The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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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] |
Mc... See also "Mac..."
McALLISTER’S FLING. AKA and see “Alasdair MacAlister,” “Glin Cottage Polka [1]," “St. Patrick Was a Gentleman [2].”
The tune was recorded in 1923 by Irish fiddler Patrick Gaffney.
McALMAN’S REEL. AKA and see “Welcome, Charlie
Stewart(, You're Welcome).” The tune was published under this title in
Robert MacKinnon’s Collection of Highland
Pipe Music (1901-06).
McARDLE’S FANCY. AKA and see “The Big
Ship come over the Bay,” “The
Bouchaleen Buidhe,” “Kitty’s
Wedding [2],” “Off to Donnybrook,”
“Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].”
McARDLE'S FAVORITE (Roga Mic-Arduil). AKA and see “The Maidens of Tir Eoghain,” “Out on the Ocean [2],” “Ship(s) in Full Sail.” Irish, Double Jig.
A Major. Standard tuning. AABB. Source for notated version: Chicago Police
Sergeant James O’Neill, a fiddler originally from County Down and Francis
O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1045, pg. 195.
X:1
T:McArdle’s Favorite
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 1045
Z:AK/Fiddler’s Companion
K:A
EAA cAA | eAA cBA | fga ecA | BcB
{c}BAF |
EAA cAA | eAA cBA | fga ecA | BcB A2
z :|
|: eab c’af | ece aec | eab c’af |
d’c’b c’af |
eab c’af | ece aec | fga ecA | BcB
A2 z :|
McAULIFFE’S. AKA and see “Dominic’s
Farewell to Cashel,” “Martin
Mulvihill’s Jig.” Irish, Double Jig. G Major. Standard tuning. AABB.
Composed by flute player Josie McDermott. Sources for notated versions: the
Desmond Ceili Band [Mulvihill]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 192,pg. 60. Mulvihill (1st Collection), 1986; No. 9,
pg. 66. Larraga Records MMR112000, Mike and Mary
Rafferty – “The Road from Ballinakill” (2001).
See also listing at: Alan Ng’s Irishtune.info |
McBAIN’S REEL. AKA and see “Colonel McBain’s.”
McBAN’S REEL. AKA and see “Colonel
McBain’s Reel.”
McBAND’S REEL. Irish, Reel. Ireland, Sliabh Luachra region of the Cork-Kerry border. D
Major. Standard tuning. AB. Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Piobairi
Uilleann, February, 1981 [Moylan]. Ceol,
vol. 5, No. 1 (appears as “Tom Billy’s Reel”). Moylan (Johnny O’Leary), 1994; No. 35, pg. 21.
McCABE’S
REEL [1]. AKA and see “Ambrose Moloney’s,” “The Tailor’s Fancy.” Irish, Reel. G Major.
Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 187, pg. 51.
X:1
T:McCabe’s
Reel [1]
M:C|
L:1/8
R:Reel
K:G
(GA)|:B3G ABGE|DGBG
(3ABc Ac|BGGB A2 ef|gedB eAAc|
(3Bcd BG
ABGE|DGBG (3ABc Ac|BGGB A2 ef|gedc BG G2:|
|:B|dgbg
agea|gedB GABd|eaab aged|gabg ageg|
dgbg
agea|gedB GA^cd|abag egfa|gedc BG G2:|
McCABE’S
REEL [2]. AKA and see “Paddy Taylor’s Reel [1].” Irish,
Reel. D Major. Standard tuning. AABB. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 49, pg. 23.
X:1
M:C|
L:1/8
R:Reel
K:D
FEDF A3F |
B~E3 c~E3 | FEDF A2 AF | GEcE ED D2 :|
|: FEDF
ABdG | ~G2 dG ~G2 dG | FEFG A2 dc | (3ABA GE ED D2 :|
|| Addc
dedA | B~e3 B~e3 | (3fed ec d2 cA | (3Bcd AG FD D2 |
Addc dedA | (3Bcd ef g2 fg | a2
(3gfe | fdec | dBAG FD D2 ||
McCAFFREY’S REEL. AKA and see "The Piper's Lass,” "Maureen Playboy,” "The Ladies Top
Dress,” "Boil the Kettle
Early,” "The Brown Red Girl,”
“The Connachtman's Rambles
[1],” “The Ladies Tight Dress,”
"The Lady on the Railroad,”
"The Listowel Lasses,” "Kitty got a
clinking (coming from the races) [1],” "Punch for the Ladies [2],”
"Rolling on the Ryegrass,”
"Love among the Roses,”
"The Kilfinane Reel,” "What the Devil ails you [2]”
"The Telegraph,” "The Railway Station,” "Old Molly Ahern,” "The Rathkeale Hunt,” "The Shannon Breeze [1],” "Strac
an mhuc an leine,” "Sean‑Mhaire Ni Eachthighearn.”
McCAHILL’S REEL [2] (Ríl Mhic Chathail). AKA and see “Danny Meehan’s Reel [1],” “The Gowel Reel.” Irish, Reel. D Major. Standard. AB. Breathnach (1985) notes that
the first part is the same as that of O’Neill’s “McFadden’s
Favorite.” Source for notated version: fiddler Tommy Peoples (Donegal)
[Breathnach]. Breathnach (CRÉ III),
1985; No. 142, pg. Comhaltas Ceoltoiri CL13, Tommy
Peoples.
McCANN’S JIG. Irish, Double Jig. D Major. Standard. AABB. McNulty (Dance Music of Ireland), 1965; pg. 20.
McCARROLL’S BREAKDOWN. Old‑Time, Breakdown. USA, Eastern Tenn. McCarroll was the fiddler
for the eastern Tennessee string band the Roane County Ramblers, who recorded
in the late 1920's. County 403, "Roane County
Ramblers" (origianlly recorded 1929).
McCARTHY MARCH, THE. AKA and see "Gettysburg March," "Bugle Horn," "The Lady in the Boat," "Fermanagh Quickstep." AKA –
“McCarthy’s Quick Step.” Irish, March (6/8 time). D Major. Standard tuning.
AABB. The earliest appearance of the tune in print is in Church of Ireland
cleric James Goodman’s mid-19th century music manuscripts under the
title “McCarthy’s Quick Step.” Goodman (1828-1896) was an uilleann piper, and
an Irish speaker who collected locally in County Cork and elsewhere in Munster.
He also obtained tunes from manuscripts and printed collections. JIFSS, vol.
XV, pg. 9. Shields/Goodman (Tunes of the
Munster Pipers), 1998; No. 225, pg. 91.
X:1
T:McCarthy’s Quick Step
M:6/8
L:1/8
R:March
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the Munster Pipers, No.
225 (1998)
K:D
A|dfA d2A|dfA d2f|a2f d2f|fee e2
a/4g/4f/4e/4|dfA d2A|
dfA d2e|fdf ece|dfa/4/g/4f/4e/4
d2::e|fdf gfg|a2f d2 f/a/|
agg {a}gff|{g}fee eag|fdf gfg|a3
f2d|efg fge|edd d2:|
McCARTHY'S FAVORITE. Irish, Jig. The tune derives from the Scottish melody “My Wife’s a Wanton Wee Thing
[1].” Shanachie Records, James Kelly & Paddy
O’Brien – “Spring in the Air.” Shanachie 34014, James Kelly, Paddy O’Brien & Daithi
Sproule – “Traditional Music of Ireland” (1995).
McCARTHY'S HORNPIPE (Crannciuil Mic Cartaig). AKA and see “Blanchard’s Hornpipe [1],” “The Broken Hornpipe,” "Chester Castle [2]," “Roxborough Castle.” Irish, Hornpipe. A
Major. Standard tuning. AABB. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 314, pg. 156. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 831, pg. 144. Taylor (Through the
Half-Door), 1992; No. 63, pg. 46. Shaskeen -
"The Joys of Life."
X:1
T:McCarthy’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
831
Z:AK/Fiddler’s Companion
K:A
E2|A2 Ac ecAc|d2 fd ecAc|d2 fd c2 ec|BAGA
BdcB|
A2 Ac ecAc|dcdf edcB|Aagf
edcB|A2A2A2:|
|:(3efg|aece fece|Aece fece|defd cdec|BAGA BdcB|
A2
Ac ecAc|dcdf edcB|Aagf edcB|A2A2A2:|
McCARTHY’S QUICK STEP. AKA and see “McCarthy March.”
McCARTY’S JIG. AKA and see “Dress Her Out in Fine Clothes,”
“Dress Her Up Fine.”
McCARTY’S
REEL. Irish (?), Reel. B Flat Major.
Standard tuning. AABB. Source for notated version: the music manuscript of
Setauket, Long Island, New York, painter and fiddler William Sydney Mount
(1807-1868).
X:1
T:McCarty’s Reel
M:2/4
L:1/8
R:Reel
S:William
Sydney Mount manuscript (c. 1840’s)
Z:AK/Fiddler’s Companion
K:Bb
F | BABd | fdBd | c=Bcd | ecAc | BABc | fdBd | ecAc | B2 :|
|:
F | =Bcdc | _BAGF | =efgf | _edcB | Bcde | fgab | afec | B2 :|
McCLAHAN’S MARCH. AKA – “McClanahan’s March.” Old-Time, Breakdown. USA, Kentucky. See
notes for “Callahan,” which tells the
apocryphal story of the hanged fiddler, also associated with this tune. Rounder CD-0376, Alva Greene – “Traditional Fiddle Music of
Kentucky, vol. 1” (1997). PearlMae Muisc
004-2, Jim Taylor – “The Civil War Collection” (1996. Bruce Greene, fiddle.
Appears as “McClanahan’s March”, learned form Alva Greene, Sandy Hook, Ky.)
McCLANAHAN’S MARCH. See “McClahan’s
March,” “Callahan.”
McCLELLANTOWN HORNPIPE. AKA and see "The Honeycomb
Rock," "The Rowan Tree [1],"
"Push About the Jorum [1],"
"Rattle the Bottles [1]."
Old‑Time, Breakdown. G Major. Standard tuning. AABB'. A local title whose
name was taken from a town in Fayette County, Pa. (Bayard). Bayard also prints
an untitled reel (#12), obviously from a more southern old‑time
tradition, which he has identified as a version of this tune. Source for
notated version: Emery Martin, Dunbar, Pennsylvania, October 14, 1943 (learned
from his father) [Bayard]. Bayard (Dance
to the Fiddle), 1944; No. 11B. Cole (1000
Fiddle Tunes), 1940; pg. 12 ("The Rowan Tree"), pg. 48
("Rattle the Bottles"), pg. 122 ("Push About the Jorum"
{Strathspey version}). Kerr (Merry
Melodies), No. 113 (appears as "Push About the Jorum").
McCOLLAM’S FANCY. Irish, Reel. G Major. Standard tuning. AB. Source for notated version:
Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
125, pg. 34.
McLEOD'S REEL. AKA and see "Miss
McLeod's/MacLeod's Reel [1]," "Did You Ever See
the/a Devil, Uncle Joe?" "Hop High Ladies (the
Cake's all Dough)." American (originally Scottish), Reel. G Major.
Standard. AABB. Ford (Traditional Music
in America), 1940; pg. 31.
McCOLLUM'S HORNPIPE. AKA and see “Daniel
O’Connell, the Home Ruler,” “Frank
McCollum’s [2],” "The Hangman's
Noose,” "The Home Ruler,” “Pat Galvin’s Hornpipe,” "Sean Ryan's (Hornpipe) [1]."
Irish, Hornpipe. D Major. Standard tuning. Best know as “The Home Ruler.” AB.
Miller & Perron (Irish Traditional
Fiddle Music), 1977; vol. 3, No. 18. Outlet SOLP
1012, Sean Ryan.
McCONNELL’S. AKA and see “O’Dwyer’s
Hornpipe [1],” “Waterford Hornpipe.”
Irish, Hornpipe.
McCONNELL’S HIGHLAND, THE. AKA and see “John Simi’s.” Irish, Highland. G Major.
Standard tuning. AAB.
X:1
T:John Simi’s Highland.
T:The McConnell's Highland
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
R:Highland
K:G
DG|B2Bd A2AB|de (3faf edBG|B2Bd
A2Ag|fa (3efe d2::dg|\
faaf gabg|afdf edBg|faaf gabg|af
(3efe d2dg|\
faaf gabg|afdf edBG|B2Bd A2Ag|fa
(3efe d2|]
McCORMACK’S. AKA and see “Newcastle Hornpipe
[1],” “Prince Albert’s Hornpipe [1].” Irish, Hornpipe. B Flat Major.
Standard tuning. AABB. The tune was composed by Tyneside fiddler James Hill as
the “Newcastle Hornpipe.” McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 91, pg. 25. Mulvihill (1st Collection), 1986; No. 15, pg. 92.
McCORMACK’S BREAKDOWN. Canadian, Reel. Composed by Emile Benoit. Atlantica
Music 02 77657 50222 26, Emile Benoit - “Atlantic Fiddles” (1994).
McCORMACK’S (JIG).
AKA and see “Malowney’s/Maloney’s
Wife.” Irish, Jig. A version of “Maloney’s Wife” (with a different third
part) from flute player Eddie Duffy. Hidden Fermangh.
McCRAW’S FORD. AKA – “McGraw’s Ford.” AKA and see "Brown's Dream [2],” “Doc Brown’s
Dream.” Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AA’B.
McCraw’s Ford is the name of a river crossing on the James River, near
Springfield, Missouri. An apparently true “fiddler’s dream” tale is attached to
the melody in which a country doctor named Brown, fell asleep in his buggy
while being driven to a house call, a not uncommon occurrence for a weary
country medic. He dreamed the tune as the horse approached the ford of the
title, only to be awakened when the animal steered into deep water and the
buggy lurched. Brown awoke and told the driver to remind him in the morning of
a tune he had dreamt, and when he returned home he found he was able to play
it. The tune is sometimes called “Brown’s Dream” or “Doc Brown’s Dream” as a
result. It was passed along to Galbraith family members by the doctor, who also
happened to be in attendance at Art’s birth. McCraw’s Ford was adjacent to the
Galbraith family farm, and Beisswenger & McCann (2008) relate that it
annoyed the McCraw family no end when they would be asked for ‘McGraw’s Ford’,
the name of the ford in popular usage (as it was perhaps a bit easier to
pronounce). Drew Beisswenger (2008) notices similarities in the ‘A’ part with “Fat Meat and Dumplings” and “Green Corn.” Source for notated version: Art
Galbraith (1909-1993, near Springfield, Mo.), learned from family members
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 40. Rounder Records 0133, Art Galbraith –
“Dixie Blossoms” (1981).
McCRIMMON’S LAMENT. See “MacCrimmon’s Lament.”
McCUSKER’S BARNDANCE. English, Hornpipe. D Major.
Standard tuning. AABB.
X:1
T:McCusker’s Barndance
M:4/4
L:1/8
R:Hornpipe
Z:Roger Digby
K:D
P:A
A2|”D”(3ABAF>A
f2d2|”D”(3ABAF>A f2d>a|”G”g>fe>d “A”c2c>d|”E7”(3efe (3dcB
“A7”A4|
“D”(3ABAF>A f2d2|”D”(3ABAF>A
f2d>a|”G”g>fe>d “A7”c>AB>c|”D”d2f2 d2:|
P:B
|:(3ABc|”D”d>Ad>f
a2f2|”D”d>Ad>f a2f>a|”G”g>fe>d “A”c2c>d|”E7”(3efe
(3dcB|”A7”A2(3ABc|
“D”d>Ad>f a2f2|”D”d>Ad>f
a2f>a|”G”g>fe>d “A7”c>AB>c|”D”d2f2 d2:|
McCUSKER'S DELIGHT. Front Hall FHR‑010, Bill Spence and
Fennig's All Stars" (1977).
McDANAUGH’S CLOG. AKA and see “McDermott’s Hornpipe [1].”
Irish, Clog. G Major. Standard tuning. AABBCCDD. A composite tune: the first two parts are “The Galway Hornpipe [1]” (AKA ”The Baldheaded Bachelor” while the
last two are “The Sligo Fancy” (AKA ”The Flowers of Antrim [1]”). It
was recorded on a 78 RPM in this amalgamated version under the title “McDermott’s”
hornpipe in the 1920's by Sligo/New York fiddler Michael Coleman, and Paul
Cranford (1997) thinks that either Fitzgerald or Angus Chisholm rearranged it
from this source. Source for notated version: Winston Fitzgerald (1914-1987,
Cape Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 47, pg. 18. Breton Books
and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of
Celtic Records CX 44).
McDERMOTT’S BARNDANCE. AKA and see “Curlew Hills
(Polka),” “Glenbeigh Hornpipe,”
“Morrison’s Polka.” Irish,
Barndance. The tune (which usually goes by one of the alternate titles, above)
was recorded in 1931 for the Crown label under the “McDermott’s” title by Sligo
fiddler Paddy Killoran, in duet with fellow fiddler Paddy Sweeney.
McDERMOTT'S HORNPIPE
[1]. AKA and see “The Baldheaded Bachelor,” “Dan Lowry’s,” “The Galway Hornpipe [1],” “McDanaugh’s Clog,” “McDonaugh’s
Clog.” Irish, Hornpipe. D Major. Standard tuning. AABB (Phillips):
AA'BB'CC'D. This amalgamated tune (a pairing of “The Galway Hornpipe” and “The
Sligo Fancy”) was recorded by renowned County Sligo fiddler Michael Coleman
(1891-1945) on a 78 RPM recording in New York in 1922. The set was named by
Coleman, credited to Bunnanadden, County Sligo, fiddler and publican Peter
James McDermott (b. 1874), who had a strong influence on Coleman when he was
learning to play. Sources for notated versions: Andy McGann (1928-2004, New
York City) [Phillips]; Montreal fiddler Jean Carignan [Miller & Perron].
Alewine (Maid that Cut Off the Chicken’s
Lips), 1987; pg. 24. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 33. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 118. Phillips (Traditional American Fiddle Tunes), 1989; pg. 37. Shanachie 29009, "Andy McGann & Paul Brady"
(learned from Katherine Brennan). Shaskeen Records OS‑360, Andy McGann,
Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c.
1965).
