The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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MORN - MOT

 

 

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]

 

 

 

MORNING. American, Waltz. G Major. Standard tuning. AA’BB. Composed by Lew Alpaugh (New Jersey). Cranford (Jerry Holland’s), 1995; No. 281, pg. 83. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1995).

           

MORNING AIR, THE (Aer Na Maidne). Irish, Air (6/8 time, "gaily"). G Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 109, pg. 20.

X:1

T:Morning Air, The

M:6/8

L:1/8

R:Air

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 109

Z:AK/Fiddler’s Companion

K:G Minor

D|G2G G^FD|GAG G^FD|=FGF B2D|F3 D2^F|G2A B2G|{A}c2 B AG^F|

G2 A/B/ AG^F|G3 G2||z|d2 d dcB|d3 f2z|FGF B2D|F3 D2^F|G2A B2G|

{A}c2 B AG^F|GAB AG^F|G3 G2||

           

MORNING BLUES. Old‑Time. Carryon Records 002, "Ace Weems and the Fat Meat Boys."

           

MORNING BRUSH. AKA and see "Jackson's Morning Brush." Irish (originally), English; Jig. D Major. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 115.

           

MORNING CHEER. AKA and see “Jim Moore’s Fancy.” Irish, Reel. G Major. Standard. AB. O’Neill (1922) identifies this tune as a variant of “Jim Moore’s Fancy.” Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 261.

X:1

T:Morning Cheer

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

A2 BA A2 Bd|(3efg dg ef g2|G2 BG G2 BG|(3ABc BA GE E2|

A2 BA A2 Bd|(3efg dg efgf|afgf efga|gedB BA A2||

eaaa agbg|agbg agef|dggg gfaf|gfaf gedf|

eaaa agbg|agbg agef|gfgf efga|gedB BA A2||

 

MORNING DANCE. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 32b, pg. 10.

 

MORNING DEW [1], THE (Giorria sa bhFraoch). AKA and see “The Hare Amang the Heather,” "The Hare in the Heather." Irish, Reel. E Dorian (Em). Standard tuning. ABC (Breathnach, Miller, O’Malley): AABC (Mallinson, Taylor): AA’BC (Feldman & O’Doherty): ABCC (Brody): AABBCC (McNulty). Part of the tune was used by Chieftains piper Paddy Moloney for his first film score, Ireland Moving. O’Malley’s version starts with the part that usually appears as the 3rd part in most versions. See also “Morrison’s Jig” for a related jig setting of the melody. Sources for notated versions: piper Maitiu Mac Tighearnain (Ireland) [Breathnach]; Chieftains (Ireland) [Brody]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]; New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. Breathnach (CRÉ I), 1963; No. 198, pg. 77. Brody (Fiddler’s Fakebook), 1983; pg. 196. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 21. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 166. Jordan (Whistle and Sing), 1975; 38. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 31, 32. Mallinson (Essential), 1995; No. 54, pg. 24. McNulty (Dance Music of Ireland), 1965; pg. 12. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 37. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 89. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 11, pg. 6. Peoples (Fifty Irish Fiddle Tunes), 1986; 16. Taylor (Through the Half-Door), 1992; No. 12, pg. 10. Claddagh CC14, Chieftains‑ "Chieftains 4" (1974). Gael-Linn CEF060, “Paddy Glackin.” Green Linnet SIF‑1110, James Kelly ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992. Joe Cooley's version learned by Joanie Madden via Patricia Kennedy). Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Green Linnet GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997). IRC Records, Michael Coleman - “The Musical Glory of Old Sligo.” Island ILPS 9501, "The Chieftains Live" (1977). Mooncrest Pegasus 9, Steeleye Span‑ "Ten Man Mop.” Rounder 1087, Eleanor Kane/Neary - "From Galway to Dublin: Early Irish Traditional Music" (1992. A reissue of the 1935 original). Shanachie 29002, "Kathleen Collins." Shanachie 33006, Michael Coleman‑ "The Classic Recordings of Michael Coleman." Shanachie 78030, Danú – “Think Before You Think” (2000. Learned from the playing of Noel Hill and Tony McMahon). Shanachie 79024, "Chieftians 4" (1974/1983). Shaskeen - "The Joys of Life."

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:Morning Dew, The [1]

L:1/8

M:C|

K:E Dorian

~E3(B {c}BA)FA|E[DB]EB AFDF|~E3(B {c}BA)FA|BcdB ADFA:|

||B2 eB fBeB|BcdB ADFA|B2 eB fBeB|dcdB ADFA|B2 eB fBeB|

BcdB ADFA|(3Bcdeg f2 ge|dcdB ADFA||B2 GB FB E2|B2 EB ADFA|

B2 GB FBEc|dcdB ADFA|B2 GB FB E2|B2GB ADFA|BAGF EFGA|~d3B ADFA||

 


MORNING DEW [2], THE (Droc Geal Ceo Na Maidne). Irish, Single Jig. A Dorian. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 107, pg. 33.

 

MORNING DEW [3], THE. Irish, Air (3/4 time, "gracefully"). F Major. Standard tuning. One part. Source for notated version: "Mr. Francis Lodge, Brenormore, near Carrick‑on‑Suir, 1884, a good musician and a great enthusiast in Irish music and songs" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 284, pgs. 134‑135.

X:1

T:Morning Dew, The [3]

M:3/4

L:1/8

R:Air

N:”Gracefully”

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

Z:AK/Fiddler’s Companion

K:F

FD|C2D2F2|{G}F4 G2|A2c2d2|c4A2|AG3 G2|G2F2G2|A2F2D2|F4 c2|f4 d2|

e2c2d2|d2c2A2|G4 G2|A2c2d2|e2c2d2|cd c2A2|c4c2|f4e2|f2a2g2|f4 AG|

A f3 e2|d c3 A2|G2 A3G|G2F2F2|F4||

                       

MORNING DREAM(Aisling Na Maidne). Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 74, pg. 44. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 625, pg. 110.

X:1

T:Morning Dream, The

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 624

Z:AK/Fiddler’s Companion

N:”Moderate”

K:G

de>d|(d2 B)(gfe)|(d2G) (G>A)|B2 (dBAG)|A2 z (d>ed)|(d2 B)(gfe)|(d2 G2) (G>A)|

B2 (cB) {B}(A>G)|G2 z||(gfe)|(d2 B)GAB|(c>d e2) (ge)|d2 (ed)(BG)|A2 z(gfe)|

(d>B G)(cBA)|B<G E2 G>A|(Bd) {d}(c>B) {B}(AG)|G2 z||

                       

MORNING FAIR. AKA and see “Hastton’s Hornpipe,” “Manchester Hornpipe [1],” “Pigeon on the Gate [7],” “Rickett’s Hornpipe,” “Texarkana Hornpipe,” “Tomorrow Morning,” “Yarmouth Hornpipe.” English, Hornpipe. D Major. Standard tuning. AABB. The tune was widely popular in the British Isles under a variety of titles and appears in numerous fiddler’s manuscripts from the 19th century. As “Tomorrow Morning” the tune appears in O’Neill’s Music of Ireland (1903). Versions appear to have derived from the English “Manchester Hornpipe,” although the “Morning Fair” title also appears in fiddlers’ manuscripts in England. It was in the G. Huddswell (Leeds, west Yorkshire) manuscript twice (once as “Morning Fair” and again as “Morning Hornpipe”), the George Spencer 1831 manuscript (Leeds, west Yorkshire), and the John Clare manuscript (c. 1820, Helpstone, Northants), all under the “Morning Fair Hornpipe” title. Fiddler John Burk’s music manuscript copybook, dated 1821, has the tune as “Hastton’s Hornpipe.” Nothing is known of Burks, although he may have been from the north of England. Lincolnshire musician Joshua Gibbons included it in his 1823-26 music manuscript book simply as “Hornpipe No. 101,” set in the key of ‘F’ major. As “Manchester Hornpipe,” it can be found in the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds). Another version appears as “Yarmouth Hornpipe” in George H. Watson’s (Swanton Abbott, Norfolk) manuscript of 1850-1880. Cole (1000 Fiddle Tunes), 1940; pg. 88. Lerwick (The Kilted Fiddler), 1985; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 121.

X:1

T:Morning Fair

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

f/e/ | d/A/F/A/ d/f/e/d/ | e/c/A/c/ e/g/f/e/ | f/a/f/d/ B/g/e/d/ | cAA (f/e/) | d/A/F/A/ d/f/e/d/ |

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

.c.A.A (f/e/) | d/A/F/A/ d/f/e/d/ | e/c/A/c/ e/g/f/e/ | f/a/f/d/ B/g/e/c/ | ddd :|

                       

MORNING FLOWER. Old‑Time, Breakdown. USA; W.Va./Ky. A Major. Source: Ed Hayley (Ky.) via Wilson Douglas (W.Va.). Ed Hayley, according to Douglas, sang:

***

Go little children, go and go,

Down in the valley where the flowers grow.

***

Marimac Recordings 1989, Wilson Douglas ‑ "Boatin Up Sandy."

                       

MORNING GALLOP. Irish, Jig. D Major. Standard tuning. AABC.

