The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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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.
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,
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:
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
***
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
***
The melody
was transformed by morris dance musicians in the
***
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,
***
Source for
notated version: the music manuscript book of Ellis Knowles, a musician from
Radcliffe,
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.
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:
***
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 ‑ "
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.
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
***
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:
***
17th century lady called Ma/ire Ruadh Ni/
of
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
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 (
X:1
T:Moll Roe
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
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
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
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.
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
***
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
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
***
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.
***
There's a hole in my heart you could easy round a turnip in,
As big as any pavin' stone from
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
MOLLY BUTLER. Irish, Air (3/4 time).
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
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."
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
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
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
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
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
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
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
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
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
X:1
T:Molly of
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.
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
MOLLY PUT THE KETTLE
ON [1]. AKA‑ "Jenny Put the Kettle On [1],"
"Polly Put the Kettle
On [2]." Old‑Time, Breakdown.
***
Guitar player and singer Riley
Puckett sang the following verses as a member of the north
***
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
Take a chew of tabaccer, promenade all,
Pull that calico from the wall.
***
Wade Ward,
of
***
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
MOLLY PUT THE KETTLE
ON [2]. Old‑Time, Breakdown.
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
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
X:1
T:Molly Put the Kettle On
S:Tape recording of Manco Snead
A:Cherokee,
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=
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
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.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Alan Ng’s Irishtune.info |
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
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
X:1
T:Molly What Ails You?
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
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
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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