The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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YN - YZ

[COMMENT1] [COMMENT2] 

[COMMENT3] [COMMENT4]               

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

YOCK HER IN DE BIGHT, BOY. AKA and see "The Sixer(ee)n." Shetland, Hornpipe. Composed by Shetland fiddler Tom Anderson.

 

YOE, THE. Scottish, Strathspey. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 98, pg. 13.

X:1

T:Yoe, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 98  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D<G G>F D<G G>A|F2 A>F d>FA>F|D<G G>F D<G G>g|f>d (3cBA (B<G)G2:|

|: g2 b>g d>gb>g|f2 a>f d>fa>f|1 g2 b>g d>gb>g|a>gf>a g2g2:|2 (3bag (3agf g<d d>e|d>cB>A G2g2||

 

YON FLOWERY GARDEN. English, Waltz. Topic 12TS283, Ned Pearson. Topic TSCD 669, Bob Forrester & Alf Adamson’s  Border Square Dance Band (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Harmonica player Forrester was from Carlisle, Cumberland).

 

YONDER COMES A COURTEOUS KNIGHT. English, Ballad Air (6/4 time). G Mixolydian. Standard. ABC. The air appears in Deuteromelia (1609) and Pills to Purge Melancholy (1698). Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 136.

 

YONKERS PIPER, THE. Irish, Reel. G Major. Standard. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, for Yonkers, New York, uilleann piper Jerry O’Sullivan. Black (Music’s the Very Best Thing), 1996; No. 66, pg. 34.

X:1

T: Yonkers Piper

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

A | Bded BG G2 | edBA GE E2 | gede gaba | gfgd BA A2 |

BGdG BG G2 | edBA GE E2 | DEGD EGAB | cBAB G3 :|

A | degd egde | agab agef | gdBd e2 dB | GABG ADFA |

dBcA Bdeg | agab agef | g2 dc BcdB | ADFA G3 :|

 

YORK COUNTY. American, Two-Step or Polka. C Major ('A' part) & G Major ('B' part). Standard. AABB'. Source for notated version: Ben Guilmette [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 176.

 

YORK COUNTY HORNPIPE. Canadian, Hornpipe. Composed by Earl Mitton (1926-1991), a native of Stewiacke, Nova Scotia. He learned to fiddle as a child, and in the 1960’s played with his band (The Valley Rhythm Boys) on radio and television out of Saint John, New Brunswick. He appeared on the Don Messer television show and recorded for several Canadian labels. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978).

 

YORK HORNPIPE. AKA and see "Kirk's Hornpipe." English, Hornpipe. England, Yorkshire. D Major. Standard. AABB. The melody is more common under the alternate title. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 14, pg. 31.

 

YORK HOUSE. English, Reel. England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 64.

 

YORK FUSILIERS, THE. AKA and see “Convention,” "Shenandoah." English (originally), American; March or Country Dance. D Major. Standard tuning. AABBCCDD. A British regimental march from the Revolutionary War period that has found its way into American dance and martial tradition, perhaps from early fife tutors (showing up in southwestern Pa. marital bands as the march "Shenandoah"). It appears, for example in Cushing Eell's tune manuscript of 1789 (page 19) from Norwich, Connecticut, and in The Fifer’s Companion, printed by Joshua Cushing in 1805. Eells also lists this song as “General Washington's March.” The tune was also used for shape note hymns ("The Heavenly Contention"). Morrison uses it for the contra dance "The Convention." Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 7. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 49. Sweet (Fifer’s Delight), 1965/1981; pg. 54.

X:1

T:York Fusiliers, The

M:2/4

L:1/8

R:Air

Z:AK/Fiddler’s Companion

K:D

D2 FA | de/f/ ge | fd cd | e/d/c/B/ A/G/F/E/ | D2 FA | de/f/ ge | fd c/d/e/c/ | d4 :|

|: fe e2 | fa a2 | fa fd | e/d/c/B/ A/B/c/d/ | fe e2 | fa a2 | fa fd | e4 :|

|: DA A2 | DB B2 | AB A/G/F/E/ | Dd cd | DA A2 | DB B2 | AB A/G/F/E/ | E2 D2 :|

|: A>G Fd | A>G Fd | BA GF | E/D/E/F/ E2 | A>G Fd | A>G Fd | Bb f/d/e/c/ | dd d2 :|

 

YORK RANT. AKA and see "Lord Holderness' Rant."

 

YORKSHIRE BITE [1], THE. AKA and see “Devil in the Kitchen [1],” “Miss Drummond of Perth [1],” “Mountain Reel [4],” “The Titanic Highland.” English (?), Reel. A Dorian. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 38. Ryan’s Mammoth Collection; 1883; pg. 65.

X:1

T:Yorkshire Bite [1]

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A Dorian

A(e/d/) B/d/e/f/ | g(d/g/) B/g/d/B/ | A(e/d/) Bd/e/f/ | g/f/g/d/ BA | A(e/d/) B/d/e/f/ |

G(d/g/) B/g/d/B/ | A(e/d/) B/d/e/f/ | g/f/g/d/ BA :: a(e/d/) c/d/e/f/ | g(d/g/) B/g/d/g/ |

A(e/d/) c/d/e/f/ | g/f/g/d/ BA | a(e/d/) c/d/e/f/ | g(d/g/) B/g/d/g/ | a/f/g/e/ f/d/e/f/ | g/f/g/d/ BA :|

 


YORKSHIRE BITE [2], THE. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody is from T. Skillern's Twenty-Four Dances for 1788. Dance instructions along with the music were printed in Samuel, Ann and Peter Thompson’s Twenty Four Country Dances for the Year 1789. No relation to "Yorkshire Bite [1].” The “Yorkshire Bite” was a broadside ballad published in 1782, which relates the tale of a farm lad who, flush with money from selling his master’s cow, frustrates a robber by throwing it into the woods after he is accosted.  While the villain thrashes through the brush for the loot, the boy makes off with the felon’s horse and the accumulated booty packed on it. Such stories (i.e. youths outwitting outlaws, i.e. the trickster tricked) are apparently known throughout Europe. An American a derivation of the song is found in “The Crafty Farmer”. The term ‘Yorkshire Bite’, meaning a condition of overreaching, or trapping/being trapped in a profitless bargain, probably stems from this.Another view of the origin of the term is presented by John Nicholson (Folk Lore of East Yorkshire, 1890, pg. 98, a view supported by Samuel Maunder in The Treasury of Knowledge and Library Reference, 1853):

***

When George IV said to Jemmy Hirst, “So you are a Yorkshire bite?” Jemmy replied,

“Yes, but not for thee!” and thought the term signifies keenness in the way of over-

reaching, it probably had its origin in the proverbial Yorkshire hospitality, which decreed

“You mun hev a bite o’ summat afooar y’u gan,” and that meant the best the house could provide.

***

Kidson (Old English Country Dances), 1890; pg. 17.

X:1

T:Yorkshire Bite, The [2]

M:2/4

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:A

AAcA|ecBA|GABG|dBAG|AAcA|ecBA|fdBG|A2A2:|

|:ceAe|dfBd|ceAc|BGFE|ceAe|dfBf|edcB|A2A2:|

 

YORKSHIRE GREY. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. Kidson suggests the 'A' part was derived from "Hunting the Hare" or "Green Gown." The second, ‘B’, part is two measures longer (six in total) than the ‘A’ part music. The air appears in C. and S. Thompson's Complete Collection of Country Dances and Cotillions for the Harpsichord (c. 1775). Kidson (Old English Country Dances), 1890; pg. 15.

X:1

T:Yorkshire Grey

M:6/8

L:1/8

R:Jig

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:D

dcd AFA|dfd ecA|dcd AFA|dec d3:|

|:dA=c BAG|eBd ^cBA|dA=c BAG|eBd ^cBA|efg fed|eBc d3:|

 

YORKSHIRE LAD, THE. English, Country Dance Tune (4/4 time). A Major. Standard tuning. AABB. The piece is found in John Johnson's Choice Collection of 200 Favourite Country Dances (vol. 4, 1748). Kidson finds in this tune the "earliest germ" of the more famous "Keel Row" or "Well May the Keel Row" (see note for "Weel May the Keel Row") and the 'A' part indeed is quite similar. "Smiling Polly" and "The Dumb Glutton" also show strong resemblances to this tune family. Kidson (Old English Country Dances), 1890; pg. 18.

X:1

T:Yorkshire Lad, The

M:C

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:A

c2 Ac d2 Bd|c/d/e/c/ Ac BG E2|c2 Ac d2 B/c/d/B/|c/d/e Aa g2e2:|

|:a2 c/d/e/c/ df b2|d/e/f Bd ce ae|f2 dB e2 cA|G/A/B EG A2 A,2:|

 

YORKSHIRE LASSES [1].  AKA and see "The Rollicking Irishman," "Top of Cork Road [1]," "Cork Road," "Father O'Flynn," "To Drink With the Devil," "Trample Our Enemies," "Bonny Green Garters [1]," "The Irish Lilt."  English, Jig. D Major. Standard tuning. AABB. Despite the numerous Irish alternate titles, the tune seems to have first been printed in English collections, under the given title. Moffat and Kidson have located the tune in collections of 1779 and 1781, while the first Irish printing seems to have been in 1798. Longman and Broderip's Compleat Collection of 200 Favorite Country Dances, Cotillions and Allemands, Vol. 2 (pg. 84) printed in London in 1781 appears to be one of the Moffat and Kidson sources. Nevertheless, ascription's to Irish origins persist. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 37 (appears as "The Rollicking Irishman"). Raven (English Country Dance Tunes), 1984; pg. 101.

X:1

T:Yorkshire Lasses [1]

L:1/8

M:6/8

K:D

A|dAG FGA|Bcd c2A|def efg|fdf edc|dAG FGA|Bcd c2A|def efg|fdd d2:|

|:g|fdf faf|ece eac|dcd Bed|cAA A2=c|BGB BdB|^cAc cec|dBd eag|fdd d2:|

 

YORKSHIRE LASSES [2]. Irish, Reel. In notes on their album "Traditional Music of Ireland and Shetland" How to Change a Flat Tire says the tune is northern Irish, from Fermanagh, and that it is traditionally played in that county first in the key of E Minor, then in A minor. Cathal McConnell says it is an unusual tune because it is played in octaves (an unusual style for Fermanagh), generally by two fiddles. At the key change, one fiddle will take the high octave and the other takes the low octave. Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from County Fermanagh fiddle player Big John McManus, who had it from his uncle Hugh Gunn, also a fiddler, and from the lilting of his mother Katie). Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland" (learned from flute player Cathal McConnell, Fermanagh).

 

YORKSHIRE TRIP (An Turas go Yorkshire). AKA and see “Trip to Yorkshire.” Irish, Slip Jig. G Major. Standard. AABBCC. Breathnach (CRÉ IV), 1996; No. 36, pg. 20.

 

YORKSHIREMAN IN LONDON, THE. English, Reel. D Major. Standard tuning. One part. Originally set in the key of ‘G’ in Gibbons’ mss. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 5.

