The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

MOLL - MOM

 

 

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]

 

 

 

MOLL AND TIARNA. AKA and see “Mol na Tiarna.”

 

MOLL DUBH A' GHLEANNA. AKA and see “Bean Dubh a’ Ghleanna [1].” Irish, Air. Ireland, Connemara. This Connemara melody is a variant of "Seamas Og Pluincead" (Young James Plunkett).

 

MOLL HALFPENNY/HA’PENNY. AKA and see "Molly MacAlpin," "Paul/Poll Ha'penny," "Maili Nic Ailpin," "O'Carolan's Farewell to Music," "Carolan's Dream," "(Remember the Glories of) Brian the Brave [1]." Irish, Air (4/4 time). A Minor/A Dorian. Standard tuning. AB. "This name is the same as 'Molly MacAlpin,' and the air is a dance setting, and also a song setting‑‑a very good one too‑‑of the fine air (Molly MacAlpin) to which Moore wrote his song, 'Remember the glories of Brian the Brave'" (Joyce). See also hornpipe versions under the titles of “Poll Ha’Penny.” Joyce (Old Irish Folk Music and Song), 1909; No. 134, pgs. 68‑69. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).

X:1

T:Moll Halfpenny

L:1/8

M:C

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

K:A Minor

ed|c2A2A2Bc|dcAF G2cd|edce dcAG|A2A2A2de|f2gf e2fe|dcde g2 (3e^fg|

aged cAdc|A2A2A2||e^f|g2ga gede|g^fga gede|a2 ab c’bag|

e2aa a2ag|fagf egfe|dcde eaaf|gfed cAdc|A2A2A2||

 

MOLL IN THE WAD [1], THE.  AKA and see “Kelly the Rake.” Canadian; Jig. G Major/Minor ('A' part) & B Flat Major ('B' part, Cole; ‘C’ part, Fitzgerald]: G Minor [Messer]. Standard tuning. AABB (Cole, Messer): AA’BB’AA’CC’ (Cranford/Fitzgerald). Paul Cranford (1997) remarks that the second turn in Fitzgerald’s three-part version was likely composed by him (the first and third parts appear in Ryan’s/Cole’s. The second part of Ryan’s/Cole’s version appears as the first part of Fitzgerald’s version; the first part of Ryan’s/Coles version appears as the third part of Fitzgerlad’s version. Francis O’Neill printed a nearly identical version in his Music of Ireland (1903) under the title “Kelly the Rake” (No. 737). He also printed a single jig called “Moll in the Wad,” but it bears no resemblance to the Ryan’s Mammoth Collection (1883)  tune, although curiously (as Paul De Grae points out) it is printed immediately following “Kelly the Rake” in his volume (No. 738). As Caoimhin Mac Aoidh suggests, perhaps O’Neill made an error in borrowing tunes from Ryan’s voulme for his own collection. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 58. Cranford (Winston Fitzgerald), 1997; No. 185, pg. 73. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 142, pg. 90. Ryan’s Mammoth Collection, 1883; pg. 88. Natalie MacMaster – “In My Hands.” Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003. Learned from Cole’s 1000 Fiddle Tunes). 

X:1

T:Moll in the Wad [1]

L:1/8

M:6/8

S:Cole’s 1000

K:G

gdB gdB|gdB g2a|_bag gfg|afd dcd|gdB gdB|

gdB g2a|_bag fga|1 (g3 g2)z:|2 (g3 f2)z||

K:Bb

fdB {c}BAB|fBB gBB|fdB {c}BAB|cAF FAc|fdB {c}BAB|

fBB gBB|fba gfe|1 dcB AGF|2 dcB A^Fd||

X:2

T:Moll in the Wad [1A]

L:1/8

M:6/8

S:CranfordWinston Fitzgerald

K:Bb

g|fBB (BAB)|fBB gBB|fBB (BAB)|cAF FAc|fBB (BAB)|fBB gBB|

bag fed|1 cAF F2:|2 cBA GFD||

|:B3 BFD|BFD B2c|dcB BAB|cAF FGA|BFD BFD|BFD B2c|

dcB ABc|1 B3 Bdc:|2 B3 B3||

K:G

gdB gdB|gdB d2a|_bag gfg|afd def|gdB gdB|gdB g2 a|

_bag fga|1 g3 G2 a:|2 g3 {cd}=e2||

 

MOLL IN THE WAD [2], THE ("Maire Annsa Sop" or "Maire San t-Sop"). AKA – “Moll o’ the Wood.” Irish, English, Scottish; Single Jig. G Major. Standard tuning. AABB. A different tune than “Moll in the Wad [1]." The word ‘wad’ at one time signified (a bundle of) straw, so that the title means “Moll in the straw.” Moll-in-the-straw was also a euphemism for after-childbirth, and as a bawdy term for a harlot. Barry Callagahn (2007) identified Moll i’ the Wad, or Mother Goose, as a popular pantomime figure of the late 18th century. There are nursery rhymes and old songs called “Moll in the Wad.” G.F. Northall’s English Folk Rymes (1892) notes the rhymes were popular in Gloucestershire more than fifty years before, and says that ‘wad’ was pronounced wod locally.  They go:

***

Moll-in-the-wad and I fell out,

What do you think it was about?

She had money and I had none,

And that was how the work begun.

***

Moll-in-the-wad and I fell out,

What do you think it was about?

I gave her a shilling , she swore it was bad,

It’s an old soldier’s button says Moll-in-the-wad.

***

Moll-in-the-wad and I fell out,

What do you think it was about?

I gave her a shilling, she wanted a crown,

So I took up my fist and I knock’d her down.

***

Moll-in-the-wad and I fell out,

What do you think it was about?

I gave her a shilling, she said it was bad,

You may go to the devil, said Moll-in-the-wad.

***

Washington Irving wrote a sketch of a going to the theatre in 1802 in New York, where he commented on the habits of the audience who were much more ‘interactive’ in the theatre than today:

***

What I heard of the music, I liked very well (though I was told by one of my neighbors

that the same pieces have been played every night for these three years;) but it was often

overpowered by the gentry in the gallery, who vociferated ludly for Moll in the wad, Tally

ho the grinders, and several other airs more suited to their tastes. 

***

There were several racehorses named Moll in the Wad, notabley a thoroughbred mare born in 1810, descended from the great Matchem (1748). Gow labels the tune “Irish," but it was played in Scotland and northern England as well. Breathnach (1996) says in Ireland it is “the tune that the old cow died on, an tiun do mhairbh an tseanbhó.” This is probably the same saying that Samuel Bayard says is derived from the story of a cow so entranced by a farmer's song that she danced herself to death. The title became for a time a phrase characterizing any extremely bad piece of music (see note for “The Tune the Old Cow Died Of”).

***

The melody was transformed by morris dance musicians in the village of Leafield (“Fieldtown”), Oxfordshire, into a common-time piece under the title “Old Molly Oxford” (a corruption or miss-hearing of the title “Moll in the Wad”).

***

The melody appears in a number of publications and musicians’ manuscripts of the late 18th and 19th centuries. It appears in the John Fife (Perthshire) music copybook of 1780-1804, Williams Andrews (Sheepstor, Devon, late 19th c.), John Clare (Helpston, Northants, 1820), Ellis Knowles (see below), William Mittell (New Romney, Kent, 1799) and, in America, in Ira Clark’s (Simsbury, Conncecticut) music copybook c. 1801 and Josiah Adams (Framingham, Massachusetts) copybook of tunes with country dances of 1808-1818. Printed versions are in John Ives’ Twenty-four Figures of the Most Fahsionable Country Dances…Cotillions (New Haven, CT, 1799), the Phinney’s Select Collection of the Newest and Most Favorite Country Dances (Ostego, N.Y., 1808), J. Wilson’s Pocket Preceptor for the Fife (London, 1805-1813), Salator’s Treatise on Dancing (Boston, MA, 1807), Riley’s Flute Melodies, vol. 2 (New York, 1817-1820), James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 5 (Glasgow, 1797), the Cahusac’s Compleat Tutor for the German Fife (London, c. 1798), and others.

***

Source for notated version: the music manuscript book of Ellis Knowles, a musician from Radcliffe, Lancashire, England, written c. 1845-1847 [Plain Brown]. Callaghan (Hardcore English), 2005; pg. 61. Gow (Complete Repository), Part 1, 1799; pg. 18. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 5. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 128. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 737, pg. 137. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 374, pg. 76. Plain Brown Tune Book, 1997; pg. 14. Wilson (Companion to the Ballroom), 1816. Edison 50870 (78 RPM), Joseph Samuels, 1919 (appears as 3rd tune in "St. Patrick's Day Medley").

X:1

T:Moll in the Wadd (sic) [2]

M:6/8

L:1/8

R:Jig

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:G

c|BAB G2F|E2F G2c|BAB G2B|AFD D2c|BAB G2F|E2F G2c|

BcB {^c}d2B|AFD D2:||:c|BGB {Bc}d2c|BGB {Bc}d2c|BGB d2B|

ecA A2c|BGB {Bc}d2c|BGB def|{ef}g>fe dcB|AFD D2:||

X:2

T:Woll in the Wad [2]

M:6/8

L:1/8

K:Am

f|ede ccB|A2B c2d|ede c2e|dBG G2f|ede ccB|
A2B c2d|efe gfe|1 dBG G2:|2 dBG G3|: {f}e>ce g2f|{f}e>ce g2f|

{f}ece gfe|dBG G2f|ece g2f|ece gab|cBA gfe|dBG G2:||

 

MOLL NA TIAR NA. Irish, Reel. Ireland, County Donegal. C Major. Standard tuning. ABB’C. Source for notated version: fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 165. 