X:1
T:McDermott’s Hornpipe [1]
M:C|
L:1/8
R:Hornpipe
K:D
fe|dcdA FABA|GFGE CDEF|EFGA B2
B/c/d|e/f/e d/c/B A2 fe|
dcdA FABA|GFGE CDEF|EFGA B2
B/c/d|e/f/e d2d2:|
|:A2|FAdA FAdA|FAdA GBFA|E~=c3 E~=c3|E~=c3
A/B/c AG|
FAdA FAdA|FAdA GBFA|Eeed cABc|d/c/d
e/d/c d2:|
McDERMOTT'S HORNPIPE
[2] (Crannciuil Mic
Diarmaid).
Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1610, pg. 299.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 850, pg. 147.
X:1
T:McGermott’s Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
850
Z:AK/Fiddler’s Companion
K:D
D2|d>f (3edc d2B2|(3ABA G>A
FGEF|D>d (3ddd c>e (3eee|d>fe>d cABc|
d>f (3edc d2B2|(3ABA G>A
F>GEF|DFAF GABd|c>e (3ABc d2:|
|:de|f2 fd fgag|g2 gf gbag|f2 fd
fgab|agfe dcBA|f2 fd fgaf|g2 gf gbag|
fad>f (3efe c>e|dfed cABc:|
McDERMOTT'S HORNPIPE
[3] (Cornphiopa Mhic
Dhiarmada). AKA
and see “Dunn’s Hornpipe,” “Flowers of Antrim [1],” “Marquis of Lorne [1],” “McDermott’s No. 2,” “Sligo Fancy.” Irish, Hornpipe. D Major ('A'
part) & D Mixolydian/Major ('B' part). Standard tuning. AA'BB'. Source for
notated version: accordion player Paddy O'Brien, 1970 (Dublin, Ireland)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 299, pg. 153.
McDERMOTT’S HORNPIPE
[4]. Irish, Hornpipe. A Dorian. Standard
tuning. AABB. There is a similar melody, a reel from Paddy Taylor, given as a
untitled tune in Breathnach’s CRÉ II,
1976; No. 224.
X:1
T:McDermott's Hornpipe
R:hornpipe
D:Larry Nugent, "Two For
Two"
Z:Transcription: Bill Reeder
M:4/4
L:1/8
Q:80
K:G
AG| EAAB c2 cd|(3efg ed Bd dg|eAAB A2 GB|~A2 GA GEDG|
EAAB c2 cd|eg ed Bd d2|eAAd BAGB|~A2
AG A2 :||
Bd|egag eg d2|egag eA d2|eAAd BAGB|~A2
GA GEDG|
EAAB cBcd|(3efg ed Bd dg|eAAd
BAGB|~A2 AG A2 :|
McDERMOT'S REEL [1]. AKA - “McDermoth’s Reel.” AKA and see “Master McDermott’s Reel, “New Policeman [4].” Irish, Reel. D Major.
Standard tuning. AABB. Brendan Breathnach thought this tune to be a version of
“Boys of the Lough.” It was
composed by fiddler Michael “The Master” McDermott, a schoolteacher from Pomery
and Carrigmore, County Tyrone, who died in 1947. Frequently the tune is called
“Master McDermott’s.” Sources for notated versions: Brendan Mulvihill
(Baltimore, Md.) [Mulvihill]; Emmett Hughes (b. 1921, Dromore, Queen’s County,
Prince Edward Island) [Perlman]; flute player Johnnie Maguire (County
Fermanagh) [Ceol]. Ceol, vol. 3, no. 1. McNulty (Dance Music of Ireland), 1965; pg. 10.
Mulvihill (1st Collection),
1986; No. 179, pg. 49 (appears as “McDermoth’s Reel”). Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 78. Copley Records EP9-20 (45 RPM), Paddy
O’Brien (195?). Front Hall SHR‑024, Fennig's All‑Star String Band ‑
"Fennigmania" (1981. Learned from the McCusker Brothers Ceili Band).
Gael-Linn CEFCD 151, Buttons and Bows - “Gracenotes.” Outlet OAS 3030,
Josephine Keegan. Solo 7012, Tommy Peoples - “A Traditional Experience with
Tommy Peoples” (appears under the title “The New Policeman”).
X:1
T:Master McDermott’s Reel
T:McDermot’s Reel [1]
R:Reel
L:1/8
M:4/4
K:D
DFF2 DFAB | defe dBB2 | AFF2 BFAF |
E2EF E2FE | DFF2 DFAB | defe dBB2 |\
AFF2 dFAF | EDFE D4 :: dff2 dfaf |
g2fe dBB2 | dBBA Bcde |\
fdgf e2fe | dfaf g2bg | fafe dBB2 |
AFF2 dFAF | EDFE D4 :|
McDERMOT'S REEL [2]. AKA and see “The Lansdowne Lass.”
The title is a reference to Ballyfarnon, County Roscommon, flute player Josie
McDermott (d. 1992), who composed the tune.
McDERMOT'S NO. 2. AKA and see “McDermott’s Hornpipe
[3].” Irish, Hornpipe. D Major. Standard
tuning. AABB. Similar to the “Flowers
of Antrim [1],” “Marquis of
Lorne [1],” “Sligo Fancy” family of
tunes. The tune is sometimes considered the last parts of a four-part hornpipe
recorded in 1922 by New York/County Sligo fiddler Michael Coleman under the name
“McDermott’s,” a name which has stuck. The first two parts of the Coleman piece
are also called “The Galway Hornpipe
[1]” or “The Baldheaded Bachelor.”
The set was named by Coleman, credited to Bunnanadden, County Sligo, fiddler
and publican Peter James McDermott (b. 1874), who had a strong influence on
Coleman when he was learning to play. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 33. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 118 (appears as “McDermott’s Hornpipe”)
X:1
T:McDermot’s No. 2
R:hornpipe
S:A homemade tape of Con Cassidy of
unknown provenance
Z:Transcribed by Larry Sanger
L:1/8
M:4/4
K:D
{a}fe|:dcdA FABA|GFGE CDEF|EFGA
Bdcd|(3efe (3dcB Ag{a}fe|
|dcdA FABA|GFGE CDEF|EFGA Bdcd|1
(3efe dc d2fe:|2 (3efe dc d2AG||
[FA]Ad2 [FA]AdA|FAdB GBFA|E=c~c2
Ec~c2|E=c~c2 (3ABc AG|
FAdA FAdA|FAdB GBFA|E2ed cABc|1 d2f2
{de}d2AG:|2 d2f2 d2||
McDERMOTT'S SHUFFLE. American, Reel. USA, New York State. D Major. Standard tuning. AB.
Source for notated version: John McDermott, 1926 (New York State), who
presumably composed it [Bronner]. Bronner (Old-Time
Music Makers of New York State), 1987; No. 4, pg. 27 (appears as part of
"Virginia Reel Medley").
McDONAGH’S. AKA and see “The Convenience,”
“The Knock on the Door.”
McDONAGH'S [1]. AKA and see “Charlie
Lennon’s,” “A Leitrim Reel.” Irish,
Reel. E Dorian. Standard tuning. AA’BB.
See also listing at: Alan Ng’s
Irishtune.info |
X:1
T:McDonagh’s Reel
M:C|
L:1/8
R:Reel
K:Edor
B2 A=c BEED | ~E2BE ~E2BE | BAFA D3E
| (3FED AD FDFA |
B2 A=c BEED | ~E2BE ~E2BE | BAGF
GABc |1 dBAG FD D2 :|2
DBAG FDFA |: d2 ef gfed f~B3 f~B3 |
d2 ef gfed | ceae ceae |
d2
ef gfed | f~B3 f~B3 | af (3gfe fdec | (3dcB AG FD D2 :| |
McDONAGH’S (REEL) [2] (Ríl Mhic Dhonncha). Irish, Reel. D Mixolydian (Breathnach): D
Major (Miller, Vallely). Standard tuning. AAB (Breathnach, Mulvihill, Vallely):
AABB (Miller). Named after flute player Larry McDonagh, of Ballinafad, County
Sligo. Sources for notated versions: flute player Matt Molloy [Breathnach];
fiddler Brendan Mulvihill [Mulvihill]. Breathnach (CRÉ III), 1985; No. 113, pg. 56. Bulmer & Sharpley (Music from Ireland), vol. 2; 25. Miller
(Fiddler’s Throne), 2004; No. 207,
pg. 129. Mulvihill (1st
Collection), 1985; No 60, pg. 16 (appears as “A Leitrim Reel”). Vallely (Armagh Piper’s Club Play 50 Reels), 1982; No. 38, pg. 19. Green
Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment
is Wealth" (1985). Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s
Banks” (2002).
See also listing at: Alan Ng’s
Irishtune.info |
T:McDonagh's Reel [2]
T:The Sailor's Jacket
B:Armagh Pipers Club, Play 50 Reels
M:4/4
L:1/8
K:D
defd A3 d|(3Bcd ef gfef|defe A3
B|cAGE ED D2:|
(3Abc fd Adfd|Acec fcec|(3AAA fd
(3Abc fd|efge fd d2|
(3Abc fd (3Abc fd|(3Abc ef g2
fe|defg a3f|gfeg fdd2||
McDONAGH’S (REEL) [3]. AKA and see “The Sailor’s Jacket.”
McDONAGH’S (REEL) [4]. AKA and see “Opera Reel [1].” A version of the reel
known in the United States as “The Opera Reel.” The title perhaps refers to
Bodhran player Johnny “Ringo” McDonagh, who played with the group De Dannan on
the album “Ballroom” (1987), on which this tune was recorded.
McDONAUGH’S CLOG. AKA and see “Dan Lowry’s,” “The Galway Hornpipe [1],” “McDermott’s Hornpipe [1],” “McDanaugh’s Clog.” Irish, Canadian; Hornpipe or
Clog. Canada, Cape Breton. Breton Books and Records
BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic
Records CX 44).
McDONALD’S FANCY. Scottish, Strathspey or Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland:
Reels and Rants), 1997; No. 123, pg. 30.
McDONALD'S MARCH. See “MacDonald’s March.”
Scottish, March (2/4 time).
McDONALD'S REEL. AKA and see "Lord
MacDonald(’s Reel [4]," "Virginia
Reel [1]" (Ford), "Leather
Breeches/Britches" and related tunes. Scottish, American; Reel. G
Major. Standard tuning. AABB. This reel, originally Scottish, was cited as
having been commonly played in Orange County, New York, under this name for
country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). It appears in a list of the
repertoire of Maine fiddler Mellie Dunham; the elderly Dunham was Henry Ford's
champion fiddler in the late 1920's. “Often used for the Virginia Reel,” says a
note in Ryan’s Mammoth, and dance
directions were printed with the melody. See also “Duke of Perth”/ "Love in a Village [3]” family of
tunes, which shares the ‘A’ part. Cole (1000 Fiddle Tunes),
1940; pg. 22. Ryan’s Mammoth Collection,
1883; pg. 46. Sweet (Fifer’s Delight),
1965/1981; pg. 47. White’s Unique
Collection, 1896; No. 55, pg. 10. Edison 51278 (78 RPM), Jasper Bisbee (Michegan), 1923.
X:1
T:McDonald’s Reel
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
B | d3e dBgB | dBgB aAAB | d3e dBgB
| AcBA BGGB | Bdde dBgB |
dBgB aAAB | Bdde dBgB | AcBA BGG ::
B | dgbg agbg | dgbg ageg |
dgbg agbg | dedc BGGE | DGBG AGBG |
DGBG AGEG | BAGF GFED | EFGA BGG :|
McDONNELL'S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABBCC'. O’Farrell (Pocket Companion, vol. IV), 1810; pg.
88. O'Neill (O’Neill’s Irish Music),
1915; No. 367, pg. 177.
X:1
T:McDonnell’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:D
ce A2 A3g | fgab fedc | d4 d2 :: A |
d3e dAFA | BG(FG) BG(FG) | egba gfed |
c2A2A2 GF | G2b2b3c’ | F2a2a3b |
gfed fedc | d2d2d2 :: e | f3g fdBd | gfge fdBc |
dBfe dcB^A | B2F2F2 de | f3g fdBd |
gfge fdBc | dBfe dcB^A |1 B B>B B2B2 :|2 Bdce dBAG :|
McDONNELL’S JIG. Irish, Jig. G Major. Standard tuning. AABB. Source for notated version:
Chicago tin whistle player Johnny Harling [Black]. Black (Music’s the Very Best Thing), 1996; No. 306, pg. 164.
X:1
T: McDonnell's Jig
C: Johnny Harling
Q: 325
R: jig
M: 6/8
L: 1/8
K: G
F | G3 gbg | e3 dBG | B3 dBG | BAG AFD |
E3 gbg | e3 def | gfe dBA | BGF G2 :|
A | B2 e efg | fed edA | B2 e efg | fdB e2 f |
gbg
f3 | efe dBG | B3 AGA | BGF G2 :|
McDONNELL’S RANT. See “McDonnell’s
(Slip Jig).”
McDONNELL’S (SLIP JIG). AKA – “McDonnell’s Rant.” Irish, Slip Jig. G Major. Standard tuning.
AABB’. The dates for the O’Farrell collection, printed by John Gow in London,
England, vary: O’Neill gives 1797, while Pat Sky gives 1804, based on an entry
in the Stationer’s Hall Registers. Source for notated version: copied from
O’Farrell’s National Irish Music
(1797) [O’Neill]. Mulvihill (1st
Collection), 1986; No. 7, pg. 108. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 23 (appears as
“McDonnell’s Rant”). O’Neill (Waifs and
Strays of Gaelic Melody), 1922; No. 188 (appears as “McDonnell’s Rant”).
X:1
T:McDonnell's Rant
M:9/8
L:1/8
S:O'Farrell's National Irish Music 1797
Z:Paul Kinder
K:G
c|:BAG GAG GDG|BAG GDG ABc|1BAG GAG GDG|cAF FAF ABc:|
2GBd gag gdB|cAF FAF ABc||:ded/2c/2 BGG BGG|ded/2c/2 BGG ABc|
1ded/2c/2 BGG
BGG|cAF FAF ABc:|2GBd gag gdB|cAF FAF ABc||
McDONOUGH’S HORNPIPE. AKA - “McDonaugh’s Clog”??? Fiddler FRLP001,
Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.”
McDOUGALL’S MARCH. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 251, pg.
27.
X:1
T:McDougall’s March
M:6/8
L:1/8
R:Jig or March
S:Kerr – Merry Melodies, vol. 4, No. 251
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
ABA AFA|d3d3|fed def|efe dcB|ABA
AFA|d3 d2g|fed Adc|(d3 d2)A:|
|:fgf fed|g3g3|fgf fed|efe dcB|ABA
AFA|d3 d2g|fed Adc|(d3 d2)A:|
McELLIGOTT'S FANCY (Roga Mic Elligott). AKA and see “Buck from the Mountains,” "Minstrel's Fancy," "Pioneer Clog," "Hanover Hornpipe." Irish,
Hornpipe. D Major. Standard tuning. AABB. Also appears as an untitled
Pennsylvania‑collected clog in Bayard, 1981; No. 416, pgs. 395‑396.
Source for notated version: McElligott [O’Neill]. O'Neill (Music of Ireland:
1850 Melodies), 1979; No. 1778, pg. 331.
X:1
T:McElligott’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1778
Z:AK/Fiddler’s Companion
K:D
F>G | A>FA>d B>GB>d |
A>FA>d f2 e>d | c>eg>f e>dc>d | (3efe (3dcB A2 F>G |
A>FA>d B>GB>d |
A>FA>d f2 e>d | c>eg>f e>dc>e | d2 f2 d2 :|
|: e>f | g>fg>e
c>AB>c | d>cd>e f2 e>f | g>fg>e c>AB>c | (3dfe (3dcB
A2 F>G |
A>FA>d B>GB>d |
A>FA>d f2 e>d | c>eg>f e>dc>e | d2 f2 d2 :|
McELROY’S FANCY. AKA and see “The Derryveeney,” “Kerry Polka [4],” “Pat Horgan’s [2]," “Pat Hogan’s
Two.” Irish, Polka. E Dorian. Standard tuning. AABB. Mulligan
LUN 027, Martin O’Connor – “The Connachtman’s Ramble” (1979).
X:1
T:McElroy's Fancy
T:Pat Hogan's Two
R:polka
D:Martin O'Connor: The Connachtman's Rambles
Z:id:hn-polka-114
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:2/4
L:1/8
K:Edor
B>c BA|FA D2|B>c BA|Be ed|B>c BA|FA D>E|FD AF|E2 E2:|
|:Be ed/e/|fe dA|Be ed/e/|fe d2|Be ed/e/|fe dB|AF dF|FE E2:|
McFADDEN'S (REEL) [1]. See "McFadden's Favorite."
McFADDEN’S [2]. AKA and see “The Glass of Beer,”
“John Stenson’s No. 2,”
“Listowel Lasses.”
McFADDEN’S (REEL) [3] (Ríl Mhic Pháidín). Irish, Reel. G Major. Standard tuning. AB. The
tune appears as an untitled reel in Treoir
1x, 2. Source for notated version: Paddy Glackin (Donegal) [Breathnach].
Breathnach (CRÉ III), 1985; No. 100,
pg. 51.
McFADDEN’S
(REEL) [5]. AKA and see “Donegal Rambler.”
McFADDEN'S FAVORITE (Roga Mic
Paidin). AKA ‑ "McFadden's." AKA and see "John McFadden's Favorite."
Irish, Reel. G Major. Standard tuning. AB (O’Malley, O'Neill/1850): ABB'
(O'Neill/Krassen): AA’B (Perlman): AABB’ (Miller). The 'A' part is similar to
"Reavy's" and is the same as “McCahill’s
Reel [2]." An untitled reel in Breathnach’s Ceol Rince na hÉireann IV (No. 111, pg. 57) is a related tune, as
is the “Gowel Reel.” Sources for notated
versions: fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo)
[Flaherty]; Charlie Sheehan (b. 1907. Bear River, North-East Kings County,
Prince Edward Island) [Perlman]; Kerry fiddler Paddy Cronin [Miller]; fiddler
and accordion player John McGrath (1900-1955) [O’Malley]. Flaherty (Trip to Sligo), 1990; pg. 79. Miller (Fiddler’s Throne), 2004; No. 208, pg.
