Cornphiopai Hornpipes & related tunes: Barn Dances, Flings, Highlands, Set Dances, & Strathspey CCE Harp of Tara | htep://www.srayner.ca/comhaltasH2 CCE Harp of Tara Kingston Irish Slow SessionContents Hornpipes, etc. Contents -Hormpipes, ete... +s. 6+ ++ Hornpipe Set 1 Boys of Bluchill Staten Island Off to California Hornpipe Set 2 Chief O'Neill’ Favorite Rights of Man Hornpipe Set 3 “The Plains of Boyle Harvest Home An tSean Bhean Bhocht Hornpipe Set 4 Bonaparte Crossing the Rhine... . Hornpipe Set 5 Home Ruler Kicey's Wedding Hornpipe Set 6 Jackie Tar ‘The Flowing Tide. . Hornpipe Set7 ‘The Wicklow. ‘Murphy's... Hornpipe Set 8 Cronin’s. Stack of Barley Hornpipe Set 9 “The Kildare Fancy “The Stack of Wheat. Hornpipe Set 10 Caisledn An Ois, (Am)... Humours of Taamgreine. ‘The Humours of Tullycrine.. . Humours of Ballyconnell Hornpipe Set 11 “The Peacocks Feather #1... Hornpipes c H4 H4 HS .-H6 H6 HB HB HW - Ho Hu -HU H12 HI -H3 -HB -HI4 -HI4 -HIS HIS HIG -H16 -HIT HI8 -HI9 larp of Tara Kingston Irish Slow Session The Peacock's Feather #2. Hornpipe Set 12 Johnny Cope, March Johnny Cope. Hornpipes An Buachaill Dreoite Clareman's Hornpipe, Barndance Set 1 Jer the Rigger. ‘Thadelo's Barndance Set 2 Curlew Hills ‘Morrison's Barndance Barndance Set 3 Lucy Farr’s Barndance Fling Set 1 Frank Thornton's Highland - Teahan’s “Cuz” Teahan’s Fling #2 Fling Set Some Say the Devil is Dead Keel Row Fling Set Dances “The Ace & Deuce of Pipering. ‘The King of the Fairies Rodney's Glory Strathspeys Captain Campbell ‘The Iron Man Memories of Father Angus MacDonnell Laird of Drumblaire Index - Hornpipes, ete. (Common Tune Names)... 0.000026 Index- Hornpipes, ete. (Including Alternate Tune Names)... . - - H19 H20 Hai H2 H22 H24 H24 Has H25 H26 H28 H28 H29 H29 32 33 H34 H36 H36 37 37 HBBoys of Bluchill (Buachill Ua Cnoe-Gorm, The Boys of Oak Hill) Hornpipe or Reel D Major aE oS » CPs Source: Marcel Picard, Harold Kenny, Dennis Wilson - The Kingston Colletion of lish Dance Tianes O'Neill (who said the melody was unknown to Chicago Irish musicians beforehand) had the tune from a seventeen year old fiddler named George West, who, though gified musically, was somewhat indigent and did not own a fiddle. He had formed a symbiotic ‘musical relationship of sorts with one O'Malley, who did own a fiddle and who eked out a meagre living playing house partes despite the loss of a finger from bis left hand. O'Malley, however, invariably could only make it to midnight before he became too inebriated o bow, at which time West tok over his fiddle and finished the night's engagement. —Fiddler’s Companion Staten Island (The Aranmore Ferry) D Major D G D A e Source: Marcel Picard, Harold Kenny, Dennis Wilson - the Kingston Collection of lish Dance Tienes ‘The ‘Staten Iland Hornpipe’ was first printed in James Aird’ Selection of Scotch, English, Irish, and Forcign Airs (vol. 11,1782), printed in Glasgow, identical to the version played today. ..Uhe ttle may have associations with the large contingent of British ‘sroops that were stationed on Staten Island during the American Revolution, and, since period army references abound in Aird’ period collection, he may have obtained it from British military sources. In Donegal the tune is known as Arranmore Ferry although it bas been absorbed into Irish repertoire under its usa tte in ‘modern times Irish versions tend to differ from Scottish and American versions, sometimes centering in the mixolydian rather than ‘major mode. —Fiddlers Companion H4 CCE Hap of Tara Kingston lsh Slow Sesion Hornpipe Set 1Off to California (Imighthe go California, ‘The Humours of California) G Major G D c Jo e Source: E.E, McCullough - 121 Favorite irish Session Tunes, (a few notes adapted) Irish in origin, although the melady has been adopted by several genres. Capt. Francis O'Neill earned this tune inthe San Joaguin Valley of California when he was aged 19- presumably the stle appealed to him in bis circumstances, having eft County Cork in bis mi-teens [O'Neill/Irish Folk Music] —Fiddler’s Companion Chief Francis O’Neill “The curious journey, detailed below, of Francis O'Neill from a West Cork farm to occupying the office of Chicago Chief of Police, isin itself the stuff books in the mould of Jack London are made of. But ie was the tunes and songs picked up from his parents and visiting musicians atthe family home in West Cork that were to form the basis of one of the most remarkable collections of Irish music, published in the early years ofthe lase century. The Music of Ireland (1903) was compiled and edited in Chicago by O'Neill (1848-1936), who resigned from the city’s police force in 1905 followinga distinguished career. His grandfather, O’ Mahony Mor, or ashe was generally called "The Cianach Mor” ~ his can title ~ kept open house in the glens of West Cork, not far from Castle Donovan, for the rambling musicians of his time. It was to be expected, wrote O'Neill, in Irish Folk Music (1910), “that my mother ~ God rest her soul - would memorise much of the Folk Music, of Munster and naturally transmit i orally by her lilting and singing to her children.” His father also sang from his large repertoire of songs in Irish and English. That O'Neill col- lected and published 1,850 pieces isall the more remarkable because he was unable to write music. Back in West Cork, he had learned the rudiments of che flute from Timothy Down: ing, “a gentleman farmer in Tralibane, our townland.” However, within the ranks of the Chicago police force he found one Sergeant James O'Neill who was to be his transcriber and able assistant, James, who hailed from Co Hornpipe Set 1 (CCE Harp of Tara Kingston Irish Slow Session Down, was unrelated to Francis. He was, however, a trained violinist. And although the two men lived 20 miles apart, James regularly crossed Chicago, committing to paper tunes, as Francis recalled them. On one oceasion, itis said, 12 tunes were recorded at a sitting. Ac that time, Chicago was home to numerous Irish tradi- tional singers and musicians. A keen listener, Francis O'Neill ‘came to the realisation that the many songs and tunes he had heard from his parents and others in West Cork were un- known in Chicago. Initially his intention was to preserve those tunes of his earlier life in West Cork, adding tunes he learnt after emigrat- ing. The Chicago musicians became interested in his project and were keen to have their favourite tunes included in his collection. “The renowned Irish collector and writer Breandin Breath nach takes up the story: “James O'Neill's method of working was to note the tune down in peneil from the playing, sing. ing, lileing, whistling or humming of the contributor, then to play it back whereupon ic was accepted or corrected as the cease might be, “All tunes considered worthy of preservation were later copied in ink into books classified for convenience. Step by step with this transcribing wene the scrutinising of old prineed and manuscript collections and the copying of any tunes found therein which were thought to be worthy of wider circulation” Continued on H7 HSChief O'Neill's Favorite (Rogha an Taosigh Ui Nal, Chief