Airs Song Airs, Carols, Harp Tunes, Slow Airs CCE Harp of Tara | htep://www.srayner.ca/comhaltasAQ CCE Harp of Tara Kingston Issh Slow SessionContents- Airs... 6.6 eee eee eee AB Airs Ashokan Farewell A4 Blind Mary.. AS Dirry Old AS Boolavogue. .... AG Buachaill O'n Eizne. - AG Dark sle AT Dawning of the Day AT Erin Go Brigh -A8 Far Away AS Foggy Dew, The (Dm) Ag Follow Me Up to Carlow... AD Hector the Hero. - Al0 VIN Tell Me Ma. - Al0 MacPherson's Lament, All Mari’s Wedding LAL Mist-Covered Mountains of Home... A 12. Niel Gow’s Lament for the Death of His Second Wife (D) .AB Niel Gow’s Lament for the Death of His Second Wife (G) .Al4 Rising of the Moon, The... . . AM G16 Sé do Bheatha ‘Bhaile. AS Si Bhean Locha Léin. AIS Sally Gardens, Down by the. .. AIG Parting Glass, The - oo AIG Scotland the Brave AIT Seanbhean Bhocht AIT Shanne Bradley . ALB South Wind . /AId Skye Boat Song -Alg Star of the - A20 Spancilhill (E Dorian) Au Spancilhill (Dm Dorian) - A22 Whiskey in the Jar Summer River Mo Ghile Mear Abhran Na Bhfiann - The Soldier's Song Carols All Through the Night (@) Al Through the Night (F). Don Oiche id I mBeithil Auld Lang Syne (G) Auld Lang Syne (F) ‘Tua Bethlehem Dref The Wexford Carol Harp Tunes Capeain O'Kane, Carolan’s Draught, Carolan’s Welcome Give Me Your Hand Fanny Power Lord Inchiquin Morgan Magan Planxty Connor Planxty George Brabazon Planxty Irwin Si Bheag, Si Mhor ‘Thomas Leixlip the Proud Slow Airs Ambhrin na Leabhar An Coolin Inis Oirr, An AB AD AS A28 A28 A28 A29 A29 A30 A30 A32 ABB AB34 A35 A36 A36 AB7 A38 - A39 Index- Airs (Common Tune Names)... . . Index - Airs (Including Alternate Tune Names) Airs (CCE Harp of Tara Kingston Irish Slow Session A39 A40 AL AM A4S A3Ashokan Farewell D Major Jay Unger D G Em D Bm G A D c G D D beara we in ar oD slremate endings e Source: Various, arranged Note: a modern composition, the theme for PBS's "the Civil War” Ungar was born in the Bron: (New York City) in 1946, she son of immigrant Jewish parents from Eastern Europe... the lase 1960s, he became a member of "Cat Mother and the All Night News Boys’ and, later the Putnam String County Band. Alshough he has often played with David Bromberg, be is probably best known for Ashokan Farewell (1982), originally composed asa waltz, which was used as the theme tune tothe Ken Burns documentary "Ihe Civil War' (1990). Many of his other compusitions are familiar to contra dancers, notably "The Wizards Walk’ —Fidéler’s Companion A4 CCE Harp of Tara Kingston Leis Slow Session AirsBlind Mary (Méire Dhall) D Major dD oD Gop é a Source: Marcel Picard, Harold Kenny, Dennis Wilion - The Kingston Collection of rsh Dance Ties Irish, Planscty (“very slow" air in 2/4 time, O'Neill 4/4 time, Joyce & Vallely) The tune i attributed to blind Irish harper Tar- Tough O'Carolan (1670-1738), although Donal O'Sullivan, in his definitive work on the bard, could find no incontrovertible evidence of its origin. It was copied by Chief Francis O'Neill from Forde’ tw0-valuone Encyclopaedia of Melody (c 1845), which carried the attribution to O'Carolan. Unfortunately, only the first volume survives (in the O'Neill papers danated 10 Notre Dame University), and its presumed that ‘Blind Mary’ isin the second, a copy of which has not been located in Ireland, Britain or the United States. Donal O'Sullivan (1958) does not think che piece characteristic of O'Carolan's melodies, and Dirty Old Town C Major D Gc Dp “But for Forde’ high authority we should hardly be justified in including it” in his collected O'Carolan works. If Carolan did compose the tune, it was probably for another blind harper. named Maire Dhall (Blind Mary) who lived in bis locality, and whom he undoubtedly knew. Maire Dhall was a profession al harper (one ofthe few women recorded as being inthe profes sion) who taught another blind woman, Rose Mooney, who appeared at the Belfast Harp Meeting of 1792, ome ofthe last gatherings of ancient rsh harpers (Sanger & Kinnaird, Tree of ‘Strings, 1992). Harper Charles O'Conor’s diary mentions that in October, 1726, bis two younger brothers were learning harp _from a woman barper named Maire Dhall. Uhe tune appears 10 have been recently popular with flute players. Fiddler's Companion Ewan MacColl o Source: The