The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

_______________________________

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TRA - TRIO

[COMMENT1] 

 

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]

 

 

[COMMENT2] 

TRAB, TRAB. Scottish, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 388, pg. 43.

X:1

T:Trab Trab

M:2/4

L:1/8

S:Kerr – Merry Melodies, vol. 3, No. 388 (c. 1880’s).

Z:AK/Fiddler’s Companion

K:D

A | AABc | (d2 A)A | AeBc | d3A | AABc | (d2 A)f | edBe | A3 :|

|: A | AeBc | (d2A)A | AeBc | d3f | edcB | AdFB |1 AGEB | A3 :|2 AGEc | d3 ||

           

TRACES DE MON BOGHEI (By Buggy Tracks). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. A(Vocal)ABA(Vocal)AB. A related song is Carl Smith's "Before I Met You," according to Raymond Francois (1990). Source for notated version: Doris Matte (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 481-482. Swallow Records SW-LP6003, Doris Matte.

                       

TRACEY DARE’S. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) for Cape Breton pianist Tracey Dare. Cranford (Brenda Stubbert’s), 1994; No. 121, pg. 42. Brenda Stubbert - “House Sessions” (1992).

                       

TRACEY REGINA’S MARCH. Canadian, March (cut time). Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB’. Composed by Cape Breton fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Source for notated version: Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 183.

                                   

TRACEY’S. Canadian, March (cut time). Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 2, pg. 1. Brenda Stubbert - “Tamerack ‘er Down” (1985).

                       

TRADER BOATMAN. See “N....r Trader Boatman.

                       

TRADITIONAL JIG, THE. Irish, Jig. G Major. Standard tuning. AABB. A reworking of “McKenna’s Jig” by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy, No. 93, pg. 104.

X: 1

T:The Traditional Jig

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:Ed took one of his favorite reels (McKenna's)

N:and changed it into his extraordinary little jig.

N:Any musician who has tried this feat knows how

N:frustrating it can be. I'm reminded of a story

N:once of one who tried to change a tune and failed.

N:All too quick to take credit for his own

N:latest "improvement" of an old tune, our would-be

N:composer waited anxiously for the praise he

N:so confidently expected. A crafty old judge of

N:tunes himself was only too happy to deliver the

N:final judgment:

N:Son, if you left out what you put in

N:and put back in what you left out,

N:it'd be a good tune.

K:G

B/2c/2 | dBG GFG | Bcd =fdB | cA=F FEF | CFA cBc | dBG GFG | Bcd ^fga |

gfd cAF | GAG G2 :: B/2c/2 | dgg gfg | bag agf | cde fef | agf agf | dgg gfg |

Bcd ^fga | gfd cAF | GAG G2 :||

 

TRADITIONAL JIG ON D. Canadian, Jig. Canada, Cape Breton. D Major (Dunlay & Greenberg/MacDougall): D Mixolydian (Dunlay & Greenberg/MacPhee). Standard tuning. AA’BB (Dunlay & Greenberg/MacDouagall): AA’B (Dunlay & Greenberg/MacPhee). Sources for notated versions: Doug MacPhee (who remembers the ‘old folks’ playing his second turn, with the stress on the ‘C’ natural) and Mike MacDougall (Cape Breton) [Dunlay & Greenberg], who (say Dunlay and Greenberg) may have learned it from the playing of Buddy MacMaster, whose similar version comes from the ‘jigging’ of his mother. Dunlay & Greenberg (Traditional Violin Music of Cape Breton Island), 1996; pg. 112. PLP4-1012, Joe Cormier - “The Cheticamp Connection” (1983. 1st tune in “Jig Medley in D”).

 


TRADITIONAL JIG ON G. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Apparently an old jig, according to Buddy MacMaster, who told Dulay & Greenberg it had been played in Cape Breton for many years. Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Violin Music of Cape Breton Island), 1996; pg. 115. RDRC 850 , Raymond Ellis - “Dedicated to Mom and Dad” (1994).

 

TRADITIONAL LADDIE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Bremner’s “Highland Laddie” bears some resemblence to this tune. Source for notated version: John Campbell, learned from his father Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Violin Music of Cape Breton Island), 1996; pg. 57. Shears (Gathering of the Clans Collection), 1991; pg. 47. JC 124, John Campbell - “Cape Breton Violin” (1979. Appears as “Traditional Reel”). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). STEPH 1-94, Stephanie Wills - “Tradition Continued” (1994. Appears as “Old Traditional Reel”).

 

TRADITIONAL OLD (JIG). Canadian, Jig. Canada, Cape Breton. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).

                       

TRADITIONAL REEL. AKA and see “Donald Macleod’s Reel.

                       

TRADITIONAL STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. A Mixolydian. Standard tuning. AAB. A pipe tune. Paul Stewart Cranford (1995) notes that Jerry Holland’s setting, from Cape Breton fiddler Mike MacDougall, is a ‘Down North’ setting and “differs from the more common Inverness setting,” not least because the parts are reversed. Source for notated version: fiddler Mike MacDougall (Inverness, Cape Breton, 1928-1982) via Jerry Holland (Cape Breton) [Cranford]. Cranford (Jerry Holland’s), 1995; No. 4, pg. 2. Atlantica Music 02 77657 50222 26, Kyle & Lucy MacNeil - “Atlantic Fiddles” (1994).

 

TRAFALGAR HORNPIPE. AKA and see "Passaic Hornpipe." English (?), Hornpipe. A Major (Cole, Ryan): G Major (Miller). Standard tuning. AABB. The 'A' part is shared also with "Brilliancy." The English victory at the naval battle of Trafalgar was much commemorated in music and song, and on inn signs in Britain. One Trafalgar was a famous inn on the Thames River in London, the location for some years of the political Liberal Ministerial dinner until Gladstonian times. Cole (1000 Fiddle Tunes), 1940; pg. 94. Miller (Fiddler’s Throne), 2004; No. 319, pg. 187. Ryan’s Mammoth Collection, 1883. ONE 101, Bob McQuillen & Old New England - “Old New England” (learned from Seattle fiddler Armin Barnett).