ONeill Fancy) D Mixolydian D c D D « G_am Fp ED J o Source: Jobn B. Walsh - A Collection of Pipe Friendly Tunes, Willie Clancy and Michael Gorman’ setting, adapted, particularly the Part B F-natural Captain Francis O'Neill was Chief of Police of Chicago in the early years ofthe 20th Century, and a flute player who compiled several extremely important collections of tunes from the Irish immigrant population who lived and visited the city. —Uhe Bible'of Irish Music. O'Neill obtained this tune from Edward Cronin, a fiddler originally from County Tipperary, who had no name for it and christened it after the Chief O'Neill admired Cronin, who was a weaver and a machinist as well as a musician and composer, and obtained many tunes from him. —Fiddler’s Companion Rights of Man (Ceart Na Cine Daona) E Minor - Acolian Em Br Em mm B Source: phorocepy, source unknown Noteron nex page H6 CCE Hap of Tara Kingston lsh Slow Sesion Hornpipe Set 2Chief O’Neill, continued from HS Breathnach continues: “The appointment of a commictee of musicians to assist in the selection and revision of the vast amount of material assembled suggested itself. Early and Mc- Fadden, Delaney, Cronin and Ennis, outstanding musicians then resident in Chicago, agreed to co-operate in that work and they came together for the purpose in James O'Neill's house. “James played from his manuscripts but scarcely a cune was considered to be satisfactory in all respects. Changes were suggested and opposed and arguments wage ‘modest members fell into silence and one opinionated and domineering member had the field to hirnself. The one meet ing of che committee was sufficient to prove the idea was unworkable and the two O'Neills were lft to soldier on for ‘until the more themselves" With over 2,000 picces now assembled, O'Neill Became anxious to have the collection published. He also decided to broaden its popularity to include well-known tunes and songs, thus the inclusion of several of Thomas Moore's melo. dies and works by the composer Balfe. O'NEills book was widely welcomed by musicians and erities. Bur back in Cork Father Edward Gaynor (1850-1936) vwas on his case. Fr Gaynor, renowned for his choir in his Sunday's Well church, accused O'Neill of pirating airs from Moore, Petre, Joyce and others and including ais "which ‘were not Irish music a all.” Iwas difficult to repudiate Fr Gaynor's claims, ashe failed to come up with many sources Breandn Breathnach suggests that Fr Gaynor was “continu- ing his feud” with Father Richard Henebry (1863-1916), a Gaelic scholar, violinist and acquaintance of Francis O'Neill, ‘who had published a pamphlet on the subject of Irish music, also in 1903. ‘The criticism that some of the airs “were not Irish at all” was particularly stinging at atime when Irish nationalists were busy forging an identity for themselves. Yet Killarney, onc of the airs to come under suspicion, was to be recorded by the piper Patsy Touhey. Unusually generous in his praise, a curious omission in OVNeils writing is any reference to Ryan's Mammoth Collec- Notes from Rights of Man: tion, 1050 Reels and Jigs , Hompipes and Clogs, published in 1883. These were edited and collected by one William Brad- bury Ryan of Boston, O'Neill could not have been unaware of this collection Nevertheless, the great debe Irish musicians, particularly in America, owe to O'Neill is immense. Many of the tunes played today can be traced back to The Music of Ireland. O'Neill’s Odyssey Born on August 28, 1848, at Tralibane, near Bantry in ‘West Cork, Francis O'Neill was a bright pupil a school Intended for the Christian Brothers, he ran away to sea in 1865, First he worked his passage to Sunderland in the north ‘of England. After working at various jobs, he signed on asa cabin boy for a voyage that took him through the Mediterra: niean, the Dardanelles, the Black Sea to the Ukrainian seaport of Odessa. He left Liverpool for the USA in July 1866, on the packet ship Emerald Isle, arriving in New York five weeks later. It was on board the Emerald Isle chat Francis O'Neill met Anna Rogers. Several years later they were again to meet, in Mis- sour, where they were married. From New York O'Neil served on the fullrigged ship, the Minnehaha, bound for Japan. On the recurn trip they ‘were shipwrecked on Bakers Island in the mid-Pacific and the crew, according to O'Neill in Irish Folk Music, led a Robin- son Crusoe-like life before being rescued by the brig, Zoe, manned by a white captain and a Kanaka crew. “Rations were necessarily limited, almost to starvation’ weote ‘Onc ofthe Kanakas ha a fine ute, one which he played a simple one strain hymn wich conscious pride almost every evening Ofcourse, this chance co show whar could be dane onthe inseu- ment was not to be overlooked. “The result was mos gratifying. As in the case of the Arkansas traveller, there was nothing too good for me. My dusky brother musician cheetflly shared his “poi” and «canned saltson with me theseafter” When they atived in Hawaii af tera voyage of 4 days, all bur three of the castaways were sent tothe Marine Hospital. “I was one ofthe three robust ones, chanks fo my musical friend, and was therefore sent straight onto San Francisco, Continued on HY Tors Paine’ (1737-1809) book, “The Rights of Man,” was written to refute Burke's “Reflections on the Revolution in France,°and sold a phenomenal (forthe time) 200,000 copies in England while causing a furor for its support of the revolution. Paine was burned in effigy on English village greens, and his book was consigned to the flames. The printer who published the book was arrested and a Royal proclamation probibited the sale ofthe book, though it continued to enjoy a wide underground circulation, particularly in Scotland and Ireland where it gave support to those who found themselves oppressed. influenced by Paine's work, a later document called "Declaration des droits de Ubomme" was drafied by the frst National Assembly during the French Revolution ‘af 1789 t0 be incorporated into the new constitution of France. Fiddlers Companion. ‘Paine’ opposition to the English penal laws made him a natural hero for the Irish Catholic majority who suffered under them’ Peter Cooper Hornpipe Set 2 (CCE Harp of Tara Kingston Irish Slow Session H7‘The Plains of Boyle (Mah Luirg or Ma Lure) D Major D £ Source: Tunes from Doolin, adapted A very popular Irish session hornpipe. To the east of Boyle, Co. Roscommon, are rich flat limestone grasslands, known as the Plains of Boyle, famed for cattle pastures, —Fiddler’s Companion The set Plains of Boyle / Harvest Home / an tSean Bhean Bhocht is taken from the Michael Sexton Cll Bands Mad to Dance'ed Harvest Home (Deireadh an Fhoghmhait/ Baile an Fhémhait, Cork Hornpipe) D Major eo Source: Marcel Picard, Harold Kenny, Dennis Wilson - The Kingston Collection of lish Dance Tunes Often paired with "Uhe Boys of Bluchill’ HB CCE Hap of Tara Kingston lsh Slow Sesion Hornpipe Set 3An tSean Bhean Bhocht (anglcised as Shan Van Vocht, The Poor Ol Woman) G Major G Am G Em Am En Gi Am Em G e Source: Michael Sexton, Mad to Dance CD, transcribed RMD ‘Muttiple settings, as