mhic an Bhaird," “Follow Me Down to Carlow [3]," “Let a Body Lie with You,” “The Long Hills of Mourne [2],” “The Mourne Mountains [1].” Irish, Reel. G Major. Standard tuning. AB (Perlman): AABB (Breathnach, Miller & Perron, Moylan): AABB' (Flaherty). A rare version of “Tom Ward” is called “The American Reel,” according to Caoimhin Mac Aoidh (1994). This alternate version was imported home to County Donegal by fiddler Charlie Doherty (of the famous fiddling Doherty family) when he returned after his years in America. During the 78 RPM era the melody (under the “Tom Ward” title) was recorded by Sligo fiddlers Michael Coleman in 1927 and Paddy Killoran in 1939 (paired with “McGovern’s Favorite”). In was recorded by Peter Conlon in 1929 as the follow-up tune to “The Coalminer’s,” according to Philippe Varlet, although the label on the record called the medley “The Fiddler’s Delight.” O’Neill prints the tune as “The Mourne Mountains.” Barrel Rafferty, Galway flute player Mike Rafferty’s father, knew the tune by the title “Follow Me Down to Carlow,” although that title is usually applied to other melodies. A closely related American old-time tune is the Kentucky melody “"Merriweather.” Sources for notated versions: piper Pat Brophy/Patrick Ó Broithe (Ireland) [Breathnach]; fiddler Kathleen Morris (Corlisheen, Ballyrush, County Sligo) [Flaherty]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Peter Chaisson Sr. (b. 1929, Bear River, North-East King’s County, Prince Edward Island) [Perlman]; fiddler Seán McGuire (1927-2005, Belfast, Ireland) & flute player Roger Sherlock [Miller & Perron]. Breathnach (CRÉ I), 1963; No. 90, pg. 39. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 29. Flaherty (Trip to Sligo), 1990; pg. 59. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 59. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 33. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 108. Moylan (Johnny O’Leary), 1994; No. 239, pg. 138. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 55. Green Linnet GLCD 1175, Cherish the Ladies – “New Day Dawning.” Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the best of Cherish the Ladies” (1998). Intrepid Records, Michael Coleman - “The Heyday of Michael Coleman” (1973). Outlet SOLP 1001, "Sean McGuire & Roger Sherlock."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Tom Ward’s Downfall

T:Mourne Mountains, The

R:reel

Z:id:hn-reel-436

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

BG~G2 GEDG|EDEG AEGA|DEGA ~B3d|ed~d2 egdc|

BG~G2 GEDG|EDEG AEGE|DEGA ~B3d|1 egdc BGGA:|2 egdc BAGB||

|:dggf gedg|eaab a2ga|bg~g2 agef|gedc BGGB|

dggf gedg|eaab a2ga|bg~g2 agef|1 gedc BAGB:|2 gedc BGGA||

                       

TOM WARD’S (JIG).  AKA and see “The Clare Jig [2]," “Old Kilfenora (Jig).” Irish, Jig. G Major.

 

TOM WELL'S PIECE. American, Jig or Quadrille. USA, southwestern Pa. C Major. Standard. ABC. Tom Wells was a skilled fiddler of great repute in the neighborhood of Oad Forest, Greene County, Pa. Source for notated version: Tom Wells via John Tustin (fiddler from Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 487, pgs. 452‑453.


                       

TOMAHAWK. Old-Time, Breakdown. GDgd tuning. Probably composed by fiddler Tommy Jackson. In the repertoire of Ward Jarvis.

                       

TOMAS MO DEARBRATAIR. AKA and see "My Brother Tom."

                       

TOMAS OG MAC AENGUSA. AKA and see "Young Tom Ennis."

                       

TOMAS UA CRUAID. AKA and see "Tom Steele."

                       

TOMAS UA GAILLIM. AKA and see "Galway Tom [1]."

                       

TOMBIGBEE WALTZ. AKA and see "Gum Tree Canoe," "Tom Big Bee River." Old‑Time, Waltz. G Major. Standard tuning. AB (Mathiesen): AA'BB' (Phillips). The melody is named for the Tombigbee River which flows from northeastern Mississippi into the Alabama River. Tombigbee is rumored to mean ‘coffinmaker’ in one of the Native American languages.  A song version, “Tom Big Bee River,” attributed to S.S. Steele, was printed in Heart Songs – Melodies of Days Gone By, published in 1909 by World Syndicate Publishing Company (Cleveland; New York), although it is much older. From the dialect employed in the lyrics, minstrel origins are indicated. S.S. Steele and A.F. Winnemore (1847) are credited with words and music in Garson’s Laura Ingles Wilder Songbook.

***

On Tom-big-be River so bright I was born,
In a hut made of husks ob de tall yaller corn,
And dar I fust meet mid my Jula so true,
An I row'd her about In my gum-tree canoe.

***
Chorus:
Singing row away, row, O'er the waters so blue,
Like feathers we'll float in my gum-tree canoe.

***
All de day in de flied de soft cotton I hoe,
I tink ob my Jula an sing as I go;
Oh, I catch her a bird, wid a wing ob true blue,
An at night sail her 'round in my gum-tree canoe.

***

There are even Australian versions of the song, printed in the early 20th century. Source for notated version: Tom Jackson via James Bryan [Matthiesen, Phillips]. Matthiesen (Waltz Book I), 1992; pg. 50. Phillips (Traditional American Fiddle Music), vol. 2, 1995; pg. 314. Copper  Creek 0164, Tom Sauber, Brad Leftwich, Alice Gerard – “Been There Still” (appears as “Gum Tree Canoe”). Rounder 0175, James Bryan ‑ "Lookout Blues" (1983. Learned from Tom Jackson). Davis Unlimited, Indian Creek Delta Boys (1976. Learned from Benny Woods: "Benny says that an old girlfriend of his used to sing this 'old-fashioned waltz'.). Marimac CD, Dan Gellert.

