The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
Home Alphabetical Files
References
THA - THE |
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] |
THA 'BHUAIDH AIG AN
FHIGHEADAIR. AKA and see "The Weaver's Triumph."
THA COTA ORM
S’ARDACH MUILLIN (I am Wearing a Coat in Praise of the Mill). AKA
- Canadian, Strathspey.
THA DUTHRACHD MO CHRIDHE DHUIT (You Have My Heart’s Love). See “Old Time Wedding Reel [1].”
THA M'AIGNE FO GHRUAIM. AKA and see "This
Gloom On My Soul."
THA
M' EUDAIL IS MAIGHEAR’S MO GRAIDH. Scottish, Slow Air (3/4 time). E
Minor. Standard. One part. Martin (Ceol
na Fidhle, vol. 3), 1988; pg. 5.
THA MI AM CHADAL. AKA and see "I
Am Asleep {and Don't Waken Me} [1]."
THA MI FO GHRUAIM. AKA and see "Flora MacDonald's
Adieu to the Prince."
THA MI SGÌTH (I am weary). AKA and see “The
Weary Maid.” Scottish, Air or March (2/4 time). A Minor. Standard. AB. The
Gaelic title, “Tha mi sgìth ‘s mi leam fhein” translates as “I am tired of
being by myself every day in the blessed hills.” See also O’Neill’s version
under the title “Weary Maid.” Morison (
X:1
T:Tha Mi Sgith
T:I am weary
M:2/4
L:1/8
R:March
S:Morison –
Z:AK/Fiddler’s Companion
K:A Minor
A2 {A}a2 | ge g2 | e>d BA |
G>A BG | A2 {A}a2 | ge g2 | e>d Bg | BA z2 ||
e>d BA | G>A Bd | e>d BA |
B3g | e>d BA | G>A Bd | e>d Bg | BA z2 ||
THA MI TINN LEIS A'
GHAOL. AKA and see "The Languor of Love."
THA MISE CHO MULADACH (I am so sorrowful).
Scottish, Slow Air (6/8 time). F Minor. Standard. AB. Morison (
X:1
T:Tha mis cho muladach
T:I am so sorrowful
M:6/8
L:1/8
R:Air
N:”slowly”
S:Morison –
Z:AK/Fiddler’s Companion
K:F Minor
F | F>EC A>BA | G2B c2F |
E>GE {G}F2F | F>EC A>BA |
G2Bc2F | F2 G/E/ F2 || F | A>Bc
d>cB | c2C CAA | AGF {A}G2B |
c2F F>EC | F2A B>cA | G2F F2 ||
X:1
T:Tha mo bhreacan fluich fo’n dile
T:My plaid is wet with rain
M:C
L:1/8
R:Air
S:Morison –
Z:AK/Fiddler’s Companion
K:E_
G>F E>E F>G B>B | e>B c>c B>G G>B | G>F E>E F>G B>B ||
E>E E>E E>C C<B, | E>
THA MO GHAOL AIR A'
NIGHEAN. AKA and see "My Love is Fixed Upon Her."
THA NIGHEAN AIG A'
BHREABADAIR. AKA and see "The Weaver Has a
Dochter/Daughter."
THA TIGH’N FODHAM
EIRIDH. AKA and see "The Rising of the Year 1715.”
THA TOIRM ANNS A'
GHLEANN. AKA and see "The Sound of War from the Glen."
THACK COTTAGE, THE. Scottish, Strathspey. G Minor. Standard.
AABB'. Kerr (Merry Melodies), vol. 3;
No. 191, pg. 22.
X:1
T:Thack Cottage
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 191
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G Minor
g2 d>c (B<G) G>B |
A>fc>f (A<F) F>A | G>AB>c d>ed>c | (B<g) ^f>a
g2d2 :|
|: g>ab>g a>bg>d |
f>ga>f g>af>d | g>ab>g a>bg>d |1 c<A d>^F G3d :|2
c<A d>^F (G2G)z ||
THADE JANEY BUCKLEY’S. AKA and see “Have a Drink
with/on Me.” Irish, Jig. A Major. Standard. AA’BB. Source for notated
version: accordion player Thade Janey Buckley and fiddler Denis Buckley
(Caherbarna, near Rathmore, Co. Kerry) via accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 255, pg. 146.
THADELO SULLIVAN’S
HORNPIPE. Irish, Hornpipe.
THADELO SULLIVAN’S
POLKA. Irish, Polka.
THADELO’S [1]. Irish, Polka.
THADELO’S [2]. Irish, Hornpipe.
THADELO’S [3]. Irish, Hornpipe.
THADELO’S SLIDE. AKA and see “Tarrant’s [1].” Irish,
Slide (12/8 time).
THADY CASEY'S. Irish, Reel. E Minor. Standard. Thady Casey is best remembered as one
of West Clare’s best dancers and dancing masters, although he also played the
fiddle. Barry Taylor, in his article on Clare fiddler Junior Crehan (Musical Traditions, No. 10, Spring
1992), records Crehan as remembering:
***
There was a wedding at Crosses of Annagh [a noted local
music pub in past years, about
two miles from Junior's house] and Thady
Casey was there, and Thady had played for a
good few sets, and he was back to the supper
and the lads wished me to play for a set.
I said that I had no fiddle, so the man of
the house asked Thady if he would give me the
fiddle to play for a set. "He can
play for twenty, if he likes," he says, so I played for the
set and Thady came over and he stood at the
door listening away: "Who learned you",
he says. "Why sure, no one, Thady,
I'm only making a bit of a noise," I said. "You weren't
too bad at all, come up to the house and
I'll straighten you!"
***
Up until then Crehan had been a
self-taught fiddler, but thereafter received tutelage from Thady Casey and his
cousin Scully Casey. Sean McCusker plays a version of this tune (also recorded
by Laurence Nugent on his album “The Windy Gap”) that has a half-measure
missing in the second part. Green Linnet SIF 1157,
John Williams - "John Williams."
X:1
T:Thady Casey’s
M:4/4
L:1/8
R:reel
Z:Liam Hart
K:Em
|B2BA Bded|BdAc BE ~E2|BAGA (3Bcd
ef|1gfed Bded:|2gfed Bdef|
|gfge dB ~B2|dBeB (3Bcd ef|g2 ga
bgaf|1gfed (3Bcd ef|2gfed (3Bcd ed||
THADY CASEY’S FANCY (Rogha Thaidhg Uí Chathasaigh). AKA and see “The Burren,” “Clematis,
“Star of Kilkenny.” Irish, Reel. E
Dorian. Standard. AB. Thady Casey was a West Clare dancing master, as well as a
fiddler. Sources for notated versions: fiddler Joe Ryan and harmonic player
Eddie Clark [Breathnach]; fiddler player Philip Duffy (b. 1966) [Flaherty]. Breathnach (CRÉ III), 1985; No. 160, pg. 74.
Cotter (Traditional Irish Tin
Whistle Tutor), 1989; 67. Flaherty (Trip
to Sligo), 1990; pg. 27 (appears as “Unknown”). Shanachie 78015, James Keane – “With Friends Like These”
(1998).
THADY YOU
X:1
T:Thady You
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 225
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
c2A B2A | c2A B2A |1 FBB BAB | FBB
BAB :|2 DAA AGA | EAA A2 ||
|: d | cde Bcd | cde B2A | FBB BAB |
FBB B2d | cde Bcd |
cde B2A | EAA AGA | EAA A2d || cde
Bcd | cde B2A | FBB BAB |
FBB B2d | cde Bcd |efg a2A | EAA AGA
| EAA A2 ||
THAILER
A BHA ME SHERRIDH IS FEADER A THUAIR ME (A
Tailor I Was Seeking and Weaver that I Got). Scottish, Reel. See note for “Miss Charlotte Alston
Stewart’s.” The Gaelic title has been modernized as “Taillear a bha Mi
Sireadh is Figheadair a Fhuair Mi.”