 

MOLL O' THE WOOD. English, Jig. G Major. Standard tuning. AABB. See “Moll in the Wadd.” Raven (English Country Dance Tunes), 1984; pg. 114.

 


MOLL PATELY. AKA – “Moll Peatly.” AKA and see “Mall Peatly.” English, Air and Country Dance Tune. B Flat Major. Standard tuning. The tune appears in John Playford’s (1622-1686) English Dancing Master of 1670 (pg. 95) where it appears as “Moll Peatly or the old marinett.“ John Gay used the tune for a song in his ballad opera Achilles. It was mentioned in the satirical newspaper The Spectator (1711-1712) in an article on country dancing, purportedly in a letter written by a country squire outraged at the spectacle of seeing his sixteen-year-old daughter dancing in public for the first time:

***

As the best institutions’ are liable to corruption, so, sir, I must

acquaint you that very great abuses are crept into this entertainment.

I was amazed to see my girl handed by and handing young fellows

with so much familiarity, and I could not have thought it had been

my child. They very often made use of a most impudent and

lascivious step called setting to partners, which I know not how to

describe to you but by telling you that it is the very reverse of back

to back.

***

At last an impudent young Dog bid the Fidlers play a Dance

called Mol Patley, and after having mad two or three Capers,

ran to his Partner, locked his Arms in hers, and whisked her

round cleverly above Ground in such manner, that I who sat

upon one of the lowest Benches, saw further above her Shoe

than I can think fit to acquaint you with. I could no longer

endure these Enormities; wherefore just as my Girl was going

to be made a Whirligig, I ran in, seized the Child, and carried

her home.

***

Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 174. Dorian 90290, Hesperus – “The Food of Love.” Familiar Records FAM 47, Pyewackett ‑ "7 To Midnight" (1985).

X:1

T:Moll Peatley

M:6/4

L:1/8

N:The ‘B’ notes in the second measure of the 1st strain may be played natural.

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:Dmin

d6 f6|A2B2 c3B A2|d4e2 f3g f2|e4 d2 d6||de|f3g f2c2 A2F2|f6-f4 ef|

g3a g2g2 e2c2|g6-g4 fe|d4 e2 f4 g2|a4A2 ^c4A2|a4A2 ^c4A2|a4A2 ^c4A2|a2g2f2 e4f2|d6-d4:||

         

MOLL PINTLEY. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscipt. It is perhaps "Moll Pately."

         

MOLL ROE{'S} [1] (Maire Ruaid). AKA and see "Moll Roe in the Morning," "Mall Rua," "Sweet Molly Roe," "One Bumper At Parting," "The Munsterman's Flattery," "The Market Stake," "Ditherum Doodle," "Though late was I plump," "Come under my Dimity," "The Night of the Fun [3]," "B'fhearr liomsa ainnir gan guna," "I'll take a glass with a friend," "Jig an da Thuistiun." Irish, Slip Jig and Air. G Minor (Cole): G Major (O’Farrell, O'Neill): D Major (Breathnach/CRE II). Standard tuning. AB (O'Neill/1850 & 1001): AABB (Breathnach/CRE II, Cole, O’Farrell, O'Neill/Krassen). Moll Roe is an anglicization of the Irish Mall (Máire) Ruadh, or Red (haired) Mary. This was a pipe tune written in praise of Miss Molly Roe, the daughter of Mr. Andrew Roe of Tipperary. The ten verses of the song attached to it were composed impromptu by several gentlemen at the County Tipperary Clubhouse in 1725, the last of which goes:

***

Come fill up in bumpers your glasses,

And let the brown bowl overflow;

Here's health to the brightest of lasses,

The queen of all toasts‑‑Molly Roe.

***

Another, earlier, source for the title is given by Paul de Grae, who remarks:

***

The "Moll Roe" referred to was  an actual historical person, a redoubtable

17th century lady called Ma/ire Ruadh Ni/ Mahon, thrice-married chatelaine

of Leamaneh Castle in County Clare, whose impressive remains stand beside
the road from Ennis up to The Burren (the castle's remains, that is, not Ma/ire

Ruadh's).  She was a formidable character, who lost her second husband, Conor

O’Brien (who built Leamaneh Castle on the occasion of their wedding in 1639,

grafting it on to an existing 15th century tower house),  fighting

Cromwell's invading army.  When his grieving soldiers bore his body back to

the castle, she shouted from the battlements, "We want no dead men here!",

and refused them entrance.  She subsequently married one of Cromwell's

lieutenants (thereby securing the castle and lands for her young son), Coronet

John Cooper, but some time later when husband no. 2 made some disparaging

remark about husband no. 1,  she kicked him from an upstairs window and

killed him. I don't know who husband no. 3  was, but he must have been a very

brave (or foolish) man indeed.

***

"A contemporary portrait of this redoubtable lady shows her to have been
no beauty, though magnificently dressed in a rich gown with a broad lace collar

and adorned with many jewels." ("The Houses of Ireland", by Brian de Breffny

and Rosemary ffolliott, p.45).

***

The tune was introduced under the name "Moll Rue" in Henry Brooke's Jack the Giant Queller in 1748, and it was also called "Moll Rue in the Morning." It appeared in O'Keefe's Poor Soldier in 1783, and in O'Farrell's A Pocket Companion for the Irish Pipes in 1810.

***

In the journal Ceol (volume 2, No. 4) we are informed that "Moll Roe," as found in O'Neill's Dance Music of Ireland (No. 441), is a common name for the tune to the song "Taim in Arrears." Breathnach says O’Neill also prints variants under the titles “Ditherum Doodle", "Moll Roe in the Morning", "Though late I was plump" and "Munsterman's Flattery." As “I’ll Take a Glass with a Friend” it appears in O’Farrell’s Pocket Companion (printed before 1811). Ryan’s Mammoth Collection (1883) has versions as “Moll Roe’s” and “Come Under My Dimity,” while Goodman gives it as “Late on a Saturday Night” is a variant printed by Goodman, and identifies “The Night of Fun” as a variant. 

***

Source for notated version: accordion player James Gannon, 1960 (Dublin, Ireland) [Breathnach/CRE II]. Breathnach (CRÉ II), 1976; No. 93, pg. 51. Cole (1000 Fiddle Tunes), 1940; pg. 68. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 99. O'Neill (Krassen), 1976; pg. 87. O'Neill (Muisic of Ireland: 1850 Melodies), 1903/1979; No. 1169, pg. 220. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 441, pg. 86. Ryan’s Mammoth Collection, 1883; pg. 98. Rounder 0215, James Bryan ‑ "The First of May."

X:1

T:Moll Roe

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 441

Z:AK/Fiddler’s Companion

K:G

DGG GAG FGA|BGB cAB c2c|DGG GAG FGA|BGB cAF G2 G/F/|

DGG GAG FGA|BGB cAB c2 B/c/|ded cAG FGA|BGB cAF G2||

B/c/|ded cAG FGA|ded cAB c2 B/c/|ded cAG FGA|BGB cAF G2 B/c/|

ded cAG FGA|ded cAB c2 d/e/|fed cAG FGA|BdB cAF G2||

 

MOLL ROE [2]. Irish, Slip Jig. G Major. Standard tuning. AB. Source for notated version: piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]. Breathnach (The Man and his Music), 1996; No. 2, pg. 102.

X:1

T:Moll Roe

M:9/8

L:1/8

R:Slip Jig

S:Breathnach – Man & his Music

K:G

A|BGG AGE GED|EGD DEG A3|BGG AGE GED|EGD DEF G3||

Bdd edd BAG|Bdd edB A3|Bdd edd BAG|GED DEF G3||

 

MOLL ROE [3]. See note for “Taim in Arrears.”

         

MOLL ROE IN THE MORNING. AKA and see "Moll Roe{‘s} [1]." Irish, Slip Jig. D Major/Mixolydian (Cole, Kerr, Ryan): G Major (Kennedy). Standard tuning. AABB. A setting of “Moll Roe.” Cole (1000 Fiddle Tunes), 1940; pg. 52. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 50, pg. 12. Kerr (Merry Melodies), vol. 2; No. 244, pg. 27. Ryan’s Mammoth Collection, 1883; pg. 98. Rounder 0215, James Bryan ‑ "The First of May."

X:1

T:Moll Roe in the Morning

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | ddd efd cde | fff gef (g2A) | ddd efd cde | fga gec d2 :|

|: A | aff ged cde | aff gef g3 | aff ged cde | fga gec d2 :|

         

MOLL ROE ON TOP OF THE CASTLE. AKA and see "Moll Roe('s) [1]," "Mall Rua."

         


MOLL ROONE. Irish, March or Air. D Major. Standard tuning. AAB. The tune contains much melodic material from the English melody "The Nutting Girl." Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 69. Tradition TLP 1024, Mary O'Hara.

         

MOLL SHURKIE'S. Irish, Dance Tune (2/4 time). A Dorian. Standard tuning. AABB. The tune is labelled a ‘jig’ in Ryan’s Mammoth Collection, referring not to the familiar 6/8 time Irish jig, but rather to a type of syncopated 19th century (clog-type) dance tune often played on the banjo. They were sometimes called “straight” jigs or “sand” jigs (the latter from the practice of spreading sand on the stage to reduce friction during a dance performance). Cole (1000 Fiddle Tunes), 1940; pg. 81. Ryan’s Mammoth Collection, 1883; pg. 113.

