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. Canada, Cape Breton. A Mixolydian. Standard tuning (fiddle). AAB. A traditional tune from the MacNeil manuscript, a hand-written collection of tunes dating from 1915, composed  by Capt. Angus J. MacNeil or Gillis Point, Cape Breton. See also the related “Donald Blue (2).” Shears (Gathering of the Clans Collection, vol. 1), 1986; p. 41 (pipe setting).

                       

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 (Highland Airs and Quicksteps, vol. 1); No. 21, pg. 19.

X:1

T:Tha Mi Sgith

T:I am weary

M:2/4

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 1

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 (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 13, pg. 7.

X:1

T:Tha mis cho muladach

T:I am so sorrowful

M:6/8

L:1/8

R:Air

N:”slowly”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 13 (c. 1882)

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 ||

                          

THA MO BHREACAN FLUICH FO’N DILE (My plaid is wet with rain).  Scottish, Air (4/4 time). E Flat Major. Standard. AB. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 10, pg. 5.

X:1

T:Tha mo bhreacan fluich fo’n dile

T:My plaid is wet with rain

M:C

L:1/8

R:Air

N:”Rather slow”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 10  (c. 1882)

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>E Ec B>G GB | G>F EE F>G BB ||

           

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. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard. AB. Source for notated version: accordion player Thadelo Sullivan via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 189, pg. 110.

           


THADELO SULLIVAN’S POLKA. Irish, Polka. Ireland, Sliably Luachra region of the Cork-Kerry border. A Mixolydian. Standard. AA’BB’. Source O’Leary said of Sullivan: “He was a small farmer, a man who had five or six cows. He played the concert flute, tin whistle, a ten-key accordeon and a bit of the concertina.” Source for notated version: accordion player Thadelo Sullivan via Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 190, pg. 110.

           

THADELO’S [1]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. B Minor/A Mixolydian. Standard. AA’BB’. Named for Thade (Thadelo) Sullivan, a native of Annaghbeg, Kulcummin, Sliabh Luachra. Source O’Leary maintained no one had ever heard of the polka until he recorded it. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra) [Moylan]. Moylan(Johnny O’Leary), 1994; No. 104, pg. 61. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

 

THADELO’S [2]. Irish, Hornpipe. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Mixolydian. Standard. AB. Source for notated version: accordion player Thadelo Sullivan via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 112, pg. 65. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

 

THADELO’S [3]. Irish, Hornpipe. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB. See also a related polka called “The Lackagh Cross [3]” in Breathnach’s CRÉ V (1999, No. 103). Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 246, pg. 142.

           

THADELO’S SLIDE. AKA and see “Tarrant’s [1].” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. A Mixolydian. Standard. AA’BB’. Named for Sliabh Luachra musician Thadelo Sullivan (Tim Sullivan). Source Johnny O’Leary said: “He used to play that on the concertina and the ten-key accordeon. ‘Twas lovely. They’d be hopping that night off the ground” (Moylan). Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 76, pgs. 43-44. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as “Tarrant’s”).

           

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 GANDER. AKA and see "Nae Luck Aboot the Hoose," "Teddy You Gander," "Daniel of the Sun [1]," "The Bottle of Brady," "Nelly's Jig," "The Bonny Highlander," "The Buck(e)y Highlander," "The Leg of (a) Duck," "Petticoat Loose [1]," "She is/She's the girl that can do it," "The Western Jig," "Bully for You," "O My Dear Father, Pity your Daughter," "I gave to my Nelly," "From the Court to the Cottage," "Girls of the West," "O My Dear Judy," "'Tis Sweet to Think." Scottish, Jig. A Major. Standard. AA'BB. Thady=Teddy, a nickname. Kerr (Merry Melodies), vol. 3; No. 225, pg. 26. “Fiddlers Three Plus Two.”

X:1

T:Thady You Gander

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]."