X:1

T:Trafalgar Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

A/E/A/c/ e/c/e/a/ | f/d/f/a/ e/c /A/c/ | d/B/f/e/ d/c/B/A/ | G/A/B/c/ BE | A/E/A/c/ e/c/e/a/ | f/d/f/a/ e/c/A/c/ |

d/f/e/d/ c/B/A/G/ | AcA z :: C/A/G/A/ c/A/G/A/ | F/A/E/A/ D/A/C/A/ | F/D/F/A/ d/c/B/A/ |

G/A/B/G/ EE | F/D/F/A/ d/c/B/A/ | G/E/G/B/ e/d/c/B/ | A/a/g/f/ e/d/c/B/ | AcA z :|

 

TRAGEDY, THE. AKA and see "Blaris Moor" [3]. Irish, Air (4/4 time). G Major. Standard. One Part. "From Mr. J.C. MacGowan of Newtownards: 1873" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 224, pg. 109.

                       

TRAILIBANE BRIDGE (Droiciod Traig-Le-Bain). AKA and see “Little Red Lark of the Mountain [2].” Irish, Air (6/8 time). G Dorian. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 428, pg. 75.

X:1

T:Trailibane Bridge

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 428

Z:AK/Fiddler’s Companion

N:”Moderate”

K:G Minor

G>AG GAc|d2=e f2 e/f/|d>cA A>G^F|G2F D3|G>AG GAc|d2=e f2 e/f/|dcA G2G|

(G3G2)||f|g>fd fga|b2a g2a|g>fd d>cA|G2F D2f|gfd fga|b2a g2f|dgb a>g^f|(g3 g2)f|

g>fd fga|b2 a/b/ g2a|g>fd dcA|G2F D2^F|G>AG GAc|d2=e f2 e/f/|dcA G2G|(G3G2)||

                       

TRAIN FORTY-FIVE. AKA and see "Reuban('s Train)." Old‑Time, Breakdown. USA; Tennessee, Ky. The tune is influential Laurel Bloomery, Tennessee, fiddler G.B. Grayson's reworked version of an old banjo tune called "Reuban's Train." Grayson, born in 1887 in Ashe County, North Carolina, suffered from blindness from an early age and tragically died in 1930 in the height of his musical prime in a road accident near Damascus, Virginia. Joe Wilson learned the following lyrics from (Uncle) Willet Tyree, who was a contemporary of Grayson who played with him:

***

You oughta been uptown

And seen the train come down

You could hear the whistle blow

For a hundred miles

It's oh me, and it's oh my

What's gonna become of me?

Lord, Lord,what's gonna become of me?

***

Hey, I'm walking these ties

I got tears in my eyes

Trying to read a letter

From my home, from my home

Trying to read a letter from my home

(spoken) And you know, I got this BAD news…

***

“Willet would drag out that word, BAAAAAAAAD in harmony with the fiddle, making it sound like he had nine yards of bow, then he'd whip back into the rhythm.”  It was one of the two tunes Monticello, Ky. fiddler Dick Burnett remembered getting the most applause for when he performed. Influential versions were also recorded by Bill Monroe and banjo player J.D. Crowe. Document Records 8054, Grayson & Whitter (Reissue. 1999). Gennett 6320 (78 RPM), 1927, G.B. Grayson. Victor 21189 (78 RPM), G.B. Grayson & Whitter {Tenn.}. Old Hat Enterprises, “Music from the Lost Provinces” (1997). Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

                       

TRAIN JOURNEY NORTH, THE. Scottish, Pipe Hornpipe. D Major. Standard tuning. AA’BB’CC’DD’. Composed by T. Anderson. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 44. Temple TP021, The Battlefield Band ‑ "On the Rise" (1986).

                       

TRAIN ON THE ISLAND [1]. Old‑Time, Breakdown and Song. USA, western North Carolina, southwestern Va. (Galax, Round Peak). A Major (not D Major as has been said of J.P. Nestor and Norman Edmonds' version): G Major (Kimble/Molsky). AEae (Tommy Jarrell) or DGdg (Taylor Kimble, Bruce Molsky) tunings. AABB. A common "band tune" characteristic of  Carrol and Patrick Counties, southwestern Va., say Tom Carter and Blanton Owen (1976), who remark, “this piece surfaces in the space between Hillsville and Meadows of Dan.” J.P. Nestor, an early source for the tune who recorded it for Victor in 1927, lived near Laurel Fork, Carroll County, southwestern Virginia. In his book When We Were Good, Robert Cantwell suggests the name of the tune was adapted (by Nestor?) from the Irish reel “Lady on the Island.” Harry Smith (Folkways FA2953, 1952) writes: “The sound of a train is here interpreted on banjo and violin, with a meagre vocal adapted from a work song. The artists are probably both from Virginia.” The title has become “distressed” among a few fiddlers, and has been heard as “Training Island.” Source for notated version: Tommy Jarrell (Mt. Airy, N.C.) [Kuntz].

***

Train on the Island, listen to it squeal,

Go and tell my true love how happy I do feel.

***

Chorus

Train on the Island, hear that whistle blow,

Go and tell my true love I'm sick and I can't go.

***

Bring me a drink of water, bring it in a cup,

Me and my gal we fell out, we ain't never gonna make up.

***

Train on the Island, heading to the west,

Me and my gal we fell out, perhaps its for the best.

***

Make me a banjo out of a gourd, string it up with twine,

The only tune that I can play, I wish that gal was mine.

***

Show me the crow that flies so high, show me one that falls,

If I don't get the gal I love, I don't want none at all.

***

Went up on the mountain, went out on the plain,

Went up on the other side to hear my darlin' sing.

*** 

Yonder comes my true love, how do you reckon I know,

I tell her by her apron strings, tied up in a double bow.   (Tommy Jarrell)

***

Kuntz (Ragged but Right), 1987; pg. 317‑318. County 535, Nestor and Edmonds‑ "Round the Heart of Old Galax, vol. 3" (various artists). County 778, Tommy Jarrell‑ "Pickin' on Tommy's Porch" (1984. Learned from the singing of his father and mother). Davis Unlimited 33002, Norman Edmonds. Folkways 2349, Nestor & Edmonds – “American Folk Music” (1952). Rounder 0057, The Kimble Family ‑ "Old Originals, vol. 1" (1978). Rounder 0421, Bruce Molsky - “Big Hoedown” (1997). Victor VI‑21070 (78 RPM), J.P. Nestor and Edmonds (Galax, Va.) {1927}. In the repertoire of Luther Davis (Galax, Va.).