X:1

T:Moll Shurkie’s

M:2/4

L:1/8

R:Clog dance tune

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A Dorian

A/B/ | [Ac]B [A/c/<]A/ z/c/ | B/^G/ A/<E/ z/B/ | [Ac]B [A/c/<]A/z/A/ | G,/<G,/z/C/ A>B |

[Ac]B [A/c/<]A/ z/c/ | B/^G/ A/<E/ z/B/ | [Ac]B [A/c/<]a | ({c}B/)A/^G A :|

|: A | A2 {A/4B/4c/4d/4}e/e/z/c/ | B/A/^G/B/ A/<E/z/E/ | c2 {c/4d/4e/4f/4} =g/g/z/c/ |

B/A/^G Az/A/ | A2 {A/4B/4c/4d/4}e/e/z/c/ | B/A/^G/B/ A/<E/z/B/ | [Ac]B [Ac<]a | ({c}B/)A/^G A :|

         

MOLL SPICER’S REEL.  English, Jig. G 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. 178.

X:1

T:Moll Spicer’s Reel

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:G

G2B G2B|dBG F2D|E2G E2G|AcG “tr”F2D|G2B G2B|dBG F2D|EcB AGF|G3 G,3:|

|:G2g “tr”g2 (f/g/)|G2g B2g|A2a “tr”a2 (g/a/)|A2a c2a|G2g “tr”G2 (f/g/)|G2g B2e|dcB AGF|G3 G,3:||

 

MOLLIE BRANNIGAN. AKA and see "Garranta Glasa Mheiricea," "The Greenfields of America [1]," "Judy Brannigan/Brallaghan," "Charming Molly Brannigan," "Jimmy O'Brien's Jig," "Cossey's Jig."

         

MOLLIE MACALPIN (Maire Ni Mic Alpin). Irish, Air (4/4 time). A Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 193, pg. 34.

         

MOLLIE McCARTHY. See "Molly McCarthy." Irish, Reel

                                         

MOLLIE McCARTHY’S JIG NO. 1. Irish, Jig. D Mixolydian. Standard tuning. AABB. Composed by Mollie McCarthy (b. 1896) of Shean Kilmaley, who had her 104th birthday in the year 2000. Treoir, vol. 32, No. 3, 2000; pg. 33.

X:1

T:Mollie McCarthy’s Jig No. 1

M:6/8

L:1/8

R:Jig

K:D Mixolydian

|:ded BAB|cBc A2 F|DGG Acc|BGG ABc|ded BAB|cBc A2F|DGG Acc|BGG G3:|

|:gfe d2d|edB B2d|eaa a2 g|fag fed|gfe d2d|edB B2d|eaa a2g|fdd d3:|

                             

MOLLIE'S BONNET. AKA and see "Molloy's Night Cap."

         

MOLLOY'S FAVOURITE [1]. Irish, Reel. D Major/Mixolydian. Standard tuning. AABB. A double tonic tune. Allan's Irish Fiddler, No. 64, pg. 16.

X:1

T:Molloy’s Favourite [1]

M:C|

L:1/8

R:Reel

K:D

c|d2 AG FADF|E=c {d}(3cBc Ec {d}(3cBc|dBcA BGAG|FGEF Dgfe|

d2 AG FADG|(3EFG AB =c2 Bc|(3d=cB cA BGAG|FGEG FDD:|

|:g|fd (3ddd fdge|fd (3ddd cdeg|fd (3ddd fdad|faeg fddg|

fd (3ddd ad (3ddd|e=c (3ccc gc (3ccc|afge fded|ceag fdd:|

 

MOLLOY'S FAVOURITE [2]. AKA and see “Colonel Fraser,” “Green Fields of Ireland,” “Malloy’s Favorite.” Irish, Reel.

 

MOLLOY'S FAVOURITE [3]. AKA – “Molloy’s.” Irish, Reel. D Major. Standard tuning. AAB.

X:1

T:Molloy’s Favorite [3]

M:4/4

L:1/8
R:Reel

K:D

d2Ad fdAF | GFEF GABc | d2Ad fdAF | GBAG FD D2 :||

fg{a}gf g2ag | fg{a}gf gfeg | fg{a}gf gbag | faeg fddA |

dfaf g2ag | fg{a}gf gfeg | fedc dcBA | ^GABc defe ||

                     

MOLLOY'S FAVORITE (JIG). Irish, Jig. E Dorian. Standard tuning. AABB.

         

MOLLOY’S JIG. AKA ‑ "Malloy's Favorite." AKA and see AKA and see “Ballinamere Jig,” “Father Morrison’s Delight,” “Molloy’s Favorite (Jig),” “Moss Martin’s,” “O’Connell’s Welcome to Dublin.” “Paddy Carty’s Favourite,” “Tongs by the Fire [2],” “Tony Molloy’s.” Irish, Double Jig. E Dorian. Standard tuning. AABB. The tune has South Sligo associations. Recorded by County Tipperary fiddler Sean Ryán (d. 1985) & P.J. Moloney. A variant of “Contentment is Wealth.” Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; a 1960 Avoca recording of fiddler Seán Ryan & P.J. Moloney [Miller &Perron]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 50. Flaherty (Trip to Sligo), 1990; 64. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 29. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 28. Mulvihill (1st Collection), 1986; No. 44, pg. 74. Avoca 33‑AV‑121, "Traditional Music of Ireland, vol. VI." Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Molloy’s Jig

M:6/8

L:1/8

R:Jig

D:Sean Ryan and PJ Moloney LP

Z:Stephen Jones

K:Em

gfg edB | BAB EFG | FEF DFA | dAF AFD |!

gfg edB | BAB EGA | BdB AGF | GEE E3  :||!

e3 Beg  | bge gfe | ded Adf | afd fed  |!

e3 Beg  | bge gfe | BdB AGF | GEE E2  :||!

         

MOLLOY'S NIGHT CAP. AKA and see "The Family Estate," "The Girl with the Handsome Face," "Joshua Gray," "McKenna's Reel," "Miss Wright's Reel," "Mollie's Bonnet," "The Pigeon on the Gate [1]," "The Pride of the Ball," "The Queen's Wedding," "The Swallow's Tail Reel," "Take your Hand Away," "The Village Reel."

         

MOLLOY’S REEL. Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 54, pg. 14.

         


MOLLY ASTHORE (Molly My Treasure). AKA and see "The harp that once through Tara's halls," "Gramachree," "Little Molly O!"  Irish, Air (2/4 time). A Major. Standard tuning. One part. Thomas Moore used this popular air for his famous song "The harp that once through Tara's halls," taking it probably from Thomson's Scottish Airs, set I (1793), according to O'Sullivan (1983). The word 'asthore' is a phonetic spelling of the Gaelic 'a stoir,' meaning 'my store' or 'my treasure,' while the alternate title 'Gramachree,' phonetic for 'gradh mo chroidhe' means 'love of my heart.' O'Sullivan finds the earliest printing of the tune in William McGibbon's Scots Tunes, book II (1746) under the title "Will you go to Flanders" (a version reprinted in Moffat's Minstrelsy of Ireland, pg. 351). The Irish collector Edward Bunting collected a triple-time melody called "Molly Bheag O" (Little Molly O!) which he maintains was more ancient and the original source of "Molly Asthore," though O'Sullivan demurs, asserting that, while there is a connection between the two tunes, there is no evidence that one is older than the other. Source for notated version: Bunting noted the tune (along with "Little Molly O!") from the harper Charles Fannin in 1792, according to the index of his 1840 collection. O'Sullivan/Bunting, 1983; No. 62, pgs. 95-97.

         

MOLLY ASTHOREEN. Irish, Air (3/4 time, “rather slow”). F Minor. Standard tuning. AB. See also “The Dewy Morning” and, in the major tonality, “When I am dead and my days are over, come Molly astoreen and lay me down.”  Stanford/Petrie (Complete Collection), 1905; No. 447, pg. 113.

X:1

T:Molly Asthoreen

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 447, pg. 113

Z:AK/Fiddler’s Companion

K:F Minor

C/=D/4=E/4 FG | A2 G=E F>F | e2 f>e cB | A>F GF/E/ FB | E2 C/=D/4E/4 FG |

(A2 G)F/=E/ FF | e2 f>e cB | A>F Gc FF | F3 || A/B/ c=d/=e/ | f2 gf e=d | e2 GA/B/ cc |

B2 AG FB | E2 C=D/=E/ FG | A2 GF/=E/ FF | e2 fe cB | A>F Gc FF | F3 ||

         

MOLLY AT THE FAIR. Irish?, Reel. F Sharp Minor. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 69, pg. 21.

X:1

T:Molly at the Fair

M:C

L:1/8

R:Reel or March

B:Harding’s All Round Collection, No. 69  (1905)

Z:AK/Fiddler’s Companion

K:A

AB|c2F2c2B2|A2 (GA) F2 (EF)|(AG).A.B (cB).c.e|f2 (Bc) B2 (AB)|c2 (ce) (dc)(BA)|

B2c2a2g2|(fa).f.e (cB)c^e|f2 FG F2::cd|e3f fedc|a2 ef e2 ag|

f3g (ag)ab|c2 cd c2 ed|c2a2 (ec).B.A|B2c2 a2g2|(fa).f.e (cB).c.^e|f2 FG F2:|

         

MOLLY BAKER. AKA and see "Big Tater." Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB. Source for notated version: Joe Crane (Marshall County, Oklahoma) [Thede].

Knife and a fork and a great big tater,

Take that pretty girl to be my waiter.

***

O law, I guess I'll take her,

Take that pretty little Molly Baker.

***

I had a wife and she was a Quaker,

If she went to sleep the devil couldn't wake her.

***

Thede (The Fiddle Book), 1967; pg. 90.

