The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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MT - MUI

 

 

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]

 

 

 

MT... See "Mount..."

 

MUCH ADO ABOUT NOTHING. English, Jig. G Major. Standard tuning. AABBCC. The melody first appears in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1750). It also appears in R. Baldwin’s London Magazine, or Gentleman’s Monthly Intelligencer of 1756. “Much Ado about Nothing” also appears in the music copybooks of London musicians Walter Rainstorp (begun in 1747) and Thomas Hammersley (1790). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 200.

X:1

T:Much ado about Nothing

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:G

G2G, G2G,|GAB cBA|G2G, G2G,|GBG AFD|G2G, G2G,|GAB cBA|BdB AFD|GDC B,A,G,:|

|:gdB G2B|eag fef|gdB G2d|Eed ^cBc|d2D d2D|def gfe|faf e^cA|dAG FED:|
|:”tr”gfg “tr”gfg|”tr”gfg dBG|”tr”gfg “tr”gfg|gbg afd|”tr”gfg “tr”gfg|”tr”gfg dBG|c2e B2d|ABG FED:||

           

MUCH WENLOCK. AKA and see "Not for Joe [2]." English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AB. Collected in the village of Much Wenlock, Shropshire, England. Bacon (The Morris Ring), 1974; pg. 268.

                       

MUCKIN' O' GEORDIE'S BYRE. AKA and see “Bonnie Strahyre,” “The Jordie Jig,” “O Lassie Art Thou Sleeping Yet.” Scottish (originally), English, Canadian, American; Air, Jig, Country and Morris Dance Tune (6/8 time). Canada; Cape Breton, Prince Edward Island. USA, New England. D Major. Standard tuning. AB (Martin): AABB (most versions): AA’BB (Cranford). According to Donald Ferguson (Beyond the Furtherest Hebrides) there is some evidence that the original of this tune is from the Hebrides Islands, originally used for the song “Eilean Mo Chridhe.” This famous tune appears to be a variation of "(O) Lassie, Art Thou Sleeping Yet?" or the similarly old titles "The Lea Rig" and "My Ain Kind Dearie O"‑‑all of which are taken (as is the 'Muckin' title) from various songs set to the tune. At some point "My Tocher's the Jewel," attributed to Nathaniel Gow, may have been derived from this tune (so, at least, charged Robert Burns, who termed the practice 'notorious'). The tune appears in Allan Ramsay's ballad opera The Gentle Shepherd (1725), while the song “Muckin’ of Geordie’s Byre” appears in David Herd’s Scottish Songs and Heroic Ballads (1776). McGibbon (1762) notes it in ¾ time, although with the direction it is to be played “briskly”. The air under this title has been used for a single step dance in the North‑West (England) morris tradition. Cape Breton fiddler Angus Chisholm (1908-1979) recorded the tune in the 1950's as “The Jordie Jig.” See also the note for "Keppoch Desolate." In modern times the melody can be found used for the song “Westering Home.” 

***

One verse sung by Willie Kemp (from the many songs written to the tune) goes:

***

The whisky ga'ed roun' Tammy Fleeing' the doo'    (‘flee the blue’; to go out
And aye as they drank, the mair they go fou'
              for more whiskey)
The only anes sober, the calf an' the coo'
At the mucking of Geordie's byre.

***

Source for notated version: Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Allan’s Ballroom Companion. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 169 (entitled "Marching Quardille"). Cranford (Jerry Holland’s), 1995; No. 223, pg. 64. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 91, pg. 45. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 37. McGibbon (Scots Tunes, Book 1), c. 1746; pg. 2 (appears as “Mucking of Geordy’s byer”). Miller & Perron (New England Fiddlers Repertoire), 1983; No. 22. Perlman  (The Fiddle Music of Prince Edward Island), 1996; pg. 128. Raven (English Country Dance Tunes), 1984; pg. 109. Reid (The Piper's Delight), pg. 10. Roche Collection, vol. 3, No. 134 (untitled). Wade (Mally’s North West Morris), 1988; pg. 8. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” “The Caledonian Companion” (1975). Rounder CD 1161-7033-2, Natalie MacMaster – “My Roots are Showing” (2000. Learned from the recordings of Angus Chisholm).