X:1

T:Morning Gallop (Sodar na Maidine)

C:Carl Hession

D:Carl Hession, "Ceol Inne/ Ceol Inniu"

D:"Old Time New Time" (Gael Linn CEF 173

M:6/8

L:1/8

Z:Transcribed by Paul de Grae

R:jig

K:D

aba gag|fef ged|cAA dAA|efd cAA|

aba gag|fef ged|cAA dcd|ecA A3:||

c3 d3|efg gfe|fga agf|efd cAA|

cAA dcd|efg gfe|fga agf|ecA A2 B||

cAA dAA|efg gfe|fga agf|efd cAA|

cBc dcd|efg gfe|fga gab|ad'b a3||

                       

MORNING GLORY. Old-Time, Waltz. A Major (‘A’ & ‘B’ parts) & D Major (‘C’ part). Standard tuning. ABC. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 102.

                       

MORNING IN SUMMER, A (Maidin Samraid). Irish, Single Jig. D Major/Dorian. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 403, pg. 80.

X:1

T:Morning in Summer, A

L:1/8

M:6/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 403

Z:AK/Fiddler’s Companion

K:D

A|A2D D2E|F2E F2D|G2F G2A|d2c A2G|A2D D2E|F2E F2D|D2g F2G|A2G G2:|

|:G|F2G A2B|^c3 AB=c|e2c d2e|=f2d d2e|=f2e f2d|=c2A A2^F|G2F G2A|d2^c A2G:|

                       

MORNING LARK. Irish (?), Jig. E Minor. Standard tuning. AABB. White’s Unique Collection, 1896; No. 10, pg. 2.

X:1

T:Morning Lark

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 10

Z:AK/Fiddler’s Companion

K:E Minor

(B/A/) | GEE EGA | BAB BdB | AFD DFA | AFA ABc | BEE EGA |

BAB Bee | dBB BAB | (GE)E E2 :: e | eBe efg | fdd (d2.e) | dAd ded |
BAA (A2.e) | dAd ded | BAA (A2.e) | eBe efg | agf gfe | dBB BAB | (GE)E E2 :|

                       

MORNING MIST [1], THE. Irish, Reel. G Major/Mixolydian. Standard tuning. AABB (Black, McNulty, Mulvihill): AA’BB’ (Connolly & Martin). Composed by County Galway accordion player Joe Burke while still in his teens. Séamus Connolly (2002) says that the first part of the tune came to Burke while cycling home one Sunday morning from the 11:30 mass in Loughrea, while the second part was worked out on the accordion in the afternoon. Burke played with the Leitrim Céilí Band in the 1950’s but lived for many years in the United States before returning to East Galway. It was recorded by the late Bronx fiddler and teacher Martin Mulvihill. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Black (Music’s the Very Best Thing), 1996; No. 145, pg. 76. Connolly & Martin (Forget Me Not), 2002; pgs. 76-77. McNulty (Dance Music of Ireland), 1965; pg. 12. Mulvihill (1st Collection), 1986; No. 186, pg. 50. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999).

X:1

T:Morning Mist, The [1]

B:Dance Music of Ireland, Pat McNulty

R:Reel

M: 4/4

L: 1/8

Z:Paul Kinder

K: G mix

Bc| d2 BG dGBG | d2 BG DGBd | c2 A=F cFAF | c2 A=F CFAc |

d2 BG dGBG | d2 BG DGBd | cBAB cedc | BdAF G2 :|

Bd | g2 dc bd (3dcd | BGFG DGBd | ageg gbag | fdad bdad |

g2 dc Bd (3dcd | BGFG DGBd | cBAB cedc | BdAF G2 :|

X:2

T: Morning Mist [1]

S: M. Mulvihill

Q: 350

R: reel

M: 4/4

L: 1/8

K: Gmix

Bc | d2 BG dGBG | d2 BG DGBd | c2 AF cFAF | c2 AF CFAc |

d2 BG dGBG | d2 BG DGBd | c2 AB cedc | BGA^F G2 :|

Bd | g2 dc Bd (3ded | BG (3G^FG DGBd | ageg abag | ^fdad bdad |

gedc Bd (3ded | BG (3G^FG DGBd | c2 AB cedc | BGA^F G2 :|

 

MORNING MIST [2], THE. C Major. From the playing of English melodeon player Caroline Judge. Boullier (Exploring Irish Music and Dance).

 

MORNING MIST [3].  Irish, Air. Composed by accordion player James Keane. James Keane – “With Friends Like These.”

X:1

T:Morning Mist

M:4/4

L:1/8

C:James Keane

H:from CD  "With Friends Like These"

K:D

AB/2c/2 ||: dcde dAFD | GFGA   F/2G/2A DE | FDdc BAGF | EFGE ABcA

| dcde dAFD | GFGA   F/2G/2A DE | FDdc BAGF | EA,CE D3 :||: A

| ABcd efge | f/2e/2d c/2d/2e/2c/2 dAFD | FDdc BAGF

| EFGE ABcA | dcde dAFD| GFGA F/2G/2 A DE | FDdc BAGF |EA,CE D3 :||: a

| adfa bdgb | adfa gfec | dcBA GFED | EA^GB 2A AB/2c/2

| dAdf eAeg | fAff gfge | abaf gfec | dAFA d2 (3efg :||2 dAFA d2 AB/2c/2

                       

MORNING OF LIFE, THE (Maidin Na M-Beata). Irish, Air or Planxty (4/4 time). D Major. Standard tuning. AB. Credited to the blind Irish harper Turlough O'Carolan (1670-1738) by O’Neill, but by what authority it is not known. O'Neill (Krassen), 1976; pg. 230. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 636, pg. 113. Roche Collection, 1982, vol. 1; No. 13, pg. 10.

X:1

T:Morning of Life, The

M:4/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 636

Z:AK/Fiddler’s Companion

K:D

D>E|F2 G>F E2 F>E|Dddd d2 c>d|e2 f>e dcBA|A2 B>A A2 D>E|

FAGF EGFE|Dddd d2 c>d|e2 f>e dcBA|A2 ^G>G A2||d>c|

cBBA AFED|D2dd d2 cB|A2 FE GFED|B,<D D>E D2 d>c|cBBA AFED|

D2 dd d2 cB|A2 FE GFED|B,<D D>E D2||

                       

MORNING RAMBLER. English, Jig. England, North‑West. D Major. Standard tuning. AABBCC. Knowles & McGrady (Northern Frisk), 1988; No. 112.

                       


MORNING STAR [1] (An Maidineog). AKA and see "Belles of Omagh." Irish, English, American; Reel. USA, New England. E Minor. Standard tuning. AA’ (Harker/Rafferty): AB (Allan, Flaherty, Tubridy): AAB (Kennedy, Miller & Perron, O'Neill/1850 & 1001, Raven, Stanford/Petrie, Tolman): AA'BB (O'Neill/Krassen). Petrie (1855) thought the tune might have been Scotch in origin. Lending weight to this assertion is the fact that a reel called “The Farmer Killed His Ox Today” is a Cape Breton, Nova Scotia, variant. This is perhaps the version of the tune that is known as "The Canny Little Lad" in the Shetlands, and an Irish variant goes by the name “The Green Fields of Eire.” The name morning star has various meanings, including religious and astronomical (the ‘stars’ seen in the early morning light are usually planets, often Venus {which is also seen at dusk and known as ‘the Evening Star’). The Morning Star is also the name of a river in County Limerick whose source is in the Ballyhoura Mountains in Cork and which flows into the Maigue near Athlacca in the southern Limerick. “Cat that Ate the Candle” is sometimes given as a related tune. Sources for notated versions: fiddler Kathleen Morris (Corlisheen, Ballyrush, County Sligo) [Flaherty]; “A Cork reel. From P. Carew’s MS” [Stanford/Petrie]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 47, pg. 12. Flaherty (Trip to Sligo), 1990; pg. 59. Harker (300 Tunes from Mike Rafferty), 2005; No. 10, pg. 3. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 30, pg. 15. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 141, pg. 34. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 124. O'Neill (Krassen), 1976; pg. 94. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1191, pg. 224. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 475, pg. 91. Raven (English Country Dance Tunes), 1984; pg. 160. Stanford/Petrie (Complete Collection), 1905; No. 895, pg. 226. Tolman (Nelson Music Collection), 1969; pg. 12. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 23. Columbia 35612, "The Chieftains" (1978). Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000). Tartan Tapes CDTT1004, Aiden O’Rourke – “Heat the Hoose” (1998).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Morning Star [1]

M:C|

L:1/8

R:Reel

K:G

GA|B2BA BGEF|GABd efed|B2BA G2EG|FGAF G2:|

||GA|Bdef g2eg|f2df edBA|Bdef g2fg|agfg e4|

(3Bcdef g2eg|f2df edBA|Bdd^c d2ef|geaf gfed|]

X:2

T:Morning Star, The

M:C

L:1/8

R:Reel

S:Stanford/Petrie, No. 895  (1905)

Z:AK/Fiddler’s Companion

K:G

dc|B2 BA BGEF|Bdef gedc|B2 BA BGEF|GBAB G2:|

dc|Bdef gfeg|fedf edBA|Bdef gfeg fedf e2 ed|Bdef gfeg|

fedf edBd|gfgd edBe|dBAB G2||

 

MORNING STAR [2]. AKA and see “London Pride.” English; Hornpipe or Morris Dance Tune (4/4 time). F Major (Bacon): G Major (Mallinson). Standard tuning. AABB. Barry Callaghan (2007) points out “there are many variants of this lovely tune, many in modal forms, and played as hornpipes, as morris tunes , and even as airs.” Versions appear in several musicians’ manuscripts of the 19th century, including Joshua Jackson (Harrogate, north Yorkshire, 1798), John Miller (Perth, Scotland, 1799), and G. Huddeswell (Leeds, west Yorkshire). William Hathaway of Lower Swell had the tune in his manuscript copybook as “London Pride,” although that title usually goes with another tune. Collector Cecil Sharp noted “Morning Star” from the playing of James Lock of Newent, Gloucestershire.