X:1

T:Yorkshireman in London, The

M:C|

L:1/8

R:Reel

S:Joshua Gibbons mss (1823-26)

Z:AK/Fiddler’s Companion

K:G

g|dcBA GF G2|GdBd GdBd|dcBA GFGf|gfed ef g2|

fbfb fbbg|fafa faaf|fbfb fbba|gfed ef g2||

                       


YOU AND I. Canadian, Reel. Canada, Cape Breton. G Mixolydian. Standard tuning. AABB. Identified as a “French” reel by editor Paul Cranford, who states the traditional tune was popularized in Cape Breton by fiddler Angus Chisholm, and is now played throughout the island. Some fiddlers, notes Cranford, tend to sharpen some of the ‘f’ notes and flatten some of the ‘b’ notes in the tune. Source for notated version: learned by Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) from her father, Robert Stubbert, who had the tune from Irish-style fiddlers Hughie Jackson (St. Peter’s, Cape Breton) and Hoe Confiant (Northside, Cape Breton) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 77, pg. 28. WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

 

YOU ARE MY LOVE IN THE HAY ALL NIGHT. Irish, Air (6/8 time). A Dorian. Standard tuning. AB. One more member of the ubiquitous "(Oro) Welcome Home" tune family. Words to the first half were:

***

You are my love in the hay all night (x3)

Till six o'clock in the morning.

***

Source for notated version: Mrs. Anastasia Corkery (Co. Cork and southwestern Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 36, pg. 587.

 

YOU ARE WELCOME AS THE FLOWERS IN MAY. Old‑Time. USA, Tenn. Recorded by Chatanooga, Tenn., fiddler Jess Young for Gennett in 1924.

 

YOU BE WELCOME HERE AGAIN.  See “Ye’ll Aye be Welcome Back Again.”

 

YOU BET. American, Reel. G Major. Standard tuning. AABB. Composed by James (“Jimmy”) Hand, according to Ryan’s Mammoth Collection (1883), but the ‘A’ part is very similar to “Off/Going to California [1].” There is also a Johnny Hand to whom several tunes are attributed in Ryans, and they probably were brothers from the Boston area, or perhaps father and son. Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pg.

X:1

T:You Bet

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | G>B A/G/E/D/ | G/B/d/g/ e>f | {a}g/f/g/e/ d/B/A/c/ | B/G/A/F/ G/F/E/D/ | G>B A/G/E/D/ |

G/B/d/g/ e>f | {a}g/f/g/e/ d/B/g/e/ | d/B/A/B/ G :: .g(d/g/) e/d/g/d/ | e/a/a/b/ a/g/e/f/ | .g(d/g/) e/d/g/d/ |

e/g/f/a/ .g(g/a/) | b/b/b/e/ a/a/a/f/ | {a}g/g/g/e/ .d(e/f/) | {a}g/f/g/e/ d/B/g/e/ | d/B/A/F/ G z :|

 

YOU BROKE MY CUP AND SAUCER. AKA and see "Same Old Cup and Saucer."

 

YOU CAN'T BREAK MY HEART. AKA and see "Tu Peux Pas Casser Mon Coeur."

 

YOU GENTLEMEN OF ENGLAND. AKA and see "When the Stormy Winds do Blow." English, Irish; Slow Air (4/4 time). F Major. Standard tuning. One part. "When an English or a Scotch song caught the popular taste in Ireland, it was quite usual to sing the words to an Irish air when the proper air was not known. Many an English and Scotch song I learned in that way in my early days‑‑especially those of Burns‑‑and of some I give the Irish airs in this book. The proper English air of this song is given in Chappell's Popular Music of the Olden Time, p. 293: I give the Irish air to which we sang it.

***

You gentlemen of England that live at home at ease,

How little do you think upon the dangers of the seas;

Give ear unto the mariners, and they will plainly show

All the cares and the fears when the stormy winds do blow." (Joyce).

***

Source for notated version: "Patrick MacDowell, the distinguished sculptor: born in Belfast 1799: died in 1870" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 553, pg. 293.

                       

YOU GET SOME SYRUP THERE. AKA and see "La Tu Attrapes du Sirop."

                       


YOU HAD SOME, YOU WON'T HAVE ANY MORE. AKA and see "T'en As Eu, T'en N'auras P'us."

                       

YOU KNOW I'M YOUR PRIEST. AKA and see "Ballinamona," "Wedding of Ballinamona," "Wedding of Ballyporeen."

                       

YOU MARRIED MY DAUGHTER, AND (BUT) YET YOU DIDN'T. AKA and see "Cobbler's Reel [1]". New England, Canadian; Reel. G Major. Standard tuning. AABB'. The tune is originally called "The Cobbler's Reel" (Reel du cordonnier), although another tune also called "The Cobbler's Reel" is the "Shoemaker's Reel." The curious title has been interpreted in various ways, including reference to minister who married a couple and a darker meaning as ‘you had relations with my daughter, but never married her.’ Tom Paley thinks the tune and name might have its origins in France. Source for notated version: The Riendeau Family [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 295. Welling (Welling’s Hartford Tune Book), 1976; pg. 16. County 725, The Riendeau Family‑ "Old‑Time Fiddling." Front Hall 010, Fennigs All Stars‑ "The Hammered Dulcimer Strikes Again." Philo 2000, “Louis Beaudoin” (1973. Appears as ”Wilfrid Guillette’s Favorite Reel,” Beaudoin’s title honouring a friend, learned from an Isadore Soucy record).

X:1

T:You Married My Daughter, But Yet You Didn’t

L:1/8

M:C|

K:G

B2d2|g2 g2 agfa| g2 g2 e2 g2|f2 ff gfeg|ff f2 B2 d2|g2 g2 agfg|g2 g2 B2 d2|

fgfe dcBA|G4 : :BcdB|G2 G2 BcdB|d2 c2 ABcA|F2 FF ABcA|

e2 d2 BcdB|G2 G2 Bcdc| d2 c2 ABcA|F2 fe dcBA|G4:|

           

YOU MAY IF YOU PLEASE.  English, Jig. D Major. Standard tuning. AABB. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 72.

           

YOU MAY TALK AS YOU PLEASE. AKA and see "Daniel of the Sun."

                       

YOU NEED NOT FEAR (Ni Baogal Duit). Irish, Air (4/4 time, "animated"). G Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 525, pg. 92.

X:1

T:You Need Not Fear

M:C

L:1/8

R:Air

N:”Animated”

S:O’Neill – Music of Ireland (1903), No. 525

Z:AK/Fiddler’s Companion

K:G

G | G3A cBAG | A3B dcBA | G2 Bd edcB | B4A2 zG | G3F E2D2 |

E2 G>A B3e | d3e B2 A/G/B/A/ | G6 z || d | d2 ef g3 f/e/ | d3 e B2 ze |

d3e dBAG | B3 c/B/ A2 zG | G2 Bd e3d | g3a {a}g2 fe | dBge dBA>B | G6 z ||

 

YOU NEVER CAN TELL. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

YOU NEVER DID HEAR. AKA and see "The Grumbling Rustic."

 

YOU NEVER SAW HER EQUAL (Ni Faiceas Riam A Coimionann). Irish, Reel. G Major/A Dorian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1233, pg. 232.

X:1

T:You Never Saw Her Equal

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1233

Z:AK/Fiddler’s Companion

K:G

Bc | dBGB (3ABA GB | dBGB A2 Bc | dBGB (3ABA GB |

cABG A2 Bc | dBGB (3ABA GB | dBGB A2 Bd | gfga bagf |

gedB A2 || Bd | (3efe de gedg | (3ege dB A2 Bd | (3efe de gedB |

cABG A2 Bd | (3efe de gedg | (3ege dB A2 Bd | (3efg (3fga gedB | cABG A2 ||

 

YOU NEVER SAW ROSEY (Ni Faiceas Roisin A Riam). Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 246, pg. 42.

X:1

T:You Never Saw Rosey

M:3/4

L:1/8

N:”Slow”

S:O’Neill – Music of Ireland (1903), No.246

Z:AK/Fiddler’s Companion

K:G

G/>A/B/c/ | d3f g2 | fd3 B>G | {G/A/B/}A4 G2 | G6 | .d2 .d2 ga | b2a2 gf |

d2 gf d>{f}e | d4 c/d/e/f/ | a2g2 fe | c f2 dBG | {G/A/B/}A4 G2 | G4 ||

 

YOU NOBLES OF INIS EALGA. Irish, Air (6/8 time). F Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 845, pg. 211.

X:1

T:You Nobles of Inis Ealga

M:6/8

L:1/8

R:Air

S:Stanford-Petrie (1905), No. 845

Z:AK/Fiddler’s Companion

K:F

F | FFF fff | fgf fff | ddd ccc | AAA G2G | FGF f2f | fgf f2e | deA cdA | f3f2 ||

f/g/ | afd gec | cef g2 f/g/ | afd fdc | cAF G2G | FFF fef | fgd f2e | deA cdA |

f3 f2 f/e/ | de/d/c/A/ cd/c/A/G/ | {F}f3 f2 ||

 

YOU ROGUE, YOU DAR’N'T MEDDLE ME (A Cladaire na Bain Liom). AKA and see “Touch Me If You Dare [1].” Irish, Reel. A Dorian (O’Neill): B Minor (Levey). Standard tuning. AB (Levey): AAB (O’Neill). Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 72, pg. 32. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 632, pg. 114.

X:1

T:You Rogue, You Darn’t Meddle Me

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 632

Z:AK/Fiddler’s Companion

K:Amin

AB|cABG AGE^F|GABc dBGB|cABG AGED|EAAB A2:|

||E2|ABcd e2 e^f|ge^fd ecAG|ABcd e2 e^d|eaag a2a2|

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

X:2

T:You Rogue, You Darn’t Meddle Me

M:C

L:1/8

R:Reel

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:Bmin

de | fgfe fdBc | defg afba | fgfe fdBd | cdec d2 (de) | fgfe fdBc |

defg ac’bg | fgfe fdBc | dfec d2 || (FE) | FABc d2 (cd) | Bedc BAFD |

FABc dcdf | ecAc B2 FE | FABc dcde | fedc dcBA | BGFE FDBG | FEDC D2 ||

                       

YOU STAY AWAY A LONG TIME. AKA and see “Breeches Mary,” “Catholic Bill’s,” “Din Tarrant’s Favorite,” "The Humours of Kilkenny."

                       

YOU STOLE MY HEART AWAY (Do Goidais Mo Croide Leat). Irish, Air (6/8 time, "cheerfully"). G Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 527, pg. 91.

X:1

T:You Stole My Heart Away

M:6/8

L:1/8

R:Air

N:”Cheerfully”

S:O’Neill – Music of Ireland (1903), No. 527

Z:AK/Fiddler’s Companion

K:G Minor

B/A/ | G2g gfe | dcB AG^F | G2g g/a/ba | g2^f g2 B/A/ | G2g gfe |

dcB AG^F | G2g g/a/ba | g3 g2 || A | B>cB d<fB | A>GA FGA |

B>AB G2d | gab d2a | bag fed | cdB AG^F | G2g g/a/ba | g3 g2 ||

                       

YOU TOLD ME A LIE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       


YOUGHAL HARBOUR [1] (Calad n-Eocaill). Irish (originally), New England; Hornpipe. E Minor or G Major ('A' part) & G Major ('B' part). Standard tuning. AABB. Youghal is a sea-side town in the east of County Cork, Ireland; its harbor separates the counties of Cork and Waterford, where the Blackwater enters the sea. The name derived from the Irish word Eochaill, meaning ‘yew wood’ and speaks to the wooded condition of the area in ancient times. The town grew up along a strip of flat land that was easily defensible and provided access to the estuary, but other side of the harbor was prone to silting and was thus never developed. A steep slope situated behind the town led to development north and south along the water, resulting in a characteristic long narrow profile. Youghal was well-situated for trade having access to sea and the interior via the Blackwater, and became a famous port for the rich agricultural lands of east Cork.