X:1

T:Tombigbee Waltz

L:1/8

M:3/4

K:C

{Bc}BA|G2 B2 B2|{B}d4 BA|G2 B2 B2|{B}d4 B2|cB A2 A2|A2 B2 d2|e4 d2|

B4 {Bc}BA|G2 B2 B2|{B}d4 BA|G2 B2 B2|{B}d4 B2|cB A2 A2|A2 B2 d2|e2 d2 B2|G4:|

|:d2|g4 d2|g4 d2|e3 d e2|d4 B2|cB A2 A2|A2 B2 d2|e4 d2|B4 d2|g4 d2|g4 d2|

e3 d e2|d4 B2|cB A2 A2|A2 B2 d2|e2 d2 B2|G4 :|

                       

TOMBREACKACHIE'S STRATHSPEY. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Tombreakachy is a farm in lower Glen Livet. Moyra Cowie (The Life and Times of William Marshall, 1999) says that people were often known by the names of their farms and that Marshall wrote in one of his letters that he had a great fondness for “Tombreakachy and old Croughly.” Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 36.

X:1

T:Tombreackachie’s Strathspey

L:1/8

M:C

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:D

B|A>D A<F EB,B,B|A<D A<F|~G>A B/A/G/F/ EB,B,B|A>D A<F ADD:|

f|d>fd>f eEEf|d>fd>f BdAF|G<eF<d Eeeg|f<d e>c dDDf|d>fd>f eEEf|d>fd>f BdAF|

G<eF<d Eeeg|f<d e>c dDD||

                       

TOMEEN O’DEA’S REEL. AKA – “Thomaisin O’Dea’s.” Irish, Reel. G Major. Standard tuning. AB. The tune closely shares melodic material with “An tSeanbhean Bhocht” and “Bantry Bay Hornpipe,” with which it is paired in the Tubridy book. See also the related “Glenmore Hunt.” Breathnach (CRÉ I), 1963; No. 98. Breathnach (Folk Music and Dance of Ireland), 1971; 20. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 25.

                       

TOMGRANEY CASTLE [1] (Caislean Tuaim-Greine). AKA and see “Loch Levan/Lavan Castle,” “Tuamgraney Castle,” "The Humours of Tuamgraney." Irish, Hornpipe. A Dorian. Standard tuning. AABB. The tune is note-for-note the Scottish reel “Loch Levan Castle.” Tomgraney, or Tuamgraney, is in east Clare. See also notes for “Loch Leven Castle” and “Tuamgraney Castle.” O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 949, pg. 162.

X:1

T:Tomgraney Castle [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 949

Z:AK/Fiddler’s Companion

K:A Dorian

cB|A2 AB AGEG|AGAB cBcd|efga gedc|B2G2G2 cB|

A2 AB AGEG|AGAB cBcd|(3efg fa gede|c2A2A2:|

|:eg|a2 ab ageg|agab a2 ge|dega gedc|B2G2G2 cB|

A2 AB AGEG|AGAB cBcd|(3efg fa gede|c2A2A2:|

 

TOMGRANEY CASTLE HORNPIPE [2]. Irish, Hornpipe. E Minor. Standard tuning. AABB. Some similarities to version #1, and melodically and structurally to "Sailor on the Rope." Source for notated version: fiddler Andrew Davey (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 113.

                       

TOMIN ADEA. Irish, Reel. G Major. Standard tuning. AABB’.

X: 1

T:Tomin Adea

M:4/4

L:1/8

S:Castle Ceili Band

R:Reel

K:G

BGAG EGDG|EAAG A2 GA|BGAG EGDG|EG G2 EG G2:|

|:G2 Bd edBG|GbdB A2 A2|1G Bd edBG|dBAc BG G2:| 2G2 Bd efga|bgaf gfed:|

                       

TOMMY BEN’S. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB’A”A”’BB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 230, pg. 67. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

TOMMY BHETTY'S WALTZ. Irish, Waltz. Ireland, County Fermanagh. G Major. Standard tuning. AABB. Composed by Tommy 'Bhetty' Maguire, a fiddler from Kinawley, County Fermanagh. Caoimhin Mac Aoidh says McGuire, a big man, is the fiddler who passed the tune to Altan’s Ciaran Curran. Mac Aoidh explains his middle name is pronounced “vetty” and is part of the old Gaelic naming practice whereby a person receives the name of either their mother or father (or perhaps a significant member of the family), although with the appropriate grammatical aspiration (in McGuire’s case, the letter ‘h’ added to his mother’s name, Betty). The source for fiddler Brendan Begley’s version is a 45 or 78 RPM recording by the famous button accordion player Joe Cooley. Chart Records CHCD 015, Brendan Begley, Seamus Glackin & Michael O'Brien – “Crossroads Ceili” (appears as the second “Cooley’s Waltz”). Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990). Kieran Hanrahan – “Irish Tenor Banjo.”

X:1

T:Tommy Bhetty’s Waltz

M:3/4

L:1/8

Q:180

K:G Major

|:D2|G3BdB|G3BdB|d2b3a|ga fg ef|

G3BdB|G3 BdB|D2F2A2|c2~B2A2|

G3BdB|G3BdB|d2b3a|ga fg ef|dg3Bc|d3cAF|G2B2BA|G3:|

|:gfg|a2f2d2|A2F2D2|C2b3a|ga fg ef|d3ed2|B3AB2|D2F2A2|c2~B2A2|

d2Bc dB|db3af|g2b3a|ga fg ef|dg3Bc|d3c AF|G2B2BA|G3:|

X:2
T:Tom Bhetty's Waltz
T:Cooley's Waltz #2
R:waltz
M:3/4
L:1/8
D:"Crossroads Ceili", Brendan Begley on accordion
Z:Han Speek
K:G
|:G3B d2|G3B d2|g b3 a2|~g2 f2 e2|G3B d2|G3B d2|D3 F AB|c2 B2 A2|
G3B d2|G3B d2|g b3 ~a2|g2 ~f2 e2|dg2 B(3Bc^c|d3 c AF|G3B AF|
[1 G4 (3DEF:|2 G4 fg|
|:~a2 ~f2 ~d2|~A2 ~F2 ~D2|C2 b2 a2|g2 ~f2 e2|d4 ed|{_B}B4 AB|
D3 FGA|c2 B2 A2|
d4 (3Bcd|{_b}b2 a2 g2|gb3 a2|g3 ~f2e|d2 g2 (3Bc^c|d3 cAF|G3B AF|
[1 G4 efg:|2 G3 DEF:|