***

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

***

Source for notated version: Charles Benfield (Rollo Woods, Gloucestershire) 1925 [Bacon]. Bacon (The Morris Ring), 1974; pg. 78. Callaghan (Hardcore English), 2007; pg. 43. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 34, pg. 17.

X:1

T:Morning Star [2]

M:4/4

L:1/8

S:Morris dance fiddler Charles Benfield (Rollo Woods, Gloucestershire, 1925)

K:F

ABAF D2 EF|GAGE C2 FG|ABAG D2 GE|C2F2F4:|

|:A2A2c2c2|dfed cBAG|FGAB c2c2|defd c4|

A2 AB c2c2|dfed cA F2|GABG EFGE|C2F2 F4:|

 

MORNING STAR [3], THE (Reult Na Maidne). Irish, Air (3/4 time). G Major. Standard tuning. One part. Source for notated version: "...copied from a MS. collection lent to Mr. Pigot by James Hardiman, the historian of Galway and editor of Hardiman's Irish Minstrelsy" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 753, pg. 372.

 

MORNING STAR [4], THE. AKA and see "The Song of Jenny Ward." Irish, Air (4/4 time). D Minor/F Major. Standard tuning. AAB. Source for notated version: "Paddy Conneely, the Galway Piper," via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 472, pgs. 262‑263.

 

MORNING STAR [5], THE (An Maidineog). Irish, Air (3/4 time). G Major. Standard. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 422, pg. 73.

X:1

T:Morning Star, The [5]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 422

Z:AK/Fiddler’s Companion

K:G

(3GAB|c2 Bc dB|AB GE (3DGB|A>B/2A/4 G2 G2|G4 (3def|g2 gf ed|

e2 G2 Bc|d2 dg fe|{e}d4 (3def|g2 gf ed|e2 G2 Bc|d2 eg (3fed|g4 (3edc|

c2 B2 dB|AB GE (3DGB|A>B/2G/4 G2 G2|G4||

 

MORNING STAR [6], THE. AKA and see "An Cat d'ith an Choinneal" (The Cat that Ate the Candle).

 

MORNING STAR [7], THE. Irish, Reel. D Minor/F Major. Standard tuning. AB. Source for notated version: Martin Hayes (east Clare, Ireland) [Jack Tuttle/Fiddler Magazine]. Green Linnett CD 1127, "Martin Hayes" (1993).

                                   

MORNING STAR WALTZ [1]. Old‑Time, Waltz. USA, Nebraska. F Major. Standard tuning. ABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 233, pg. 189.

 

MORNING STAR WALTZ [2]. Old-Time, Waltz. G Major. Standard. AA'B. Source for notated version: Dan Kelly [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 284.

 


MORNING STAR WALTZ [3]. Scottish, Waltz. G Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 1; No. 11, pg. 51.

X:1

T:Morning Star Waltz [3]

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 1, pg. 51  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

g2f2g2|B6|d2^c2d2|G6|A2^G2A2|d6|B2A2B2|G6|

g2f2g2|B6|d2^c2d2|G6|g2f2e2|d4 B2|”tr”f6|B6:|

|:.B2.A2.A2|.A2.B2.c2|.e2.d2.d2|.d2.e2.f2|.a2.g2.g2|.g2.f2.e2|.e2.d2.d2|.d2.c2.B2|

.B2.A2.A2|.A2.B2.c2|.e2.d2.d2|.d2.e2.f2|g2g2g2|g6|a2e2f2|g4:|

                       

MORNING SUN, THE (Grian Na Maidne). Irish, Air (2/4 time, "with spirit and feeling"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 314, pg. 54.

X:1

T:Morning Sun, The

L:1/8

M:2/4

N:”With feeling”

S:O’Neill – Music of Ireland (1903) – No. 314

Z:AK/Fiddler’s Companion

K:G

D/>E/|G2 G/A/B/c/|dG B2|g/f/g/e/ d/B/A/G/|AE {G/}FD|G2 G/A/B/c/|

dG B2|g/f/g/e/ d/B/A/G/|A>G B>G|{B}A/G/A/B/ G2||d|gf/e/ ag|f2 (e2|

d3) g/>e/|d2 B>A|B/{c/B/}A/B/d/ e/d/e/f/|g3 D/>E/|G2 G/A/B/c/|

d/B/A/G/ B2|g/f/g/e/ d/B/A/G/|A>G B>G|{B}A/G/A/B/ G||

                       

MORNING THRUSH, THE (Fuiseog na Maidine). Irish, Reel. D Major. Standard tuning. AA’BBCC’. Composed by James Ennis (1885-1965), father of famed piper Séamus Ennis, in 1913. According to Séamus his father’s inspiration was a thrush that sang outside his bedroom window each morning. It won first prize for James in the 1913 Feis Ceoil competition in Dublin for newly composed tunes. Drumlin Records, Brain McNamara – “A Piper’s Dream.”

X:1

T:Morning Thrush, The

M:4/4

L:1/8

C:James Ennis

S:Brian McNamara

R:reel

D:Piper's Dream -

Z:Naka Ishii

K:D

fag | f2ef d2AF | AdAF Af{g}fe | dAAF DF~F2 | ABdf ef{g}fe |

dAAF dAAF | BAFA dADE | {F}EDFA defa |1 {b}afef d:|2 {b}afef d2|

|:(3ABc| dgfe fa{b}af | g2{a}ge  fgfe | dcde fa{b}af | gefd egfe |

dgfe fa~a2 | bfaf ecdB | ADFA defa | {b}afef d2  :|

|:(3ABc| dAAF BdAF | D2{GDE}DB  ADFA | dF~F2 dFBF | ABdf ef{g}fe |

dAAF DF~F2 | BdAF DF~F2 | ABde fagb |1 afef d2:|2 afef d||

                       

MORPETH LASSES. English, Reel or Country Dance Tune (2/2 time). England, Northumberland. A Minor. Standard tuning. ABB (Sharp): AAB (Stokoe & Bruce). The town of Morpeth is in Northumberland, a market center on the River Wansbeck serving the surrounding rural areas and the villages of the Northumbrian coalfield (Graham Dixon). It evolved around a Norman fortress called Morpeth Castle, one of several guarding the east coast routes to Scotland. The tune is said to have been published by Playford, although it does not appear in the long-running Dancing Master series under the “Morpeth” title. Barnes (2005) suggests it as a vehicle for the dance “Maine Chance” (by Marty Fager), and it is the staple tune for Yorkshire’s “Ampleforth Longsword Dance.” See also the closely related “George Carnegie’s Strathspey,” “Inverara Rant,” “Lady Warkworth’s Reel [1],” “I Wish You Wou’d Marry Me Now,” “Marry Me Now,” and “The Proposal [2].” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 87. Sharp  (Country Dance Tunes), 1909; pg. 61. Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 178. Horseplay – “Roughshod” (2006).

X:1

T:Morpeth Lasses                   

L:1/8

M:C

S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:G

E|ABcB EAAc|BAGd BGGB|ABcB EAAe|dBGB cAA:|

e|agea ge a2|gedg BGdB|agea ge a2|gegB A2 Ae|

agea ge a2|gedg BGdB|AcBd ceda|gegB A2A||

                       

MORPETH RANT [1]. AKA- "Morepeth Rant." AKA and see "Morpeth's Hornpipe," Ivy Leaf Hornpipe," "Jim Clark's Hornpipe," "Clark's Hornpipe [1]," "The New Sailor's Hornpipe,” “Prince of Wales’ Hornpipe,” “Princess of Wales’ Hornpipe,” “Shield’s Hornpipe,” “West’s Hornpipe,” “Wood’s Hornpipe." English (originally), Scottish, Irish, New England; Reel. England; North‑West and Northumberland. D Major (Barnes, Brody, Hall & Stafford, Karpeles, Kennedy, Miller & Perron, O'Neill, Phillips, Raven, Sweet): G Major (Knowles): B Flat Major (Phillips/1995). Standard tuning. ABB' (Hardie): AABB (most versions): AA'BB' (Phillips/1994). The composition is often attributed to William Shields (1748-1829), a popular 18th century musician and composer originally from Swalwell, near Gateshead, Northumberland. However, as Barry Callaghan (2007) and others have pointed out, Shields often appropriated traditional or folk melodies, and “Morpeth Rant” may not be original to him. The town of Morpeth is in Northumberland, a market center on the River Wansbeck serving the surrounding rural areas and the villages of the Northumbrian coalfield (Graham Dixon). It evolved around a Norman fortress called Morpeth Castle, one of several guarding the east coast routes to Scotland. A special dance specifically to this tune has been performed for over almost two centuries, and the dance itself is called the Morpeth Rant. Like many such dances numerous tunes could be used as the vehicle for the steps. One version is also used as a morris dance tune. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "Older versions of the tune are generally in B Flat, sometimes G, and have a wider range in the 'B' part than the version usually played nowadays" (Seattle)—see note for “Morpeth Rant [2]" for more on these.  Callaghan notes that the Kerr publication (c. 1880’s) of the tune (generically titled “Hornpipe”) includes the ‘new’ version of the ‘B’ part, and it is perhaps from this source that the version most often heard today came from. This version, explains Callaghan, was picked up in the EFDSS’s Community Dance Manual No. 1 in 1949, and cemented with subsequent recordings, such as the by Jack Armstrong in 1950.