THÁINIG AN TAOIDE ISTEACH. See “Tide Come In [2].” Irish, Hornpipe.
THAMAMA HULLA. See "I am
asleep and don't waken me [2]."
X:1
T:
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 365
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bb
(fe) | dbfd cgec | BfdB AecA | BFGA
Bcde | =efgf agf_e | dbfd cgec |
BfdB AecA | BFGA Bcde | =efga b2 ::
b2 | afcA BdcB | AFAc fagf |
=eceg bgeg | f=efg a2b2 | afcA BdcB
| AFAc fagf | =eceg bgeg | f2a2f2 :|
THA’N DAORACH AIR CALUM (Malcolm on
a
THANIG
ON GILLE DUBH AN RAOIR NA BHAILE SO
(Last night came the dark haired youth to my village). Scottish, Air (6/8 time). F Major.
Standard tuning. AB. Morison (
X:1
T:Thanig on Gille dubh an raoir na
bhaile so
T:Last night came the dark haired
youth to my village
M:6/8
L:1/8
N:”In moderate time”
S:Morison –
Z:AK/Fiddler’s Companion
K:F
F>GF FGA | D2F FDC | c2c c2A |
d2c A>GA | F>GF FGA | D2F FDC ||
cdA c2A | cdA c2c | dfc d2A | d2c
AGA | F>GF FGA | D2F FDC ||
THANKS TO PAUL AND
PAUL. Canadian, Strathspey.
THANKSGIVING (Toirbeirt Buideac). Irish-American, Air (2/4 time,
"tenderly"). G Major. Standard tuning. AB. Composed by fiddler James
O’Neill (b. 1863, originally from County Down & Belfast), who, when a
sergeant in the Chicago police force in the first decade of the twentieth
century collaborated with Captain Francis O’Neill (no relation) on Music of Ireland. In Irish Folk Music O’Neill states it was
an “old Irish strain” elaborated by James. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 13, pg. 16. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 55, pg. 10.
X:1
T:Thanksgiving
M:2/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
g>f | ed BA | G<
ed BA | G<
e>f {a}ge | d/g/z B/d/z | G3 A |
B2 d2 | e/g/z f/a/z | (g4 | g2) g>a | ba gf | e2 g>e |
dB GB | A2 B>c | dB AG | E2
{G}F>D | (G4 | G2) ||
THAR AN gCNOC (Over the Hill). AKA and see “Over
the Hill.”
THAT BROWNSKIN GAL [1]. Old-Time, Country Rag.
THAT BROWNSKIN GAL [2]. AKA and see "There's
a Brown Skinned Gal (Down the Road Somwhere)."
THAT ELEGANT STYLE. Scottish, Strathspey. B Flat Major. Standard tuning. AB. Composed by
Arthur S. Robertson as a tribute to the Aberdeenshire fiddler James F. Dickie
(b. New Deer, 1886), who specialised in playing slow strathspeys in an
authentic Buchan style. Neil (The Scots
Fiddle), 1991; No. 60, pg. 83.
THAT OLD VIOLIN TUNE. Irish, Waltz. D Major ('A' and 'B' parts) & G Major ('C' and 'D'
parts). Standard tuning. AABCCD. Roche
Collection, 1982, vol. 3; No. 157, pg. 52.
THAT
TIME THE GROVES WERE CLAD IN GREEN. Irish, Air. This air appears in
Luke Wadding's (the Bishop of Ferns) A
Pious Garland of Godly Songs for the Solace of his Friends and Neighbours in
their Afflictions, 1680.
THATCHED CABIN, THE. AKA and see “Jackson’s Drum,” “Paddy from Portlaw.” Irish, Jig. D
Major. Standard tuning. AABB. The tune usually appear in printed collections as
“Paddy from Portlaw.” It can also found in the manuscripts of Henry Hudson
(1798‑1889) as "
X:1
T:The Thatched Cabin
D:Jackie Daly, "Many's a Wild
Night"
M:6/8
L:1/8
R:jig
Z:Paul de Grae
K:D
B | AFD DED | AFD D2 B | AFD DEF |
GFG EFG |
AFD DED | DFA d2 e | fed B/c/dB |
AFD D2 :||
||: f | afd ded | afd d2 f | afd def
| gfg efg |
a^ga ba=g | agf gfe | fed B/cdB |
AFD D2 :||
THATCH'D HOUSE [1], THE. English, Jig.
***
The
table that day was crowded, and I sat next Mr. Burke; but as the great orator
said very little, and as Mr. Richard Burke
talked
much, I was not aware at first who my neighbour was.” He adds an amusing story
which beings in both Burke and
Johnson,
and my therefore well bear telling here: --- “One of the party near me remarked
that there was an offensive smell
in
the room, and thought it must proceed from some dog that was under the table;
but Burke, with a smile, turned to me
and
said, ‘I rather fear it is from the beef-steak pie that is opposite us, the
crust of which is made of some very bad butter
which comes from my country. Just at that
moment Dr. Johnson sent his plate for some of it; Burke helped him to very
little,
which
he soon dispatched, and returned his plate for more; Burke, without thought,
exclaimed, ‘I am glad that you are able
so
well to relish this beef-steak pie.” Johnson, not at all pleased that what he
ate should ever be noticed, immediately retorted,
‘There
is a time of life, sir, when a man requires the repairs of a table.
***
Before Dinner was finished, Mr. Garrick came
in, full-dressed, made many apologies for being so much later than he intended,
but
he had been unexpectedly detained at the House of Lords; and Lord Camden had
absolutely insisted upon setting him down
at
the door of the hotel in his own carriage. Johnson said nothing, but looked a
volume. During the afternoon some literary
dispute
arose; but Johnson sat silent, till the Dean of Derry very respectfully said, ‘We
all wish, sir, for your opinion on the
subject.’
Johnson inclined his head, and never shone more in his life than at that
period. He replied, without any pomp; he
was
perfectly clear and explicit, full of the subject, and left nothing
undetermined. There was a pause; and he was then hailed
with
astonishment by all the company. The evening in general passed off very
pleasantly. Some talked perhaps for amusement,
and
others for victory. We sat very late; and the conversation that at last ensued
was the direct cause of my friend Goldsmith’s
poem,
called ‘Retaliation.’
***
Source for notated version: the
music manuscript collection of Northumbrian musician William Vickers, 1770
[Seattle]. Seattle (William Vickers),
1987, Part 2; No. 340.
X:1
T:Thatch’d House, The [1]
M:6/8
L:1/8
R:Jig
S:William Vickers’ 1770 music
manuscript (Northumberland)
K:G
G2c (B/c/dB)|g2d (B/c/d)B|G2c
(B/c/d)B|gdB “tr”A3|G2c (B/c/d)B|g2d B/c/dB|
G2c B/c/dB|gdB G3::d2g
(f/g/a)f|(e/f/g)e (f/g/a)f|d2f (e/f/ge|
(f/g/a)f d3|d2g f/g/af|(e/f/g)e
f/g/af|d2f (e/f/g)e|f/g/af d2:||
THATCH’D HOUSE [2], THE.
English, Country Dance Tune (cut time). G Major. Standard tuning. AABB.
This melody (unrelated to “Thatch’d House [1]”) was first published in R.
Baldwin’s periodical The London Magazine, or The Gentleman’s Monthly
Intelligencer of 1753. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 71.
