The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

 

_______________________________

Home        Alphabetical Files      References

[COMMENT1] [COMMENT2] 

TWA - TZ

 

 

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]

 

 

 

TWA FIDDLES AT DA FIRESIDE. Shetland, Air (4/4 time). G Major. Standard. AAB. "Composed on a stormy night in December, 1978, while sitting at the fireside with Linda Keen, a pupil form the USA, who immediately started harmonizing on her fiddle. When Tom was young, fiddle music was transmitted orally sitting at the fireside and watching the fingering and bowings of the older player" (Anderson). Anderson (Ringing Strings), 1983; pg. 98‑99 (includes harmony part).

 

TWAS A YOUTHFUL KNIGHT, WHICH LOVED A GALLANT LADY. AKA and see "Shepherd, Saw Thou Not," "Crimson Velvet." The air appears under this title in Friesche Lust‑Hof (Amsterdam, 1621).

 

TWAS DOWN IN THE MEADOWS. Irish, Air (3/4 time). D Major. Standard tuning. AB. "This is a song on the old and well‑worn theme of a young man returning disguised to his lover, and after an interview in which he proves her faithfulness, reveals himself and all is happy. I know nothing about the song farther than this‑‑that I learned it in my childhood from hearing it sung by members of my family. There were, of course, more verses; but those I give here are all that I can remember. As to the air:‑‑the first part is a version of the first part of 'Limerick's Lamentation' to which Moore has written his song 'When cold the earth': but the second part strays so widely from the corresponding part of Moore's air as to form, in fact, a different melody" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 421, pgs. 232‑233.

 

'TWAS IN THE END OF KING JAMES’S STREET. Irish, Air (4/4 time). D Mixolydian. Standard tuning. One part. "This air has clung to my memory from the dim days of my childhood. I remember four lines of the song; from which it appears that it belongs to Dublin, and commemorates some forgotten Dublin tragedy" (Joyce).

***

‘Twas in the end of King Jame’s Street

Young Square (sic) Brown and Miss King did meet.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 48, pgs. 26‑27.

X:1

T:’Twas in the end of King James’s Street

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D Mix

B/c/|d2 dc B2 GA|B2c2 A3d|d2A2G2 AG|FD D2 C3G|B2cB BA (3AGF|

G2G2A2 DE|FGAF GFEC|D4 D3||

                       

'TWAS ON A SUMMER MORNING (Air Maidin La Samrad). Irish, Air (2/4 time, "tenderly"). F Major. Standard. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 148, pg. 26.

X:1

T:Twas on a Summer Morning

M:2/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 148

Z:AK/Fiddler’s Companion

K:F

c/d/4e/4 f>e d>c|c2 A(3F/A/c/|d2 G>A|F2 z||A/B/|cd/e/ fg|fe ze/f/|

gc/d/ e>d|c2 z c/d/4e/4|f>e {e}d>c|c2 A(3F/A/c/|d2 G>A|F3||

                       

‘TWAS ON A SUMMER EVENING [1]. Irish, Air (6/8 time). E Flat Major. Standard. One part. Stanford notes: “A duplicate of this tune occurs with the title ‘Twas on a Summer’s morning.’”Stanford/Petrie (Complete Collection), 1905; No. 431, pg. 109.

X:1

T:’Twas on a summer evening [1]

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 431

Z:AK/Fiddler’s Companion

K:E_

B/G/ | E2 F G2A | B2A B2G | E2F G2 A | (B3B2) B | g2f g2f | e2d B2d |

e2d B2B | (B3 B2) c/d/ | e2d B2c | _d22c d2e | E2F G2A | B3 Bcd |

e2d efg | B3 G2B | A2G E2E | (E3 E2) ||

 


‘TWAS ON A SUMMER EVENING [2]. Irish, Air (6/8 time). E Flat Major. Standard. One part. Source for notated version: “(The Irish collector) Mr. Joyce, from Joseph Martin” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 432, pg. 109.

X:1

T:’Twas on a summer evening [2]

M:6/8

L:1/8

N:”Allegretto”

S:Stanford/Petrie (1905), No. 432

Z:AK/Fiddler’s Companion

K:E_

B/A/ | G2B E2F | G3 e2B | AGF E2E | E3 E2F | G2B cdB | e2g f2d |

edc BAG | F3 F2A | G2B cdB | e3 f2e | dec BAG | F3 F2A |

G2B E2F | G3 e2B | AGF E2E | (E3 E2) ||

                       

'TWAS ON A WINDY NIGHT. AKA and see "Barney Brallaghan."

                       

'TWAS ON THE FIRST OF MAY BRAVE BOYS. AKA and see "Let Us Leave That As It Is," "Darby O'Leary," "Fagamaoid Sud Mar Ata Se," "Galbally Farmer." Irish, Air (6/8 time). G Major. Standard. ABChorus. Source for notated version: “From Rev. Meaze(sic), Rathmullen” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 388, pg. 98.

X:1

T:’Twas on the first of May, brave boys.

M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 388

Z:AK/Fiddler’s Companion

K:G

D | D2G G2G | G2F D2D | (DB)B Bc d | c3 z2A | B2B B2G |

A2F D2F | G2F D2D | (D3 D2) || D | D2d d2d | d2e =f2d | c2c (cB)A |

B3 z2c | d2d d2c | B2G B2c | d2G G2A | d3 || c2B | A2D D2E | (FE)F D2D |

D2G A2B | c3A2A | d2d dc B | c2B (AB) c | d2G FG A | G3 G2 ||

 

TWAS SO DIFFERENT IN THE MORNING. Irish, Air (4/4 time). G Major. Standard. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 55, pg. 36.

X:1

T:’Twas so Different in the Morning

M:4/4

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

DF | G2 GA B2 A>G | A2 AG E2 DF | G2G2G2 Bd | e4 d2d2 | e2 ed B2 Bd |

cBAG E2 DF | G<G B<d e2 dB | A4 G2 D2 | G2 GA B2 BA | G2 GE D2 DF |

G2GG G2 Bd | e4 d2 dB | e2 ed B2 Bd | cBAG E2 DE | G<G B<d e2 dB | A4 G2 ||

 

TWAS WHEN THE SEA WAS ROARING. AKA and see "Melancholy Nymph" (Handel). English, Air. Published by John Gay, The Beggar's Opera. Raven (English Country Dance Tunes), 1984; pg. 58.

 

TWAS WITHIN A FURLONG OF EDINBURGH TOWN. AKA ‑ "Edinburgh Town." Scottish, Sonata. G Minor (Johnson): A Minor (McLean). Standard. {Air} AABB, {Minuet} CCDD, {Giga} EEFF. The sonata was composed c. 1736‑40 by Charles McLean after Henry Purcell (1659‑95). Johnson (1984) states it was not based on a traditional tune, but on a mock‑Scottish theatre song composed in 1694 by Henry Purcell in London but altered and adapted by McLean. The title is the first line of Purcell's song. Source for notated version: the McFarlane MS, 1740 (appears as "Edinburgh Town") [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 66, pgs. 180‑182.

 

'TWAS WITHIN A MILE OF EDINBORO TOWN. AKA and see "A Mile From Edinburgh Town." Composed by an 18th century musician named James Hook (d. 1827).

 

TWEED SIDE. See "Tweedside."

 

TWEEDDALE CLUB, THE. Scottish (originally), Cape Breton; Strathspey. C Major (Athole, Glen, Gow, Skye): D Major (Kerr). Standard tuning. AB (Kerr): AA'BB' (Athole, Glen, Gow, Skye). Composed by Nathaniel Gow (1763-1831) who published it in the 3rd Book of Niel Gow & Sons in 1792. The river Tweed marks the division between England and Scotland and ‘Tweedale’ is the older name for the district now known as Peeblesshire in the Borders. The reel has become very popular among Cape Breton fiddlers and has been often recorded. Carlin (The Gow Collection), 1986; No. 227. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 18. Gow (3rd Collection of Niel Gow’s Reels), 1792; pgs. 14-15. Kerr (Merry Melodies), vol. 1; Set 28, No. 5, pg. 17. MacDonald (The Skye Collection), 1887; pg. 113. Preston & Son (24 Country Dances for the year 1796). Stewart-Robertson (The Athole Collection), 1884; pg. 69. Breton Books and Music, Theresa, Donald and Marie MacLellan – “The MacLellan Trio.” Capitol/EMI Records, “The Rankin Family” (1989). DAB4, Donald Angus Beaton – “A Musical Legacy” (1985). Round Records CDROUN7024, Joe MacLean – “Old Time Scottish Fiddle Music from Cape Breton Island” (1998). Rounder Records 7020, Alex Francis MacKay – “A Lifelong Home” (1997). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Tweeddale Club, The

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

c|G<E c>G A>G E<c|G<E c>E d<D D>c|1 G<E c>G A>Bc>A|G<cE<c D2C:|2

G<E c>G A>B c<a|g>cf>e d2c||:e/f/|g<c g>e c>g e<g|a<d a>f d>e f<a|1

g<c g>e c>ge>g|(3 faf (3ege d2c:|2 g<c a>f e<c B>G|A<c G>c D2C||

X:2

T:Tweeddale Club, The

M:C
L:1/8

R:Strathspey

C:Nathaniel Gow

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pgs. 14-15  (orig. 1792)

Z:AK/Fiddler’s Companion

K:C

c|G<Ec>G “tr”A>GEc|G<EcE dDDc|1 GEcG A>BcA|GeEc “tr”D2C:|2

GEcG A>Bca|gcfe “tr”d2c||:e/f/|gcg>e cgeg|ada>f “tr”d>ef>a|1 gcge cgeg|

(3faf (3ege “tr”d2c:||2 geaf ecBG|A<cE<c “tr”D2C||

 


TWEEDSIDE. AKA ‑ "Kilrush Air" (Irish). Scottish, English; Air (3/4 time). England, Northumberland. G Major (Geoghegean, Neil): D Major (Livingston): A Major (O’Farrell). Standard tuning. One part (Neil): AABB (Geoghegan, Livingston, O’Farrell). Tweedside refers to the River Tweed which rises at Hart Fell near a steep‑sided valley called the 'Devil's Beeftub' and which, for much of its length, marks the border between England and Scotland. The tune, sometimes erroneously credited to James Oswald (it does appear in his Caledonian Pocket Companion of 1760) was an extremely popular vehicle for airs in ballad operas beginning with Allan Ramsay's The Gentle Shepherd (1725). It was also employed, to name just a few early works, for songs in John Gay’s Polly (1729), Henry Lintot’s The Footman (1732), Henry Ward’s Happy Lovers (1736), Thomas Gataker’s The Jealous Clown, or the Lucky Mistake (1730), and two works by Scriblerus Secundus, the Genuine Grub-Street Opera (1731) and The Welsh Opera, or the Grey Mare the Better Horse (1731). Its popularity continued through the latter part of the 18th century.

***

As an instrumental piece, “Tweedside” also appears in numerous publications in England and Scotland, including—to name some of the earlier appearances—the Scottish McFarlane Collection of 1740, Adam Craig’s Collection of the Choicest Scots Tunes (1730), Francis Peacock’s Fifty Favourite Scotch Airs (1762), and Englishman Daniel Wright’s Compleat Collection of celebrated country Dances (1740). It apparently suffered from the vagaries of fashion, for we read in a 1755 Edinburgh concert program that "Tweedside" was "newly set in the Italian manner (for the sake of variety) by Signor Pasquali" (Emmerson, 1971), and it was included in the McLean Collection of 1772, in drawing‑room style. “Tweedside” can be found as well in many instrument tutorial publications of the period. 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.