 

It was one of the "missing tunes" from William Vickers' 1770 Northumbrian manuscript. The older form of the tune can be found in the music manuscript collections of C.J. Surtees (Tyneside, 1819), Joshua Jackson (north Yorkshire, 1798),  Rev. Robert Harrison (Brampton, Cumbria, c. 1815, as “Princess of Wales’ Hornpipe”), John Moore (Shropshire, 1830, as “New Sailor’s Hornpipe”), and in a manuscript by an unknown hand in the Vaughn Williams Memorial Library (as “West’s Hornpipe” with an added eight bars). Sources for notated versions: Alister Anderson (England) [Brody]; Ned Pearson (Northumberland) [Hall & Stafford]; William Hardie Jr. of Methlick {c. 1856-1944} (Scotland) [Hardie]; Benny Thommason (Texas) [Phillips]; John Moore (Shropshire) [Callaghan]; Rev. Robert Harrison (Cumbria) [Callaghan]; Joshua Jackson (Yorkshire) [Callaghan]; C.J. Surtees (Gateshead) [Callaghan]. Barnes (English Country Dance Tunes), 1986; Alan Block [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 197. Callaghan (Hardcore English), 207; pgs. 95-96 (includes several versions). Carlin (English Concertina), 1977; pg. 30. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 50. Hardie (Caledonian Companion), 1986; pg. 12. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 6. Kaufman (Beginning Old Time Fiddle), 1977; pg. 42 (includes a harmony part). Kennedy (Fiddler’s Tunebook), vol. 1, 1951; No. 19, pg. 10. Kerr (Merry Melodies), vol. 1; pg. 26 (appears as “Hornpipe”). Knowles (Northern Frisk), 1988; No. 113. Kohler, Violin Repository of Dance Music, Book 1, 1885. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 8. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 73. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 363, pg. 175. Petrie (2nd Collection of Strathspey Reels), 1796; pg. 17. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 157. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 209. Raven (English Country Dance Tunes), 1984; pg. 162 & 76. Stewart-Robertson (The Athole Collection), 1884; pg. 300 (listed as a hornpipe), Sweet (Fifer’s Delight), 1965/1981; pg. 67. Wilson (Companion to the Ball Room), 1816.  EFDSSCD13, Our Northern Branch  – “Hardcore English” (2007. Various artists). Firebird FBR01, Phoenix – “After the Fire.” Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980). Front Hall 08, Alister Anderson‑ "Traditional Tunes" (1976). June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977). Meadowlands MS1, "Allan Block and Ralph Lee Smith." Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Topic TSCD 669, Jim Rutherford (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Fiddler Rutherford was born in 1892 and lived near Rochester, Northumberland). Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).

X:1

T:Morpeth Rant [1]

M:C|

L:1/8

K:D

|: d2 AG FD FA | BG Bd cA ce | f2 fd gf ed | c2e2e2(3ABc | d2 AG FD FA |

BG Bd cA ce | f2 fd gf ed | A2d2d2A2 :: df af df af | gf ef g2ef | gf ed cd eg |

fe fg f2fe | df af df af | gf ef g2ef | gf ed ca ag | f2d2d2A2 :|

X:2

T:Morpeth Rant [1]

M:2/4

L:1/8

R:Reel

S:MacDonald – 3rd Collection of Strathspey Reels (c.1792)

Z:AK/Fiddler’s Companion

K:G

(DE/4F/4) | GD/C/ B,/G,/B,/D/ | E/C/E/G/ F/D/F/A/ | B/G/c/A/ d/B/A/G/ | F/G/A/B/ {B}AG/F/ |

GD/C/ B,/G,/B,/D/ | E/C/E/G/ F/D/F/A/ | B/e/d/c/ B/A/G/F/ | GGG :: (de/4f/4) | g/d/B/G/ F/A/c/e/ |

d/B/A/G/ G/F/E/D/ | c/A/c/A/ B/G/B/G/ | {G}FDDE/=F/ | E/C/E/G/ c/B/A/G/ |

F/D/F/A/ (d/c/)(B/A/) | G/g/f/e/ d/c/B/A/ | GGG :|

X:3

T:Morpeth Rant [1]

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 17

L:1/8

M:C

R:Reel

K:G

(D/E/F)|G2DC B,G,B,D|ECEG FDFA|BGcA dBAG|FGAB A2 GF|

G2DC B,G,B,D|ECEG FDFA|Bedc BAGF|[B,2D2G2][B,2D2G2][B,2D2G2]::ef|

gdBG FAce|dBAG ({G}F2) (ED)|cAcA BGBG|FGAF D2 (D=F)|

ECEG cBAG|FDFA dcBA|Bgfe dcBA|[B,2D2G2][B,2D2G2][B,2D2G2]:|

X:4

T:Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 1, pg. 26

K:D

A|dA/G/ F/D/F/A/|B/G/B/d/ c/A/c/e/|ff/d/ g/f/e/d/|ce eA|

dA/G/ F/D/F/A/|B/G/B/d/ c/A/B/c/|d/b/a/g/ f/e/d/c/|ddd:|

|:A|d/f/a/f/ d/f/a/f/|g/f/g/a/ gg|g/f/e/d/ c/d/e/g/|f/e/f/g/ ff|

d/f/a/f/ d/f/a/f/|g/f/g/a/ gg|g/f/e/d/ c/b/a/g/|fdd:|

 

MORPETH RANT [2]. AKA and see “Old Morpeth Rant.” English, Reel. G Major. Standard tuning. AABB. Supposedly an older version of the well-known “Morpeth Rant [1]" from the north east of England, but different enough to warrant listing as a separate variant. In fact there were many variants of the tune recorded in various 19th century fiddlers’ manuscript books, all have slightly different ‘B’ parts from one another. Sometimes one of these versions is called “Old Morpeth Rant” to differentiate it, although most were recorded in the copybooks simply as “Morpeth Rant.” See, for example, versions in John Moore’s 1841 Tyneside music manuscript (pg. 33), and versions collected and printed by John Bell (1812) and John Robson (1874). Source for notated version: Borders fiddler Tom Hughes. Callaghan (Hardcore English), 2007; pg. 95. EFDSSCD13, Our Northern Branch  – “Hardcore English” (2007. Various artists).

X1

T:Morpeth Rant,Tom Hughes

N:This an older version of Morpeth.

M:4/4

L:1/8

S:Tom Hughes,Borders

Z:C.G.P

K:G

|: BA | G2DD B,2DG | ECEE DB,DF | G2AB cBAG | F2A2 AcBA | G2DD B,2DG |!

ECEE DB,DF | G2AB cBAF | D2G2G2:: ef | gfed B2GB | cBAG F2DF |!

ECEB cBAG | F2D2 D2F2 | ECEB cBAG|FDFA dcBA| Ggfg edBG | A2G2G2 :||

 

MORPETH RANT [3]. English, Reel. A Major. Standard tuning. AAB. No relation to “Morpeth Rant” [1] or [2]. Source for notated version: the music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 14.

           

MORPETH WALTZ. English, Waltz. England, Northumberland. D Major. Standard tuning. AABBCC. Composed by musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: the 19th century William Green manuscript, in the Morpeth Chantry Bagpipe Museum [Dixon]. Dixon (Remember Me), 1995; pg. 43.

 


MORPETH'S HORNPIPE. AKA and see "Ivy Leaf Hornpipe," "Jim Clark's Hornpipe," "(Jim) Clark's Hornpipe [1]." Scottish (?), Hornpipe. B Flat major. Standard tuning. AABB. The "Morpeth Rant" (as the name appears in older collections) in hornpipe style, although the "Morpeth Rant" was also rendered as a hornpipe (see The Athole Collection). The 'A' part is also shared with "Harry Cooper" and "The Land League [1]." Cole (1000 Fiddle Tunes), 1940; pg. 108. Ryan’s Mammoth Collection, 1883; pg. 145.

X:1

T:Morpeth’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(3F/G/A/ | BF/E/ D/B,/D/F/ | G/E/G/B/ A/F/A/c/ | d/B/e/c/ f/d/c/B/ | A/c/B/G/ FG/A/ |

BF/E/ D/B,/D/F/ | G/E/G/B/ A/F/A/c/ | B/b/a/g/ f/e/d/c/ | BBB :: (3f/g/a/ | b/f/d/B/ A/c/e/g/ |

f/d/c/B/ B/A/G/F/ | e/d/e/c/ d/c/d/B/ | A/c/B/G/ F(G/_A/) | G/E/G/B/ e/d/c/B/ |

A/F/A/c/ f/e/d/c/ | B/b/f/d/ c/B/A/c/ | BBB :|

           

MORRIGAN. English, Jig. England, North‑West. A Minor. Standard tuning. AABB'. Composed by Ian McGrady. Knowles (Northern Frisk), 1988; No. 135.