X:1
T: Thatch’d House, The [2]
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
D|G/G/G
BG d>edB|g>agB A>B AD|G/G/G BG d>edB|gedB G/G/G G:|
|:B/c/|d>edB gBdB|gBdB A/A/A AB/c/|d>edB gBdB|gBdB G/G/G G:||
THATCHER, THE (An Tuigeadoir). AKA and see “Castletown Conners [1],” “Condon’s Frolics,” “Digging for Gold,” “Paddy Carty’s Jig,” “Walsh’s Jig [2].” Irish, Jig. A Major.
Standard tuning. AABB. “Condon’s Frolics” and “Digging for Gold” are related
tunes. Source for notated version:
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Thatcher, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
g/f/ | eAB c2d | edc BAG | eAB c2d |
eaa eaa |
eAB c2d | edc BAG |
|: d | eaa efg | dec BAG | eaa efg |
fed efg |
eaa efg | dec BAG |
THATCHER’S MALLET, THE (Máilléad an Tuíodóra). Irish, Reel. G Major. Standard tuning. AB.
Composed by flute player and piper Peter/Peadar Broderick, originally from
Bullen, north of Loughrea,
THAT'S A PLENTY. American, Song Tune (cut time). D Minor ('A' part), F Major ('B' part)
& B Flat Major ('C' 'E'parts). Standard tuning. AA'BCC'
THAT'S HOW I SPENT THE
WINTER (Sud Mar Chuir Mi'n
Geamhradh Tharum). Scottish, Strathspey.
***
Jack Campin found the following
passage in the memoirs of Elizabeth
Grant of Rothiemurchus. She grew up in a manor in the
***
In winter we rose
half an hour later, without candle, or fire,
or warm water. Our clothes were all laid on a chair overnight
in readiness for being taken up in proper order. My Mother
would not give us candles, and Miss Elphick insisted we should
get up. We were not allowed hot water, and really in the high-
land winters, when the breath froze on the sheets, and the water
in the jugs became cakes of ice, washing was a cruel necessity,
the fingers were pinched enough. As we could play our scales
well in the dark, the two pianofortes and the harp began the
day's work. How very near crying the one whose turn set her at
the harp I will not speak of; the strings cut the poor cold
fingers so that the blisters often bled. Martyr the second put
her poor blue hands on the keys of the grand-pianoforte in the
drawing room, for in those two rooms the fires were never lighted
till near
household was not early and so we had to bear our hard fate.
***
MacDonald (The Skye Collection), 1887; pg. 183.
X:1
T:That’s How I Spent the Winter
T:Sud Mar Chuir Mi’n Geamhradh Tharum
L:1/8
M:C
S:MacDonald – Skye Collection
Z:AK/Fiddler’s Companion
K:D
f>A A>A (A>F) A>A|f>a
A>f e>d B<d|f>A A>A B>AF>A|a>ef>d e>d B<d:|
f<a {a}b>a a<g
e>d|d<d e<e g>ef>e|g<a b>a a<f e>d|(g>e)(f>d)
B>A B<d|
a>a {a}b>f
a>ef>d|e>fg>e a>gf>e|b>fa>e {e}f>def|g>f/e/
a>d B>A B<a||
THAT’S MORE OF IT. Irish, Jig. Composed by Moving
Cloud pianist Carl Hession. Green Linnet GLCD 1211, Kevin Crawford – “In Good Company”
(2001).
THAT'S MY GAL. AKA and see "Sam's Rag."
THAT'S MY RABBIT, MY
DOG CAUGHT IT. AKA ‑ "The Little Rose (is Gone)."
Old‑Time, Breakdown.
***
The instrumental breaks, which add variety and intensity to the
performance, were actually an accident brought about by a
misunderstanding of procedures during the recording. The cue
for beginning the number was picked up prematurely by Draper
entrance untimely, held back, and then joined in one by one
during the next few bars of the tune. When the lights come on,
supposedly indicating a false start, the band again dropped out
with the exception of Draper, who continued playing. The other
instruments joined in sporadically as before and the recording
was completed with the whole ensemble. Amazingly, the item
was accepted and released.
***
Source for notated version: Draper
Walter [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), 1994; pg. 240. Recorded Anthology of American Music, 1978, Walter Family (
X:1
T:That’s My Rabbit, My Dog Caught It
L:1/8
M:2/4
S:Liz Slade
Z:AK/Fiddler’s Companion
K:C
e>(A c/)A/c/c/|ee/e/ ge/g/|e/g/e/(A/ c/)A/c/c/|A/B/A/G/ E/D/C|
e>(A c2|e>(e g)e/g/|(a/g/)a/g/ a/g/e/c/|1 e>(A c2:|2 e>(A c)c/A/||
|:{D}GA/A/ c/(d/c/)c/|c/(d/c/)c/ c/(d/c/)c/|{D}GA/A/ c/(d/c/)c/|
c/(d/c/)D/
G/D/E|{D}GA/A/ c/d/c/c/|c/d/c/c/ ce/g/|a/g/a/g/ g/e/c|e>(A c2):|
THAT’S RIGHT TOO. Irish, Reel. D Major. Standard. AA’BB’. A modern composition by Chicago
Irish fiddler Liz Carroll. Flying Fish 70586, “Trian.”
X:1
T:That's Right Too
C:Liz Carroll
D:Trian (FF 70586)
R:reel
Z:transcribed by Philippe Varlet
M:4/4
L:1/8
K:D
D2 FA FE{G}ED|d2 ef edBd|D2 FA
FE{G}ED|BcdD FE{G}ED|
D/D/D FA FE{G}ED|d2 ef edfd|BD D/D/D
Bd~d2|1 AFEF D3 E:|2 AFEF D3 b||
afef ~d3 B|A2 FD {G}EDDb|afef ~d3
f|efaA f2 fe|
d2 ef edBA|BcdD FE{G}ED|BD D/D/D
Bd~d2|1 AFEF D3 b:|2 AFEF D4||
THAT'S THE TIME O' DAY. AKA and see "Another Jig
Will Do."
THAT'S WHAT I LIKE
ABOUT THE SOUTH. American, Song Air. The tune was
recorded and copyrighted in 1923 by Benny Moton. J.P.
& Annadeene Fraley – “Maysville.”
THAT'S WHAT MAMMA SAID. Old‑Time. The title appears in a list of traditional
THAUNALAW (It is Day). Irish,
Air (2/4 time). F Major. Standard. AB. P.W. Joyce (Ancient Irish Music, 1873) writes: “This spirited air takes its
name from the chorus of an Irish drinking song, which I have written
phonetically with the music. It may be translated, (First toper.) “It is day,
it is day, it is day—in the early morning!” (Second toper,) “Arrah, not at all,
my dear friend, it is only the light of the moon, shining on high!””
***
Thaunalaw, thauna law, thaunalaw, agus na woddin!
Neel na law arrah agraw och sullus aurd athawsa yollig.
***
Joyce notes there was an English
song to the air, printed on a broadsheet, called “The lamentation of Patrick
Keane the tailor,” which was “full of coarse, broad humour. Here is one half
stanza:--
***
I am a tailor by my trade, in cutting out I am quite handy,
And all I earn ev’ry day, my wife lays out in tea and brandy.
***
Joyce (Ancient Irish Music), 1873; No. 57, pg. 58.
X:1
T:Thaunalaw
T:It is Day
M:2/4
L:1/8
R:Air
Z:AK/Fiddler’s Companion
K:F
cc ({d/}e>)f|gf f2|cc
({d/}e>f|gf e/c/e/f/|gf ec/B/|AA AG/F/|EF GA/_B/|cG AF||
cF (F>G)|AB G>F|EF
(GA/)B/|cGAF|cF (F>G)|AB G>F|EF G(A/B/)|cG AF||
THEARLAICH!