***

Like most popular airs, “Tweedside” was imported to America and appears in several late 18th century and early 19th century publications, such as Riley’s Flute Melodies, vol. 2 (1817), and the music manuscript 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 Montreal 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. Aird (Selections), vol. 4, 1796.Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c, 1745-46; pg. 24. McGibbon (Scots Tunes, book III), c. 1762; pg. 68. Neil (The Scots Fiddle), 1991; No. 55, pg. 75. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 158-159 (appears as “Tweed Side”).

X:1

T:Tweed Side

M:3/4

L:1/8

R:Air

N:Set as a “duett”

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

Z:AK/Fiddler’s Companion

K:A

(c>B) | A2E2F2 | (A>G)(AB) (cd) | (c2B2) (cB) | A2E2F2 | A2 (ed)(cB) | {B}A4 (cB) |

A2E2(F>G) | (A>G) (AB) c>d | (c2B2) A>B | (c>d/2e/4) (dc) (BA) |

(B>c/2d/4) E2 “tr”G2 | {F/G/}A4 :: (c>d) | {f}e2 dcBA | e2 (fe) {e}(dc) | (c2B2) (c>d) |

e2 (dc) (BA) | (A>G) (AB) (cd) | e4 (f>g/2a/4) | (fe)(dc)(BA) | (d>c) (fe) (dc) |

(c2B2) (A>B) | (c>d/2e/4) (dc) (BA) | B2 (E>d) (cB) | A4 :|

X:2

T:Tweed Side

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 68  (c. 1762)

Z:AK/Fiddler’s Companion

K:A

 c>B | A2E2F2 | A3Bcd | ({c}”tr”B4) cB | A2E2F2 | A2 (ed)(cB) | A4 cB |

A2E2F2 | (AGA)Bcd | “tr”B4 AB | c2 (dc)(BA) | B2E2”tr”G2 | A4 :: c>d | ({c/d/}e2) (dc)(BA) |

e2 (fe)(dc) | B3 Bcd | e2 (dc)(BA) | e2 (fe)(dc) | e4 ({f/g/}a2) | ({f}e2) (dc)”tr”(BA) |

c2 (dc)(BA) | “tr”B4AB | c2 (dc)(BA) | B2E2”tr”G2 | A4 :: c>B | A2E2F2 | (A/E/D/E/) (A/E/)(B/E/) (c/E/)(d/E/) |

{c}[E4B4] cB | A2E2F2 | A(c/d/) edcB | A4 cB | A2E2F2 | (A/E/F/G/) (A/B/c/d/) (e/c/B/A/) |

“tr”[E4B4] AB | (c>d/2e/4) dcBA | (Fd) “tr”B3A | A4 ::  c>d | ({c/d/}e2) (dc) (BA) | (e/c/B/A/) (a/g/f/e/ d)c |

B3Bcd | ({c/d/}e2) (3dec (3BcA | e>=g fe (dc/)d/ | e4 ({f/g/}a2) | ({f}e2) dcBA | (ef/4=g/4) fedc |

“tr”[E4B4] AB | (c/e/d/c/) (d/e/f/g/) (a/e/d/c/) | (3d/c/B/ (3c/B/A/ “tr”B3A | A4 :|

N:””The two last strains 8 notes higher”

({A/B/}cB | A2E2FG | A/(E/F/G/) (A/E/)(B/E/) (c/E/)(d/E/) | [E4B4] cB | A2E2FG | Afed (3e/d/c/ (3d/c/B/ |

A4(cB) | A/B/c/A/ E/E/”tr”(E/>D/2E/4) F/F/(G/F/4/G/4) | (A/E/)(G/E/) (A/E/)(G/E/) (A/E/)(B/E/) (c/E/)(d/E/) |

[E4B4] AB | (cd/4e/4) dcBA | f>B “tr”B3A | A4 :: c>d | ({c/d/}e2) dcBA | (ef/8e/8d/8e/8) fedc |

“tr”B4cd | ({c/d/}e2) dcBA | e2(fe)(dc/d/) | e3(f/g/ a/f/g/a/) | ({f}e2 dcBA | (cd/4e/4) dcBA | “tr”B4AB |

c/c/”tr”c/>B/c/4) d/d/”tr”(d/>c/d/4) e/e/”tr”(e/>c/e/4) | f>B “tr”B3A | A4 :|

X:3

T:Tweed Side

M:3/4

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

KG

BA | G2D2E2 | G3A Bc | {B}A4 BA | G2D2E2 | G2 cBAB | G4 BA | G2D2E2 |

c2 edcB | {B}A4 GA | BdcB AG | D2 cB AB | G4 :: Bc | ({B/c/}d2) cBAG | d2 edcB |

A4 Bc | d2 cBAG | GFGABc | d4 (ef/g/) | edcB AG | c2 edcB | “tr”A4 GA | BdcB AG |

D2 cB AB | G4 ||

                       

TWEEDSIDE LASSES, THE. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABB'. Composed by Alexander Walker (1819-1905). According to Paul Stewart Cranford (1991) the tune still has currency among Cape Breton fiddlers. Source for notated version: Walker’s Castle Newe collection (1866) [Henderson]. Henderson (Flowers of Scottish Melody), 1935. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 61, pg. 22.

                       

TWELFTH STREET BLUES. Old‑Time, Country Blues. USA, Georgia. C Major ('A' and 'C' parts) & F Major ('B' part). Standard tuning. AABC. Bill Shores was (according to Wayne W. Daniel, Pickin’ on Peachtree, 1990), “a native Alabaman who spent most of his life in the Rome, Georgia, area.” His band consisted of himself on fiddle, Melvin Dupree on guitar and Fred Locklear on mandolin. The tune was recorded in Atlanta on March 15, 1929 and released on OKeh records. Source for notated version: Bill Shores with Dupree's Rome Boys (Ga.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 155.  County 514, Dupree's Rome Boys ‑ "Hell Broke Loose in Georgia" (orig. rec. in 1929).

 

TWELFTH STREET RAG. American, Ragtime. C Major. Standard tuning. AB. The tune was recorded in 1935 for Bluebird Records by the Novelty Four: Marion Brown (guitar), Cliff Vaughn (guitar), Pink Lindsey (fiddle) and Raymond Lindsey (tenor banjo). Source for notated version: Danita Rast Hartz [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 35.

 

TWELFTH VIRGINIA. AKA and see "Old Greene County [1]," "Kramar," "Bitnar," "Bittner," "Old Wilkinsburg March," "Mount Pleasant," "Old Number Two." American, March (time). USA, southwestern Pa. D Major. Standard tuning. ABC. A staple fife march in southwestern Pennsylvania and apparently American in origin, according to Bayard (1981). Source for notated version: From the Wilkinsburg (martial) Band via Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 387F, pg. 370.

 


TWELVE DAYS OF CHRISTMAS, THE. English, Air. England, Northumberland. G Major. Standard tuning. One part. Not the tune we now associate with the song. "This is one of the quaintest of Christmas carols now relegated to the nursery as a forfeit game, where each child in succession has to repeat the gifts of the day, and incurs a forfeit for every error. The accumulative process has always been a favourite game with children, and in early writers from Homer downwards this repetition is often employed. The twelve days, extending Christmas Day to Epiphany, were usually amongst our ancestors the days of the whole year wherein to make merry and fraternize in mirth and good fellowship. The music of the first and last verses only are here given, as each verse not only commemorates the gifts of the preceding days, requiring no slight effort of memory on the part of those who try it. The melody for each gift is the same in all the repetitions, so that the last verse contains the whole of the tune, and the total number of gifts amount to three hundred and sixty five‑‑one for each day in the year; the twelve pear trees being in commemoration of the twelve days of Christmas" (Bruce & Stokoe). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 129‑131.

X:1

T:Twelve Days of Christmas, The

L:1/8

M:2/4

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

N:The first verse (“On the first day of Christmas”) is the first line of music.

N:The second line of music picks up from “The twelth day of Christmas…”

Z:AK/Fiddler’s Companion

K:G

D|G2 GA|(GF) ED|GG BG|d3F|G2 (Bd)|cA (GF)|G3||/

D|G2 GA|(GF) ED|GG BG|d4|c2 Ac|BG z2|cc Ac|Bg z2|

c2Ac|BG z2|c2 Ac|BG z2|c2 Ac|BG z2|c2 Ac|Bg z2|c2 Ac|

d2d2|G2B2|E2 z2|F2 AF|D2 z2|G2B2|E2 z2|F2 AF|D2 EF|

G2 (Bd)|cA (GF)|G3||

 

TWELVE LOCKS, THE. AKA and see "The Twister," "Jackson's Reel [2]," "The Dublin Reel," "The Dublin Lasses [3]," "Athens," "Victor Wild," "The Clogher Reel," "The Union Reel," "The Westmeath Hunt," "The Shuffle Reel," "Miss Daly's Reel."

 

TWELVE PINS. Irish, Reel. G Major. Standard tuning. AABB'. Composed by County Leitrim born pianist, fiddler and composer Charlie Lennon, named for mountains in Ireland. Mr. Lennon holds a PdD. in physics. Taylor (Where’s the Crack?), 1989; pg. 4.

X:1

T:Twelve Pins

M:C

L:1/8

K:G

dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | de fg af ge |

dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | dB cA BG G2 :|

|: f2 fe de fg | ad ~d2 dc AB | c3d cB AB | cA dc AG EG |

f2 fe de fg | ad ~d2 dc AB | c3d cB AB | cA GE FD D2 :||

X:2

T: The Twelve Pins

M:4/4

L:1/8

C:Charlie Lennon

R:reel

Z:Barney

K:G

dB (3BBB dB GB|dA (3AAA dA FA|DE FG AB cA|de fg ab ge|

dB (3BBB dB gB|dA (3AAA fd AF|DE FG AB ce|d2 cd AG G2|

dB (3BBB dB gB|dA (3AAA fd AF|DA FG AB cA|de fg (3agf ge|

dB (3BBB dB gB|dA (3AAA fd AF|DA FG AB cA|d2 cd AG G2||

f3 e de fg|ad fd cA AB|cA (3AAA DF AB|ce dB {d}cA A2|

(3fgf ef de fg|(3agf ga fd AB|(3ccB {d}cB cB Ad|(3ccc dc AG G2|

fd (3ddd ad (3ddd|{g}fd ed cA AB|ce dB cd eg|ab ga fd de|

~f3 g ~a3 g|~f3 d cA AB|cB cB cB AB|(3ccc dB AG G2||

                       

TWENTY EIGHTH OF JANUARY. AKA and see "Miller's Reel [1]," "The Twenty Second of February." Old‑Time, Breakdown. USA, West Virginia. A Dorian (Am). Standard tuning. AB (Silberberg): AABB (most versions). Alan Jabbour detects the title of this tune as a condensation of the names of two other tunes; the well‑known "The Eighth of January" (the date of Andrew Jackson's victory at New Orleans) and "The Twenty Second of February" (the date of Washington’s birthday and the title that "Miller's Reel" appears under in George Knauff's 1839 publication). He believes "The Twenty Eighth of January" to be a minor version of "Miller's Reel," and begs comparison with Indiana fiddler John Summer's "Same Time Today As It Was Yesterday." A few older fiddlers suggested that the 28th of January is the date that Napoleon began his disastrous retreat from Russia, however, historically this is not correct as Napoleon began his retreat from Moscow in October, 1812. The tale seems simply to be a condensation of “Bonaparte’s Retreat” stories with this tune. Modern ‘revival’ fiddlers source the tune from Bluefield, West Virginia, fiddler Franklin George, who learned it from his mentor Jim Farthing. Farthing was a fiddler from Virginia near the North Carolina border who had moved to West Virginia for mining related jobs and who performed carpentry with George’s father. Sources for notated versions: W. Frank George (W.Va.) and Dave Milefsky [Krassen]; Armin Barnett [Phillips]; Stephanie Prausnitz [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 280. Krassen (Appalachian Fiddle), 1973; pg. 36. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 246. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 160. Songer (Portland Collection), 1997; pg. 203. Spandaro (10 Cents a Dance), 1980; pg. 47. Reed Island Rounders - “Wolves in the Wood” (1997. Learned from West Virginia sources). Rounder 0010, "Fuzzy Mountain String Band" (1972).