                       

TOMMY COEN'S REEL (Ríl Thomáis Uí Chomhain). AKA and see "Christmas Eve [2]," "The Castle Reel [1]." Irish, Reel. G Major. Standard tuning. AABBCC. The tune was composed by the late Irish musician Tommy Coen (1910-1974). Coen was born in Urrachree, East Co. Galway, but moved with his family to Salthill, just west of Galway City, in the late 1920s. He started out as an accordion player, but later switched to the fiddle and it is for his skill on the latter instrument he is remembered. Coen worked as a conductor on Connemara buses and is said to have been inspired by the local scenery when composing his tunes. Flute player Mike McHale was overheard to tell a story about Coen during a concert at the East Durham Irish Arts Festival in 2000 (communicated by Mike Hogan). McHale was a boy who had picked up the tin whistle, and was entertaining himself by noodling around with it during his bus ride on his way home from school. Hearing him, the vehicle’s conductor approached him a asked, “Can you play that thing?” McHale answered, "A couple of tunes, Sir." "Well then" said the conductor, "My name is Tommy Coen, will you come to the back of the bus, I have a fiddle under the seat." Later, according to his student Séamus Walshe (Taylors Hill, Galway), when Coen’s health failed he returned to accordion playing, “putting his fiddle playing into the box. I think he wrote a total of about six tunes” (Miller & Perron, 2006). Some similarities to “Cottage in the Grove [3]." Source for notated version: Tommy Coen, playing fiddle, 1960 (Salthill, Co. Galway, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 140, pg. 75. Green Linnet SIF‑1110, Brendan Mulvihill ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet GLCD 1127, “Martin Hayes” (1993). Tara 2002, Christie Moore  ‑ "The Iron Behind the Velvet" (1978).

See also listings at:

Alan Ng’s Irishtune.info

 

TOMMY COEN’S (REEL) [2].  AKA and see “Coen’s Memories,” “Cottage in the Grove [1],” “Paddy Canny’s.” Irish, Reel. D Minor. Standard tuning. AABB. Source for notated version: a 1974 concert by Denis Ryan and P.J. Hernon [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 35 (appears as “Denis Ryan Reel”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 108.

See also listings at:

Alan Ng’s Irishtune.info

X:1

T:Coen’s Memories

T:Tommy Coen’s

T:Cottage in the Grove, The

R:reel

C:Tommy Coen (1910-1974)

D:De Danann: The Mist Covered Mountain

D:Music at Matt Molloy’s

Z:id:hn-reel-227

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Edor

EDB,A, B,EFA|B2eB dBAF|D2DF E2DB,|A,DFD EDB,A,|

B,E~E2 DEFA|B2eB dBAF|DEFA dBAF|1 DEFD E2EF:|2 DEFD D2EA||

|:Be~e2 fedB|eBfe dBAF|~A3B d2fd|edef d2BA|

Be~e2 fedB|e2fe dBAF|DEFA dBAF|1 DEFD E2EA:|2 DEFD E2EF||

“Variations”

~E3D EFGA|B2eB dBAF|DEFD E2DB,|A,B,DF EDB,A,|

B,E~E2 DEFA|Be~e2 dBAF|DEFA B2AF|1 DEFD E2EF:|2 DEFD E2EA||

|:Be~e2 fedB|e2fe dBAF|AFAB d2fd|edef d2BA|

Be~e2 fedB|egfe dBAF|DEFA B2AF|1 DEFD E2EA:|2 DEFD E2EF||

                       

TOMMY COME TICKLE ME. A Midwest U.S. dance tune title.

                       

TOMMY COWLEY'S JIG (Port Thomáis Mhic Amhalaí). See “Tom Cawley’s.”

                       

TOMMY DON’T GO. Old-Time, Waltz. USA, Texas. D Major. Standard tuning. One part. From the playing of Texas panhandle fiddler Frankie McWhorter, who at one time was a member of Bob Wills band. The tune may have derived from a Civil War-era melody called “The Fourth of July Waltz.

                       

TOMMY GUNN'S. Irish. Green Linnet Records 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).

                       

TOMMY GUNN’S REEL (Ríl Thaimí Mhic Giolla Dhuinn). Irish, Reel. E Minor. Standard tuning. AB. Tommy Gunn is a fiddler from near Belfast, Northern Ireland. Source for notated version: the mid-20th century collection of Liam Donnelly (County Tyrone and Belfast), collected from the playing of fiddler Tommy Gunn (Derrylin, County Fermanagh) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 151, pg. 73.

                                   

TOMMY HILL’S. Irish, Hornpipe. D Major. Standard tuning. AABB. No relation to “Tommy Hill’s Favorite Hornpipe.” Mulvihill (1st Collection), 1986; No. 18, pg. 93.