***

Despite the ancient maritime heritage of the community, not every voyage was successful. In August 1849, Queen Victoria paid her first visit to Ireland at Queenstown (now Cobh) and a group from Youghal viewed the occasion. They had an adventurous journey on board the steamer Arab.

***

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

leaving Youghal, she came into collision with a schooner, and injured her. On

reaching Capel Island, she took fire; but it was soon extinguished. She sank a

boat in Cork Harbour, and periled the lives of two sailors in it; and on reaching

the Royal Presence, her flag, which bore the Arms of Youghal, could not be lowered,

it having fouled somewhere in the rigging. (A Handbook for Youghal)

***

Bulmer & Sharpley (Music from Ireland), vol. 2, No. 83. O'Neill (Krassen), 1976; pg. 182. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1633, pg. 303. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 861, pg. 149. Tolman (Nelson Music Collection), 1969; pg. 14.

X:1

T:Youghal Harbor

M:C|

L:1/8
R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 861

Z:AK/Fiddler’s Companion

K:G

BA | GFEF GABd | egfa gage | dcBA G2 Bd | cBAG EcBA | GFEF GABd |

egfa gage | dcBA BGEF|G2G2G2 :: dc | Bdef g2 fg | agfg edge | dcBA G2 Bd |

cBAG EcBA|GFEF GABd| egfa gage | dcBA BGEF | G2G2G2 :|

 

YOUGHAL HARBOUR [2]. Irish, Set Dance (cut time). G Major. Standard tuning. AAB. Related to version #1. The tune has six bars in the ‘A’ part and fourteen in the ‘B’ part. Roche Collection, 1982, vol. 3; No. 186, pg. 65. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 34, pg. 32.

X:1
T:Youghal Harbour
S:Tom Barrett, fiddle (Co. Kerry)
R:set dance
M:4/4
L:1/8

Z:Transcribed by Paul de Grae
K:G
ef|gfed B2 AB|dB (3ABA GEDE|G2 GA Bdef|
gfed B2 AB|dB (3ABA G2 G2|G4-G2:|:GA|
Bdef g2 fg|agfg e3 f|fedB dBAB|d2 d2 d2 ef|
g2 ga gfed|Bd (3BAG EDB,D|G2 GA B{dBA}Bd|
edef g2 ef|gfed B2 AB|dB (3ABA GEDE|G2 GA Bdef|
gfed B2 AB|dB (3ABA G2 G2|G4-G2:||

 

YOUGHAL HARBOUR [3]. Irish, Slow Air (3/4 time). C Major. Standard tuning. AB. "In Forde there are seven settings of this tune, and I have myself some others. Though the tune has already been published, I think it worth while to give here the setting taken down by Forde from Windele: first, because it is a vocal setting, whereas most other settings are instrumental; second, because it is an unusual and good setting; and third, because it is almost identical with the version I learned in my youth. This air is well known all over the South of Ireland" (Joyce). See also "When First I Came to the County Limerick." Source for notated version: "John Windele, the distinguished Cork archaeologist (died 1865)" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 680, pg. 340.

X:1

T:Youghal Harbour [3]

M:3/4

L:1/8

R:Air

N:”Slow: with expression.”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 680

Z:AK/Fiddler’s Companion

K:C

A/B/ | cc c2 eg | aa a2 c’a | gecde>d | cA G3G | cc c2 eg | aa a2 c’a | gecde>d | cc c3 || c/d/ |

ee c’2 bc’ aa a2 c’a | gecde>d | cA G2 A/B/ | cc c2 eg | aa a2 c’a | gecde>d | cc c3 ||

 

YOUGHAL HARBOUR [4]. Irish, Air. This melody, a variant of "Maidin Domhnaigh," appears in Holden's Collection (1806, pg. 14).

 

YOUGHAL HARBOR [5]. Irish, Reel. Composition credited to Paddy O'Brien. Green Linnett GLCD 1119, Cherish the Ladies -"The Back Door" (1992).

 

YOUGHAL QUAY. Irish, Reel. G Major. Standard tuning. AABB. The tune is in The Collected Compositions of Paddy O’Brien, presumably authored by him. Mulvihill (1st Collection), 1986; No. 98, pg. 26.

X:1

T:Youghal Quay

M:C|

L:1/8

R:Reel

K:G
BdcA G2DG | G2BA GBdg | fdBA G_FDE | FGAB cA~A2 |…

 

YOUGHAL WALTZ [1]. Irish, Waltz. G Major. Standard tuning. AABBCCDD. A early waltz. Youghall is in east County Cork, on the border with County Waterford (separated by Youghall Harbor and Youghall Bay), and thus belongs with uilleann piper O’Farrell’s “Waterford tunes”—melodies with titles that reference County Waterford locations that are sprinkled throughout O’Farrell’s volumes. The preponderance of Waterford place names suggests O’Farrell hailed from Waterford, or lived there for a significant time. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 139. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:Youghall [sic] Waltz [1]

M:3/8

L:1/8

R:Waltz

S:O’Farrell (Pocket Companion, vol. IV), c. 1810

Z:AK/Fiddler’s Companion

K:G

B/A/ | G G/A/ F/A/ | G G/A/ F/A/ | G/F/G/A/B/c/ | d/e/d/c/B/A/ | GG/A/ F/A/ |

G G/A/ F/A/ | G/B/A/c/F/A/ | G2 :: G/F/ | EE/G/(F/G/) | DD/G/(F/G/) | E E/G/ (F/G/) |

D2F | G/F/G/A/B/c/ | d/e/d/B/c/A/ | GGF | G2 :: D | GGB | ddg | AAd | BGD | GGB |

ddg | A A/G/A/B/ | G2 :: d | g/f/e/d/c/B/ | e/d/c/B/A/G/ | G/F/G/A/B/c/ | BAf |

g/f/e/d/c/B/ | e/d/c/B/A/G/ | F/4G/4A/4B/4 c/A/G/F/ | G2 :|

 

YOUGHAL (WALTZ) [2], THE. Irish, Waltz. D Major (‘A’, ‘B’ parts) & A Major (‘C’ part). Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 199, pg. 54.

X:1

T:Youghal (Waltz), The [2]

M:3/4

L:1/8

R:Waltz

K:D

A2|d/e/d/c/ df Af|d/e/d/c/ df Af|e/f/e/^d/ eg ce|df ba gf|d/e/d/c/ df Af|

d/e/d/c/ df Af|e/f/e/^d/ eg ce|d4::^d2|e/f/e/^d/ eg ce|d/e/d/c/ df  Af|e/f/e/^d/ eg ce|

df ba ^ga|e/f/e/^d/ eg ce|d/e/d/c/ de fd|c/d/c/B/ cd ec|d4:|

K:A

Ac|e2e2e2|ea ce Ac|Bd GB EG|Ac ee e2|AG A_B =Bc|ea ce Ac|Bc dB ec|A4:|

                       

YOU'LL AY BE WELCOME BACK AGAIN. See "Ye'll Ay be Welcome Back Again."

 

YOU'LL GO A HUNTING NO MORE. AKA and see "Happy to Meet (and Sorry to Part)," "Sorry to Part," "The Wake Jig," "My Love in the Morning," "Jemmie the Gom." Irish, Double Jig. G Major. Standard tuning. AABB. Roche Collection, 1982, vol. 1; No. 106, pg. 45.

 

YOU'LL MAKE ME DIE. AKA and see "Tu Vas m'Faire Mourir."

 

YOU'LL NEVER BE ANY GOOD (Ni Beid Tu Aon Mait Go Brat). Irish, March (6/8 time). D Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1841, pg. 346.

X:1

T:You’ll Never Be Any Good

M:6/8

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1841

Z:AK/Fiddler’s Companion

K:D

ABA A2G|F2E D3|ABA AFA|B3 d3|dcB ABG|FGE D3|def ecA|B2c d2:|

|:d2e fgf|e2d c2A|d2e fgf|e3 A3|d2e fgf|e2d cBc|dcB AGF|B2c d2:|

 

YOU'LL NEVER BE LIKE MY OTHER GOOD MAN. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 231.


 

YOU'LL NEVER DECEIVE ME AGAIN ("Srotan na Mangaire bReige" or Ni Meallfadsa Me Aris"). Irish, Air (4/4 time, "with feeling"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 534, pg. 92. Roche Collection, 1982, vol. 3; No. 19, pg. 6.

 

YOU'LL NOT DECEIVE ME AGAIN. See "You'll Never Deceive Me Again."

 

YOU'LL THINK E'ER MANY DAYS ENSUE. English, Air. The tune appears under the above title in John Gay's Beggar's Opera of 1728. Kidson (1922) says the air was the stage traditional tune for Ophelia's song "How should I your true love know."

 

YOUNG AMERICA HORNPIPE. AKA and see "Farewell to Whiskey [1]," "Goodbye Whiskey," "The Ladies Triumph [1]." New England, Hornpipe. A Major. Standard tuning. One part (Burchenal): AABB (Coles). Credited to one “Pushee” in Ryan's Mammoth/Cole's 1000, but is in actuality Niel Gow's famous composition "Farewell to Whiskey" printed in the early 19th century. “Pushee” refers to Abram Pushee (1791-1868), a New Hampshire fiddler, band leader and dancing master who lived in Lebanon, New Hampshire, for most of his life. Michael McKernan has researched him and finds that he was a well-known dance musician and teacher in the central Vermont and New Hampshire area, who influenced several generations of musicians. For many years he organized the Musicians’ Annual Balls in Lebanon, New Hampshire, in the mid-19th century, that brought together musicians from New Hampshire, Vermont, and Massachusetts (see note for “Headlight Reel," “Old Granite State Reel”). Pushee is also recorded as leading a band in Lowell, Massachusetts, in 1849 (McKernan was able to obtain a photocopy of the 1st violin parts of the manuscript repertoire). Obituary notices praised him for his talent and moral character, but McKernan finds that a more personal account gave that Pushee was rather loud-mouthed and an atheist, at least in private (see his other Ryan/Cole composition “Pushee’s Hornpipe”). “Young America” was often used as a tune for the dances "Twin Sisters" or "Merry Dance," according to Ryan (1883), presumably for regional dances in the northeast United States. See also notes under alternate titles, where the tune has been rendered in other dance meters, including a polka in Sliabh Luachra, Ireland.

***

Al Smitley suggests the tune may have been named for the clipper ship Young America, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. The Young America was a three-masted wooden extreme clipper ship built in New York in 1853 for George B. Daniels. It was 243 feet long and was originally rigged with three skysails (although later re-rigged with double top-sails). A builder’s half model of the ship is at the Smithsonian Institute. After a productive career under the American flag the Young America was sold to and Austrian firm, renamed the Miroslav, and put into the trans-Atlantic case oil trade. In 1886 she passed departed from Philadelphia for Fiune under the command of Captain Vlassich but was never heard from again. There was also a singer in the mid-19th century named Young America, who is mentioned in an ad in the New York Clipper (an entertainment newspaper) in 1851. Listing her among other performers to appear at the Melodeon concert hall at 539 Broadway, she is described as a “beautiful balladist.”