an Air or Hornpipe. this isa bomnpipe version ofthe somg melody. Uhere is also a fuirly distince hornpipe with thesame name. The tite translates as “the poor old woman,"a personification ofthe Irish nation. The allegorical song is about the 1798 Irish uprising and while Joyce sourced it rom the Young Ireland movement of the mid-19th century, others think it may date from 1707-98. Vic Gammon (1989) points out that even ifit were written late, the hopefia sentiments would have been re-aroused in the Irish with the ascendance more than a decade later of Napoleon. —Fiddler's Companion ef O'Neill, continued from H7 “What became of my wrecked companions was never leaned; but it can be seer how the trivial circumstance of lcele musical skill exercised such an imporeane influence on my furure career” After a spell herding (O'Neill rerurned to sea for one more voyage before sertling down. He passed a teachers exam in Missouri and ‘aught there for one wineer in 1869 before moving to Chicago where b Lakes and later asa labourer i the rai freight house. O'Neill was sworn in asa policeman in July 1873. Several ‘months ater he was shot in an encounter with a notorious gangster. The bull was lodged too near the spine to bbe extracted and O'Neill caeried i to the grave, Promotion followed. Achieving top matks in poliee exams he worked his way up through the ranks and was appointed General Superintendent o: Chief of Police of Chicago in 1901, (Over che years the high incidence of Irish musicians within che ranks of the police force has been com- ‘mented upon ~ offen accompanied by the remark that had chere been less musicians there might have been less gangsters abroad, Other police forces also had theiedifiulty with gangsters, although theit pace chiefs never was to find work sling the Great ‘matched O'Neil achievement as a collector of music Source: ‘rwecamblinghouse.org/2009/07/fiancis-oneill/ Copyright: Ronan Nolan, 2000-10, See also: Francis O'Neill: Collector of lish Music, by Breandan Breathnach, published in Dal gCais (1977). Ish Folk Music, by Francis O'Neill, (1910), ‘A Harvest Saved, Francis O'Neill and Irish Masic in Chicago, 1997, Nicholas Carolan. Ossian Publica~ Recordings “The Dunn family of Milwaukee has uncovered and put online 32 cylinders collected by Francis O”Neill in the 1920s, They include recordings by Patsey Touhey, Fd Cronin, James Farley, Bernard Delaney and John MeFadden, heep://archivesirishfest.com/dunn-family-colleetion tm Hornpipe Set 3 CCE Hip of Tare Kingseon lsh Slow Sesion H9Bonaparte Crossing the Rhine E Dorian Bm D D Ba D Em Db eo Bm ‘Bm Source: Patrick Ourceau, Chris Langan 2005 workshop, transcribed RMD Liz and Yvonne Kane ~ The Kane Sisters “The Kane sisters come from a small village outside Let- terfrack in Ireland’s Western Connemara region, neat where their grandfather, jimmy Mallen, played fiddle for over 50 years. They have been playing together for years, learning from their grandfather’ playing and from South Sligo musi cian and teacher Mary Finn, ‘They havea finely tuned and emphatic music sensibility as one might expect from siblings Early in their fiddle playing, chey areended all the focal summer schools like Tobercurry and Drumshambo. Liz thrived as a compet. itor, winning the 1992 Fiddler of Dooney competition in Sligo, and became anal-reland senior dle and duet champion in 1995. She twice won the Fidler of Oriel ie. Yvonne wasnt interested in the competitive side of che music, and preferred to hone her skill away from competitive pressures. Each isan outstanding idler, and East Galway and South Sligo styles ripple through their musi, including ‘unes fom Kileonnells Paddy Fahy and Killails Fed Fin, Liz and Yvonne fist came to national and international prom snence during the three-year period in which they toured with accordion player Sharon Shannon as members of her band, The ‘Woodchoppers. They travelled all over the world with her band and are featured artists on Shaton’ album The Diamond Mountain Sessions Following this period of touring with Sharon Shannon, they decided ro embark musically on their own and they recorded their firs album together entitled "The Well Tempered Bow. This veceived save reviews including this review from well-known New York Farle Hitcher “Aptly titled, "The Well‘Tempored Bow’ is fine honed unison, fiddling by two musicians who know howto draw ou che heat and light within a melody. There's no superficial ashinesssubstiuting fora more difficuleto-achieve understanding of what makes a cane tick. This duo debur has real depth and heft, with superb accompa- rniment from guitarist and pianist John Blake, a member ofthe band Teada, The Kanes Head Up Best Traditional Albums of 2002" Source: heep://wwvithek Discography: The Well Tempered Bow / Side by Side | Under she Diamond Note for Home Ruler Composed by idler, Frank McCollum, of Ballyastle, Co Antrim. “the tune was composed in the 19605... and dedicated to his wife (rhe real "Home Ruler’), although perhaps the politcal meaning twas secondarily meant. Inthe politcal sense McCollum'stitle is usually presumed to reference James Brown Armour (a ninetcenth-century Antrim Home Rule champion), however, an alternate title has emerged called ‘Daniel O'Connell the Home Raler'referencing another Irish political champion. —Fiddler’s Companion Note for Kiery’s Wedding According to Matt Crantch and Jakie Daly, the tune which became ‘Ritys Wedding’ was fist printed in Boston ~ the Boston area being an important centre of music publishing im the 1840+ ly George Saunders, as ‘Smiths Reel! sil played by Appalachian musicians. When it made its way to reand, t was transformed nso Kitty Wedding’ Hornpipe, with the parts revered. It was fist published in 1847, in Saunders ‘New and Scintfi Self. Instructing Schoo forthe Violin and cited as Sauder’ compasiton (sce ‘the Fiddler's Companion’ Smith’ Reel) CCE Harp of Tara Kingston Irish Slow Session Hornpipe Set 4Home Ruler (McCollum's Hompipe, "Daniel O'Connell, The Home Ruler) D Major ~ oD D G D Em + Wind Friendly Part A, John Walsh o Source: photocopy, source unknown; adapted to setting taught by Yvonne Kane at Harp of Tara Kanes/Edel Fox workshop, 2011, by Mary Kennedy. Notes on previous page Kitty's Wedding (Bainis Chaiclin) D Major DG D D G Bre A DG D A Bm G D 17 D Pa D eo Source: Yoonne Kane, Harp of Tara 2011 workshop. Transcribed by Mary Kennedy. 