X:1

T:Muckin’ o’ Geordie’s Byre

M:6/8

L:1/8

R:Air and Jig

K:D

ABA AFA|d2e f2a|g2e f2d|e2d Bcd|ABA AFA|d2e f2g|afd efe|d3 dcB:|

|:g2g gab|f2f fga|efe ede|fed Bcd|ABA AFA|d2e f2g|afd efe|ded d3:|

X:2

T:Mucking of Geordy’s byer

M:3/4

L:1/8

R:Air

N:”Brisk”

S:McGibbon – Scots Tunes, Book 1 (c. 1746) 

Z:AK/Fiddler’s Companion

K:D

f>e | d2B2B2 | B3dBA | B2d2e2 | “tr”f3ed2 | d3e (d/e/f) | A4”tr”(fe) | d2B2B2 |

B3dBA | B2b2a2 | f2(gf)(ed) | “tr”e4 (d/e/f) | B4 :: g2 | (fg) a2 (f/a/b) | “tr”e4d2 |

d3 efd | e2f2(e/f/a) | “tr”e4d2 | A4fg | a2 (ba)(gf) | g2 (ag)(fe) | f2(gfed) | a2(ba)(gf) |

“tr”e4d2 | B4a2 | b2a2f2 | a2 faea | “tr”f3 edf | e2f2a2 | “tr”e4d2 | A3afa | b2B2B2 |

B3 dBA | B2b2a2 | f2 (gf)(ed) | “tr”e4 (d/e/f) | B4 :|

                       

MUCKLE A SKERRY IN THREE. AKA and see “Out and In the Harbour.” Shetland, Shetland Reel. From the districts of Whalsay and Nesting, Shetland. The title makes reference to a fishing mead (Cooke).

                       


MUCKLE REEL O’ FINNIGIRT(H), DA. Shetland, Aald Reel (2/4 time). D Major. Standard tuning. One part. At one time the Muckle Reel, or Aald/Auld Reel, was danced throughout Shetland though it varied from district to district. This particular tune accompanied a dance whose steps have been lost, though it has been remembered that they were walking steps that matched the irregular rhythm of this piece, and that the piece itself was played and danced as a break from the more strenuous reels. The Muckle Reel may have been derived from the figures of a Scandinavian long dance or could have some connection with a song dance from the Faro islands, note Anderson & Georgeson (1970), who believe that it is likely that all the Muckle Reels were of Norwegian derivation. "The Muckle Reel o Finnigirt" is the most complete version that has survived. Flett & Flett (1964) give that the distinguishing characteristic of the dance is that the dancers are constantly moving, and there is no setting figure so common to most of Scottish reels. See also "Aald Reel o Whalsay." Source for notated version: Peter Fraser (Walls, West Mainland, Shetland) [Anderson & Georgeson, Cooke]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 9. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 4, pg. 56. Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland" (1978).

                       

MUCKLE REEL O' PAPA [1]. Shetland, Aald Reel (duple/triple time). A Major. Standard tuning. Irregular form. Source for notated version: Fraser Hughson (Papa Stour {Island}, Shetlands) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 2, pg. 56.

 

MUCKLE REEL O' PAPA [2]. Shetland, Aald Reel (duple/triple time). A Major. Standard tuning. Irregular form. Source for notated version: John Fraser playing J. Umphray's version (Papa Stour Island, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 3, pg. 56.

 

MUCKLE REEL O' PAPA [3]. Shetland, Aald Reel (duple/triple time). D Major. Standard tuning. Irregular form. Known by the informant as an older version. Source for notated version: John Fraser (Papa Stour {Island}, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 5, pg. 57.

                       

MUCKROSS ABBEY. AKA and see “Charlie Mulvihill’s (Reel) [1]."

                       

MUD FENCE. AKA and see "Drunken Billy Goat," "Rocky Mountain Goat." Old-Time, Breakdown. USA, Kentucky. D Major. Standard. AABB'. The tune was also in the repertoire of Magoffin County, Kentucky, fiddler William H. Stepp, who recorded for the Library of Congress in 1937. It is a member of the tune family that includes Damon’s Window/Winder,” “The Devil in Georgia [2],” “Grand Hornpipe [1],” “Railroad(ing) Through the Rocky Mountains,” “Ride the Goat Over the Mountains,” "Rocky Mountain Goat,” and “Swiss Chalet." Source for notated version: J.P. Fraley (Rush, Kentucky) [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 159. Yazoo 2013, William Stepp – “The Music of Kentucky, Vol. 1.”