         

MOLLY BAN SO FAIR. Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. Source for notated version: “From P. MacDowell, Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 724, pg. 182.

X:1

T:Molly Ban So Fair

M:C
L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 724

Z:AK/Fiddler’s Companion

K:E_

(3B>cd | e3f gfec | B3c AF dc | B2 AF EFGA | B4 z2 Bc/d/ | e3f gfec | B3c AF ed |

B2AFE2E2 | E6 || BA | G2 AF EFGA | B3c A>F (3BAF | E2 EF G2A2 | B6 Bc/d/ |

e3 f gfec | B3c AF ed | B2 AF E2E2 | E6 ||

         


MOLLY BAWN [1]. AKA and see "Come, Rest on This Bosom," "The Fowler," "Lough Sheeling."  Irish, Air (3/4 time). D Minor (Joyce): A Minor (Heymann). Standard tuning. One part. This once-popular song (of the 'come-all-ye' genre, also called "The Fowler") appears on numerous broadside sheets in many different forms.  The title "Molly Bawn" is an Englished corruption of the Gaelic "Mailí Bhán," or Fair Mary (Fairhaired Mary, White Haired Mary). Collector Edward Bunting printed the piece three times in his manuscripts, each time noting it was traditionally the first piece learned by beginning harpers. Many songs have been composed to the tune, most of which tell of the accidental shooting death of Molly by her lover, who while hunting mistakes the white clothing she has worn for a swan. Joyce (1909) remarks: "In the last century this song was very popular in the midland and southern counties. I once heard it sung in fine style in the streets of Dublin by a poor woman with a child on her arm. Like several other ballads in this book, it obviously commemorates a tragedy in real life. It has been published by Patrick Kennedy in The Banks of the Boro but his copy is somewhat different from mine; and by 'Dun‑Cathail' in Popular Poetry of Ireland; but this last shows evident marks of literary alterations and additions not tending to improvement. My version is just as I learned it from the intelligent singers of my early days. The air is the same as  "Lough Sheeling' of Moore's song, 'Come, rest on this bosom!' but a different version." Words to the ballad begin:

***

Come all you young fellows that follow the gun,

Beware of going shooting by the late setting sun;

It might happen to anyone as it happened to me,

To shoot your own true love in under a tree. (John Loesberg, Folksongs and Ballads Popular in Ireland, vol. 1, 1979).

***

Source for notated version: Bunting's manuscript. Heymann (Secrets of the Gaelic Harp), 1988; pg. 52. Joyce (Old Irish Folk Music and Song), 1909; No. 409, pg. 220.

 

MOLLY BAWN'S [2]. AKA and see “Fairhaired Molly.” Irish, Reel. G Mixolydian. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 27. Ryan’s Mammoth Collection, 1883; pg. 52.

X:1

T:Molly Bawn’s [2]

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection

Z:AK/Fiddler’s Companion

K:G Mixolydian

A |: .A/.d/(d/^c/) .d(=c/B/) | .A/.F/.=c/.F/ .d/.F/.c/.F/ | A/d/d/^c/ .d(d/e/) | f/d/c/A/ (A/G/).G |

.A/.d/(d/^c/) .d(=c/B/) | .A/.F/.=c/.F/ .d/.F/.c/.F/ | A/d/d/^c/ .d(d/e/) | f/d/c/A/ (A/G/).G :| 

|: .g(d/g/) .g(a/g/) | f/d/d/e/ .f(g/^f/) | .g(g/^f/) .g(a/g/) | ^f/d/c/A/ (A/G/).G | g/d/d/g/ .g(a/g/) |

f/d/d/e/ .f(f/g/) | a/b/a/g/ f/g/a/g/ | f/d/c/A/ (A/G/)G :|

 

MOLLY BAWN [3]. AKA and see “Fairhaired Mary,” “Finbar Dwyer’s (Reel) [2]." Irish, Reel. A Dorian. Standard tuning. AABB. Fiddler Paddy Canny has recorded the tune under this title. The melody is a variant of O’Carolan’s old composition “Fairhaired Mary.” Black (Music’s the Very Best Thing), 1996; No. 172, pg. 90. Breathnach (CRÉ III), 1985; No. 123 (appears as “Gan ainm/No title”). Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Molly Bán [3]

T:Molly Bawn

T:"Young" John Naughton's (this setting)

C:Traditional

S:Davy Muir, Glasgow

M:C

L:1/8

Q:220

R:reel

D:The Lonely Stranded Band (this setting)

D:The Bothy Band, 'Old Hag You Have Killed Me' (Em)

D:Paddy Carty & Conor Tully (Gm)

Z:Gordon Turnbull

K:AMix

A2 EA cded | BG G2 eGdG | EAce a2 ed  | cedB BAGB |

A2 EA cded | BG G2 eGdG | EAce a2 ed  | cedB BA A2 |]

a2 ea a2 ba | geef g2 gb | a2 ea a2 ba | gedB BA A2 |

a2 ea a2 ba | geef g2 gb | b2 ba gbaf | gedB eBdB |]"End" A2 ||

X:2

T: Molly Bawn [3]

S: J.Kelly - P.O'Brien

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Ador

Aeed e2 dc | BGdG eGBG | Aeed e2 ef | gedB edcB |

Aeed e2 dc | BGdG eGBG | Aeed e2 ef | gedB cA A2 :|

a2 ea agab | geef g3 g | a2 ea agab | gedB cA A2 |

aece abba | geef g3 a | bc'ba geef | gedB cA A2 :|

           

MOLLY BHEAG O. AKA and see "Little Molly O!"

           

MOLLY BRALLAGHAN [1]. AKA and see "The Bold Sportsman," "Captain Rock(e’s) [1]," "The Carpenter's March," "Charming Molly Brannigan," “Cossey’s Jig,” “Copey’s Jigg,” "The Grand Conversation of Napoleon," "The Greenfields of America [1]," “Jimmy O’Brien’s Jig,” “Maid in the Meadow [1],” "McKenna's Dream,” "Miss Wedderburn('s Reel) [1]," "Napoleon's Farewell to Paris," "Old Mother Flanagan" (Pa.),  "Pretty Molly/Judy/Miss Brallaghan/Brannigan," “Purtie Molly Brallaghan,” "Pratie Apples," "Under the Rose."  Irish, Reel. G Major. Standard tuning. AB. A large tune family which apparently began with a jig, first printed in Jackson’s Celebrated Tunes (1774) under the title “Cossey’s Jig” (see also “Stone in the Field [2]”). Reel time settings seem to stem from earlier jig versions. The famous Irish tenor John McCormack recorded the song “Charming Molly Brannigan” on January 3, 1913, at the Victor studios in Camden, New Jersey, with Spencer Clay at the piano. The original 78 RPM was reissued by Murray Hill, 920344). Words to the tune begin:

***

Man did you ever hear of purty Molly Brannigan?

She stole away my heart and I'll never be a man again.

There's not a spot on my hide will another summer tan again,

Since Molly's gone and left me all alone for to die.

Dee idle diddley dootle [etc]

***

There's a hole in my heart you could easy round a turnip in,

As big as any pavin' stone from Dublin to the Divil's lin.

If she chose to take another sure she might have left mine back again,

And not to leave me here all alone for to die.

Dee howdle duddley dootle [etc]

***

Roche Collection, 1982, vol. 1; No. 157, pg. 62. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, Vol. 1” (1980. Appears as “Pretty Molly Brannigan”). Topic TSCD 602, K. Scanlon – “Irish Dance Music” (1995. A reissue of the 1929 original recorded as the 3rd tune in a medley under the title “Molly Brannigan”).

 

MOLLY BRALLAGHAN [2]. Irish, Double Jig. G Major. Standard tuning. AABB. Roche Collection, 1982, vol. 1; No. 121, pg. 50.

           

MOLLY BROOKS. AKA and see "Marlbrouk," "Malbrou(c)k," "We Won't Go Home Until Morning." Old‑Time, Play‑party and Dance Tune. In Virginia it is sung as a play‑party tune beginning:

***

Moll Brooks, come out of the water, until you learn to swim.

***

Tradition TLP 1007, Richard Chase ‑ "Instrumental Music of the Southern Appalachians" (1956).

           


MOLLY BUTLER. Irish, Air (3/4 time). Ireland, County Clare. A Minor. Standard tuning. AB. “A County of Clare tune.” Stanford/Petrie (Complete Collection), 1905; No. 723, pg. 181. 

X:1

T:Molly Butler

M:3/4
L:1/8

R:Air

N:”A County of Clare tune.”

S:Stanford/Petrie (1905), No. 723

Z:AK/Fiddler’s Companion

K:A Minor

B | B>A AA AG | AB de g2 | ag ed cc | c2c2 e>c | B>A AA AG | AB de g>d |

e2a2 ba | ag e3 || e | e>aaa ba | ge de g2 | ag ed dc | c2c2e>c | B>A AA AG |

AB de g2 | ag ed dc | BA A3 ||

           

MOLLY CAREW. Irish, Air (6/8 time). G Major. Standard tuning. One part. The title comes from Lover's setting of "Planxty O'Reilly," to which Moore wrote the song "The Wandering Bard." O'Neill (O’Neill’s Irish Music), 1915; No. 78, pg. 46.