                       

TOMMY HILL'S FAVORITE HORNPIPE. AKA and see “Bryant’s Favorite Hornpipe,” "Byrne's Hornpipe" [1]. Irish, Hornpipe. D Major. Standard tuning. AA'BB. Recorded on 78 RPM in New York by renowned County Sligo fiddler Michael Coleman (1891-1945), who played it as the second tune in a medley with “Byrne’s Hornpipe.” Coleman began the tune on the ‘B’ part, as Randy Miller suggests, “perhaps as a way to add interest to the medley whose two tunes both have ‘A’ parts in the key of D and ‘B’ parts that begin on an E note within the dominant chord.” Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 10. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 124. Intrepid Records, “The Heyday of Michael Coleman” (1973).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Tommy Hill’s Favourite

R:hornpipe

D:Sean Keane: Jig It in Style

Z:id:hn-hornpipe-80

M:C|

L:1/8

K:D

(3ABc|d2fd ceAF|GFGB AFD2|(3gag fg efdf|(3efe (3dcB AGFG|

d2fd ceAF|GFGB AGFE|DdcB (3ABA (3GFE|(3DED CE D2:|

|:gf|eBef gfga|(3bag af gfef|gafg efdf|(3efe (3deB A2 (3ABc|

d2fd ceAF|GFGB AGFE|DdcB (3ABA (3GFE|(3DED CE D2:|

                       

TOMMY HUNT'S JIG. Irish, Slip Jig. G Major. Standard tuning. A version of “Riding a Mile,” "A Mile To Ride." Bulmer & Sharpley (Music from Ireland), vol. 2, No. 56. Shanachie 79023, "Chieftains 3" (1971/1982).

                       

TOMMY JOHNSON (Tomasin Mac Seoin). Irish, March (6/8 time) or Jig. D Major. Standard tuning. AABB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 21, pg. 9. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1821, pg. 342.

X:1

T:Tommy Johnson

M:6/8

L:1/8

R:March or Jig

S:O’Neill – Music of Ireland (1821)

Z:AK/Fiddler’s Companion

K:D

a3g3 | fdf ecA | d2f ecA  |d2f ecA | dcd ede | fef gfg | a2G F2E | D3D2 :|

|: (D2F) (E2G) | (F2A) G2F | GAB ABc | B3A3 | GFG AGA | BAB cBc | d2G F2E | D3 D2 :|

                       


TOMMY LOVE. AKA and see "John Lover('s Gone)," "John the Lover,"  "Poor Johnny's Gone to (the) War." Old‑Time, Breakdown. Standard tuning. A popular band piece and dance tune in the N.C./Va. Blue Ridge region, known particularly as "Tommy Love" in the Patrick County, Va. area. County 201, The Old Virginia Fiddlers (Patrick County, Va.) ‑ "Rare Recordings, 1948‑49." Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Rounder 0057, Delmar Pendleton (Lone Ivy section, Woolwine, Patrick County, Va.) ‑ "Old Originals, vol. 1" (1978).

                       

TOMMY MACQUESTON REEL. Cape Breton, Reel. Composed by Cape Breton, Nova Scotia, fiddler Dan R. MacDonald. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

                       

TOMMY MAYLAND’S REEL. Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 204, pg. 55.

                       

TOMMY McMAHON'S REEL. AKA and see "The Sligo Reel [1]." Irish, Reel. G Major. Standard tuning. AABB. The tune is not McMahon’s, but rather an older one which he popularized. Carlin (Master Collection), 1984; No. 220, pg. 129. Green Linnet GLCD3092, Bernard O’Sullivan & Tommy McMahon - "Clare Concertinas.”

                       

TOMMY McQUESTON’S. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 33.

                       

TOMMY MULHAIRE’S JIG. AKA and see “Carolan’s Fancy [1],” “Castletown Conners [2]," “Ned Coleman’s Jig [2],” “O’Carolan’s Fancy [2].” Irish, Jig. G Major. Standard tuning. AABB. According to New York button-accordion player Jim Coogan, the tune was composed by Martin Mulhaire from Eyrecourt, County Galway, in honor of his father Tommy, a music teacher and composer. Fiddler Seamus Connolly, however, says that it was Tommy himself who "put this lovely jig in circulation around 1958.  He composed the tune during the time he lived near Eyrecourt in Co. Galway, just before he settled in Galway City…” Tommy Mulhaire played fiddle and accordion, among other instruments, remarks Connolly, and was a sought-after teacher who had a talent for encouraging young musicians. The title “Castletown Conners” is sometimes miss-applied to this jig owing to the fact that the two were famously recorded together in a medley. Source for notated version: Jim McElhone (County Derry) [Mulvihill]. Connolly & Martin (Forget Me Not), 2002; pgs. 112-113. Mulvihill (1st Collection), 1986; No. 6, pg. 66. Tara Records 4008, “Josephine Marsh” (1996. Appears as “O’Carolan’s Fancy”).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Tommy Mulhaire’s Jig

T:Castletown Conners [2]

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:G

G/F/ | EDE G2A | Bde dBd | edB GAB | ABA AGF | EDE G2A |

BAB dBd | edB GAB | AGF G2 :|B | ded def | {a}gfe fdB | ABA ABd |

egf e2f | g2e fed | edB ~g3 | edB GAB | AGF G2 B|ded def|g2a fdB|

ABA ABd|egf e2f|g2e fed|edB ~g3|edB GAB|AGF G2||

                       

TOMMY PEOPLES’ (JIG). AKA and see “Gráinne’s Jig,” “Redican’s Jig [1].” Irish, Jig. G Major. Standard tuning. AABBCC. The alternate title, “Gráinne’s Jig,” is the name of Donegal fiddler Tommy Peoples’ youngest daughter, and the tune is usually attributed to him. Karen Tweed (1994) remarks the tune was “a once very popular accordion competition tune.” Mallinson (Enduring), 1995; No. 57, pg. 25. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 7.

 

TOMMY PEOPLES’ JIG [2]. AKA and see “King of the Pipes.”

 

TOMMY PEOPLES’ JIG [3]. AKA and see “Pay the Reckoning.”