Sesion.org, adapted by Paul Gillespie An Ewan MacColl wrote this song and had it sung in a play ofis performed in 1949, called “Landscape With Chimneys" Airs (CCE Harp of Tara Kingston Irish Slow SessionBoolavogue (Melody is 'Yougal Harbour’) Song Air, Waltz GMajor G c o Em Am c G c G Em Am c G c og ye E Am G e Source: Cobb's Music of Ireland, slightly adapted A popular air composed by Patrick Jaseph McCall (1861-1919), a Dublin publican and city councilman who wrote many patriotic ballads, a number of which have entered into the tradition and which have become an integral part ofthe ballad singers repertoire. ‘Boulavogue' was written in praise afone ofthe County Wexford leaders of the 1798 rebellion, a Croppy priest: Father Job Murphy, and is often sung to the old air called "Youghal Harbour! McCall was also the co-author of the Feis Ceoil Collection of rsh Airs (1914, reprinted as the Darley & McCall Collection of ‘Traditional Irish Music), a collection of airs and tunes collected from competitors atthe several Feis Ceol from 1898 on, which McCall had helped initiate and sponsor (Breatbnach, 1996). —Fiddlers Companion Buachaill O'n G Major ime (translates s Boy from Ireland; Come By the Hills) Slow Air G c G c G G c 6 ° o e Source: Walton’, Clare McKenna - Irelands Best Tin Whistle Tunes 1 ‘he melody was used for the song "Come by the Hills by Scottish journalist and television producer W. Gordon Smith in the 1960's AG CCE Harp of Tara Kingston Irish Slow Session AirsDark Isle (Dr Mackay’s Farewel to Creagorry) A Dorian / G Major Iain MacLachlan Am Em c G G Bm Em D G c G G Bm Em D7 Source: Scottish: 1963. This version arranged from mulple sources Composed in 1963 as a pipe lament by the late lain MacLachlan, an accordion player rom Creagorry who originally titled it ‘Dr Mackay/s Farewell to Creagorry; afer a local physician. Various lyrics have been written to the tune, although the firs version was by Davia Silver of Inverness, who was asked to write a song or a BBC TV thriller, "Ihe Dark Island’, fed in Benbecula in 1963. The island was his inspiration forthe pensive song. He set his lyrics to MacLachlan’ air. —Fiddlers Companion Dawning of the Day ( D Major -finne Geal an Lae (“The Bright Ring of the Day"), On Raglan Road) D G D c D G D Bm A e 7 Source: Matt Cranitch - The Irish Fiddle Book ‘he air, one of « suppased seven or eight bundred, was reputed to have been composed by she “Great Harper” tomas O'Connellan (born at Cloonmahon, also anciently known as Clonymeaghan, either around 1625 or 1640), from County Sligo who spent considerable time in Scotland. O'Neill (192) says: “O'Connellan flourished in a period when the renown of Irish harpers became a ‘matter of history. After a sojourn of 20 years in Scotland, he returned to his native land in 1689, and died nine years later” —Fiddlers Companion Airs (CCE Harp of Tara Kingston Irish Slow Session ATfirin Go Bragh (Irland Forever, The Old Melody, Mascer McGrath) E Acolian Em D Bm Em D Bm Em Source: The Wolfe Tones - Rifle ofthe LR.A, Transcribed RMD, Transposed from Cm ‘This is he melody of a popular rebel ballad - ‘Erin go Bragh' or ‘A Row in the Town’ and numerous other songs. Far Away Waltz B Minor - Aeolian Peter Jang 1985 Brn Fn Bm A G Fem Bm A 1 Bm AG Bm A G Fan Bm. Bm ns Source thesessionorg American. Walz. Compased in 1985 by Pete Jung (Kingston, NX), who said: “Iwrote this while playing the mandolin, onthe sway back home from a Brattleboro (VT) Dawn Dance, at about 7 A.M. I wroteitfor a particular woman who has an enchanting ut elusive quality—that was what Iwas trying to convey.” —Fiddlers Companion AS CCE Harp of Tara Kingston Irish Slow Session Airs‘The Foggy Dew D Acolian Dm c Am F BP Dm F c F Da c Bp Da c Am E > Dm e Source: Marcel Picard, Harold Kenny, Dennis Wilson - The Kingston Calletion of Irish Dance Tunes Follow Me Up to Carlow ‘Single Jig, Slide, March (6/8 or 2/4 time) or Reel E Minor - Aeolian Em BM Em BM Em Bm Em Em Bm D Em Ba D o Source: WWW, sourced asa transription from the band Planxty. Lyries by Frank McCall (1861-1919). Darley & McCall tate that the air is called Follow Me Up to Carlow’ and that there isa tradition that this air was the Clan March of the O'Byrne family, ls first public airing was