           

THAMES HORNPIPE. AKA and see “Ypsilanti Hornpipe.” Scottish, Hornpipe. B Flat Major. Standard tuning. AABB. The provenance ‘Scottish’ is simply a nod to the melody’s appearance under this title in the Kerr publications, although there is nothing remotely of Scottish character about it. In fact, Kerr prints it twice, with the earlier (Merry Melodies, vol. 1) printing being as an untitled hornpipe. The tune appears in the Boston publisher Elias Howe’s Ryan’s Mammoth Collection (1883) as “Ypsilanti Hornpipe,” and it may be American in origin (there was much interplay between the Kerr and Ryan collections, albeit Ryan seems to predate Kerr). It could also have been composed in England. At any rate, it has the character of being a ‘composed’ hornpipe, i.e. a melody composed specifically for a stage production or show performance. Kerr (Merry Melodies), vol. 3; No. 365, pg. 40. Kerr (Merry Melodies), vol. 1; pg. 43 (appears as untitled hornpipe).

X:1

T:Thames Hornpipe

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 Spree). Canadian, Scottish (?); Air (4/4 time). A Major. Standard tuning. AB. The tune, described as a “Gaelic Air,” is from the c. 1915 music manuscript collection of Captain Angus J. MacNeil, piper who lived at Gillis Point, Cape Breton. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 77.

                       

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 (Highland Airs and Quicksteps, vol. 1), No. 11, pg. 5.

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 – Highland Airs and Quicksteps, vol. 1

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. Canada, Cape Breton. G Major. Standard tuning. AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 169, pg. 48. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

           

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 Ireland (1903), No. 55

Z:AK/Fiddler’s Companion

K:G

g>f | ed BA | G<E DE | G2 G>A | G2 GA | Bc de | d<B AG | A2 A>B | A2 g>f |

ed BA | G<E DE | Gg fe | d3e | dB AG | E2 {G}F>D | (G4 | G2) || G>A | B2 d2 |

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. USA, Texas. G Major. Standard tuning. AB. Source for notated version: Texas fiddler Bob Wills [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 146.

 

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 "Jackson's Drum". Gael Linn CEF 176, Jackie Daly - “Many’s a Wild Night.”

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. G Major. Standard tuning. AABA. The Thatched House Tavern, St. James’s, was the resort of all the wits, politicians, and men of fashion of the late 18th and early 19th centuries. It played host to a number of convivial clubs, including the Catch Club, the Royal Academy Club, the Neopolitan Club, the Royal Society Club, the Johnson Club, the Dilettanti Society, the Linnaean Society and several others. The inn probably had modest beginnings, but benefited when the Court settled in St. James’s, which drew a fashionable clientele and expanded to meet the trade. Joseph Cradock (who died in 1826 at the age of 85), writing in his Memoir, described an evening in the Thatch’d House Tavern where he dined as a guest of Dr. Percy, and was introduced to Edmund Burke and Oliver Goldsmith, among others. He relates:

***

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: Chicago cleric Father Fielding [O’Neill]. Cranford (Jerry Holland: The Second Collection), 2000; No. 239, pg. 88. O'Neill (Krassen), 1976; pg. 58. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1036, pg. 193. Jerry Holland – Lively Steps (1988).

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 Ireland (1903), No. 1036

Z:AK/Fiddler’s Companion

K:A

g/f/ | eAB c2d | edc BAG | eAB c2d | eaa eaa |

eAB c2d | edc BAG | ABA gfe | dcB A2 :|

|: d | eaa efg | dec BAG | eaa efg | fed efg |

eaa efg | dec BAG | ABA gfe | dcB A2 :|

 

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, County Galway, an older brother of flute player and composer Vincent Broderick. Charlie Piggott, in his book Blooming Meadows (1998) written with Fintan Vallely, relates that in 1954 Peter became (to Piggott’s knowledge) the only person to win the All-Ireland fleadh cheoil flute title playing a self-composed tune on a self-made instrument, a home-made copper flute. Source for notated version: fiddler and composer Paddy Fahey (County Galway) [Breathnach]. Breathnach (CRÉ V), 1999; No. 155, pg. 77.

 

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'DEE. Played swing style. Source for notated version: Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 150. Swing Cat 1494, Joe Venuti - "Hot Swing Fiddle & Venuti Stories." Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993).

 

THAT'S HOW I SPENT THE WINTER (Sud Mar Chuir Mi'n Geamhradh Tharum). Scottish, Strathspey. Scotland: Isle of Skye. D major. Standard tuning. AAB. "From Patrick MacDonald's Collection" (Skye).