***

In fact, there were several “Young America” tunes, including a polka, schottishe and galop [see the American Memory website at http://memory.loc.gov/cgi-bin/query/r?ammem/mussm:@filreq(+@FIELD(SUBJ+@band(++Young+America++movement+))+@field(COLLID+sm1820)) ]. All of them appear to be written in honor of the Young America movement, an American political idea popular in the 1840’s. It was inspired by the European youth movements of the previous decade, such as Young Italy, and was formed as a political organization in 1845 by Edwin de Leon and George H. Evans. According to the Encyclopedia Brittanica, “it advocated free trade, expansion southward into the territories, and support for republican movements abroad.  It became a faction in the Democratic Party in the 1950’s. Sen. Stephen A. Douglas promoted its nationalistic program in an unsuccessful effort to compromise sectional difficulties.” Burchenal (American Country Dances, Vol. 1), 1918; pgs. 7‑8. Cole (1000 Fiddle Tunes), 1940; pg. 101. Ryan’s Mammoth Collection, 1883; pg. 137.

X:1

T:Young America

M:2/4

L:1/8

R:Hornpipe

N:Credited to Pushee in Ryan’s

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | .E.A A/B/c/A/ | .BF2.G | .A.A A/B/c/d/ | (e2 c).e | .f.a .e.c | d/c/B/A/ .B.e | .E.A c/B/A/B/ | cAA :|

|: e | .e.c .a.e | d.c.B.A .B.e | .e.c .a.e | f/a/g/b/ .a.e | .f.a .e.c | d.c.B.A. .B.e | E.A c/B/A/B/ | cAA :|

 

YOUNG AND LUSTY. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       

YOUNG ARTHUR DALY (Art Og Ua Dalaig). AKA and see "Wide Awake (Reel)." Irish, Reel. A Major. Standard tuning. AAB. See also the related “Rat-Catcher’s Reel.” O'Neill (Krassen), 1976; pg. 135. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1422, pg. 264. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 659, pg. 118.

X:1

T:Young Arthur Daly

M:2/4

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 659

Z:AK/Fiddler’s Companion

K:A

A,C/E/ A/c/e/c/|d/f/e/c/ B/c/A/F/|EC/E/ A/c/e/c/|d/f/e/c/ (3A/A/AA:|

||a/g/a/b/ a/e/c/a/|e/a/c/a/ e/a/c/a/|a/g/a/b/ a/e/c/a/|b/e/f/g/ a(3e/f/g/|

a/g/a/e/ f/a/e/c/|d/B/c/A/ B/c/A/F/|EC/E/ A/c/e/c/|d/f/e/c/ (3A/A/AA||

                       

YOUNG BEAUTY, THE. See “(An) Raelthion Leanabhach.”

                       

YOUNG BLACK COW, THE (“Druim-Fionn Dub Og” or “Drimmin Dhoun Oge”). Irish, Slow Air (3/4 time). G Mixolydian (Roche): G Dorian (O'Neill). Standard tuning. AB. Unrelated to the similarly titled "Dear Black Cow" (Drimin dubh). Source for notated version: copied from O’Farrell’s Pocket Companion (1804-1810) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 220, pg. 38. Roche Collection, 1982, vol. 1; No. 16, pg. 11.

X:1

T:Young Black Cow, The

T:A Druim‑fhionn Dubh O/g

B:O'Neill's "Music of Ireland", no. 220

M:3/4

L:1/8

K:Gm

GF|D2 G2 G^F|G2 A2 c2|d=ef_edc|A4 db|

A2 G2 G^F|G3 A B2|A2 G2 FD|D4 D2|

D2 G2 G^F|G2 A2 c2|d=ef_edc|A4 ^fg|

{g}a2 gf ed/c/|d3 =e f2|G2 G2 {B}AG/F/|G4 || d2|

d2 g2 g^f|g3 a b2|a2 g2 fd|d4 =e2|

f3 g fd|f2 g2 a>g|fdcBAG|F4 GF||

X:2

T:Druim-fionn Donn Og

T:Young Black Cow, The

M:3/4

L:1/8

S:O'Farrell's Pocket Companion 1804-1810

Z:Paul Kinder

R:Air

K:G Minor

"Andantino"GF|D2 G2 GF|G2 A2 c2|d=e fe dc|A4 dB|A2 G2 GF|

G3 A B2|A2 G2 FD|D6|D2 G2 GF|G2 A2 c2|d=e fe dc|A4 fg|a2 gf =ed/4c/4|

d3 =e f2|G2 G2 AG/4^F/4|G4||d2 g2 gf|g3 a b2|a2 g2 fd|d4 =e2|f3 g fd|f2 g2 a>g|

fd cB AG|F4 dc|A2 G2 GF|G2 A2 c2|d=e fe dc|A4 fg|a2 gf =ed/4c/4|d3 =e f>A|

G4 {B}AG/4^F/4|G4||

 


YOUNG BOY, THE (An Bouchaillin Fir Oig). Irish, Slow Air (2/4 time). G Major. Standard. One part. "A version of 'The Wheelwright' (Bunting)" {Joyce}. Source for notated version: "Copied from a MS. collection lent to Mr. Pigot by James Hardiman, the historian of Galway and editor of Hardiman's Irish Minstrelsy” (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 767, pg. 376.

 

YOUNG BRIDGET (Brigid Og Na gCiabh). AKA and see "Bridget Cruise" [4]. Irish, Slow Air or Planxty (3/4 time). G Major. Standard tuning. One part. Composition of the tune is often attributed to the blind Irish harper Turlough O'Carolan, though not by Bunting. Source for notated version: the Irish collector Edward Bunting noted the melody in 1792 from "an old man at Deel Castle." O'Neill (Krassen), 1976; pg. 231. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 640, pg. 115. O'Sullivan/Bunting, 1983; No. 111, pgs. 159-160.

X:1

T:Young Bridget

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 640

Z:AK/Fiddler’s Companion

K:G

B/d/e/f/ | g2 c’b {b}ag | g4 g>f | e2 gfed | e2 ef g>f | ed {d}cB A{B/A/}G |

{G}F/E/F/G/ A3G | G6 | (G3 G/)(c/ BA) |  G3 A B>^c | d3d g>f | e2 gf e^d |

e4 {d}cB/A/ | G>A B>c de/f/ | g2 g>b a>g | f2 e3d | d4 de/f/ | g2 .g.b.a.f |

g4 f>g | e2 .g.f.e.d | e3 f g>f | {e/f/} ed {c/d/}cB {A/B/}AG | {G}F/E/F/G/ A3G | (G6 | G4) ||

 

YOUNG BRIDIE O’MALLEY (Brid Og Ni Mhaille). AKA and see “Donnell O’Daly.” Irish, Air. The song is generally known by this title today. A somewhat different version appears as “I’m a Young Little Girl” (Is Cailin Beag Og me).

 

YOUNG CATHERINE (Caitilin Og). AKA and see "As I Went Forth to View the Plain." Irish, Air or Planxty (4/4 time). A Dorian. Standard tuning. AB. The tune was attributed by Captain Francis O’Neill to the Irish harper Turlough O'Carolan (1670-1738), though it is very doubtful he actually composed it. The alternate title, “As I went forth…” given by O’Neill is the first line of the song “Katherine Ogie,” and indeed, “Young Catherine” appears to be a variant of that song tune (see notes under spelling “Katharine Oggle”). O'Neill (Krassen), 1976; pg. 227. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 628, pg. 111. Lochshore CDLDL 1215, Croab Rua - “The More That’s Said the Less the Better” (1992).

X:1

T:Young Catherine

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 628

Z:AK/Fiddler’s Companion

K:A Minor

A>G | E2 A>B A3B | c2 B>A A2 Bc | d3e dB A>B | G3A B2 A>G |

E2 A>B A3B | c2 B>c A2 a>g | e2 dc/B/ c>dB>c | A4 e2 || A>B |

cde^f g3a | ged>e g2 d>c | B2 g>e dBA>B | G3A B2 AG | c2 B>A A3 E |

ABcd c/d/e dc | d>e^ga =ged>B | A4 e2 ||

 

YOUNG COLLINS [1]. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABB, x4. Collected from the villages of Bledington and Oddington, Gloucestershire, in England's Cotswolds.

***

The portrait (by artist A van Anrooy) depicts Charles Benfield, the fiddler for the Bledington morris men in the second half of the 19th century. Benfield started out by playing the pipe and tabor, instruments he had ‘inherited’ from the renowned Sherbourne and Northleach musician Jim ‘the laddie’ Simpson, who had succumbed to an overdose of alcohol in 1856. The fiddler became a key figure in the Bledington morris tradition, eventually leading the “junior side” of dancers born in the 1860’s, men who survived to pass on their tradition to larger audiences when collectors visited in the 1930’s.

***

Source for notated version: Charles Benfield [Bacon]. Bacon (The Morris Ring), 1974; pgs. 77 & 271. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 22, pg. 16. Raven (English Country Dance Tunes), 1984; pg. 79. Carthage CGLP 4406, Hutchings et al - "Morris On" (1972/1983).

X:1

T:Young Collins [1]

M:2/2

L:1/8

S:Bacon (Charles Benfield, 1909)

K:G

GABc d2d2|c2e2A2 Bc|d2d2 e2 dc|B2A2 G4:|

||E2D2 EF G2|A2A2 G3A|B2A2 Bc|d2 e2e2 d4|

GABc d2d2|c2 e2 A2 Bc|d2d2 e2 dc|B2A2 G4||

 

YOUNG COLLINS [2]. English, Morris Dance Tume (2/2 or 4/4 time). G Major. Standard tuning. ABB, x5 (Bacon, Mallinson ‑ Sherborne): AABB (x5), AA (Bacon, Mallinson ‑ Longborough). Collected from the villages of Longborough and Sherborne, Gloucestershire, in England's Cotswolds; similar to versions #1 and #2. Bacon (The Morris Ring), 1974; pg. 281. Mallinson (Mally’s Cotswold Morris Book), 1988; Nos. 14, pg. 13 & 50, pg. 31.

 

YOUNG COUNTRY LADS. AKA and see "Jeunes Gens de la Campagne."

 

YOUNG DAMON’S FLIGHT.  English, Jig (9/4 or 9/8 time). B Minor. Standard tuning. AABB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications. “Young Damon’s Flight” appears in one of Walsh’s annual publications, but was also included in his Second Book of the Compleat Country Dancing Master (London, 1719, with later editions in 1735 and 1749). It also appears in John Young’s third and fourth editions of the second volume of the Dancing Master (London, 1718 and 1728, respectively), and by Johnson for his Wright’s Compleat Collection of Celebrated Country Dances, vol. 2 (London, 1749).

***

The Selattyn parish register in Shropshire records that a “Nathaniel Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 148.