129. O’Malley (Luke O’Malley’s Collection
of Irish Music, vol. 1), 1976; No. 73, pg. 37 (appears as “McFadden’s”).
O'Neill (Krassen), 1976; pg. 149. O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 1492, pg. 276. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 716, pg. 126.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 51. GTD Heritage Trad. HCD 008, Tommy Peoples -
"Traditional Irish Music Played on the Fiddle" (appears as
"McFadden's"). Shanachie 29009,
"Andy Irvine & Paul Brady" (appears as "John McFadden's
Favorite").
See also listings at: Jane
Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:McFadden’s Favorite
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 716
Z:AK/Fiddler’s Companion
K:G
G2 FG (3EFG DB,|G,A,B,D
EA,A,2|DG{A}GD EGaf|gedc BdAF|
G2 BG EGDB,|G,A,B,D EA,A,2|DG{A}GD
EGef|gedc BG G2||
gfga bgaf|gabg eaaf|gfga bgag|(3efg
dc BG G2|
gfga bgaf|gabg eaaf|gabf gedc|Baag
(3efg dB||
McFADDEN’S
GRAND-DAUGHTER. Irish, Reel. A Major. Standard tuning.
AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black,
inspired by O’Neill’s “McFadden’s
Handsome Daughter.” Black (Music’s
the Very Best Thing), 1996; No. 293, pg. 157.
X:1
T: McFadden's Grand-daughter
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: A
AF | EFAB c3 B | ABce f2 fg | agfe faec | dcBA F2 AF |
EFAB c3 B | ABce f2 ed | ceae fedc | BABc A2 :|
cd | ec (3cBc fdfa | gabg a2 ga | b2 af ecce | faec BABc |
ec
(3cBc fdfa | gabg a2 ga | beeg aecf | edBG A2 :|
McFADDEN'S HANDSOME
DAUGHTER (Ingean Datamuil Mic
Paidin). AKA
and see "Coming Home from
the Bog," “Donegal Lasses [1],”
"The Gardener's Daughter,"
“The Groves of Mt. Talbot,”
"I Wish I Never Saw You,"
"Magic Slipper [1],"
"Maud(e) Millar [2],” “The Montua,” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” "Paddy McFadden's [1],” “The Pride of Rockchapel."
Irish, Reel. A Major (Miller, O’Malley, O'Neill, Vallely): G Major (Alewine).
Standard tuning. AB (O’Malley): ABC (O'Neill, Vallely): AA'B: AABC (Miller).
Paddy Killoran recorded the tune on a c. 1950’s 78 RPM recording under the
title "My Love is
Fair and Handsome [1].” Luke O’Malley says John McGrath also called the
tune by the same title as Killoran. Parts of O’Neill’s three-part tune are
similar to parts of the alternate titles named above. “Coming Home from the
Bog” is a related tune. Sources for notated versions: fiddler player John
McFadden, originally from near Westport, County Mayo, then living in Chicago,
and a musician whose skills at playing and improvisation O’Neill admired
[O’Neill]; fiddler and accordion player John McGrath (1900-1955) [O’Malley].
Alewine (Maid that Cut Off the Chicken’s
Lips), 1987; pg. 25. Miller (Fiddler’s
Throne), 2004; No. 209, pg. 130. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 67,
pg. 34. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1289,
pg. 242. O'Neill (Dance Music of Ireland:
1001 Gems), 1907/1986; No. 554, pg. 103. Vallely (Learn to Play the
Fiddle with Armagh Pipers Club), 197?; No. 48, pg. 42. Vallely (Learn to Play the Tin Whistle with the
Armagh Pipers Club), vol. 3; 19. Cló
Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Green Linnet GLCD
3009, Kevin Burke - "If the Cap Fits" (1978). Green Linnet SIF 3018,
“Molloy/Peoples/Brady.” Shanachie SH-78010, Solas - “Sunny Spells and Scattered
Showers” (1997). “Music at Matt Molloy’s.” Four Men and a Dog – “Barking Mad.”
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:McFadden’s Handsome Daughter
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No. 1289
K:A
E3F ABcA|BABa ecAF|(3EEE FG A2 af|ecBd
cAAF|E3F ABcA|BABa ecAF|
(3EEE FG A2 af|ecBd cAAg||aece
fgaf|edcA BF ~F2|aece fgaf|edcB Ac (efg|
aece aecA|B2 cA BAFA|agfe fgaf|edcB
ABcd||c e2 f ecac|ecac f(B ~B2)|
c e2 f ecac|EFAe cA A2|ceef
ecac|ecac f(B ~B2)|cefg abaf|ec (3efg aecA||
McFADDEN'S MISHAP (Mio-ad Mic Paidin). Irish, Reel. G Major. Standard tuning. AB.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 637, pg. 115.
X:1
T:McFadden’s Mishap
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 637
Z:AK/Fiddler’s Companion
K:G
G2 DB, G,B,DB,|CB,A,B, CDEF|G2 DB,
G,B,DF|Ggdc BcAF|GGDB, G,B,DB,|
CB,A,B, CDEF|GFGf (3gfe dc|(3Bcd Ac
BG G2||g2 dB GBdf|gbag fdef|
G2 dB GBdB|cBAG FGAd|gedB GBdf|gbag
fgag|(3bag (3agf (3gfe dc|(3Bcd AG FDEF||
McFADDEN'S OWN REEL (Cor/Seisd Mic Paidin Fein). Irish, Reel. D Major. Standard
tuning. AB. O'Neill (Krassen), 1976; pg. 113. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979: No. 1293, pg. 243. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 558, pg. 103.
X:1
T:McFadden’s Own Reel
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
558
Z:AK/Fiddler’s Companion
R:Reel
K:D
(3FAF ED EA, {B,}(3A,G,A,|DFAc
dBAG|F2 af eA,A,A|(3Bcd AG FD D2|
(3FAF ED EA, {B,}(3A,G,A,|DFAF DFdB|AGFD
EA,A,A|(3Bcd AG FD D2||
dAFA dgfe|dAFd BE {F}(3EDE|dAFA
dgfe|dABG FD D2|d2 {d}dc dgfe|
d2 {d}cA BE {F}(3EDE|dcBc dbaf|dBAG
FAdA||
McFARLANE
O' THE STROATS O' BURNIEBOOZIE. Scottish, "Bothy Ballad"
(2/4 time). G Major. Standard tuning. AB. Composed by Willie Kemp. It is the
melody for a bothy ballad, or a song composed and sung by laborers at the end
of the 19th century. These laborers
were itinerant workers who lived for an agricultural season in small rooms,
called bothies, which were sparse and bare with only the simplest of
furnishings. Hunter (The Fiddle Music of
Scotland), 1988; No. 364. Neil (The
Scots Fiddle), 1991; No. 72, pg. 96.
McFARLANE'S DELIGHT. Irish, Double Jig. D Major. Standard tuning. AAB. O'Neill (O’Neill’s Irish Music), 1915; No. 193,
pg. 105.
X:1
T:McFarlane’s Delight
M:6/8
L:1/8
R:Jig
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
B | AFD DFA | BGE EFG | AFD DFA |
ecA Ace | AFD DFA | BGE EFG | AFD GFE |
D2D D2 :| A | AFA Adf | gfg efg | afd
dcd | ecA A2G | AFA Adf | gfg efg | afd Adc |
ded d2A | AFA Adf | gfg efg | afd
dcd | ecA AGF | GBd cec | dfd efg | afd gec | d2d d2 ||
McFARLANE'S LAMENT (Caoine Mic Farlain). Irish, Air (3/4 time, "mournful"). G
Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 521, pg. 91.
X:1
T:McFarlane’s Lament
M:3/4
L:1/8
R:Air
N:”Mournful”
S:O’Neill – Music of Ireland (1903), No. 521
Z:AK/Fiddler’s Companion
K:G
B>A | G4 d>B | A2 Gz d>B |
A2 G2 G2 | G4 Bd | e2 e2 g>e | d4 e>d |
B2 e2 d>B | A4 G>A/2B/4 | A2
Gz B>d | e2 ef g>e | d4 ed | B2 B2 d>B |
A2 Gz GA/B/ | A2 G2 G2 | G4 ||
McFARLANE'S RANT. Scottish, Reel. D Major. Standard tuning. AABB. Gow (Complete Repository), Part 4, 1817; pg.
37.
X:1
T:McFarlane’s Rant
M:C|
L:1/8
R:Reel
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:D
g|f>A A/A/A {f}e>dBd|f>A
A/A/A e2 de|f>A A/A/A {f}e>dBf|aefd {f}e2d:|
|:e|(fd)(fd) eBBg|(fd)(fd) {f}e2
de|(fd)(fd) eBBf aefd {f}e2d:|
McFARLEY'S (Ríl Mhic Fhearghaile). Irish, Reel. Ireland, Donegal. D
Major. Standard tuning. AABB. The title “McFarley’s” is what Donegal fiddler
John Doherty called this tune, a northern Ireland version of “The Maids of Castlebar,” a variant of
the well-known reel “Maid Behind the
Bar [1].” It is a popular reel in County Donegal, recorded by several
fiddlers from that region. Source fro notated version: Donegal fiddler John
Doherty, 1966 [Breathnach]. Breathnach (CRÉ
V), 1999; No. 110, pg. 57. Gael-Linn CEFCD 072,
John Doherty – “John Doherty – Taisce.” Green Linnett GLCD 1117, Altan -
"Harvest Storm" (1992). Nimbus NI 5320, Ciaran Tourish, Dermot
McLaughlin, Tommy Peoples, Seamus Gibson, Seamus Glackin, Kevin Glackin -
“Fiddle Sticks: Irish Traditional Music from Donegal” (1991).
See also listing at: Alan
Ng’s Irishtune.info |
X:1
T:McFarley's
M:4/4
L:1/8
Q:230
S:Altan
R:reel
Z:Transcribed by Philippe Varlet
K:D
(3ABc|dD (3DDD {G}EDB,D|A,DFA
{d}BAFA|dDcD BDAD|{G}EDAD {d}BAFA|
dD (3DDD {G}EDB,D|A,DFA
{d}BAFA|(3Bcd ec dBAF|{G}EDEF D2 :||
ag|fgab afdg|fdad bdad|efga
ge=c=f|e=cg=c a=cg=c|
fgaf bfaf|gfeg fdBc|defd ecdB|AFEF
D2 :||
McFARSANCE'S
TES(TA)MENT. AKA and see "MacPherson's Farewell/Lament/Rant."
Scottish, Air (4/4 time). F Major. Standard tuning. ABCD. Earliest known
version of "MacPherson's Lament/Farewell," found in the Margaret Sinkler Manuscript, 1710.
Alburger (Scottish Fiddlers and Their
Music), 1983; Ex. 48, pg. 72.
McGANN'S. AKA and see "The Golden
Keyboard [1]," "Mulhaire's
Reel."
McGEE’S REEL. Cajun, Reel. The title honors Cajun fiddler Dennis McGee. Ducan (The
Cajun Fiddle). Beausoleil – “Cajun Conja.”
McGETTRICK'S. Irish, Reel. G Major. Standard tuning. AB (Black): AABB (Taylor). From whistle
player James McGettrick of County Sligo. Sources for notated versions: a
recording by accordion player Paddy O’Brien and fiddler James Kelly [Black];
set dance session music at Na Píobairí Uilleann, recorded in the 1980's
[Taylor]. Black (Music’s the Very Best
Thing), 1996; No. 167, pg. 88. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 3. Green
Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment
is Wealth" (1985). Shanachie 29015, Paddy O'Brien & James Kelly ‑
"Is it yourself?" (1979). Shanachie 34014, James Kelly, Paddy O’Brien
& Daithi Sproule – “Traditional Music of Ireland” (1995).
X:1
T: McGettrick's
S: J.Kelly - P.O'Brien
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
d2 ge dBAG | (3FED AD BDAD | GFGE DEGD | FAdc BGBc |
d2 ge dBAG | (3FED AD BDAD | GFGE DEGD | FAdc BGGB ||
gedB cAAg | fdad bdad | gfge dege | dega bggf |
gedB
cAAg | fdad bdad | gfge dege | dega bg g2 ||
McGIBBNEY’S FANCY. AKA – “McGivney’s Fancy,” “McGibbney’s Hornpipe.” AKA and see “Cuckoo’s Nest,” “Eamonn McGivney’s,” “Jacky Tar,” “The
Mower,” “An Spealadóir.” Irish,
Hornpipe. E Minor. Standard tuning. AB. The tune, remarks Paul de Grae, was “named
for Eamonn McGivney, Clare-based fiddler and the subject of the comic song “The
Ordnance Survey Man” (his day job).” Taylor (Music for the Sets: Yellow
Book), 1995; pg. 38 (appears as “Eamonn McGivney’s”). Shanachie 29015, Paddy O’Brien. Shanachie 34014, John Kelly,
Paddy O’Brien, Daithi Sproule – “Traditional Music of Ireland” (1981).
X:1
T:McGibbney's Fancy
R:hornpipe
D:Paddy O'Brien, SHA 29015
M:C|
L:1/8
Z:transcribed by Philippe Varlet
K:Emin
eE|Beed (3efe ef|edBA {Bd}B3 e|(3ded
de (3ded gd|edBG (3ABA BA|
(3GAG GA Bgfd|edB^c dgeE|EFGA BcBA|1
(3GAG E2 E2:|2 (3GAG E2 (3EFE||
GA|BGEG (3BAG EG|BAGF EFGE|AD (3DED
DEFG|AGFE DEFD| G3 A Bgfd|edB^c
dgeE|EFGA BcBA|1 (3GAG E2 (3EFE:|2
(3GAG E2 E2||
McGIBBNEY’S HORNPIPE. See “McGibbney’s
Fancy.”
McGINLEY’S. AKA and see “Man of the House.”
McGIVNEY’S FANCY. See “McGibbney’s Fancy,” “Eamonn McGivney’s.”
McGLINCHEY’S
(HORNPIPE). AKA and see “Crossing the Fence,” “Over the Broken Bridge,” “Over the Fence.” Irish, Hornpipe. AABBCC. The
tune appears as “Crossing the Fence” on the CD by Turas, and as “Over the
Broken Bridge” on the Folan/Davey CD.
McGLINCHEY’S (JIG). AKA and see “The/A Bush on
the Hill [2]” [2], “The Lowdown Jig.” Irish, Jig. The tune has been credited to
Brendan McGlinchey, although Brendan told guitarist Paul de Grae he did not
compose the melody and does not know who did. McGlinchey supposed it may have
been from a 1960’s recording of Irish and Irish-American musicians in the
United States, which was picked up by musicians in Ireland after Ciarán Mac
Mathúna's collecting trips to New York and Philadelphia in the early 60s.
Source for notated version: fiddler Jimmy McHugh [Bulmer & Sharpley].
Bulmer & Sharpley (Music from Ireland),
1974, vol. 2, No. 43. Green Linnet SIF 1027, Mick
Maloney – “Strings Attached.”
McGLINCHEY'S REELS. Composed by Brendan McGlinchey. Green Linnet
SIF 3037, Silly Wizard - "Golden, Golden" (1985).
McGLINCHY’S [1]. AKA and see “Fahy’s [3],” “The Galway Reel [2],” “Redican’s (Reel).” Irish, Reel. The
tune was recorded under this title by P.J. Hernon.
McGLINCHY’S [2]. AKA and see “Splendid
Isolation.” Irish, Reel. A Minor. Standard tuning. AABB. The tune was composed
by Armagh fiddler Brendan McGlinchey, originally titled “Splendid Isolation”
and set in the key of G Minor. He paired it with another of his compositions, “Lawries.” Green Linnet
GLCD 1200, Lunasa – “Otherworld” (1999).
X:1
T:McGlinchey's
T:Splendid Isolation
R:reel
Z:From Lunasa (in set with The
Floating Crowbar)
Z:Transcribed by Gerry Strong
M:C|
L:1/8
K:Am
|:GA{B}AG AedB|~A3 B ~G2 (3Bcd)|eBdB
~A2 Bd|eaag a3 b|
c'abg ae ~e2|~g3 agedB|~A3 B G2 Bd|eBdB
A2 z2:|
|:agba ge ~e2|aged (3Bcd) ed|BA ~A2
(3Bcd) ed|BA ~A2 ~G4|
EA{B}AG AedB|~A3 B~G2 (3Bcd)|ea ~a2
gaba|gedB A2 z2:|
McGLYNN’S. Irish, Hornpipe. From accordion player Sean McGlynn, tragically
murdered in the Bronx in the 1970's. MKM 7590, Mike
McHale – “The Schoolmaster’s House” (2000).
McGOLDRICK'S REEL (Ríl Mhic Chualraic). Irish, Reel. D Major. Standard tuning. AABB.
Source for notated version: accordion player Bill Harte, 1968 (Dublin, Ireland)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 155, pg. 82. Inis 001, “Beginish.”
X:1
T:McGoldrick’s
R:Reel
L:1/8
M:4/4
K:D
d2Ad cdAd | cdef g2fe | d2Ad cdAF |
GEEF GABc | d2Ad cdAd | cdef g2fg |\
afge fdec | d2AF GABc || d2fd Adfd |
d2fa gece | d2fd Adfd |\
ceAc eAce| d2fd Adfd | cdef g2fg |
agfe fdec | d2AF GABc||
McGOVERN'S. Irish, Reel. Dorian Discovery DIS-80103,
Helicon - "Horizons" (1992. Learned from Chicago flute player Mike
Flynn).
McGOVERN’S FAVORITE (Rogha Mhic Shamhráin). AKA and see “The Conneberry Reel,” “Cottage in the Grove [1],” “Maurice Casey’s Fancy,” “Mike Flynn’s,” “Village in the Grove.” Irish, Reel. A
Dorian. Standard tuning. AAB. The tune was recorded by Sligo fiddler Paddy
Killoran in June, 1939, under this title (backed with “Tom Ward’s Downfall”).
O’Neill prints the tune as “Maurice Casey’s Fancy,” while Joyce, Goodman and
Roche have it as “Cottage in the Grove.” See also the similar-sounding “Coen’s Memories,” composed by east
Galway fiddler Tommy Coen. Source for notated version: Sligo/New York fiddler
Paddy Killoran [Breathnach]. Breathnach (CRÉ
III), 1985; No. 83, pg. 42. Lyth (Bowing
Styles in Irish Fiddle Playing, vol. 1), 1981; 69.