           

MORRIS ALLEN'S BRICKYARD JOE. AKA and see "Brickyard Joe [2]." Source Buddy Thomas (Ky.) learned several tunes from Morris Allen, a older fiddler from Portsmouth, Ohio. Thomas told Mark Wilson and Guthrie Meade (liner notes to Buddy’s album “Kitty Puss” and Old Time Music 21, Summer 1976):

***

A lot of my fiddle tunes I learned from Morris Allen…He’s getting near 80 but

he’s still a pretty good old fiddler. Back in the ‘30’s, he was a bachelor and had

a good job in a stell mill and he used to like to get all the fiddlers together. His

uncle John Kiebler was a real good fiddler and Clark Kessinger would come

stay at Morris’ house for a week or two. I first met him when I was out fox

hunting. Morris had lost some dogs and he had his fiddle with him. And I

then got to hearing him and different good fiddlers around Portsmouth and

the fiddle sounded so pretty that I just had to get into it and learn those tunes.  (OTM, pg. 10-11. There is a picture of Morris on page 10.)

***

The tune bears little resemblance to the more common "Brickyard Joe" of Doc Roberts. Rounder CD0380, Roger Cooper (Lewis County, Ky.) - “Going Back to Old Kentucky” (1996. Learned from Morris Allen).

           

MORRIS GALLOP. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABBC. Collected from the village of Winster (Derbyshire), in England. Bacon (The Morris Ring), 1974; pg. 318.

           

MORRIS HORNPIPE. Old-Time. C Major. From Missouri fiddler Pete McMahan.

           

MORRIS MARCH. AKA and see "Winster Morris Dance/March." English, Morris Dance Tune (2/2 time). G Major. Standard tuning. AABB. A processional dance from the village of Winster, Derbyshire, England. Bacon (The Morris Ring), 1974; pg. 318.

           

MORRIS ON. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABB. A tune for a processional of performers to the morris dance site, collected from the village of Headington (Oxfordshire), in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 175. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 47, pg. 23.

           

MORRIS OFF. English, Morris Dance Tune (4/4 time). G Mixolydian. Standard tuning. One part. This tune for processional dances in the Cotswold villages of Headington (Oxfordshire) and Bidford (Warwickshire), England, is thought to be the ancestral tune of the American old‑time song/breakdown "Black‑Eyed Susie." The title "Morris Off" is itself a later title for a tune that appeared in Jehan Tabourot's Orchesographie (1588) and The Fitzwilliam Virginal Book. Another variant is the Welsh harp tune which appears in Bennett's Alawon Fy Ngwlad, vol. 2, pg. 136 (3rd tune). Bayard (1981) reports that a note in Fuller (vol. 2, pg. viii) refers to a MS. setting of the tune by John Bull (c. 1562‑1628). Bacon (The Morris Ring), 1974; pgs. 175 & 61. JEFDSS, vol. VIII, pg. 211. Neal (Esperance Morris Book), vol. 1, 1910; pg. 27. O'Malley, 1919; pg. 30. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983/1972).

           

MORRIS RANT. Shetlands, Shetland Reel. From the islands of Whalsay and Fetlar, Shetlands.

           


MORRIS REEL [1]. English, Morris Dance Tune (6/8 time). A Major. Standard tuning. AABAABA. Not a reel but a morris jig, collected in the village of Winster, Derbyshire, England. Bacon (The Morris Ring), 1974; pg. 318.

 

MORRIS REEL [2]. English, Morris Dance Tune (2/2 time). A Major. Standard tuning. AABB. Collected from dancers in the village of Headington (Oxfordshire), in England's Cotswolds, who also called it "The Bold Huzzar." Bacon (The Morris Ring), 1974; pg. 189.

           

MORRISON’S FANCY. AKA and see “The Castlebar Jig,” “Castlelan Races,” “The Rakes of Castlebar,” “The Thrush in the Straw [1],” “The Thrush in the Strand.” Irish, Jig. See also “The Black Hoe” for a Cape Breton variant and “Jackson’s Walk to Limerick” and “Geese in the Bog” for other Irish variants. O’Neill (Waifs and Strays of Gaelic Melody).

           

MORRISON’S FAVOURITE. AKA and see “Rakes of Clonmel [2].” AKA – “Tom Morrison’s Favourite.”

 

MORRISON’S (HORNPIPE). Irish, Hornpipe. G Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 22, pg. 94.

           


MORRISON'S JIG [1] (Port Uí Mhuirgheasa). AKA and see “Lyons’ Favourite,” “Maurice Carmody’s Favourite,” "Paddy Stack's Fancy Jig," "The Stick Across the Hob." Irish (originally), American; Jig. E Dorian. USA, New England. Standard tuning. AAB (Breathnach, Flaherty, Martin & Hughes, Tubridy, Vallely): AABB’ (S. Johnson, Mulvihill, Songer): AA'BB' (Harker/Rafferty, Mallinson, Spandaro). This well-known tune is named after the renowned Sligo-born Irish-American fiddler James Morrison, who recorded in the 1930's, however, Morrison did not compose it but rather had it from a Dromlacht, County Kerry, accordion player (a member of his band) named Tom Carmody who knew it as "The Stick across the Hob" (Taylor, 1992). Carmody learned it from his father, Maurice. Philippe Varlet mentions that the tune (which Morrison was supposed to have learned the night before the recording session, according to Harry Bradshaw) was to be called “Maurice Carmody’s Favorite” on Morrison’s 1936 Columbia recording, but that the record company’s proofreading was not what it should have been and one batch which was labelled “Maurice Comedy’s.” [Morrison frequently paired the tune with “Richard Brennan’s Favorite”]. O’Neill (Waifs and Strays, 1922) prints the tune as “Paddy Stack’s Fancy,” named for the Kerry musician who made some 78 RPM recordings in the 1920’s. The melody is not to be confused with the similarly titled "Morrison's Fancy," however, it is sometimes aurally confused with "Whelan's Jig," which it resembles. See also “The Morning Dew [1]” for a related setting in reel time. In the Northern United States it is often heard as a vehicle for contra dances. Sources for notated versions: accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, County Sligo) [Flaherty]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; The Long Island contra dance ban Raw Bits via Mark Bautista (Portland, Oregon) [Songer]. Breathnach (CRE I), 1963; No. 50, pg. 20. Flaherty (Trip to Sligo), 1990; pg. 143. Harker (300 Tunes from Mike Rafferty), 2005; No. 195, pg. 60. S. Johnson (The Kitchen Musician No. 5: Jigs), 1982 (revised 1989, 2001); pg. 9. Mallinson (Essential), 1995; No. 92, pg. 40. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 47. Mulvihill (1st Collection), 1986; No. 102, pg. 86. Songer (Portland Collection), 1997; pg. 140. Spandaro (10 Cents a Dance), 1980; pg. 22. Taylor (Through the Half-Door), 1992; No. 52, pg. 37. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 37. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 37, pg. 35. Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP). June Appal 014, John McCutcheon ‑ "The Wind That Shakes the Barley." MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned from the playing of Joe Dowd and Paddy Carty). Rooster Records 130, Swallowtail - “Flights of Fancy” (1984). Shaskeen - "Joys of Life." Rounder 3067, Alan Stivell ‑ "Renaissance of the Celtic Harp" (1982). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Topic 12TS368, John Doonan - "At the Feis.” James Keane – “Roll Away the Reel World.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Morrison’s Jig [1]

M:6/8

L:1/8

K:E Dorian

~E3 BEB|EBE AFD|~E3 BEB|dcB AFD|E3 BEB|EBE AFD|GBG FGA|dAG FED:|

|:Bee fee|bee fed|bee fee|fag fed|Bee fee|bee fed|gfe d2A|BAG FED|Bee fee|

bee fed|Bee fee|faf def|g3 gfe|def g2d|edc d2A|BAG FED||

X:2

T:Morrison's Jig

T:Stick Across the Hob, The

M:6/8

L:1/8

S:James Morrison

R:Jig

Z:Philippe Varlet

K:EDor

~E3 BGB | EBE AFD | ~E3 ({d}BAB) | dcB AFD |

~E3 BGB | EBE AFD | GBG FAB | dAG FED :||

Bee {a}fee | {b}aee {a}fed | Bee {a}fee | a/b/ag fed |

Bee {a}fee | {b}aee {a}fed | g/g/fe d2A | {d}BAG FED |

Bee {a}fee | {b}aee {a}fed | Bee {a}fee | (f/g/af) def |

g2(g {a}g)fe | def ~g3 | edc d2A | {d}BAG FED ||

 

MORRISON’S (JIG) [2]. AKA and see “Humours of Kesh,” “The Gudgeon of Maurice’s Car,” “Jackson’s Jig [3].”

           

MORRISON'S MAGGOT. English, Jig. E Dorian. Standard. AABB. A modern composition by editor Michael Raven, "after Morrison's Jig." Raven (English Country Dance Tunes), 1984; pg. 205.

                       

MORRISON’S POLKA. AKA and see “Glenbeigh Hornpipe,” “Curlew Hills (Polka) ,” “McDermott’s Barndance.” Irish, Barndance. The tune (which usually goes by one of the alternate titles, above) was called “Morrison’s Polka” in County Limerick flute player Paddy Taylor’s 1969 LP called “The Boy in the Gap.” The melody was indeed recorded by Sligo fiddler James Morrison in New York in 1935, as the title suggests, although he called it “Curlew Hills.”