X:1

T:Young Damon’s Flight

M:9/4

L:1/8

S:Dancing Master (vol. 2, 1718)

K:B Minor

f4c2 d2cB2 f4c2|d2c2B2 d2c2B2 ^A4G2|F2d2c2 E2c2B2 D2G2F2|E2D2C2 B,2B2^A2 B6:|

|:f4d2 f2g2a2 e2f2g2|f3gf2 e2f2d2 c2d2e2|f2g2a2 f2d2c2 B2A2G2|F2d2F2 E2d2c2 d4 fe|

d4f2 c4f2 B4F2|B3cd2 e2f2d2 c2d2e2|f2b2g2 e2a2f2 d2g2e2|f2b2c2 c4B B6:|

                         


YOUNG DAN TUCKER. Old‑Time, Breakdown. G Major. Standard tuning. AABB. "Many years ago the writer, with a party of friends, attended a dance in the hills of the Missouri Ozarks. While hitching the team to a fence there came from the house the strains of an exceedingly vivacious dance tune. As the caller shouted the calls, it was easy to tell by the sounds of the lively shuffling of feet that the dancers were 'stepping' to the music of one of their favorite tunes. The fiddlers, two brothers, were accompanied by a bass viol and a guitar. The fiddlers seemed to be playing different tunes, which blended with extraordinary effect. We recognized one as 'Old Dan Tucker'. Later, while talking to the fiddlers, we learned that the brothers had created the lead tune some twenty years before, naming it 'Young Dan Tucker' (Ford, 1940)."  A cross-tuned piece (AEac#) under this title is in the repertoire of West Virginia fiddler Melvin Wine. Ford (Traditional Music in America), 1940; pg. 55.

 


YOUNG EDMOND O'NEILL (Eamonn Og Ua Niall). Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 184. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1645, pg. 306.

X:1

T:Young Edmond O’Neill

L:1/8

M:C|

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1645

Z:AK/Fiddler’s Companion

K:G

(3DEF|G2 F<G G2 F<G|G>FG>e d>BA>^G|A>Bc>d e>bg>e|d>^df>e d>^c=c>A|

G2 F<G G2 F<G|G>FG>e d>BA>^G|A>Bc>d (3fed (3cBA|G>DB,>D G,2:|

|:D2|(3GAB D2 G>FE>D|E2 [E2e2] [E2e2] A>G|(3FGA A,2 F>EB,>C|

D2 [F2d2] [F2d2] D2|(3GAB D2 G>FE>D|[C2E2] [G2e2] [F2d2][E2c2]|

(3Bge (3dBG (3DCB, (3CB,A,|G,2 G2G2:|

 

YOUNG EDWARD. Old-Time. Gerry Milnes says the melody is from “The Drunkard’s Dream,” a ballad whose first line is:
***

Young Edward you look so handsome now,
***

Sources are usually Bruce Green who had the tune from Kentucky fiddler Hiram Stamper. Crooked Jades – “Seven Sisters.” Shanachie Records, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (learned from Hiram Stamper). Shanachie 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999. Learned from the playing of Hiram Stamper).

                       

YOUNG ELLEN OF MY HEART. Irish, Air (4/4 time). G Major. Standard tuning. One part. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, noted by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Young Ellen of My Heart

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Air

K:G

"Andante"g|edcB AGFE|G2 AA A3 E|ABcd e2 ec|d2 ed c2 BA|

ABcd e^fge|d2 ed c2 g^f|edcB AGEF|G2 AA A3 E|

ABcd e^fge|d2 ed c2 g^f|edcB AGEF|G2 AA A2||

                       

YOUNG ETTIE LEE. AKA and see "The Heart of My Kittie," "Linehan's Rambles," "Murray's Maggot," "Strop the Razor [1]," "The Cobbler [2]," "Dan the Cobbler," "The Rambles of Kitty," "Kitty's Ramble(s)," "The Ladies Triumph [3]," "Kitty's Rambles to Youghal," "I'm a man in myself like Oliver's Bull."

 

YOUNG FOX. English, Jig. D Major. Standard tuning. AABB. The jig was first published in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1756), followed by printings in Charles and Samuel Thompson’s first country dance collection (London, 1757) and John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). “Young Fox” is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 105.

X:105

T:Young Fox, The

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:D

d3 f2d|gec d2A|(B/c/d)c dAF|BGE AFD|(d/e/f)e fdB|ecA =GBd|f3 edc|dcB A3:|
|:(c/d/e)d dcA|Ace edc|(d/e/f)e fdB|Bd(f f)ed|(e/f/g)f gec|fdB ^Ace|gfe dcB|gf^A B2c|

(B/c/d)c dAF|DA=c BAG|(B/c/d)B geg|Bed “tr”c3|(f/g/a)f gec|dB^G ABc|dAF Bgf|edc d3:||

 

YOUNG FRANCIS MOONEY (Pransias/Proinseas Og Ua Maenaig). Irish, Jig. E Minor. Standard tuning. AABB. Bayard (1981) identifies this tune as a variant of "Lanigan's Ball." See also the related “The Calendar,” “Finger the Shift.” O'Neill (Krassen), 1976; pg. 35. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 863, pg. 160. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 123, pg. 35.

X:1

T:Young Francis Mooney

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 123

Z:AK/Fiddler’s Companion

K:Emin

D|EFE G2A|BAB d2A|FDD DED|FAG FED|EFE G2A|BAB d2e|fed efg|fee e2:|

|:B|efe fdB|efe fdB|ded dAF|d^cd Bcd|efe fdB|ede g2a|bag faf|gee e2:|

                       

YOUNG GIRL, THE. See “(An) Bhrighid Óg.”

                       

YOUNG JAMES PLUNKETT. AKA and see "Seamas Og Pluincead."

                       

YOUNG JANE. English, Waltz. G Major. Standard tuning. AB. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 15. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 73, pg. 36. Raven (English Country Dance Tunes), 1984; pg. 133. F&W Records 2, "F&W String Band 2." Front Hall 05, Fennigs All‑Stars‑‑"Saturday Night in the Provinces."

X:1

T:Young Jane

M:3/4

L:1/8

R:Waltz

K:G

(3DEF|G2 DA B2|A2B2d2|e4e2|d3BA2|G3AB2|A4G2|E6|

D4EF|G2 DA B2|A2B2d2|e4e2|d4e2|G2 DAB2|A4G2|(G6|G4)||

Bc|d2B2d2|g3f g2|e4e2|A4B2|c3d e2|d2B2A2|G4G2|F4 (3DEF|

G2 DA B2|A2B2d2|e4 e2|d4e2|G3A B2|A4G2|(G6|G24)||

                       

YOUNG JEMMY. English, Air (4/4 time). B Minor. Standard tuning. AB. The air appears in The Genteel Companion for the Recorder (1683), 180 Loyal Songs (1683 & 1694), The Village Opera (1729), Love and Revenge, or The Vintner Outwitted, and The Bay's Opera (1730). Chappell (1859) explains in the beginning of the 1700's the Pretender was called "Young Jemmy" and, though not originally written for the cause, the tune became a favorite of the Jacobites. A 1725 account purportedly written by a German visitor, quoted by Chappell, goes: "I never can pass through Cranbourn Alley (London), but I am astonished at the remissness or lenity of the magistrates in suffering the Pretender's interest to be carried on and promoted in so public and shameful a manner as it there is. Here a fellow stands eternally bawling out his Pye‑Corner pastorals in behalf of 'Dear Jemmy, Lovely Jemmy.'" Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 36‑37.

                       

YOUNG JENNY THE PRIDE OF OUR TOWN. Irish, Jig and Air. G Major. Standard tuning. AABB. "From Davy Cleary, piper and dancing‑master: Kilfinane: 1844" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 56, pg. 30.

X:1

T:Young Jenny the Pride of Our Town

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/|gfe dBG|cBc def|gfe dBG|cAA A2 (3d/e/f/|gfe dBd|eag fef|gfe dBA|BGG G2:|

d|g/a/ba gdc|Bdd d2 e/f/|g/a/bg dBd|eaa a2d|g/a/ba gBd|egf gba|gfe dBA|BGG G2:|

                       

YOUNG JENNY’S DELIGHT.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 20.

X:20

T:Young Jenny’s Delight

M:2/4

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:D

D2 FD|GE E2|D2 FD|CE E2|D2 FD|GEEc|dFEc|d2D2:|

|:d2 fd|gdbd|c2 ec|fcac|B2 dB|eBgB|Ac/d/ ec|Ae “tr”e2|

D2 FD|GE “tr”E2|D2 FD|CE “tr”E2|D2 FD|G(EE)c|dFEc|d2 D2:||

 

YOUNG KATE OF KILCUMMER (Cait Og Ua Cill-Comain). AKA and see "The Blackbird and the Thrush." Irish, Slow Air (3/4 time). D Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 225, pg. 39.

X:1

T:Young Kate of Kilcummer

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 225

Z:AK/Fiddler’s Companion

K:Dmin

zA | A2A2 =B^c | d2d2 (3def | e2 ^cA =Bc | d4 fd | c2 BA GF |

G2 GB AG | F2D2D2 | D4 || DE | F2G2 AB | AF D2 (def |

d2 ^cA =Bc | d d3 fd | c2 BA GF | G3 BAG | F2D2D2| D4 ||

                       

YOUNG KING, THE. Scottish, Hornpipe. E Flat Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). It is printed with the note, “A favourite pupil of the composer”; a reference perhaps to Skinner’s early days as a dancing master when he taught at Queen Victoria’s Scottish residence, Balmoral Castle. Skinner (Harp and Claymore), 1904; pg. 140.

X:1

T:Young King, The

M:2/4

L:1/8

R:Hornpipe

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Eb

B | (e/>d/e/>).g/ b/>g/e/>c/ | (=A/>B/c/>)B/ (^F/>G/) (D/>E/) | C/>E/B,/>E/ A,/>E/G,/>E/ | (=A/>C/F/>)A,/ B,/>B/c/>d/ |

(e/>d/e/>).g/ b/>g/e/>c/ | (=A/>B/c/>)B/ (^F/>G/) (D/>E/) | (3C/F/A/ (3B,/E/G/ (3A,/C/F/ (3G,/B,/E/ | BDE :| G |

{c/d/}(c/>=B/c/>).d/ e/>c/G/>F/ | {E/F/}(E/>D/E/>)F/ G/>E/C/>D/ | E/>C/=B,/>C/ A,/>C/G,/>C/ |

=B,/>D/G/>^F/ G/>_A/=A/>=B/ | {c/d/}(c/>=B/c/>).d/ e/>c/G/>F/ | {E/F/}(E/>D/E/>)F/ G/>E/C/>D/ |

(3E/D/C/ (3F/E/D/ (3G/F/E/ (3A/G/^F/ | ({^F}.G) =B c ||

 

YOUNG LADS (THAT ARE) PREPARED FOR MARRIAGE. AKA and see "Sea Captain." Irish, Air (2/4 time). D Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 830, pg. 207.

X:1

T:Young lads that are prepared for marriage

M:2/4

L:1/8

R:Air

S:Standford/Petrie (1905), No. 830

Z:AK/Fiddler’s Companion

K:D

A | de/c/ AB/d/ | c/A/ A/F/ (D/E/).F/.G/ | A/B/G/A/ FE/>D/ | D3 A/B/4c/4 |

de/c/ AB/d/ | c/A/A/F/ D/E/F/G/ | A/B/G/A/ F”tr”E/>D/ | D3 || A | A/B/4c/4 d/e/ f/e/f/g/ |

f/d/e/c/ dc/B/ | .A(G/F/) G(A/B/) | cA A>g | f/d/e/c/ dc/A/ | A/F/A/F/ D/E/F/G/ |

A/B/G/A/ F”tr”E/>D/ | D3 || 


                       

YOUNG LADY, THE (An Beanuasal Og). Irish, Air (3/4 time). G Mixlolydian. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 237, pg. 41.