X:1

T:28th of January

L:1/8

M:C|

K:Ador

“Am”A,A,CC “Dm”DDFD|”Am”A,A,CC “Dm”D4|”Am”ABcB AGEG|

ABcB AGE2|”Am”A,A,CC “Dm”DDFD|”Am”A,A,CC “Dm”D4|”Am”Acda (3gfe dc|

“G”AG “Am”A2 A4:|

|:e a3 abag|egab a2gf|efga bagf|efga bagf|e2a2 abag|egab a2gf| efgf edcA|EG A2A4:|

                       

TWENTY FIFTH K.S.O.B.'s. Scottish, March. Traditional. Olympic 6151, The Scottish Fiddle Festival Orchestra ‑ "Scottish Traditional Fiddle Music" (1978).

                       


TWENTY FIRST OF AUGUST. AKA and see "Charles of Sweden,” “The Cheat,” “Cheat or Swing,” "Come Jolly Bacchus," “The Coquette [3],” "(Glorious) First of August," "Frisky Jenny," "The Gallant Weaver," “In My Cottage Near a Wood,” “Pretty Polly [5],” "The Tenth of June," "The Weaver's March.” The twenty-first of August is the birthday of the English king, William IV, in 1765.

           

TWENTY FIFTH OF MAY, THE.  English, Country Dance Tune (whole time). D Major. Standard tuning. AABBCC. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 148.

X:148

T:Twenty fifth of May

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:D

d/d/d df d/d/d fa|d/d/d ad’ {c’}b2 ag|b>gb>g a>fa>f|(b/g/)f e(d/c/) d2 D2:|

|:d>fd>f e>ge>g|f>af>a g2 fe|b>gb>g a>fa>f|(e/g/)f e(d/c/) d4:|

|:(d/c/d) (A/G/F) d>A F>D|(E/F/E) (F/G/A) G>F E2|(d/c/d) (A/G/F) d>A F>D|(E/F/E) G>B A>F D2:||

           

TWENTY FIFTH’S OWN SCOTTISH BORDERERS’ FAREWELL TO MEERUT, THE. Scottish, March (2/4 time). D Major. Standard tuning. AABBCCDD. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 25.

                       

TWENTY MAY PLAY AS WELL AS ONE. English, Country Dance Tunes (2/4 time). G Major. Standard tuning. AABB. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. The melody was also published by John Johnson in his 200 Favourite Country Dances, vol. 8 (London, 1758). The title may refer to a roulette wheel, or similar gambling device, as illustrated in this excerpt from Merry Andrew, or Humours of a Fair  (1815):

***

A little further we saw one with the Wheel of Fortune before him,

playing with children for oranges. What do you say? Twenty may

play as well as one. Ay, and all may lose I suppose. Go away, sirrah,

what, do you teach children to game! Gaming is a scandalous practice.

The gamester, the liar, the thief, and the pickpocket are all first cousins,

and ought to be turned out of company.

***

Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 129.

X:1

T:Twenty may play as well as one

M:2/4

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

B|GB (de/f/)|gdBG|ceAc|BGAF|GB (de/f/)|gdBG|ceAc|B2 G:|

|:B|(g/f/e/f/) (g/f/e/f/)|gBgB|(g/f/e/f/) (g/f/e/f/)|aAaA|(g/f/e/f/) (g/f/e/f/)|gBdB|(c/A/c) (B/G/F)|G2 G,:||

                       

TWENTY NINTH NOVEMBER, THE.  English, Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. Composed by teacher, musician, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: the T. Armstrong manuscript (c. 1850), in the John Armstrong of Carrick collection [Dixon]. Dixon (Remember Me), 1995; pg. 18.

 

TWENTY NINTH OF MAY, THE. AKA ‑ "All Things Bright and Beautiful," "May Hill, "The Jovial Crew," "The Jovial Beggars," "Restoration of King Charles." English, Morris and Country Dance Tune (2/2 or 4/4 time). D Major (Barnes, Karpeles, Kidson, Raven, Sharp): G Major (Bacon, Callaghan, Mallinson). Standard tuning. AB (Sharp): AAB (Barnes, Karpeles, Kidson, Raven): AABA (Bacon): AABB, x4 (Callaghan, Mallinson). The air was published in Playford's Dancing Master of 1686 and all later editions, sometimes even appearing twice, with different names (such as "The Jovial Beggars"). It also appears in Playford’s Apollo’s Banquet. The title date refers to the day Charles II landed in England in the year 1660 to be returned to the crown. An act of Parliament later that same year decreed the date should be a day of thanksgiving, to “be celebrated in every church and chapel in England and the dominions thereof.” It was observed until 1859. The date, probably by design, happened to be the king’s birthday as well as his return day. Nigel Gatherer communicates that the day is also known as "oak-apple day" after Charles’s celebrated hiding in an oak tree at Boscobel. Previous to his triumphal return to power, Charles had been forced to flee the country. In September, 1651, Oliver Cromwell and his Roundheads defeated the loyalist Scottish army at Worcester and King Charles was obliged to quickly seek safety in other parts of the kingdom. Travelling up the west of England toward Scotland he was advised there was a haven for a rest at Boscobel. There he admitted by sympathetic Catholics who, to further protect him, had him don peasant's attire. Commonwealth troopers were soon on the scent however, and scoured the area for fugitives from the battle, obliging Charles to hide in a bushy oak tree for the whole day. Soon after the incident was idealized by the population, and the thought of an oak hiding the rightful king was transformed into an archetype (or perhaps associated with a more ancient archetype) so that the Royal Oak became a treasured symbol. Loyalists sported sprays of oak in their hats, and eventually 'Oak Apple-day' became a term for restoration day. Gatherer says that to this day it is one of the most popular names for pubs in England. The morris dance version was collected from the village of Headington, Oxfordshire, in England's Cotswolds. The Anglican church has long had a hymn set to the tune. There is a “29th of May” in the music manuscript of John Winder (1789, Wyresdale, Lancashire), although the tune is that of “When the King Enjoys His Own Again.” Bacon (The Morris Ring), 1974; pg. 189. Barnes (English Country Dance Tunes), 1986. Callaghan (Hardcore English), 2007; pg. 52. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 52. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 15. Kidson (Old English Country Dances), 1890; pg. 2. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 4, pg. 9. Raven (English Country Dance Tunes), 1984; pg. 25. Sharp (Country Dance Tunes), 1909/1994; pg. 27.

X:1

T:Twenty-Ninth of May, The

L:1/8

M:2/2

Z:AK/Fiddler’s Companion

S:Sharp – Country Dance Tunes  (1909)

K:D

a2f2g2f2|edcB A2f2|g2B c3 B/c/|d2A2F2 ED|

a2f2 g2f2|edcB A2f2|g2B c3 B/c/|d2A2 F2 ED||

F2 A4 GF|G2B4 B2|cd e2 cd e2|c2 Bc A2 de|

f2 ef d2 ef|g2 fg e2 fg|a2 B2 c3 B/c/|d2A2F2 ED||

                       

TWENTY ONE, THE. AKA - “The 21 Highland.” Irish, Highland. Ireland, County Donegal. A Dorian. Standard tuning. AA’B. A popular highland in County Donegal, where it was composed by fiddler Paddy Dyer of Kilraine in the year 1921. Kilrane is between Ardara and Glenties, Donegal. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 81.

                       

TWENTY ONE YEARS. Old‑Time, Breakdown. USA, Central Pa. In repertory of Buffalo Valley, Pa., region dance fiddler Archie Miller.

                       

TWENTY SECOND OF FEBRUARY. AKA and see "Miller's Reel [1]," "Twenty Eighth of January." American, Reel. A Major. Standard tuning. AB. The melody, whose title commemorates first American President George Washington's birthday, appears under this title in George P. Knauff's publication Virginia Reels, volume II (Baltimore, 1839). 

X:1

T:Twenty Second of February

M:2/4

L:1/8

R:reel

B:George P. Knauff – Virginia Reels, vol. II (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:A

F|(EC/E/) Dz|(BG/B/) Az|B/e/c/E/ d/E/c/E/|(B/c/B/A/) (A/G/F/E/)|EC/E/ Dz|

BG/B/ Az|(f/d/g/e/) (a/f/e/d/)|c/B/A/G/ A||(f/g/)|ag/a/ (fg/a/)|b2 (a/g/f/e/)|g/e/b/e/ g/e/b/e/|

(f/g/a/f/) (ef/g/)|(ag/a/) (f/g/a/f/)|(ef/e/) (d/c/B/A/)|f/d/g/e/ (a/f/e/d/)|c/B/A/G/ A||

                       

TWENTY SECOND OF MARCH. Scottish, Hornpipe. G Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 3; No. 347, pg. 37.

X:1

T:22nd of March

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 347 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D2 | DGGG GBdf | gfga gdBG | FGAB cedB |1 A2A2A2 :|2 G2B2G2 ||

|: D2 | B,DGD BAGF | ECEA cBAG | FDFA dcBA | GFGA B2D2 |

B,DGD BAGF | ECEA cBAG | FGAB cdef | g2b2g2 :|

                       

TWENTY-SOMETHING.  English, Jig. C Major. Standard tuning. AABB. A modern composition by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 135.

 

TWICE TRICKED. AKA and see “Bob Thompson’s Favourite,” “The Corovat Jig [1],” “Custom House,” “The Geese in the Bog [2],” “The Green Meadow [2],” “The Grouse in the Bog,” “The Humours of Limerick [2],” “Jackson’s Coola,” “Jackson’s Walk to Limerick,” “The Mountain Lark [5],” “Wiseman’s Favourite.” Irish, Jig. The tune appears in Samuel Holden’s Collection of Old-Established Irish Slow and Quick Tunes (vol. I-II, 1806-07).  See note for “Jackson’s Walk to Limerick.”

           

TWIG THE MERCER.  English, Country Dance Tune (2/4 time). E Mixolydian. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 140.

X:1

T:Twig the Mercer

M:2/4

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:Emix

[E2B2e2] BG|ADFA|[E2B2e2] BG|Bcef|ecdB|ADFA|[E2B2e2] BG|BEGB:|

|:(e/g/f/e/) (af)|fBdf|(e/g/f/e/) (af)|geaf|(ge)(af)|fBdf|[E2B2e2] BG|BEGB:||

                                   

TWILIGHT. American, Reel. USA, southwestern Pa. C Major. Standard tuning. AAB. Bayard (1981) says the first part of this tune and the first of Ford's "John Brown [1]" show resemblance to each other. Source for notated version: John Taylor (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 96, pg. 57.

                       

TWILIGHT IN PORTROE. AKA and see “Michael Reilly’s,” “Seán Ryan’s Dream.” Irish, Reel. A Major. Standard tuning. AA’BB’. This was Nenagh, Tipperary, fiddler Seán Ryan’s (d. 1985) title for the tune. It was mistakenly listed as “The Dawn” on De Danann’s album “Mist Covered Mountain.” As “Michael Reilly’s” the tune is rendered in the key of ‘G’. Ryan (The Hidden Ireland), 33.