X:1

T:Train on the Island

M:2/4

L:1/8

N:AEae tuning

N:notation as fingered, not as sounded.

B:Kuntz – Ragged but Right

K:A

c|e>(f e)c|e>(f|e) e/f/|f/f/e/e/ f/f/a/a/|(A/e)(A e)A/B/|c/B/c/A/ B/A/A/B/|c/B/A/D/ E/D/D/E/|

D/D/E/E/ A/A/c/A/|(D/B)(D B)A/B/|cc/A/ B/A/A/B/|c/A/B/A/ E/D/D/E/|

D/D/E/E/ A/A/B/B/|(D/A)(D/ A3:|

 

TRAIN ON THE ISLAND [2]. Old-Time, Breakdown. A Major. Standard tuning. AABB'. The tune is played slower than the usual breakdown tempo. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 151.

 

TRAIN ON THE ISLAND [3]. Old-Time, Breakdown. C Major. Standard tuning. AB. This tune is related to "June Apple [1]." Source for notated version: Stephanie Pausnitz [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 156.

                       

TRAIN ON THE MOUNTAIN. Old-Time, Breakdown and song. USA, central West Virginia. DGDG tuning. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler from the playing and singing of his father).

                       

TRALEE GAOL. AKA – “Tralee Jane.” AKA and see “Barrack Hill,” “Haughs o’ Cromdale,” “O’Neill’s March [2].” Irish, Polka. A Dorian. Standard tuning. AABB. Related to the Scottish “Haughs of Cromdale.” Sullivan (Session Tunes), vol. 2; No. 21, pg. 9.

           

TRALEE LASSES. AKA and see “Bundle of Straw,” “Corry Boys,” “Hare’s Foot,” “Hare’s Paw [1],” “Jim Kennedy’s Favorite,” “Lowlands of Scotland,” “Low Park,” “Silvermines [1].”

                       

TRALIBANE BRIDGE. AKA and see "Little Red Lark of the Mountain [2]." Irish, Slow Air (6/8 time). G Minor. Standard tuning. AB. Tralibane Bridge, “ivyclad and ancient spans a rocky brawling river named on the maps Owennashingaun,” in the home of Capt. Francis O'Neill in County Cork.

***

Three townlands meet at this bridge, a significant circumstance

to at least one disciple of the ‘black art’, who one May morning

at sunrise stood knee deep in the rushing current and performed

certain mystic ceremonies. One consisted in dividing the waters

with a scissors along the imaginary lines of the townland

boundaries under the centre of the main arch. (O’Neill, Irish Folk Music, pg. 78)

***

This was one of O’Neill’s favorite airs, though he remembered no songs to it. Two versions are given in Stanford/Petrie’s Complete Collection (1905) from County Mayo and Armagh, under the title “Little Red Lark of the Mountain.” O'Neill (O’Neill’s Irish Music), 1915; No. 5, pg. 13.

X:1

T:Tralibane Bridge

M:6/8

L:1/8

R:Air

S:O’Neill – O’Neill’s Irish Music

Z:AK/Fiddler’s Companion

K:G Minor

G>AG GAc | d2=e f2e/f/ | d>cA AG^F | G2F D3 | G>AG GAc | d2=e f2e/f/ | dcA G2G | (G3G2) ||

f | g>fd fga | b2a g2a | g>fd dcA | G2F D2f | gfd fga | b2a g2f | dg bag^f | (g3g2)f | g>fd fga |

b2 a/b/ g2a | g>fd dcA | G2F D2^F | G>AG GAc | d2e f2 e/f/ | dcA G2G | (G3G2) ||

 

TRAMP, TRAMP, TRAMP. AKA and see "God Save Ireland." American, Air and March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AB. A staple fifer's march based on the extremely popular Civil War song by George F. Root (1820-1895). Root was born at Sheffield, Massachusetts, and studied music in Boston and Paris, earning a doctorate in music at Chicago University. He was a supporter of music in the American school curriculum. Other Civil War compositions of Root’s were “The Battle-Cry of Freedom” and “Just Before the Battle, Mother.” “Tramp, Tramp, Tramp” is also well-known as the melody of “God Save Ireland.” Source for notated version: Clyde Lloyd (fifer from Indiana County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 564, pg. 501. Sweet (Fifer’s Delight), 1965/1981; pg. 11.

 

TRAMP WALTZ. American, Waltz. Edison 5411 (78 RPM), 1927, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}.

 


TRAMPER DOWN. Canadian, Reel. Canada, Cape Breton. A Major. AEae or Standard tunings. AA’BB’. Dunlay & Greenberg report that Buddy MacMaster thinks this reel may have been composed by Sandy MacLean. Sources for notated versions: Kinnon Beaton (Mabou Coal Mines, Cape Breton) and Buddy MacMaster [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 133. ACC-4968, Kinnon Beaton - “A Sprig of Ivy” (1989. Appears as “Traditional Reel”). ACC4-9270, Howie MacDonald - “Live and Lively” (appears as “Angus Allen Gillis Reel”). ACC-49398, Brenda Stubbert - “House Sessions” (1992). CEI 8001, Winnie Chafe - “Echoes” (1988. Appears as “Traditional Reel”). Rounder C-7013, Joe Cormier and Edmond Boudreau - “Old Time Wedding Reels” (1992. Appears as unlisted 2nd tune in “Annie is My Darling” medley). Overton 1829-I-LM 88, Dwayne Cote - “Introduction” (1992. Appears as “Traditional Reel”).

 

TRAMPLE OUR ENEMIES. AKA and see "Top of Cork Road [1]," "Father O'Flynn," "Rollicking Irishman," "To Drink with the Devil," "Yorkshire Lasses [1]."