THEARLAICH!
THEATER, THE. Scottish, Reel. B
Flat Major. Standard tuning. AABB’. The tune appears in the Calvert Collection (1799), compiled by
Thomas Calvert, a musician from
X: 1
T:The Theater
L:1/8
M:2/4
B:The Calvert Collection (1799)
Z:AK/Fiddler’s Companion
K:Bb
F|”tr”B>B FF|”tr”B>d f>b|”tr”g/>f/g/b/ f/d/B/d/|”tr”c/>B/c/d/ B/G/F/D/|
”tr” B>B FF|“tr”B>d fb|”tr”g/>f/g/b/ f/d/B/d/|c/>B/c/d/ [DB]:|
|:[DB]|F/B/B/B/ D/B/B/B/|F/B/B/B/ (d/f/)f/f/|F/B/B/B/ D/B/B/B/|(c/d/)B/c/ B/A/G/F/|
F/B/B/B/ D/B/B/B/|F/B/B/B/ (d/f/)f/f/|1 g/b/g/b/
f/d/B/d/|”tr”c/>B/c/d/ [DB]:|2 g/a/b/g/ “tr”g/f/e/d/|”tr”c/>B/c/>d/
[DB]||
THEID
MI DACHAIDH ‘CHRO CHIN t-SAILE. AKA and see “I Will Return to Kintail,” “Return to Kintail.”
THEID
MI DHACHAIDH A CHRÒ CHEANNTAILLE. See “I’ll return to Kintail.”
THEIDH MI DHACHAIGH (Return to Kintail). AKA and see “I Will Return to Kintail,” “Return to Kintail.”
THÈID MI LEAM FHÈIN (I shall wander alone).
Scottish, Air (2/4 time). D Major. Standard tuning. AABB’. Morison (
X:1
T:Thèid mi leam fhèin
T:I shall wander alone
M:2/4
L:1/8
R:Air
S:Morison –
Z:AK/Fiddler’s Companion
K:D
DE/F/ d>f | {f}ed/c/ d>B |
{B}AF/F/ F>B | {B}AF/F/ F>E | DE/F/ | d>f | {f}ed/c/ d>B |
{B}A/F/F E/E/B | {B}A/F/E E/E/F |
DE/F/ d>f | {f}ed/c/ d>B | {B}A/F/F F>B |
{B}A/F/F F>B | {B}A/F/F F>d |
ed/c/ dc/B/ | cB/A/ Bc/d/ | A/F/E E/E/F | {B}A/F/E E>d :|
|: {F/A/}F/D/F “tr”F>D | B>D
{B}AF/D/ | A/F/F F>d | A/F/F F>d | {F/A/}F/D/F F>D |
B>D {B}A/F/E | A/F/E E>F |
AF/E/ E>d | {F/A/}F/D/F F>D | B>D A/F/D |
A/F/F F>d | A/F/F F>d |1
{F/A/}FF F>D | B>D {B}A/F/D | A/F/E E>F | A/F/E E>d :|2
ed/c/ dc/B/ | {d}cB/A/ Bc/d/ | AF/E/
E>F | AF/E/ E>F ||
THELMA MACPHERSON. Canadian, Reel.
THEN UP COMES THE CAPTAIN & BOATSWAIN. Irish, Air (3/4 time). F Dorian.
Standard tuning. One part. Source for notated version: “From (the Irish
collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 467, pg. 118.
X:1
T:Then up comes the captain and
boatswain
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 567
Z:AK/Fiddler’s Companion
K:F Minor
A>G | F2F2F2 | EG B2 cB | G2F2
(3c>d=e | f2e2 c>B | c>
c4 || (3c>d=e | f2 e2 c>B | A3
F GF | F2E2 F>G | A2G2 e>d | cB GF F2 | F4 ||
THEN
YOU SHALL BE A TRUELOVER OF MINE. AKA ‑ "Parsley, Sage,
Rosemary and Thyme." Irish, Air ( 6/8 time). D Dorian. Standard. One part.
"When I was a child I often heard this song sung by our servant Biddy
Hickey. A young man pays his addresses to a lady much above him; and she, in
her pride, imposes a number of hard‑‑or impossible‑‑conditions
before she will consent to marry him. I remember the air, and just two verses
of Biddy's song. This same idea is found also in English folksongs: and with a
similar burden: but their air is different from mine" (Joyce). The first
verse goes:
***
Choose when you can an acre of land—
As every plant grows merry in time—
Between the salt water and the sea strand,
And then you shall be a truelover of mine.
***
Students of folk song will easily
recognize this as one of the variants of “Riddles Wisely Expounded,” a Child
ballad. The theme is a common one in British and Scandinavian folklore. See
also related themes in the songs “Three Dishes and Six Questions” (American),
“The Black Bull of Norroway” (British), “Juniper Gentle” (Child Ballad), and “I
Gave My Love a Cherry,” among others. Joyce (Old Irish Folk Music and Song), 1909; No. 117, pgs. 59‑60.
X:1
T:Then you shall be a truelover of
mine
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D Dorian
Add d2e|fed A2G|Add efd|cde d3|dAG
F>GA/B/|cAG A2 f/e/|dAG F2G|EDD D3||
THEODORE NAPIER. Scottish, March (4/4 time). A
Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927), who subtitled it “The
Wallace Patriot.” Skinner (Harp and
Claymore Collection), 1904; pg. 32.
X:1
T:Theodore Napier (The Wallace Patriot)
M:C
L:1/8
R:March
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E | c>deA (GB)(A>G) | FA EA
G/F/G/A/ BE | c>deA d>efd | e({g}a) B/c/d/B/ ({B}c)AA :|
g | (aA) c/d/e (fd)(eA) | FAEA
G/F/G/A/ Be | {g}(aA) c/d/e (df){f}(ed) | A({g}a) B/c/d/B/ ({B}cAAe |
({g}a)A c/d/e f/e/d/f/ ec/A/ | FA EA
G/F/G/A/ B/d/c/B/ | (c>de).A (d>ef).a | g/a/e/a/ B/c/d/B/ ({B}c)AA ||
THERE ARE SOUNDS OF
MIRTH. AKA and see "Larry O Lashem," "Paddy's Trip from Dublin,"
"Come all you good
fellows," "Kissing and
Drinking," "The Parson
in/on his Boots," "The Priest and/in His Boots
[1]," “Rocking the Cradle [2],”
"The Tivoli," "Bounce Upon Bess."
THERE
ARE TWO WILLIAM DAVIS'S IN THIS PLACE (Ta
Dha Uilliam Dáibhís Annsan Áitse). Irish, Air (4/4 time, "mod. or rather
slow"). G Dorian. Standard tuning. AB. Source for notated version: "Copied...about
1873 from a MS. lent me from near
X:1
T:There are two William Davis’s in
this place
T:Ta dha Uilliam Dáibhís annsan
áitse
M:C
L:1/8
R:Air
N:”Mod. or rather slow”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Gdor
AB|c3f dcBA|cAcf dcBA|BAGA FGAB|c3B
A2c2|d2 de d2 cd|
fefg a2 ga|fedc f2A2|G4f2||fg|a2a2a2
gf|gfga g2 fg|a>gfd cfAB|
c3B A2c2|d2df d2cd|fefg a2 ga|fedc
f2A2|G4F2||
THERE CAME A YOUNG MAN. AKA and see “The Big Headed Man”
(Fear a’ Chinn Mhòir),” “The Bride’s Jig,” "Brisk Irish Lad," "Brisk Young Lad('s),"
"Bung Your Eye," "The Jolly Old Man," “Lord Dunmore,” “The Man with the Big
Head,” "Mary the Maid,"
“There Came a Braw Lad to My Daddy’s Door,” “There was a Young Man,” “Traverse
the Rough Hills,” “Travelling the Rugged Country” (Shiulbhail na Garbhlich).