X:1

T:Twilight in Portroe

T:Dawn, The

C:Seán Ryan (-1985)

R:reel

M:C|

K:A

A2ce D2{A}FD|E2GB ~A3c|d2{a}fd {a}edcA|~B2cA {c}BAec|

A2ce d2{a}fd|~E2GB ~A3c|d2{a}fd {a}edcA|(3BcB AB cA~A2||

"variation of first part"

A2ce d2{a}fd|e2gb ~a3c|de{a}fd {a}edcA|BcAB cAFE|

A2ce d2{a}fd|e2gb ~a3c|df~f2 {a}edcA|BcAB cA{c}AB||

c2ec fc{a}ec|~A3c BAFD|~E3F ABcA|defg ae{a}fe|

c2ec fc{a}ec|A2Ac BAFA|~E3F ABcA|dfed cA{c}AB||

"variation of second part"

ce~e2 (3faf ec|A2cA {c}BAFA|E2EF A2Bc|defd ae{a}fe|

ce{a}ec fe{a}ec|~A3c BAFA|E2EF A2Bc|dfed cA~A2||

                                   

TWILIGHT STAR, THE (Realt An Clapsolais). AKA and see "Silver Star Hornpipe," "The Star Hornpipe [4]." Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 183. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1641, pg. 305.

X:1

T:Twilight Star, The [1]

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1641

Z:AK/Fiddler’s Companion

K:G

D|G/B/A/F/ G/D/B,/D/|G/B/e/c/ de/f/|g/f/e/d/ c/B/A/G/|F?G/A/B/ A/D/E/F/|

G/B/A/F/ G/D/B,/D/|G/B/e/c/ de/f/|g/f/g/d/ e/c/A/F/|GG G:|

|:B/c/|dd/B/ gg/d/|ee/c/ aa/g/|ff/e/ d/c/B/A/|B/e/d/^c/ dB/=c/|

dd/B/ gg/d/|ee/c/ aa/g/|f/g/f/e/ d/c/B/A/|GG G:|

                       

TWILIGHT WALTZ. Old‑Time, Waltz. Starday SLP 235, Curly Fox (Ga., 1963).

                       

TWIN BROTHERS [1], THE (Na Dearbratairide Amaon). AKA and see “Boil the Kettle Early [3],” “The Cloontia Reel,” “The Far Field,” "An Garda Nua," "Lady Cork's Reel,” “Michael Dwyer’s Favourite,” “Nancy in the Hobble,” "The New Policeman [3]," "Paddy Bolster's Reel," "The Tinker's Stick.” Irish, Reel. G Major. Standard tuning. AAB. Source for notated version: Tony Smith (County Cavan & Dublin) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 96, pg. 25. O'Neill (Krassen), 1976; pg. 102. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1237, pg. 233.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Twin Brothers, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1237

Z:AK/Fiddler’s Companion

K:G

(3GAB|c2 BG AGEG|DGBG AGEG|BcAB G2 Bc|dBAc BG G2:|

||g2 gf g2 dg|egdg egde|g2 gf g2 ~d2|ea{b}ag ea {b}a2|

fggf g2 dg|egdg egde|g2 ge a2 gf|b2 ba gfed||

 

TWIN BROTHERS [2]. Old‑Time. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's.

                       

TWIN CENTERS OF THE UNIVERSE. American, Waltz. A Major. Standard tuning. AAB. Composed in 1994 by Susie Secco (Montague, MA). The title was obtained while on tour in Seattle, Washington, when someone maintained that Fremont, Washington, was the center of the universe. After Secco took issue with this notion and claimed that Montague, Massachusetts, was in fact the hub, they reached the compromise of the title. Matthiesen (Waltz Book II), 1995; pg. 62.

                       

TWIN KATY'S. AKA and see “Cat that ate the sidecomb,” “Ho!Awake,” "Kate Kelly's Fancy,” “Killoran’s (Reel) [2],” “Nellie Donovan,” “Ravelled Hank of Yarn [1]." Irish, Scottish, American; Reel. G Major ('A' part) & D Mixolydian ('B' part). Standard tuning. AAB (Kerr): AABB (Cole). New York musician, writer and researcher Don Meade finds a version of the tune in O’Neill’s Music of Ireland under the title “Humors of Newcastle,” and cognate with fiddler Johnny Cronin’s “Monsignor’s Blessing,” recorded by Kathleen Collins. Cole (1000 Fiddle Tunes), 1940; pg. 5. Kerr (Merry Melodies), vol. 2; No. 267, pg. 29. Ryan’s Mammoth Collection, 1883; pg. 28.

X:1

T:Twin Katy’s

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

d/c/ | ~B/A/B/c/ d/c/A/c/ | B/G/G/B/ dc/A/ | B/A/B/c/ dc/A/ | dc/A/ B/G/G | ~B/A/B/c/ d/c/A/c/ |

B/G/G/B/ dc/A/ | B/A/B/c/ dc/A/ | dc/A/ B/G/ G :: f/g/a/f/ gf/d/ | d/c/A/c/ dd/e/ | f/g/a/f/ gf/d/ |

d/c/A/c/ B/G/G | f/g/a/f/ gf/d/ | d/c/A/c/ dd/e/ | f/g/a/f/ g/b/a/g/ | f/d/c/A/ B/G/A/c/ :|

                       


TWIN REEL(S). American, Reel. A Major. Standard tuning. AB (Silberberg): AABB (Phillips). Sources for notated versions: Bartow Riley [Phillips]; Gary Lee Moore [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 246. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 160.

                       

TWIN SISTERS [1]. AKA and see “Pigeon on the Gate [2]," “Pigeon on the Gatepost [2].” Irish, Canadian; Reel. Canada; New Brunswick, Prince Edward Island. A Dorian. Standard tuning (fiddle). AABB (Brody): AA’BB’ (Perlman). A floating title which appears with a variety of tunes. Perlman (1996) notes that some communities on Prince Edward Island call “Pride of the Ball” by the title “Twin Sisters.”  Sources for notated versions: Gerry Robichaud [Brody]; Andrew Jones (b. 1980, Roseville, West Prince County, Prince Edward Island; now resides in Pleasant View, PEI) [Perlman]. Brody (Fiddler’s Fakebook), 1983; p. 281. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 84. Rounder CD 7014, Sid Baglole – “Fiddlers of Western Prince Edward Island” (1997). Voyager 310‑S, Gerry Robichaud‑ "Down East Fiddling." Voyager 316‑S, Vivian Williams and Barbara Lamb‑ "Twin Sisters."

 

TWIN SISTERS [2]. Old‑Time, Breakdown. USA, southwestern Va. A Mixolydian. Standard tuning. AABB. Source for notated version: William Marshall (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 246. Rounder 0058, William Marshall‑ "Old Originals, vol. II" (1978).

 

TWIN SISTERS [3]. AKA and see “Jennie Baker,” "The Old Ark's A‑Moving." Old‑Time, Breakdown. USA, southwestern Va. D Major. Standard tuning. AB. A floating title which appears with a variety of tunes. The tune, an American variant of the British Isles hornpipe "The Boys of Bluehill," is peculiar to the Franklin/Floyd County area of southwestern Va., say Tom Carter and Blanton Owen (1976), however, several West Virginia versions are current (e.g. in the repertoire of Melvin Wine). Source for notated version: Peter Boveng [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 160. Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues: Traditional Tunes from Braxton County, W.Va. (Carpenter learned his version from Wallace Pritchard). Rounder 0057, Sherman Wimmer (Franklin County, Va.) ‑ "Old Originals, vol. I" (1978). [may belong with another version]

X:1

T:Twin Sisters [3]

M:C

L:1/8

R:Reel

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

(A2|:”D”A)FDF A3(A|”G”B)ABd e2 de|”D”fedf eefe|dfed “G”B2 dB|

“D”AFDF A3A|”G”BABd e2 de|fedf “A”eefe|1 “D”d2 dd d3B:|2 “D”d2 dd d3f||

|:”D”afaf a2 aa|feff a2 aa|”D”ffaf “A”eefe|”D”dfed “G”B3f|”D”afdf a2 aa|

feff a2 aa|”D”ffaf “A”eefe|1 “D”d2 dd d3f:|2 “D”d2 dd d4||

 

TWIN SISTERS [4]. AKA and see "The Keel Row," "Smiling Polly." English, Country Dance Tune (2/2 time). G Major. Standard tuning (fiddle). AB (Karpeles, Raven): AABB (Ford). Published before 1730, according to Raven. The tune is generally known as the Northumbrian favourite “The Keel Row.” Ford prints a (presumably American) square dance to the tune that goes:

***

First two ladies join hands, accompanied by the first two gentlemen,

and chasse down center and back to place. First two gents join hands,

accompanied by the first two ladies on the outside, and chasse down

center and back to place. First couple chasse down center and back,

then chasse down center, cast off right and left, and return to place.

***

Ford (Traditional Music in America), 1940; pg. 67. Karpeles &Schofield (A Selection of 100 English Folk Dance Airs), 1951; p. 9. Raven (English Country Dance Tunes), 1984; p. 23.

 

TWIN SISTERS [5]. AKA ‑ "Farewell to Whiskey [1]." New England, Reel. A Major. Standard tuning (fiddle). AABB. This tune, better known under the alternate title, was linked with a dance of the the 'Twin Sister' name in New England, and hence perhaps the multiplicity of titles. "It is possible that this dance comes from 'The Twins', and English country dance found in Playford's Danceing Master, published in 1707. The melody is probably derived fron Niel Gow's old Irish [! its Scots. ed.] tune, 'Farewell to Whiskey.' The dance probably takes its name from the method of execution (a double bladed axe?) {Linscott, 1939}." Source for notated version: Harry Brigham (Marlboro, Mass.) [Linscott]. Linscott (Folk Songs of Old New England), 1939; p. 115.

                       


TWINBROTHER'S REEL. See "Twin Brothers" [1].

                       

TWINE WEEL THE PLAIDEN. AKA and see “Lassie Lost her Silken Snood.” Scottish, Air (4/4 time). D Major. Standard tuning (fiddle). AB. Gatherer (Gatherer’s Musical Museum), 1987; pg. 26. Thomson (Scots Musical Museum), vol. 1, 1787; No. 31, p. 32. Wood, Songs of Scotland (1848‑49).

X:1
T:Twine weel the Plaiden
B:Scots Musical Museum, vol I, 1787, no 31
N:Roud 8522
N:The grace notes in the final bar should be attached *after* the E rather than *before* the D, but current abc doesn't seem to allow this.
L:1/8

Z:Malcolm Douglas (Mudcat 01.25.05)
Q:1/4=100
M:4/4
K:D
(D/E/)|F A {G}F (E/D/) E(F/A/) B3/2 B/|A3/2 B/ {B}A (G/F/) {F}A2 D D/E/|
w:O!_ I hae lost my_ sil-ken_ snood, That tied my hair sae_ yel-low, I-'ve
F (F/G/) {G}F E/ D/ E (F/A/) B3/2 B/|A3/2 B/ (A/B/d/F/) {F}A2 D (A/B/4c/4)|
w:gi'en my_ heart tae the lad I_ loo'ed; he was a gal_lant_ fel-low. And__
d3/2 e/ d (c/B/) {d}c(B/A/) A (B/c/)|d3/2 e/ {e}d (c/B/) {B}e2 A (B/c/)|
w:twine it weel, my_ bon-ny_ dow, And_ twine it weel, the_ plai-den; The_
d (d/e/) {e}d (c/B/) {c}BA Hf (e/d/)|d3/2B/ (B/A/) (d/F/) TE2 {DE}D2|]
w:las-sie_ lost her_ silk-en snood, In_ pu-ing of_ the_ brack-en.