                       

MUD ON THE WHEEL. Old-Time, Breakdown. USA, Arizona. A Major. Standard. AABB. Ruth (Pioneer Western Folk Tunes), 1948; No. 86, pg. 31.

X:1

T:Mud on the Wheel

M:2/4

L:1/8

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:A

(AA) A,2|A,/E/C/E/ A,(E/F/)|=G/B/A/G/ E/D/E/F/|=G/B/A/G/ E2|

(AA) A,2|A,/E/C/E/ A,2|A/c/B/A/ G/A/B/G/|A2A2:|

|:[ce][ce] e/f/e/d/|c/d/e/f/ e2|G/A/B/c/ d/f/e/d/|c/B/c/d/ [c2e2]|

[ce][ce] e/f/e/d/|c/d/e/f/ e2|a/b/a/g/ e/c/A/F/|EA A2:|

                       

MUDDY CREEK [1]. Old‑Time, Breakdown. USA, Pa. G Major. Standard tuning. AAB (Titon): AABB' (Phillips). From York County, Pa. The melody is meant to be played slower than a standard breakdown tempo. Sources for notated versions: Bruce Greene, who had the tune from John Salyer [Phillips]; John Salyer (Salyersville, Magoffin County, Ky., 1941) [Titon]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 89. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 106A, pg. 135. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1940-41, Vol. 2” (1993). Rounder CD 0397, Scott Nygaard - "Dreamer's Waltz" (1996).

 

MUDDY CREEK [2]. AKA and see “Morgan on the Railroad [1].” Old‑Time, Breakdown. USA, Kentucky. D Major. Standard tuning. One part. No relation to “Muddy Creek” [1]. Source for notated version: John Masters (Lexington, Fayette County, Ky., c. 1975), learned from Jessamine County, Ky., African-American fiddler Jim Booker [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 106B, pg. 135.

 

MUDDY CREEK [3]. Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB. The source is
Old Time Violin Melodies Book No. 1, published in 1938 by W. H. Morris, M.D., of St. Joseph, Missouri.

X:1

T:Muddy Creek [3]

M:C|

L:1/8

S:From a transcription by Ed Baggott

K:D

d2 df edBc | d2f2a2 fe | dcdf edBc | dBAF E2D2 | d2 df edBc | d2f2a2 fg |

abaf egfe | dBAF E2D2 :: A2 AG FDED | FGAB A2 FG | A2 AG FDED |

FDEF D2 FG | A2 AG FDED | FGAB A2 A2 | Bd d2 AF F2 | EDEF D2D2 :|

                       

MUDDY RIVER. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

MUDDY ROAD TO DUCK TOWN. AKA and see “Muddy Road to Moberly.” Old-Time, Breakdown. A Major. Standard tuning. ABC. Source for notated version: Bob Douglas [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 102.

                       

MUDDY ROAD TO KANSAS. AKA and see “Dubuque.”

                       

MUDDY ROAD TO MOBERLY. AKA – “Muddy Road to Duck Town.” Old-Time, Breakdown. USA; Missouri, Tennessee. Little Dixie, Missouri, area fiddler Howard Marshall thinks this tune was a Civil War tune perhaps brought back by soldiers after the battle of Shiloh. The Confederates were camped near there at a place called Ducktown (a Tennessee title may be “Muddy Road to Ducktown”). Marshall, not knowing the name, called it after his own hometown. Voyager VRCD 344, Howard “Rusty” Marshall & John Williams – “Fiddling Missosuri” (1999. Learned from hearing it in his childhood before he played the fiddle).

                       


MUDDY ROADS. Old‑Time, Breakdown. USA, North Carolina. G Major ('A' part) & D Major ('B' part). Standard tuning. AB (Frets, Phillips, Silberberg): ABB (Johnson): AABB (Brody, Kaufman, Spandaro). Kaufman (1977) credits Gaither Carlton (1901-1972, Deep Gap, N.C.) with popularizing the melody. Carlton was a member of the Watson family, which included famous guitarist Doc Watson, his son-in-law. The family was recorded in the early 1960’s by folklorist Ralph Rinzler. According to Jeff Place (liner notes to the 1990 reissue of the Folkways recording “The Watson Family), Doc’s uncle, Ben Miller, used to play the song around the house when Doc was a child. Doc’s father, it seems, knew some verses to the song (see below), but the family recorded it as an instrumental for Rinzler.