X:1
T:McGovern's Favourite
B:Ceol Rince na hÉireann III, no. 83
N:transposed from Ador
Z:transcribed by Paul de Grae
R:reel
M:4/4
L:1/8
K:Edor
E3 z EDB,A,|DEFA BAFA|Beec dBAF|EGFD
EDB,A,|
E2 (3EEE DB,A,B,|DEFA BAFA|Beec
dBAF|EGFD E3 z :|
~e3 f edBc|(3dcB AF DEFA|Bdce
dBAF|EGFD EDB,e|
~e3 f edBc|dBAF DEFA|Be ~e2
dBAB|(3ddf ec dBAF||
McGRAW'S FORD. AKA and see “McCraw’s Ford ,” "Brown's Dream [2]."
McGREAVY’S (JIG). Irish, Jig. Source for notated version: fiddler Jimmy McHugh [Bulmer
& Sharpley]. Bulmer & Sharpley (Music
from Ireland), vol. 4, No. 57.
McGREEVY’S FAVORITE.
AKA and see “Francie Donnellan’s
Reel.” Irish, Reel. D Mixolydian. Standard tuning. AABB. Named for Chicago
fiddler Johnny McGreevy. The tune appears in CRÉ V under the title “Francie Donnellan’s Reel,” honoring an east
Clare fiddler and Tulla Céilí Band member. Claddagh
CC60CD, Mary McNamara – “Traditional Music from East Clare.” Green Linnet SIF
1023, Joe Shannon & Johnny McGreevy – “The Noonday Feast” (1980).
X: 1
T: McGreevy's Favorite
N: Named for Johnny McGreevy of Chicago
M: 4/4
L: 1/8
Q: 350
S: Treoir 32/4
Z: Transcribed by Bill Black
R: reel
K: Dmix
DEFA d2 cA | GEED EFGB | Addc d=cAB | cAGE EDCE
|
DEFA d2 cA | GEED EFGB | Addc d=cAB | cAGE ED D2
:|
aged c2 cd | edcd efge | aged cded | cAGE ED D2
|
ed
(3efg aged | d=cAB cAGB | AEED EGAB | cAGE ED D2 :|
McGREGOR’S FREEDOM
MARCH. Scottish, March (4/4 time). F
Major. Standard tuning. AB. Composed by I. Munro. Hunter (Fiddle Music of Scotland), 1988; No. 353.
McGUCKIAN’S REEL (Ríl Mhig Eochaín). Irish, Reel. Ireland, County Tyrone. E Dorian
(‘A’ part) & D Major (‘B’ part). Standard tuning. AAB. Source for notated
version: from the early-mid-20th century collection of schoolteacher and
fiddler Michael ‘Master’ McDermott (Carrickmore, southern County Tyrone), who
learned his tunes from local musicians [Breathnach]. Breathnach (CRÉ IV), 1996; No. 194, pg.
McGUFFIM’S. AKA and see “Miss Plaudy’s.”
Reel. Ryan’s Mammoth Collection, 1883.
McGUINNESSES’ FROLICS. Irish, Reel. G Major. Standard tuning. AABB. Source for notated version:
John Clancy (Bronx, NY) [Mulvihill]. Mulvihil (1st Collection), 1986; No. 217, pg. 58.
McGUIRE’S (JIG). Irish, Jig. Talcon Records KG240, Paddy Cronin – “The House in the Glen”
(197?).
McGUIRES LAMENT.
Irish, Slow Air (3/8 time). G Major. Standard tuning. AB. O’Farrell (Pocket
Companion, vol. IV), c. 1810; pg. 100.
X:1
T:McGuires
Lament
M:3/8
L:1/8
R:Slow Air
S:O’Farrell
– Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:G
G/B/ |
d>ed | dBg | e>dB| A2G | G2 || (3d/e/f/) | gfg | e>fg | agf | e2d |
d2 (3d/e/f/ | gfg | efg | abg | fdB
| g2 (3G/B/d/ | efe/d/ | efg/e/ | dBG | A2G | G2 ||
McHUGH’S (JIG) [1]. Irish, Jig. Jimmy McHugh was a fiddler who was born near Castlederg,
but who was raised in Castlefin in Donegal. He died in Glasgow where he had
spent most of his life. Source for notated version: fiddler Jimmy McHugh
[Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 63.
McHUGH’S (JIG) [2]. Irish, Jig. Source for notated version: fiddler Jimmy McHugh [Bulmer
& Sharpley]. Bulmer & Sharpley (Music
from Ireland), vol. 4, No. 58.
McILLHATTON’S RETREAT. Irish, Reel. D Major. Standard tunning. AA’BB’. Composed by Kerry
fiddler Máire O’Keeffe
(now residing in Galway). Cranford (Jerry
Holland’s), 1995; No. 104, pg. 30. Gael-Linn
Records, Jackie Daly - “Many’s a Wild Night.”
McINTOSH’S LAMENT (Cumha Mhic a h-Arasaig). AKA – “MacIntosh’s Lament.”
Scottish, Slow Air/Pibroch (3/4 time). A Mixolydian. AEac# tuning. AABB (and 6
variations). A scordatura setting in the original by James Oswald (1710-1796),
appears in the twelfth book of his Caledonian Pocket Companion, and was
"obviously based on bagpipe material" (Alburger). It was, at one
time, a popular and familiar piece in the Highlands, and Christine Martin
(2002) points out that it was contained in at least four 18th
century collections of Scottish music, although the first fiddle pibroch
version appears in Patrick McDonald’s
Collection (1784), given in both pipe settings and a fiddle version (like
Oswald, in scordatura tuning). “Old,” remarked Nathaniel Gow in the Sixth
Collection (Edinburgh, 1822), and indeed, the lament was said to have been
composed in honor of Lachlan, the 14th laird of MacIntosh, in 1526,
or, as some have said, for William, the victim of a homicide in 1550 by the
Countess of Huntly. It was predicted the Lachlan would come by his death by way
of his prized black horse. Indeed, on his wedding day Lachlan chose this
spirited and beautiful mount to ride to the church, but the animal proved so
spirited as to be unmanageable, and Lachlan pulled his pistol and dispatched
it, remounting on a piebald horse to finish the journey. Once the ceremony at church was complete the
party set forth for their new home, albeit bride and groom travelling
separately, he and his friends following somewhat behind the bride and her
party. When Lachlan passed the body of
the black horse, the piebald shied violently, throwing Lachlan and killing him.
In a letter from the Rev. Alexander MacGregor, Inverness, to Mr. Alexander
Carmichael, Cregorry, the former wrote:
***
Tradition also relates that the afflicted widow of the MacIntosh…not
only composed the
beautiful air of the Lament, but chanted it as she moved forward at the head
of the bier at
her husband’s funeral, and marked the time by tapping with her fingers
on the lid of the
coffin. This, it is said, she continued to do for several miles, from
the family castle at
Dalcross to the burying-ground at Petty, and ceased not until she was
torn away from
the coffin, when it was about to be lowered into the grave.
***
Source for notated version:
“Communicated by Mr. Campbell of Ardchattaan” [McDonald]. Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 32, pg. 35. Gow (Sixth Collection of Strathspey Reels), 1822;
pgs. 2-3. Martin (Traditional Scottish
Fiddling), 2002; pgs. 30 & 63. Patrick
McDonald Collection, 1784.
X:1
T:MacIntosh’s Lament
M:C
L:1/8
R:Air
N:”Slow”
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:A
c2 c>c c2c2|c2 B>A A4|B2 AB c2c2|{d}c2 B>A
F4|A2 E>F A2A2|
A2 F>E E4|F2 E>F A3c|{c}B2 A>F4|A2 A>B c2c2|c2 B>A A4|
{c}B2
A>F F4|A2 F>E E4|F2 E>C C2 E2|A,6 AB|c2 e>c “tr”B2A|[C8E8A8||
“variation
1st”
c2 (3ABA c2
(3ABA|c2 (3ABA c2 (3ABA|B2 (3ABA c2 (3ABA|B2 (3FGF B2 (3FGF|
A2 (3EFE A2
(3EFE|A2 (3EFE A2 (3EFE|F2 (3EFE A2 (3EFE|B2 (3FGF B2 (3FGF|
A2 (3ABA B2
(3BcB|c2 (3cdc A2 (3ABA|B2 (3BcB F2 (3FGF|A2 (3ABA E2 (3EFE|
F2 (3FGF CC
E2|A,6 AB|c2 ec “tr”B3A|[C8E8G8]||
“variation
2nd”
M:6/8
L:1/8
c2 A
c2A|c2A c2A|B2A c2A|B2F B2F|A2E A2E|A2E A2E|F2E A2E|B2E B2E|
A2~(A
B2)B|c2(c A2)(A|B2)(B F2)(F|A2)(A E2)(E|F2)(F C2)E|A3 z2 A/B/|c>dc
“tr”B2A|[C3E3A3]||
“variation
3rd”
AB|.c<(cA)
.c>(cA) .c<(cA) .c<(cA)|.B<(BA) .c<(cA) .B<(BF)
.B<(BF)|.A<(AE) .A<(AE) .A<(AE) .A<(AE)|
.F<(FE)
.A<(AE) .B<(BF) .B<(BF)|AAA BBB ccc AAA|BBB FFF AAA EEE|FFF C>E A,2
AB|.c<(c>A) “tr”B4 A2|A4||
“variation
4th”
M:3/4
L:1/8
c2 A>B
c2|c2 B>A A2|B2 A>B c2|{c}B2 A>F F2|A2 E>F A2|A2 F>E E2|
F2 EF
A>c|{c}B2 A>F F2|A2 A>B c2|{d}c2 “tr”B>A A2|{c}B2 A>F F2|
{G}A2
F>E E2|F2 E>C C>E|A,4 AB|cc “tr”B3A [C4E3A4]||
McKENNA'S DREAM. AKA and see "The
Greenfields of America [1]," "Molly Brallaghan [1]," "Captain Rock(e’s) [1],"
"The Carpenter's March,"
“Farmer Hayes,” "The Grand Conversation of
Napoleon," "Napoleon's
Farewell to Paris," "Pratie
Apples," "Under the Rose,"
"Raking Paudheen Rue,"
"Raking/Rakish Red‑haired
Pat," "Bold Sportsman,"
"Bold Undaunted Fox."
McKENNA'S JIG. AKA and see “Séamus
Connolly’s Jig [2].”
McKENNA'S [1] (REELS). AKA and see “The Joys of Youth.” Irish, Reel(s). Two
tunes in a set recorded by flute player John McKenna (1880-1947)
for Decca in 1934, one called “The
Happy Days of Youth [1],” paired with “Colonel Rogers.” McKenna was
accompanied by Michael Gaffney on banjo; both originally were from County
Leitrim. The tunes became so associated with the flute player’s name that they
have often simply been referred to as “John McKenna’s,” “Seán McKenna’s” or “McKenna’s Reels.” Treoir. Claddagh
4CC 39, “The Pipering of Willie Clancy vol. 2” (1983. Appears as “McKenna’s”).
Gael-Linn CEFCD 103, Frankie Gavin – “Croch Suas É/Up and Away” (1983).
See also listings at:
Alan Ng’s Irishtune.info |
X: 1
T: McKenna's [1]
T: Colonel Rogers
S: Treoir
M: 4/4
L: 1/8
Q: 350
R: reel
Z: Transcribed by Bill Black
K: G
(3DEF | GBdB cAFA | GABc dBcA | GBdB cAFA | GB
(3AGF GDB,D |
GBdB cAFA | GABc defg | afge fdcA |1 GBAF G2 :|2
GBAF G4 ||
fd (3d^cd ed=cA | dggf gbag | fdge fdcA | GB
(3AGF G2 eg |
fdge fdcA | dg (3gfg gbag | fd (3d^cd ed=cA | GBAF G4 :|
McKENNA'S [2]. AKA and see “The Old
Swallowtail.” Irish, Reel. A Dorian. Standard tuning. AABB. Not either of
the more popular set of reels called “McKenna’s” that also have the titles “The
Happy Days of Youth,” paired with “Colonel Rogers.” The melody has similarities
with the “Swallow’s Tail Reel,”
enough so that “McKenna’s” is sometimes called “The Old Swallowtail.” Brendan
Breathnach mentioned that “McKenna’s” was one of several Ulster names for “The
Swallow’s Tail.” McGuire and Keegan (Irish
Tunes by the 100, vol. 1), 1975; No. 50, pg. 13.
Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Alan
Ng’s Irishtune.info |
X:1
T:McKenna’s [2]
M:C|
L:1/8
R:Reel
K:Ador
cB | Aa (3aaa ba (3aaa | baab aged | eg (3ggg ag (3ggg | agbg aged |
ea (3aaa ba (3aaa | baab ageg | aged edBA | GABG A2 :: gf |
eA (3AAA eABA | Bdef gedc | BG (3GGG DG (3GGG | Bdef gafg |
eA (3AAA eABA | Bdef g2 fg | aged edBA | GABG A2 :|
McKENZIE HAY. Scottish, Strathspey. D Major. Standard tuning. AB. Composed by the
influential concert fiddler and composer James Scott
Skinner (1843-1927), in honor of McKenzie Hay, President of the Caledonian
Society of London. Hunter (Fiddle Music
of Scotland), 1988; No. 109. Rounder Records 7057,
Jerry Holland – “Parlor Music” (2005).
X:1
T:McKenzie Hay
C:James Scott Skinner
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
G|F<DF>A d2
d>f|e>cd>b c<aa>=c|B<Gd>B A2 F>D|
E>A^G>B (3ABA
(3=GFE|F<DF>A d2 d>f|e>cd>b c<aa>=c|
(3BGB (3dcB (3Afe (3dcB|(3ABA (3GFE
F<D D||
g|f<dg>e a2
f>d|e>cd>B c<AA>g|fdge afbg|a>fg>f f<dd>e|
f<dg>e a2 f>d|e>cd>B
c<AA=c|(3BGB (3dcB (3Aag (3fed|(3cBA (3GFE f<D D|]
McKENZIE HIGHLANDERS. Scottish, Pipe March. A Mixolydian. Standard tuning. AAB.
X:1
T:McKenzie Highlanders
B:Master Method for Highland Bagpipe
(1953)
Z:Nigel Gatherer
M:2/4
L:1/8
K:Amix
e/d|cB/c/ A/>B/c/>d/|eA
Ae/d/|cB/c/ A/>B/c/>d/|e2 ea|
cB/c/ A/>B/c/>d/|eA Ag|BA/G/
gB/G/|d2 d:|]
g|ac/A ef/d/|eA Ag|ac/A/ ef/d/|e2
eg|
ac/A ef/d/|eA Ag|BA/G/ gB/G/|d2 dg|
ac/A ef/d/|eA Ag|ac/A/ ef/d/|e2 eg|
ag/f/ gf/e/|fe/d/ eg|BA/G/ gB/G/|d2
d|]
McKINLEY'S MARCH. AKA – “McKinley.” Old-Time, March (cut time). C Major. Standard tuning.
AABCDEE. The title may refer to William McKinley (1843-1901), 25th President
of the United States, who was assassinated on September 6th, 1901,
by an anacrhist factory worker named Leon Czolgosz during a visit to the Pan
American Exposition in Buffalo. His murder inspired several old-time songs,
including Charlie Poole’s “White House Blues” and the Carter Family’s
“Cannonball Blues.” Pug Allen of Stuarts Draft, Augusta County, Va., played a
tune called “McKinley,” recorded by Mike Yates in 1980 (see Musical Traditions
MTCD321-2). Sources for notated version: Kenny Baker and Howard Forrester
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 85.
X:1
L:1/8
M:2/4
S:Howdy Forrester, transcribed by John Hartford
K:C
c/B/|cGEG|c/B/c/d/ cc/d/|c/A/G/F/ E/C/E/G/|D>E DA/c/|BGDG|B>c BB/c/|
BGEG|1 c3:|
L:1/8
M:5/8
|2 c3 Gc||
L:1/8
M:2/4
d|e2f2|d>c BG|
L:1/8
M:2/8
cd|
L:1/8
M:2/4
e2f2|d>c B>G|(c2 c>)d|c3e||g2 ea|g2 c’a|g2 ea|ge/g/fd|A e/g/ fd|
AA/c/
BG|(c2 c>)d|c3
McKINNON'S BROOK. Scottish, Strathspey. Maggie's Music MM107,
"Music in the Great Hall" (1992).
McKINNON'S JIG. English, Jig. A Mixolydian. Standard tuning. AABB. A modern composition
by editor Michael Raven. Raven (English
Country Dance Tunes), 1984; pg. 204.
McKINNON'S LAMENT. English, Waltz or Slow Air. A Mixolydian. Standard tuning. One part. A
modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 204.
McLACHLAN’S JIG. Scottish, Jig. A Major.
Standard tuning (fiddle). AAB. Source for notated version: from the 1974
playing of accordion player Iain McLachlan (South Uist, Outer Hebrides)
[Miller]. Miller (Fiddler’s Throne),
2004; No. 76, p. 57.
McLA(U)CHLAN'S
SCOTTISH MEASURE. AKA and see “Inverness Scots
Measure.” Scottish, Scots Measure. D Major. Standard tuning (fiddle). AB
(Howe): AABB (Gow). Alburger (1983) states the tune could have been written by
John McLaughlan (Johnson {1984} says it was), a fiddler working around
Edinburgh at the end of the seventeenth century (he is known to have played
violin in an orchestral concert in Edinburgh in 1695). Some of his violin sets can
be found arranged for lute in the Balcarres
MS (c. 1700), and this tune appears in that and in Playford's 1700 ‘’’Original
Scots Tunes’’’. It also appears in the
Gillespie Manuscript of Perth, 1768. The tune was used by Robert Burns for
one of his songs, “Nae gentle dames, tho’ ne’er sae fair”, from the Scots
Musical Museum (1788, No. 117), although it is considered inappropriate for the
verse, as it has an extended compass and hard-to-sing skipping intervals.
Carlin (Gow Collection), 1986; No.