                                               

TWINKLE LITTLE STAR [1]. AKA – “Little Star.” Texas Style, Old Time; Breakdown. G Major. Standard tuning (fiddle). One part (Beisswenger/McCann): AB (Phillips). A popular tune with older fiddlers throughout the South, apparently derived from a schottische, perhaps from the banjo repertoire. Vivian Williams reports that she found the melody in a dusty manuscript with hand-written banjo arrangements of c. 1890-1905 popular dance tunes, marches, songs, etc.; included is a piece called "Twinkle Twinkle Little Stars Schottische," in the key of A, complete with introduction (the melody in the manuscript does not jump to a higher octave in the second part). There was a popular song called “Twinkle Twinkle Little Star or Meet Me at the Bars” composed in 1879 by Fred MacEvoy. John Hartford remembers lyrics that went, "Twinkle twinkle little star or meet me out behind the bars;” bars being a reference to an old rail fence. However, many of the “Twinkle Little Star” versions in traditional fiddle repertoire differ from MacEvoy’s song air (although some are close, see “Twinkle Little Star [3]”). “Twinkle Little Star” was recorded several times during the 78 RPM era, including a “Little Star” by Willie Narmour & S.W. Smith (1928) and Tennessee’s Fiddlin’ Arthur Smith. Other early recordings were by Smith’s Garage Fiddle Band (1928), North Carolina’s Charlie Poole & Roy Harvey (1930), and Texas fiddler Bob Wills (1938). Sometimes these recordings retained the original feel of the schottische, as does the Texas group Smith’s Garage Band, other times the tune has been reworked and can seem fairly distanced from the original, as does north Georgia fiddler Earl Johnson’s version, recorded in 1927. Another 78 RPM has the tune under title “Mormon Schottische.” Source for notated version: Jim Herd (1919-2002, originally from Eastview, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; p. 59. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 156. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Document (DOCD-8038), Smith’s Garage Band – “Texas Fiddle Bands” (reissue). Rounder 0437, Jim Herd  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties” (2000. Various artists). Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993).

X:1

T:Twinkle Little Star

M:2/4

L:1/16

Q:122

S:from Cyril Stinnett

R:Reel

A:Missouri

Z:B. Shull, trans.; R.P. LaVaque, ABCs

K:G

B,(A,|G,A,)B,C (DF)G(A|B)GcG B2AG|(EF)GA c(GE)C|[D4D4] [D2D2] B,(A,|!

G,)(A,B,)C DG2(A|B)GcG B2 [G2B2]|[A3A3](A cA)B(c|dB)AF (EF)DB,|!

(G,A,)B,C (DF)G(A|B)GcG B2AG|(EF)GA c(GE)C|[D4D4] [D2D2] B,A,|!

(G,(A,B,)C DG2(A|B)GcG B2BG|(AB)AG (FD)EF|[G6B6]:|!

|:B(c|dB)de (dB)G(B|dB)eB d4|d'4 d'3(e'|d'2) c'2 c'3(A|!

cA)cd (cA)F(A|cA)dA c4|d'4 d'3(e'|d'2 b2 b3(A|!

(dB)de (dB)G(B|dB)eB (dB)A(G|EF)GA c(GE)C|[D4D4] [D2D2]B,A,|!

G,(A,B,)C DG2(A|B)GcG B2BG|(AB)AG (FD)EF|[G3B3][GB]:|!

 

TWINKLE LITTLE STAR [2]. AKA and see "Little Star." Old-Time, Bluegrass, Texas Style; Breakdown. G Major. Standard tuning (fiddle). AA'BB'. Source for notated version: Howard Forrester [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 157.

X:1

T:Twinkle, Twinkle Little Star

L:1/8

M:2/4

S:Howdy Forrester, learned from Arthur Smith

N:Transcribed by John Hartford,  who notes: “Arthur may have gotten this from

N:the Stringer boys in Hickman County. Howdy had only heard Grady Stringer play.”

K:G

D>C||B,/C/D/G/ B/c/B/A/|G2 G,2|(g2 g/)a/b/g/|d3 G,|D>C B,/C/D/G/|

B/c/B/A/ G2|F/(A/A) A/(c/c)|c/B/c/e/ (d2|d)G, D>C|B,/C/D/G/ B/c/B/A/|

G2 G,2|g2 g/a/b/g/|d3 (3d/_d/c/|B/d/g/a/ b/c’/b/c’/ bg|ad e/d/f|1 g2:|2 g3||

Bc||d>^c d>^d|e/c/A/G/ FD|f>g f/e/d/B|1 GB/A/ F2|G:|2 GA/F/ G|| 

 

TWINKLE LITTLE STAR [3]. AKA‑ "Twinkle, Twinkle, Little Star" and "Twinkle Star, Twinkle, Twinkle." Old‑Time, Bluegrass, Texas Style; Breakdown. USA; Texas, Missouri. G Major. Standard tuning. AB (Brody, Christeson): AABB (Phillips). The tune is "a Galax (Va.) area standard" (K. Blech). Ford also prints lyrics for the tune on page 401. This version of the melody is similar, in general, to the original song “Twinkle, Twinkle Little Stars or Meet Me at the Bars” (1879) by Fred MacEvoy. Sources for notated versions: Kenny Baker [Brody]: Roy Eddy (Slater, Missouri) [Christeson]. Brody (Fiddler’s Fakebook), 1983; pg. 281. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pgs. 108‑112. Ford (Traditional Music in America), 1940; pg. 51. Phillips (Fiddlecase Tunebook), 1989; pg. 44‑45. American Heritage 515, Loyd Wanzer‑ "You Be the Judge." CMH 6237, Paul Warren‑ "America's Greatest Breakdown Fiddle Player." Caney Mountain Records CEP 211 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. County 736, Kenny Baker‑ "Kenny Baker Country." Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin." Rebel 1566, Curly Ray Cline‑ "Clinch Mountain Boy Jailed." Rounder 0075, Richard Greene‑ "Duets." CMH 9019, Benny Martin‑ "Big Daddy of the Fiddle and Bow." Voyager 309, Benny and Jerry Thomasson‑ "A Jam Session."

                       

TWINS, THE. Irish. Arty McGlynn – “Music at Matt Molloy’s.”

                       

TWIST YE TWINE YE EVEN SO. Scottish, Air. F# Minor (Skinner/Violinist): E Minor (Skinner/Harp). Standard tuning. AB. "A spinning wheel song" (Skinner). The title is from a Sir Walter Scott piece in his Miscellaneous Poems.

***

Twist ye, twine ye; even so

Mingle shades of joy and woe—

Hoe and fear, and peace and strife,

In the thread of human life.

***

Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 21. Skinner (Harp and Claymore), 1904; pg. 174.

X:1

T:Twist Ye Twine Ye Even So

M:C

L:1/8

R:Air

N:”A Spinning Wheel Song”

N:”Slowly and artlessly”

S:Skinner – Scottish Violinist
Z:AK/Fiddler’s Companion

K:F^Minor

CFFA Gc c2 | BcAF FG ^EC | CFFA Gc c2 | Bc AB G{B}A F2 ||

ef de cd Bc | AB GA FG ^Ec | CFAF (Gd).c.B | c{e}d BA G{B}A F2 ||

                       

TWISTED BRIDGE, THE. See “(An) Drochaid Luideach.” Scottish, Reel.

                       

TWISTER, THE. AKA and see "Jackson's Reel [2]," "The Dublin Reel," "The Dublin Lasses [3]," "The Shuffle Reel," "Miss Daly's Reel," "Athens," "Victor Wild," "The Clogher," "The Union Reel," "The Westmeath Hunt," "The Twelve Locks." Irish, Reel. The title is from Hardebeck’s 1921 collection (CGH II, 1).

                       


TWISTING OF THE ROPE [1], THE (Casadh an tSúgáin). AKA – “Twisting the Hayrope.” AKA and see "The White Blanket." Irish, Air (4/4 time, "moderate time, spirited"). G Major (Joyce): G Mixolydian (Boys of the Lough). Standard tuning. One part (Boys of the Lough): AABB (Joyce). A tune in the "Ballyhee" family of tunes (see Cowdery, 1990, pg 97). Joyce (1909) notes that his version "is different from the splendid air, 'The Twisting of the Rope,' to which Moore has written his song 'How Dear To Me the Hour.'" A hayrope is made from twisting strands of hay into a rope and is made to be draped over a stack of hay, weighted at both ends with stones to hold the stack (called a reek) down. The song, based on a folktale, relates an incident with a suitor and either his less-than-enchanted lady or her parents, who, to get rid of him, cunningly enlist his help in twisting a hay rope, which as it grows longer compels him to retreat through the door, which they promptly slam. Modern modern literary versions are very well known in Ireland, especially that by Yeats, who published a short-story called “The Twisting of the Rope” which often appears in anthologies. Ben Forker (Modern Irish Short Stories, p. 75) gives that it provided the basis for the first modern Gaelic play, Douglas Hyde's Casadh an tSugain, performed in Dublin in 1901. Caoimhin Mac Aoidh (1994) relates a similar story-variant from Mickey and John Doherty of Donegal. In that version a wandering fiddler insists on accommodations from two sisters living alone. The younger sister tricks him in the manner of the first tale, and the elder sister slams the door when he has retreated outside, severing the rope. The Doherty’s version ends with the fiddler seeing the humor in the situation and he composes a reel which he calls “The Girl That Was Too Smart for the Fiddler” (the tune the Dohertys usually played with this story, however, was “The Boyne Hunt [1],” called “The Perthshire Hunt” in Scotland). The melody should be compared with "An Suisin Ban" (The White Blanket) as noted by the Irish collector Edward Bunting, who collected the tune in 1792 from Irish harper Rose Mooney. In fact, “The Twisting of the Rope” appears in Bunting’s Ancient Irish Music (1796) in a form not too different from that sung today. Junior Crehan’s neice maintains the late County Clare fiddler was the first to play “Casadh an tSugain” and the set dance "An Suisin Ban" together, and made an influential recording for RTE radio of the pair during a session at Mrs. Crotty’s house in Kilrush. Jack Campin adds that Scottish poet James Hogg called for “The Twisting of the Rope” as the tune to one of his songs, “How dear to me the hour,” implying that the melody was known in Scotland in the early 19th century.

***

The Irish words go:

***

A Rí na bhfeart cad do chas ins a' dúthaigh seo mé?

'S gur mó cailín deas a gheobhainn im' dhúthaigín beag féin;

Gur casadh mé isteach mar a raibh searc agus grá geal mo chléibh,

'S chuir an tseanbhean amach mé ag casadh an tsúgáinín féir.

***

cúrfa (chorus):

Má bhíonn tú liúm [liom], a stóirín mo chroí,

Má bhíonn tú liúm [liom], bí liúm ós comhair an tsaoil;

Má bhíonn tú liúm [liom], bí liúm gach orlach de d'chroí,

Sé mo lom go fann nach liúm Dé Domhnaigh  thu mar mhnaoi.

[Sé mo lom nach fán leat thu Dé Domhnaigh mar mnaoi]

***

Tá mo cheannsa liath le bliain is ní le críonnacht é,

Ní bheathaíd na bréithre na bráithre pé sa domhan scéal é;

Is táim i d' dhiaidh le bliain is gan fáil agam ort féin,

'S gur geall le fia mé' 'r sliabh go mbeadh gáir con 'na dhiaidh.

***

Do threabfainn, d'fhuirsinn, chuirfinn síol ins a' chré,

'S do dhéanfainn obair shocair, álainn, mhín, réidh,

Do chuirfinn crú fén each is mire shiúil riamh ar féar,

Is ná héalódh bean le fear ná déanfadh san féin.