2 bars adapted "Yvonne's Bar 3&7 **Yvonne's Bar 4 SN, Home Ruler and Kitty: Wedding are almost invariably played together as 1 resule of ther ing played ata set on an influential self titled recording ‘by Noel Hill and Tony Linnane. Note continued on previous page e Hornpipe Set 5 CCE Hip of Tare Kingseon lsh Slow Sesion HuJackie Tar (Cuckoo's Nest) E Minor - Dorian Em ce, D Source: Henrik Norbeck ABC Irish Tune Collections adapted. Henrich gives multiple variations Scottish, English. Uhe traditional name for a sailor, where the dancing of hornpipes was used as a form of exercise on board the ship. “he tune dates from the Elizabethan period ‘The Flowing Tide G Major G Em G Em G Em G c G c An e Source: Fiddlers Companion, Fr: Charlie Coben's setting, Augusta 1997, transeribed by Paul Kinder Part B bar S adapted, Jack had transposed up an octave. HI2 CCE Harp of Tara Kingston Irish Slow Session Hornpipe Set 6‘The Wicklow (Crannciuil Cin or Cill Mhantdin, Delahanty’s Hompipe) D Mixolydian D c D Em e Source: Jobn B. Walsh A Collection of Pipe-Friendly Tunes, adapted by Paul McAllister. O'Neill (1913) claims the tune was first published in his “Music of Ireland.” Taylorsis a more modern version ofthe tune than the settings found in the original O'Neills valume. Sources for notated versions: Chicago/ County Mayo fiddler Jobn McFadden derived the tune from one Mr. White: a flute player born at or near Tralee, County Kerry, who emigrated to Cleveland, Obio {O'Neill}, while in “Irish Folk Music" O'Neill credits the source ofthe tune to Chicago police patrolman, piper and flute player Jobn Ennis, originally rom County Kildare {O'Neill, —Fiddler’s Companion Gill Mhantéin, meaning “church ofthe toothless one Murphy's (Comphiopa Ut Mhurchada, Murphy's Fancy) G Major G Em An D G © D br e Source: Shaskeen Ceili Band - Through the Half Door No surprise there alot of hornpipes and other tunes called "Murphy's Hornpipe Set7 CCE Hip of Tare Kingseon lsh Slow Sesion HBCronii G Major \'s (Comphfopa Ui Chréinin) Source: Matt Cranitch - The Irish Fiddle Book, Cranitch plays the set Cronins/ Chief O'Neil’ Edward Cronin Edward Cronin (¢. 1838 c. 1918, Chicago) was born around 1838 in Limerick Junction, County Tipperary. A weaver by trade, he immigrated to Tory, New York where he was unable to find work, He ater moved vo Chicago His performances on the O'Neil eylinders make it abundantly cleae that he was a major stylist in the idiom of lish mal dle playing. He was regarded as an important teacher of Irish music in Chicago, although O'Neill noted that Cronin’s unique style of bowing and slurring was dificule to pass on to others, He also developed a repuation as composer of dance tunes, especially hornpipes. He was O’Neils original musical editor of "Dance Music of Ireland” but was replaced by James O'Neil Source: htep://archivesirshfest.com/dunn-family-collecion/Abous.hen Stack of Barley (An Staicin Bora, Little Stack(s) of Barley) G Major c Ba Ap D c Am e Source: Matt Cranitch - Ihe Irish Fiddle Book Hi CCE Harp of Tara Kingston Irish Slow Session Hornpipe Set 8‘The Kildare Fancy (Rogha Chill-Dara) D Major # Source: Matt Cranitch - The Irish Fiddle Book ‘Kildare; derived rom the Gaelic cill dara, means "Church of the Oaks" or “the ‘ell’ by the oak" (referring to a monastery founded by ‘Su, Bride). The melody was first recorded under this title by piper Patsy Touhey, and in fact is a favorite of pipersin general —Fiddlers Companion ‘The Stack of Wheat (An Staicin Cruithneachta, The Little Stack of Wheat) G Major G Em Am D G D, c Em Am D G Em D G 2 G Em Am D G Em b G e Source: Geraldine Cotter - Traditional Irish Tin Whistle Tutor: 100 Irish Dance Tisnes and Airs. Adapted Recorded by a number of artist of the 20: era, including Michael Coleman, James Morrison and Tom Ennis, the Flanagan Brothers and Dan Sullivan's Shamrock Band. Coleman recorded it in a medley following the ‘Litle Stack of Barley! —Fiddler’s Companion Hornpipe Set 9 CCE Hip of Tare Kingseon lsh Slow Sesion HISCaisledn An Gir (Ihe Golden Cascle) A Dorian, transposed from G Mixolydian Junior Crean Am c As cs An G Am G Am G Am Am G Am G Am e Source: Sesson.org, comments section, deserbed as a transcription from McMahon, Aidan & Anthony Quigney - A Clare Conscience. Creban’s original setting, in G Mixolydian, isin the Fiddle Friendly section Humours of Tuamgreine (Piéarses Thuaim Gréine, Humours of Tuamgeaney, Tuamgraney Castle) A Dorian eo Source: Patrick Ourceau. Toronto Chris Langan weekend 2004. Transcribed RMD Note: Tuamgraney ( Thuaim Gréine) is a place-name in East Clare H16 CCE Harp of Tara Kingston Irish Slow Session Hornpipe Set 10Humours of Tallycrine ‘ADorian 5, Am Em Am —. Am Am 10 Am D7 Sy Em t Source: Patrick Ourceau, Chris Langan 2005, transcribed Robert MacDiarmid A popular West Clare Hornpipe. Clare bornpipes are played more asa slow ree, less ‘boxy’ than the northern hornpipes Tulyerine (a townland outside Kilrush) is close to Ennis, the county town’ of Clare, and indeed, according to Gearvid O” bAllmburain, the tune is very much associated with West Clare. Ube melody was in the repertoire of Clare fiddler Junior Creban, twho was ond ofit, and who called it Sruthén an Chait’ I was associated with blind piper Garrett Barry (1847-1899) of Inagh. —Fiddler's Companion Alternate Part A G F Em G Am Em F G ae OPA ‘Tuamgraney (Tomgraney) Historical Backgound “Taamgrancy (in Fast Clare, neat Tala), derives its name fom um gine, the cums of Gran the daughter of now-forgoten chief tain who was drowned in Lough Graney. ‘The Lady Grian,aconding to ellos, was als called Gile Greng the brightnes ofthe sn, She wat a famous beauty who lived ete in the very ditan pas. She wat of sperrarral ctgin,heving been begotes bya human being ona sunbeam, and when abe was tld chi she became depressed and decided vo commit ude. She threw herself inco Lough Graney and drowned Her body aced and was carried ina southeasery direction by the steam flowing from the lake. befor twas eas ashore on the edge ofa wood later called Dore Greine Shorayafierwads her fiends discovered her body and had icincered nearby. Tey eased a uml ove ifr posterity and continued vo giveit the name of Tanim Greine. John O'Donovan suggested in 1839 that the name cold also be derived from another sine, meaning the sun-mount or sunny hill This name could have been coined by sn worshippets who may have exablished a colony here aslation of tuaim Se Cronan established a monastery here. Aecosding to the Four Masters, his memory was celebrated on October 19¢h although O'Donovan refused to specify when the frst ecclesiastical establishment was founded in Tuamgraney. Cronan of Tuaim Greine may have been the same Cronan who founded Roserea. He flourished in the later part of the sich cencury and formed establishments here, in Inchi- ronan and in Teampal Chronain at Carton. Source; hep://www.lacelibrarye/eolas/coclare/places/ Hornpipe Set 10 (CCE Harp of Tara Kingston Irish Slow Session HI?Humours of Ballyconnell (Sigra Baile Atha-Chonail) Reel, asa Hompipe AMixolydian A Em G A Em e Source: The Fiddler's Companion. transcribed by Henrik Norbeck from Mary Bergin’ Feadoga Stain 2. A Dorian (O'Neill/Krasen), A Mixolydian (Miller, O'Neil/1001), A Major (O'Neill/1850). —Fiddler’s Companion The Humours of Ballyconnell is a popular reel. This sa fairly rare hornpipe setting, recorded by Sean Keane and Mary Bergin, both pretty much as in O'Neill. Paul Legrand Paul Legrand was bor in Normandy. His mother was the schoolteacher in the village where he grew up Like many other student in his school, Panl benefited from hs mother's teaching ofthe “Bite abe< In the 19703, important, well-known, folk artists created area interest for traditional music. Paul discov «red a personal long lasting, passion for Irish music and began to apply himselfto the fiddle. He became self taught and used numerous