Scottish, Jig. A Minor (Kerr). Standard tuning. AABB. The tune is a minor
version of the jig known in
X:1
T:There Came a Young Man
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 1, pg. 31
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
E|ABA c2d|edc B2A|GAG B2c|dge
dBG|ABA Bcd|
edc Bcd|e2A AB^G|A3 A2::B|c2e
g2a|gec gec|G2B d2e|
dge dBG|c2e g2a|gec deg|a2A AB^G|A3
e2:|
THERE GROWS A BONNIE
BRIER. Scottish,
X:1
T:There Grows a Bonnie Brier
M:C
L:1/8
R:
S:Kerr – Merry Melodies, vol. 3, No. 210 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
c | E<E E>F E>FA>E |
F<B B>c B2 (A/B/c) | E<E E>F E>FA>E | F<A A>B A2 :|
|: c | d>ef>d c>de>c |
d<c B<A (c<B) (B<c) | E<E E>F E>FA>E | F<A A>B A3
:|
THERE IS A BEECH-TREE
GROVE. AKA and see "Fair At Dungarvan," "Alas, My Bright Lady," "Lament For Kilcash," "Nelly, My Love, And Me," "Rose Connolly," "Were You Ever in Sweet
Tipperary."
THERE IS A FOUNTAIN. Irish, English, American; Air or March (2/4 time). D Major. Standard
tuning. AABB. The hymn was written by the English poet William Cowper in the
early 1770’s and was well-known throughout the
***
That flows from Emmanuel's veins,
Lose all their guilty stains.
Lose all their guilty stains, O Lord,
Lose all their guilty stains,]
And those that wash....
***
Jim Taylor (1996) finds two
references to its popularity among Civil War soldiers, and notes that a great
religious revival in the Confederate Army of Northern Virginia in the Spring of
1863, reaching a peak in the Winter of 1863-64, during which thousands of
soldiers were converted. The first reference is in a passage from a 1917 issue
of Confederate Veteran Magazine:
***
J.M. Beadles, of Madison Run,
experience: In November, 1863,
General Lee’s army moved into winter quarters
on the south side of the
side. The pickets on each side of
the river were within speaking distance of each
other. My command camped on the
north side of
camp our chaplain, Rev. Willie
Ragland, preached very faithfully the gospel of
Christ to our command, the 13th
Virginia, that loved and honoured him as a
servant of God. One of the converts,
Goodwin, of Company A, of
house, living in the lower part of
the county, wished to be baptized in the
that we might bring on trouble. But
finally they gave their consent. We marched
very scatteringly, about fifty
strong; and the enemy, seeing that we had no arms,
did not fire on us, but seemed
greatly puzzled and watched us closely. As soon
as we reached the water’s edge we
began to sing that grand old hymn,
‘There is a
fountain filled with blood,’ and at
once the enemy began to leave their works and
hasten to the riverside, and many
voices in the Northern army joined in the song.
Both armies were at peace as they
witnessed the death of the old man into the
resurrection of the new man through
Jesus Christ our Lord.
***
A second Civil War reference comes
from The Story of the Gospel Hymns (1906), by Ira Sankey:
***
gallant charge at the head of the
regiment, was visited in the hospital by
the chaplain, who inquired how he
felt. He said he had always been
cheerful, and was now ready to meet
God in peace. ‘Chaplain,’ he added,
‘I was passing through the streets
of
I heard singing, I went in and saw a
company of poor people. They were singing
‘There is a fountain filled with
blood.’ I was overpowered with the impression
the hymn made upon me, and I gave my
heart to God. Sing then I have loved
Jesus, and I love Him now.’ That was
his last speech.
***
PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996).
X:1
T:There is a Fountain
D:Tola Custy & Cyril O'Donoghue,
"Setting Free", CICD 098, 1994
R:slow march
Z:Paul de Grae
M:2/4
L:1/8
Q:1/4=40
K:D
DF|A3 B|A2 d2|Bd2 B|A2 DF|A3 A|BA
FD|E4-|E2 DF|
A3 B|A2 d2|Bd2 B|AB de|f4|ed
ef|d4-|d2:|:Ad|
f3 f|e2 fe|d4|Bd2 B|A4|BA FD|E4-|E2
DF|
A3 B|A2 d2|Bd2 B|AB de|f4|ed
ef|d4-|d2:|
THERE
IS A LITTLE ENCHANTED GLEN THAT I KNOW. AKA and see “Ta Glean Beg Draideacta.”
THERE
IS A LONG HOUSE AT THE TOP OF THE VILLAGE. Irish, Air (3/4 time). F Major. Standard tuning. AB. Source for notated
version: collected
THERE IS A TREE IN THE
WOOD. AKA and see "Ta Crann Ar An gCoill."
THERE IS NO MILK IN
THE HOUSE. AKA and see "Give Us a Drink of Water [1]."
THERE
LIVES A LASS IN OUR TOWN-END (I KEN HER NAME, I KEN HER NAME). English.
THERE LIVES A LASS
UPON THE GREEN. English, Air (6/8 time). E Minor.
Standard tuning. AB. The song (not the original lyrics which have been lost)
appears in the ballad opera The Jovial
Crew (1731).
***
At night, by moonlight, on the plain,
With rapture how I’ve seen;
Attended by her harmless train,
The little fairy queen.
Her
While mortals are involv’d in sleep,
They trip it o’er the green.
***
Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 160.
X:1
T:There Lives a Lass Upon the Green
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:E Minor
E|B2c B2A|G2F E2F|G2A GFE|(B3
B2)E|B2c B2A|G2F E2F|G2A GFE|
(B3 B2)||B|Bcd dcB|ABG F2G|ABc
B2A|B2G FGA|GFE B,2^D|(E3 E2)||
THERE ONCE WAS A LADY. AKA and see "There Was a Lady"
THERE WAS A BOLD
BEGGARMAN. Irish, Air (4/4 time). D
Major/Mixolydian. Standard tuning. One part. Joyce (1890) knew this tune and
words “longer than my memory can reach back.”
***
There was a bold beggarman as ever you did see,
With a hi, with a ho fol-de dandy-o;
He asked for a lodging near the house of Tandragee,
With his toorn-oorn-orn-an-dy-o.
***
Howe (1,000 Jigs and
Reels), c. 1867; pg. 22. Joyce
(Ancient Irish Music), 1890; No. 44,
pg. 45.
X:1
T:There Was
a Bold Beggarman
M:C
L:1/8
R:Air
N:”Lively”
S:Joyce – Ancient
Irish Music (1890)
Z:AK/Fiddler’s
Companion
K:D
A | Addd d2 cd | efgg f2 de | (fd) (c/A/)G A2 cd | e2d2d2 (d=c) |
B2 BG A2 de | fd=cA G2 FG | AABB AFDF | E2 D2 D3 ||
THERE WAS A LAD (WAS
BORN IN KYLE). AKA and see “Fiddler’s Morris,” "Watson's
Scottish Measure." Scottish, Air and Scots Measure. G Major. Standard
tuning. AB. The tune was first published as "Watson's Scottish
Measure" associated today with Robert Burns's (1759‑96)
autobiographical lyric "There was a Lad" (though Burns originally
used that air for "A
Highland Lad my Love was Born," which is now associated with "The White Cockade [1]"). Gow, Repository (Part 1), 1799. Hardie (Caledonian Companion), 1992; pg. 30.