                       

MORRISON’S (REEL) [1]. AKA and see “The Dunmore Lasses,” “The High Road to Sligo,” “The Road to Knock.” Irish, Reel. E Minor. Standard. AA’BB’. The title refers to Galway flute player Tom Morrision (1999-1958), the ‘Dunmore Flash’ (who was from Glenamaddy, in the Dunmore area of Co. Galway), who recorded the melody on a 78 RPM in the1920’s. Morrison often partnered with renowned Sligo fiddler Michael Coleman for duet recordings. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 121, pg. 37. Larrage LR090098, Mike and Mary Rafferty – “Old Fireside Music” (1998).

See also listing at:

Alan Ng’s Irishtune.info

 

MORRISON’S (REEL) [2]. AKA and see "Donegal Boys," “The Groves of Mt. Talbot,” "I Wish I Never Saw You," "Magic Slipper [1]," "Maud(e) Millar [2],” “The Montua,” “Mrs. Smullen’s,” "My Love is Fair and Handsome [1]," "Paddy McFadden's [1]."

 

MORRISON’S (REEL) [3]. Irish, Reel. D Major. Standard. AABB. Black (Music’s the Very Best Thing), 1996; No. 351.

X:1

T: Morrison's

S: De Danann

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

d/B/ | A2 AB A2 FA | BFAF GFED | (3FED FD ADFD | Bdeg fd d2 |

A2 AB A2 FA | BFAF GFED | (3FED FD ADFD | Bdeg fd d2  :|

e | fgaf g2 ef | gfed cA (3AGA | fgaf g2 fg | (3aba ge fd d2 |

fgaf g2 ef | gfed cA (3AGA | B3 d cdec | d2 eg fd d2 :|

 

MORRISON’S (REEL) [4]. AKA and see “Enchanted Lady.” Irish, Reel.

                       

MORSE AVENUE. AKA – “John Whelan’s (Reel) [2].” Irish, Reel. D Major. Standard tuning. AAB (Flaherty): AA’BB’ (Black, Harker/Rafferty). Composed by Chicago fiddler Liz Carroll. Sources for notated versions: fiddler Philip Duffy (b. 1966) [Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 256, pg. 137. Flaherty (Trip to Sligo), 1990; pg. 37 (appears as “Unknown”). Harker (300 Tunes from Mike Rafferty), 2005; No. 37, pg. 12 (appears as “John Whelan’s Reel”). Lochshore CDLDL 1215, Croab Rua - “The More that’s Said the Less the Better” (1992).

X:1

T: Morse Avenue

C: Liz Carroll

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

dA (3AAA BAFD | EDFA BAFA | BF (3FFF BFBd | B3 c defe |

dA (3AAA BAFD | EDFA BAFA | dA (3AAA BAFA |1 AFEF DABc :|

|2 AFAB d3 c || dffe fedf | a2 fd edBA | dffe fede |

|1 faab aefe | fdde fedf | a2 fd edBe | dA (3AAA BAFA |

AFAB d3 c :|2 faab aefa | b2 af a2 fe | fedf edBe |

dA A2 BAFA | AFEF DABc || "final" AFED D4 ||

           

MORSIAMEN HYVASTIJATTO (The Bride's Farewell). Finnish, Waltz. Dorian Discovery DIS-80103, Helicon - "Horizon" (1992. Learned from the kantele playing of Martii Poleka).

           

MORT GHLINNE COMHAINN. AKA and see "Massacre of Glencoe."

           

MÓRTAS CHILL DARA. AKA and see “Pride of Kildare.”

 

MÓRTAS SHLIABH EACHTAÍ. AKA and see “Pride of Slieve Aughty.”

 

MORTGAGE BURN, THE. Canadian, Canada, Cape Breton. Composed by Cape Breton pianist Gordon MacLean. Cranford (The Lighthouse Collection). Jerry Holland – “Crystal Clear” (2000).

                       

MÓRTHIMPEALL AN DOMHAIN. AKA and see “Round the World [2].”

           

MORTLACH REEL, THE.  AKA and see "Miss Jeanny Williamson's Reel." Scottish, Reel. F Major. Standard. AAB. Composed by William Marshall (1748-1833). The title honors the parish of Mortlach, Dufftown. St. Moluag of Lismore first spread Christianity to the region in the 7th or 8th centuries from Mortlach, which features an old kirk dating to the 13th century. Inside is a monument to the Duffs of Keithmore, while outside the church is surrounded by ancient gravestones (Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 53.

X:1

T:Mortlach Reel, The

M:C|

L:1/8

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:F

F2 AF cFAF|G2 BG dGBG|F2 AF cFAF|BG A/B/c/B/ AFF:|

e|fc d/c/=B/c/ fcaf|gd b/a/g/f/ gdda|fc d/c/=B/c/ fcag|fdcB AFFe|fc d/c/=B/c/ fcaf|

gc b/a/g/f/ gdda|fgdf cdAc|BGcB AFF||

           

MORTLAND’S REEL. Scottish, Reel. G Minor. Standard tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie. It appears in his Second Collection of Strathspey Reels and Country Dances, a volume dedicated to his employer and patron, Mrs. Garden of Troup.

X:1

T:Mortland's Reel

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 18

L:1/8

M:C|

R:Reel

K:Gm

D|G3A  BcdB|A2Af AFcF   |G3A  Bcdf|f(dTcA) G/G/GG  :|

d|gdfd gbag|fcfc fagf   |gdgd gbag|f(dTcA) G/G/G G^f|

gdgd gbag|fcfc f(aTgf)|dfga gfga|f(dTcA) G/G/GG  |]

 

MORTON'S HORNPIPE [1]. Scottish, Hornpipe. A Major. Standard tuning. AABB. Appears as "Morton's" in the contents, "Martons" above the tune. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 45.

 

MORTON'S HORNPIPE [2]. Scottish, Hornpipe. G Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 2; No. 329, pg. 36.

X:1

T:Morton’s Hornpipe [2]

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, N. 329  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D2 | GBGB AcAc | BcdB G2 (AB) | cAcA BGBG | AcAF GFED | GBGB AcAc |

BcdB c2 (Bd) | egfa gedc | B2G2G2 || Bg g2 dB B2 | Bg g2 dB B2 | eaaa a2a2 |

ABAG GFED | GBGB AcAc | BcdB c2 (Bd) | egfa gedc | B2G2G2 ||

                       

MORTON'S MAGGOT. English, Reel. England, Northumberland. A Major. Standard tuning. AABBCC. Seattle (William Vickers), 1987, Part 3; No. 446.

                       

MORTON'S REEL. American (?), Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 15. Howe (1000 Jigs and Reels), c. 1867; pg. 70. Ryan’s Mammoth Collection, 1883; pg. 39.

X1

T:Morton’s Reel

M:4/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

D2 | GBGB AcAc | BcdB G2 AB | cAcA BGBG | ABAF GFED | GBGB AcAc |

BcdB c2 Bd | egfa gedc | B2G2G2 :: Bg g2 dB B2 | Bg g2 dB B2 | eaaa a2a2 |

ABAF GFED | GBGB AcAc | BcdB c2 Bd | egfa gedc | B2G2G2 :|

                       

MORVA RHUDDLAN (The Marsh of Rhuddlan). AKA – “Morfa Rhiddlan.” Welsh, Air. D Minor. Standard tuning. AAB. Claims have been made for an eighth-century date for this tune, without any solid evidence; this is in keeping with quite extravagent attributions of age to many Welsh melodies. Walker (1924) names it as one of the Welsh tunes “marked by artistic strength of a high order,” while Kidson (Groves) says it is a “fine melody.”

X:1

T:Morva Ryddlan

M:3/4

L:1/8

N:The second part is marked “Very slow.”

S:Aria di Camera (c. 1727)

K:Dmin

A2|d2 defa|g2g2f2|e2 dfed|^c2 cdec|d2 defa|gabagf|e2 ^c3d|d4:|

||fg|a2 a2 ba|g3f e2|f>g g3f|f4 fg|a2 a>b (a/c’/b/a/)|g2 fd’c’b|

ag g3f|f4 g2|a2f2a2|g2e2g2|(fe)(de)(fg)|a2A2^c2|d2 defa|gb a^c dg|

fe e3d|d4||

X:2

T:Morfa Rhiddlan

T:Rhiddlan's Marsh

M:3/4

L:1/4

O:Welsh

K:Am

AAc/2e/2|ddc|BB/2c/2 B/2A/2|^G/2B/2EE|

AAc/2e/2|d f/2e/2 d/2c/2|B/2c/4B/4A^G|1A2E:|2A2z||!

|:ee/2f/2 g/2e/2|dd/2e/2 f/2d/2|ccB|ccd|

ee/2f/2 g/2e/2|dd/2e/2 f/2d/2|c/2f/2 e/2d/2 c/2B/2|ccd|!

ec/2d/2 e/2c/2|dB/2c/2 d/2B/2|cA/2c/2 B/2A/2|^G/2B/2EE|

AAc/2e/2|df/2e/2 d/2c/2|B/2c/4B/4A^G|1A2A:|2A2z||

                       

MO'S PEERIE BOSTON. Shetland, Jig. A Major. Standard tuning. AABB. "Written for a friend of Tom (Anderson's) in 1980, who was always quick with her camera" (Anderson). Anderson (Ringing Strings), 1983; pg. 23.