recorded performances for his leatning and inspiration, Paul’ first erp to Ireland was in Occober af 1978, followed by others. He has lived in Montreal since 1985, much in demand asa music teacher and all aver North America to play for feiseanna HI18 CCE Harp of Tara Kingston Irish Slow Session Hornpipe Set 10‘The Peacock's Feather #1 (Cleite na Péaccige) D Dorian: E Minor Da F c Da Am Da c e Source: Pau Legrand, Harp of Tara 2009 Kingston Irish Language Weekend Pauls score, Frankie Gavin's setting ‘The tune was prinsed in O'Farrells "Pocket Companion” (IV; 125, e 1810) as a march under the ttle "Ihe Peacock: The une was recorded by the Talla Céilé Band, ‘The Peacock's Feather #2 (Cleite na Péacdi D Major oS Source: Paul Legrand, 2009 Harp of Tara Kingston Irish Language Weekend; Paul’ score, Frankie Gavin's setting Black identifies this as an East Galway tune, recorded by the band De Danann. However, Cavimbin Mac Avidh attributes it to Joe Holmes of County Antrim, a singer and fiddler who brought she tune to Galway in the early 1970's Ir seems that Holmes and a young Len Graham would travel to stay with friends, the Keanes of Caherlistrane, and introduced the tune on one of bis visits, Sources for notated versions: fiddler Frankie Gavin (Ireland) [Breathnach]; New Jersey lute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. —Fiddlers' Companion Hornpipe Set 11 (CCE Harp of Tara Kingscon Irish Slow Session H19Johnny Cope (General Coope) ‘ADorian March Source: Maeve Donnell, Harp of Tara 2007 Workshop, Maeve’ score, March setting Scottish (originally), Canadian; Reel, Hornpipe or March: American, March (2/4) or Polka, Canada, Prince Edward Iland. G Mixolydian/Minor (Aird, Gatherer, Jobnson, O'Neill/1915): Dorian (Cranford, Plain Brown): A Minor (Jobnson/2003, (O'Farrell): B Minor (Miller & Perron).. AB (Bayard): AABB (Jobnson/2003, Miller & Perron, O'Neill/1850, Perlman, Plain Brown, Roche, Winstack): AABBCCDD (Aird, Gatherer, O'Farrell): AABB'CCDDI ‘The tunes tl played by Scatish regiments as heir revel Ii 4 satirical melody which commemorates the 1745 Jacobite rebellion sehen Sir Jol Cope (d. 1760) and the English were defeted by the Scots under Bonnie Prince Charli atthe Battle of Prestonpans, on ‘the 22nd of September, 1745. In 1745, shen Prince Charles landed inthe highlands, Sr Jobn was commander in ciefin Scotland and be bravely resoled to marc into the Highlands to oppose ir. Cope suas il prepared and outnumbered however, and soon retreated inthe feof ppoition inorder to regroup. The rebels meanwhile secured Edinburgh and when they earned that Cope war marching tothe cityrelif they marched to meet him. Bath armies neared eachother 4a: Prestonpans atin the day separated by marshy ground, and it was reeled to sit until he next day to begin bostlities During the nigh bowcver Prince Charlie was appraived by one of is troops that Johnny Cope Hornpipe notes Irith, Hornpipe. A Dorian (Bayard, Brearhnac, Moylan, Pert ‘man, Roche): A Misolydian (O'Neil/1850). Standard tun- jing ABBCCCCDD'EE' (Meylan): AABBCCDD Es (O'Neil/1915): AABBCCDEEFF (Breathnach): AABBCCDDEE'F (Taylor). Brearbnach (1985) remarks this bormpipe was borrowed from Scasland, and is sometimes called "Gen eral Coop’ in Ireland. Ast of variations printed in Kabler Violin Repository (Edinburgh, late 19h century) has ben sugested asthe sure for Padraig O Keefe version ofthe tune, aswell asthe G Minor bornpipe Drunken Sailr’ O'Keefe a farons idler from the Sliabh Lauachra region ofthe Cork/Kerry border in the carly-mid 20th conte 11, iv often eredited with devsing the variations, however, Interestingly, Cavimbin Mac Avid, who as edited over 1,000 tunes in manuscript form writen by O'Keefe, says thar the Key master written version seas only a rao-part tune Ibis thought by Slabh Luachra fiddlers thar OReafe either wrote the warations or attached bits of ther tunes to round ous bis version, Paul de Grae writes: “Seamus Ennis earned the 20 CCE Harp of Tara Kingston Irish Slow Session “FAABB' (Johnson). «4 passage or ford was tbe had through the marshy ground and the rebels resolved to filter through at nih and take the English forces by surprise inthe morning. This was effected and the surprise was complee. Half assake and utterly bewildered, Cope’ troops could make to effective resistance, and ina few minutes were in beadlong flight. Only one round of ammunition was fired, and not one bayonet was stained with blood. Few except the cavalry made good thei escape, the whole ofthe infimery being either killed or take prisoners. A later court of inguiry was cncencd ta look into the debacle, though the real as thatthe common troops were blamed for the rout and Cope and al his aces were exonerated. Recently, some histrians have concluded that Cape was in fact not to blame forthe defeat anc is undeserved ofthe scar accorded hs by the famaus song. —Fiddlers Companion ‘More info at the Fiddler's Companion sixcpat Jonny Cope’ frm Padsai, and I belie twas fiom Seamus ‘that Liam OFFynn gt it. Julia Clifford ala learned from Padraig Alan Ward rite: Of base we visited fn Sliabh Laachrain 1976] the only other local musician with version was Je Comuay who played he standard march ac quadrille polka’ and als the lst 0a parts of Padraig verion ata barn dance whic he named The Doon Roses Several of Padraig’ pupils bad not heard oft when we asked ther, sand in fact Jia may be te only one stil playing i regularly. An nseeting lternative to O Kees sonrcfr he tunes sggested fiom story tal by piper Tim Briton. O'Kef, the tale oe, learned bis st-part ornpipe Jobnny Cope from his ncle Cal Callaghan, the source for many tunesin O'Keefe repertoire. Callaghan lied for several decades in a Scotch comimsnityin southern Ohio, USA, before returning to Irland, and brought hak several snes learned from Scat neighbours, whic be pased on to is nephew, Jenny Cape “among them. — Fiddlers Companion, notes ar continued. Hornpipe Set 12Johnny Cope (General Coope) ‘A Dorian Source: John Walsh - The Collection of Pipe-Friendly Tunes. Liam O'Flynn’ setting Also as a 2-part march or as song. Notes on next page Hornpipe Set 12 CCE Harp of Tara Kingseon Irish Slow Session H21An Buachaill Dreoite Hornpipe, Fling G Major G AF ial ~ fp an G ID Am G e Source: Patrick Ourceau and Brian Holleran’, Whits End concert. transcribed R MacDiarmid ‘The tunes often associated with two Clare musicians, Willie Clancy and Joe Ryan. According to Pat Mitchells notes, Willie Clancy got this tune from bis father Gilbert Clancy, who in turn learned it from Garrett Barry. Barry came from a village called Inagh, which happens tobe Joe Ryan's birthplace. —sessionorg drevite [DROH-tcha] Irish word definition... (ell) mouldy; Bob Pfeffer says he thinks it means ‘the Withered Lad" or ‘the Spent Lad’: Jerome Colburn says dreaghaim: "Lot, I wither’ the lad’ withered away, wasted away (sc. from lovesickness). On the liner notes for Chulrua's ‘Down she Back Lane" ‘tn Buachaill Drevit'is translated "Uhe Ailing Boy! “here is alsa jig version ofthe melody , and a beautifal slow air with the same name. It is most often paired with the Jig setting