138. Gow (Complete Repository), Part
2, 1802; p. 3. Howe (1000 Jigs and Reels),
c. 1867; p. 136 (appears as “M’Lachlan’s Scotch Measure”).
X:1
T:McLauchlanes Scottish Measure
M:C
L:1/8
R:Strathspey
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
K:D
F>E | D3F (EDE)F | A2E2E2 F>E
| D3F (EDE)F | (AF)ED ~d3e | f>edf ~edBe |
(dB)(AF) E3F | (DE)(FG) ABdA |
F2D2D2 :: f>e | d2a2 (fg)af | {f}b2 e2e2 f>e |
d2a2 fgab | (ag)fe ~d3e | f>edf
e>dBe | dBAF E3F | (DE)FG (AB)dA | F2D2D2 :|
McLEAN OF PENNYCROSS. Scottish, Pipe March (2/4 time). A Major. Standard tuning (fiddle).
AABB'CCDD'. Source for notated version: Arthur S. Robertson (Scotland)
[Hunter]. Hunter (Fiddle Music of
Scotland), 1988; No. 349.
McLEAN'S FAVORITE
("Roga Mic Leiginn" or "Roga Mic Giolla-eain"). AKA and see "MacLean's Favorite." Irish, Reel. E
Minor. Standard tuning (fiddle). AA'B. O'Neill (Music of Ireland: 1850
Melodies), 1979; No. 1317, p. 247. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 579, p. 106.
X:1
T:McLean’s Favorite
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1317
Z:AK/Fiddler’s Companion
K:Emin
gf |: edBA GABc | dGBG dGBe | edBA
GABA |1 Bee^d efgf :|2
Bee^d e2 || e2 | defg afdf | e^def
e=dBe | defg afdf |e^def d2 d2 |
defg afdf | e^def e=dBf | g2 ge f2
f^d | efe^d efgf ||
McLEAN'S
LAMENTATION [1]. Irish, Air (6/8 time). D Dorian. Standard. AABB. Roche Collection, 1982, vol. 1; No. 76, pg. 35.
McLEAN'S
LAMENTATION [2] (Uaill-Duba Miclain). Irish, Slow Air (6/8 time). D Mixolydian.
Standard tuning. ABC. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 78, pg. 14.
X:1
T:McLean’s Lamentation [2]
M:6/8
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 78
Z:AK/Fiddler’s Companion
K:D
AGE DEG | AGE GEC | AGE DEG | AB=c
E2 {F/E/}D | AGE DEG |
AGE GEC | AGE cBA | GED D2 ||
(3A/B/c/ | d>ed ded | =cBc EDC |
d>ed ded | cAc d2A | d>ed ded
| =cBc EDC | AGE cBA | GED D2 ||
D | DFA DFA | CEG EDC | DFA DFA |
GAB BAF | DFA DFA |
GEc CDE | AGE cBA | GED D2 ||
McLEAN’S PIPES. Scottish, Jig. D Major. Standard.
AABB. Kerr (Merry Melodies), vol. 4;
No. 252, pg. 27.
X:1
T:McLean’s Pipes
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 252 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
fef d2d | fef a3 | fef d2d | g2f e3
| fef d2d | fef a3 | ABA def |e3d3 :|
|: aba fdf | (a3 a2)f | =gag dBd |
(=g3 g2)e | aba fdf | gab afd | ABA def | e3d3:|
McLENON’S REEL. American, Reel. B Minor. Standard. AABB. Composed by New Hampshire
composer, accordion and piano player Bob McQuillen, who as a high school
teacher often names tunes after his students; this one is for Shawn McLenon, he
told Susan Songer (1997). Songer (Portland
Collection), 1997; 133.
McLEOD'S (REEL). Generally an Old‑Time title (known to Uncle Jimmy Thompson, for
one). AKA and see "Miss McLeod's Reel."
McLOUTH’S HORNPIPE. Canadian, Hornpipe. Canada, Cape
Breton. B Flat Major. Standard tuning. AABB. “May be used as a Clog,” notes
editor John Donald Cameron. Cameron (Trip
to Windsor), 1994; pg. 67.
McMAHON'S FAVOURITE. AKA and see “James McMahon’s Jig.”
McMAHON'S (HORNPIPE). AKA and see “Paddy O’Brien’s,” “Seán Ryan’s (Hornpipe) [2],” “Trip to Vermont.” AKA – “James McMahon’s
Hornpipe.” Irish Hornpipe. G Major. Standard tuning. AA’BB’. It has been said
that the tune was composed around 1960 by fiddler Seán Ryan as “McMahon’s” and
it does appear in Brian Ryan’s collection of the compositions of his father, a
volume entitled The Hidden Ireland. It appears in Bulmer & Sharpley (vol. 1)
as “Seán Ryan’s.” However, in Cyril Maguire’s collection called The Hidden Fermanagh (2003) it is
attributed to Fermanagh flute player James McManon (and appears as “James McMahon’s
Hornpipe”). The tune, points out Cork musician Paul De Grae, sits well on the
flute, and, adds Paul, it is possible that in publishing the posthumous
collection, it was among Seán’s papers and was simply assumed to be an
original. The “Trip to Vermont” title comes from a 1974 album by Seamus Cooley
and fiddler Johnny McGreevey. 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. 264, pg. 81. Jordan (Whistle and Sing),
1975; 62. Larraga MOR 1302, Mike Rafferty – “Speed 78”
(2004).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:McMahon’s
R:Hornpipe
Z:Transcribed by Lesl Harker. “What
Lesl thinks Mike Rafferty played.”
M:4/4
L:1/8
K:G
(3GFE|:DGBG cABG|DG (3Bcd gzga|bg~g2
dedB|cBAG (3FED BG|
DGBG cABG|Dz (3Bcd g~g2a|bg~g2
dedB|1 cAFA Gz (3GFE:|2 cAFA G4||
||:bg~g2 agef|g~g2d ed (3Bcd|eB~B2
egfd|edcB AGEz|
DGBG cABG|DG (3Bcd gzga|bg~g2 dedB|1
cAFA Gzga:|2 cAFA G4||
McMAHON'S REEL (Ríl Mhic Mhathúna). AKA and see "The Banshee [1]." Irish, Reel. G
Major. Standard tuning. AABB. The most famous composition of the late flute player James McMahon,
originally from Rosslea, Co. Fermanagh (born circa 1900). McMahon married a woman
named Sally (see “Sally McMahon’s”)
and moved near Muckamore, County Antrim, although later in life he lived in
Belfast. [McMahon’s granddaughter, Rose McMahon writes to correct: “My paternal
grandmother’s name was Rose, not Sally, from Pomeroy in County Tyrone…her
maiden name was Tally, so I suppose that’s where the confusion with Sally came
from.”] He was highly regarded by many of the flute players of the latter city,
according to Harry Bradley, who says that famous flute maker Sam Murray
considers him important in development of the playing of the instrument there.
McMahon was a member of the
early McPeake’s Ceili Band. “McMahon’s Reel” is often known by the alternate
title “The Banshee” in modern times. Paul de Grae tells the story that the tune
was derisively called “The Banshee” by a ceili band announcer who either did
not like McMahon, his tune, or both! However, Randy Miller (2006) writes that
McMahon originally entitled his tune “The Banshee.” See “James McMahon’s Jig” and “The Ivory Flute” for other McMahon tunes
(McMahon played an ivory-headed flute). Sources for notated versions: fiddler
John Loughram, 1968 (Pomeroy, Co. Tyrone, Ireland) [Breathnach]; John Doonan
[Bulmer & Sharpley]. Breathnach (CRÉ
II), 1976; No. 273, pgs. 140‑141. Brody (Fiddler’s Fakebook), 1983; pg. 185. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No.
4. Miller & Perron (Irish Traditional
Fiddle Music), 2nd Edition, 2006; pg. 88. Mallinson (Essential), 1995; No. 18, pg. 8. Taylor
(Through the Half-Door), 1992; No.
38, pg. 27. Green Linnet SIF 3064, Dick Gaughan –
“Coppers and Brass” (originally Topic 315). Shananchie 79002, "The Boys of
the Lough" (1973). Shaskeen - "Shaskeen Live." Trailer 2086,
"Boys of the Lough."
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Banshee, The
T:McMahon’s
R:reel
C:James McMahon (Co. Fermanagh
fiddle/flute player, b. ~1900)
Z:id:hn-reel-22
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
~G3D EDB,D|GFGB d2Bd|eged BAGA|BAGE
EDDE|
~G3D EDB,D|GFGB d2Bd|eged BAGA|BAGE
EDD2:|
|:eaag efge|dBBA B3z|eB~B2 gBfB|eBBA
B3z|
eaag efge|dBBA B3z|eged BAGA|BAGE ED
D2:|
McMICHEN'S REEL. AKA and see "Hog Trough
Reel." Old‑Time, Breakdown. USA, Kentucky. G Major. Standard
tuning. AB (Silberberg): AABBAACC (Phillips). Composed by or named after
influential north Georgia fiddler Clayton McMichen, a one‑time member of
the Skillet Lickers who later became a Nashville master with other groups, as a
session musician, and on his own. Sources for notated versions: Doc Roberts
(Ky.) [Phillips]; Bruce Reid [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 151.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 98. Global Village C‑302, Plywood String Band ‑
"New York City's 1st Annual String Band Contest ‑ November 1984." Heritage XXXIII, Fiddlin' Doc
Roberts (Ky.) ‑ "Visits" (1981).
McMINNVILLE’S
BREAKDOWN.
Old-Time, Breakdown. In the repertoire of Kentucky fiddler Owen “Snake”
Chapman. A version of “Speed
the Plow/Plough [1].” Rounder CD 1166, The Art of
Old-Time Mountain Music.”
McNAB(B)'S HORNPIPE. AKA and see “Crossing the
Minch.” Scottish, Canadian; Hornpipe. Canada; Maritimes, Cape Breton. D
Major. Standard tuning. AABB (Phillips): AABBCC (Messer): AABBCCDD (Cranford).
Composition credits for the tune attributed to Pipe Major Donald MacLeod, under
the title “Crossing the Minch,” according to Paul Cranford (1997). Dunlay &
Greenberg (1996, pg. 53) credit the fourth part to Donald MacLeod. Christine
Martin ascribes “Crossing the Minch” to Pipe Major Donald Shaw Ramsay. Played
in a medley with “The Farmer’s
Daughter,” “McNabb’s Hornpipe” was one of the most popular recordings by
Winston Fitzgerald and made it onto the Canadian music “hit parade” after it
was released. Source for notated version: Winston Fitzgerald (1914-1987, Cape
Breton), who “likely learned this one from either Angus Chisholm or Sandy Boyd”
[Cranford]. Cranford (Winston Fitzgerald),
1997; No. 61, pgs. 26-27. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 121, pg. 76‑77. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 207. Breton Books and Records BOC 1HO,
Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 59).
R:Hornpipe
gB BB/B/g4
| faaf gecd | e2d2d2 :: e2 | fA AA/A/ faaf | gB BB/B/ g2 ag |
fA AA/A/
faaf gfed dcde | fA AA/A/ faaf | gB BB/B/ g4 | faaf gecd | e2d2d2 :: e2 |
fA AA/A/ fA
AA/A/ | gA AA/A/ gA AA/A/ | fA AA/A/ fA AA/A/ | eA AA/A/ eA AA/A/ |
fA AA/A/ fA
AA/A/ | gA AA/A/ gA AA/A/ | faaf gecd | e2d2d2 :|
McNALLY’S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 325.
X:1
T:McNally's Hornpipe
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Hornpipe
K:G
(3def|gfaf gedB|cedc BGGD|GABc defg|agfa g2 (3def|
gbgf gedB|cedc BGGD|GABc dedc|BGAF G2:|
|:AB|cAAG FGAB|cdef gdBd|bgaf gfed|egfa g2 (3def|
gbaf
gedB|cedc BGGD|GABc dedc|BGAF G2:||
McNAMARA’S BAND BARNDANCE.
AKA – “McNamara’s.” Irish, Barndance (cut time). D Major. Standard
tuning. AA’BB. Source for notated version: Donegal fiddler Máire O’Keeffe, who
associates the tune with the playing of Danny O’Donnell (Meenafanad, the
Rosses, Co. Donegal) [Cranford/Holland]. Cranford (Jerry Holland: The Second
Collection), 2000; No. 124, pg. 47.
X:1
T:McNamara's
M:4/4
L:1/8
R:barndance
K:D
|:(3ABc|d2dc dfaf|e2B2 B2ed|cBcb afge|defd A2FA|
d2dc dfaf|e2dc B2Bd|cBcb afge|d2dc d2:|
|:ag|f2af e2fe|defd A2FA|B2dB ABde|fdaf e2ag|
faaf egfe|defd A2ga|bagf gaAc|eddc d2:||
McNAMARA'S MARCH (Hy Caisin). Irish, March (6/8 time). Ireland, East Clare.
A Dorian. Standard tuning. AABB. Roche
Collection, 1982, vol. 2; No. 323, pg. 54.
McNAMARA'S REEL. AKA and see: "The Heather
Breeze [1]," "The Heathery Breeze," "The Heather Bloom," "The
Heathery Braes," "The Heathery Braes of Ballyhealy," "Coppers and/of Brass [1],"
"Crossing the Fields,"
"The Green Fields of Erin [2],"
"The Dublin Lasses [1],"
"The Humours of Appletown,"
"Ladies/Ladys Pantaloo(n)s,"
"Limerick Lasses [1]."
McNEALES
FANCY. Scottish, Reel. G Major. Standard
tuning. AABBCCDD. O’Farrell (Pocket
Companion, vol. IV), c. 1810; pg. 136.
X:1
T:McNeales
Fancy
M:C
L:1/8
R:Reel
S:O’Farrell
– Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
DE |
G<GBG AG E2 | GGBG c2e2 | dBBG AG E2 | DGBA G2G2 :|
|: gBdB AG
E2 | gBdB gdg(a/b/) | e{f}gBg AG E2 | DGBA G2G2 :|
|: ggbg ag
e2 | deg(a/b/) c’2 (ba) | b2 (ag) ag e2 | dgba g2g2 :|
|: dBgB AG E2 | dBgB eBgB | e(f/g/)
dB AG E2 | DGBA G2G2 :|
McNEILS OF UGADALE, THE. Scottish, March (6/8 time). A Major. Standard
tuning. AABB'CCDD'. A popular pipe march composed by Pipe Major John Mackenzie.
Martin (Ceol na Fidhle), vol. 1,
1991; pg. 20. Culburnie Records CUL102c, Alasdair
Fraser & Jody Stecher – “The Driven Bow” (1988).
McKNIGHT’S REEL. AKA and see “Richy Rich’s.”
McPARTLAND’S STYLE. Irish, Hornpipe. Recorded under this title by Leitrim
flute player John McKenna (1880-1947). The hornpipe commemorates a champion
step dancer from Ballyfarnon, County Roscommon, who took first place in the
Arigna sports day dancing competition in the early twentieth century,
accompanied by McKenna on the flute.
Patrick McPartland (c. 1857-1906), still remembered as one of the
greatest dancers of his era, was a shoemaker by trade. He was the grandfather
of flute player Marcas
Ó Murchú. Step-dancing
competitions still take place in Ballyfarnon, where the custom is to unhinge a
door to make a platform on which the performers tap out a reel.
McPHEE’S RANT. Canadian, Reel. Canada, Prince Edward Island. A Mixolydian/Dorian.
Standard tuning. AA’BB’. Perlman (1996) states the tune is probably a local
variation by the source’s father, John J. McPhee. In Gaelic Scotland the
MacPhees were the record-keepers (largely orally transmitted) to the Lords of
the Isles. Source for notated version: Dan McPhee (1920-1994, Elimra,
North-East Kings County Prince Edward Island; late resident of Brantford,
Ontario) [Perlman]. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 101.
McPHERSON’S MARCH. American (?), March. D Major.
Standard tuning. AABB. The melody appears in the manuscript music copybook of
Henry Livingston, Jr. Livingston
purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the
age of 23. In 1775 he was a Major in the 3rd New York Regiment,
which participated in Montgomery’s invasion of Canada in a failed attempt to
wrest Québec from British control. An important land-owner in the Hudson
Valley, and a member of the powerful Livingston family, Henry was also a surveyor
and real estate speculator, an illustrator and map-maker, and a Justice of the
Peace for Dutchess County. He was also a poet and musician, and presumably a
dancer, as he was elected a Manager for the New York Assembly’s dancing season
of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York.
X:1
T:McPherson’s March
M:6/8
L:1/8
R:March
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
dfa a2f | g2e2f2 | a2z g2f | gfe d2z
:: e3 fdf | e3 fdf | e3 fda |
g2f
“tr”e3 | dfa a2f | g2f g2z | a2z g2f | gfe d3 :|
McQUILLEN'S MARCH. New England, March. G Major. Standard tuning. One part. Composed by the
prolific New Hampshire contra dance composer and performer Bob McQuillen. McQuillen
(Bob's Notebook), vol. 1; No. or pg.
43.
McQUILLEN'S SQUEEZEBOX. New England, March (4/4 time). C Major. Standard tuning. AA'BB'.
Composed by Ralph Page in honor of New Hampshire caller, keyboard player and
composer Bob McQuillan. Miller (Fiddler’s
Throne), 2004; No. 347, pg. 203. Page (Ralph
Page Book of Contras), 1969; pg. 5. Northern
Junket, vol. 10, No. 6, 1971.
McRORY'S BREEKS. Scottish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 268, pg.
29.
X:1
T:McRory’s Breeks
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 268
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
g | dBG GGG | BAB GGg | dBG ABd |
e2A A2g | dBG GGG |
BAB GGB | ABd edB | e2A A2 :: g |
gAg gfe | aAa agf | gag gfe |
a2e e2g | gAg gfe | aAa agf | g2e
dBd | e2A A2 :|
McROSTIE’S MARCH. Scottish, March. D Major. Standard tuning. AB.
X:1
T:McRostie's March
R:March
S:Finlay Allison: GFW
M:4/4
L:1/8
K:D
D/E/|F2 A>F EF DF/G/|A2 f>e dB
A2|Bd GB Ad FA|G>F ED CE AD/E/|!