 

TRAMPS, THE. AKA and see “Reel of Bogie.” Irish, Reel. Green Linnet SIF‑1110, Tony DeMarco ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991).

 

TRANSTRAND. Swedish, Waltz. Sweden, Dalarna region. D Minor. Standard tuning. AA'BB. A traditional Swedish waltz from Transtrand, in the Dalarna region of Sweden. It is also published in the 1974 publication "Latar frran Dalarna" (Tunes from Dalarna), by Paul Backstrom, where it is referenced with the notation: "Vals played in the style of Omas Ludvig, as heard by Per Jonsson in Transtrand, collected by Karl Spore in 1923." Source for notated version: Bertil Ferneborg (Vansbro, Dalarna, Sweden) via David Kaynor (MA) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 60.

 

TRAP BALL.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 103.

X:1

T:Trap Ball

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

d|g>d “tr”d2|e>c “tr”c2|BdBG|FAFD|g>d “tr”d2|e>c “tr”c2|Eed^c|d2 D:|

D|DFAc|BdgB|DFAc|BdgB|ceac|BdgB|cAGF|G2 G:||

 

TRAP HILL TUNE. AKA and see “Katy Hill [1].” Old‑Time, Breakdown. USA, southwestern Pa. Rounder Records 0058, Hus Caudill ‑ "Old Originals, vol. 2" (1978).

 

TRASNA AN MHÓINTEÁIN GO PEIGE. AKA and see "Over the Moor to Peggy."

 

TRASNA NA dTONNTA. AKA and see “Westering Home.

 

TRAVEL BY STEAM. AKA and see "Swaggering Boney." An alternate name for "Swaggering Boney" in the Costwold village of Longborough, England.

 

TRAVELLER [1], THE (An Siubaltac). AKA and see "Traveller's Reel [1]." AKA and see "Walker Street." Irish, Reel. G Major. Standard tuning. A French-Canadian variant is “Reel des Ouvriers” (The Laborer’s Reel). Comparing the titles, Kate Dunlay suggests that the "Traveller" title may stem from the French travailler, to work or labour. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 150. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1495, pg. 276. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 719, pg. 126. Green Linnet SIF‑104, Joe Burke & Michael Cooney ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1069, Joe Burke, Michael Cooney ‑ "Happy to Meet & Sorry to Part" (1986). Rounder 1087, Eleanor Kane/Neary - "From Galway to Dublin: Early Irish Traditional Music" (1992. A reissue of the 1935 original).

X:1

T:Traveller, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 719

Z:AK/Fiddler’s Companion

K:G

D2|G2 BG dGBG|ABcd cBAG|Bdgd (3efg dB|cBAG FADF|G2 BG dGBG|

ABcd cBAG|Bdgd (3efg dB|BGAF G2||Bd|{a}g2 dg Bgdf|gabg agef|

g2 dg BgdB|cBAG FADF|{f}g2 dg Bgdg|gabg agef|gfga gfed|(3efg fa gedB||

X:2

T:Traveller, The

R:reel

D:Bothy Band: 1975

Z:id:hn-reel-475

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

G2BG dGBG|ABcd cBAG|(3Bcd gd egdB|cBAG FADF|

G2BG dGBG|ABcd cBAG|(3Bcd gd egdB|1 cAFA G2D:|2 cAFA G3d||

|:g2dg egdg|~g2bg agef|g2dg egdB|cBAG FAD2|

g2dg egdg|~g2bg agef|~g3a gfed|1 (3efg fa gdef:|2 (3efg fa gedB||

 


TRAVELLER [2], THE (An Triallaire). Irish, Slow Air (4/4 time). C Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 472, pg. 82.

X:1

T:Traveller, The [2]

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 472

Z:AK/Fiddler’s Companion

K:C

ef|g2 ge f3a|g>agf edcB|~c3d e2 dc|_BGFE F2 EF|GA_BG c2f2|

edcB {d}cBGE|F2 {A}G>F E2C2|C6||G2|cdef g3a|b2 ge f2 ef|g3f edcB|

~c3d e2 ed|c3_B GFEF|G>ABG cBGE|F2 {A}G>F E2C2|C6||

 

TRAVELLER BENIGHTED IN SNOW, THE (Siubhal an t-sneachd tra oidhche). Scottish, Slip Jig. C Minor. Standard tuning. AAB. "The traveller, benighted in snow, was most pathetically  described in Gaelic words, repeated by the editor's father,‑‑and the air conveys a feeling which the mind readily associates with such a bewildering occurrence,‑‑nay, even with his having perished there,‑‑See note for 'The High Road to Fort Augustus,'" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 10, pg. 4.

X:1

T:Traveller benighted in snow, The

T:Siubhal an t-sneachd tra oidhche

L:1/8

M:9/8

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:Cmin

g/>f/|e2 d/c/ c>BG BFB,|ecc cGc e2g|fdB bag fdB/c/2d/2|e>dc Gc=B c2:|

E/D/|Cce Cce BFB,|Cce cGc e2g|e<ge d<bg fdB/c/2d/2|e>dc Gc=B c2 E/D/|

Cce Cce BFB,|Cce cGc e2g|Eeg DBf B,Bd|e>fg G,C=B, C2||

 

TRAVELLER’S JOY.  AKA and see “(An) Gabhrán.” Irish, Reel.

 

TRAVELLER'S REEL [1]. See "The Traveller [1].

 

TRAVELLER'S REEL [2]. AKA and see "Le Reel des Voyageurs."

 

TRAVELLING THE ROUGH COUNTRY (Shiulbhail na Garbhlich).  AKA and see “Lord Dunmore.”

 

TRAVER’S JIG. See “Traver’s Reel [1].

 

TRAVER'S REEL [1] (Ríl Uí Threabhair). Irish, Reel. A Dorian ('A' part) & G Major ('B' part). Standard tuning. AB (Breathnach/CRE II): AA’BB’ (Breathnach/Man & his Music). The title probably refers to a County Leitrim born flute player named Hugh Travers who was a member for a time of the Dublin Metropolitan Garda Ceili Band, along with whom he recorded some 78 RPM sides in the 1930s (Philippe Varlet). There is a jig version of the tune derived from the reel. Sources for notated versions: flute player Matt Molloy (Ireland) [Breathnach]; piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]. Breathnach (CRÉ III), 1985; No. 99, pg. 51. Breathnach (The Man & his Music), 1996; No. 3, pg. 102. Mulligan Records LUN 004, "Matt Molloy" (1976).