THERE WAS A LADY (Bhi Bean Uasal). AKA and see “Do Bhi Bean Uasal,” “There Once Was a (Young) Lady.” Irish, Air
(3/4 time). D Major/Mixolydian. Standard tuning. AAB. The melody appears in
Petrie’s 1855 collection, though in a different version than that which is
still well-known today. Petrie offers some caustic comments in his introduction
regarding the sobriety of the individual who wrote the verse in which the Kilkenny
marble is mentioned. Source for notated version: The Irish collector Edward
Bunting noted the tune from blind Redmond Stanton,
THERE
WAS A PRETTY LASS AND A TENANT OF MY OWN. English, Air (4/4 time). E Minor. Standard tuning. AAB.
Chappell (1859) states the air appears in many ballad operas and broadsides.
Chappell (Popular Music of the Olden Time),
vol. 2, 1859; pg. 169.
X:1
T:There was a Pretty Lass and a
Tenant of My Own
M:C
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:E Minor
B2|BEEF G2 FG|AGFG A2 GF|E2B2B2
Ac|BAGF E2:|
B2|BABc d2 cB|AGFG A2 GA|BEEE
BEEE|AGFG A2 GF|
E2B2B2 Ac|BAGF A2 GF|E2B2 B3A|BAGF
E2||
THERE WAS A SWAIN. English, Air (6/8 time). G Minor. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867), pg. 156.
X:1
T:There was
a swain
M:6/8
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G Minor
D2 |
G>AG G>AB | G3 z2B | A>GF F>GF | c3 c2c | c>dc G>AA |
BAG d2=e |
f=ed A>d^c | (d3d2) :: d | f>gf f2 A/B/ | c>dc c2A |
BAG
^F>GA | D3 D2D | G>AG =E>FG | A>BA A3 | s2g f2d |
e2c A>Bc
| d2B G3 | cBA ^F3 | GAB DG^F | G3G2 :|
THERE WAS A WEDDING I’
THE WEST. Northumbrian. Title appears in
Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800.
THERE WAS A YOUNG
COUPLE. Irish, Air (6/8 time, "not a
jig"). E Minor. Standard tuning. AB. Source for notated version:
"Sent to me (in) 1884 by Mr. Francis Hogan of South Lodge, Brenormore,
near Carrick‑on‑Suir, a good musician and a great enthusiast in
Irish music and songs" (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 281, pg. 133.
X:1
T:There was a young couple
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
N:”With animation”
K:E Minor
E>FE G<GA|B>AB d2B|A2F
D2F|A2F D3|E>FE G<GA|B>AB d2B|A2F FED|F2E E3||
e3 ede|f2e d2B|A2F D2F|A2F D3|e3
e>de|f2e d2B|AGF FED|F2E E3||
THERE WAS A YOUNG LADY. AKA and see “There Was a Lady,”
"Do Bhi Bean Uasal."
THERE WAS A YOUNG MAN. AKA and see AKA and see “The Big Headed Man” (Fear a’ Chinn Mhòir),”
“The Bride’s Jig,” "Brisk
Young Lad('s)," "The Jolly
Old Man," “Lord Dunmore,”
“The Man with the Big Head,” “There Came a Braw Lad to My Daddy’s Door,” “There came a Young Man,”
“Traverse the Rough Hills,” “Travelling the Rugged Country” (Shiulbhail na
Garbhlich).
T:There was
an Old Astrologer
M:C
L:1/8
R:Air and
Jig
N:”With
animation”
S:Howe’s 1000 Jigs and Reels
Z:AK/Fiddler’s Companion
(EF) | GGGF GE C>c | cBGE F2 (EF) | GGGF GABG | Gccc c3 || G | Gfed cB G>F |
Gfec
d3G | cccB c>d ec | BGFE F3 E/F/ | GGGF GABG | Gccc c2 ||
THERE
WAS AN OLD FELLOW AT
***
There was an old fellow at
Who merrily sung when he liv’d by the loss,
He never was heard to sight with hey ho!
But sent it out with a heigh trolly lo!
He cheer’d up his heart when his goods went to wrack,
With a hem, boys, hem, And a cup of good sack.
***
Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 158.
X:1
T:There was an Old Fellow at Waltham
Cross
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:F
c|A>GF F>GF|A2B c2d|B>AG
G>AG|B2c d2c|c>dc c>dc|c>de f2A|
B>cB B>AG|AAB c2c|F>GF
A2A|G>AG B2B|AcF B2A|GFE F2||
THERE
WAS AN OLD WOMAN LIV'D UNDER A HILL. English, Air (4/4 time). A Major.
Standard tuning. One part. The song appears in D’Urfy’s Pills to Purge Melancholy (all editions), and ballad operas such as
The Jovial Crew where the lyrics
began:
***
There was a maid went to the Mill,
Sing trolly lolly, lolly, lolly lo;
The Miller turned round, buth the Maid stood still,
Oh oh ho, oh oh ho, oh oh ho, did she so?
***
Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 79. Scott (English Song Book), 1926; pg. 2.
X:1
T:There was an Old Woman Liv’d Under
a Hill
L:1/8
M:C
S:Chappell – Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:A
E2|A2c2A2c2|A2c2B2E2|A3B c3B|ABcd
e2e2|e2E2E2AG|
F2D2G2 CD|E2 CD E2CD|E2 FG A2||
THERE
WAS AN OLD WOMAN (TOSSED UP IN A BLANKET). AKA and see "Páinneach
na nUbh [1]," "Old Woman
Tossed Up (in a Basket/Blanket) [1]." English, Air. The tune,
published by John Gay in his The Beggar's
Opera (1729), is a variant of "Montrose's
March" (also known as "Scottish March"), published by
Playford. The title is derived from a nursery rhyme beginning:
***
There was an old woman tossed up in a blanket (basket)
Seventy times as high as the moon (or "Seventeen
times as high as the sky").
***
O’Neill published the tune as simply
a ‘piece’ in his Waifs and Strays of
Gaelic Melody (No./pg. 93) along with the above words which he remembered from
his youth in
THERE
WERE THREE RAVENS. English, Ballad Air (2/4 time). G
Dorian. Standard tuning. One part. The air appears in Melismata (1611), however Ritson thought it to be considerably older
than that. The air was still quite popular in many parts of
***
There were three Ravens sat on a tree,
Downe, a downe, hay downe, hay downe,
There were three Ravens sat on a tree,
With a downe…
There were three Ravens sat on a tree,
They were as blacke as they might be,
With a downe, derrie, derrie, derrie, downe,
downe.
***
Chappel (Popular Music of the Olden Time), Vol.
1, 1859; pgs. 75‑76.
X:1
T:There
Were Three Ravens
L:1/8
M:2/4
S:Chappell
– Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:G Dorian
z2 G2|G2 A2|B2d2|c2B2|A4|G3A|B2c2|d3_e|d2d2|G2A2|B2G2|A2B2|c2 Bc|
(d4|d2)d2|d2f2|e2d2|c2B2|A3A|B2d2|c2B2|A2^F2|D2
Bc|d4|cBAG|^FG A2|G4||
THERE’LL NEVER BE PEACE ‘TIL JAMIE COMES HAME. Scottish, Air (3/4 time). G Minor
(Gow): A Minor (O’Farrell). Standard tuning. AABB. Published by Johnson in his Scots Musical Museum IV (1791) with
words by Robert Burns. Burns knew the
tune as an old Jacobite air (called “There are few good fellows when Jamie’s
awa”), but, writing in 1791 (the year of Mozart’s death), he was inspired by
the just completed French Revolution. See also the related Irish song tunes “There’s an end to my sorrow” and “My sorrow is greater than
I can tell.” A similar Scottish air is “Nuair a chì thu caileag bhòidheach.”