of An Buachaill Dreoite' (in Jigs) ‘The Clareman's Hornpipe (Failte Go h-firinn, O'Mahoney’s Hompipe, Old Cork Hornpipe) D Major D A e Source: Fiddler’ Companion, which cites source as Geraldine Cotten Irish, Hornpipe, D Major: G Major. ABB. Denis Murphy and Julia Clifford recorded the tune as ‘O'Mahoney’: Hornpipe; followed by "The Stack of Barley’ Paul de Grae notes that Josephine Marsh recorded this tune on her first album, calling it "Tony ‘Dalton’ after ber source. H22 CCE Harp of Tara Kingston Irish Slow Session HornpipesBarndances Barn Dances Avr: isa social dance, generally performed to hornpipe time, but, related to marching practice, danced to 6/8 time in Co Antrim. Reg Hall (1995) defines an Irish barndance as “a rural variant of the ballroom schottische...popular in the hey-day of country-house dancing in Ireland..ccans- planced suecessfully in the dance halls and clubs of Irish-America.” —Fiddler’s Companion (CCE Harp of Tara Kingston Irish Slow Session H23Jer the Rigger (Jer an Rigéara, Ger the Rigger, Thadelo's) Polka, Single Reel, Hornpipe, Barndance ‘A Mixolydian A E D E e Source: Brid Cranitch- Irish Sesion Tanes in Sets: The Blue Book ‘he tune is set variously as a hornpipe, single rel, &; in the Sliabh Luachra region of southern Ireland, as a polka. Uhe ttle probably refers to.a man, Jer, short for Jeremiah, and bis occupation — a ‘rigger’ is carpenter who roofi houses. —Fiddler’s Companion Introduced to Kingston by Gini, after hearing it a Martin Hayes concert in Belleville ‘Thadelo's Barndance D Major e Source: Brid Cranitch- Irish Session Tunes in Sets: The Blue Book imed for Uhade (Thadelo) Sullivan, a native of Annaghbeg, Kulcummin, Sliabh Luachra. H24 CCE Harp of Tara Kingston Irish Slow Session Barndance Set 1Curlew Hills (The Glenbeigh / McDermott Barndance / Morrisons Polka / A Donegal Bamdance) G Major e Source: Yeonne Kane, Goderich 2011. Transcribed by Margaret Tatum and Denise Bowes Morrison's Barndance D Major e Source: Yoonne Kane, Goderich 2011. Transcribed by Margaret Tatum, Denise Bowes Barndance Set 2 (CCE Harp of Tara Kingscon Irish Slow Session H25Lucy Farr's Barndance G Major G eo Source: June McCormack- Flitit Barndance From the late East Galway-born (Baunyknave, Ballinakill) fiddler Lucy Farr (1910-2003) A possible set would be ‘Lucy Farr's/ Stack of Barley (asa ling) / Some Say the Devil is Dead!’ Lucy Farr (1911 - 2003) Tey Fat nee Kirwan, was born in Ballina near Loughe, Co, Gaiay She was boa in 1911, che third oldest of seven cil dren, He father Martin played the melodeon and flute and het ‘Aunt Margaer played che idle Lucy's farmhouse was always fll of music, in act, itwas the only ‘one in the area co havea barn big enough to hold dances. Bllinakil sty of musicians and was hore to the famous Ballnakll Céli Bund. Lucy heard players of all kinds during her early days and she and her brother and sisters were encouraged to sing for vsitrs and to join in wich the sessions. She was taughe to play fiddle by Paddy ‘Doorey, a neighbour, and Jack Mulkere who used to cycle over to the National School in Ballinakill to give lessons, a the cost of £1 a In 1936 Lucy left home to eran asa nurse and went to South Fast London, She was very homesick and gradually stopped playing the fiddle, a least in public, for several years ‘She martied in 1940 and hace children soon followed. The pres sure of her job and bringing up her children took precedence over a social life and playing the fiddle for many years. Iwas in 1956, when her sister Anne came to live in London, that Source: heep e Very good, long, article ‘Lacy Farr: Heart and Home; at: swwveramblinghouse org/2009/07/hucy-farr-1911-2 Lacy’ interes in music was rekindled, Anne encouraged her to play again and they both enjoyed regular visits co the Irish music pubs allover London, The birth of Combaltss Ceoltoist Eireann also provided a stimulus, Lucy even found herself on the committee of the local branch, 1965 on one of her holidays to Loughrea, she again met ‘up with Paddy Carthy, Tony Molloy and John Joc Forde, and with these players and many others, often played in the sessions in ‘Moylan’s pub inthe centre of the town. The pub is sil cher, burie is alas, now without the musi; Lucy continued vo play with The Rakes and was involved in ses sons for many yeas until her move vo Berkshire, Her tape entitled Heart and Home was released in 1991 to coincide with hee 80th birthday. ‘While being very modest about her playing, she continued £0 play nd swop tunes and rapes with students and musicians from allover the word. By the turn ofthe century she was one of the few ‘old’ players sill around with this vast wealth of tunes and the sweet playing syle of East Galway. Her good humout and generosity of spirit enabled her to share thers wih al h Lucy Farr died on January 7, 2003, and is busied in her naive Co 5/, By Pauline Jackson serad.orguk/asticles/farrher Discography: Heart and Home (tape) 1991 / Paddy in the Smoke, Topic, 1997. (four racks, with Bobby Casey and Jimmy Power) H26 CCE Harp of Tara Kingston Irish Slow Session Barndance Set 3Flings Flings Fe A type of tune related to the hornpipe, correspond ing to differene forms of dancing, and derived from the Scottish ‘Highland Fling: Popular for dancing in the carly part of the Century. Slower, more staccato than a hornpipe. Ie tends +o feature more of a quarter-two eighths-quarter-two eighths rhythmic pattern (eg The Keel Row) (CCE Harp of Tara Kingston Irish Slow Session H27Frank Thornton's Highland (*Cuz" Teshans Fling, The Kery Hing) Fling E Minor - Aeolian ‘Terry ‘Cuz’ Teehan. 1979 A D A fr A D Bm D Doing” e Source: Macve Donnelly - Harp of Tara 2003 Workshop, Macve's score Note: Flings a ‘Highland Fling, a Schottische' a typeof dance tune related to hornpipes, the tempo is more relaxed than that ofa reel ‘This tne was composition of C's, hough rarely redited as such “The tune was named afer Frank Thornton, flat layer for Listowel Co, Kerry who emigrated 10 Chicago year after Cuz and was of buge importance othe Irish music scene there. He was one ofthe founders of The Irish Music Asociation in 1957, a predecessor 10 the Chicago branch of Combaltas Ceoebiri Eireann” Niamh Ni Charra ~ Cus: A Tribute ro Terry “Cuz” Teehan 2013, "Cuz" Teahan's Fling #2 A Major e Source: Maeve Donnelly, Brockville Irish Society 2003 workshop, Maeve' score. ‘Terry ‘Cuz’ Teahan ‘Another Famous O'Keefe pupil Try ‘Cuz’ Teahan, was bor in Gleantann in 1905. He wasa student of ©'Keeff's at the lca schoo then emigrated ro Chicago in 1928. He played concertina accordion and fle and was als quite composer of sides and polkas. Many of his ranes became very popular in Iteland and eewhere He pased away in 1989 ‘As Niamh ni Charra (a one-time student of Teahan’) relates, erry Teahan got the nickname ‘cuz’ when he moved to Chicago and became contact for others following over from Kerry. They would be given Terty’s name asa contact, and he would try to find ajob for the new arrival. "They would be told to go down to whatever company Teahan had found, and to tell dhe boss chey were a ‘cousin’ of Terry’ He also didn’t havea great