                       

TOMMY PEOPLES' (REEL) [1]. AKA and see “Frankie Kennedy’s,” “Jenny Nettle's Fancy,” “Paul Montegue’s Reel,” “Tim Dillon’s.” Irish, Reel. D Major. Standard tuning. AB (Breathnach): AAB (Taylor). Alternate titles include “Frankie Kennedy’s” and “Jackie Daly’s,” for the famous Irish flute and accordion players, respectively. Philippe Varlet finds Bronx fiddler Eileen Ivers recorded it as “Paul Montegue’s Reel” on the first “Cherish the Ladies” album, but notes it was first recorded in the early 1980’s by Cathal McConnell (on solo tin whistle) and the Boys of the Lough as “Tommy Peoples’”. Source for notated version: fiddler Jim Mulqueeny [Breathnach]. Breathnach (CRÉ V), 1999; No. 206, pg. 97 (appears as “Ríl Thaidgh Diolún/Tim Dillon’s). Taylor (Where’s the Crack?), 1989; pg. 15. Ossian OSS 70, Boys of the Lough – “In the Tradition” (1981). Ossian OSS 84, Boys of the Lough – “Open Road.” Green Linnett GLCD 1137, Altan - "Island Angel" (1993). Topic 12TS422, Boys of the Lough – “In the Tradition.” World Music Network, RGNET 1006, Altan – “Irish Music: A Rough Guide” (reissue of the “Island Angel” track). Birkin Tree – “A Cheap Present.”

X:1

T:Tommy Peoples [1]

R:reel

C:Trad

D:Altan : Island Angel

M:4/4

L:1/8

K:D

|:B3 c dBAF|B3 c dfed|B3 c d3 B| ABde fded|\

B3 c dBAF|B3 c dfed|B3 c d3 B|ABde fdec||\

dfaf bfaf|dfaf ~g2 fg| afge d3 B|ABde fdec|\

dfaf bfaf|dfaf ~g2 fg| afge d3B|ABde fded:|

 

TOMMY PEOPLES’ (REEL) [2]. AKA and see “The Milkmaid [4],” “Mooney’s Reel.” Irish, Reel. G Major. Standard tuning. AB. See also the related “Two Forty.” Sources for notated versions: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; Donegal fiddler Tommy Peoples [Breathnach]. Breathnach (CRÉ II), 1976; No. 166, pg. 87 (appears as “Gan anim/Untitled”). Taylor (Music for the Sets: Blue Book), 1995; pg. 26.

 

TOMMY PEOPLES’ (REEL) [3]. AKA and see “Beautiful Gortree.” Irish, Reel. E Major. Standard tuning. The title “Tommy Peoples” comes from Scots fiddler John McCusker’s (formerly of the Battlefield Band) solo album.

X:1

T:Tommy Peoples' [3]

T:Beautiful Gortree

M:4/4

L:1/8

C:Tommy Peoples

Z:transcribed by Ted Hastings

S:Alistair McCulloch (GFW)

R:reel

K:E

e‑c|BE (3EEE E2 F(B|~cB)GB {f}g2 b‑g|f‑e(gf e)c‑Be|(~fgf)e c(BGF)|!

{D}E3‑F G‑FEG|(3BBB G‑B g2 b‑g|f3‑e (gfe)c(|1 B)(GFG) E2:|2 B(GFG)E(e~fe)||!

{f}g ~f‑e b(e~ge)|e(f~fe) ceBe|(~fgf)e b(e~ge)|(Bc‑c)(B‑ ‑Bc)e(f‑|‑fg)(~feb)(e~ge)|!

e(f~fe) ceBe|(~fgf)e cee(c|1 BG)FG E(e~fe):|2 B‑GFG E2||

 

TOMMY PEOPLES’ (REEL) [4]. AKA and see “The Oak Tree.” Irish, Reel. D Major. Standard tuning. AB. A different tune than “Tommy Peoples Reel” [1]. Source for notated version: Tommy Peoples (County Donegal) [Breathnach]. Breathnach (CRÉ II), 1976; No. 191, pg. 100 (appears as “Gan anim/Untitled”).

 

TOMMY PEOPLES’ (REEL) [5]. AKA and see “The Turnpike Reel.” Irish, Reel. A Major. Nigel Gatherer feels the ‘A’ part is a version of the old Scottish tune “Clean Pea(se) Straw/Strae.” Tommy Peoples himself has denied authorship of the melody, and says in fact that a number of tunes that carry his name were not composed by him. Mairead Ni Mhaonaigh and Frankie Kennedy – “Ceol Aduaidh” (appears as “Tommy Peoples”, their source for the tune). Liam O’Flynn – “The Pipers Call” (appears as part of Carrigaholt Set). Green Linnet GLCD 1211, Kevin Crawford – “In Good Company” (2001). Tommy Peoples – “Waiting for the Call.” Paul McGrattan – “The Frost is all Over.”

X:1

T:Tommy Peoples’ (Reel) [5]

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:G

G2BG cGBG|ADDE FGAF|G2BG cGBG|Addc AGGF:||\

g2dg egde|g2bg agef|g2dg egdB|cBAc BGG2:||

X:2

T:Tommy Peoples’ [5]
R:reel
M:C|
L:1/8
Z:Transcribed by Bill Reeder

K:G
"G"G2BG "C"cG"G"BG|"D"AD~D2 "D"FGAF|"G"G2BG "C"cG"G"BG|

"D"Addc "G"BGGD|!

"G"G2BG "C"cG"G"BG|"D"AD~D2 "D"FGAF|"G"G2BG "C"cG"G"BG|

"D"A2dc "G"BGG2||!
"G"g2dg "G"Bgdg|"G"g2dg "Am"eaaf|"G"g2dg "G"BgdB|"Am"cAdc "G"BGG2:||!

 

TOMMY PEOPLES’ (REEL) [6]. AKA and see “Return to Milltown.

 

TOMMY PEOPLES’ (REEL) [7]. AKA – “The Oak Tree.” Irish, Reel. D Major. Standard tuning. AAB. A different tune than “Tommy Peoples Reel” [1] and [4]. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 48, pg. 23.