F2 A>F EF DF/G/|A2 f>e dB
A2|Bd GB AF dF|EG FE FD Dd/e/||!
fA df eA ce|dF Bd cA F2|Bd GB Ad
FA|G>F ED CE AD/E/|!
F2 A>F EF DF/G/|A2 f>e dB
A2|Bd GB AF dF|EG FE FD D||
McSWEENEY’S LAMENT. Irish, Air. Ireland, County Donegal. A popular air in County Donegal. Paul O’Shaughnessy - “The Fiddle Music of Donegal.”
McSWEENEY'S REELS. Irish, Reel(s). The tune was a favorite of John Doherty, a renowned
fiddler from Co. Donegal. Green Linnet SIF‑104,
Altan ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1095,
Altan ‑ "Horse with a Heart" (1989).
McVICAR'S. Scottish, Strathspey. C Major. Standard tuning. AABCCD. Composed by Nathaniel
Gow (1763-1831); fiddler, composer, music publisher, bandleader and
son of the famous Scots
fiddler/composer Niel Gow.
Carlin (Gow Collection), 1986; No.
470. Gow (Complete Repository), Part
2, 1802; pg. 20.
X:1
T:McVicar’s
Strathspey
M:C
L:1/8
R:Strathspey
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:C
c|G<E
E>c G<E E>c|G<E c>E {E}D2 Dc|GEE>G c>d
{cd}e>d|{B}c>A GE {E}D2D:|
e|ce/f/ ge
c<ge<a|g<c g>e {e}d2 de|ce/f/ ge c<g e>d|{B}c>A cE {E}D2
De|
ce/f/ ge
c<ge<a|g<c g>e {e}d2 de/f/|g>ef>d e>cd>B|{B}c>A GE {E}D2D||
|:E|C>GEc
GcEc|C>GEc {E}D2 DE|C>GEG c>d {cd}e>d|{B}c>A cE {E}D2D:|
e/f/|g<c
e>c g<cf<a|g<c g>e {e}d2 de/f/|g<c e>d c>d
{cd}e>d|{B}c>A GE {E}D2 De/f/|
g<c
e>c g<c f>a|g<c g>e {e}d2 dc/d/|e>cd>B {B}c>A
GE|F<dE<c {E}D2D||
ME AIN KIND DEARIE. AKA and see “My Ain Kind
Dearie.”
ME AND MY FIDDLE. Composed by bluegrass musician Benny Martin.
ME DEARIE SITS OWER
LATE UP. AKA and see "My Dearie Sits Ower Late Up."
ME MOTHER’S JIG. AKA and see “Whinham’s Jig.”
English, Jig. England, Northumbria. G Major. Standard tuning. AABBCCAABB.
Composed by Northumbrian musician, dancing master, composer, teacher and
fiddler Robert Whinham (1814-1893), originally from Morpeth. His mother was
Elizabeth Cross, who married Whinham’s father in 1802 and bore five children.
Source for notated version: the J.E. Baty manuscript (c. 1870), Morpeth Chantry
Bagpipe Museum [Dixon]. Dixon (Remember
Me), 1995; pg. 16.
MEADOW , THE (An Moinfheir). Irish, Reel. D Major. Standard tuning. AABB. The
tune is a Seán Ryan composition called “The
Trip to Nenagh,” printed in Ryan’s collection Hidden Ireland. Ryan recorded it in 1972 as “Trip to Nengah,”
however it had previously been recorded by Finbar Dwyer and John Regan as “The
Meadow.” Source for notated
version: Jim McElhone (County Derry) [Mulvihill]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No.
40 (appears as “An Moinfheir”). Mulvihill (1st
Collection), 1986; No. 89, pg. 23. Comhaltas
Records, John Regan – “Fleadh ’70.” Outlet Records, Finbar Dwyer – “Irish
Traditional Accordion.” Outlet LP, Seán Ryan – “Back Home to the
Cliffs of Moher” (1972. Appears as “Trip to Nenagh”).
MEADOW IN BLOOM, THE. AKA and see "Through the Fields [3],"
"The Club Reel," "The Kerry Lasses [2]," "Sarah's Reel," "You're a long time a courting,"
"The Road to Dublin," "Within A Mile of Dublin [1]." The tune under this title appears in the
Goodman manuscripts.
MEADOW SCHOTTISCHE. American, Schottische. D Major ('A' part) & A Major ('B' part).
Standard tuning. AABB. A variant of this piece is Bayard's Pennsylvania‑collected
"Amsbaugh's Schottische"
(1981, No. 425, pg. 405). Ford
(Traditional Music in America), 1940; pg. 156.
M(H)EAIG CHABACH, AN. Irish, Reel. G Major. Standard tuning. AB. Source for notated version:
fiddler Sean O'Kelly (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 77, pg. 35.
MEAIGÍ SHÁMHÁNTA. AKA and see “Drowsy
Maggie.”
MÉARACÁN AN
TÁILLIÚRA/TAILLIUIR (The Tailor's
Thimble). AKA
and see "The Tailor's Thimble."
MEASCRA BATH. AKA and see “Bath Medley.”
MEASON’S
OF YORK. AKA – “Cutting of the Sticks.” Scottish,
Jig. F Major. Standard tuning. AAB. The tune was included by Kirkmichael, Perthshire,
fiddler Robert Petrie in his 2nd Collection of Strathspey
Reels and Country Dances (1796), where it is labeled “Irish”. Meason’s =
‘masons’ (?)
X:1
T:Meason's
of York, or the Cutting of the Stick's
C:"Irish"
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 14
L:1/8
M:6/8
R:Jig
K:F
C|F3
F2G|A2d cBA |G2A B2G|A2G FED|F3
f3 |AcB AGF|G2A B2G|AFD D2:|
^c|d2e
f2d|e2d ^c=BA|d2e f2a|ge^c d2A|d2e f2d|efd cAF|G2A B2G|AFD D2^c|
d2e f2d|e2d ^c=BA|d2e f2a|ge^c d2A|d2e
faB|AcB AGF|G2A B2G|AFD D2|]
MEASURE FOR MARGARET, A. English, Country Dance Tune
(2/2 time). G Major (‘A’ part) & G Minor (‘B’ part). Standard tuning.
ABABABA. The name of a dance and tune composed in 1985 by Charles Bolton.
Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 82.
MECHANICS' HALL JIG. AKA and see "Bird on the
Wing." This tune is also the 5th and 6th strain of "Kitty O'Neill's Championship Jig."
In George H. Coe's album of violin music, pg. 36. There were many Mechanic’s
Halls in the United States, famously, for example, a stage venue in New York
City.
MECHANTE, LA. French, Country Dance (2/4 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 41.
X:1
T:Mechante, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 41
Z:AK/Fiddler’s Companion
K:D
dA F2 | dA F2 | (3def (3efg | fd A2 | dA F2 | dA F2 | (3def (3efg | f4 :|
|: (3fdf {b}a2 | (3ece {a}g2 | (3fdf {b}a2 | (3ece {a}g2 | (3fdf (3afa |
(3ece (3geg | (3fdf (3agf | f2e2 | dA F2 | dA F2 | (3def (3efg | fd F2
|
dA
F2 | dA F2 | (3def (3efg | f4 :|
MEDAL, THE. American?, Hornpipe. D Major. Standard tuning.
AABB. Harding’s All Round Collection,
1905; No. 196, pg. 62.
X:1
T:Medal, The
M:C
L:1/8
R:Hornpipe
B:Harding’s All-Round Collection, No. 196 (1905)
Z:AK/Fiddler’s Companion
K:D
(3ABc|d>Ad>A
F>DF>A|B>dc>e d>cB>A|B>cd>c B>AG>F|E2e2e2
(3ABc|d>Ad>A F>DF>A|
B>dc>e
d>cB>A|B>cd>B c>ge>c|d2f2d2::f>g|a>fd>f
g>ec>e|d>cd>B A>FD>F|G>FG>A B>AG>F|
E2e2e2 d>e|f>df>d
A>FA>d|a>fg>e c>Ac>e|d>cd>B c>ge>c|d2f2d2:|
MEDLEY TWO-STEP. Irish, Two‑Step. G Major ('A' part) & D Major ('B' and 'C' parts). Standard tuning. ABCC. Roche Collection, 1982; vol. 3; No. 160,
pg. 53.
MEECH LAKE BREAKDOWN. Canadian, Reel. Composed by Emile Benoit. Atlantica
Music 02 77657 50222 26, Emile Benoit - “Atlantic Fiddles” (1994).
MEELICK TEAM, THE. AKA –
“Eddie Kelly’s (Jig).” Irish, Jig. D Minor: E Minor. Standard tuning. AABB.
Composed by fiddler and accordion player Eddie Kelly, in honor of the victory
of the Meelick team in a 1960’s hurling championship, according to Séamus
Connolly. Though he lives in County Roscommon at present, Kelly was originally
from near Meelick and Eyrecourt, County Galway. Connolly & Martin print
versions of the tune in two keys, as Kelly told them he had transposed the tune
into E minor at one point to better suit the instruments in his local band.
Source for notated version: button accordion player Billy McComisky (Baltimore,
Md.) [Miller]. Connolly & Martin (Forget
Me Not), 2002; pgs. 66-67, 68-69. Miller (Fiddler’s Throne), 2004; No. 38, pg. 34 (appears as “Eddie
Kelly’s”).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Eddie
Kelly’s #1
T:Martin
Talty’s
R:jig
C:Martin
Talty
D:Dervish:
Boys of Sligo
D:Dolores
Keane
Z:id:hn-jig-222
M:6/8
L:1/8
K:Edor
~e3 dBA|BAG
EDB|DEG e2d|BAG ABd|
~e3 dBA|BAG
EDB|DEG e2d|BAF E3:|
|:e2f
gfe|beg fed|Beg beg|~f3 e2f|
~g3 edB|AFD
FGA|d2e fed|BAF E3:|
“variations”
|:efe
dBA|BAG EDB,|B,DG Eed|BAG ABd|
ege dBA|BAG
EDB,|B,DG Eed|BAF E3:|
|:~e3
gfe|beg fed|Beg beg|fed e2f|
g2f edB|AFD
FGA|d2e fed|BAF E3:|
MEENTOGUES LAD, THE. AKA and see “Mick Duggan’s Slide [2].” Irish,
Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G
Major. Standard tuning. AB. Editor Moylan (1994) explains ‘The Meentogues Lad’
is a euphamism for the famous Munster poet Eoghan Rua O Suilleabhain (Owen Roe
O’Sullivan), born in the Sliabh Luachra region. Sources for notated versions:
accordion player Johnny O’Leary (Sliabh Luachra, Kerry), recorded in February,
1973, at Ballydesmond [Moylan]; fiddler Mick Duggan (Co. Kerry) [Breathnach].
Breathnach (CRÉ II), 1976; No. 89,
pg. 47 (appears as “Gan Ainm” {untitled}). Moylan (Johnny O’Leary), 1994; No. 24, pgs. 14-15.
MEETING JOHN HARTFORD. Canadian, Jig. Canada, Cape Breton. E Major (‘A’ part) & B Major
(‘B’ part). Standard tuning. AABB. Composed by fiddler Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry
Holland’s), 1995; No. 246, pg. 71. Cranford Publications
CP-R2, “Jerry Holland Solo” (1988).
MEETING
OF THE WATERS [1], THE (Ceann
Deiginse). AKA
and see "Tod(d)lin’ Hame,"
"Gage Fane", "Na Geadna Fiadaine,"
"The Wild Geese [1]," "Armstrong's Farewell," "The Old Head of Denis,"
"My Name is Dick Kelly,"
"An Bacac Buide," "The Origin
of the Harp," "Old
Ireland, Rejoice." Irish, Air (6/8 time). A Major (Roche): G Major
(Howe, O’Farrell). Standard tuning. One part (Howe, O’Farrell): AB (Roche). The
title appears in a list of tunes in his repertoire brought by Philip Goodman,
the last professional and traditional piper in Farney, Louth, to the Feis Ceoil
in Belfast in 1898 (Breathnach, 1997). Howe (1000 Jigs and Reels), c. 1867; pg. 114. O’Farrell (Pocket Companion, vol. III), c. 1808;
pg. 38. Roche Collection, 1982, vol.
3; No. 31, pg. 9.
X:1
T:Meeting
of the Waters [1]
M:6/8
L:1/8
R:Air
S:O’Farrell
– Pocket Companion, vol. III (c.
1808)
Z:AK/Fiddler’s Companion
K:G
d/>c/ | BAG GED | D>EG G>AB | cc B/A/ ABG | dBG A2 A/B/ | cc B/A/ ABG |
dBG
A2 G/A/ | B>AG FE>D | DEG c2B | ABG G>ED | DEG G2 ||
MEETING OF THE WATERS
[2]. Scottish (originally), Canadian,
American; March (4/4 time). USA, New England. Canada, Prince Edward Island. A
Major (most versions): D Major (Martin, Perlman). Standard tuning. One part
(Martin): AB (Laufman, Miller & Perron, Sweet): AABB (Perlman):
AA'AA'BB'BB' (Phillips). Frequently heard at New England contra dances. Sources
for notated versions: Becky Tracy [Phillips]; Wilfred Bernard (b. 1919, Souris
Line Road, North-East Kings County, Prince Edward Island) [Perlman]. Laufman (Okay, Let's Try a Contra, Men on the Right,
Ladies on the Left, Up and Down the Hall), 1973; pg. 11. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 45.
Miller & Perron (New England Fiddlers
Repertoire), 1983; No. 65. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 160. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 84. Sweet (Fifer’s Delight),
1965/1981; pg. 74. Alcazar
Dance Series FR 204, Rodney Miller F&W Records 4, "The Canterbury
Country Orchestra Meets the‑ "New England Chestnuts 2" (1981).
F&W String Band." F&W 6, Fireside String Band‑‑"Square
Dance Tunes For a Yankee Caller."
X:1
T:Meeting of the Waters
L:1/8
M:C
K:A
E2|A2 Ac E2 A>G|FA FD E2 AB|ce Ee dc BA|c3 d/c/ B2 EF|
A2 Ac E2 A>G|FA FD E2 A>B|ce dc dE GB|A2 A>A A2|]
[|e>d|c2 e>d ce cE|FA dF E2 e>d|ce Ee dc BA|c2 B2 B2 e>d|
c2
e>d ce cA|FA dF E2 A>B|ce dc dE GB|A2 A>A A2||
MEG GREY. AKA and see “Maggie Grey.”
MEG MERRILIES/MERRILEES'. English, Scottish, Shetland; Country Dance Tune, Hornpipe or Reel. G Major (Dixon, Hardings): A Major (Athole, Honeyman, Howe, Hunter, Kerr). Standard tuning. AB (Athole): AAB (Kerr): AABB (Honeyman, Howe, Hunter): AABB' (Hardings): AABBCCDDEEAABB (Dixon). The Shetland variant has a distinct character that distinguishes it from the Scottish (Cooke). Meg Merrilies is also the name of a Scottish country dance, commonly taught by dancing masters in the 19th century. Howe, however, classifies it as an “English Country Dance.” Dixon (1995) prints the melody with variation sets by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. Meg Merrilies is actually a character in Sir Walter Scott’s Guy Mannering and the subject of a poem by John Keats. Both were based on a person named Jean Gordon, a mid-18th century inhabitant of the village of Kirk Yetholm in the Cheviot Hills, wife of the King of the Gypsies, Patrick (sometimes “Johnnie”) Faa. The character is that of a gypsy, or a half-mad seeress. Guy Mannering was adapted for the stage and the character of Meg was memorably played by the American actress Charlotte Cushman (1816-1876) in New York.
***
Charlotte Cushman as Meg Merrilies in “Guy Mannering.”
***
Source for notated version: the manuscript of piper and fiddler Tom Armstrong of Hindley Steele, Northumberland, c. 1850 [Dixon]. Dixon (Remember Me), 1995; pg. 62. Hardings All‑Round Collection, 1905; No. 74, pg. 23. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 45 (appears as "Meg Merrilees' Hornpipe"). Howe (1000 Jigs and Reels), c. 1867; pg. 71. Hunter (Fiddle Music of Scotland), 1988; No. 315. Kerr (Merry Melodies), vol. 1; No. 1, pg. 23. Stewart-Robertson (The Athole Collection), 1884; pg. 142.
X:1
T:Meg Merriliees
M:C|
L:1/8
R:Country Dance
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
cd|edcd eagf|feee e2cd|efec efec|cBBB B2cd|edcd eagf|
feee e2cd|efec BABc|A2AA A2||e|^defe =deBe|ceAe BeGe|
^defe =dcdB|BAAA A2e2|^defe =ceBe|ceAe BeGe|BABc defg|agag a2||
MEG MHOR NA LURACHAN. Scottish, Strathspey. E Minor. Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
262.
X:1
T:Meg Mhór na Lurachan
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
B|G<E E>F G>A B<e|d<B B>A G>A B<e|G<E E>F G>AB>e|
d<B B>G A2A:|
B|e>fg>e d>eB>e|d<B g>e d>e B<g|e>fg>e d<eB<g|d<B B>G A2 A>B|
e>fg>e
d>eB>e|d<B g>e d>eB>g|e>Bg>B a>Bg>a|g>e d<B
A2A||
MEGAN
McGANN’S. Irish, Reel. D Mixolydian. Standard
tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.
Black (Music’s the Very Best Thing),
1996; No. 251.
X:1
T: Megan McGann's
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Dmix
DE | FDGE FDDE | FGAG FDDE | FGAB c2 Bc | dAAB cBAG |
FDGE FDDE | FGAG FDDE | FGAB cBcA | GECD ED :|
DF | Ad (3d^cd edAB | c2 cB cABc | Ad d2 edfd | cAGE FDDA |
Ad
(3d^cd edAB | c2 cB cdeg | afge fded | cAGE ED :|
MEGAN’S WEDDING. Scottish, Air. Composed by piper Finlay
MacRae, father-in-law of Scottish accordion player Phil Cunningham. The tune
commemorates the wedding of his friend Megan McConnell in South Africa in 1988.
Green Linnet GLCD 3107, Aly Bain & Phil Cunningham
– “The Pearl” (1994).