X:1

T:Molly Carew

M:6/8

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

ga/g/f/e/ f/g/af | BGG cAA | BGG B<dd | egg g2g | g3 f/g/ad | BGG cBA |

Bdd d2 B/d/ | egg g2 g/a/ | bgg c’ba | bge e2 f/g/ | agf b>ag | fdd d2 e/f/ |

g>Fg add | gBB e2A/A/ | dGg fga | (g3g2) d/c/ | BGB BGB | cAc c>BA | Bdd dBd |

egg g2 g/a/ | bbb c/ba | bge e2f/g/ | aaa bag | fdd d2e/f/ | gfg add | gBB e2A/A/ |

dGg fga | g2e dBG | e2A A2A | A2G GA c/d/ | efg a>ba | (g3g2) z ||

           

MOLLY DARLING. Irish, Reel. A Major. Standard tuning. AABB’. The ‘B’ part is in double-tonic tonality. Kerr (Merry  Melodies), vol. 4; No. 182, pg. 21.

X:1

T:Molly Darling

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 182  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

e2 cA e2cA|d=cBA =GABG|e2 cA e2 cA|(ea)ag a2 gf:|

|:ecac ecBA|dB=gB dBA=G|1 ecac ecBA|(3a)ag a2 gf:|2 ABcd eaga|edcB A2a2||

           

MOLLY ÉAMONN MÓR. Irish, Reel. E Minor. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. She named the tune for a maternal ancestor whom family lore has it that she transported pikes for the rebellion under her shawl. Keegan (The Keegan Tunes), 2002; pg. 37.

                       

MOLLY FAIR, THAT WESTERN DAME. Irish, Air (2/4 time). F Major/Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 722, pg. 181.

X:1

T:Molly Fair, that western dame

M:2/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 722

Z:AK/Fiddler’s Companion

K:F

A/c/ | dc/d/ f/g/f/d/ | c>d A/G/F/D/ | F>G A/F/G/A/ | FF F>a | cA/G/ FG |

F>G Ac/d/ | _ed/c/ dc/A/ | c3d | AA/G/ FG | F>G Ac/d/ | _ed/c/ dc/A/ |

c3 A/c/ | dc/d/ fd | c>d A/G/F/D/ | F>G A/F/G/A/ | FF F || 

           

MOLLY FROM LONGFORD [1] (Mailí ón Longfort). Irish, Reel. The tune was played and recorded by the famous piper Patsy Tuohey (1865-1923), who spent most of his life in America (and who was one of O’Neill’s sources). It shows up in O’Neill’s Waifs and Strays, taken from a manuscript of the piper’s. It is a variant of “Pay the Girl Her Fourpence.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 291. Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

X:1

T:Molly From Longford

M:4/4

L:1/8

S:Patsy Touhey manuscript

Z:Paul Kinder

R:Reel

K:G

BA||:GE~EE GEDE|GE~EE BcBA|GE~EE GEDB|cABG A2 BA:||

Beec d2 cd|eAAF GE~EE|Beec d2 cd|eAAG A3 c|

Beec d2 cd|eAAF GE~EE|Beed Beed|cABc d2 BA||

 

MOLLY FROM LONGFORD [2] (Mailí ón Longfort). Irish, Single Jig (12/8 time). E Minor. Standard tuning. AB. The tune is more famously set as a reel under the “Molly from Longford” title and, in another version, “Pay the Girl Her Fourpence.” Source for notated version: Brother Gildas (a schoolteacher and member of the De La Salle order), who got it from Richard O’Mealy (1875-1946), a piper and pipe-maker born in County Westmeath who lived in Cork, Dublin and Belfast at various times. Breathnach (CRÉ IV), 1996; No. 74, pg. 36.

           

MOLLY HA'PENNY. AKA and see "Poll Ha'penny."

           

MOLLY HARE. See "Old Molly Hare." Oklahoma version listed under "Grandma Blair."

           

MOLLY HEWSON, MY JEWEL. Irish, Slow Air (2/4 time). A Minor. Standard tuning. AB. Source for notated version: Rev. Mr. Strangway, Ballinamore, Co. Leitrim (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 669, pg. 335.

                       

MOLLY HOGAN REEL. Canadian, Reel. E Major. Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler.

X:1

T:Molly Hogan Reel

C:Ward Allen

R:Reel

Z:Transcribed by Bruce Osborne

L:1/16

M:2/4

K:E

gf|e2ge bege|c2ec B2ec|A2cA B2ge|fgaf dfdf|

e2g2 bege|c2ec B2ec|A2cA B2g2|afdf e2:|

|:e2|B2Bd fBdf|e2ge bege|f2fg ^afg^a|b2b^a b=agf|

e2ge bege|c2ec B2ec|A2cA B2g2|afdf e2:|

                       

MOLLY IN THE GARDEN (Maire Annsa Garrad). Irish, Hornpipe. G Major ('A' Major) & E Minor ('B' Minor). Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, originally from County Down [O’Neill]. O'Neill (Krassen), 1976; pg. 189. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1668, pg. 310.

X:1

T:Molly in the Garden

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1668

Z:AK/Fiddler’s Companion

K:G

(d/c/) | B/c/A/B/ G/A/F/A/ | E/D/G/E/ DG/A/ | BG/B/ cB/c/ | d/c/B/c/ Ad/c/ | B/c/A/B/G/A/F/G/ |

E/D/G/E/ D(A/B/) | c/e/d/c/ B/A/ (3G/A/B/ | AG G :: (3A/G/F/ | Ee .e(3G/F/E/ | Dd d(3F/E/D/ |

Cc c(A/B/) | c/B/A/B/ cB (3A/G/F/ | Ee e(3G/F/E/ | Dd d(e/f/) | g/f/e/f/ g/f/e/c/ | d/c/d/e/ d/c/B/A/ :|

           


MOLLY MACALPIN (Mailí Nic Ailpín). AKA and see “Hawk(e)’s Hornpipe,” "Moll Halfpenny/Ha'penny," “Paul Ha’Penny,” "Poll Ha'Penny." Irish, Lament or Set Dance. The tune was attested by Grattan Flood (1906) to be the air that became known later in Scotland as "Gilderoy [1]” (it should be noted that Donal O’Sullivan has said that nothing in Flood’s account of the tune in his History of Irish Music is trustworthy). It was written after 1601, the year that five members of the MacAlpin (also called Halpin or Halfpenny) family were outlawed, leaving one of the ladies to mourn. O’Neill (1913) credits the composition of the melody to Laurence O’Connellan, an Irish harper born at Cloonmahon, County Sligo, in the mid-17th century, the younger brother of another famous harper, Thomas O’Connellan. After Thomas’s death Laurence travelled to Scotland popularizing several of his dead brother’s compositions. It was printed in 1719 by Thomas D'Urfey, who got it from an Irish actor, Thomas Dogget, about the year 1700. Irishman Matthew Conconnon selected it as the ninth air his version of The Jovial Crew in 1731. Thomas Moore wrote lyrics entitled "Remember the Glories of Brian the Brave," published in Bunting's collection of 1807. See also the related air “Mollie McAlpin” (O’Neill, 1903, No. 103) and “O’Carolan’s Farewell to Music” (O’Neill, 1903, No. 700).

           

MOLLY MAGUIRE [1]. AKA and see "Down the Hill," "The Flowers of Limerick," "The Telephone," "The Mills Are Grinding [1]," "Ducks on the Pond," “Paddy on the Turnpike [2],” "Pigeon on the Pies," "Salt River [2]," "A Rainy Day [1]." Irish, Country Dance (4/4 time). A Dorian. Standard tuning. AAB. The character of Molly Maguire (for no such woman is actually known to have existed) appears in several Irish tales of the mid-nineteenth century. She is said by some to have been an Irish woman of large proportions who sported a brace of pistols and led raids against the English or a madwoman who fantasized she commanded vast armies, but the most prevalent story has it that Molly was an aged widow who was evicted by her English landlord in 1839 from the land she tilled. The eviction story struck a resonant chord in the Irish of the time, victims of crop failures and famine, and liable more than ever to being driven from homes when they could not pay rents. The name became identified with Irish resistance to landlords of the period (one of whom received a letter with the veiled threat "Molly Maguire and her children are watching you!") and increasingly was associated with Irish gangs of intimidation. By the 1840's a popular song included the chorus:

***

So let the toast go merrily round,

Each Irish heart conspire.

Those tyrant hounds will be crushed down,

By matchless Molly Maguire!

***

When the Irish emigrated to America in droves to escape famine and English oppression the Molly Maguire symbol of resistance was not forgotten and re-emerged in the Pennsylvania coal fields of the 1860's and 1870's in response to similar oppression by coal companies. Several company officials were murdered and eventually the resistance was broken by Pinkerton informers, notably dectective James McParlan who infiltrated the organization, hired by the Philadelphia and Reading Railroad, which owned coal mines. The informers may or may not have fabricated information which led to the conviction of 24 and hanging of some ten "conspirators" in 1875. Source for notated version: "Michael Walsh, a good professional fiddler, Strokestown, Co. Roscommon" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 673, pgs. 336‑337.