                       

MOSELLE. Old-Time, Breakdown. G Major (‘A’ part) & D Major (‘B’ part). According to Kerry Blech, the tune was recorded in December, 1925, at the Victor field studio in St. Louis, from the playing of Judge Sturdy’s Orchestra, and old-time band.  Judge John O. Strudy was born in 1858, lived in the Valley Park area, and fiddled and called figures. His band included a bowed cello, a 2nd fiddle and a Hawaiian guitar.

                       

MOSES HOE YOUR CORN. AKA and see "Hoe the Corn Moses," "Razors in the Air."

                       


MOSLEY STREET ASSEMBLY. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Mosley Street is in Manchester, England, while an assembly was a group, usually aristocratic, which gathered for country dancing or a ball. Source for notated version: J. Townsend’s 24 Country Dances for the Flute, Violin, Clarinet or Flageolet (Manchester, 1821) [Knowles]. Knowles (A Northern Lass), 1995; pg. 26.

                       

MOSS MARTIN’S. AKA and see “Ballinamere Jig,” “Molloy’s Favorite (Jig),” “Molloy’s Jig,” “O’Connell’s Welcome to Dublin,” “Tongs By the Fire [2].”

                       

MOSS PLATE. AKA and see “Cocks Louns walie hoyn,” “What Will I Do Gin My Hoggie Die?”

                       

MOSS ROSE, THE.  English, Hornpipe. D Major. Standard tuning. AABB. The melody appears in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known about Burks although he may have been from the north of England. The moss rose is an annual from Brazil the grows about six inches tall with flowers about an inch across. It does well in sun, tolerates poor soil well, and is often used for ground covers and edging.

X:1

T:Moss Rose, or a Hornpipe, The

M:C|
L:1/8

R:Hornpipe

S:John Burks’ music manuscript copybook, dated 1821

K:Bb

AB/c/|d>cd>A F>AF>A|d>cd>A F2 (de/f/)|g>fg>e f>ef>d|c2A2A2 fe|

d>cd>A F>AF>A|d>cd>A F2 (de/f/)|g>eg>e f>ef>d|A2d2d2:|

|:fg|a>fa>f a>fa>f|b>gb>g e2 f>g|a3f (3bag (3fed|c2A2A2 f>g|

a3f a>ga>g|b>gb>g e2 f>g|a>fa>f b>ge>c|A2d2d2:|

 

MOSS ROSES. English, Waltz? (3/8 time). England, Dorset. G Major. Standard tuning. AB. Trim (Thomas Hardy), 1990; No. 8.

                       

MOSSY BANKS [1], THE (Na Bruacha Caonaigh). Irish, Reel. A Dorian/G Major. Standard tuning. AB. AKA – “Molly on the Shore” ?? Sources for notated versions: fiddler Micky Pat Donaghy, 1968 (Carrickmore, Co. Tyrone, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 196, pg. 102.

 

MOSSY BANKS [2], THE (Na Bruacha Caonaigh). AKA and see “The Lad(s) from Leitrim,” “Molly on the Shore [1]." Irish, Reel. G Major. Standard tuning. AABBCC. Sources for notated versions: fiddler John Loughram, 1968 (Co. Tyrone, Ireland) [Breathnach]; banjo player Tommy Finn (b. 1964, Marlow, Ballymote, County Sligo) [Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 216, pg. 113. Flaherty (Trip to Sligo), 1990; pg. 47 (appears as “Unknown”). Harker (300 Tunes from Mike Rafferty), 2005; No. 154, pg. 47. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Green Linnet GLCD 1211, Kevin Crawford – “In Good Company” (2001).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:The Mossy Banks

M:2/2

L:1/8

Z:Transcribed by Rob Greenway

R:Reel

K:G

gedB G3A|BAGB AEGE|DEGA Bd~d2|edgd edef|!

gedB G3A|BAGB AEGE|DEGA (3Bcd ge|dBAG EGG2:|!

|:G3B ABGE|DGBG AGEG|Bd~d2 edge|dBGA BA~A2|!

G3B ABGE|DGBG AGEG|Bd~d2 edge|1 dBAB GDEF:|2 dBAB G3f|!

|:g2dg egde|gabg agef|g2dg egdB|ABGA BG (3Bcd|!

g2dg egde|gabg agef|gfga gfed|(3efg fa g3f:|!

 

MOSSY BANKS [3], THE. Irish, Reel. G Major. Standard tuning. AB. Similar in the ‘A’ part with “Mossy Banks [2]." Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 21.

X:1

T:Mossy Banks [3]

M:C|

L:1/8

R:Reel

K:G

ef|gedB G3A|B/c/B Ac BGEF|G3 E DEGA|BGdB A2 Bd|gedB G3A|

B/c/B Ac BGEF|G3 E DEGA|B/c/B Ac BG G2||d2 ed BABd|eaaf gfef|

d2 ed BABd|eaaf g3e|dfed BABd|eaaf gfef|d3d e3g|faaf g3||

                       

MOSSY BILL. AKA and see "Massa Bill," "Never Get Your Money Back."

                       

MOST BEAUTIFUL GIRL IN THE WORLD, THE. Scottish, Air and March. G Major.

                       

MOSTON RUSHCART. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABB. From the North‑West England morris tradition; used for a single or a polka step. Wade (Mally’s North West Morris Book), 1988; No. 26.

                       

MOSVANNSFENTA. Norwegian, Slatt. A slatt is a tune for the hardranger fiddle.  Source: spelemann (hardranger fiddler) Johannes Dahle (Telemark, Norway), who had it from Knut Vagen.

                       

MOT MALLOY. AKA and see “Matt Molloy’s [1].”

                       

MOTH IN THE LANTERN, THE.

X:1

T:The Moth in the Lantern

M:7/8

L:1/8

Z:transcribed by Juergen Gier

K:C

EAB ec ec|GAB dB dB|EAc ec ec|cAc ef cA|EAB ec ec|\

GAB dB dB|edc de fg|ecB A2 A2::EAc BA BA|cBc de de|\

EAc BA BA|cBA _BA GA|EAc BA BA|cBc dB cd|edc de fg|\

ecB A2 A2::eAA cA cA|dBG BG Bd|eAA cA cA|def de fg|\

eAA cA cA|dBG BG Bd|edc de fg|ecB A2 A2:|

                       


MOTHAR RIABHÓGACH (Mohereavogue). Irish, Reel. A Dorian. Standard. AB. Source for notated version: fiddler George Rowley (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 123, pg. 50.

 

MOTHER AND CHILD REEL, THE. Irish, Reel. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).

 

MOTHER BEGUILES THE DAUGHTER, THE. AKA and see "Cold and Raw," "The Oil of Barley," "Stingo."

 

MOTHER CAREY’S. AKA and see "The Templehouse (Reel).” Irish, American; Reel. E Minor. Standard tuning. AABB. White’s Unique Collection, 1896; No. 86, pg. 15.

X:1

T:Mother Carey’s

M:C|

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 86

Z:AK/Fiddler’s Companion

K:Emin

E2 (GE) BEGE | D2 (FD) ADFD | E2(GA) BAGA | BdBA (BE) E2 |

E2 (GE) BEGE | D2 (FD) ADFD | E2 (GA) BAGA | BdBA (BE) E2 :|

|: g2 (dg) g2 (eg) | fddf fddf | gfeg fgaf | edde (fe) e2 | gfef gfeg |

(fd).d.f (fd).d.f | efge (af)(ge) | dBAc (BE) E2 :|

 

MOTHER FLANAGAN. Old-Time, Breakdown. G Major. Standard tuning. AA'BB'AA'CC'. All the parts of this tune, which is not the more familiar "Old Mother Flanagan," are irregular. Source for notated version: Kenton Sears [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 158. 

           

MOTHER IN LAW, THE (Am Matair-Ceile). Irish, Reel. D Major. Standard tuning. AB. Source for notated version: Chicago musician John McFadden [O’Neill]. O'Neill (Krassen), 1976; pg. 120. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1331, pg. 249.

X:1

T:Mother-in-Law, The

L:1/8

M:C|

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1331

Z:AK/Fiddler’s Companion

K:D

DEFA BAAA|{d}BAdB AFEF|DEFA BAAA|(3Bcd AF EDB,E|D2 FA BAAA|

(3BdB dB ABde|(3fga ec dBAd|dBGB A2||Bd|e2 ef gfgf|ed^cd efgf|e2 ef gfge|

dBGB d2 Bd|e2 ef gfge|efge a2 ef|^gaba =gfef|gedB A2||

           

MOTHER KILWINNING. Scottish, Strathspey. E Flat Major. Standard tuning. AB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also also published several tutors, albums of popular songs, national overtures, etc (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 193, pg. 22.