***

Got Uncle Joe, got Uncle Willie,

Went out hunting for the wild willy‑nilly.

Didn't get one; got ten or twenty,

Take 'em into town and make lots'a money.

Muddy roads, muddy roads!       (Johnson)

***

Doc Watson remembers his father singing the following verses to it:

***

The way is dark and the road is muddy

Girls so drunk they can't stand steady.

Beans in the pot and the hoecake a‑bakin',

Pickin' the banjo and the strings all a‑breakin'. (Frets)

***

Sources for notated versions: The Watson Family (North Carolina) [Brody]; Plank Road String Band (Virginia) [Spandaro]; Gaither Carlton (North Carolina) [Frets]; Ken Kosek [Phillips]; Jack Link [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 198. Frets Magazine, "Mike Seeger: Traditional Music," July 1987; pg. 66. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988, 2003); pg. 8. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 160. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 103. Spandaro (10 Cents a Dance), 1980; pg. 7. Folkways FA 2366, "The Watson Family" (1963. Reissued on SFW CD 40012, 1990). Folkways FTS 31036, Roger Sprung‑ "Grassy Licks." Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996. Learned from Gaither Carleton). Smithsonian Folkways CD40193, Gaither Carlton with Doc Watson – “Classic Old-Time Fiddle” (2007. Reissue recording).

See also listing at:

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

X:1

T:Muddy Roads

M:C|

L:1/8

K:G

G2 GD E2 ED|GEGD E2 DE|G2 GD EGAB|cBAG FD3:|

|:f4 d2ef|gfed ^cA3|^c4 A2 Bc|dBAG FD3:|

                       

MUDDY WATER [1]. AKA and see "Durroch's Hornpipe." Old‑Time, Breakdown or Reel. D Major. Standard tuning. AABB. Bayard (1944) once thought this tune a version of the Irish Jig "The Walls of Liscarroll," but later (1981) reconsidered that it was rather a version of the Pennsylvania tune "Durroch's Hornpipe" (derived from the Irish "O'Dwyer's Hornpipe [1]").  It has been suggested (by, for one, Louie W. Attebery in his article "The Fiddle Tune: An American Artifact" {1979}) that the name change from "Walls of Liscarroll" to "Muddy Water" came about in a process of naturalization due to anti-British sentiments during the War of 1812. Source for notated version: Mrs. Sarah Armstrong (Derry, Pa., 1943) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 43.

 

MUDDY WATER [2]. Old‑Time, Breakdown. USA, Arkansas. A Major. Standard tuning. AABB. No similarities to “Muddy Water [1].” The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. He may have been referring to the “Muddy Waters” tune played by Frank Waters, but which most Mid-west fiddlers know as “Malindy” or “Old Melinda,” or perhaps the Skeeter Walden tune. Walden was an elderly fiddler recorded in the field in 1951 by Irene Carlisle and Dow West—this was one of some 90 tunes recorded. However, the tune was identified at the time by the fieldworker as “General Clayborn,” while Walden himself introduces it as “Muddy Waters” on the recording. Source for notated version: Jim ‘Skeeter’ Walden (1879-1956, Busch, north Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 153.

                       

MUDDY WEATHER. Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB. The title in tradition for this tune is “N....r Weather” or “N....r Fever [1],” changed by Lee Stoneking because it had become objectionable. Drew Beisswenger (2008) points out that the tunes “Boatin’ Down the River” and “Shippensport” have similar ‘A’ parts. Sources for notated versions: Armin Barnett [Phillips]; Lee Stoneking (1907-1989, Henry County, Missouri) [Beisswenger & McCann]; Fred Stoneking (Lee’s son, b. 1933) [Silberberg]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 143. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 160. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg.31.  Graphic Recording, Lee Stoneking – “Missouri Old Time Fiddlin’” (c. 1970’s). Marimac 9020, Geoff Seitz - “Timely Tunes from Ill-Mo and Beyond” (learned from Lee Stoneking).

                       


MUDGEY WALTZ. Australian, Waltz. Front Hall FHR‑010, Bill Spence and Fennig's All Stars ‑ "The Hammered Dulcimer Strikes Again" (1977. Learned from Neil Wayne).

                       

MUG AND BRUSH, THE. Canadian, Reel. Canada, Prince Edward Island. B Flat Major. Standard tuning. AA’BB’. Composed by Summerside, East Prince County, Prince Edward Island, fiddler Ervan Sonier (1920-1994). Source for notated version: Ervan Sonier & Toussaint Arsenault [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 113.