X:1

T:Young Lady, The

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 237

Z:AK/Fiddler’s Companion

K:G

D GA | B>A GB de | =f>e dB cc | B2 AG BA | A3D GA | B>A GB de |

=f>e dB cc | B2 G{B}A GG | G3 || B/c/ dg dc/B/ | cd cD/E/ | FG A/B/c/A/ |

F3 d/c/ | BA/B/ cB/c/ | dd/c/ AB/c/ | dc/A/ GG | G3 ||

                       

YOUNG MAN WHO WOULDN’T HOE CORN, THE. AKA and see “Colored Aristocracy.”

                       

YOUNG MAN'S DREAM, THE (“Aisling an t-Og-Fir” or “Aislean an Oigfear”). AKA and see "When that Mild Eye is Beaming," "As a beam O'er the Face of the Waters." Irish, "Very Slow" Air (3/4 time). G Major. Standard tuning. AAB. The melody appears in the Bunting Collection, and is thought to be the original for the renowned “Danny Boy” (“Londonderry/Derry Air”). Source for notated version: source attributed to Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 382, pg. 67.

X:1

T:Aislean an Oigfear

T:Young Man's Dream, The

B:Bunting

M:3/4

L:1/8

Q:100

K:G

GA|B2 dedB|A2 G>EGA|B3G B/A/G|G4||

d/e/f|g2 gf f/e/d/f/|e2 d>B d/e/f|

g2 gf>ed|e3 e/f/ gf|e2 dB e/d/B/A/|

G2 B/G/E/D/ GA|B2 AG B/A/G|G4||

                       

YOUNG MAN'S FANCY [1]. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

YOUNG MAN'S FANCY [2]. English, Country Dance Tune (2/4 time). E Minor. Standard tuning. AABC. Barnes (English Country Dance Tunes), 1986.

                       

YOUNG MAN'S LAMENTATION, THE. Irish, Slow Air (3/4 time). D Minor. Standard tuning. AB. Source for notated version: "Copied from a MS. book lent me by Surgeon‑Major‑General King of Dublin (about 1885), who copied them 40 years previously from an old MS. book in Cork" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 362, pg. 167.

X:1

T:Young Man’s Lamentation, The

M:3/4

L:1/8

R:Air

N:”Slow: with feeling”

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

Z:AK/Fiddler’s Companion

K:Dmin

D2|FG A2 GF|GA c2 dc|AG FD CA,|C4 D2|FG A2 GF|GA c2 d>c|

AGFDCE|D4||(3A=Bc|d2d2 f>d|d2c2 dc|AGFDCA,|C4 (3CDE|

FG A2 GF|GA c2 dc|AGFDCE|D4||

                       

YOUNG MARY OF THE TRESSES. AKA and see "Máire Óg Na gCiabh."

                       


YOUNG MAY MOON [1], THE. AKA and see "New May Moon." English, Jig and Morris Dance Tune; Scottish, Jig. England, North‑West, Dorset. Scotland, Low Lands. D Major (Raven, Trim, Wade): C Major (Carlin, Kerr, Williamson). Standard tuning. AB (Raven): AAB (Williamson): ABB (Wade): AABB (Kerr, Trim): AA'BB (Carlin). "This tune was popular in the 19th century as a jig for country dances in South Scotland. It comes from Davie's Caledonian Repository for Violin (1816). However, it sounds so English, I've included it" (in that section) {Williamson, 1976}. The tune is in use as accompaniment for a single step dance in the North‑West (England) morris dance tradition, and (as "New May Moon") appears in a Yorkshire MS collection of the mid-19th century. Carlin (Master Collection), 1984; No. 50, pg. 38. Kerr (Merry Melodies), vol. 2; No. 260, pg. 28. Raven (English Country Dance Tunes), 1984; pg. 118. Trim (Thomas Hardy), 1990; No. 48. Wade (Mally’s North West Morris Book), 1988; pg. 5. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 20.

X:1

T:Young May Moon [1]

M:6/8

L:1/8

K:D

A | d2d d2A | B2A A2A | d2d ede | f2d def | g2g f2f | efd cBA | BAG FGA | B2A A2 ||

B/c/ | d2A d2A | B2A A2A | d2d efg | f2d def | g2g f2f | efd cBA | BAG FGA | B2A A2 ||

 

YOUNG MAY MOON [2], THE. Irish, Air. Thomas Moore's title for his song set to Turlough O'Carolan's air "Planxty Peyton." The melody appears as “Irish Air from Robin Hood” in Thompson’s Hibernian Muse of 1786 (No. 38). The tune was employed as the regimental march-past of the 22nd (Cheshire) Regiment of the British army until 1881 (after which “Wha Wadnae Fecht for Charlie” was adopted (Murray, Music of the Scottish Regiments, 1994, pg. 207).

                       

YOUNG MEN, IF YOU GO TO THE FAIR. Irish, Air (9/8 time). C Major ('A' part) & A Minor ('B' part). Standard tuning. AB. Source for notated version: "From FitzGerald, Cork" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 485, pg. 268.

X:1

T:Young men, if you go to the fair

M:9/8

L:1/8

R:Air

N:”Lively”

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

Z:AK/Fiddler’s Companion

K:C

c2c cdc BAG | c2c cBc efg | gfe dec BAG | ABc G2F EFG ||

ABc G2F EDC | A2A G2F EFG | ABA G2F EDC | D2D E2D EFG ||

                       

YOUNG PEARSE’S REEL. Irish, Reel. B Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, in honor of “one of the younger stalwarts of the Boston traditional scene.” Black (Music’s the Very Best Thing), 1996; No. 303, pg. 162.

X:1

T: Young Pearse's

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

D | FBBA BAFA | defd efdA | FBBA BAFB | AFEF D3 E |

FBBA BAFA | defd eg (3gfg | afge fdBd | AFEF D3 :|

F | EA (3AGA cA (3AGA | defd efdA | EA (3AGA cA (3AGA | dfec d3 F |

EA (3AGA cA (3AGA | defa gfga | bg (3gfg af (3fef | edBc d3 :|

           

YOUNG PHILLIS.  English, Country Dance Tune (3/2 time). F Major. Standard tuning. AABB. “Young Phillis” appears in London publisher John Young’s second volume of the long-running Dancing Master series, but not until the third edition of 1718 (it was retained for the fourth edition of 1728, the end of the series). John Walsh picked up the tune for his Second Book of the Compleat Country Dancing Master (London, 1719). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 148.

X:1

T:Young Phillis

M:3/2

L:1/8

S:John Young’s Dancing Master, second volume (3rd edition, 1718)

K:F

f4 c2 d2c2 BA|G2A2 BAGF F2c2|f4 d2 ef g2 fe|d2e2 fedc c4:|

|:c2e4 f2g2 ab|a2 gf efed ^c2a2|B2g2 A2f2G2d2|^c2d2e2 c2d2e2|

f4 c2 d2c2 BA|G2a2 bagf e2 dc|d2g2c2f2B2f2|e2f2g2 fe f4:|

           

YOUNG QUAKERS, THE. English, Country Dance Tune (6/8 time). England, Yorkshire. G Major. Standard tuning. AABB. 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. 58, pg. 43.

           

YOUNG PRINCE, THE. English, Jig. D Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. George III succeeded to the throne in 1760. His eldest son, George Augustus Frederick (later George IV), was born in 1762, and may be the ‘young Prince’ of the title. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 166.

X:1

T:Young Prince, The

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

A|d2f afd|cde e2A|d2f afd|{cd}e3 A2A|d2f afd|e2f gfg|(f/g/a)f ede|d3 D2:|

|:A|B=cB d2B|B2A ABA|A2G G2F|F3 E2A|B=cB d2B|B2A ABA|A2G F2E|(D3 D2):||

           

YOUNG ROGER.  English, Country Dance Tune (9/4 time). D Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 172.

X:172

T:Young Roger

M:9/4

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

F3G A2 A2F2A2 B6|e4 E2 E4F2 G2F2E2|F3GA2 A2F2A2 B6|A2F2D2 D2E2F2 “tr”E4 D2:|

|:d2e2f2 d2e2f2 e6|g2B2B2 B2c2d2 c2B2A2|d2A2F2 FG A2F2 B6|A2F2D2 D2E2F2 E4 D2:||

 

YOUNG ROGER WAS A PLOWBOY. Irish, March (4/4 time). G Mixolydian. Standard tuning. AB. O’Neill (1913) and Emmerson (1971) find the hornpipe "Roger was a Plowboy" was derived from this tune. Joyce unfortunately felt that the words he learned in his boyhood (in the 1840's in Limerick) were “not fit for publication.”  Emmerson, 1971; No. 95, pg. 167. Howe (1000 Jigs and Reels), c. 1867; pg. 18. Joyce, Ancient Irish Music, 1873. O’Neill (1913), pg. 133.

X:1

T:Young Roger was a Plowboy

M:C

L:1/8

R:Air and March

N:”With animation”

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

Z:AK/Fiddler’s Companion

K:G

(GF) | DGGG G2 =FG | A2 F>F F2 (Ac) | d2 de (=fd)cA | G2 G>G G2 ||

Bc | d>e dB c2 Bc | dedB c2 Bc | de=fd cAG^F | G2 FD D2 FD |

G2 G>G (G>A) BG | A2 =F>F F2 (Ac) | d2 de (=fd)cA | G2 G2 G2 ||

                       

YOUNG ROSCIUS'S STRATHSPEY. Scottish, Strathspey. The melody was published by Johann Schetky (1776‑1831) in America. His father was an expatriate Austro‑Hungarian, Christoff Schetky, as was his uncle Joseph Reinagle, who both became well‑known in Scottish musical circles and who composed in the Scottish idiom. Both young Schetky and his cousin, also named Joseph Reinagle, emmigrated to America in the late 18th century.

                       

YOUNG SIMON BRODIE. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB. There is a song called “Simon Brodie,” although in it the protagonist is ‘auld’, not young. Carlin (Gow Collection), 1986; No. 234. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 20.

X:1

T:Young Simon Brodie

M:C

L:1/8

R:Strathspey

S:Gow – The First Collection of Niel Gow’s Reels (1784)

Z:AK/Fiddler’s Companion

K:A

.c/.d/.e {d}”tr”c2 e<Ac<A|c/d/e {d}”tr”c2 B<=G B/c/d/B/|c/d/e {d}c2 e<Ac<A|(3dfd (3cac B<=G B/c/d/B/:|

|:A/c/e/c/ A/c/a/c/ A/c/e/d/ {d}c>B|A/c/e/c/ A/c/a/c/ B=G B/c/d/B/|A/c/e/c/ a/c/a/c/ A/c/e/c/ A/c/a/c/|f/d/f/d/ e/c/e/c/ B=G B/c/d/B/:|

                       

YOUNG TERENCE MACDONOUGH (Toirdealac Og Mic Doncad). AKA and see "Lament for Terence MacDonough," "The Moon Dimmed Her Beams," "Once Again, But How Changed." Irish, Slow Air or Planxty (3/4 time). G Minor. Standard tuning. AB. Composed by Turlough O'Carolan in 1696 in to commemorate the death of the son of Terence MacDonogh of Sligo, the only Catholic lawyer permitted to practice at the close of the 17th century and beginning of the 18th. The melody was first printed in The Hibernian Muse (London 1787) and was used with Sir Walter Scott's poem "The Return to Ulster" and also with "The Moon Dimmed Her Beams". Complete Collection of Carolan's Irish Tunes, 1984; No. 210, pg. 144 (appears as "Lament for Terence MacDonough"). O'Neill (Krassen), 1976; pg. 227. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 629, pg. 111. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Young Terence McDonough

T:McDonogh's Lamentation

M:3/4

L:1/8

C:Turlough O'Carolan 1696

Z:Paul Kinder

R:Air

K:Bb

"Andante"G>F|D2 G2 A>^F|G4 GA|B2 d2 cB|c4 c2|!

d2 g2 gf|d2 f2 d<c|B2 A2 G2|F4 G>A|!