MEGGY'S FOOT. English, Reel. England, Northumberland. G Major. Standard tuning.
AABBCCDDEEFFGGHH. About a donkey, the only surviving words being “Take a peep
at Meggy’s foot, take a peep at Meggy’s foot” (sung to the third part with its
repeated intervals of a sixth). The staccato tune (for the Northumbrian pipes)
plays better as a quick march rather than a reel. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 153.
Peacock (Peacock’s Tunes), c.
1805/1980; No. 25, pg. 9. Fellside Records, James
Fagan – “Between the Dark and Light.” Topic Records, The High Level Ranters –
“Northumberland Forever!” (1997).
X:1
T:Meggy’s Foot
L:1/8
M:2/4
S: Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
g/f/e/d/ Bz|B/c/d Az|g/f/e/d/ BG|B/c/d Gz:|
|:GG (3B/c/d/ z|AA (3B/c/d/ z|GG (3B/c/d/ z|B/c/d G::BgBg|Bg Az|BgBg|Bg G:|
|:g/f/e/d/ c/B/A/G/|B/c/d/B/ A/B/c/A/|g/f/e/d/ c/B/A/G/| B/c/d/B/ G:|
|:B/d/g/d/ B/d/g/d/|B/d/g/d/ A/d/g/d/|B/d/g/d/ B/d/g/B/|B/d/g/d/ Gz::g>d BG|Bd Az|gd BG|Bd Gz:|
|:GG (3B/c/d/ z|AA (3B/c/d/ z|GG (3B/c/d/ z|B/c/d Gz::BgBg|Bg Az|BgBg|Bg Gz:|
MEIKLEOUR BEECHES, THE. Scottish,
Air (4/4time). A Major. Standard tuning. AB. Composed by the great Scots
fiddler-composer J. Scott Skinner (1843-1927).
Skinner notes the Meikleour Beeches were “a famous hedge near Blairgowrie, some
80 feet in height. Said to have been planted in 1746.” Skinner (Harp and Claymore), 1904; pg. 155.
X:1
T:Meikleour Beeches, The
M:C
L:1/8
R:Air
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E2 | A>GA>B G2 F>E | F2G2A2
Bc | d4 e({g}f) e2A2 | {A}(c2B4)E2 | A>GA>B G2 F>E |
F2G2A2 Bc | d2 e({g}f) e2 cA |
{Ac}(B2A4) || A2 | d4 e>({g}f) e2c2 | ({c}B2) ({cB}A)B c2A2 |
F2 GA d2c2 | (c2B4)E2 |
({B}A>)GA>B G2 F>E | F2G2A2 A>c | d2 e({g}f) e2 c>A | {c}(B2A4)
||
MEILLIONEN. AKA and see "Sir Watkin's Delight." Welsh, Country Dance Tune (4/4 time). D Major (Mellor): C Major (Barnes). Standard tuning. AB (Mellor): AABB (Barnes). Mellor (1935) states the air appears in many early English, Scotch and Welsh collections of dance music, "usually with two or three extra bars in the second part," which he unfortunately deletes so as to make "regular" eight bar parts. He believes, however, the tune is certainly very old and probably has a good claim to a Welsh origin. Perhaps the first printing of the tune is in Aria di Camera (c. 1727, as “Meillionen, or Sir Watkin’s delight”), followed by several occurrences in country dance books of about 1735-40, including Walsh’s Third Book of the Compleat Country Dancing Master (London, 1735, reissued in 1749) and Johnson’s Wright’s Compleat Collection of Celebrated Country Dances, vol. 2 (London, 1742). A somewhat later volume in which this tune appears is John Walsh's Caledonian Country Dances, Book 3 (London, c. 1750), which has a country dance set to it that incorporates a clapping routine between partners. The title (pronounced 'methlionen') is the Welsh name for clover. There are similarities between “Meillionen” and John Playford’s “Row well ye mariners” from the English Dancing Master (1651). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 82. Mellor (Welsh Dance Tunes), 1935; pg. 21.
X:1
T:Meillionen
M:4/4
L:1/8
K:C
G|c2 ed/c/ B/c/d/e/ ff|ee f/e/d/c/ B/>c/d/e/ f/d/c/B/|cg ed/c/ B/c/d/e/ fg/f/|
ee d/e/f/d/ cB c::e/f/|gc Bc d3 e/f/|ge f/e/d/c/ B/c/d/e/ f/>d/c/B/|c>d ef g/f/e/d/ ed/e/|
f>g ag f/g/f/e/ de/f/|ee f/e/d/c/ B/c/d/e/ fg/f/|ee d/e/f/d/ cB c:|
MEL RODDY’S TUNE. AKA and see “The Green
Fields to America.”
MELANCHOLY
MARTIN. English, Country Dance Tune (9/8
time): Irish, Slip Jig. A Major. Standard tuning. AB (Sharp): AABB (Karpeles,
Kennedy, Levey, O’Neill, Raven). Published before 1730. "This tune can be
used as an alternative accompaniment to the Hey in the Flamborough Sword Dance”
says English collector Maude Karpeles. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 27. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 45, pg. 11. Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. 66, pg. 29. O’Neill
(Music of Ireland), 1903; No. 1154. O'Neill (Krassen), 1976; pg. 84.
Raven (English Country Dance Tunes),
1984; pg. 26. Sharp (Country Dance Tunes),
1909/1994; pg. 61.
X:1
T:Melancholy Martin
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:A
{E/F/G/}A2A BcA GFE|A2A B2B e3|A2A
BcA GFE|F2F G2E A2z:|
|:AGF EDC DEF/G/|A2E G2A B3| A2A BcA
GFE|F2F G3E A3:|
MELANCHOLY NYMPH. AKA and see "Twas
When the Sea Was Roaring." A
version was set the classical composer George Freidrich Handel.
MELINDA. AKA and see "Old Melinda."
MELISSA’S WALTZ. Old-Time, Waltz. C Major.
Standard tuning. AB. Source for notated version: Fred Stoneking [Silberberg].
Silberberg (93 Fiddle Tunes I Didn’t
Learn at the Tractor Tavern), 2004; pg. 31.
MELLISH HORS (Horse). Scottish. The air appears in the Panmure MS.
#9454 Seventy Seven Dances, Songs and
Scots Airs for Violin, c. 1675. Williamson speculates on the meaning of the
title and says that the name Mellis was not uncommon in Scotland and derives from
the old French work for honey. Also, the verb to mell can have the meaning of
joining in battle‑‑thus he tentatively suggests "spirited
horses" as a possible meaning. Flying Fish, Robin
Williamson ‑ "Legacy of the Scottish Harpers, Vol. 2."
MELLONIE'S JIG. Scottish, Jig. D Major. Standard tuning. AAB. Gow (1806) identifies the
tune as Irish, and indeed, the tune shares the same ‘A’ part as O’Neill’s “Maloney’s Wife” and Cole’s “Maloney’s Fancy.” See also the
Northumbrian “What do you
think of her now?” Carlin (The Gow
Collection), 1986; No. 443. Gow (Complete
Repository), Part 3, 1806; pg. 38.
X:1
T:Mellonie’s Jig
M:6/8
L:1/8
R:Jig
S:Gow – 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:D
A|F2A AFA|AFA AFD|(G/A/B)G
(F/G/A)F|BGE E2G|F2A AFA|AFA d2A|
B>cd AFd|AFD D2:|
f/g/|afd ~dfd|e(fd) c2A|(G/A/B)G (F/G/A)F|BGE
E2 f/g/|afd ~dfd|
efd c2A|B>cd AFd|AFD D2 f/g/|afd
~dfd|efd c2A|(G/A/B)G (F/G/A)F|
BGE E2 f/g/|afd afd|efd
{d}cBA|B>cd AFd|AFD D2||
MELLOW HORN, THE. American (?), March (6/8 time). C Major. Standard tuning. One part. Howe (Complete Preceptor for the Accordeon), 1843; pg. 13.
X:1
T:Mellow Horn, The
M:6/8
L:1/8
R:March
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
G | c2c G2G | c2c G2G | A2B cBA | G2z z2G | G2F D2D | A2G E2G |
c2c cBA | G2z z2G | B2B BAB | c2G G2G | FEG AGF | E3 z2G | B2B BAB |
c2G E2C | G3 z2G | G3E3 | G3z2G | c2G E2G | D3 z2G | G3E3 | G3 z2G |
cGE GFD | C3 z2G | A2A cBA | G2G G2G | A2A cBA | G3 z2G | c2G G2G |
c2A A2A | G2G GAB | c3 z2G | c2G G2G | c2A A2A | G2G GAB | c3 z2c |
G2G
G2G | c3 z2c | G2c BAB | (c3 c2) z ||
MELODEON HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. The title may
simply references a tune played upon the melodeon, an early single row
accordion introduced in the 1840’s. However, it is just possible that it could
refer to one of the many theatres named ‘The Melodeon’, invariably mid-19th
century concert saloons or variety houses. One Melodeon, in New York, was at
563 Broadway, near Prince Street; another Melodeon was in Boston, from
1839-1878 (which changed its name to the Bijou in 1882 and became the first
theatre in the United States to be entirely lighted by electricity). Brooks
McNamara, in his book The New York
Concert Saloon: The Devil’s Own Nights (2002, pg. 47), says of the New York
venue (and quotes from the Clipper,
an era periodical):
***
(The Melodeon)…had (a master of ceremonies in the manner of the British
music hall)…who doubled as a pianist and fiddle player, as well as a
comic
singer. “Young Solomons, son of the old gentleman and an excellent
tenor,”
runs the Clipper account, in 1864 “is a good card and extremely useful
withal, for if the ‘piannerist’ or ‘fiddlerist’ or any other ist happens
to get
taken down sick, Mose takes his posish and the show goes on. He is a
sort
of Monsieur Boulcourt—calls out the names of the singers, raps for order
and raps for applause. His style
is melodramatic, if you know what that
means. Or he can take a hand at the comic if necessary, always careful
to
avoid bawdy-house songs, which is more than we can say of some
free-and-easies.”
***
Ford (Traditional Music in America), 1940; pg. 88.
X:1
T:Melodeon Hornpipe
M:2/4
L:1/8
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/ | a/e/c/e/ A/c/e/a/ |
f/d/B/G/ AB/c/ | d/f/e/d/ d/c/B/A/ | G/B/A/F/ E(3e/f/g/ |
a/e/c/e/ A/c/e/a/ | f/d/B/G/ AB/c/ |
d/f/e/d/ c/B/A/G/ | Ac A :: e | c/e/A/e/ c/e/A/e/ |
d/f/B/f/ d/f/B/f/ | c/e/A/e/
c/e/A/e/ | G/B/e/B/ G/B/e/B/ | c/e/A/e/ c/e/A/e/ |
d/f/B/f/ d/f/B/f/ | e/a/g/f/
e/d/c/B/ | Ac A :|
MELODIOUS
AIREY LITTLE FORT OF BRUFF. AKA and see "Binn Lishen Aerach A'
Bhrogha."
MELODIOUS FOOT OF THE GLEN, THE. AKA and see "Gleann Coise bInne" (1st Setting).
MELODY OF CYNWYD, THE (Mwynen Cynwyd). AKA and see "Dargason," "Sedany." Welsh, Country Dance Tune (6/8
time). F Major. Standard tuning. AB (Howe): ABB (Mellor). The greater portion
of this melody appears in Playford's Dancing
Master of 1650 under the title "Dargason," which later became
"The Irish Washerwoman." The Welsh version was printed in 1794. Howe
notes: “An old Welsh melody, 1588.” Howe (1000
Jigs and Reels), c. 1867; pg. 158. Mellor (Welsh Dance Tunes), 1935; pgs. 14-15.
X:1
T:Cynwidd
M:6/8
L:1/8
R:Country Dance Tune
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
c | A2F F2F | FAc cBA | d2G G2G |
Bcd dcB | A2F F2F | FAc cBA | (BAB) (Gc)B | A2F F2 ||
c | d2f d2B | d2f dBd | c2f c2A |
c2f cAF | d2G G2G | B2c dcB | ABc def | ABG F2 ||
MELODY OF THE HARP. AKA and see “Ceolta Cruit.”
MELTON'S PARADE. American, Reel. D Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
111.
X:1
T:Melton’s Parade
M:C
L:1/8
R:Reel
S:Ford – Traditional Music in
America (1940)
Z:AK/Fiddler’s Companion
K:D
DF|AFAF A2 dc|BGBG B2gf|e>f ed c2
cB|A>B AG F2 DF|
AFAF A2 dc|BGBG B2 gf|e>fed
cABc|d2f2d2:|
|:AB|d2 df a4|a2b2b2 gf|e>f ed c2
cB|A>B AG F2 AB|
d2 df a4|a2b2b2 gf|e>f ed
cABc|d2f2d2:|
MELVIL HOUSE. AKA and see “Black Mary.” Scottish, Air (whole time). C
Major. Standard tuning. AABB. “Melvil House” was printed in John and Andrew
Gow’s A Collection of Slow Airs,
Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger
brother John (1764-1826) established a publishing business in London in 1788
and were the English distributors for the Gow family musical publications. In
other of their publications the Gows printed the air under the title “Black
Mary,” calling it a ‘very old Gaelic air’. S. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 27.
X:1
T:Melvil House
M:C
L:1/8
R:Slow Air
S:John & Andrew Gow – A Collection of Slow Airs, Strathspeys and Reels (c. 1795)
K:C
c4 c4|c2 BA G4|f4 e2d2|e2g2 a4|g3a
g2 fe|fdec A4|G4 A2c2|{e}”tr”d4 c2:|
|:c>d|e2e2e2 dc|f4 f2
c>d|e2e2e2 d>c|d4 d2 c>d|e2e2e2 d>c|
dcde (dfed)|c3A G3A|”tr”cBcd
(cd)(ed)|c4c4|c2 BA G4|f4 e2d2|
e2g2 a4|g3a g2fe|fdec A4|G4
A2c2|{e}”tr”d4 c2:|
MELVIN HEAD. AKA and see “Helvic Head.” Irish, Jig. G Major. Standard tuning. AABBCCDDEE. O’Farrell prints the tune as “Helvic Head,” the name of a promontory in County Waterford. Some similarities to the slip jig “Yellow Stockings.” Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down; many were from the playing of his father [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 117.
X:1
T:Melvin Head
M:6/8
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
K:G
D/2E/2|:G3 AGE|A2 A AGE|G3 AGE|GAB AGE|
G3 AGE|ABA ABc|BAG AGE|GAB GED:|
|:BGG AGG|BGG AGE|BGG AGF|G3 GED|
BGG cAA|dBB cAA|BGG AGE|G3 GED:|
|:egf/2g/2 dBG|ABA A2 d|egf/2g/2 dBG|Dgf g2 a|
bag agf|gfe dBG|BAG AGE|G3 GED:|
|:G2 c BGd|BGd AGE|G2 c BGd|AFd AFD|
G2 c BGd|BGd ABc|GFG AGE|G3 GED:|
|:DFD DED|A3 AGE|DFD DED|G3 GED|
DFD
DED|ABA ABc|BAG AGE|G3 GED:||
MEMORIES OF ALEX DAN MACISAAC. Canadian, Strathspey. Canada, Cape
Breton. Composed by Dave MacIsaac. WS 031703, Wendy
MacIsaac – “Timeline” (2003).
MEMORIES OF ARCHIE NEIL. Canadian, Strathspey. Canada, Cape Breton.
E Minor. Standard tuning. AABB. Composed by the late Cape Breton fiddler Jerry
Holland (1955-2009). Cranford (Jerry Holland: The Second Collection),
2000; No. 153, pg. 58.
MEMORIES OF BALLYMOTE. AKA and see “Church Street (Polka) [2].”
Irish, Polka. G Major. Standard tuning. AABB’. A polka in the Sligo/Leitrim
tradition (as opposed to the Kerry polka tradition). The tune was first
recorded in New York by fiddler Paddy Killoran, originally from County Sligo,
for Decca in 1937 (Deccda 12103, backed by Jim McGinn on piano). “Memories of Ballymote” is usually known
under the “Church Street” title today, stemming from the influential recording
by the Chieftains in 1964. Ben Lennon & Friends –
“The Natural Bridge.”
MEMORIES OF BUD MACDONALD.
Canadian, Pipe March (2/4 time). Canada, Nova Scotia. A Mixolydian. Standard
tuning. AA’BB’CC’DD’. Dedicated by composer Barry Shears to a late favorite
uncle-in-law, the son and nephew of pipers. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 26.
MEMORIES OF DAN
BEATON. Canadian, Reel. Canada, Cape
Breton. Rounder
RO 7023, Natalie MacMaster - “No Boundaries” (1996. Learned from Dave
MacIsaac).
MEMORIES OF DICK FLEMING. AKA and see "Cheviot Waltz." Scottish, Waltz. D Major.
Standard tuning. AAB. Composed by Ron Purvis. It was originally entitled
"Cheviot Waltz" but was renamed to honor the late Dick Fleming (who
died in 1988) at the request of the Border Strathspey and Reel Society, of
which he was a prominent member. Neil (The
Scots Fiddle), 1991; No. 54, pg. 73.
MEMORIES
OF DAN BEATON. Canadian, Reel. Canada, Cape
Breton. B Flat Major. Standard tuning. AB. Composed by Margaree, Cape Breton, fiddler
Ronald Gillis in honor or Donald Angus Beaton (d. 1982), an influential fiddler
from Mabou, Inverness County, Cape Breton. Paul Cranford (1997) reports that
this was a favorite tune of Angus Chisholm, from whom Winston Fitzgerald
probably learned the tune. Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 107, pg. 44.
MEMORIES OF DONALD
ANGUS BEATON. Canadian, Strathspey. Canada, Cape
Breton. A Major. Standard tuning. AAB. Composed by fiddler Brenda Stubbert (b.
1959, Point Aconi, Cape Breton, Nova Scotia). Donald Angus Beaton (d. 1982) was
an influential fiddler from Mabou, Inverness County, Cape Breton, who performed
with Stubbert at many venues while alive (Cranford). Cranford (Brenda Stubbert’s), 1994; No. 11, pg. 5.
MEMORIES OF EDDIE IRWIN.
Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009)
in honor of piano accompanist Eddie Irwin (1940-1997). Irwin was born in
Cambridge, Mass., to an Irish-American father and a Cape Breton mother (of
Irish heritage). He was a much sought after accompanist to the Cape Breton
expatriate and visiting musical community in Boston. Cranford (Jerry
Holland: The Second Collection), 2000; No. 125, pg. 48.
MEMORIES OF ELMER
BRIAND. Canadian, Strathspey. Canada, Cape
Breton. G Major. Standard tuning. AA’BB’. Composed by fiddlers Dave MacIsaac
and Jerry Holland (Inverness, Cape Breton) in honor of the late Cape Breton
fiddler Elmer Briand (1922-1992). Cranford (Jerry
Holland’s), 1995; No. 173, pg. 49.
MEMORIES OF FATHER
ANGUS MACDONNELL. Canadian, March (cut time). Canada,
Cape Breton. G Major. Standard tuning. AABB. Composed by the late Northside
fiddler Mike MacDougall (1928-1982, Ingonish, Cape Breton). Cranford (Jerry Holland’s), 1995; No.
183, pg. 52.
MEMORIES
OF HECTOR MACANDREW, MASTER OF IDIONE. Scottish, Air (6/8 time). E Major
('A' and 'B' parts) & E Minor ('C' and 'D' parts). Standard tuning. ABCD.
The tune was composed by Shetland fiddler Arthur S. Robertson in honor of one
of the greatest Scots fiddlers, Hector MacAndrew (b. Fyvie, 1903‑1980),
who was first taught to play by his father. MacAndrew served in the British
army in World War II in the north African desert, and, "it is said of him
that after hearing the pipers practising, he was so moved that he vowed to
himself, that if he came out of the war alive, he would do the best he could to
keep Scots music to the fore." Neil (The
Scots Fiddle), 1991; No. 92, pg. 125.
MEMORIES OF JOE
CONFIANT. Canadian, March (cut time). Canada,
Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Brenda
Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) in honor of Northside
(Cape Breton) Irish-style fiddler Joe Confiant (c. 1900-1980). Cranford (Brenda Stubbert’s), 1994; No. 35, pg.
13. Brenda Stubbert - “Tamerack ‘er Down” (1985).
MEMORIES
OF JOE MACINNIS. Canadian, March. Canada, Cape
Breton. D Major. Standard tuning. AA'B. Composed by Cape Breton fiddler Dan R.
MacDonald. Source for notated version: the "Cape Breton Fiddler"
newsletter [Little]. Little (Scottish and
Cape Breton Fiddle Music in New Hampshire), 1984; pgs. 28‑29. Rounder 7059, Alex Francis MacKay with Gordon MacLean –
“Gaelic in the Bow” (2005).
MEMORIES OF JOHNNY
MACLEAN. Canadian, Reel. Canada, Cape
Breton. D Major. Standard tuning. ABB’. Composed by fiddler Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry
Holland’s), 1995; No. 101, pg. 30.
MEMORIES OF KESH (Cuimhní ar an gCeis). Irish, Reel. E Dorian. Standard
tuning. AB. Source for notated version: Liam Donnelly (County Tyrone)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 104, pg. 55.
MEMORIES OF LAUCHIE STUBBERT. Canadian, Slow Strathspey (4/4 time). Canada, Cape Breton. A Major.
Standard tuning. AB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi,
Cape Breton). Cranford (Brenda Stubbert’s),
1994; No. 32, pg. 12.
MEMORIES OF MAC. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 233, pg. 67.
MEMORIES OF MARY ANNE
MACKENZIE. Cape Breton, Air. The tune was
written by her son, Hector MacKenzie. IONA 047, Barra MacNeils – “Traditional Album.”
MEMORIES OF MORRISON.
Irish, Reel. A Major. Standard tuning. AB. Accordion player Luke O’Malley
(1976) notes that New York fiddler and accordion player John McGrath
(1900-1955) named the tune, “because, he said, ‘Morrison didn’t know (the name
of) it.” Morrison was nicknamed “The Professor” for his teaching and knowledge
of Irish music, and a tune he didn’t
know the title of would thus be memorable. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 68,
pg.
X: 1
T: Memories of Morrison
M: 4/4
L: 1/8
Q: 350
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: reel
K: A
cdef ec~c2 | ecae fB~B2 | cdef ecaf | ec{d}cB cA
A2 |
cde=g fd~d2 | ecc2 dB~B2 | Acef ecaf | ec{d}cB
cAA2 ||
c'a~a2 faea | c'a~a2 bc'd'b | c'aga (3faf ec | dfed cA A2 |
c'a~a2 faea | c'3 a babd' | c'a~a2 (3fga ec |
dfed cA A2 ||
W: %space
K:D %Transposed from A
FGAB AFF2 | AFdA BEE2 | FGAB AFdB | AFFE FD D2 |
FGA=c BGG2 | AFF2 GEE2 | DFAB AFdB | AFFE FDD2
||
fdd2 BdAd | fdd2 efge | fdcd (3BdB AF | GBAG FD
D2 |
fdd2 BdAd | f3 d
edeg | fdd2 (3Bcd AF | GBAG FD D2 ||
MEMORIES OF PADDY
LEBLANC. Canadian, March. Canada, Cape
Breton. Composed by fiddler Donald Angus Beaton, in honor of Cape Breton
fiddler Paddy LeBlanc. LeBlanc, a barber by trade, was of French stock from the
Margaree area, and recorded two influential albums in the 1960’s. Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996). Rounder Records , John
L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the
Classic Inverness County Style” (2005).
MEMORIES
OF REV. DONALD MICHAEL RANKIN MARCH. Cape Breton, March. Composed by
Mabou Coal Mines, Cape Breton, Nova Scotia, fiddler Donald Angus Beaton (b.
1912). Rounder 7011, "The Beatons of Mabou:
Scottish Violin Music from Cape Breton" (1978).
MEMORIES OF SIMON
FRASER. Cape Breton, Slow Air. Composed by
Cape Breton fiddler Brenda Stubbert in honor of the Highland composer and
fiddler who issued an important collection of Scottish traditional fiddle music
in 1816. Celestial Entertainment CECS001, Brenda
Stubbert - “In Jig Time!” (1995).
MEMORIES OF WINSTON. Canadian, Strathspey. Canada, Cape Breton. A Major. Standard tuning.
ABCD. Composed by fiddler Jerry Holland (Cape Breton) in honor of Winston
‘Scotty’ Fitzgerald (1915-1987), whom Paul Steward Cranford calls “the most
influential Cape Breton recording artist during the post war period.” Holland
learned many tunes from Fitzgerald’s recordings, met the elder fiddler as a
child, and as a young man played with him in the Cape Breton Symphony. Cranford
(Jerry Holland’s), 1995; No. 1, pg.
1.
MEMORY OF ANGUS, A. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton) in honor of
influential Cape Breton fiddler Angus Chisholm (1908-1979). Holland knew
Chisholm well, reports Paul Stewart Cranford (1995), for as a Boston area
teenager he would play guitar accompaniment for Chisholm’s regular Sunday night
session held at Tom Slaven’s Pub. Cranford (Jerry
Holland’s), 1995; No. 219, pg. 63.
MEMORY OF DEPARTED
WORTH, THE. Scottish, "Very slow"
Strathspey. C Minor. Standard tuning. AAB. Composed by Nathaniel
Gow (1763-1831). Carlin (Gow
Collection), 1986; No. 139.
MEMORY OF INVER, THE.
Scottish, Strathspey. G Minor. Standard tuning. AB. Composed by Nathaniel
Gow (1763-1831) in honor of the village of his birth, Inver, near Dunkeld,
Perthshire, the lifelong home of his father, Niel Gow (1727-1831). Gow (Sixth
Collection of Niel Gow’s Reels), 1822; pg. 10.
X:1
T:Memory of Inver, The
M:C
L:1/8
R:Strathspey
N:”Slow”
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:G Minor
b|g<g d>g f(=e/f/) dB|(A/B/c) “tr”c>d AFFb|g<g
d>g “tr”f(=e/f/) dB|(A/B/c) Ad BGGb|
g<gd>g “tr”(f=e/f/) dB|(A/B/c)
fc AFF>A|G<GBG dd g2|f>dcd BGG||
B|(DGB)G Dd B2|c<c “tR”c>B
AFFA|(DG)(BG) D<d B2|c<c A>d BGG>B|
(DG)(BG) D<d B2|c>c “tr”c>B
AFFA|(DG)(BG) d<d g2|f>d c>d BGG||
MEMORY OF JOYS THAT
ARE PAST, THE. Scottish, Strathspey. B Flat Major.
Standard tuning. AAB. Composed by John MacDonald, a Dundee dancing master;
first published in Charles Duff's
collection in 1790, and again in Nathaniel Gow's
Sixth Collection (Edinburgh, 1822). MacDonald is also represented in the
Gow collections by his tunes “The
Contrivance” and “Maids of Arrochar.”
Alburger (Scottish Fiddlers and Their
Music), 1983; Ex. 76, pgs. 122‑123. Gow (Sixth Collection of
Strathspey Reels), 1822; pg. 28.
X:1
T:Memory of Joys that are past, The
M:C
L:1/8
R:Strathspey
N:”Slow”
C:John MacDonald of Dundee
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Bb
d/c/|B<D G>B F>G
(E/D/)(C/B,/)|EG/E/ DF/D/ Ccc d/c/|Bd/B/ GB/G/ FG/F/ (E/D/)C/B,/|B,>D FB/F/
GBB:||
c/d/|e>f gf/e/ d>e
{g}fe/d/|c>d (e/d/)”tr”(c/B/) B>c cd/c/|B>d G>B F>G
{E}D{C}B,|B,>D FB/F/ GB Bc/d/|
e>f {a}gf/e/|d>e
(g/f/)(e/d/)|c>d {f}e/d/”tr”c/B/ Gcc d/c/|Bd/B/ GB/G/ FB/F/
(E/D/)(C/B,/)|B,>D (F/G/)(B/F/) GBB||
MEMORY WALTZ. Old-Time, Bluegrass; Waltz. G Major ('A' and 'B' parts) & D Major
('C' part). Standard tuning. ABCC'. Composed by fiddler Howard 'Howdy'
Forrester [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pgs. 280-281.
MEMPHIS BLUES. Old‑Time, Blues. Recorded by Chatanooga, Tenn., fiddler Jesse
Young in the 1920's. There are other tunes by the same name. One was played by
Bond's String Band, a late 1920's six to eight piece string band from Corbin,
Kentucky, composed almost entirely of railroaders. The group specialized in
playing blues tunes but did not record.
MEMPHIS SHAKEDOWN. Old‑Time, Ragtime Blues. Rounder 0113,
Trapezoid ‑ "Three Forks of Cheat" (1978. Learned from a
recording of the Memphis Jug Band).
MEN FROM MALLOW, THE (Na Fir Ua Mag-Ealla). Irish, Hornpipe. D Major. Standard
tuning. AAB. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1582, pg. 293. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 830, pg. 143.
X:1
T:Men from Mallow, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 830
Z:AK/Fiddler’s Companion
K:D
AG|F2 EF D2 (3ABc|d2 =cB ABcG|E2 DE
=C2 C=F|EDEF G2 AG|
F2 EF D2 (3ABc|d2 =cB ABcG|FDFA
GECE|D2 DD D2:|
||(3ABc|d2 cd AFDA|d2 cd A2 AB|=cBcA
GECE|=cBcA G2 (3ABc|
d2 cd AFDA|d2 cd ABcG|FDFA GECE|D2
DD D2 (3ABc|
d2 cd AFDA|d2 cd A2 AB|=cBcA
GECE|=cBcA G2 (3ABc|
dcBd cBAc|BAGB A2 D2|FDFA GECE|D2 DD
D2:|
MEN FROM ULSTER, THE (Na Fir Ua Ulad). AKA and see “Norfolk Hornpipe [1].” Irish, Hornpipe. G
Major. Standard tuning. AABB. The tune is the same as “Norfolk Hornpipe [1]”
printed in Ryan’s Mammoth Collection (c. 1883) and credited to W.H.
Whiddon. See also the related “Bashful
Bachelor [2].” O'Neill (Music of Ireland: 1850 Melodies), 1979; No.
1701, pg. 316.
X:1
T:Men from Ulster, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1701
Z:AK/Fiddler’s Companion
K:G
D>B, | G,>B,D>G
B>GD>B, | C>EA>B c>BA>c | B>dg>d e>cA>G |
(3FGA (3GFE (3DED (3CB,A, |
G,>B,D>G B>GD>B, |
C>EA>B c>de>f |
{a}g>fg>e (3ded (3cBA | G>Bd>B g2 :|
|: B>c | d>g{a/g/}f>g
e>g{a/g/}f>g | b>ga>f g>ed>B |
(3cde (3ABc (3Bcd G>B | (3AGF
(3GFE D2 B>c | d>g{a/g/}f>g e>g{a/g/}f>g |
b>ga>f g>ed>B |
c>de>f {a}g>fg>e | d>Bc>A G2 :|
MEN OF GARVAGH, THE. Irish. Some general likeness to "Perry's Victory [1]." JIFSS,
No. 13, pg. 29.
MEN OF HARLECH. AKA and see "The
March of the Men of Harlech."
MEN OF MAWDDWY’S DELIGHT. AKA and see “Difyrrwch Gwyr
Mawddwy.”
Welsh, March (4/4 time).
MEN OF THE DEEPS, THE.
Canadian, Reel. Canada, Cape Breton. Composed by Mabou, Cape Breton,
fiddler Kinnon Beaton. The title refers to the miners of the nearby coal mines.
Smithsonian Folkways Records, SFW CD 40507, The Beaton
Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004).
MEN OF THE WEST. AKA and see "Rosin the Beau."
Irish, Waltz. D Major. Standard tuning. AABC. The Irish fiddle master Michael
Coleman recorded the tune under this title in 1934. The tune is often played in
a medley with "Mrs. Kenny," as
per Coleman’s pairing. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 2, No. 67. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 144. Ace of Hearts AH 95, "Irish
Dance Party."
MEN OF TIPPEROUGHNY, THE. AKA and see “The highly excellent
good man of Tipperoughny.”
MENACING
PIGEON, THE. Irish, Hornpipe. D Major. Standard tuning. AABB.
X: 1
T: Menacing Pigeon, The
M: 4/4
L: 1/8
R: hornpipe
C: © B. Black
N: “Maximum appreciation of this tune may be
limited to those fortunate
N: few musicians who possess an intimate
knowledge of pigeons and/or
N: Chicago box player Jimmy Thornton. If you don't
meet either qualification,
N: you may have to enjoy the tune on a slightly
lower level of consciousness.”(BB)
K: D
D | FEFG ABAF | DFAd fafd | gfeg fedc | dBAF
EGFE |
FEFG ABAF | DFAd fafd | gaba (3gfe fd | edBc d3
:|
e | faef dcde | fage d2 ef | g2 bg f2 af | efgf
e3 A |
FEFG
ABAF | DFAd fdBd | gfed cdeg | fdec d3 :|
MENGIE OF McBRIDE’S HILL. Canadian, Two-Step or Schottsiche. C
Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. The tune
appears in a collection by Canadian fiddler Ward Allen.
X:1
T:Mengie of
McBride's Hill
C:Lou Snider
M:4/4
L:1/8
K:C
E>D |
C>DE>F G>cB>c | A>Bc>A G2c>B | A>GF>E D>cB>A |
B>AG>^F G>=FE>D |
C>DE>F
G>cB>c | A>Bc>A G2c>B | A>FA>c B>GB>d | c2e2 c2 :|
K:G
|: B>c |
d2B>d e>dc>B | c2A>c d>cB>A | B2G>B c>BA>G | A>GF>E
D2 (3ABc |
d2B>d e>dc>B | c2A>c
d>cB>A | B2G>B c>AF>D | G2B2 G2 :|
MENTRA GWEN. Welsh, Air. The tune
appears in Blind Parry’s Twelve Airs for one and two Guitars, 1781 edition.
MENZIES' RANT. AKA and see "Reel Don me
Marachan." Scottish, Rant or Reel. D Major. Standard tuning. AA'BCD.
Dance instructions for the piece, but not the melody, appear in the Menzies Manuscript of 1749, contained in
the Atholl Collection of the Sandeman Library, Perth. The Culdares branch of
the Menzies clan were ardent Jacobites, and as a result Menzies of Culdares
(who had been captured at Sherrifmuir) spent many years in exile in Maryland,
in the United States, after the uprisings of 1715, before returning to the
family seat at Glen Lyon. By 1745, when Bonnie Prince Charlie again raised the
Jacobite standard in Scotland, Menzies was too old to come out for active
service, but, still sympathetic, he sent Charles a fine white horse. By this
time, however, Charlie was with his forces in northern England, with the tide
turning against him. The story goes that the clansman who was sent with
the horse by Culdares was taken prisoner by the English, and condemned to
death. Under this threat he was offered pardon if he would reveal the name of
the person who had made the gift to the Prince. The faithful Highlander,
however, refused to betray his master, and suffered the last penalty in
consequence. The same Menzies is also famous for introducing the larch tree
into Scotland in 1737. It was he, it was remembered, who gave two plants to the
Duke of Atholl, to be seen for many years growing beside Dunkeld Cathedral.
From them, it is said, derived all the valuable plantations of larch in the
Atholl district. Stewart-Robertson
(The Athole Collection), 1884; pg.
125.
X:1
T:Menzies Rant
L:1/8
M:C|
R:Reel
N:”Old set.”
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
F|:D2dF ADDF|D2dA BEEF|D2dF D2fd|1 efdf eEEF:|2 D2dF ADD||
f|abaf beef|abaf defd|efdf eEEF|D2dF ADDf|abaf beef|abaf defd| efdf eEEd|AdFd ADD||
d|AdFd ADDd|AdFA BEEd|AdFd Adfd|efdf eEEd|AdFd ADDd| AdFd Adfd|efdf eEEF|D2dF ADD||
f|abaf beef|abaf defd|efdf eEEF|D2dF ADDf|abaf beef|abaf
defd| efdf eEEd|AdFd ADD||
MENZIES SALUTE, THE. Scottish, Pipe Pibroch. Composed following the
Jacobite rising of 1715.
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