supposedly when it was played by the Irish war-pipers of Fiach Mac Aodh O Broin (anglicsed Fiach McHugh O'Byrne) atthe fight of Glenmalure (1580) when he attacked the English ofthe Pale (the environs surrounding Dublin), defended by the troops of Lord Deputy Grey. —Fiddler’s Companion Airs CCE Harp of Tara Kingscon rsh Slow Session AgHector the Hero Scottish Lament 1D Major, transposed & simplified JS Skinner, 1903 D G D Bm G Em A “ NY NS Source: Skip Healey - Have Ye This One Hector the Hero was composed by Scots fiddler James Scot Skinner to honour Major-General Hector MacDonald, who had a Aistinguished career in the British Army, starting off as an enlisted soldier and rising through the ranks. He committed suicide in 1903 after accusations of homosexuality. —Fiddler’s Companion. he tune was popularized by the Bothy Band on thei first alburn, paired with "The Laird O' Drumblairstrathspey. Skinner can be heard playing this tune at htcp://wwwabdn acuk/ scottskinner/musicclipssheml T'll Tell Me Ma G Major G G c G b? c o Source: photocopy from unknown Irish Song Book Air, polka. A well known children’s song It was collected in various parts of England in the 19th century and again appears in collections from shortly after the turn ofthe 20th century. In Ireland the chorus usualy refers to Belfast city and is known colloquially as "The Belle of Belfast City’ although it is also adapted t0 other Irish cites, such as Dublin. —Wikipedia A10 CCE Harp of Tara Kingston Irish Slow Session AirsMacPherson’s Lament (MacPherson's Rant, MacPherson's Farewell) Sky Air D Mixolydian James MacPherson, 1700 G b? G c Db? a pr G e Source: Rob Roy Pipe Band, transposed and simplified — Composed by James MacPherson himself in Prison on the eve of bis execution for cattle rustling. Born in 1675, she son ofa gypsy woman and a highland laird. James, a fine fiddler, became the Leader of an unlawful expsy gang plundering the North East of Scotland living of their spoils and sharing thems out with the less fortunate. He was eventually caught in the town of Keith while being chased through the streets by the bailiff where a woman threw a blanket out ofa window trapping James. He was tried in Banff found guilty and was sentenced to hang by the magistrates. On the day of bis execution in Banff the magistrates knew there was a reprieve coming from Aberdeen and pus the town clock forward by 20 minutes so James could be hanged before the specified time. On the gallows he played this tune then offered his fiddle to anyone in bis clan who would play it at bis wake. When no one came forward to take the fiddle, he broke it then threw it into the crowd. the broken fale now liesin a folk museum near Newtonmore ‘The Magistrates were punished for this and the town cock was kept 20 minutes bebind the correct time for many years. Evento this day the town of Macduff has its west facing town clock covered so the people of Banff can't sce the correct time! Inip:/ fw btinternet.com/~Jobn Slaven/macphersonshyricshim (Dead link) Farewell, ye dungeons dask and strong Farewell, farewell co thee Macphetsons rant wil ne'er be lang (On yonder gallows tee. Chorus: Sue antingly, sae wontonly Sae dauntingly gaed he He played Beneath the gallows tee cane an he danced aroon Tewas bya woman's treacherous hand “That Iwas condemned to dee Beneath a ledge at awindow she stood And a blanket she threw oir me. Airs ‘Well the lied o! Grant, that highla’ sine That fits laid hands on me He played the cause on Peter Broon “Ta let Macpherson dee. Untie chese bands from off my hands And gie to me my sword There’ nae a man ina Scotland Buc Il brave him ata word, “There's some come here to see me hanged ‘And some o buy my fiddle But hefore that I do pare wi’ her Tl brak her thro' the midale, (CCE Harp of Tara Kingston Irish Slow Session He took the fiddle into both his hands And he broke it der stone Says there's nae other hand shal play on thee When Iam dead and gone. (lice did my mother chink When she fist cradled me That I would turn a ov And dic on the gallows tre. boy “The reprive was comin’ der the brig Ban To lee Macpherson free But they pit the clock quarter afore ‘And hanged him to ate AllMari’s Wedding (Main's Wedding) ‘AMisolydian D G A 2D G A o