X:1

T:Travers's Reel

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:G

ge|dBBA B2 GB|dBGB AGED|~G2 Bd gaba|gedB A2 ge|

dBBA ~B3 c|d2 BG AGED|GABd gaba|gedB G2:|:GA|

Bd ~d2 ed ~d2|gd ~d2 edBA|Bd ~d2 edef|gedB A3 c|

Bd ~d2 ed ~d2|gd ~d2 edBA|Bdde gaba|gedB G2:|

X:2

T:Travers's Jig

N:based on Travers's Reel

M:6/8

L:1/8

Z:Transcribed by Paul de Grae

K:G

dBA B2 e|dBG AGE|GBd gfg|edB ABc|

dBA B2 c|dBG ABA|GBd gfg|1edB G2 e:|2 edB G2 A||

Bdd edd|gdd edc|Bdd edd|gdB A2 c|

Bdd edd|gdd edc|Bde gfg|edB G3:|

 

TRAVER'S REEL [2]. Irish, Reel. G Major. Standard tuning. AB. A different tune than “Traver’s Reel” [1]. Source for notated version: whistle player Des O’Conner (Dublin) [Breathnach]. Breathanch (CRÉ II), 1976; No. 202, pgs. 104-105 (appears as “Gan anim/untitled”). Vallely (Play Fifty Reels with the Armagh Pipers Club), 1982; 42.

           

TRAVERSE THE ROUGH HILLS.  AKA and see “Lord Dunmore.”

 

TREALOCK LAUDER. AKA and see "The Barony Jig [1]," "The Fisherman's Jig," "The Green Gates [2]," "Redican's Mother," "The River Lee," Turlough, the Brave.”  Irish, Slip Jig. D Major. Standard tuning. AABBCC. The title is a garbled version of the Irish Toirdhealbhach Láidir, which means ‘strong or brave Turlough’. O’Neill gives the Irish title as “Toirdhealbhach Treun” (see “Turlough, the Brave”), although the latter word is spelled tréan in modern usage. It also means ‘strong or brave’. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 136.

X:1

T:Trealock Lauder

M:9/8

L:1/8

R:Slip Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

A | F/G/A>F G2B AFD | FAF G2A B2E | F/G/A>F G2B AFD | EFE EFA B2 :|

|: d | gag fdB BAF | gfe fdB B2A | gag fdB AFd | EFE EFA B2 :|

|: c | dFd FdB AFD | ded def g2e | ded fdB AFD | EFE EFA B2 :|

           

TREASNA AN DROICIOD GO MAIRGREADIN. AKA and see "Over the Bridge to Peggy [2]."

           

TREASNA AN RIASC GO MAIRGREADIN. AKA and see "Over the Moor to Maggie [2]."

                       

TREASURES OR WEALTH. AKA and see "Ciste No Stor."

           

TREE OF LIBERTY, THE. Irish, Air (6/8 time). C Major. Standard tuning. One part. "From an anonymous correspondent from Dundalk" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 216, pgs. 105‑106.

           

TREIGTEOR DANA, AN. AKA and see "The Bold Deserter."

           

TRELAWNY. English, Air and March. England, Cornwall. The origins of the tune are unknown but it appeared in military use in the early 19th century and is believed to have been adopted by the bands of the volunteer Regiments of Cornwall. The tune is also associated with the song 'The Noble Duke of York'. Words set to the tune illustrate the Cornish concern for the fate of Bishop Trelawny, one of the six bishops arrested and put in the Tower by James II. They begin:

***

A good sword and a trusty hand!

A merry heart and true!

King James's men shall understand

What Cornish men can do!

***

And have they fixed the where and when?

And shall Trelawny die?

Then twenty thousand Cornish men

Will know the reason why.

           


TRENCHMORE. AKA and see “Willy Prethe/Prithee Goe/Go to Bed.” English, Country Dance Tune (6/4 time). G Major. Standard tuning. One part (Barnes, Raven): AB (Chappell). The music for this dance tune was printed in Deuteromelia in 1609. The dance itself, also called Trenchmore, was, according to Grattan-Flood (1906), an Irish import to England (ed.: Flood was quick to make such unsubstantiated claims, although this one seems likely to be true, c.f. Donnolly, cited below). The first record of the tune and dance is in an account of the Christmas festivities at the court of Edward VI of England in 1551, where a list of expenses for the year’s Lord of Misrule (the character responsible for overseeing the celebrations) included, for his dancers, the cost of  thre garments of sarsenett with iij payre of sloppes of owde store, for them that daunsed trenchemore… The dance featured a number of ‘tricks’ or ‘capers’ and seems to have been a large, boisterous activity. Thomas Deloney, writing in his work The Gentle Craft, Part II (London, c. 1598), describes a character who “like one dauncing the trench more he stampt up and downe the yard, holding his lips in his hands.” It was mentioned in a 1564 morality play by William Bulleyn, where a minstrel was described as "dancing Trenchmore”; William Sampson’s The Vow Breaker (1636) gives: “We had a Wedding to day and the young fry tickle Trench-more.” Some time after its introduction the dance was sufficiently common as to attract allusion in both literature and common usage—any unrestrained, wild activity was likely to provoke comparison with ‘dancing Trenchmore’, and, on a more sinister note, one recorded letter threatens that a man will be made to talk by being suspended so that his feet barely touch the ground, so that he will ‘dance Trenchmore’ in his agony (see Donnolly). 