Gow (Complete Repository), Part 4,
1817; pgs. 6-7. McGibbon (Scots Tunes,
book III), 1762; pg. 86-87. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 53.
X:1
T:There’ll ne’er be peace till Jamie
come hame
M:3/4
L:1/8
R:Air
N:”Slow”
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:G Minor
~G>A|~B2 (cB)(AG)|A2
(BA)(GF)|C>D F2F2|F4 G>A|~B(c/d/) (cB)(AG)|(A2d2) ^F>=E|
D2G2 G>A|G4
GA|(BA)(Bc)(de)|f3ed2|dcBA f(g/a/)|F4 GA|~B2 (cB)(AG)|(A2d2) ^F>=E|
D2G2
GA|G4::~g>a|b2a2g2|{b}a2g2f2|cd f2f2|f4 ~g>a|{ga}b2a2g2|{b}a2g2f2|d2g2
~g>a|{a}g4 GA|
(BA)(Bc)(de)|f3 e d2|(dc)(BA)
fg/a/|F4 ~G>A|B2 (cB)(AG)|(A2d2) ^F>=E|D2G2 ~G>A| G4:|
X:2
T:There’ll never be Peace till Jamie
comes home
M:3/4
L:1/8
R:Air
N:”Lively”
S:McGibbon – Scots Tunes, book III, pg. 86-87
(1762)
Z:AK/Fiddler’s Companion
K:G Minor
GA | B2 (cB)(AG) | A2 (BA)(GF) |
D2F2 FG | F4 (GA) | B2 (cB)(AG) | A2d2 “tr”^F=E |
D2G2GA | G4A2 | BABcde | f>gfedc
| (B2A2)f2 | F4GA | B2 (cB)(AG) | d4 ^F=E |
D2G2GA | G4 :: ga | b2 (c’b)(ag) | a2 (ba)(gf) | cd f2 f>g | f4 ga | b2a2g2
| a2 bagf |
d2g2 (ga) | g4 A2 | “tr”(BAB)cde |
fgfedc | B2A2f2 | F4 GA | B2 cBAG | d4 ^F=E |
D2 G2 G>A | G4 :|
THERE'S
A BROWN SKINNED GAL (DOWN THE ROAD SOMEWHERE). AKA ‑ "Brown Skin Gal,"
"That Brownskin Gal" [2]. Old‑Time,
Country Rag.
THERE'S A CHICKEN IN
THE POT. Irish, Air (4/4 time). G Major.
Standard tuning. AB.
***
There's a chicken in the pot for you young man (x2)
The meat for thee,
And the broth for me,
And the bones for the tar with his trousers on. (Joyce).
***
Joyce (Old Irish Folk Music and Song), 1909; No. 116, pg. 59.
THERE'S A HOLE IN MY
COAT. AKA and see "Colleen I'm Courting Just Now."
THERE'S AN END TO MY
SORROW (Ta Deiread Le'm
Bron). AKA and
see “My sorrow is
greater than I can tell.” Irish, Air (6/8 time, "plaintively"). A
Minor. Standard tuning. AAB. The melody, in a simpler version, is also the
vehicle for the Scots song “There’ll
never be peace ‘till Jamie comes hame.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 378, pg. 66.
X:1
T:There’s an End to My Sorrow
M:6/8
L:1/8
R:Air
N:”Plaintively”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A Minor
A/>B/|cd/c/B/A/
Bc/B/A/G/|D/>E/GG G2 A/>B/|cd/c/B/A/ B<e A/>G/|
EAA/>B/ A2 A/>B/|c/B/c/d/e/^f/
g>=fe|e/d/c/B/ (3g/a/b/ G2 A/>B/|
cD/C/b/a/ Be A/>G/|EAA/>B/
A2||
THERE’S NAE GOOD LUCK. English, Jig. Topic TSCD 669, Willy Taylor (et
al) – “Ranting and Reeling: Dance Music of the north of
THERE’S
MY THUMB I’LL NE’RE BEGUILE YOU. Scottish, Air (4/4 time). G Major.
Standard tuning. AABBCCDD. McGibbon (Scots
Airs, book III), c. 1762; pg. 69.
X:1
T:There’s my Thumb I’ll ne’re
beguile you
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 69
(c. 1762)
Z:AK/Fiddler’s Companion
K:G
G3B d3(c/B/) | ABcd e2 (e/f/g) |
G3Bd3B | e2 (e/f/g) ({e}d3) c/B/ | cded efgB |
ABcd e2 (e/f/g) | “tr”G3E D2 DE | G3A B2d2 :: GABc d>edB | ABcd edge |
GABc d>edB | g>age d>edB |
cded efgB | ABcd e2 (e/f/g) | “tr”G3ED2 DE | G3AB2d2 :|
|: G3B d3B | (A/B/A/B/) (c/B/c/d/)
e2 (e/f/g) | G3B (d/c/d/e/ d)B | (e/c/B/)c/ (e/f/g/e/) ({e}”tr”d3)c/B/ |
(c/B/c/d/ e)d (e/g/f/)a/ (g/d/c/B/)
| (A/G/A/B/) (c/B/c/d/) e2 (e/f/g) | (G/F/G/A/ G)E D2 DE |
“tr”G3A B2d2 :: GABc d(g/f/)
(e/d/)(c/B/) | (A/B/A/)B/ (c/B/c/d/) (ef/4g/4) | (GF/G/A/) (B/A/B/c/) (d/c/d/e/
d)B |
(g/f/g/a/ g)e (d/c/d/e/) (d/e/d/B/)
| cBcd (e/d/e/f/) (e/f/g/B/) | AB (c/B/c/d/) (e/c/B/c/ e)g |
(G/A/B/A/) (G/A/G/E/) D2 DE |
(G/F/G/A/ G)A B2d2 :|
THERE'S NAE HARM DONE,
GOODWIFE. Scottish, Reel. D Major. Standard
tuning. AABB'. Composed by William Marshall
(1748-1833), first printed in his 1781 collection (pg. 7). Moyra Cowie (1999)
says it was the only tune
X:1
T:There’s nae harm done, Goodwife
L:1/8
M:C|
S:
Z:AK/Fiddler’s Companion
K:D
(D2 D)A F<DdF|(E2 E)e ^G<Eeg|fdec dBAF|GBAF D/D/D D2:|
abaf
dfaf|gebe febe|1 abaf dfaf|geaf d/d/d d2:|2 dfeg fbec|dBAF D/D/D D2||
THERE'S
NAE LUCK ABOOT THE HOOSE (There's Nae
Luck Ava) [1]. AKA ‑ "Nae Luck Aboot
the Hoose." AKA and see “Black but Comely,” "For A' That and A' That,"
“An Gille Dubh Mo Laochan,” "Jenny/Janny
Cameron,” "Lady
Mackintosh('s Reel) [1]," “Oíche
Nollag,” “Strawberry Blossom”
[2], "The "Thady You Gander," Washing Day [1].” Scottish, English;
Slow Air or Slow Strathspey.
X:1
T:Ther’s nae luck about the House
(sic)
M:C
L:1/8
R:Slow Air or Strathspey
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:B Flat Major
(F/2G/2A/)|~B>dBF (GB) ce|{e}d>c
BF G2 G (F/4G/4A/)|B>c BF GB ce|{e}d>c BG {G}F2F:|
e|~d>e fd ecc>e|~d>e fB
{B}G2 G>e|~d>e fd ecc>e|{e}d>c BG F2 F>e|
~d>e fd ecc>e| ~d>e (fg) G2
G>e|~d>e fd gcc>e|{e}d>c BG {G}F2F ||
THERE'S
NAE LUCK ABOUT THE HOUSE [2]. AKA and see "Up and Waur Them A', Willie [1].”