X:1

T:Tommy Peoples’ Reel [7]

M:C|
L:1/8

R:Reel

K:D

G |: FAAF D2 FD | EA,CE AGFE | FGAF D2 FD | EA,CE D3G :|

FDFA dAFA | GFGB edcB | cdec A2 cA | BE^GB A2 Bc |

dcBA (3Bcd e2 | (3efe (3dcB AGFE | FGAF D2 FD | EA,CE D3 ||

 

TOMMY PEOPLES’ (REEL) [8]. Irish, Reel. G Major. Standard tuning. The second of two reels is a set entitled “Tommy Peoples’” by fiddler Mairead Ni Mhaonaigh and flute player Frankie Kennedy on their album “Ceol Aduaidh.”

X:1
T:Tommy Peoples' [8]
D:Ceol Aduaidh
M:C|
K:G
GA|B2BA B2ge|d2ge dBGA|B2BA B2ge|dBAc BGGA|\
B2BA B2ge|d2ge dBGA|B2BA B2ge|dBAc BGG2||\
gfed edBd|gfed e3f|gfed effe|afge dfaf|\
gfed edBd|gfed e3f|gbag fage|d2ge dB|]

 

TOMMY PEOPLES’ (REEL) [9].  AKA and see “The Mint in the Corn.”

 

MY PEOPLES’ (REEL) [10].  AKA and see “Lady Gordon’s Reel [1],” “Matt Peoples [3].” Irish, Reel. D Major.

                       

TOMMY REGAN. Irish, Air (2/4 time). D Mixolydian/E Dorian. Standard tuning. One part. Source for notated version: From John Dulhanny (Costello Bay) at Arran-More, 10th Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 375, pg. 95.

X:1

T:Tommy Regan

M:2/4

L:1/8

R:Air
N:”Andante”

S:Stanford/Petrie (1905), No. 375

Z:AK/Fiddler’s Companion

K:D Mixolydian

d/e/ | fe d/B/A/F/ | D>E F/G/A | B/G/ A/F/ EE | E3 A/F/ | E>F E/F/A/B/4c/4 |

d>e Bd/e/ | fe d/B/A/B/ | d3 A/F/ | E>F E/F/A/B/4c/4 | de Bd/e/ | fe d/B/A/B/ |

d3 d/e/ | fe d/B/A/F/ | DE F/G/A | B/G/A/F/ EE | E3 ||

                       

TOMMY SULLIVAN. Canadian, Hornpipe. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 70. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 116, pg. 72.

X: 1

T:Tommy Sullivan's Hornpipe

R:Hornpipe

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

FG|Adfd Adfd|Adge B2ed|cdec A2Bc|defd A2FG|

Adfd Adfd|Adge B2ed|cdec AABc|d2f2 d2:|

|:FG|A2f2 fgfe|B2g2 g3e|cdec A2Bc|defd A2FG|

A2f2 fgfe|B2g2 g3e|cdec AABc|d2f2 d2:|

                       

TOMMY SULLIVAN’S. Irish, Jig. A Major. Standard tuning. AABB. O’Brien (Irish Folk Dance Music).

X: 1

T: Tommy Sullivan's

S: J. O'Brien: "Irish Folk Dance Music"

M: 6/8

L: 1/8

Q: 325

R: jig

K: A

cAF E2 F | ABc dce | cAF E2 F | ABA AFE |

cAF E2 F | ABc dcd | efe ecA | BcB AFE :|

Acc Acc | Acc dcB | Acc Acc | ABA AFE |

Acc Acc | ABc efg | afe ecA | BcB AFE :|

K:G %Transposed from A

BGE D2 E | GAB cBd | BGE D2 E | GAG GED |

BGE D2 E | GAB cBc | ded dBG | ABA GED :|

GBB GBB | GBB cBA | GBB GBB | GAG GED |

GBB GBB | GAB def | ged dBG | ABA GED :|

                                   

TOMMY TULLY’S AIR. Irish, Air. Composed by Terry Tully It appears in the Irish Pipe Band Association publication of July, 1987 (No. 47, pg. 30),  Irish Tunes Old and New, compiled by Pipe Major Terry Tully of the St. Lawrence O'Toole Pipe Band, Dublin.

                       


TOMMY WHELAN'S REEL (Ríl Thomáis Uí Fhaoláin). AKA and see "The Shores of Lough Reagh," "Humours of Loughrea." Irish, Reel. G Major/E Minor. Standard tuning. AB. Source Paddy Carty also called the tune “Shores of Lough Reagh.” Tommy Whelan was a member of the famed Ballinakill Ceili Band (Ballinakill is in East Galway). Sources for notated versions: flute player Paddy Carty (Ireland) [Breathnach/CRÉ III]; fiddler Tommy Coen and flute player Eddie Moloney (Co. Galway) [Breathnach/CRÉ II]. Breathanch (CRÉ II), 1976; No. 197, pg. 102 (appears as “Gan anim/Untitled”). Breathnach (CRÉ III), 1985; No. 87, pg. 43. Green Linnet SIF 3067, Charlie and Jack Coen – “The Branch Line.” Shanachie Records 29001, "Paddy Carty" (1976).

X:1

T:Tommy Whelan's

T:Humors of Loughrea

T:Shores of Loughrea

R:reel

M:C|

L:1/8

K:G

DE|~G3A BA~A2|bgag egdB|GFGA BAGE|ABAG EGDE|!

~G3A BA~A2|bgag egdB|GFGABAGE|ABAG E2||!

ef|gfeg fdBd|~g2 ef gaba|ge~e2 edBd|ea~a2 ag e2|!

gfeg fdBd|~g2 ef gaba|gfge agaf|dgbg egdB||!

           

TOMMY’S CHANCE.  English, Jig. G Major. Standard tuning. AABB. The melody was also published by John Johnson in his 200 Favourite Country Dances, vol. 8 (London, 1758). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 150.

X:1

T:Tommy’s Chance

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

gdB G3|gdB G3|gfe dcB|cBA G3|DFA d3|DFA d3|d^cB AGF|GFE D3:|
|:dfa afd|afd “tr”d3|agf edc|”tr”c3 B3|dBG ecA|fdf “tr”g3|ege faf|g3 G3:||

           

TOMMY’S E FLAT CLOG. AKA and see “The Scarlet Clog.” Canadian, Clog. Named for Digby, Nova Scotia, fiddler Tommy Doucette, who cut many 78's on a home disc cutter in Boston in the 1940's and 50's.