memory for names, and took on a verbal tick of calling everyone ‘Cuz’ (Goderich 2012 workshop). Niamh Ni Charra & Friends - CUZ: A Tribute to Terry "Cuz" Teahan Cuz is the latest album from Killaney musician Niamh Ni Chara, and celebrates Sliabh Luachra rich history of musi, in paricu Continued on nex page H28 CCE Harp of Tara Kingston Irish Slow Session Fling Set 1Some Say the Devil is Dead (Lasses of Donnybrook , Love Will You Marry Me?, G Major (The Standacd on) The Braes of Mar (Scotland) Ais, Highland, Fling, Barndance Gc c G by o ° > 5 ° Repeat py End__ 5: e Source: Miller & Perron - Irish Traditional Fiddle Music Highland. Packie Dolan (1904-1932) of Co. Longford and New York, 1920' recording reissued as ‘Wheels ofthe World’ Note: Hornpipe Rhythm. Fling, D Major usually, bere transposed to G Keel Row Fling G Major Source: Combaltas Ceoliirt Eireann - Foinn Seisitin, Volume 3 English, Irish, Scottish, American; Air, Reel, Highland or (Highland) Schottsche, Highland Fling .. an extremely popular tune in its time (in both Scosland and Northumberland). —Fiddlers Companion In Ireland, usually played asa fing jamh ni Charra, continued from previous page compositions and repertoire of Glountane native Cuz Teahan, Cuz emigrated to Chicago in 1928 and spent the next six decades playing and pasingon the masic of lbh Luachra co generations of musicians, Shordy before his death, he made a ape fll of ae eunes and his own compositions for avery young Niamb, now a mul-award-winning perfrmet. Drawing on the album isa ebute to Cuz and his music. Along with showcasing Niamh'simpresve talent and versatility on fiddle, concertina, and voice, it features op clase guest aris from Ireland and America, ll of whom had a connection to Caz. These include Liz Caroll, immy Keane, Donogh Hennessy, Mick Moloney, Donal Murphy and Tommy © Sullivan, for inspiation and material, this uam-review-niamh-ni-charra-cur-a-tribute-to-terry-cuz-teahan radconnect.com/profiles/blogs Fling Set 2 (CCE Harp of Tara Kingscon Irish Slow Session H29H30 ‘The Singer’s House by Seamus Heaney When they said Carrickfergus I could hear the frosty echo of saltminers’ picks. imagined it, chambered and glinting, ‘a township built of light. ‘What do we say any more to conjure the salt of our earth? So much comes and is gone that should be crystal and kept and amicable weathers that bring up the grain of things, their tang of season and store, are all the packing we'll get. So I say to myself Gweebarra and its music hits off the place like water hitting off granite. Tssee the glittering sound framed in your window, knives and forks set on oilcloth, and the seals” heads, suddenly \outlined, scanning everything. People here used to believe that drowned souls lived in the seals. At spring tides they might change shape. They loved music and swam in for a singer ‘Who might stand at the end of summer in the mouth of a whitewashed turf-shed, his shoulder to the jamb, his song ‘a rowboat far out in evening. ‘When I came here you were always singing, a hint of the clip of your pick in your winnowing climb and attack. Raise it again, man. We still believe what we hear. Heaney, Seamus: he Singer’ House (1979) [from Opened Ground: Poems 1966-1996 (1998), Faber and Faber} and in Seamus Heaney - Collected Poems (1999). By kind permission of Faber & Faber, and in North America, Farrar, Straus, and Giroux, LLC. All rights reserved, CCE Harp of Tara Kingston Irish Slow Session FlingsSet Dances Set Dances S et Piece or Long Dance’ - one of about 40 tunes (new tunes are added and others dropped from the lise occasionally) composed by dance masters to accommodate footwork. They typically have irregular bar counts and structures, and are usually written out in Hornpipe time, but played ata slower pace. Some of these dances are in 2/4, 4/4, 6/8 and there is one in 9/8 time. A set dance in 2/4 or 4/4 is considered to be in “hornpipe timing” and a set dance in 6/8 is in “Treble jig" timing. (CCE Harp of Tara Kingston Irish Slow Session H31‘The Ace & Deuce of Pipering (Aon's Dé na Piobaireachta, A hAon'sa dé na Piobaircachta) G Major Set Dance, Hompipe time G D w= = Source: Capt. Francis O'Neill- O'Neills 1001: The Dance Music of Ireland, adapted slightly to Gay McKeon’ setting Irish, Set or Long Dance (cut time). The ttle means the highest quality of performance on the Uilleann pipes, and the tune was considered “the perfection of music when well played on the bag-pipes, and its correct performance was believed tobe a sufficient rest af the instrumental skill of a piper” (Joyce, 1873). Joyce specifies hornpipe time for the melody. —Fiddlers Companion Gay McKeon plays a slow air 8e “The Ace and Deuce’ set dance from the Pipe maker), Re sessions heep:/ wx Leo Rovssome (Musician, Teacher & Uilleann playing of din Ned Shes Pub (‘The Merchant) Dublin, "This pub is famous for ies set dancing and traditional Irish mus routube.com/watch?y=dq3m_R3Lnw 32 CCE Hap of Tara Kingston Irish Slow Session Set Dances‘The King of the Fairies (Rina Sidheoga, Rina Siog) Set Dance E Minor -Acolian Em Ee ot 7 Source: Kevin Burke - Learn to Play The Irish Fiddle Note. Although written out asa hornpipe, the sune is ‘Long Dance' or ‘Set Piece‘ one of about 40 tunes compased by dance masters to accommodate footwork. They typically have irregular bar counts and structures. ‘King ofthe Fairies’ appears to be derived from a Jacobite tune called ‘Bonny Charlie appearing in many 18th century Scots and Northern English publications, such as Aird (1783). It was collected in the 19th century in Ireland by PW. Joyce (Old Irish Folk Music and Songs, 1908, No. 690) under the ttle "Your old wig isthe love of my heart; and by George Petrie asan untitled ar Fiddlers Companion Set Dances (CCE Harp of Tara Kingscon Irish Slow Session H33Rodney's Glory (Gisire(Ui} Rodinaigh) ADorian Set Dance An G e Source: Matt Cranitch- The Irish Fiddle Book [Notes Se Dancer or Set Pieces have ae, rfsedrequenceofdance stops. The numberof bart is freguently noe the regular 8 “se une it at dance version of Turlough O Carolan’ air Princes Royal [1] or Miss MacDermott the tite Rodney Glory, explains O'Sullivan (1983), was derived fom verses by the poet Eeghain Rua O Siileabbin im 1782, ret to O Carola bane. The song commer rates nal bate fought that year in which George Rodney (d 1782), then vicradmiral of Great Britain, encountered a French fleet under Admiral Comte De Grase. “The Battle ofthe Sains or ‘Les Saintes (named afer Le desde Saintes, inthe West Indies eeweon Guadeloupe and Dominica), as the engagement was ale, was one of ‘thermos inportan ea batls in wooden ship history. Rode thirty H34 CCE Harp of Tara Kingston Irish Slow Session Am G Am thre ships broke in tw places the French lneofbatle of thirty-seven ‘hips ofthe line, when afer hefletsad nearly passed each ater on apposite acs a change of wind favored the British, The rend was the capture ofthe Brench flagship and admiral along with five ether ships 1st be the final atte ofthe War ofthe American Revolution, son, strategically, although it didnot negate Washington victry at Norktown it did preserve