Scottish, English; Reel or Fling.
***
The song was written by William
Mickle (1735-1788) and first published in 1776 under the title “The Mariner’s
Wife.” It was easily adapted by those with lingering Jacobite sympathies with
the line “Since Charlie’s gone awa” being substituted for the last line in the
verse below. Mickle’s song begins:
***
And are ye sure the news is true?
And are ye sure he’s weel?
Is this a time to think o’ wark?
Mak haste, lay by your wheel;
Is this the time to spin a thread
When Colin’s at the door?
Reach me my cloak, I’ll to the quay
And see him come ashore.
For there’s nae luck about the house,
There’s nae luck at a’,
There’s little pleasure in the house
When our gudeman’s awa.
***
Source for notated version: S.P.
Liddell’s manuscript, dated 1879 (the tune bears the date
X:1
M:C|
L:1/8
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:D
(A/4B/4c/)|d>B AF GGGB|d>B AF
E3c|d>B AF GABd|AGFE D3:|
D/E/|F2 FD G2 GE|F2 FD E3 D/E/|F2 FD
G2 GB|AGFE D3 d/e/|
ff(fd) gg(ge)|fffd e3 d/e/|ff(fd)
gg(gb)|a>gfe d3||
X:2
T:There’s Nae Luck [2]
M:C
L:1/8
R:Fling
S:Harding’s All-Round Collection (1905)
Z:AK/Fiddler’s Companion
K:A
g | a>fe>c d>ef>g |
a>fe>c B3g | a>fe>c d>ef>a | e>dc>B Az :|
|: B| c>cc>A d>dd>B |
c>cc>A B2 A>B | c>cc>A d>ef>a | e>dc>B Az :|
THERE'S NAETHING LIKE
THE TALISKER. Scottish, Pipe Strathspey. A
Mixolydian. Standard tuning. AABB. Composed by J. Scott
Skinner, in honor of the famous Scotch whisky. The melody was actually
dedicated to Roderick Kemp, part owner of the Talisker distillery on the
X:1
T:There’s Naething Like the Talisker
M:C
L:1/8
R:Pipe Strathspey
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A Mix
E | E/A/A/ c/A/A e/A/A a>f |
f/g/g d/g/g B/d/d G/B/B | E/A/A c/A/A e/A/A a>f | g/f/g/ B/c/d e<A A :|
|: g | a/g/f e/c/A e/c/A a>f |
g/f/e d/g/g B/d/d G>g | a/g/f (3ecA (3ecA a>f | g/f/g B/c/d e>(AA>)e
|
a/e/c/ A/c/f e/c/A a>f | g/f/e
d/g/g B/d/d G/B/B | E/A/A c/A/A e/A/A a/g/f | ({f}g/)f/g B/c/d ({d}e>)(A A)
:|
THERE'S NO HELL IN
THERE'S SUGAR IN THE
GOURD. AKA and see "Dar's Sugar in De Gourd."
THERE'S
THREE GUID FOLLOWS (AYONT YOU GLEN). See "Three Good Fellows Down in the Glen."
THERE'S WHISKEY IN THE
JAR [1]. Irish, Reel. G Major. Standard. AB.
An oddly shortened second part at six measures, evidently taken from the chorus
of the famous song strain “Whiskey in the Jar.” Hardings All‑Round Collection,
1905; No. 112, pg. 36.
X:1
T:There’s Whiskey in the Jar [1]
M:2/4
L:1/8
R:Reel
B:Harding’s All-Round Collection, No. 112 (1905)
Z:AK/Fiddler’s Companion
K:G
B/A/|GG/G/ gg/g/|a/b/a/g/
f/dd/|ee/e/ e/d/c/B/|(A/a/).a/.g/ f/d/c/A/|
GG gg/g/|a/b/a/g/ f<dd/|e/f/g/e/
d/B/A/G/|d/B/A/B/ Gz||
BB/A/ B/d/d|ee/d/ e/f/g/e/|d/B/A/B/
G/e/d/c/|BB/A/ B/d/d|
ee/d/ e/f/g/e/|d/B/A/B/ G||
THERE'S WHISKEY IN THE
JAR [2]. Irish, Air (4/4 time, "with
spirit"). E Minor. Standard tuning. AB. "From a private in the 41st
Regiment, Ballinamore, Co. Leitrim" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 686, pg. 345.
X:1
T:There’s Whiskey in the Jar [2]
M:C
L:1/8
N:”With spirit”
S:Joyce – Old Irish Folk Music
and Songs (1909), No. 686
Z:AK/Fiddler’s Companion
K:E Minor
B | B2 E>F G2 G>A | B2 B>A
B2 e>E | E2 E>F G2 G>A | B2 B>A B2e || f | g>efd ed B>f |
g>e fd e3f | g>efd edBd |
e>edc BAGA | B2 E>F G2 G>A | B2 B>A B>c d2 |
e2 e>d efg>B | BAGF E2 ||
THEY ARE GONE [1] (Go Mall Bronach). Irish, Air (4/4 time). G Major. Standard
tuning. AAB. Roche Collection, 1982,
vol. 3; No. 66, pg. 19.
THEY ARE GONE [2] (Ata Siad Imtigte). Irish, Slow Air (4/4 time). G Major. Standard
tuning. AB. O'Neill (Music of Ireland:
1850 Melodies), 1979; No. 82, pg. 14.
X:1
T:They Are Gone [2]
M:C
L:1/8
R:Air
N:”Slow and with feeling”
S:O’Neill – Music of Ireland (1903), No. 82
Z:AK/Fiddler’s Companion
K:G
GB | d2 ec d2 G>A | B2 cB>
B<A zG | G>A B>c d<g GA | B>c BG A<G (3def ||
g>g a>f g2 d>d | g2 f>e
e<d zB | c>d e>f g2 G>A | B>c BG A<G ||
THEY MAY RAIL OF THIS
LIFE. English, Jig. G Major. Standard
tuning. AB. Raven (English Folk Music and
Song), 1984; pg. 118.
X:1
T:They May Rail of this Life
M:6/8
L:1/8
K:G
B/c/ | ddd dec | dge dBG | ceg edB |
BAA A2B/c/ | ddd dec | dge dBG | gBe dBG | AGG G2 ||
d | ggg gfg | add def | ggg gfg |
add d2e/f/ | ggg gff | fee def | gBe dBG | AGG G2 ||
THEY SAY MY LOVE IS
DEAD. Irish, Air (4/4 time). B Flat
Minor. Standard tuning. AABB. Source for notated version: “From Scullun, a
fiddler, Bellaghy” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 698, pg. 175.
X:1
T:They say my love is dead
M:C
L:1/8
S:Stanford/Petrie (1905), No. 698
Z:AK/Fiddler’s Companion
K: B_
F | Bc BA F2 Bc | d2 cB e2 dc | Bc
BA FE F=A | B6 :: Bc | dc de f2 ed |
cd ec A2 de | fB BA FE F=A | B2 BF
d2 de | fB BA FE F=A | B6 :|
THEY SWUNG JOHN BROWN TO A SOUR APPLE TREE. Old-Time, Breakdown. Collected by fiddler Bruce Greene from C.W. Strong of Lee, County, Kentucky, who learned it from his father, Alexander Strong who claimed it was “brought back from the Civil War.” It commemorates the execution in December, 1859, of the famous abolitionist John Brown, whose failed attempt to foment a slave uprising after capturing the Harpers Ferry, Va., arsenal led to his death. The incident was a precursor to the Civil War. PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).
_______________________________________
© 1996-2010 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or contact the author.