B2 A2 G2|g4 fg|a2 f2 fg|f4 dc|!

B2 A2 G2|^F2 A2 Bc|d2 D2 GA|G4||!

G>F|D2 G2 G2|G4 GF|D2 B2 B2|B4 AG|!

F2 f2 f2|gf ed cB|db ag fe|d4 dc|!

B2 B2 cB|A2 A2 A2|BA Bc d=e|f4 dc|!

B2 B2 B2|A4 Bc|d2 D2 GA|G4||!


                       

YOUNG TIM MURPHY (Teige/Tadg Og Ua Murcada). AKA and see “The Far Away Wedding [2],” “Kitty Lie Over,” “Paddy’s Return [1],” “Patsy McCann’s,” “What’ll I do if the Kettle Boils Over [2].” Irish, Double Jig. D Major. Standard tuning. AA’B (Moylan): AABB (O’Neill). Editor Moylan points out this is the tune usually associated with the verse “What would you do if the kettle boiled over,” and states that Seamus Ennis and Elizabeth Cronin both sang the song to this air. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]. Feldman & O’Doherty (The Northern Fiddler), 1976; No. 101 (appears as untitled jig). Moylan (Johnny O’Leary), 1994; No. 139, pg. 81. O'Neill (Krassen), 1976; pg. 38. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 883, pg. 164. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 134, pg. 37.

X:1

T:Young Tim Murphy

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 134

Z:AK/Fiddler’s Companion

K:D

F/G/|AFD DFA|Bcd B2A|Bcd AGF|GFG EFG|AFD DFA|Bcd B2A|Bcd F2E|FDD D2:|

|:e|fef dBA|Bdd d2e|fef def|gfg e2a|fed B2d|A2d F2A|Bdd F2E|FDD D2:|

                       

YOUNG TOM ENNIS (Tomás Og Magennis/Mac Aengusa). AKA and see "The Ball of Ballynafeidh," "Humours of Ballynafeidh"" "The Banks of Lough Gowna," "The Clare Jig," "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]," "Raffle Jig," "The Rambler from Clare," "Stonecutter's Jig," "Tom Billy's Jig," “Winter Apples [2]." Irish, Double Jig. A Dorian. Standard tuning. AABB. Tom Ennis was indeed the youngest member of Chicago’s Irish Fiddle Club in the early years of the 20th century. A budding piper and fiddler, he was the American-born son of piper and flute player John Ennis of Kildare, from whom O’Neill obtained this tune. When Tom reached maturity he moved to New York where he made a living as a professional piper and founded one of the first Irish-American recording companies, for whom he commercially recorded in the 1910’s and 20’s (Carolan, 1997). Ennis died of a heart attack in Jonesville, Michigan, while on tour. See “Banshee’s Wail Over the Mangle Pit” for a transposed version of this tune, and see also the related “Kilkenny Jig.” Source for notated version: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]. O'Neill (Krassen), 1976; pg. 41. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 908, pg. 169. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 153, pg. 40. ). Gael‑linn CEFCD 114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí.” Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001). Shanachie 79093, Paddy Glackin and Robbie Hannon – “Whirlwind” (1995).

X:1

T:Young Tom Ennis

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 153

Z:AK/Fiddler’s Companion

K:Amin

A/B/|cBA B>cB|AGE G>AB|cBA Bed|BAA A2A/B/|

cBA B>cB|AGE GAB|cde ded|cAA A2:|

|:e/^f/|g^fe age|dBG G2 e/^f/|g^fe agf|e^f^g a2 e/f/|

g^fe age|dBG G2 A/B/|cBA Bed|cAA A2:|

                       

YOUNG WIDOW. American, Country Dance Tune (6/8 time). G Major ('A' part), D Mixolydian ('B' part) & D Major ('C' part). Standard tuning. AABC (Songer): AABBC (Barnes, Morrison). The tune dates to c. 1788. There is a dance of the same name: "This dance appears in a large number of collections, and seems to be an exclusively American invention. The unusual method of progression is its most distinctive feature" (Morrison). It appears in the Horace Vincent manuscript tune book. Barnes (English Country Dance Tunes), 1988. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 45. Songer (Portland Collection), 1997; pg. 213. Sweet (Fifer’s Delight), 1965/1981; pg. 31. Sage Arts 1301, Rodney Miller Band - “Greasy Coat” (1990).

X:1

T:Young Widow, The

M:6/8

L:1/8

Z:AK/Fiddler’s Companion

K:G

G | B2B BAB | cdc BAG | BAG BAG | Bcd d3 | B2B BAB | cdc BAG | Bcd efg | BcA G3 :|

|| AFD AFD | dcB AFD | AFD AFD | dcB A3 | AFD AFD | dcB AFD | AFD AFD dcB A3 ||

K:D Major

f2f fef | gag fed | fed fed | fga a2 | f2f fef | gag fed | def efg | ABA d2 ||

                       

YOUNG WIFE AND HER OLD HUSBAND [1], THE. Irish, Air (6/8 and 3/4  time). Ireland, County Monaghan. B Flat Major. Standard tuning. AB. See also versions of the song under the title “An Old Man Courted Me” and “Never Wed an Old Man.” Source for notated version: Byrne Hooper, April 6th, 1842 [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 529, pg. 134.

X:1

T:Young wife and her old husband, The

M:6/8
L:1/8

N:”Allegro”

S:Stanford/Petrie (1905), No. 529

Z:AK/Fiddler’s Companion

K:B_

F | FGA B2B | cdc B2G | FGA B2B| cdc B2G | FGA B2B | cdc B2G | FGA B2B | cdc B2 ||

M:3/4

L:1/8

N:”Andante”

F | D2 ~D2 FD | DC C2 B,2 | D2 ~D2 FD | DC C2 B,2 | D2 ~D2 FD | DC C2 ~B,C/D/ |

{D}C2B,2B,2 | B,4 ||

                       


YOUNG WILLIAM PLUNKETT (Uilliam Og Pluinceatt). AKA and see "James Plunkett." Irish, Air or Planxty (4/4 time, "lively"). G Major. Standard tuning. One part. Composed credited to blind Irish harper Turlough O'Carolan (1670-1738) by O’Neill. O'Neill (Krassen), 1976; pg. 233. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 650, pg. 117.

X:1

T:Young William Plunkett

M:C|

L:1/8

R:Air

N:”Lively”

S:O’Neill – Music of Ireland (1903), No. 650

Z:AK/Fiddler’s Companion

K:G

D|G2 GG [B2g2] gf|efed B2 Bd|efge {f}edcB|ABAG E2 Ez|GABG g2 gf|

efed B2 cB|A/B/c BA B2 AB|GEDE G2Gz|G2 AB G2 AB|{^c}d2 de dBAG|

G2 GG [B2g2] gf|efed B2z2|{c}BABd {f}edef|gfgd BABd|efge dBAB|GEDE G2z||

                       

YOUNG WILLIE HUNTER [1]. Shetland, Hornpipe. Modern composition by Shetland fiddler William Hunter Jr. on the birth of his first son.

 

YOUNG WILLIE HUNTER [2]. Shetland, March. Modern composition by Shetland fiddler Frank Jamieson.


                       

YOUNG WILLIE OF FAMED WATERLOO. AKA and see “The Plains of Waterloo [2].”

                       

YOUNG WOMAN’S LAMENT, THE (Uaill-Cuma na Aindear). Irish, Air (4/4 time, "plaintive"). D Minor. Standard tuning. One part. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 545, pg. 95.

X:1

T:Young Woman’s Lament, The

M:C

L:1/8

R:Air

N:”Plaintive”

S:O’Neill – Music of Ireland (1903), No. 545

Z:AK/Fiddler’s Companion

K:D Minor

AG | F2 E>D D3 (A/G/) | FEFG A3D | D2 ^cd fage | d2c2A2 zD |

D2 ^c>d d3 (c/d/) | f3e d2zA | A2 ag f2 AG | F2 E>D D2 ||

                       

YOUNGEST DAUGHTER [1], THE (An Ingean Is Oige). AKA and see "Baintreach na Radaireacht," "Banrion Bhealtaine," "The Blossom of the New Tree," "Captain Murray's Reel," "Cock your pistol, Charlie [2]," “Granshaw Glens,” “Fitzgerald’s Reel,” “The Hard Road to Travel [2],” "Hopetoun House," “In the Tap Room,” "The Lady's Top Dress," “Life of Man [2],” "Lord Edward," "Miss Fargherson's New Reel," "The Mountain Lark [7]," "Polly's Reel," “The Ranting Widow,” “The Rakes of Abbey,” "Roll out the Barrel," "Scotch Maggie," "The Scotch Bonnet," "A Short Way to Heaven," "Sweet Molly [1],” "The Tap House," "The Tap Room." Irish, Reel. E Minor. Standard tuning. AAB (Mulvihill, O'Neill/1850 & 1001): AABB' (O'Neill/Krassen). A large tune family with many variants in England and Scotland as well as Ireland. “Rolling in the Barrel” is a related tune. Breathnach (CRÉ II), 1976; No. 292 (appears as “Gan ainm”/Untitled). Mulvihill (1st Collection), 1986; No. 129, pg. 35. O'Neill (Krassen), 1976; pg. 99. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1217, pg. 229. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 494, pg. 94. O’Neill (Waifs and Strays of Gaelic Melody), Nos. 257 & 320. Tara 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from "Paul Brock, an accordion player from Athlone. It was originally learned from the fiddle playing of the legendary Paddy Canny who lives near Tulla, Co. Clare").

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Youngest Daughter, The [1]

L:1/8

M:C|

R:Reel

S:O’Neill – 1001 Gems (494)

Z:AK/Fiddler’s Companion

K:E Minor

E2 BE dEBe|dBAF DEFD|E2 BE dEBe|dBAF BE E2:|

||Eeef gfed|BdAF DEFD|Eeef gfed|BdAF BE E2|Eeef gfed|

BdAF DEFA|afge fde^c|dBAF BE E2||

 

YOUNGEST DAUGHTER [2], THE (An Iníon is óige). AKA and see “Paddy Taylor’s No. 2.” Irish, Reel. A Mixolydian. Standard tuning. A version of “Youngest Daughter [1]." Gael-linn CEF 045, “Paddy Keenan” (1975).

See also listing at:

Alan Ng’s Irishtune.info

 

YOUNG'S HORNPIPE. Old‑Time. USA, Tenn. Perhaps composed by 1925 Tenn. state champion fiddler Jess Young (Chattanooga, Tenn.). Recorded by him for Gennett, though possibly only privately distributed by himself (Charles Wolfe).

 

YOUNG'S WISDOM. English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986.