***

See also the note for "An Suisin Buidhe." Source for notated version: noted in 1850 from the playing of piper Paddy Walsh (County Mayo) [Joyce]. Boys of the Lough, 1977; pg. 5. Joyce (Old Irish Folk Music and Song), 1909; No. 825, pg. 400. Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983). Folktracks Cassette, John and Mickey Doherty - "The Fiddler and the Fairy.” HOS 11060, Joanie Madden – “Song of the Irish Whistle.” Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Ossian: OSS 22, Joe Heaney – “Irish Traditional Songs in Gaelic and English” (1983). OSS CD 22, Joe Heaney – “Joe Heaney sings Irish traditional songs in Gaelic and English” (1989). Shanachie: 34019, “The Best of Joe Heaney” (1997). Topic Records 12T91, Joe Heaney – “Irish Traditional Songs in Gaelic and English” (1963).

X:1

T:Twisting of the Rope

T:Casadh an tSúgáin

L:1/8

M:C

S:Joyce - Old Irish Folk Music and Songs (825)

Z:AK/Fiddler’s Companion

N:"Moderate time: spirited"

K:G

Bd|cBAG EDEG|AGAB c2 Bd|cBAG E2 DE|A2A2A2 GB|cBAG E2 DE|G2G2G2:|

|:Bd|e2 ef gf~ed|edcB c2 Bd|cBAG E2 D/E/F/G/|A2 Ac Bded|cBAG E2 DE|G2G2G2:|

 

TWISTING OF THE ROPE [2], THE (Casadh an tSúgáin). Irish, Air (cut time, “Slow”). G Major. Standard tuning. One part. A different tune than “Twisting of the Rope [1]," although some melodic material from the ‘B’ part of version [1] appears in version [2]. Source for notated version: a manuscript collection dated 1861, compiled by Church of Ireland cleric and uilleann piper James Goodman (1828-1896) who collected largely in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 2001; No. 28, pg. 14.

 

TWISTING OF THE ROPE [3], THE (Casad an tSugan). AKA and see "How Dear to Me the Hour." Irish, Air (3/4 time). G Major. Standard tuning. One part. The alternate title comes from a Thomas Moore song, set to this air. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 115, pg. 21.

X:1

T:Twisting of the Rope, The [2]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 115

Z:AK/Fiddler’s Companion

K:G

D|GD Gz/A/|B/c/B/A/|G2 B/A/G A>E|GD Gz/A/ B/c/B/A/|B2 de e>d|

g/f/e/d/ e/d/c/B/ d/c/B/A/|G2 B/A/G AE|GD GA B/e/d/c/|B2 A2 Gz/d/|

g/f/g/d/ e/^d/e/B/ d/c/B/A/|G2 B/A/G A>E|GD G>A B/e/d/c/|B4 {B}A>G|G4 z||

                       

TWITCHER, THE. AKA and see "Cupid's Trepan," "Up the Green Forest," "Bonny, bonny bird," "Brave Boys," "A Damsel I'm told," "I have left the world as the world found me."

                       

TWO AND SIXPENNY GIRL, THE (Cailín na Leathchorónach). AKA and see "The Aherlow Jig," "Connie O'Connell's (Jig) [1]," “Half-Crown Girl,” "The Money I Want," "Quinn's Jig," "Ryan's Travels," "The Spirits of Whisky [2]," "The Three Little Drummers [1]." Irish, Jig. G Major. Standard tuning. AABB. Joyce prints the tune as “Aherlow Jig.” According to Breathnach (1985), it is called “Connie O’Connell’s (Jig) [1],” “The Spirits of Whiskey [2]” and “Ryan’s Travels” in County Limerick, “The Money I Want” in Tipperary, and “Quinn’s Jig” in County Kerry. The title is (sexually) suggestive, Breathnach (1996) wrote later. Two shillings sixpence was a half-crown, in pre-decimal British coinage, notes Don Meade. Cole (1000 Fiddle Tunes), 1940; pg. 63. Laufman (OK, Lets Try a Contra); No. or pg. 13. Ryan’s Mammoth Collection, 1883; pg. 94. Sweet (Fifer’s Delight), 1965/1981; pg. 30. Green Linnet Records SIF 1030, Joe Ryan & Eddie Clark ‑ "Crossroads."

X:1

T:Two and Sixpenny Girl, The [1]

M:6/8

L:1/8

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | G(BB) “tr”B2d | cAA A2c | BGG GFG | ABG AFD | G(BB) “tr”B2d | cAA A2c |

BGB cAF | G(GG) G2 :: c | Bdd (d2.B) | gfe dcB | Bcd dcB | ABG AFD | Bdd (d2.B) |

gfe dcB | Bcd DEF | G(GG) G2 :|

 

TWO AND SIXPENNY GIRL [2], THE.  Irish, Jig. G Major. Standard tuning. AA’BB’CC’. New York researcher, musician and writer Don Meade says: “Breathnach applied this title to a tune recorded by Joe Ryan dna Eddie Clarke, which, though similar in the first few bars, was actually a composition of West Cork whistle player Micheál O’Dwyer.” Source for notated version: fiddler Joe Ryan & harmonica player Eddie Clarke (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 15, pgs. 8‑9.

                                   

TWO AND TWO. English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB. The air was published in London by Charles and Samuel Thompson in both their Collection of Twenty-Four Country Dances for 1763 and Compleat Collection of 200 Fashionable Country Dances (vol. II, pg. 100, with tunes “Perform’d at Court, Bath, Tunbridge, & all Publick Assemblies”). Kidson (Old English Country Dances), 1890; pg. 8. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 141. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.”

X:1

T:Two and Two

M:6/8

L:1/8

R:Jig

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:Gmin

GBd dcd|Gce ede|dBG cA^F|DGB A3|GBd dcd|

Gce ede|dBG cA^F|GDB, G,2::Bd=f f2e|Ace e2d|

cBA GAB|A^FD D3|Bd=f f2e|Ace e2d|cBA ^FGA|GDB, G,3:|

X:2

T:Two and Two

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

GBd dcd|Gce ede|dBG cA^F|DGB A3|GBd dcd|Gce ede|dBG cA^F|GDB, G,3:|
|:Bd=f f2 e|Ace e2d|cBA GAB|A^FD D3|Bd=f f2e|Ace e2d|cBA ^FGA|GDB, G,3:||

                       

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

                       

TWO BIRDS IN A TREE (Dhá Éan ar an gCrann). AKA – “Two Birds in a Bush.” Irish, Reel. A Dorian. Standard tuning. AABB. Breathnach (1976) says the tune is related to “The Bird in the Tree/Bush” and that because of the resemblance fiddler Padraig O’Keeffe gave it the slightly altered title. Source for notated version: fiddler Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 232, pg. 121. Treoir.

X: 1

T: Two Birds on a Tree

S: "Treoir"

M: 4/4

L: 1/8

R: hornpipe

Z: Transcribed by Bill Black

K: G

DE/G/ | A2 BA EAAA | Bc/d/ AB G2 AG | GAAA BAGA | (3BAB de gedB |

A2 BA EAAA | Bc/d/ AB G2 AG | GAAA BAGA | BA/B/ dB A2 :|

dc | BA/G/ Bd g2 ga | ba/g/ ag/f/ gedc | BA/G/ Bd g2 ga | ba/g/ af/g/ gfga |

bagb agef | gedB AE ED/E/ | GABd dBeb | dBAB G2 :|

X:2
T:Two Birds On a Tree
S:Padraig O'Keeffe MS, via 'Music from Sliabh Luachra'
R:Hornpipe
Z:Nigel Gatherer
L:1/8
M:4/4
K:Amix
(3EFG|A2 BA eAAA|(3Bcd AB G2 AG|EA (3AAA BAGA|(3BAB de gedB|
A2 (3ABA eAAA|(3Bcd AB G2 AG|EA (3AAA BAGA|(3BAB dB A2:|
dc|(3BAG Bd g2 ga|(3bag (3agf gedc|(3BAG Bd g2 ga|(3bag (3agf g2 fa|
bagb agef|gedB AE (3EDE|GABd dBeB|dBAB G2:|]

                       

TWO BITS. Old‑Time, Breakdown. USA; Iowa, Nebraska. D Major. Standard tuning. AABB. Source of notated version: Oscar Doty (Missouri Valley, Iowa) via Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers’ Repertory, Vol. 1), 1973; pg. 62.

 

TWO BREWERS, THE. English, Slip Jig. England, Northumberland. D Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 3; No. 421.

 


TWO CHILDREN IN THE WOOD, THE. AKA and see "Now Ponder Well, Ye Parents Dear." English, Ballad Air (3/4 time). D Major. Standard. One part. The tune was sometimes used in broadsides for the ballad "Chevy Chase," but it appears under the above title (or the alternate) in several ballad operas of the early 18th century. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 92.

X:1

T:Two Children in the Wood

T:Now Ponder Well

L:1/8

M:3/4

S:Broadside ballad

B:Chappell - Popular Music of the Olden Times

Z:AK/Fiddler's Companion

K:D

E|FE D3E|FE D3F|GB A3F|E4 zF|GB A3F|AF D3A|Bd F3E|D6||

 

TWO DOLLARS IN MY POCKET. A Midwest dance tune title.

                       

TWO ETTIES, THE. Irish, Reel. C Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh in honor of sisters Betty and Goretti Molloy, a fiddler and keyboard player, and good friends of Keegan’s. Keegan (The Keegan Tunes), 2002; pg. 47.

                       

TWO FLAT TIRES. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABCC’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 95, pg. 28.

 

TWO FOR JOY.  Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 29.

 

TWO FORTY. American, Reel. G Major. Standard tuning. AABB. Similar to “Tommy Peoples.” Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pg. 44.

X:1

T:Two Forty

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3DEF|G2 (BG) cGBG|cGBG ADEF|G2 (BG) cGBG|AdcA G2:|

|:(3def|g2 (3agf gdBd|g2 (3agf gaba|g2 (3agf gdBd|egfa g2:|

 

TWO FRIENDS QUADRILLE. Old-Time, Quadrille (cut time). D Major. Standard tuning. AA'BB'CCDDCCDD. Source for notated version: Ron Kane with the Deseret String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 158. 

 

TWO FURLONGS FROM EDINBURGH TOWN. Scottish, Air (4/4 time). G Minor. Standard tuning. AB. The tune appears in the Leyden Manuscript of c. 1690's. Gatherer (Gatherer’s Musical Museum), 1987; pg. 31. Wood, Songs of Scotland (1848‑49).

 

TWO HANDED REEL. English?, Reel. G Major. Standard tuning. AB. Harding’s All-Round Collection, 1905; No. 21, pg. 7.

X:1

T:Two Handed Reel

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection (1905), No. 21

Z:AK/Fiddler’s Companion

K:G

GG/A/ BB/c/|d/g/f/g/ d2|e/g/f/g/ d/g/f/g/|c/B/A/G/ AD|GG/A/ BB/c/|

d/g/f/g/ a/g/f/e/|dg b/a/g/f/|gbgz||dd/c/ BB|ee/d/ c2|

cc/B/ AA|d/e/d/c/ B2|BB/A/ Gg|cc/B/ Aa|bg/b/ af/a/|(g/e/).d/.^c/ (d/=c/).B/.A/||

 

TWO IN A GIG. AKA and see "A Fig For a Kiss [1]," "The Old Dutch Churn," "The Night of the Fun [2]," "The Humours of Bottle Hill," "Cailín Lasa Sal Roc," "Dublin Streets," "The Dublin Boys," "Gáire na mBan," "Gliogar an Mheadair" (Gurgling of the Churn). A gig is a ship's boat.