***

Irish musicologist Grattan Flood (unfortunately, not the most reliable of sources) asserts the name ‘Trenchmore’ is an Anglicised corruption of "Rinnce Mor" or the "Rinnce Fada," the Long Dance, which is alluded to in The Complaint of Scotland, dated 1549. Seán Donnolly (in his article Trenchmore: An Irish Dance in Tudor and Stuart England?) disagrees and refers to the Oxford English Dictionary (1914) which suggests the name is either a proper noun—a name or place. Donnolly thinks the former unlikely as surname variants are quite rare, however, he finds evidence that Trenchmore is a place-name and that in Middle English the word trench, along with the usual meanings, could also mean ‘a cutting through a wood.’ He finds a reference to an Irish placename that fits perfectly; Trenchmore (in Irish An Trinse Mór, or ‘the Great Trench’), a townland of 424 in the parish of Coolaghmore, barony of Kells, County Kilkenny. There was a castle of Trenchmore that belonged to the Butler family, Anglo-Norman earls (and also dukes and marquises) of Ormond, that has since disappeared but that is referred to in records of the 17th and 18th centuries. Donnolly thinks it likely the ‘the great trench’ was a defensive earthwork or boundary trench marking old borders.

***

Donnolly contends that calling a tune or dance by a place-name was common enough in England and Scotland after the Reformation, and points to hymns and psalm-tunes that commonly were referred to by recognizable points on the map: “Dundee,” “York,” “Windsor,” “Hackney,” “Bangor,” “Newtown,” “Coleshill” (known by Scottish Presbyterians as “Dublin”) and “Athlone” (a title used by the Church of Ireland for a tune attributed to the harper Turlough O’Carlolan).  Place-names were used in Playford and there are indications that place-names from Ireland in connection with dances are also quite old (a country-dance called “Cork” was published in 1773, for example). It is entirely possible, asserts Donnolly, that the Irish “Trenchmore” was introduced to England by one of the Butlers, specifically Tomás Dubh Butler (1532-1614), 10th Earl of Ormond, called “Tom Duff” by Tudor courtiers. Tomas was one of a group of noble children educated who were selected by Henry VIII to be educated with his son Edward, and it is recorded that in 1552, when the school group formally disbanded, Ormond participated in the year’s Christmas festivities which featured the first introduction of “Trenchmore.”

***

Chappell (1859) says the origin of the tune stems from "at least" as early as Henry VIII's time (the mid‑1500's), either as a song or dance tune. He quotes Selden from Table Talk:

***

The court of England is much alter'd. At a solemn

dancing, first you had the grave measures, then

the corantoes and the galliards, and this kept up

with ceremony; and at length to Trenchmore and the

Cushion Dance: then all the company dances, lord

and groom, lady and kitchen maid, no distinction.

So in our court in Queen Elizabeth's time, gravity

and state were kept up. In King James's time things

were pretty well, but in King Charles's time there

has been nothing but Trenchmore and the Cushion

Dance, omnium gatherum, tolly polly, hoite come toite.

***

By 1600 several fantasias were written on the tune for the lute, but the dance form of the tune is only found in "presentable" form in the Dancing Master of 1652. Several political ballads were written to the air, but by the early 18th century it had gone out of style and does not appear in the later editions of the Dancing Master. Chappell finds the tune in Deuteromelia (1609), Dorothy Welde's Lute Book, a Cambridge University Library lute MS, and Playford's Dancing Master (1652). Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 224‑225. Raven (English Country Dance Tunes), 1984; pg. 18.

X:1

T:Trenchmore

L:1/8

M:3/8

K:G

G|:F2G A2B|A2G AFD|G>AB B>AB|B>AB B>AG|

F2G A2B|A2G AFD|G>AB B>AB|B>cd B>AG:|

           

TRENT WATERS. English, Jig. E Minor. Standard tuning. AABB. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 203.

           

TRES ACE. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

 

TRI DRUMADOIRIDE BEAGA, NA. AKA and see "The Three Little Drummers [1]."

 

TRI IS A RIAN, AN. AKA and see “(An) Tí is a Rian.” Irish, Hornpipe. A version of the reel “Miss McLeod’s.” Breathnach (CRÉ V), 1999; No. 217. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996. Learned from Kerry fiddler Dennis Murphy).

 

TRI LEAT PINGINNE GAC LA. AKA and see "Three Halfpence a Day."

 

TRI MANNER TON (Three Half Tunes). Welsh, Gig (sic). D Major. Standard tuning. One part. The tune comes from Edward Jones' "Relics of the Welsh Bards" (1784). A 'gig', so‑called in Wales, is a dotted rhythm in 2/4, with the feel of 6/8 time. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 43.

 

TRI TAOISEACA, NA. AKA and see "The Three Captains."

 

TRIAL BY JURY LANCERS. English, Dance Tune.                        

Figure 1: 4/4 time. D Major ('A' part) & A Major ('B' part). AB. (x4).

Figure 2: 4/4 time. D Major ('A' part) & A Major ('B' part). AB (x4).

Figure 3: 6/8 time. D Major  ('A' and 'C' parts) & G Major ('B' part).

Figure 5: 4/4 and 6/8 time. A Major ('A' part), D Major ('B' part), & D Minor/D Major ('C' part).             

ABAC. Composed by Sir Arthur Sullivan. The Lancers is a set of dance figures popularized at the English regimental dances of the group. Hinds/Hebert (Grumbling Old Woman), 1981; pgs. 34, 35, 36.

 

TRIALL AN BUSTOIR. AKA and see "The Butcher's March [1]."

 

TRIALL AN IOMANAIGH. AKA and see "The Hurler's March [2]."

 

TRIALL MHIC SHIACAIS AR LUIMNEACH. AKA and see “Jackson’s Walk to Limerick.

 

TRIALL NA SLEIBTEOIRI. AKA and see "The Mountaineers' March."

 

TRIALLAIRE UA TUAT-MUMAIN, AN. AKA and see "The Rambler from Clare [1]."

 

TRIALLTA AN CONNACTAIG. AKA and see "The Connaughtman's Rambles [1]."

 

TRIALLTA CAITILIN. AKA and see "Kitty's Ramble{s}."

 

TRIALLTA MIC SEOIN. AKA and see "Jackson's Rambles."

 

TRIALLTA PADRAIG. AKA and see "Rick's Rambles."

 

TRIALLTA UÍ CROININ. AKA and see "Cronin's Rambles."

 

TRIALLTA UÍ SUILLEABAIN. AKA and see "O'Sullivan's March [2]."