Source: Marcel Picard, Harold Kenny, Dennis Wilson - Uhe Kingston Collection of Irish Dance Tunes Scotland, Hebrides. G Major. The tune isfrom the Hebrides Idands (the altermate title refers tothe Isle of Lewis) which lie offthe north coast of Scotland and was fist printed in Marjory Kennedy-Fraser’s ‘Songs ofthe Hebrides" (1909). It was written originally in Scots Gaelic Mist-Covered Mountains of Home (Cifidh mé na mérbheanna (I Will See the Mountains)) Scottish, Slow Air ‘A Acolian Am Em G Em Am Am c Em G Am c Am G Em Am G Am Source: WWW, unattributed. A Scottish song that was written in Gaelic in 1856 by Highlander John Cameron (lain Camshroin), a native of Ballachulish, to an unknown tune melody AR CCE Harp of Tara Kingston Isis Slow Session AirsNiel Gow's Lament for the Death of His Second Wife D Major Slow and pathetic D D: ° Niel Gow Doar G D Be G e Source: Photocopy from unknown Scotich Fiddle Book, courtesy of Al Niel Gow Niel Gow was born in Inver, Perthshire, as the son of John Gow and Catherine McEwan. He started playing the fiddle when very young...but In spite of being something of a ‘musical prodigy, he originally trained asa plaid weaver, but eventually gave up that trade to become a full-time musi cian, This attracted the attention of the Duke of Atholl, who became Niel’ patron, and also ensured Niel’ employment for balls and dance parties put on by the local nobility. In time he became renowned asa fiddler. Niel Gow was marsied twice. His first wile was Margaret ‘Wiseman, and they had five sons and three daughters. After having been widowed, Niel married Margaret Urquhart from Perth in 1768, and they went on to share a happy marred life until she died in 1805, Niel was deeply hurt by her death, and stopped playing the fiddle for a while. His friends finally con- vinced him to pick ic up again, and he frst ching he played was his ...Lament for the Death of his Second Wife! Niel Airs (CCE Harp of Tara Kingston Irish Slow Session died at Inver on 1 March 1807, aged 80. Niel Gow composed a lor of dance music - according to John Glen (1895) he put his name to 87 tunes, “some of ‘which are excellenc” - much of which forms the backstay of Scottish country dance music even today. However it must be said that he was not above directly using good material from other composers to republish under his own name; Glen claims thac from the 87, atleast a quarter are derived from ‘older tunes or ae straight copies of tunes published earlier elsewhere, often under a different title. This being a common practice atthe time, it didn't seem to hurt his reputation. Note: He himself spelled his name Niel, although others sometimes spell it Neil or even Neal. To add to the confusion he had a very musical grandson (by Nathaniel) who did spell his name “Neil: Wikipedia More: htep ‘www folkmusic.net/hemfiles/inarc441 hem Als‘el Gow’s Lament for the Death of His Second Wife, G GMajor Niel Gow Ba c D Em Bm c B © &, Br c D Em Bm Maj? Bm G Em D G Em c Bm Em D c G Em c G o Source: Transposed and simplified, for winds, (Originally D Major from Unknown Scottish Fiddle Book, courtesy of Al) ‘The Rising of the Moon ( D Major righ Na Gréine - Wearing of the Green) D Bm A e — Source: arranged, Paul McAllister ‘The song, with words by Jobn Keegan Casey (1846-1870), was set tothe air of "Ihe Wearing ofthe Green’ ome sixty years after the Irish rebellion of 1798. Casey, from Mullingar, was in prison at the time for the crime of being a Fenian, and died in prison at che sender age of twenty-three asa result of bis sufferings. —Fiddler’s Companion Al4 CCE Harp of Tara Kingston Irish Slow Session AirsOr6 $é do Bheatha 'Bhaile (Dord na bhFiann (Call ofthe Fighters) G Minor Aeolian Air, Slow March Gm F Gm — Chorus F Ge Am Gm e Source: Folksongs and Ballads Popular in Ireland, Volume 1 Warrior” Grainne Ni Mbaille (Grace O'Malley). She was a (Ossian) formidable power on the west coast of Ireland in the late 16th ‘The song in its original form, Séarlas Og (meaning "Young ‘century. (Charles Irish) refers to Bonnie Prince Charlie and dates back The song has been sung widely by ballad groups such as The to the third Jacobite rising in 1745-6. Clancy Brothers and Tommy Makem, The Dubliners, The Cas Inthe early 20th century