                       

MUG OF BROWN ALE [1], THE. AKA and see “The Clare Jig [1],” “Delaney’s Drummers,” “Paddy in London [2],” “The Raffle Jig,” “The Spoonful of Treacle,” “Winter Apples [2].” Irish, Jig. A Dorian. Standard tuning. AB (Kerr): AABB (Mallinson, Miller & Perron, Songer): AABB' (Allan's). Bayard (1981) states that this tune belongs to a rather vague, and so far nameless, tune family whose members "seem always on the point of diverging off into other pieces." The family is probably Irish, he thinks, and has attracted many "floating" titles from that tradition over the years. “Delaney’s Drummers” is a related melody.

***

Brown ale is one of the oldest brewing styles in the British Isles, one of the three beers or “three threads” that blended together make a beer that developed into porter. It is first mentioned in literature in the 16th century. Brown ale was widely brewed at one time, primarily by women (hence the term ‘alewife’ for a married woman). Many brown ales have a round, nutty flavor (especially those brewed with the Yorkshire square system of fermentation), and are sometimes referred to as ‘nut-brown ales’. The brew was originally probably slightly sweet, lightly carbonated, and served from the barrel a few days after fermentation was complete.

***

Sources for notated version: Kevin Burke (1982) via Dan Compton, via hammered dulcimer player Mick Doherty [Songer]; set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]; fiddler Peter Turbit [Feldman & O’Doherty]; Roscommon fiddler Paddy Ryan & Kerry accordionist Donal de Barra [Miller & Perron]. Allan's Irish Fiddler, No. 19, pg. 5. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 231 (appears as last “Untitled Jig” on page). Kerr (Merry Melodies), vol. 1; No. 41, pg. 39. Mallinson (Essential), 1995; No. 86, pg. 37. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 60. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 28. Songer (Portland Collection), 1997; pg. 143. Taylor (Music for the Sets: Blue Book), 1995; pg. 2. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Comhaltas Ceoltoiri Éireann No. C18, Paddy Ryan & Donal de Barra - "From the Homes of Ireland" (1973). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983). Randal Bays & Joel Bernstein - “The Rashers.” Smithsonian Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

Alan Ng’s Irishtune.info

X:1

T:Mug of Brown Ale [1]

M:6/8

L:1/8

K:Ador

eAA fAA | gfg age | dBA GFG | BAB dBd | eAA fAA | gfg age | dBd gdB | BAG A2 :|

|: g | efg aba | aba age | def g2f | gba ged | efg aba | aba age | dBd gdB | BAG A2 :|

 

MUG OF BROWN ALE [2]. AKA and see “John Naughton’s (Jig),” “Jug of Brown Ale,” “Old Man Dillon,” “One Bottle More [2],” “The Stonecutter’s Jig.” Irish, Jig. A Dorian. Standard tuning. AABB’ (Kennedy): AA’BB’ (Harker). The tune is sometimes credited to County Antrim piper Robert Thompson (as, for example, his granddaughter, Margaret Barry, asserts). The Levey collection would appear to be the earliest printing of the tune (hence the claim to original title) which appears in O’Neill as “Old Man Dillon” and Ryan/Cole as “One Bottle More [2].” Levey notes that the fiddlers he heard resolved the last chord to A Major at the end of the tune. Compare also to the Scotch jig “O As I Was Kiss'd Yestreen [1],” published by James Oswald in his Caledonian Pocket Companion. Levey (vol. 1). 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. 247, pg. 76. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 126, pg. 31. Clannad – “Dúlamán” (1976. Appears as “The Jug of Brown Ale). Smithsonian Folkways (06819, cassette), Michael Gorman & Willie Clancy – “Irish Jigs, Reels and Hornpipes” (originally released in 1956).

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:Old Man Dillon

T:Jug of Brown Ale, The [2]

S:Clannad, Dúlamán

N:O'Neill's has it in major.

Z:Jerome Colburn

M:6/8

L:1/8

K:Ador

G | EAA Acd | edB c2 A | BGG ~GFG | BdB BAG |\

EAA Acd | ede ~gfg | edc Bcd | eAA A2 ::\

g | gef g2 b | gef gdc | BGG ~GFG | BdB BAG |1\

gef g2 b | gef g2 d | edc Bcd | eAA A2 g :|2\

EAA Acd | ede ~g3 | edc Bcd | eAA A2 |]**

                       

MUGBY JIM’S HIGHLAND FLING. American, Fling. Ryan’s Mammoth Collection, 1883; pg. 171.