***

Jack Campin found the following passage in the memoirs of Elizabeth Grant of Rothiemurchus. She grew up in a manor in the Highlands in the early 19th century, and here she writes about the year 1812, when at age fifteen she and her sister arose under the direction of her governess:

***

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 nine o'clock - the grates were of bright steel, the
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. USA; Ky., W.Va. (as "The Little Rose"). C Major. Standard tuning. AABB. Mark Wilson and Guthrie Meade have both independently pointed out that the tune has been recorded by Calhoun County, West Virginia, fiddler Wilson Douglas as "The Little Rose." Meade (1980) records an odd feature of the Walters' recording:

***

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

Walter (the fiddler), while the rest of the band, believing his

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 (Ky., 1933) ‑ "Traditional Southern Instrumental Styles." Morning Star 45005, Walter Family - "Way Down South in Dixie."

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

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! NAN TIGEADH TU [1]. AKA and see "Flora MacDonald." Scottish, Reel.

 

THEARLAICH! NAN TIGEADH TU [2] (Charlie, if only you would come). Scottish, Pipe Strathspey. MacDonald (The Gesto Collection).

                       

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 Kelso, Scotland. A note with his collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

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 (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 36, pgs. 20-21.

X:1

T:Thèid mi leam fhèin

T:I shall wander alone

M:2/4

L:1/8

R:Air

S:Morison – Highland Airs and Quicksteps, vol. II, No. 36 (c. 1882)

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. Canada, Cape Breton. A Major. ADae tuning. AB. Composed by Inverness, Cape Breton, fiddler Jerry Holland (1955-2009), “named after a sweet lady who offered her name for the title of a tune.” Cranford (Jerry Holland: The Second Collection), 2000; No. 24, pg. 11. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998). Allie Bennett – “Its About Time” (2004).

                       


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>B AB ce |

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 Lough Conn, County Mayo" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 307, pg. 144.

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 Ireland under the title "The Jolly Old Man" and others. Kerr (Merry Melodies), vol. 1; No. 3, pg. 31. Fretless FR 200A, Yankee Ingenuity ‑ "Kitchen Junket" (1977).

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, Highland Schottische. A Major. Standard tuning. AABB. Kerr's (Merry Melodies) vol. 3; No. 210, pg. 24.

X:1

T:There Grows a Bonnie Brier

M:C

L:1/8

R:Highland Schottische

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 British Isles, Ireland and North America from post-Revolutionary times through the 19th century. It begins:
***

There is a fountain filled with blood

That flows from Emmanuel's veins,

And those that wash beneath the flood

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, Va., writes of almost unique incident of his war

experience: In November, 1863, General Lee’s army moved into winter quarters

on the south side of the Rapidan River. The Union Army moved up to the north

side. The pickets on each side of the river were within speaking distance of each

other. My command camped on the north side of Clark’s Mountain…While in

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 Orange Court-

house, living in the lower part of the county, wished to be baptized in the

Rapidan River; but the enemy was just on the other side and our officers feared

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:

***

A lieutenant in the Union army, having received his death-wound in a

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 New York once on a Sunday night, and

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 September 18th, 1857, by George Petrie from Patrick Mullen (Arranmore) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 296, pg. 74.

                       

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. England, Northumberland. 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 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 midnight revels sweetly keep;

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. Henderson (Flowers of Scottish Melody), 1935.

                       

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, Westport, in 1802. O'Sullivan/Bunting, 1983; No. 72, pgs. 112-114.

                       

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

R:Air

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).

                       

THERE WAS AN OLD ASTROLOGER. Irish, Air (4/4 time). C Major. Standard tuning. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 18.

X:1

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

K:C

(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 WALTHAM CROSS. AKA and see "Taunton Dean." English, Air (6/8 time). F Major. Standard tuning. One part. Chappell (1859) states this song is quoted as an old song in "The Jovial Crew," Brome's play acted in 1641 at the Cock‑pit, in Drury Lane. Ninety years later "The Jovial Crew" was turned into a ballad opera, and this song was retained, though with the name "Taunton Dean." It also appears in Antidote against Melancholy, 1661.