X:1

T:Molly Maguire

M:C

L:1/8

R:”A Country Dance”

S:Joyce – Old Irish Folk Songs and Music (1909), No. 673

Z:AK/Fiddler’s Companion

K:Ador

AGEG A2 Bd | edBd edef | gedB ~G3A | BGAF GE E2 | AGEG A2 Bd | edBd edef |

gaba gfge | dBGB A2A2 :| ageg a2 eg | ac’bg agef | gede ~g3a | bgaf ge e2 |

ageg a2 eg | ac’bg agef | gfef gfge | dBGB A2A2 | ageg a2 eg | ac’bg agef | gede ~g3a |

bgaf ge e2 | ageg a2 eg | ac’bg agef | gaba gfge | dBGB A2A2 ||

 

MOLLY MAGUIRE [2]. AKA - “Molly McGuire’s.” AKA and see "The Boyne Hunt [1],” "Highland Skip [2]," "Niel Gow's Reel [1]," “Niel Gow’s,” “The Perth Hunt,” "Perthshire Hunt,” “The Popcorn,” “Richmond Hill [2],” “Sailor’s Trip to Liverpool." Irish, Reel. E Major. Standard tuning. AABB. The title refers perhaps to the clandestine organization of Pa. coal miners in the 1870's called the Molly Maguires, many of whom were Irish. The tune itself belongs to the “Boyne Hunt” family of tunes, although set in the fairly uncommon key of ‘E’. Canadian fiddler Don Messer played it as “The Popcorn,” according to Paul Stewart Cranford (2000). Source for notated version: learned by the late Cape Breton fiddler and composer Jerry Holland (1955-2009) from the playing of his father, in Boston) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 7 (appears as “Molly McGuire’s”). Cranford (Jerry Holland: The Second Collection), 2000; No. 147, pg. 56. Ryan’s Mammoth Collection, 1883; pg. 30. Jerry Holland – “Jerry Holland” (1976).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Molly Maguire [2]

R:Reel

M:4/4

L:1/8

K:E

B2GB EBGB|EBGB cBAc|B2GB EBGB|Bcef gfec:||

Bege bege|Bege fece|Bege bege|f3a gfec|\

Bege bege|Bege f3g|a3b agfe|Bcef gfec||

 

MOLLY MAGUIRE [3] (Mailí Nig Uidhir). Irish, Reel. G Major. Standard tuning. AB. A different tune than Ryan’s/Cole’s “Molly McGuire.” Source for notated version: found in c. 1880 collection of fiddler and uilleann piper Stephen Grier (County Leitrim) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 138, pg. 68.

           


MOLLY MALONE [1] (Maire Ni Maeleoin). Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 145. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1468, pg. 272.

X:1

T:Molly Malone [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1468

Z:AK/Fiddler’s Companion

K:G

d|g2 dc B2 GB|Abag fdef|gfgd ecdB|cAFD GBdf|g2 dc B2 GB|Abag fdef|

gbfa egdB|cAdc BG G||c|BGEG EGDG|ABcA cedc|BGDG EGce|

gedc BGGc|BGDG EGDG|ABcA cedc|BdgB ceag|fdcA BG G||

 

MOLLY MALONE [2]. AKA and see “Sweet Molly Malone.”

 

MOLLY MALONE [3].  Irish, Air (6/8 time). G Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 94.

X:1

T:Molly Malone [3]

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

G | Bdd d2 b/g/ | g<ed B2G/G/ | Bdd d2 e/f/ | gBc d2 d/d/ | e>fg ^G2 G/G/ |

Ace F2 F/F/ | G>GG d2 d/c/ | BGG G2 d/d/ | gfg aba | gfg aba | gfe dBG |

BAA A2 d/d/ | e>fg G<GG | Ace F<FF | GBd def | gBc d2d | e<gd dcB |

A3B3 | B<Gg d<BA | (G3G2) ||

           

MOLLY MALONEY. English, Country Dance Tune (6/8 time). England, Yorkshire. D 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. 52, pg. 42.

           

MOLLY McCARTHY (Maire Ni/M Mic Cartaig). Irish, Reel. D Major. Standard tuning. AAB (O'Neill/1850 & 1001): AABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 153. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1507, pg. 279. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 726, pg. 127.

X:1

T:Molly McCarthy

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 726

Z:AK/Fiddler’s Companion

K:D

DAFA DAFA|DAFA GE E2|DAFA DFAF|cBAG FD D2:|

||afdf gfed|gefd Be e2|afdf gfed|faeg fd d2|afdf gfed|gefd Be e2|

af{a}ge fdec|dBAG FD D2||

           

MOLLY McGUIRE'S. AKA and see “Molly Maguire [2].”

           

MOLLY MY DARLING.  Irish, Reel. Giblin (Collection of Traditional Irish Dance Music), 1928; 7.

 

MOLLY MY DEAR (Maire a Run). Irish, Air (3/8 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 452, pg. 79.

X:1

T:Molly My Dear

M:3/8

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 452

Z:AK/Fiddler’s Companion

K:G

B/c/|dde|c2A|B2G|{B}AGG|G2 B/c/|dde|c2A|B2G|{B}AGG|G2||

d/c/|BGB|d>ef|gag|fdB|c2 d/c/|BGB|d>ef|gag|fdB|c2||

           

MOLLY MY JEWEL. Irish, Air (3/4 time). E Flat Mixoldyian: F Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; Nos. 524 & 525, pgs. 132-133.

X:1

T:Molly My Jewel

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 524

Z:AK/Fiddler’s Companion

K:E_

EFG | A2G2 EF/G/ | FE C2 EF | G2E2E2 | E4 || GA | Bc _d2 cB | c2E2 GA |

Bc _dc BG | B4 || GA Bc _d2 cB | cB GE GA | Bc _dc BG | {c}B4 || GA/B/ |

A2G2 EG | FE C2 EF | G2 E2E2 | E4 ||

X:2

T:Molly My Jewel

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 525

Z:AK/Fiddler’s Companion

K:F

FG/A/ | B2A2 GF GF D2 FG | A2F F>G | F4 || A>B cd _e2 dc | d2F2 AB |

cd _ed cA | c4 AB | cd _e2 dc | dc AF AB | cd _ed {d}cA | c4 AB/c/ |

B2 A2 FA | GF D2 FG | A2F2 F>{A}G | F4 ||

           

MOLLY, MY OWN LOVE. Irish, Air (3/4 time). Ireland, Sligo. G Major. Standard tuning. One part. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 85, pg. 39.

           

MOLLY MY TREASURE. AKA and see "Molly Asthore."

                       

MOLLY MYERS’ Irish, Jig. G Major. Standard tuning. AA’BB’. Source for notated version: Ballydesmond (west Kerry) fiddler Molly Myers via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border)--Myers learned her music from local musical great Tom Billy [Moylan]. Moylan (Johnny O’Leary), 1994; No. 330, pg. 188.

                       

MOLLY OF THE LOUGH ERNE SHORE. Irish, Air (3/4 time). G Major. Standard tuning. One part. O’Neill (1922) says of his source: “James Whiteside, the ‘Bard of Bray’, County Wicklow, was a genius—scholar, poet, musician, composer. Born in County Monaghan in 1844, he retired after 40 years service as a schoolteacher at Bray. His playing of the violin won two first honors at two Feiseanna. An interesting sketch of his life appears on pages 384-7, [O’Neill’s] Irish Minstrels and Musicians.” Source for notated version: the Whiteside manuscript [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Molly of Lough Erne Shore

M:3/4

L:1/8

S:James Whiteside manuscript

Z:Paul Kinder

R:Air

K:G

"Andante"AB|c2 B2 c2|A2 G2 G2|A2 B2 c2|d4 fg|

a2 g2 a2|=f2 e2 d2|d2 e2 A2|A4 f2|

a2 g2 a2|f2 e2 d2|d2 c2 A2|^f4 ge|

d2 A2 B2|c2 A2 G2|A2 B2 c2|d4||

                       

MOLLY OGE. Irish, Air (3/4 time). D Major. Standard tuning. One part. Roche Collection, 1982, vol. 1; No. 73, pg. 34.

           

MOLLY O'MALONE (Mailli Ni Maoluain). Irish, Slow Air (3/4 time). F Major. Standard tuning. One part. Source for notated version: Dan Mac Hugh, Ballyhaunis, Co. Mayo (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 560, pg. 296.

           

MOLLY ON THE SHORE [1]. AKA and see “The Mossy Banks [2].” Irish, Reel. Ireland, County Cork. G Major. Standard tuning. AABC. Violinist Fritz Kreisler (1875-1962) once recorded a setting of this popular tune, probably based on a transcription by Australian pianist, composer and folk music collector Percy Grainger (1882-1961) in an early 20th century edition of the Journal of the Folk Song Society, muses Joel Shimberg (who also says: “I’ve never heard another fiddler other than a young Brendan Mulvihill, play it…I’m pretty sure {his was} the Grainger version”). In fact, Mulvihill recorded the tune as the 2nd piece in the medley entitled “Temple Hill” on his band The Irish Tradition’s album “The Corner House.” Grainger’s “Molly on the Shore” is based on two reels he found in Charles Stanford Villiers’s The Complete Petrie Collection of Irish Music, found next to each other on the page, called “Temple Hill” and “Molly on the Shore.” Grainger make the first setting of the melodies and arrangement for string quartet in 1907 as a birthday gift for his mother, but arranged it for orchestra in 1914 and later for piano and band. Violinist Kreisler was an acquantiance of Sligo fiddle master Michael Coleman and Donegal fiddler Hugh Gillespie. Notes in the booklet “Michael Coleman 1891-1945” record that Gillespie recounted an impromptu session that Kreisler did with the two Irish fiddlers in a rehersal room at WHOM, a New York City radio station.  Kreisler accompanied the melody playing of the two with double stops on the lower strings, which Gillespie thought was far better than the pianos or guitars that were their usual accompaniment. Fiddler Séamus Connolly (2002) remarks that the “Molly on the Shore” in his book is actually a composite of two reels from County Cork. The first reel, in three parts, comes from the playing of piper Leo Rowsome, whose own version included a two part tune called “Temple Hill” with a third part taken from “Molly on the Shore.” Sources for notated versions: “A Cork reel. From P. Carew’s MSS” [Stanford/Petrie]; banjo player Tommy Finn (b. 1964, Barlow, Ballymote) [Flaherty]; piper Leo Rowsome [Connolly & Martin]. Connolly & Martin (Forget Me Not), 2002; pgs. 74-75. Flaherty (Trip to Sligo), 1990; pg. 47 (appears as “Unknown”). Stanford/Petrie (Complete Collection), 1905; No. 902, pg. 228. Green Linnet SIF 1016, Irish Tradition – “Corner House.” Richard Greene – “Molly on the Shore.”