 

MUILEANN DUBH (The Black Mill). AKA – “The Devil’s Mills,” "Mullin Dhu (The Dark Mill)," "Mullin Du." AKA and see “Oyster Wife’s/Wives’ Rant.” Scottish, Reel and Air. A Dorian (most versions): A Mixolydian (Gow). Standard tuning. One part (Skye): AB (Athole, Kerr, McGlashan, Shears, Surenne): AAB (Gow, Martin, Perlman): AABB (Williamson). "Very old” (Skye, Gow). The melody exists in both air and reel versions. Puirt a beul (mouth music) words to the song begin:

***

Tha nead na circe fraoich anns a’ mhuileann dubh,       The moor hen’s nest is in the black mill,

‘Sa Mhuileann dubh ‘sa Mhuileann dubh;                      The black mill, the black mill

Tha nead na circe fraoich anns a’ mhuileann dubh,      The moor hen’s nest is in the black mill,

As t-samhradh.                                                                At summer time.

***

Apparently, on Cape Breton Island the tune/song was not allowed to be played in certain parts because it was so closely associated with the MacDougalls of Margaree, who apparently were extremely touchy about hearing it played within their earshot!  It appears that one line of a stanza of the puirt a beul set to the melody goes "Tha nead circe fraoiche 's a' mhuilean dubh." (In the black mill is the heather-hen's nest). The offence to the Margaree MacDougalls was due to a joke that was told about hens at the expense of the clan, and they were so sensitive to any reference to the joke that they could not tolerate mention of poultry of any kind, and took the playing of the tune to be a veiled insult against the clan. Shears says his is only one of many settings of the tune played by Cape Breton musicians.

***

The story of the tune was recited in Gaelic by John Allen Beaton of Broad Cove Marsh, Inverness County, Cape Breton, to researcher Dr. Seósamh Watson in 1982. It seems that a member of the community had taken quite ill one winter, and a man was dispatched to fetch the priest to administer to him. All haste was to be made, as the death was thought to be imminent, but the priest and his summoner were uncommonly fond of music. The passed a mill on the journey to the sickbed, and as they did so they were captivated by a melody emanating from the structure, and they were compelled to stop.  Instead of ending, however, the melody played on without conclusion, until finally the priest, remembering his duty, said, “Get going. We’ll be late for the sick man. That’s the devil in there and he’s trying to keep us back. Get Going! We can’t be listening to the tune.” Upon which they resumed their journey. When they arrived they found they were too late; the man had died. The tune, however, stayed with them, and they called it “Muileann Dubh a’ Logadair”; ‘The Devil’s Mills’. Dr. Watson thought the odd word ‘Logadair’ may have been a corruption of the Lochaber placename, Auclaucharach, in Glen Roy, Scotland. [see An Rubha, vol. 9, No. 1, Winter 2005/06].

***

Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Carlin (Gow Collection), 1986; No. 406 (appears as "The Mullin Du"). Gow (Complete Repository), Part 3, 1806; pg. 23. Kerr (Merry Melodies), vol. 1; Set 9, No. 2, pg. 7. Lowe (Collection of Reels and Strathspeys), 1844. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 9. MacDonald (The Skye Collection), 1887; pg. 114. Martin (Traditional Scottish Fiddling), 2002; pg. 86. McGlashan (A Collection of Reels), c. 1786; pg. 20 (appears as “The Mullin du”). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 96. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 59 (pipe setting). Stewart-Robertson (The Athole Collection), 1884; pg. 44. Surenne (The Dance Music of Scotland), 1852; pg. 138. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 52 (appears as "The Mullin Dhu"). CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994). Green Linnet SIF 1139, “Eileen Ivers” (1994. Recorded in duet with Natalie MacMaster). Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Muileann Dubh

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:A

a|ede^f g2fe|dGdB dGdg|ede^f g2 fe|dBdB A2 A>a|ede^f g2fe|

dGdB dBdg|ede^f gage|dBgB A2A||

a|eAed eAAB|dGdB dGGg|eAed eAAB|dGdB A2 A>a|

eAed eAAB|dGdB dGGg|ede^f gbge|dgBg A2A||

X:2

T:Mullindhu

D:Jock Tamson's Bairns

Z:Nigel Gatherer

M:4/4

L:1/8

K:C

A>G AB C2 BA|GC C/B,/C GC C/B,/C|A>G AB C2 BA|GC C/B,/C D3 z:|]