                                   

TWO-IN-ONE REEL. Canadian, Reel. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991. Learned from repertoire of Boston/Nova Scotia fiddler Tom Doucet).

           

TWO LEGGED DROPSY, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 126.

X:1

T:Two Legged Dropsy, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G,B,DG|BdBG|AcAF|DGDB,|G,B,DG|BdBG|AcAF|G2 G,2:|
|:d2 bd|BdBG|c2 ac|AcAF|d2 bd|BdBG|AcAF|G2 G,2:||

                       

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

                       

TWO LITTLE INDIANS AND ONE OLD SQUAW. Old-Time, Breakdown. USA, Kentucky. From the playing of fiddler Hiram Stamper. Bruce Greene – “Five Miles of Ellum Wood” (learned from Hiram Stamper).

                                               

TWO MILE BRIDGE. Irish, Double Jig. E Minor. Standard tuning. AABBCC. The River Lee flows out of the Gearagh to the Eastern side of Macroom where it meets with the river Sullane coming from Coolea at a place called The Two Mile Bridge. The rivers feed a two-lake reservoir system in modern times that supplies water to Cork city and county. There is also a town of Two Mile Bridge in Kilmurrary, Dungarvan, County Waterford, and it may be that the title references it, for piper O’Farrell (in whose publication the tune appears earliest) had many County Waterford place names sprinkled throughout his volumes, and obviously had a close connections with the county. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 190, pg. 44. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 35, pg. 9. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 145. O'Neill (O’Neill’s Irish Music), 1915; No. 187, pg. 102. Plain Brown Tune Book, 1997; pg. 40. Buddy MacMaster – “The Judique Flyer.”

X:1

T:Two Mile Bridge

M:6/8

L:1/8

R:Jig

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Emin

G2E EFE | G2A BAG | F2D DED | FDF AGF | G2E EFE | GFG Bef |

gfe afd | efe e3 :: g2e efe | g2a bag | f2d ded | fdf agf | gfg aga | bag faf |

gfe def | efe e3 :: gfe fed | ed^c dAG | F2D DED | FDF AGF |

GFG AGA | BcB efa | gfe def | efe e3 :|

                                   

TWO O'CLOCK. AKA – “Its Two O’Clock.” Old-Time, Bluegrass; Breakdown. D Major ('A' part) & A Major ('B' part). Standard tuning. AA'BA. Source for notated version: Tommy Jackson [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 247.

See also listings at:

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

(((♫))) Charlie Acuff (b. 1919)

“Two O’Clock”

                                   

TWO OR THREE STRINGS TO MY BOW.  English, Jig. D Major. Standard tuning. AABB. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 24.

 

TWO OUT OF THREE.  Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 31.

 

TWO PAULS, THE.  English, Country Dance Tune (3/2 time). E Minor. Standard tuning. AABB. Composed in 1997 by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 136.

 

TWO RIVERS. American, Waltz. B Minor. Standard tuning. AA'BB'. Composed by Larry Unger (Lincoln, Mass.) in 1986, while at a campsite in Two Rivers, Wisconsin: "I always think of the waves pounding on the shore when I hear it." Matthiesen (Waltz Book II), 1995; pg. 63. Unger (The Curvy Road to Corinth). Uncle Gizmo - "Uncle Gizmo."

 


TWO SISTERS [1], THE. AKA and see "Beaux of Oak Hill [1],” “Boys of Bluehill." American, Reel. D Major. Standard tuning. AABB. The melody appears under this title in George P. Knauff's Virginia Reels, volume I (1839), though in later mid-nineteenth century prints it appears as "Beaux of Oak Hill."

X:1

T:Two Sisters, The [1]

M:2/4

L:1/8

R:Reel

B:George P. Knauff – Virginia Reels

N:Published in Baltimore by Geo. Willig n.d. (1825-1829?)

Z:AK/Fiddler’s Companion

K:D

(d/B/)|(A/F/D/F/) (A/F/A/d/)|{c}(B/A/B/d/) ed/e/|(fa/f/) (ef/e/)|(d/e/f/d/) (Bd/B/)|

A/F/D/F/ A/F/G/A/|{c}(B/A/B/d/) (ed/e/)|(fa/f/) (ed/e/)|f[Fd][Fd]:|
|:d/e/|{g}(f/e/f/g/) (ag/f/)|(e/f/g/)a/ (ba/g/)|fa/f/ ef/e/|d/e/f/d/ Bd/B/|

(A/F/D/F/) (A/F/G/A/)|{c}(B/A/B/d/) ed/e/|(fa/f/) (ed/e/)|f{Fd][Fd]:||

 

TWO SISTERS [2]. Irish, Jig. G Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) for two of his grandaughters, Sheila and Eileen Steskey. Reavy (The Collected Compositions of Ed Reavy), No. 83, pg. 91.

X: 1

T:Two Sisters  [2]

R:Jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:For two of Ed's grandaughters,

N:Sheila and Eileen Steskey.

K:G

D/2F/2 | G2 B F2 A | GBd gdB | G2 B F2 A | cAG FDB, | d2 B F2 A |

GBd gdB | cec BdB | AFA dBA :|| Bd^c d2 e | dBd gdc | Bd^c d2 B |

AFA cBA | Bd^c d2 e | dBd gdB | cec BdB | AFA cBA :||

 

TWO STEP A AMBROSE. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. AABB. An instrumental composed by accordionist Ambrose Thibodeaux, L'Anse Chaoui, Louisiana. Source for notated version: Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 327. La Louisiane Records LL-112, Ambrose Thibodeaux. 

 

TWO-STEP A TANTE ADELE. See "Les Flammes d'Enfer," "Petite ou Grosse."

 

TWO-STEP d'ARNAUDVILLE (Arnaudville Two-Step). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. One part. The song is patterned after "Lake Arthur Stomp [1]." Arnaudville is a town along Louisiana's Bayou Teche. Source for notated version: Johnny Richard, Ray Cormier, accordionist "Boy" Fruge (Arnaudville, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 331.

 

TWO STEP DE CHOUPIQUE. See "Choupique Two-Step."

 

TWO-STEP DE CRIMINELLE (Criminal Two-Step). Cajun, Two-Step (4/4 time). USA, Louisiana. D Major. Standard tuning. AB(Vocal)AAAB(Vocal)AAA. Source for notated version: Sidney Brown [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 104-105. Goldband Records GB-1099, Sidney Brown.

 

TWO-STEP DE CROWLEY. See "Crowley Two-Step."

 

TWO-STEP DE EUNICE. AKA and see "Eunice Two-Step."

 


TWO-STEP DE l'ANSE AUX PAILLES. (Straw Cove Two-Step). Cajun, Two-Step. USA, southwestern Louisiana. D Major. Standard tuning. AA(Vocal)AABBAA(Vocal)AABBAA(Vocal)AABB. Raymond Francois explains that L'Anse aux Pailles is an area near Prairie Ronde, northwest of Opelousas, Louisiana, where wild prairie grass grew in abundance. A related song is "Lake Charles Two-Step." Source for notated version: Dewey Balfa (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 23-24. Swallow Records SW-LP6019, Dewey Balfa.

 

TWO STEP DE LA VILLE PLATTE. Cajun. Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930."

 


TWO-STEP DE RICHE (Riche Two-Step). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. AA(Vocal). Francois' source, Lawrence Aguillard, was an accordionist who played for house dances in Riche, a community southwest of Eunice, Louisiana. The tune was recorded by Ambrose Thibodeaux under the title "Le Two-Step de Riche." Source for notated version: Lawrence Aguillard (La.) via the editor's father, Leopold Francois [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 272. La Louisiane Records LL-112, Ambrose Thibodeaux.

 

TWO-STEP DES PERRODINS. AKA and see “Perrodin Two Step.” Cajun, Two-Step (4/4 time). USA, Louisiana. D Major. Standard tuning. AABB. The song, named for the Perrodin family, was originally recorded by Angelas LeJeune, Dennis McGee and Ernest Fruge. According to Raymond Francois (1990), the beat and rhythm are extremely important (and confusing in the 'A' part), so that among Cajuns anyone who can play this song well is considered a good musician. A related song is Merlin Fontenot's "Pas de Deux a Elia." Source for notated version: Raymond Francois (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 248.

 

TWO-STEP DU BOB.  American, Two-Step. Composed in French-Canadian style by Boston fiddler Frank Ferrel, who named it (and its companion piece) for favourite classic radio comedians Bob and Ray. Great Meadow Music 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

 

TWO-STEP DU RAY. American, Two-Step. Composed in French-Canadian style by Boston fiddler Frank Ferrel, who named it (and its companion piece) for favourite classic radio comedians Bob and Ray (Bob Elliot & Ray Goulding). Great Meadow Music 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

 

TWO-STEP POLKA. Canadian, Two-Step and Polka. C Major ('A' 'B' and 'C' parts) & G Major ('D' part). Standard tuning. AA'BB'CDD'. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) [Miskoe & Paul]. Miskoe & Paul , 1994; pg. 41. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, vol. 2.”

X:1

T:Two-Step Polka

C:Ward Allen

R:Polka

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:A

A,CEA c2 c2|B2 Bc de c2|EFGB e2 e2|d2 ed ce A2|

A,CEA c2 c2|B2 Bc de c2|EFGB edcB|A2 e2 A4:|

K:D

|:F6 G2|A6 FG|A2 d2 c3 d|B2 A2 G2 F2|

F2 E6|c4 -cd c2|G4 c3 d|B2 A2 G2 _F2|

F2 -F3 G3|A6 FG|A2 d2 c2 d2|=c2 B2 G3 B|

B2 d2 c2 d2|A2 d2 F2 d2|B2 d2 c2 e2|dd d2 d4:|

|:[F6 A6] [G2 B2]|[A4 c4] [F4 A4]|[G4 B4] [A4 c4]|[F4 -A4] F3/2E/ D2|

[F6 A6] [G2 B2]|[A4 c4] [F4 A4]|[G4 B4] [A4 c4]|[F8 A8]:|

 

TWO-STEP QUADRILLE. Gennett 6101 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928.

 

TWO-STEP SCHOTTISCHE.  See note for “Crystal Schottische.”

 

TWO STEPS BACK. Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 29.

 

TWO TO ONE. English, Reel or Hornpipe. England, Yorkshire. D Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 113, pg. 61.

 

TWO WHITE NICKELS. AKA - “Two Wide Nickels.” Old-Time, Breakdown. USA, Ohio. A Major. Standard tuning. AB. Clyde Curley in The Portland Collection suggests the title was derived from racist terminology.  When played with the tune “Three Thin Dimes” the medley has jokingly been called the “Forty Cent Medley.” These tunes, says Kerry Blech, were in the repertoire of Barnesville, Ohio, fiddler John W. Hutchison (1915-1979), who said he had many of his tunes from ‘old man’ Bondy, an Irishman. They were recorded by the Hutchison Brothers bluegrass band, which included two of Hutchison’s sons and fiddler Greg Dearth. Sources for notated versions: Ruthie Dornfeld (Seattle, Washington) [Songer]; Kerry Blech (Seattle, Washington), [Phillips], whose original source was John Hutchinson of Ohio. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 158. Songer (Portland Collection), 1997; pg. 204 (appears as “Two Wide Nickels”). Heritage XXXIII, Arm and Hammer String Band (Vt.) ‑ "Visits" (1981. Learned from John Hutchinson, Ohio). Paul Kotapish - “Guitarfish and Mandolin”

 

TWO WIDE NICKELS. See “Two White Nickels.”