X:1

T:Molly on the Shore [1]

M:C
L:1/8

R:Reel

S:Stanford/Petrie, No. 902  (1905)

Z:AK/Fiddler’s Companion

K:G

B/A/|GEDB cABA|(3GAG BG AGEF|GEDB cABA|(3GAG BG A2G:|

d|gfgd ecdB|(3GAG BG AGEf|gfgd ecdB|(3GAG BG A2 Gf|gfgd ecdB|

(3GAG BG AGEF|GBAc Bdge|dBGB A2(G||B)|cccA BBBA|(3GAG BG AGEB|

cccA BBBA|(3GAG BG A2 G>B|c/c/ccA B/B/BBA|(3GAG BG AGEA|

GEDB cABA|(3GAG BG A2G2||

 


MOLLY ON THE SHORE [2]. Irish, Reel. G Major. Standard tuning. ABCD. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy rewrote the first two parts of the tune and added an original third part. However, like the Rowsome settings (see “Molly on the Shore [1]” and Connolly/Martin version, Reavy’s is a reworking of the Stanford/Petrie tunes “Temple Hill” and “Molly on the Shore,” albeit more of the former than the latter (as Paul De Grae points out). Reavy (The Collected Compositions of Ed Reavy), No. 53, pg. 55.

X:1

T:Molly on the Shore

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Fritz Kreisler once recorded a setting of this popular tune. Ed re-wrote

N:the first two parts and added an original third part. That third part is

N:one of his finest compositions.

K:G

GF | DGGB d2 cA|d2 cA FGAF | DGGB d^cde | =fd=cd Agg^F |

DGGB d2 cA | d2 cA FGAF | DGGB d^cde | =fd=cd AGGA |

dg (3gfg afgf | dfcf dfcf | dg (3gfg afgf | d=fcd AGGA | dg (3gfg afgf |

dfcf dfcf | (3bag (3agf gfde | =fdcA G2 G^F | DGGB dcAG | D=FCF DFCF |

DGGB d^cde | =fdcd AGG^F | DGGB dcAG | D=FCF DFCF | DGGB d^cde|

=fdcA AGGA | g3 a fe^fa | gfga fdcf | gfga fgag | ^fdcd AGGA |

g3 a fe^fa | gfga =f2 ga | (3_bag (3agf gfde | =fdcA G2 ||

           

MOLLY OXFORD. AKA and see "Old Molly Oxford [1]." English, Morris Dance Tune (2/2 time). F Major (Bacon‑Field Town): G Major (Bacon‑Ilmington). Standard tuning. ABB (Bacon‑Ilmington): AABCBCB (Bacon‑Field Town). The tune was collected from dancers in the villages of Field Town (Leafield, Oxfordshire) and Ilmington (Warwickshire), in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 163 & 216.

           

MOLLY PUT THE KETTLE ON [1]. AKA‑ "Jenny Put the Kettle On [1]," "Polly Put the Kettle On [2]." Old‑Time, Breakdown. USA; Georgia, North Carolina, Mississippi, Virginia, Missouri. D Major (Brody, Phillips): A Dorian (O'Neill). Standard tuning. ABB. African-American fiddler Joe Thompson plays the piece in FCgd tuning. The title, which is variously known by either “Molly” or “Polly,” comes from a rhyme commonly found in Mother Goose and other nursery editions. A tune in the repertoire of fiddler and Confederate veteran Arnold A. Parrish (Willow Springs, Wake County, N.C.), as recorded by the old Raleigh News and Observer. Parrish was a contestant at fiddler’s conventions held in Raleigh prior to World War I.

***

Guitar player and singer Riley Puckett sang the following verses as a member of the north Georgia band The Skillet Lickers:

***

Molly put the kettle on,

Ginny blow the dinner horn,

Molly put the kettle on,

All take tea.

***

Swing Sal, swing Sue,

Swing that gal with the run-down shoe.

***

Swing ma, swing pa,

Swing that gal from Arkansas.

Take a chew of tabaccer, promenade all,

Pull that calico from the wall.

***

Wade Ward, of Independence, Virginia, at the end of his performance gives lines in recitative:

***

Head like a coffee pot,

Nose like a spout;

Handle on the other side

To pour the coffee out.

***

Sources for notated versions: The Skillet Lickers (north Georgia) [Brody]; Emmett Lundy (Va.) and Joe Politte (Mo.) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 194. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 154. Columbia 15380 (78 RPM), Leake County Revellers (Miss.). Columbia 15746D (78 RPM), Gid Tanner and His Skillet Lickers (N. Ga.). County 506, The Skillet Lickers‑ "Old Time Tunes” (reissue) County 529, Leake County Revellers‑ "Traditional Fiddle Music of Mississippi, Vol. 2" (reissue). County CD-3509, The Skillet Lickers (reissue). Document DOCD-8060, The Skillet Lickers (reissue). Folkways FA 2399, New Lost City Ramblers ‑ "Vol. 4." Global Village C217, (Black fiddler and banjo player) Joe and Odell Thompson ‑ "Old Time Music From the North Carolina Piedmont." Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Creed Smith). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time" (may be version #4). Musical Traditions MTCD321-2, Calvin Cole (et al) – “Far on the Mountain, Vols. 1&2” (2002). Rounder 0058, Haywood Blevins (southwestern Va.) ‑ "Old Originals, Vol. II" (1978). Smithsonian Folkways SF CD 40097, Wade Ward. Victor 21518, Ernest Stoneman ‑ "Serenade in the Mountains."

MOLLY PUT THE KETTLE ON [2]. Old‑Time, Breakdown. USA, West Virginia (probably) Not similar to the "Polly/Molly Put the Kettle On" versions of the tune, but seems related to the tune "Yew Piney Mountain." Folkways 31062, Ship in the Clouds‑ "Old Time Instrumental Music" (1978. Learned from Vermont fiddler Pete Sutherland).

 

MOLLY PUT THE KETTLE ON [3] (A Maire Cuir Sios An Coire). AKA and see "Old Torn Petticoat [3]." Irish, Reel. A Dorian/G Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The melody was used for a well‑known country dance and nursery song in the 18th century; the rhyme is still found in Mother Goose collections. See notes for “Polly Put the Kettle On” and the related “Jenny’s Bawbee.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1363, pg. 254. O'Neill (Krassen), 1976; pg. 126. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 616, pg. 112.

X:1

T:Molly Put the Kettle On [3]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 616

Z:AK/Fiddler’s Companion

K:A Minor

cded cAAc|Bcdc BG G2|ceed cBAG|EDE^G A2A2|cded cAAc|Bcdc BG G2|

cBcA B2 AG|EDE^G A2A2||cde^f g2 fg|aged cA A2|cde^f g2 fg|

age^g a2a2|cde^f g2 fg|aged cA A2|cded cAAG|EDE^G A2A2||

 


MOLLY PUT THE KETTLE ON [4]. Old-Time, Breakdown. USA, North Carolina. No relation to “Molly Put..” [1]. This version is from North Carolina fiddler Manco Sneed via contemporary old-time master Brad Leftwich. Sneed, Osey Helton and Marcus Martin, all western North Carolina fiddlers who had their heyday in the early 20th century, learned the tune from Jamed Dedrick Harris, of Flag Pond, Tennessee (and who lived for some time in North Carolina), who had been the fiddler who accompanied Governor Bob Tylor in his whistle-stop campaign called the “War of the Roses” (Hartford). Harris was born in 1859, made fiddles and travelled, according to John Hartford. Flying Fish FF‑055, Red Clay Ramblers‑ "Merchant's Lunch" (1977. Learned from Manco Sneed). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard”) {1996. Learned from fiddler Brad Leftwich}. Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999).

X:1

T:Molly Put the Kettle On

S:Tape recording of Manco Snead

A:Cherokee, North Carolina

N:Manco mumbles a bit, so it's unclear whether

N:he says "Molly" or "Polly." Calling it "Molly"

N:keeps it separate from the common song tune.

I:/ above a note indicates a slide up to that note,

I:+ above a note indicates sharpening, V indicates

I:flattening. Manco changes his pitches more than

I:a little.

N:Parts played in order:123443

Z:Joel Shimberg

M:C|

L:1/8

K:G

"1"{A}BAG=F DC"v"B,C | DE=FG FD C2 | D2GA GFGA | B"+"cdd =fdg2-| ga g=f

d2(3cdc |

BcBG =FD"v"B,2 | DGGA GFGA | {A}B2G2G3 G- || "2" GA"v"Bc d4| _Bcdc _BG=F_B |

GABc dcdc | BcBF G2DF | GA_Bc d4 | _Bcdc =BG=F_B | GAG"v"F DCB,C |

DG2FG2G2 ||"3"A<B G=F DC (3A,B,C | DE=FG FDC2 | D2GA GFGA |

B"+"cdd =fdg2- | ga g=f d2(3cdc | BcBG =FDB,2 | DGGA GFGA |

B2G2G3 "/"G- ||"4" GAB"+"c d4 | de=fg fdc2 | dgga gfd2 |

gagf d^cde | fgaf gfd2 | c2BG F2G2 | GAG=F DCB,C | DG2F G2G2 ||

 

MOLLY PUT THE KETTLE ON [5]. Shetlands, Shetlands Reel. May be the same as version #6. From the island of Papa Stour, Shetlands.