 

TRIANGLE BLUES. Old-Time. B Flat Major. Standard tuning. AABB. Source for notated version: Kerry Blech (Seattle, WA) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 152.

 

TRIBUTE TO FRED, A. Irish, Double Jig. Ireland, County Sligo. G Major. Standard tuning. AABB. The title probably references the great County Sligo fiddler Fred Finn (1919-1986). Source for notated version: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 168.

           

TRIBUTE TO LARRY REYNOLDS, A. Irish, Reel. E Minor. Standard tuning. AABB’. Composed by Brendan Tonra in commemoration of Boston musician Larry Reynolds and his appreciation weekend in 1993. Black (Music’s the Very Best Thing), 1996; No. 289, pg. 155.

T: Tribute to Larry Reynolds

C: Brendan Tonra

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Edor

Bd |: eBdB AGBG | GFED B,3 E | DFAF GBeB | dBGB A2 Bd |

egfg egdB | AFDF EDB,E | DFAF GBdB | AFDE FE E2 :|

Bdeg feee | beee fedB | ABde fefb | afdf efed |

|1 Beee feee | beee fedB | ABde fedB | AFDE FE E2 :|

|2 gafg egdB | AFFF DEFB | ABde fedB | AFDE FE E2 ||

           

TRIBUTE TO PADDY FAHEY, A. Irish, Reel. G Mixolydian/Dorian. Standard tuning. AA’BB’. Composed by Baltimore area fiddler, teacher and musicologist Philippe Varlet. Black (Music’s the Very Best Thing), 1996; No. 277, pg. 149.

X:1

T: A Tribute to Paddy Fahey

C: P. Varlet

Q: 350

R: reel

X:Transcribed by Bill Black

M: 4/4

L: 1/8

K: C

DGGA _BGAG | FDCD FEFG | Acde fedg | ec-c2 Gcec |

dg-g2 dgBd | cAFA c2 Bc | dBcA DEFA |1 dcAc BGGF :|

|2 dcAc BGBd || g2 dc (3Bcd ge | fefg afdf | ec c2 Gceg |

^fgaf g3 a | _bggf gfdg | fdcA FGAc | dBcA DEFA |

|1 dcAc BGBd :|2 dcAc BGGF ||

           

TRIBUTE TO THE QUEEN. AKA and see “Flower o’ the Quern.” Scottish, Slow Air. G Major. Standard tuning. ABCD. Aberdeen shire fiddler J. Scott Skinner composed the tune as “Flower o’ the Quern.” It acquired the “Tribute to the Queen” title from a recording by Mull fiddler Pibroch MacKenzie.

X:1
T:Tribute to the Queen
T:Flower o' the Quern, The
C:James Scott Skinner
D:Pibroch MacKenzie, The Mull Fiddler (1969)
Z:Nigel Gatherer
M:4/4
L:1/8
K:G
D2  | G2 G2 F2 ED | c2 c2 B2 d2 | d2 BA   G2  AB   | A6
D2  | G2 G2 F2 ED | c2 c2 B2 d2 | dcEA    G2  F2   | G6 ||
G2  | c2 c2 c2 de | d3  B d2 ge | d2 BA   G2  AB   | A6
D2  | G2 G2 F2 ED | c2 c2 B2 d2 | dcEA    G2  F2   | G6 ||
G,2 | C2 C2 C2 DE | D3 B, D2 GE | D2 B,A, G,2 A,B, | A,6
D2  | G2 G2 F2 ED | c2 c2 B2 d2 | dcEA  G2 F2 | G6 ||
G2  | c2 c2 c2 de | d3  B d2 ge | d2 BA   G2  AB   | A6
D2  | G2 G2 F2 ED | c2 c2 B2 d2 | dcEA    G2  F2   | G6 ||

                       

TRIBUTE TO WHELAND AND IVERS.  American, Reel. A Major. Standard tuning. AABB. Composed by New Hampshire musician Rick Gagne, inspired by the early 1990’s duo of button accordion player John Whelan and fiddler Eileen Ivers. Miller (Fiddler’s Throne), 2004; No. 260, pg. 256. Rick Gagne – “Dun Creagan: The 80’s LIVE” (1992).

 


TRIBUTE TO WINSTON AND ANN FITZGERALD, A. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AABB. Winston ‘Scotty’ Fitzgerald (1915-1987) was a fiddler of great influence on the island of Cape Breton. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 43, pg. 15. Brenda Stubbert - “Tamerack ‘er Down” (1985).

           

TRICOTADA, LA. French, Bourree (3/8 time). C Major. Standard tuning. AA'BB. From the Auvergne province of central France. Stevens (Massif Central), 1987, vol. 1; No. 52.

           

T’RIFFIC T’REASA. Irish, Slide (12/8 time). Ireland, West Kerry. D Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 86, pg. 47.

           

TRIFLE. English, Slip Jig (9/8 time). One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. There was a song of the same period called “The Trifle,” set to a 6/8 tune. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 159.

X:1

T:Trifle, The

M:9/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:D

D|F>GA dBG AFD|EFG efg “tr”c2A|F>GA B/c/dB AFD|FAF Edc d2:|
|:g|f>ed (f/g/a)f ecA|BGB efg c2A|FDF ABc def|Bgf edc d2:||

           

TRIG BAG, DA. Shetland. Tom Anderson (1978) says the title refers to a small bag carried on shore by sailors. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978).

 

TRILBY’S CLOG. AKA and see “Cincinnati Rag [1].”

           

TRILL HORNPIPE. Scottish, Hornpipe. B Flat Major ('A' part) & G Minor ('B' part). Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 362, pg. 40.

X:1

T:Trill Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 362  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bb

(FB) “tr”B2 G>B_G>B|(FB) “tr”B2 G>B_G>B|F>BB>c d>cd>g|f>=e_e>c A>FE>C|

(FB) “tr”B2 G>B_G>B|(FB) “tr”B2 G>B_G>B|F>BB>c d>cd>g|f>=e_e>c B4:|

|:d’4 ^c’2 =c’2|b2b2 a4|g>^fg>b a>f d2|g>^fg>b a>f d2|

d’4 ^c’2 =c’2|b2b2 a4|g>^fg>b a>f d2|(3DED (3CB,A, G,2 z2:|

           

TRIM CASTLE. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black in memory of a beautiful site on the banks of the Boyne River in County Meath. Black (Music’s the Very Best Thing), 1996; No. 174, pg. 91.