                       

TOMMY’S FAVORITE. AKA and see “Thrush in the Straw [2].”

                       

TOMMY’S JIG. Canadian, Jig. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Perlman (1996) thinks the tune probably originated in Cape Breton. Source for notated version: Charlie Sheehan (b. 1907, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 126.

                       

TOMMY’S MAZURKAS. Irish, Mazurka. A set of three mazurkas, the middle of which was composed by Donegal fiddler Tommy Peoples. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. First and third tunes from Tommy’s daughter Siobhán Peoples).

 

TOMMY'S TARBUKAS. Scottish, Reel. G Minor. Standard tuning. AABB. Composed by Scottish fiddler Alasdair Fraser in honor of Tommy Hayes, an Irish bodhran player. Tarbukas are a set of small drums similar to bongo drums, sometimes spelled ‘darbukas’ or ‘dharboukas’. Fiddler Magazine, vol. 3, No. 1, Spring 1996; pg. 16. Songer (Portland Collection), 1997; pg. 197. Sona Gaia/Narada, Alasdair Fraser - "The Road North" (1989). Green Linnet SIF 3099, Sharon Shannon – “Out the Gap.”

 

TOMORROW ISN'T SUNDAY. AKA and see "Demain C'est Pas Dimanche."

 

TOMORROW MORNING (Maidin Amarac). AKA and see “Morning Fair,” “Texarkana Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. The tune appears by the alternate titles in Ryan’s/Cole’s. See notes for “Morning Fair” and “Manchester Hornpipe [1]” for discussion. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 32. O'Neill (Krassen), 1976; pg. 188. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1661, pg. 309. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 878, pg. 151.

X:1

T:Tomorrow Morning

R:Hornpipe

M:4/4

L:1/8

K:D

dAFA defd | ecAc efge |1 fafd Bded | c2A2 A2fe :|2 fafd Acec | d2dc d4 ::\

afdf a2gf | gece g2ag | fafd Bded | c2A2 A2fe |\

dAFA defd | ecAc efge | fafd Acec | d2dc d4 :|

 

TOM’S TAVERN. Irish, Polka. Composed by Ron Kavana. Green Linnet GLCD 1175, Cherish the Ladies – “New Day Dawning.” Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the Best of Cherish the Ladies” (1998).

 

TON, THE. Scottish, March (2/4 time). A Major. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 37.

 

TÔN ALARCH. AKA and see “The Swan Song.

 

TON PAPA ET TA MAMAN M'A JETE DEHORS (Your Dad and Your Mom Threw Me Out). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. ABCC(Vocal)BCC(Vocal)BCC(Vocal)BCC. This song was one of the first recorded by Mayuse LeFleur and Leo Soileau in the late 1920's. A related song is Mayuse LaFleur's "Ton Pere m'a Mis Dehors." Source for notated version: Lawrence Walker & Mitch D'Avy (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 299-300. Arhoolie 427, Lawrence Walker – “Cajun Honky Tonk – The Khoury Recordings.” Swallow-Khoury Records, Lawrence Walker.

 

TON PERE M'A MIS DEHORS. See "Ton Papa et Ta Maman m'a Jete Dehors."

 

TON 'TIT BEC EST DOUX. See "Valse des Meches."

 


TONE ROWE'S JIG. AKA - “Tone Rowe.” AKA and see “Brendan Tonra’s,” "Tonra's Jig,” “Tonroe’s" Irish, Jig. D Major. Standard tuning. AABB (Miller & Perron, Songer, Taylor): AABB’ (Mallinson). See also listings under the alternate titles. The jig has assumed this garbled name through the ‘folk process’ but was originally composed in 1957 by fiddler Brendan Tonra (‘Tone Rowe’s Jig’=’Tonra’s Jig’) of the village of Gowlaun, Doocastle, County Mayo (near the Sligo-Mayo border), and Boston. Brendan told Randy Miller that it was the third tune he ever composed, two years before he emmigrated to America. The first time he played the tune in public was at a fleadh in County Longford in 1958, and by 1960 was pleased to hear it had been recorded by both Sean Maguire and the Liverpool Ceili Band. Sources for notated versions: Irish fiddler Kevin Burke (Portland Oregon) [Songer]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 69. Mallinson (Enduring), 1995; No. 38, pg. 16. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 34. Songer (Portland Collection), 1997; pg. 197. Taylor (Music for the Sets: Yellow Book), 1995; pg. 28. Outlet SOLP 1001, "Sean McGuire & Roger Sherlock." Shanachie 29009, Andy McGann & Paul Brady – “It’s a Hard Road to Travel” (1977. Appears as “Carmen’s Amber”). Wild Asparagus 004, Wild Asparagus - “Call of the Wild” (1993).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Tonra’s Jig

T:Tone Rowe’s Jig

T:Brendan Tonra’s

M:6/8

L:1/8

K:D

G|~F3 AFE|EDB, A,B,D|~F3 GFG|ABF A2G|!

~F3 AFE|EDB, A,B,D|~F3 GFG|BAF D2:|!

|:g|f2d dcd|edc Bcd|f2d dcd|ABF A2g|!

f2d dcd|edc Bcd|f/g/af gec|dAF D2:|!

                       

TONGADALE REEL. Scottish, Reel. Composed by Farquhar MacDonald. Cruinn Comhla – The Well Travelled Fiddler’s Collection (1995).