 

YOUR BAG IS HANDSOME, MY BOY. AKA and see “Breeches Mary,” “Catholic Bill’s,” “Din Tarrant’s Favorite,” "The Humours of Kilkenny,” "You stay away a long time."


 

YOUR BLUE EYES DRIVE ME CRAZY. AKA and see "Fly Around My Pretty Little Miss." Old‑Timey, Breakdown. A variant of "Fly Around My Pretty Little Miss," one of only two tunes recorded for Victor in a 1927 Bristol, Tenn., session by a string band called the West Virginia Coon Hunters.

 

YOUR DAD AND YOUR MOM THREW ME OUT. AKA and see "Ton Papa et Ta Maman m'a Jete Dehors."

 

YOUR MATCH HAS BEEN MADE. AKA and see “Ta do Mhargadh Deanta.”

 

YOUR MOTHER'S FAIR PET (Peata Geal Do Mhathar/Matar). AKA and see "Patha Gal Do Vaher," "I'm Ready Now," "Our House at Home." Irish, Reel. D Major. Standard tuning. AA'B. The title is similar to "Mama's Pet." Variants include “Our House at Home” and “Mulvey’s Reel” from the County Leitrim collections of Alex Sutherland and Stephen Grier, respectively (William Mulvey was a piper who inherited the Grier collection). See also the related “Is Trua gan Peata an Mhaoir agam” from Petrie’s collection. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 615, pg. 111.

X:1

T:Your Mother’s Fair Pet

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 615

Z:AK/Fiddler’s Companion

K:D

ed|cAAB cded|cAGE EDDB|cBAB cdeg|1 fdec dfed:|2 fdec d2||de|

f2 fa e2 eg|fded cAAg|f2 fa e2 eg|fdec d2 de|f2 fa e2 eg|fded cAAg| f3f eaag|fdec d2||

 

YOUR OLD WIG IS THE LOVE OF MY HEART (Gradh Mo Chroidhe Do Shean Wig). AKA and see “King of the Fairies.” Irish, Air (4/4 time, "with spirit"). G Dorian. Standard tuning. ABC. Well-known nowadays by the title “King of the Fairies.” Irish collector George Petrie also included the tune in his manuscript collection, as an untitled air (Stanford/Petrie, Complete Collection, 1905, No. 1281). Joyce (Old Irish Folk Music and Song), 1909; No. 690, pgs. 346‑347.

X:1

T:Your Old Wig is the Love of My Heart

M:C

L:1/8

R:Air

N:”With spirit”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 690

Z:AK/Fiddler’s Companion

K:G Dorian

D | DGGF GABc | d2d2 B3c | d2G2G2G2 | A2A2F3D | DGGF GABc |

dedc B3c | d2G2 AGFA | G4 G3 || d | gfdc dfga | bc’ba g4 | g2d2 dcde |

fgfe d3d | gfdc dfga | bc’ba g2f2 | d2 gb agfa | g4 g2 || ga | b2g2 a2f2 | g2 de f3e |

fdcA Bcde | fdcA BAGF | D2G2 GABc | dedc B2c2 | d2G2 AGFA | G4 G3 ||

           

YOUR WELCOME HOME. Scottish, Reel (2/4 time). E Minor. Standard tuning. AABB. The tune can be found in Robert Bremner’s 1768 collection. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 73. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:Your Welcome Home

M:2/4

L:1/8

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:E Minor

Beef | edBA | Beef | gfed | Beef edBA | Bc/d/ AF E2E :|

|: F2 FE | DEFA | Bcde | fefd | BdA<d | DEFA | Bc/d/ AF | E2E2 :|

                       

YOUR WELCOME INTO BERVIE. Scottish. John Glen (1891) finds the earliest printing of this tune in Robert Ross's 1780 collection (pg. 16).

 

YOUR WELCOME TO WATERFORD. See “You’re Welcome to Waterford.”

 

YOUR WELCOME TO THE TOWN AGAIN. Scottish. Tune appears in Henry Playford's 1700 collection of Scottish dance tunes.

 

YOU'RE... See also "Ye're..."

 

YOU'RE A LONG TIME A COURTING. AKA and see "Through the Fields [3]," "The Kerry Lasses [2]," "Sarah's Reel", "The Road to Dublin," "A Mile From Dublin," "Within a Mile of Dublin [1]," "The Maid of Ballintra."

 

YOU’RE ONLY AS GOOD AS YOUR LAST GIG. Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 211, pg. 61. Cranford Publications CP-R2, “Jerry Holland Solo” (1988).

 

YOU'RE RIGHT MY LOVE (Ta An Ceart Agad A Grad). AKA and see "Molly, What Ails You?" "The Banks of Inverness," "The Berkshire Heights," "Croppys Retreat,” "Cunningham's Fancy," "Farewell to Limerick," “Fred Finn’s [1],” "Funny Eye(s)," "Lady Mary Lindsay," "Phort Shean tSeain," "The Pretty Girls of the Village," "The Siege of Ennis," "Streancan an Iascaire." Irish, Reel. D Major. Standard. AA'B. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1527, pg. 282.

X:1

T:You’re Right My Love

M:C|

L:1/8

R:Reel

S:O’Neill –Music of Ireland (1903), No. 1527

Z:AK/Fiddler’s Companion

K:D

B | A2 AF ABdf | afef dBBd | ABAF ABdf |1 afef d2 d :|2 baef d2 d2 ||

fa a2 gb b2 | afef dB B2 | fa a2 gbbc’ | c’aba b2b2 | faa2 gb b2 | afef dB B2 |

AFAB dcdf | afef d2d2 | fa a2 gb b2 | afef db B2 | faa2 gbbc’ | d’c’ba (3bc’d’ c’b |

afef dBBd | AFAB dcdf | baef d2d2 ||

 


YOU'RE SMALL AND YOU'RE CUTE. AKA and see "OT'es Petite et T'es Mignonne."

 

YOU'RE WELCOME CHARLIE STEWART. AKA and see “Charlie Stuart,” "Ye're Welcome, Charlie Stewart," “Welcome Charlie Stuart, (You’re Welcome).” Perhaps also the Shetland tune "Come Again You're Welcome."

 

YOU’RE WELCOME HOME, ROYAL CHARLIE. Irish, March (4/4 time). Ireland, County Donegal. A Mixolydian. Standard tuning. AA’BB’CC’. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 89.

 

YOU'RE WELCOME TO BERVIE. Scottish. John Glen (1891) finds the earliest appearance of the tune in Robert Ross's 1780 collection (pg. 16).

 

YOU'RE WELCOME TO WATERFORD. AKA and see "All Alive [2]," "Billy Barlow," "The Day after the Fair [2]," "His Home and (his) Country," "I know not whether to laugh or cry," "I would not give my Irish wife," "An La i ndiaidh an Aonaigh," "The Wheels of the World,” [2] ,"Your welcome to Waterford."

 

YOU'RE WELCOME TO YOUR FEET AGAIN. See "Welcome to your feet again."

 

YOURSELF ALONG WITH ME [1]. AKA and see “The Bonnie Highlander,” “Petticoats Loose [1],” "Tie the Petticoat Tighter." Irish, Single Jig. A Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 251, pg. 28.

 

YOURSELF ALONG WITH ME [2]. AKA and see "Tu Fein Is Me Fein" (Yourself and Myself).

 

YOURSELF AND MYSELF (Tu Fein Is Me Fein). AKA and see "Tu Fein Is Me Fein."

 

YOUTH AND BLOOM. AKA and see "My Fair Haired Darling," "Mavourneen Na Gruaige Baine," "Charmer With the Fair Locks," "Dobbin's Flowery Vale," "Maid of Templenoe," "One Evening in June."

 

YOUTH OF THE CURLY LOCKS, THE (Oganaigh an Chuil Dualaigh). Irish, Air (3/4 time). F Major. Standard tuning. One part. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 590, pg. 307.

 

YOUTH’S THE SEASON MADE FOR JOYS. AKA and see "Cotillon,” "Zoney's Rant.” English, Air. The air appears under this title in John Gay's Beggar's Opera, 1728.

 

YOU’VE BEEN LONG AWAY, WELCOME HOME MY DEARIE. See "Welcome Home My Dearie [1].”

 

YOU'VE LOST YOUR WHIRLEY WHA. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 


YOW(E) CAM TO WIR DOOR (YARMIN), A. Shetland, Listening Tune or Shetland Reel. Shetland, Whalsay. A "very old" traditional Shetland tune, whose title means "A ewe came to our door bleating". Anderson (1970) notes "The interesting thing is the neutral note appearing in the 7th bar, fourth note. Neutral notes are also found in Hardangar (Norwegian/Swedish) fiddle music". Source for notated version: John Irvine (Whalsay, Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 18. Rounder 3006, Boys of the Lough ‑ "Second Album" (1974). Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978. Learned from the late collector John Irvine of Whalsay).

 

YOWIE WI’ THE CROOKIT HORN. See “Ewe with the Crooked Horn [1].”

 

YPSILANTI HORNPIPE. AKA and see “The Thames Hornpipe.” American, Hornpipe. B Flat Major. Standard. AABB. The city of Ypsilanti, founded in 1823, is the second oldest in the state of Michigan. Kerr prints the tune twice; as an untitled hornpipe in Merry Melodies vol. 1, then again in vol. 3 as “The Thames Hornpipe,” although there is nothing remotely of Scottish character about it. The tune appears in the Boston publisher Elias Howe’s Ryan’s Mammoth Collection (1883) as “Ypsilanti Hornpipe,” and it may be American in origin (there was much interplay between the Kerr and Ryan collections, albeit Ryan seems to predate Kerr). It could also have been composed in England. At any rate, it has the character of  a ‘composed’ hornpipe, i.e. a melody by a trained composer specifically for a stage production or show performance. Cole (1000 Fiddle Tunes), 1940; pg. 98. Ryan’s Mammoth Collection, 1883; pg. 133. White’s Unique Collection, 1896; No. 126, pg. 22.

X:1

T:Ypsilanti Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 126

Z:AK/Fiddler’s Companion

K:B Flat

(f/e/) | d/b/f/d/ c/g/e/c/ | B/f/d/B/ A/e/c/A/ | B/F/G/A/ B/c/d/e/ | (=e/f/^f/g/) (a/g/=f/_e/) |

d/b/f/d/ c/g/e/c/ | B/f/d/B/ A/e/c/A/ | B/b/f/d/ c/B/A/c/| Bd[DB] :: (A/B/) |

.c/(f/=e/f/) (g/f/)(e/f/) | .d/(g/^f/g/) (a/g/)(f/g/) | b/a/g/=f/ =e/d/c/=B/ |

c/=B/c/^c/ =e/d/c/_B/ | .A/(f/=e/f/) (g/f/)(e/f/) | .d/(g/^f/g/) (a/g/)(f/g/) |

b/g/=e/c/ =B/c/d/e/ | fa[Af] :|

 

YSTWFFWL (The Doorknocker). Welsh, Air (3/4 time). G Major. Standard. One part. Tune is the air to several well‑known Welsh songs (Williamson, 1976). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 41.

                          

YVON-T-Y FINIR.  French-Canadian,   Composed by Gaspésie fiddler Yvon Mimeault (b. 1928, Mont-Louis), especially for long dances such as the Brandy (based on an improvisation when he would run out of tunes). Yvon Mimeault – “Y’ était temps!/It’s About Time.”

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.