X:1

T: Trim Castle

C: © B.Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

D | GFG dcB | DED cBA | GFG d2 e | ^c2 e d2 d |

GFG dcB | DED cBA | BGD E2 c | AFA G2 :|

d | gfg d2 B | cde dBG | cde eag | fd^c d2 e |

gfe dcB | cde dBG | EFG ABc | AFA G2 :|

           

TRIM THE BONNET. AKA and see "Big Pat's (Dandy) Reel," "The Clady Reel," "The Dandy Reel," "The Hills of Clady,"  "Jimmy the Creelmaker,” "O'Connell's Trip to Parliament [2]," "The Pigeon House," "Salamanca [3]," "Tie the Ribbons [1]." Irish, Reel. E Minor. Standard tuning. AA’B. O’Neill remarks this tune is a variant of “Tie the Bonnet” in his Dance Music of Ireland (1907). “Dublin Lasses” and “Ships are Sailing” are related tunes. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 243c (appears as untitled reel). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 274.

X:1

T:Trim The Bonnet

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:Emin

BEEF G2 EF | GBAG FDDc | BEEF G2 ef |1 gfed edBA :|2 gfed Bdef |

|: gfga beeg | fefg afdf | gfga bgef |1gfed Bdef :|2 gfed edBA ||

           


TRIM THE VELVET ("Deasaid/Daesuig an Srol" or “Bearr an Veilbhit"). AKA and see "Geehan's Reel," "The Grazier," "Green Garters [2]," "The Humours of Flip," "The Potlick,” “The Railroad [4]," "Sally Kelly [2].” Irish, Reel. G Major (Breathnach, Flaherty, Harker, Mallinson, Mulvihill): G Major/Mixolydian (O'Neill): D Major (Carlin). Standard tuning. ABCD (Breathnach, Flaherty, Harker/Rafferty, Mallinson): AABCD (O'Neill/Krassen): AABBCCD (O'Neill/1850 & 1001): AABBCDD (Carlin, Mulvihill). Recorded and popularised by the great County Sligo fiddler Michael Coleman (1891-1945), although Coleman’s recording starts on what is generally played today as the fourth part. The tune is called “Humours of Flip” in Goodman’s collection. Breathnach finds the tune by the title “Kiss the Maid behind the Barrel” in a manuscript from Castleisland, County Kerry, although he says that name usually refers to a different, although related, tune. Whistle player Micho Russell, from Doolin, County Clare, knew it as “The Potlick.” “Sally Kelly” is a Leitrim name Breathnach finds for “Trim the Velvet.” Sligo/New York fiddler Michael Coleman played the ‘D’ part of the tune first. East Clare fiddler Paddy Caney’s (a member of the famous Tulla Céilí Band) recorded version was used as the prestigious signature tune for Ciarán Mac Mathúna’s Job of Journeywork program on Radio Éireann for several years. Sources for notated versions: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]; piper Paddy Moloney (Ireland) [Breathnach]; fiddler Peter Horan (b. 1926, Kilavil, County Sligo) [Flaherty]; Ann Sheehy (Castleisland, County Kerry) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 85, pgs. 42‑43. Carlin (Master Collection), 1984; No. 193, pg. 115. Flaherty (Trip to Sligo), 1990; pg. 68. Harker (300 Tunes from Mike Rafferty), 2005; No. 60, pg. 19. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 20. Mallinson (Enduring), 1995; No. 12, pg. 5. O'Neill (Krassen), 1976; pg. 118. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1320, pg. 247. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 581, pg. 107. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 16. Claddagh Records CC2, "Paddy Moloney, The Chieftains" (1969). Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008. Learned from Martin Wynne). Green Linnet SIF‑1110, Seamus Connolly & Brendan Mulvihill ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Shanachie 78030, Danú – "Think Before You Think" (2000).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Trim the Velvet

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 581

Z:AK/Fiddler’s Companion

K:G

G2 BG AGFD|G2 BG cAFA|G2 BG AGFD|defd cAFA:|

||dcde dBGB|dedB cAFA|dcde dBGB|defd cAFA|d>e dBGB|

dedB cAFA|d2 df e2 ef|gefd cAFA||

|:g2 gb a2 af|g2 ab c’baf|gfgb abaf|defd cAFA:|

||(3BAG dG BGGA|(3BAG dB cAFA|(3BAG dG BGGB|defd cAFA|

(3BAG dG BGGA|(3BAG dB cAFA|BG (3GFG cA (3AFA|defd cAFA||

 

TRIM THE VELVET [2].  Irish, Jig. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 185, pg. 43.

           

TRIM’D WAISCOAT, THE.  English, Jig. B Flat Major. Standard Tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol.. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 97.

X:97

T:Trim’d Waiscoat, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

dBB BBB|cde dcB|Ace dfb|fdB AGF|GAB cde|Ag=e fcd|cAF BG=E|(F3 F3):|
|:FAc Ace|dfb fdB|FAc Ace|dfb fdB|gec fdB|ecB AGF|GAB cde|dfA B3:||

 

TRINGHAM’S FANCY.  AKA – “The Recruiting Sergeant.” English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The tune is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). The alternate title, “The Recruiting Serjeant” [sic] is the name of a play by George Farquhar, first staged in 1706 at Drury Lane, and one of the most successful comedies of the 18th century. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 6.

X:1

T:Tringham’s Fancy, or Recruiting Serjeant

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

B/c/|dBAB G2 AB|cAFA D2 Ac|Bgfe dcBA|G2 GG G3::(B/c/)|dBec d3 B/c/|dBec d3 B/c/|

dBgf edcB|A2 AA A3 (B/c/)|dBAB G2 AB|cAFA D2 Ac|Bgfe dcBA|G2 GG G3:||

 

TRIOCAD BLIADAIN O SOIN. AKA and see "Thirty Years Ago."

 

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