Britain's West Indian teritares Rodney suas rewarded with a peerage although he came infor eritcon for not following up bisinitial victory with te destruction ofthe remainder ofthe French fet. OStilleabbinsered on “Use Formidable a hip tchich saw some ofthe severe fighting and thus Rodney’ Glory iva firr-hand account ofthe bal, — Fiddler's Companion Set DancesStrathspeys S trathspeys originated in Northeastern Scotland, Moderate 4/4 time ritten in four pairs of eighth notes. However, the firs ofthe pair is not ways the long one. When the second eighth note is long, this makes the Scottish snap. a eee Ik isa close relative of the hompipe and reel, but played ata slower tempo than cither and is recognizable by the ‘Scots snap’ rhythms. Sometimes called “highland? in Northern Ireland, chough highlands are played a bie faster than. secathspeys Strathspeys (CCE Harp of Tara Kingscon Irish Slow Session 35,Captain Campbell A Minor - Aeolian. Source: Fiddlers Companion, Stewart-Robinson - The Athole Collection (1884), afew notes adapted, Brian Flynn. Scottish (originally), Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island, A Minor or Dorian. Alasdair Fraser says the tune appeared in print as early as ‘The Iron Man Strathspey A Major J. Score Skinner e Source: David Brody - the Fiddler's Fakebook. Discography. Tommy Peoples- Uhe Iron Man. Composed by J Scot Skinner (1843-1927), "The Strathspey King, fr his friend and benefactor William M.E. McHardy, the Laird of Drumblair 136 CCE Harp of Tara Kingston lsh Slow Sesion StrathspeysMemories of Father Angus MacDonnell G Major e Source: Nuala Kennedy, Harp of Tara flte workshop 2013. Score is from the session’ which matched Nuala’ setting Composed by the late Cape Breton fiddler Mike MacDougall. Laird of Drumblaire (Laird o Dramblace Scachspey) srathspey A Major James Scott Skinner PF rf Source: Tommy Peoples 50 Irish tunes arranged and played by Tommy Peoples ‘We mansion of Drumblair lies in the Parish of Forgue, on the north-western borders of Aberdeenshire in the North West of Scotland. The tune was composed by]. Scot Skinner (1843-1927) for his friend and benefactor William F. McFlardy of Drumblair, who gave Skinner use ofa rent-free cottage for many years to support his art. In bis autobiography (My Life and Adventures, Wallace Music, 1994) Skinner wrote that McHardy, the Laird, was so impressed with the composition that for the remaining 15 years of his if he sent Skinner a thank-you check at Christmas-time. McHardy could apparently well afford to be ‘magnanimous, for he had made a fortune of over 100,000 pounds in South America with engineering enterprises before returning to live at Forgue near Huntly. the tune is considered one ofthe finest and most famous of Skinner’ 600 compositions, and appears in bis "Harp and Claymore" collection. —Fiddler’s Companion Strathspeys (CCE Harp of Tara Kingscon Irish Slow Session 37Index - Hornpipes, etc. (Common Tune Names) A ‘Ace & Deuce of Pipering, The — H32 ‘An Buachaill Dreoite - H22 ‘An ‘Sean Bhean Bhocht ~ H9 B Bonaparte Crossing the Rhine — 110 Boys of Bieehill - H4 Caislein An Oir,(Am) ~ H16 Captain Campbell — 36 Chief O'Neill Favorite — H6 CClareman’s Hompipe ~ H 22 Cronin’ — H14 Curlew Hills — H 25 "Cur" Teahan’s Fling #2 — 28 F Flowing Tide, The - H12 Frank Thornton's Highland — 128 H Harvest Home - H8 Home Ruler = HIE Humours of Ballyconnell ~ H18 Humours of Tuamgreine ~ 16 Humours of Tllycrine, The ~ H 17 I Iron Man, The ~ 36 J Jackie Tar - 12 Jerthe Rigger - H24 Johnay Cope ~ H21 Johnny Cope, March ~ H 20 K Keel Row Fling ~ H 29 Kildare Fancy, The ~ H 15 King ofthe Furies, The ~ 133 Kireys Wedding — F111 H38, L Laird of Drumblaie — 37 Lucy Farr’ Barndance M ‘Memories of Father Angus MacDonnell ~ 37 Morrison’s Barndance ~ H125 Murphy’ — HIB o Offto California — 15 P Peacocks Feather #1, The Peacock’ Feather #2, The Plains of Boyle, The ~ H8 R RightsofMan - H6 Rodney's Glory - H34 s Some Say the Devilis Dead Stack of Barley - H14 Stack of Wheat, The ~ HIS Staten bland ~ H4 T Thadelos - H24 w Wicklow The = 1113 (CCE Harp of Tara Kingston lish Slow SessionIndex - Hornpipes, etc (Including Alternate Tune Names, A Ace & Deuce of Pipering, The — H32 A Donegal Bandanee ~ H25 Ahaon sa d6 na piobaireachts ~ H32 ‘An Buachaill Deeoice — H22 An Staicin Cruithneachta — HIS ‘An Staicin Eorna — Hd ‘An Sean Bhean Bhocht ~ H9 ‘Aon's Do Na Piobaireacda — H32 Aranmore Ferry, The ~ H4 B Bailesn Fhémbair - H8 Banais Caitlin ~ 11 Bobby Casey’s Hompipe ~ H17 Bonaparte Crossing the Rhine - H10 Boys of Bluchill ~ H4 Boys of Oak Hill, The ~ H4 Buscailli Ua Cnoc-Gorm — H4 alsledn An Gir, (Am) ~ 116 Captain Campbell ~ 36 Ceart Na Cine Deona = H6 (Chicf O'Neill Fancy — H6 Chief ONNeills Favorite — H6 (Chui mé Feisteas ar mo Theachsa ~ H 17 Gil Manin ~ H13 CClaseman's Hornpipe ~ H22. CCleive na Péaedige ~ HS CCleice na Péacdige — H19 Cork Hompipe - H8 ‘omphiopa Ui Chréinin — 114 Comphiopa Ui Mhurchads — 1113 Crannciuil iu = HIS Cronin's - H14 Cuckoo's Nest = H12 Curlew Hills — H25 "Cue" Teahan’s — 128 ‘Cu2” Teahan’ Fling #2. H28 D Daniel O'Connell, The Home Ruler = HLL Deirean Fogmair - H& Delahaney’s Hornpipe — H13 Donegal Barndance ~ H25 F Hiilee Go h-Eisinn — H22 Flowing Tide, The ~ HI2 Frank Thornton's Highland — H28 Frank Thornton's Highland Fling — H28 G General Coope ~ H120 General Coope = H21 Gerthe Rigger — H24 Glenbeigh The ~ 1125 Gloire {Ui} Rodnaig — 1134 Golden Castle, he ~ H16 H Harvest Home - H8 Home Ruler - HII Humours of Ballyeonnell — H18 Humours of California, The - HS Humouts of Taamgraney — 1116 Humours of Tasmgreine — 1116 Humours of Tallyereen — H17 Humours of Tullycrine, The ~ H17 1 Inntigee Go California - H5 Iron Man, The = 36 J Jackie Tar = H12 Jeran Rigéara - H24 Jerthe Rigger - H24 Johnny Cope — 121 Johnny Cope, March — 1120 K Keel Row Fling ~ H29 Kildare Faney, The ~ H115 King of the Fairies, The ~ H133 Kieys Wedding — H11 L Laird of Drumblaire Strathspey ~ 37 Laird of Drumblaire — 37 Lasses of Donnybrook, The - H29 Little Seack of Wheat, The - HIS Little Stack{s) of Barley - H14 Love Will You Marry Me? ~ H.29 Lucy Bares Barndance ~— 126 (CCE Hap of Tata Kingston lish Slow Session 139Index - Hornpipes, Barndances, Flings & Strathspeys (Complete, McCollumn’s Hompipe ~ H11 MeDermote’s Barndance ~ H25 Memories of Father Angus MacDonnell ~ 3 Morrison’ Barndance — H25 Morrison’ Polka ~ H25 Marphy’s - H13 Murphy’ Fancy — 113 ° Off to California — H5 (Old Cork Hompipe ~ H22 O™Mahoney’s Hompipe - H22 P Peacock’s Feather #1, The ~ H19 Peacock’s Feather #2, The - H19 Plains of Boyle, The - 8 Pléarica Thuaim Gréine - 1116 Poor Old Woman, The ~ H19 R Rights of Man — H6 Rina Sideog ~ H33 Rodney's Glory - H34 Roga an Taoisaig UINiall — H16 Roga CilleDara — HIS s Shan Van Voche (anglicised) — 119 Some Say the Devilis Dead ~ H129 Sruthan a! Chait — 117 Stack of Wheat, Ihe — HIS Staten Island — H4 Surcam of the Cat, The ~ H.17 Sugea Baile-Ata-Conail ~ H18 T “Thadelo’s — 1124 ‘Thadelo’s - 1124 (The Standard on) The Bracs of Mar (Scotland) - H.29 Tuamgrancy Castle ~ H16 w Wicklow, The ~ H13 H40 c low Session Harp of Tara Kingston Irish. Strathspeys