The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
__________________________________________
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YN - YZ |
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|
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.
***
leaving Youghal, she came into collision
with a schooner, and injured her. On
reaching Capel Island, she took fire; but
it was soon extinguished. She sank a
boat in Cork Harbour, and periled the
lives of two sailors in it; and on reaching
the Royal Presence, her flag, which bore
the Arms of Youghal, could not be lowered,
it having fouled somewhere in the
rigging. (A Handbook for
Youghal)
***
Bulmer
& Sharpley (Music from Ireland),
vol. 2, No. 83. O'Neill (Krassen), 1976; pg. 182. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1633, pg. 303. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 861, pg. 149. Tolman (Nelson Music
Collection), 1969; pg. 14.
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:O’Neill
– Dance Music of Ireland: 1001
Gems (1907), No. 861
Z:AK/Fiddler’s Companion
K:G
BA |
GFEF GABd | egfa gage | dcBA G2 Bd | cBAG EcBA | GFEF GABd |
egfa
gage | dcBA BGEF|G2G2G2 :: dc | Bdef g2 fg | agfg edge | dcBA G2 Bd |
cBAG
EcBA|GFEF GABd| egfa gage | dcBA BGEF | G2G2G2 :|
YOUGHAL HARBOUR [2]. Irish, Set Dance
(cut time). G Major. Standard tuning. AAB. Related to version #1. The tune has
six bars in the ‘A’ part and fourteen in the ‘B’ part. Roche Collection, 1982, vol. 3; No. 186, pg. 65. Vallely (Learn
to Play the Fiddle with Armagh Pipers Club), 197?; No. 34, pg. 32.
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
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
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
(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
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.
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
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
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,
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
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.