ADAD AD D/C/D|GCGC GC C/B,/C|A>G AB C2 BA|GC C/B,/C D3 z:|]

                       


MUILLEANN NA MAIDÍ (The Twig Mill). AKA – “Crushing of Twigs,” “"Mill na Maidí.” Irish, Reel. Ireland, County Donegal. D Major. Standard tuning. A popular reel in County Donegal. Caoimhin Mac Aoidh (1994) identifies this fiddle tune as having piping influences. Donegal fiddler Mickey Doherty had a five-part version of it. Mac Aoidh relates that this was the favorite tune for a famous Donegal step dancer by the name of Fear na Ropai (Man of the ropes) whose feat it was to dance in a circle on the floor made by a short length of rope he carried with him while fiddlers played this reel. He strove not to dance outside the bounds of the rope and at each successful repetition he would draw the rope tighter until the circumference was little bigger than the space taken up by his feel. The reel is strongly associated with Vincent Campell, according to the band Altan. Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992). Vincent Campbell – “The Brass Fiddle” (learned from Mickey Doherty).

X:1

T:Mill na Máidí

R:reel

Z:Transcribed by Yuval

D:Vincent Campbell ‑ TheThe Brass Fiddle

M:C|

K:D

FD~D2 FDGD|FD~D2 EFGE|FD~D2 FDEF|G2BG EFGE:|

|:A3d B2AF|DFAF EFGB|A3d BFAF|G2BG EFGE:|

|:fd~d2 fdgd|fd~d2 efge|fd~d2 fdef|g2bg efge:|

|:d2ad bdad|dfaf efge|dfaf bfaf|g2bg efge:|

|:d2AG FD~D2|FD (3EFG FA~A2|A3d BFAF|EDCD EFGE:|

X:2
T: Mill na Máidí
S:Padraig O'Keeffe MS, via 'Music from Sliabh Luachra'
R:Pipe Reel
Z:Nigel Gatherer
L:1/8
M:4/4
K:D
F2 DF EFDE|F2 DF EFGE|F2 DF EFDF|GEED EFGE:|
D2 FA d2 AF|D2 AG EFGE|D2 FA d2 AF|GEED EFGE|
D2 FA d2 AF|D2 AG EFGE|Addc d2 AF|GEED EFGE|]

                       

MUILLEOIR FAOI DHEANNACH, AN. AKA and see “The Dusty Miller{s} [7].”

                       

MUILLEOIR UA GLEANN-MAGAIR, AN. AKA and see "The Miller of Glanmire."

                       

MUINCILLI UAITNE. AKA and see "Greensleeves."

                       

MUINE MUSG, AN. AKA and see "The Money Musk."

                       

MUINEACHAN SWITCH, THE. AKA and see “The Monaghan Switch,” “The Monaghan Twig [1].” Irish, Reel. Ireland, County Donegal. A Major. The tune was collected in 1903 by Padraig Mac Aodh O’Neill from the playing of Fawans, Kilmacrennan, Donegal, farmer and schoolmaster Proinseas Mac Suibhne, and published Mac Aodh O’Neill’s Songs of Uladh. Mac Suibhne learned it from an old Glenswilly fiddler named Llilliam Ua Curthainn, and a notation in the book states it was popular with the older folk around Kilmacrennan [Caoimhin Mac Aoidh, 1994].

                       

MUINNEAL A' BHARDAIL. Irish, Jig. Ireland, County Donegal. Caoimhin Mac Aoidh (1994) believes this jig to have piping origins.

                       

MUIR O’ GELLAN, THE. Scottish, Strathspey. A Major. Standard tuning. AB. Composed by Peter Milne (1824-1908), one of J. Scott Skinner’s teachers and, later, fiddling partner. Milne managed to make a living playing theater venues all over Scotland, but became addicted to opium in the drug laudanum, which he originally took as a pain-killer. Milne ended his life in reduced circumstances, busking on the ferry which crossed the Firth of Forth. Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; “After (Scottish fiddler) J.F. Dickie’s set” [Henderson]. Cranford (Winston Fitzgerald), 1997; No. 97, pg. 41. Henderson (Flowers of Scottish Melody), 1935.