 

TWO WILLIAM DAVISES, THE. Irish, Air or Planxty. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), although Donal O’Sullivan, in his definitive work on the bard could find no incontrovertible evidence of its origin.


 

TWOPENNY JIG, THE (Port Na-Da-Pingine). Irish, Double Jig. G Dorian (Kerr, O'Neill/1001 & Krassen): G Minor (O'Neill/1850 & 1915). Standard tuning. AA'B (O'Neill/1915): AA'BB (Kerr): AA'BB' (O'Neill/1001, 1850 & Krassen). Source for notated version: obtained from an MS collection contributed by Philip J. O’Reilly, a native of County Cavan—“…It contained the Twopenny Jig which Dr. Hudson obtained from Paddy Coneely, the famous Galway piper, over seventy years ago” [O’Neill]. Kerr (Merry Melodies), vol. 2; No. 272, pg. 30. O'Neill (O’Neill’s Irish Music), 1915; No. 174, pg. 96. O'Neill (Krassen), 1976; pg. 63. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1061, pg. 200. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 265, pg. 59. 

X:1

T:Twopenny Jig, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 265\

Z:AK/Fiddler’s Companion

K:G Dorian

GFD B2c|dBG GFD|G2A B2c|dBG G2B|GFD B2c|

dBG AGA|FAc fed|1 cAF FGA:|2 CAF F2c||

|:dfd cec|BdB AGF|G2A B2c|dBG G2c|1 dfd cec BdB AGA|

FAc fed|cAF FAc:|2 dBd fed|cdB AGA|FAc fed|cAF FGA||

                       

TWOPENNY POSTMAN'S JIG. Irish, Slip Jig. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 64. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 86, pg. 20. Ryan’s Mammoth Collection, 1883; pg. 94.

X:1

T:Two-Penny Postman’s

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:A

d | c2A AcA ecA | cec aec fga | c2A AcA ecA | BcB gdB Bcd :|

|: cec aec aec | cec aec fga | cec aec aec | BcB fdB Bcd :|

                       

TY A GARDD (House and Garden). Welsh, Jig. D Major. Standard tuning.  One part.

X:1

T: Ty A Gardd
M: 6/8
L: 1/8
R: jig

Z:Dafydd Monks
K: Dmaj
F2 D DCD |F2 D DCD |E2 E EFG |A3 F3 |
F2 D DCD |F2 D DCD |E2 E EFE |D4 -D2 |
d2 d dcB |A2 A AGF |E2 E EFG |A3 F3 |
d2 d dcB |A2 A AGF |E2 E EFE |  D6 ||

 

TY COCH CAERDYDD (The Red House of Cardiff).  Welsh, Country Dance Tune (2/2 time). G Major. Standard tuning. AABBCC. The melody is a Welsh dance tune version of “The Red House” from Henry Playford’s Dancing Master (London, 1695). See also notes to “John Peel.” According to Anne Geddes Gilchrist (Journal of the English Folk Dance and Song Society, 1941) the Welsh version, which she calls a “pipe dance,” dates to c. 1896 when it was printed in Alawon Fy Ngwlad. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 108 (appears as “Red House of Cardiff”, the name of a dance by choreographer, teacher, musician and collector Pat Shaw, set to the tune).

X:1

T:Ty Coch Caerdydd

M:C|

L:1/8

K:G

BA|G2g2 gfe2|d4 c2B2|c2e2 ed c2|BcBA G2 BA|G2g2 gfe2|

d4 c2B2|B2G2 FGAF|G2B2G2::Bc|dcBA GABc|d2d2 dcBA|

cBAG FGAB|c2c2 cBAG|dcBA GABc|d2d2 dcBA|B2G2 FGAF|

G2B2G2:|:G2|AB c2c2c2|AB c2c2c2|Bcde d2d2|Bc de d2d2|

AB c2c2c2|AB c2c2c2|B2G2 FGAF|G2B2G2:|

 

TY TOL, OR THE COUNTRY DANCE. AKA and see "Hessian Dance" [1].

                       

TYNAGH JIG, THE (Port Tineatha). AKA and see "Delaney's Jig.” “Leitrim Jig [3].” Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Paul de Grae notes the alternate title, “Delaney’s Jig,” refers to Ballinasloe piper Denis Delaney. Flute player Mike Rafferty called the jig “Lambert’s Jig.” See also the related “Jackson’s Silver Mines.” Sources for notated versions: fiddler Seán Ó Dorbáin (Ireland) [Breathnach]; flute player James Murray (b. 1947, Ougham, outside Tubbercurry, Sligo) [Flaherty]. Breathnach (CRÉ I), 1963; No. 45, pg. 18. Flaherty (Trip to Sligo), 1990; pg. 166 (appears as “Unknown”). 

                       

TYNDRUM. AKA and see "Taigh‑an‑droma." Scottish, Slow Air (6/4 time). B Minor. Standard tuning. AAB. "The editor has associated this melody with an event which involved all his connections in the deepest affliction,‑‑the death of James Fraser, Esq., of Gorthleck, his maternal uncle, by the overturning of his carriage near Tyndrum, whereby his life was lost, and his lady had a leg broken. He was well known as the best and firmest of friends, with a heart liberal and kind in the extreme, ever ready to undertake the weightiest obligations for those he thought deserving, or who appeared industrious. His sudden death was, therefore, a severe blow, not only to his relations, but to numbers unconnected with any degree of affinity with him, and a general loss to the country. It is a strange coincidence with the mention of his name in this place, that the very last night the editor spent in his company, he found him set, with one or two select friends, extorting from the editor's father the songs and anecdotes of which this work consists, and the party in the highest glee possible. That very night added considerably both to the airs and anecdotes now furnished" (Fraser). Alburger thinks the tune is "almost certainly" Capt. Simon Fraser's. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 166, pg. 68.

X:1

T:Tyndrum

T:Taigh-an-droma

L:1/8

M:6/4

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:D

F|B3c d2 [D4F4] [d2f2]|e2d2c2 d B3F2|B3c d2 [D4F4] (FE)|

E2F2 [F2^A2] [D4B4]:|

(B>c)|d4 (cB) e4 (dc)|(f3 gf^e) f2 d2 (B>c)|d4 cB e4 (dc)|

f3 (gf^e) f4|a4 (fd) g4 (ec)|f4 dB c2 ^A2 F2|f3 e d2 e2d2c2|

(c2f2) [F2^A2] [D4B4]||

                       

TYNEDALE HORNPIPE, THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AA'BB'. Composed by Tom Carruthers. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 49.

X:1

T:Tynedale Hornpipe, The

M:4/4

L:1/8

R:Hornpipe

Z:AK/Fiddler’s Companion

K:G

(3def | g>f e>d g>G B>d | c>B A>G F2D2 | G>G B>d e>f g>a | f>e d>^c d2 (3def |

g>f e>d g>G B>d | e>d c>B A2d2 | G>G B>d D>E F>A | G2G2G2 :: d>c |

B>d e>d g>f e>d | e>g f>g d2d2 | e>g f>g d>B G>B | c>e c>e A2 d>c |

B>d e>d g>f e>d | e>g f>g d2c2 | B>D G>B A>D F>A |1 G2B2G2 :|2 G2B2 G4 ||

                       

TYPRID LASSES, THE. Irish, Reel. G Major. Standard tuning. AB. The tune is a variant of the “Boston Rattlers',” "Connemara Stockings," “Hobb’s Favorite,” "Galway Reel [1]" “Winter Apples [1].” family of tunes. Source for notated version: "Copied from (a) very old well‑written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 235, pg. 114.

X:1

T:Typrid Lasses, The

M:C

L:1/8

R:Reel

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

N:Exactly as written. The first two notes in the ‘B’ section may be a printers error and

N:might be ‘gb’

K:G

g2 fg edBA|G2 AB AGED|G2 Bd eaag|fdef gfef|g2 fg edBA|G2 BG AGED|

G2 Bd eaag|fdef g2g2||faeg dBde|fa a2 fa a2|gbeg dBdg|fdef g2g2|

gbeg defg|fa a2 fa a2|c’bag agfe|fdef g2g2||

                       

TYRERAGH. AKA and see "Tir Fiachrach."


                       

TYROLESE DANCE, THE. English, Country Dance Tune (2/4 time). F Major. Standard tuning. AB. The melody appears in Hodsoll’s Collection of Popular Dances No. 24, an undated manuscript containing tunes with Napoleonic-era titles and simple dance instructions for each melody. The Tyrol is the alpine area of Austria, a country that was an ally of England against Napoleon, a fact that may account for the appearance of the tune in a period country dance collection.

X:1

T:Tyrolese Dance, The

L:1/8

M:2/4

S:Hodsoll’s Collection of Popular Dances No. 24

K:F

A/B/|cA/B/ cf|d2 B2|GGcc|B/A/G/A/ FA/B/|cA/B/ cf|d2 g2|f/e/d/c/ de|f2 z||

c|Bg/g/ gB|Af/f/ fA|dcBA|c/B/A/B/ Gc|Bg/g/ gB|Af/f/ fA|f/e/d/c/ de|f2 z||

c|[f3a3] [eg]|[d3f3] [ce]|[Bd][Ac][GB][FA]|[GB][GB][GB]c|[fa][eg]|

[d3f3][ce]|[ce]c[=Bd][_Be]|[Ag][Af][Af]||

                       

TYROLESE WALTZ. English, Waltz. England, Shropshire. F Major (Ashman/Moore): D Major (Kennedy). Standard tuning. AABB. The tune appears in Hodsoll’s Collection of Popular Dances No. 24, an undated manuscript of tunes with Napoleonic-era titles and country dance directions. William Gardiner, publisher of sacred melodies by Haydn, Mozart and Beethoven early in the 19th century, complained that "the nonconformists...have adapted trivial and unworthy tunes such as 'The Tyrolese Waltz' to sacred texts." The Tyrol is the alpine area of Austria, a country that was an ally of England against Napoleon, a fact that may account for the appearance of the tune in period country dance collections. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 69b, pg. 28. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 184, pg. 49.

X:1

T:Tyrolese Waltz

L:1/8

M:3/4

S: Hodsoll’s Collection of Popular Dances No. 24

K:F

C2|F>F A>A c>c|c>a f2 (3Acf|g2 bz (3Geg|f2 az C2|

F>F A>A c>c|c>a f2 (3Acf|g2bz (3Geg|f4:|

|:(3Afa|(3GBe g2 (3Gbe|(3Acf a2 (3Acf|(3GBe g2 (3GBe|

(3Acf a2 C2|F>F A>A c>c|c>a f2 (3Acf|g2 bz (3Geg|f4:|

                       

TYRONE CASTLE (Caislean Tir-Eogain). AKA and see "Remember Thee," "The Right Road." Irish, Slow Air (3/4 time). C Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 455, pg. 79.

X:1

T:Tyrone Castle

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 455

Z:AK/Fiddler’s Companion

K:C

G>A|c3d ed|c3 A GF|E2G2 Ac|c4 G>A|c3 d ed|c2B2 A>G|G2E2 D>C|C4||

C>D|E2G2 A>B|A>G E2 C>D|E2G2 A_B|A3 zG>A|c3 d ed|c2B2A2|G E3 D>C|C4||

                       

TYRONE'S DITCHES. AKA and see "Banners Green." New England, March. G Major. Standard tuning. One part.

                       

TYSKA POLSKA. Swedish, Schottische. D Major. Standard tuning. AABB. Reiner (Anthology of Fiddle Styles), 1979; pg. 82 (appears with a harmony part).

 

_______________________________________________

Home Page        Fiddler’s Companion Files         References

 

© 1996-2009 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.

 

 


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.