                       

TONGS BY THE FIRE [1] (An T-Ursul Taob Na Teinne). AKA and see "Come to the Raffle." Irish, Double Jig. G Major. Standard tuning. At least once recorded under the ‘mondegreen’ title “Tongues of Fire.” AABB (O'Neill). O'Neill (O’Neill’s Irish Music), 1915; No. 180, pg. 98. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 962, pg. 179. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 185, pg. 45. Ryan’s Mammoth Collection, 1883; pg. 84.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Tongs by the Fire [1]

R:Jig

M:6/8

L:1/8

K:G

G2B cAF | Gge dBG |1 c3 B3 | ABG FED :|2 cBA Bdg | fef g3 :: gdB gdB |\

gaf gdB | gfg fag | fdd def | g3 f3 | efe def | gdB ABc | BGG G3 :|

 

TONGS BY THE FIRE [2], THE. AKA and see “Ballinamere Jig,” "Father Morrison's Delight,” “Molloy’s Favorite (Jig),” “Molloy’s Jig,” “Moss Martin’s,” “O’Connell’s Welcome to Dublin.” Irish, Double Jig. Ireland, County Sligo. E Dorian. Standard tuning. AAB. Philippe Varlet thinks the tune may be a variant of “Contentment is Wealth.” Source for notated version: fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 64.

 

TONIGHT MY SHEEP WILL BE RESTLESS. AKA and see “A nochd gur faoin mo chadal dhomh.”

 

TONIGHT SLEEP HAS FORSAKEN ME.  AKA and see “A nochd gur faoin mo chadal dhomh.”

 

TONN AN ATLANTAIGH.  AKA and see “Atlantic Wave.”

 

TONRA'S JIG (Port Uí Thomhnra). AKA - "Tonroe's Jig." AKA and see “Brendan Tonra’s,” "Tony Rowe's Jig," "Tone Rowe's Jig." Irish, Jig. D Major. Standard tuning. AABB (Flaherty): AA'BB' (Breathnach, Harker/Rafferty). The melody was composed in 1957 by Boston musician Brendan Tonra, while he was still living in his native Gowlaun, County Mayo. It was his third composition and he played it at a Longford Fleadh soon after. Tonra was a fiddler in the Tara Ceili Band in the 1950’s, although the melody was popularized through a recording by the Liverpool Ceili Band and their fiddler, Sean McGuire. Through the ‘folk process’ the title has become garbled or ‘distressed’ and sometimes appears as “Tone Rowe’s” or “Tony Rowe’s.” Sources for notated versions: accordionist James Keane (Ireland) [Breathnach]; fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, County Sligo) [Flaherty]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 35, pg. 47. Breathnach (CRÉ III), 1985; No. 20, pg. 10. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 69. Flaherty (Trip to Sligo), 1990; pg. 42. Harker (300 Tunes from Mike Rafferty), 2005; No. 177, pg. 55 (appears as “Brendan Tonra’s Jig”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 39. Coleman Center CD CC004, Phillip Duffy & Kevin Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo.” Appears as “Brendan Tonra’s”). Green Linnet Records SIF 1026, James Keane ‑ "Roll Away the Reel World" (1978). Outlet SOLP 1007, Seamus Tansey – “Best of Seamus Tansey” (197?). Outlet SOLP 1002, Sean McGuire – “Irish Traditional Fiddling” (197?). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Tonra’s Jig

T:Tone Rowe’s

L:1/8

M:6/8

K:D

DE|:F3 A2E|EDB, A,DE|FAA G2B|cAG cAG|~F3 AFE|EDB, A,DF|B/c/dB AFE|DCE D2:|

|:g|fdd dcd|edc Bag|fef dcd|cAG Ade|fdd dcd|edc Bag|f/g/af gec|1 dAF D2:|2 dfe dAG||

 

TONROE'S JIG. AKA and see "Tonra's Jig."

 

TONVA, LA.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABBCCDD. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 151.

X:1

T:Tonva, La

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

g/f/g/a/ gd|e/d/e/f/ eB|cAGF|G/F/G/A/ GG|g/f/g/a/ gd|e/d/e/f/ eB|cAGF|G2G2:|
|:Bd/B/ BG|[c2e2][c2e2]|Bd/B/ BG|[D2B2g2][D2B2g2]|Bd/B/ BG|[c2e2][c2e2]|cAGF|G2G2:|
|:BBAB|ccBc|ddcB|A2A2|BBAB|ccBe|dcBA|G2G2:|
|:DD/F/ EE/G/|FF/A/ GD|EE/G/ FF/A/|G2 G2|DD/F/ EE/G/|FF/A/ GD|EE/G/ FF/A/|G2G2:||

                       

TONY DALTON’S. AKA and see “Old Cork Hornpipe,” “Peter Wyper’s [2],” Irish, Hornpipe. Tara Records 4008, “Josephine Marsh” (1996).

                       

TONY LOWE'S POLKA [1] (Polca Antaine Mhic Lú). AKA and see “Babes in the Woods [1],” “Din Tarrant’s,” “Girl with the Blue Dress On [1]," “Pat McNicholas’.” Irish, Polka. G Major. Standard tuning. AA'BB. Source for notated version: piper Joe Shannon & fiddler Johnny McGreevy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 80, pg. 38. Bulmer & Sharpley (Music from Ireland), vol. 3. Green Linnet Records SIF 1023, Joe Shannon & Johnny McGreevy ‑ "The Noonday Feast" (1980). Mulligan Lun 027, Martin O’Connor - “A Connaughtman’s Rambles” (appears as middle tune of “Polkas,” side 1, track 3).

 

TONY LOWE’S POLKA [2]. AKA and see “Tuar Mór Polka [1],” “Toormore Polka [2],” “Wallace’s Cross.” Irish, Polka. D Major. Standard tuning. AABB. Taylor (Music for the Sets: Blue Book), 1995; pg. 7.

 

TONY MOLLOY’S.  AKA and see “Molloy’s Jig.”

                       

TONY O’SULLIVAN’S. AKA and see “The Butlers of Glen Avenue.

                       

TONY ROWE'S JIG. AKA and see "Tone Rowe's Jig," "Tonra's Jig."

                       

TONY'S RANT. AKA and see "Cotillon (Youth's the Season)." AKA ‑ "Zoney's Rant."

 

TONY SMITH’S BARNDANCE. AKA and see “The New Broom [3].


                       

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