                       


MUIRLAND WILLIE. AKA – “Moorland Willie.” AKA and see "The Northern Lass [1]." Scottish, English; Jig. England, Northumberland. G Minor (McGibbon, Seattle/Vickers): E Minor (Kerr). Standard tuning. AABB. Kidson (1890) remarks the original for "Muirland Willie" is said to be a country dance tune by the name of "Lord Frog and Lady Mouse," also known as "Cocky mi Chari, She," popular in several ballad operas of the 18th century. Earlier, the tune appears in John Playford's 1669 and 1687 editions of Apollo's Banquet under the title "The Northern Lass [1]." Variants include "The Auld Maid of Fife," "The Shepherd's Wife [2]," "My Boy Tammie/Tammy," and "Forty Miles." Emmerson (1972) groups this ballad with other anonymous lyrics from the 17th century (such as "My Jo Janet," ""The Barrin' o the Door," and "The Wowing of Jok and Jynny") which "add considerably to our knowledge of the habits and outlook of these times." See also Bayard's (1981) note for "Lannigan's Ball" in which he places this tune family in a larger context of interconnected tune families. William Chappell (Popular Music of the Olden Time, 1859) maintains the slower ballad form of the air was transformed into a lively, dancing form that was published by Walsh in 24 New Country Dances for the year 1713 under the title “Great Lord Frog”, and again, with words in The Merry Musician (1716). Thomas D’Urfey also used it for his song “Great Lord Frog to Lady Mouse” in Pills to Purge Melancholy (1719). It is this latter form, maintains Chappell, that the Scots sung “Muirland Willie” to, the first appearance by that title being in Thomson’s Orpheus Caledonius (1725). John Glen (Early Scottish Melodies, 1900) remarks that the D’Urfey melody “is much inferior to the Scottish version of ‘Muirland Willie’,” and that, “the Scottish versions have never essentially differed from each other since Thomson’s time to the present day, though the tune has been very frequently published, and that always under the title of ‘Muirland Willie’.” Glen chides Chappell for his somewhat convoluted and unsubstantiated tracing of the melody through its English use. Lyrics set to the air can be found in the Scots Musical Museum (No. 369).

***

Gow (Vocal Melodies of Scotland), 1822, pg. 27. Graham, 1908, pg. 69. Johnson (Scots Musical Museum), 1787‑1803, vol. 4, No. 369. Kerr (Merry Melodies), vol. 3; No. 297, pg. 32. McGibbon (Collection of Scots Tunes), c. 1768, pg. 54. McGibbon (Collection of Scots Tunes, book II), c. 1746; pg. 54. Oswald (Caledonian Pocket Companion), c. 1780, vol. 2, pg. 11. Seattle (William Vickers), 1987, Part 2; No. 393. Thomson (Orpheus Caledonius), 1725, No. 28 and 1733, vol. 1, pg. 57. Walsh (Caledonian Country Dances), 1736, Vol. 1, pg. 58.

X:1

T:Moorland Willie

M:6/4

L:1/8

R:Air

S:McGibbon – Scots Tunes, book II, pg. 54  (c. 1746)

Z:AK/Fiddler’s Companion

K:G Minor

D2 | G4A2 B4c2 | d2e2d2 f4d2 | B4B2 f4(ed) | “tr”c4B2 “tr”A4 (G^F) | G3A G2B4c2 |

(d2c2)d2b4a2 | “tr”(g3^fg2) d2g2^f2 | (g6 g4) :: d2 | g4a2b4g2 | f4d2f4d2 | B3cB2f4(ed) |

“tr”c4B2”tr”A4(G^F) | G4G2B4c2 | d3ed2b4a2 | “tr”(g2^f2)g2d2g2^f2 | (g6g4) :|

X:2

T:Muirland Willie

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript collection (Northumberland, 1770)

K:G

G|G2A B2c|d2e f2d|B2B f2d|cAc F2F|G2A B2c|

ded b2a|gfe d=e=f|(g3 g2)::g|g2a b2g|f2d f2d|

BcB g2d|cAc F2G/F/|G>AG B2c|d>ed b2a|gfe d=e=f=|g3 g2:|

                       

MUIRNIN GEAL MO CHROIDHE. AKA and see "Fair Darling of My Heart."

                       

MUISGUILT MHICSEOIN. AKA and see "Jackson's Morning Brush."

                       

______________________________________

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