 

MOLLY PUT THE KETTLE ON [6]. English, Reel. B Flat Major (Button & Whitaker): D Major (Steele). Standard tuning. AABB. From Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1, an undated publication from the early 19th century, and Danile Steele’s New and Complete Preceptor for the German Flute (Albany, 1815). The tune was printed with country dance instructions.  Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 73.

X:1

T:Molly Put the Kettle On

T:Barney Leave the Girls Alone

M:2/4

L:1/8

S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th S:century)

Z:AK/Fiddler’s Companion

K:B_

f>g fe|dB B2|GccB|AF F2|f>g fe|dB B2|G2 A>A|B4:|

|:dB ec|dB ec|Gc cB|AF F2|dB ec|dB ec|G2 A>A|B4:|

X:2

T:Molly Put the Kettle On

M:C

L:1/8

S:Danile Steele - New and Complete Preceptor for the German Flute (Albany, 1815)

K:D

abag fd d2|Bded BA A2|abag fd d2|Be cA d2d2:|

|:fdge fd d2|Befd BA A2|fdge fd d2|Be cA d2d2:|

           

MOLLY RANKIN’S REEL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by multi-instrumentalist John Morris Rankin of the Mabou, Inverness County, Cape Breton, group The Rankin Family. Molly is the daughter of John Morris and Sally Rankin. Cranford (Jerry Holland’s), 1995; No. 85, pg. 25. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 46 (pipe setting). Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Guernsey Cove Productions, Cynthia MacLeod (Prince Edward Island)  – “Head Over Heels” (2002). Warner/Chapel Music Canada, CCC112, The Rankins – “The Rankin Family Album” (1996).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Molly Rankin's

M:4/4

L:1/8

S:From James Kelly: Traditional Irish Music

R:Reel

K:D

Addc ~d3f | edef e~B3 | Addc defg | afdf e2dB | !Addc ~d3f | edef edBd | ~a3f edef |1

defd efdB :|2 defd e/2f/2e fg |: !aA (3AAA afef | abaf edef | aA (3AAA afef | defd e2fg |

aA (3AAA afef | !abaf edef | g2fg efdB |1 defd (3efe fg :|2 defd edBc ||

           

MOLLY ST. GEORGE. Irish, Air. One of the supposed seven or eight hundred tunes composed by the ancient harper Thomas O’Connellan (see note for “The Breach of Aughrim”).

           

MOLLY TIERNEY. Irish, March (6/8 time). G Major. Standard tuning. ABC. Roche Collection, 1982, vol. 2; No. 353, pg. 63.

           

MOLLY VEAGG, O (Mhali bheag og). Irish. The tune was recorded in the Belfast Northern Star of July 15, 1792, as having been played by one of ten Irish harp masters at the last great ancient Irish harpers' convocation, the Belfast Harp Festival, held that week.

           

MOLLY WHAT AILS YOU? (A Maire Cad Ta Ort?). AKA and see "The Banks of Inverness," "The Berkshire Heights," "Croppy’s Retreat,” "Farewell to Limerick," “Fisherman’s Lilt [1],” “Fred/Freddy Finn’s [1],” “Miss Campbell’s [2]," "You're right my love." Irish, Reel or Fling. D Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). See also "Streancan an iascaire," "The Siege of Ennis [1]," "Lady Mary Lindsay" (‘A’ part only), "Cunningham's Fancy," "The Pretty Girls of the Village [1]," "Old John’s Jig” (Phort Shean tSeain) {second turn only}. O'Neill (Krassen), 1976; pg. 134. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1413, pg. 262. O'Neill (Dance Music of Ireland: 1001Gems), 1907/1986; No. 652, pg. 117.

X:1

T:Molly What Ails You?

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 652

Z:AK/Fiddler’s Companion

K:D

FG|A3F ABde|fdgf edBd|A2 AF ABde|fgef d2 dB|ABAF ABde|

fd d2 edBd|A2 AF ABde|egec d2||de|faaf gbbg|afef dB B2|

faaf gbbg|afef d2 de|faaf gbbg|afef dBBd|A2 AF ABde|fgec d2||

           

MOLLY, YOU HAVE A CUNNING SMILE. AKA and see "Beautiful Head [of Hair] is My Brown‑Haired Girl" (Cul Aluinn Mo Chailin Donn).

           

MOLLY ZOUCH’S FRISK.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody was first published in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1754). Subsequently it appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756) and Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 80.

X:1

T:Molly Zouch’s Frisk

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:G

(GB) (dg)|bg dB|gd BG|dAFD|GB dg|bgdB|edcB|A2 A2:|

|:d>edB|ca a2|c>dcA|Bg g2|e=fec|dedc|Bc AB|G2 G2:||

 

MOLLY'S FAVOURITE. AKA and see “The Buck in the Woods,” "Out all night," "An Boc sa gCoill." See also the ‘A’ part of  Humors of Ballingarry.”

           


MOLLY'S HOOP. English, Air (6/8 time). E Minor. Standard tuning. AB. The air appears in Wright's Country Dances (vol. 1), broadside ballads and several ballad operas, including Cibber's Love in a Riddle (1729) and The Livery Rake (1733) {in both the melody is used for "What Woman could do, I have tried, to be free"}, and Damon and Phillida (1734) {as "O Mother, a hoop!"}.

***

What a fine thing have I seen today,

O Mother, a hoop!

I must have one, you cannot say nay,

O Mother, a hoop!

For husbands are gotten this way to be sure,

Men’s eyes and men’s hearts they so neatly allure;

O Mother, a hoop, a hoop!

O Mother, a hoop!

***

Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 178.

X:1

T:Molly’s Hoop

L:1/8

M:6/8

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:E Minor

EFG FGF|EGF ^D3|G3 A>GF|G6|EFG FGF|EGF ^D3|G2 A>GF|(G3 G2)||D|

G>AB Bcd|F>GA AGF|G>AB Bcd|F>GA AGF|G3 F>GE|^D2E B,3|e3 F>E^D|E6||

           

MOLLY’S NIGHT CAP. Irish, Reel. A Mixolydian. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 165, pg. 19.

X:1

T:Molly’s Night Cap

M:C|

L:1/8
R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 165  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Mixolydian

(gf) |: e2 cA e2 cA | (3Bcd ef g2 ge |1 d2 BG (dG)BG | (3Bcd ef g2 gf :|2

afge dfec | A2A2A2 |: (fg) | a2 (ab) aged | (3Bcd ef g2 ge |1 d2 BG (dG)BG |

(3Bcd (ef) g2 :|2 afge dfec | A2A2 A2 ||

           

MOLONIES GIG. Scottish, Jig. C Major. Standard tuning. AABBCCDD. McGlashan (Collection of Scots Measures), c. 1780; pg. 38.

X:1

T:Molonies Gig

M:6/8

L:1/8

R:Jig

S:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:C

C|E>FG GEG|GEG GEG|AFA GEG|AFD DED|E>FG GEG|GEG c2G|

A/B/cA GEc|GEC C2:|

|:B/c/|dB/c/d/B/ GB/c/d/B/|GB/c/d/B/ c2G|F/G/AF E/F/GE|AFD D2 B/c/|

dB/c/d/B/ GB/c/d/B/|GB/c/d/B/ c2G|A/B/cA GEc|GEC C2:|

|:e/f/|ge/f/g/e/ ce/f/g/e/|gec B2G|F/G/AF E/F/GE|AFD D2 e/f/|

ge/f/g/e/ ce/f/g/e/|gec B2G|A/B/cA GEc|GEC C2:|

|:e/f/|ge/f/g/e ce/f/g/e/|ce/f/g/e ce/f/g/e/|af/g/a/f/ df/g/a/f/|df/g/a/f df/g/a/f/|

ge/f/g/e/ af/g/a/f/|gec B2G|A/B/cA GEc|GEC C2:|

           

MOLONEY'S REEL. See “Molony’s Reel.” AKA and see “Tim Mulloney.”

                       

MOLONY’S JIG. Irish, Jig. G Major. Standard tuning. AABB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 20, pg. 8.

X:1

T:Molony’s Jig

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:G

B/c/ | dBG Gge | dBG Gge | dcB dcB | ABA ({B}A)Bc |

dBG Gge | dBG Gge | dcB cBA | G>AG G2z :: Bdd Add |

gag f2d | Bdd Add | ge^c d3 | Bdd Add | gag f2d | efg dBg | GAG G2z :|

                       

MOLONY'S REEL. AKA and see “Tim Mulloney.” Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: blind fiddler Michael Daffy (Co. Clare) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 14, pg. 6.

           

MOM AND POP. American, Reel. USA, Pennsylvania. This is perhaps the title of the first tune of "York County (Pa.) Tunes," played by the West Orrtanna String Band and learned from an elderly fiddler from the region named Bill Gipe. Revonah RS‑924, "The West Orrtanna String Band" (1976).

           

MOM, I'M STILL YOUR LITTLE BOY. AKA and see "Mam', J' su' Toujours Ton 'Tit Garcon."

           

MOM’S JIG. Canadian, Jig. Canada; Cape Breton, Prince Edward Island. A Dorian. Standard tuning. AABBC (Cranford/Holland): AABBCCAABB (Perlman). Composed by fiddler Jerry Holland (Inverness, Cape Breton). Source for notated version: Louise Arsenault (b. 1956, Mont Carmel, West Prince County, Prince Edward Island; now resident of Wellington) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 208, pg. 60. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 140. BOOT Records, Jerry Holland - “Master Cape Breton Fiddler” (1982). Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997). WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

 

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