***

There was an old fellow at Waltham Cross,

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 Munster. The English collector Chappell (Popular Music of the Olden Time, 571) states that these words were “a well-known nursery rhyme” and were sung to the tune of “Lillibulero.” Raven (English Country Dance Tunes), 1984; pg. 69. Culburnie COL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

                       

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 England at the time Chappell (1859) was writing.

***

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. USA, Texas. G Major. Standard tuning. AABC. Some sources insist the tune is original with Texas fiddler Eck Robertson, though Charles Wolfe (1997) states it is generally credited to Robertson’s contest nemesis Lefty Franklin. Sources for notated versions: Eck Robertson (Texas) [Brody]; Alexander Robertson [Phillips].  Brody (Fiddler’s Fakebook), 1983; pg. 275. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 147. American Heritage 515, Junior Daugherty‑ "You Be the Judge." Stoneway 148, Howdy Forrester‑ "Fiddle Hoedown." American Heritage 516, Jana Greif‑ "I Love Fiddlin.'" American Heritage 1, Herman Johnson‑ "Champion Fiddling." Victor 40145 (78 RPM), Eck Robertson {1929}. Sonyatone 201, Eck Robertson‑ "Master Fiddler." Folkways 31062, Ship in the Clouds‑ "Old Time Instrumental Music" (1978. From an Eck Robertson recording). June Appal 024, Luke Smathers String Band‑ "Mountain Swing."

 

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 Ireland (1903), No. 378

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 England” (1998. Taylor {b. 1916} was a shepherd, and a fiddler and melodeon player from Wooler, Northumberland).

                       

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 Marshall dedicated to his wife, Jean Giles, whom he had married in 1773. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 7.

X:1

T:There’s nae harm done, Goodwife

L:1/8

M:C|

S:Marshall1781 Collection

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. England, Northumberland. B Flat Major (Gow): E Flat Major (Hardie); G Major (Sweet): A Major (Kershaw). Standard. AB (Hardie): AAB (Gow): AABB (Kershaw, Sweet). Johnson (1984) says this famous tune, known to most Scots, appears to have been newly composed in the 18th century but was based on a imported 16th century Italian chord progression, called passamezzo moderno.  John Glen (1891) finds the earliest appearance of the tune in print in James Aird's 1782 collection (No. 198). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. See also the Irish “Oíche Nollag” (Christmas Eve). Hardie's source, James F. Dickie, transformed the air into a slow strathspey. An American version appears as "Washday." An untitled version of the melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. Source for notated version: James F. Dickie of New Deer (1886-1983) [Hardie]. Carlin (The Gow Collection), 1986; No. 561. Gow (Complete Repository), Part 3, 1806; pg. 4. Hardie (Caledonian Companion), 1986; pg. 43. The Joseph Kershaw Manuscript, 1993; No. 16 (appears as “A reel”). Sweet (Fifer’s Delight), 1965/1981; pg. 30.

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. England, Northumberland. D Major (Gow, O’Farrell): G Major (Barnes, Dixon): A Major (Hardings). Standard tuning. AAB (Gow): AABB (Barnes, Harding’s): ABCD (O’Farrell): AABBCCDDEEFFGG’HHIIJJKKLLMMNN (Dixon). Dixon (1995) prints numerous variation sets by Northumbrian musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. The author notes that the tune is a well-known one in the North of England, and that many musicians have composed variation sets to it. The melody, set as a song with words, appears in the 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.

***

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 Feb. 16th, 1880, in the MS.) [Dixon]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 129. Dixon (Remember Me), 1995; pgs. 56-57. Gow (Complete Repository), Part 4, 1817; pg. 29. Hardings All‑Round Collection, 1905; No. 117, pg. 37. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 44 (includes variation sets).

X:1

T:There’s nae luck about the house [2]

M:C|

L:1/8

R:Reel

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 island of Skye, according to annotations of the University of Aberdeen’s J. Scott Skinner collection. Kemp was also a judge at the Inverness competition of 1863, in which Skinner won first prize for fiddle. Skinner (Harp and Claymore), 1904; pg. 50.

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 GEORGIA. AKA and see "Hell Broke Loose in Georgia." Old‑Time, Breakdown. USA, Arkansas. County 519, Luke Highnight's Ozark Strutters ‑ "Echoes of the Ozarks, vol. 2."

 

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).

                       

_______________________________________

Home       Alphabetical Files      References

 

© 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.