X:1

T:Mother Kilwinning

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 193 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Eb

e2 B>A (G<E) E>G | C>FF>E (D<B,) B,>D | E>GF>A G>BA>c | B>e B>A G<(E EB) |

e2 B>A (G<E) E>G | C>FF>E (D<B,) B,>D | E>GF>A G>BA>c | B>e B>A G(E E2) ||

g>eB>G A>cB>G | A<c B>G (A<F) F>e | g>eB>G A>cB>G | A<c B>A G>(E E)e |

g>eB>G A>cB>G | A<c B>G (A<F) F>G | E>GF>A G>BA>c | B>e d>f e<(E E2 || 

 

MOTHER QUOTH HODGE.  English, Jig. D Major. Standard tuning. AABB. “Mother Quoth Hodge” is a different but similar melody that was the vehicle for several songs in early 18th century ballad operas. “Mother Quoth Hodge, the new way” first appeared in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756). The melody features a slow part interjected into faster parts, as in the morris dance tune ‘slows’. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 179.

X:1

T:Mother quoth Hodge (the new way)

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

A>BA d2d|efg f3|gBB c2d|edc d2:|

M:3/8

L:1/8

“Largo”

d/e/|f2d|B2 c/d/|e2c|A2 A|

M:6/8

L:1/8

“Allegreto”

dcd BcA|BA^G A2A|dcd Bcd|ece cde|fgf efd|edc d3:||

           

MOTHER'S DAY WALTZ [1]. Canadian, Waltz. F Major ('A' part) & C Major ('B' part). Standard tuning. AB. Written or popularized by famous Canadian radio fiddler Don Messer. Source for notated version: Gerry Robichaud (New Brunswick/Boston) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 69. Voyager VRSP‑310S, Gerry Robichaud‑‑"Down East Fiddling."

 

MOTHER'S DAY WALTZ [2]. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. A modern song originally recorded by Joel Sonnier. Source for notated version: Don Guillory (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 424. Kajun Records, Joel Sonnier.

           

MOTHER'S DELIGHT (Aoibhneas na Máthar). AKA and see “Brian Boru's March [1],” “The Cameronian Reel [3]," “Dan the Cobbler,” “Sean Frank.” Irish, Reel. Ireland, County Donegal. D Dorian. Standard tuning. AAB (Breathnach): AABB (Taylor). A popular reel in County Donegal. The tune was recorded under this title by Paddy Glackin on his first LP, played on the viola. See also related “Colonel McBain” (upon which this tune may have been based), “Malloy’s Favorite.” The tune transcribed from the playing of Donegal fiddler John Doherty and mistakenly called the “Cameronian Reel” in Feldman & O’Doherty’s book The Northern Fiddler is actually “The Mother’s Delight” (see note for “Cameronian Reel [3]"). Sources for notated versions: flute player and fiddler Peter O'Loughlin, 1966 (Kilmaley, Co. Clare, Ireland) [Breathnach]; Jim Donoghue (b. 1910, Drimacoo, Monasteraden, County Sligo) [Flaherty]. Breathnach (CRÉ II), 1976; No. 240, pgs. 124‑125. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 67 (appears as “Cameronian Reel”). Flaherty (Trip to Sligo), 1990; pg. 180 (appears as “Unknown”). Taylor (Where’s the Crack), 1989; pg. 6. Gael-Linn CEF060, “Paddy Glackin.”

X:1

T:Mother's Delight

T:Colonel McBain

M:4/4

L:1/8

S:Philippe Varlet

Q:240

R:reel

K:Ddor

DE |~F3 E ~F2DE | ~F3 D GECE | Dd{e}dc defe | d2cd ABcA |

~d3 c AGAB | ~c3 G ECCE | Ad{e}dc AGAB | cAGE {G}ED :||

DE | FAdA FDDF | (3EFG cG ECCE | FAdA FDDF | EDCE DA,DE |

FAdA FDDF | (3EFG cG ECCE | F2{G}FE FEDC | A,CEF D2 :||

X:2

T:Mother's Delight

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:DDor

DE|F2FD ~G3E|FEFA GECE|Ddd^c defe|(3ded cd ABcA|\

Addc AGAB|cBcG ECCE|Dddc A^GAB|cAGE ED::DE|\

FAdA FDDF|EGcG ECCE|FAdA FDDF|EDCE D^CDE|\

FAdA FDDF|EGcG ECCE|FAGE FEDC|A,FEF D^C:|

                       

MOTHER'S GRIEF, THE. Irish, Slow Air (3/4 time). D Dorian. Standard tuning. One part. "Song of a woman who had lost her child" (Joyce). Source for notated version: Mr. G. Sinclair, Cork. Joyce (Old Irish Folk Music and Song), 1909; No. 821, pgs. 398‑399.

           


MOTHER'S LAMENTATION, THE. Irish, Slow Air (3/4 time). C Major (Joyce): D Major (O’Neill). Standard tuning. AB. Joyce had the tune from the Pigot Collection. Joyce (Old Irish Folk Music and Song), 1909; No. 691, pg. 347. O’Neill (Music of Ireland: 1850 Melodies), 1903; No. 691.

X:1

T:Mother’s Lamentation, A

M:3/4

L:1/8

R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 691

Z:AK/Fiddler’s Companion

K:D

D>F A2 B>A|Ad F2 E>E|DF A2 B>c|d4 f>d|A2d2 d>c|B3c B>A|AFAB d>B|

A>F E>D EE|DD D4||FD FA B2|A>F d2 A>F|E>D FA d>d|e4 fd|e4 f>d|

e2c2 d>B|AFAB d>d|B>A FD E>F|DD D4||

           

MOTHER’S LAST GOODBYE, A. AKA and see “The Roving Galway Boy.”

           

MOTHER'S LOVE IS A BLESSING, A. Irish, Waltz. D Major. Standard tuning. One part. The tune has appropriately sentimental lyrics beginning:

***

An Irish boy was leaving, leaving his native home,

Crossing the broad Atlantic, where one more he wished to roam...

***

Green Linnet SIF3040, De Dannan - "Ballroom" (1987).

X:1

T:Mother’s Love is a Blessing, A

L:1/8

M:3/4

K:D

"D"A|"D"F2 "D"A|"G"G2 "D"F|"A"E "D"D2|"D"D2 "D"A|"D"d2 "A"e|

"D"d "F#m"c "Bm"B|"D"A3|"D"A3|"D"d2 "D"d|"F#m"c2 "Bm"B|"D"A "D"F2|

"D"F2 "D"A|"Bm"B2 "A"E|"A"E2 "D"F|"A"E3|"D"F2 "D"A|"G"G2 "D"F|

"A"E "D"D2|"D"D2 "D"A|"D"d2 "A"e|"D"d "F#m"c "Bm" B|"D"A3|

"D"A "Bm"B "F#m"c|"D"d2 "D"d|"F#m"c2 "Bm"B|"D"A2 "D"F|

"D"D "A"E "D"F|"G"G "D"A "Bm"B|"D"F2 "A"E|"D"D3|"D"D2:||

           

MOTHER'S REEL. Canadian, New England; Reel. C Major ('A' and 'C' parts) & G Major ('B' part). Standard tuning. AABCC (Miller & Perron): ABBCC (Bohrer, Messer): AA'BB'CC (Phillips). Composed by Maritime fiddler Don Messer (1909-1973). Sources for notated versions: learned by Vic Kibler (Hamilton County, N.Y.) from a Don Messer (Canada) recording [Bohrer]; Paul Elliot [Phillips]. Bohrer (Vic Kibler), 1992; No. 20, pg. 20. Messer (Way Down East), 1948; No. 27. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 51, pg. 33. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 145. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 158. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Mother’s Reel

M:C|

L:1/8

R:Reel

K:C

g>f|e3f cB cA|GA GF EG FE|DG BG dG BG|DG Bd ga gf|

e2ed cB cA|GA GF EG FE|DG BG dG AB|cd cB c2:|

||Bc|d2d^c de fg|d2d^c de fg|B2Bc BA GA|Bc BA B2Bc|

d2d^c de fg|d2d^c de fg|ab ag fd ef|ga gf g2||

K:C

|:(3GAB|c2ec gc ea|gg ec Bc dB|c2ec gc ea|1 gg ec Bc dB:|2 gg ec Bc||

 

MOTHER'S WALTZ. Old‑Time, Waltz. USA, Missouri. D Major. Standard tuning. One part. “Mother’s Waltz” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Source Vee Latty (Calloway County, Missouri) was the 1928 Missouri state fiddling champion, and broadcast on various radio stations. “His writs action with the bow was the best I ever saw,” writes R.P. Christeson (1984). Source for notated verison: Vee Latty (Calloway County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 158.

X:1

T:Mother’s Waltz

M:3/4

L:1/8

S:Vee Latty

K:D

Fg>^g|a3 b a>f|d3 f e>d|B3 e d>B|A6|d3 A d>e|f3 a g>f|e3 f g>f|e4 a2|

a3 b a>f|d3 f e>d|B3 e d>B|A6|d3 A d>e|f3 A c>e|d3 c d>e|d6|

b3 a b>a|g3 g a>b|a3 b a>g|f6 e4 e2|a3 ^g a>b|c’3 a b^g|a4 a2|

a3 b a>f|d3 f e>d|B3 e d>B|A6|d3A d>e|f3 A c>e|d3 c d>e|d3||

 

MOTLEIGH. Old-Time, Breakdown. G Major. Standard tuning. AA'BB'. A modern composition by fiddler Pete Sutherland (Vt.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 159. Sutherland (Bareface), 1984; pg. 15. Flying Fish FF-336, Pete Sutherland – “Poor Man’s Dream” (1984).

 

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