it received new verses by the nationalist sidys, Noel McLoughlin, The McPeake Family, and the Wolfe poet Padraig Pearse and was ofen sung by IRA members and Tones. Orb Sédo Bheatha ‘Bhaile was also sung by sean-nds “ympathisers, during the Easter Rising. It was alo sung as a fast singer Darach © Cathdin, Dénall O Dail (on he album Faoin ‘march during the lish War of Independence. DbEéd) and by Nioclés Téibin Ord Sé do Bheatha ‘Baile was Since 1916 it has alco been known under various other titles, also used in the 2006 film “Ihe Wind That Shakes the Barley notably Dord na bbFiann (Call ofthe Fighters) or An Dord ——_- Wikipedia Féinne, The latter tite is associated with Padraig Pearse in The air was “borrowed” and used for the popular Sea Shanty, particular. this wersion is dedicated to the pirate or “Great Sea ‘What shall we do with a drunken sailor’ Si Bhean Locha Léin (The Fairy Woman of Locha Léin) ‘ADorian Am G oe Source: Unknown photocopy, contributed by Gerald. Locha Léin isin Kerry Airs (CCE Harp of Tara Kingston Irish Slow Session AlsDown by the Sally Gardens (An Tigh Mughdhorna/Maids ofthe Mourne Shor, Sally Gardens) Ai D Major (Transposed from F) D A « D G D Bm Fm G A e Source: Unknown photocopy from a pennywhistle tutor ‘he Airis ‘Maids of Mourne Shore; Words: W. B. Yeas, 1889. The Irish stle means "Ihe Mourne Shore’ and the tune is also known as "The Maids of the Mourne Shore! Its in O'Neill; 1850, as #49, but in F Te was down by the Sally Gardens, my love and I did meet. She crosed the Sally Gardens with little now-white fet She bid me take love easy, asthe leaves grow on the tree But I was young and foolish, and with her did not agree. ‘The Parting Glass E Minor, Aeolian E D Em Bm Em D Em ¢ G Es G c Am Em D e Source: Ottawa Slow Jam, brtp://www3.sympaticaca/bhtuner/carp/ Te was allegedly the most popular song sung in both Scotland and Ireland before Robert Burns wrote ‘Auld Lang Syne. Scottish, Irish; Air (2/4 time) or March, E Minor. the song "Uhe Parting Glass was popularised in the 1960's by Irish balladeer Tommy Makem, although both asa discrete tune and a descendent of (Scottish) airs, it appears to have been considerably older. Scottish antecedents can be traced ta the Skene Manuscript ofthe early 17th century. Song versions have been printed on songsheets and can be found in the Bodleian Library. Its also the song thas the Clancy Brothers and Tommy Maker would ofen sing to finish of their concerts, —Fiddler’s Companion Al6 CCE Harp of Tara Kingston Irish Slow Session AirsScotland the Brave D Major D G D b? G G DoD G D Bm Ey OA D Fem E? AT D G DoD c D Bm Em Ar D o Source: thesessionorg Scottish, March (2/4 time). Jack Campin believes it first appeared around the turn of the 20th century, with words set t0 it in 1950 by Cliff Hanley (which may be tongue-in-cheek —there is a story that Hanly, a great humorist tried to put as many cliches about Scotland into the lyric asposible!). —Fiddler’s Companion An tSeanbhean Bhocht (the Poor Olé Woman, ‘Shan Van Vocht’) Air, Hompipe G Major e Source: Walton’ Ireland's Bes Slow Airs Note: The song dates from 1796 when a French fleet coming o the aid of Irish rebels was prevented from landing in Bantry by a winter gale. Airs (CCE Harp of Tara Kingston Irish Slow Session AITShanne Bradley D Major D Gp o Source: theSession.org, comments section ‘The piece isso titled in the tradition of the Irish harper and composer Turlough O'Carolan, who frequently wrote picces (usu ally called "Planxty; but not always) in praise of or in honour of a favoured patron, friend or lover. Te tune itself is certainly inspired by O'Carolan's work first heard tits astonishingly contemporary-sounding effet on Sean O'Riada’s albums on Gael Linn from the late 50s through the mid-60s, before his orchestra, Ceoltéiri Cualainn, mutated into The Chieftains Sen O’Riada’s work was an enormous influence on Celtic- Rock band Horsips, in particular their keyboard player flautist Jim Lockhart, and this was the route that took me back to both O'Carolan and O'Réada. Interestingly enough, both O'Riada and Lockhart were sentially jazz musicians who addressed Sean O’Riada (1931-71) Shane MacGowan Irish music with that particular skillset. O'Riada was an extraordinary revelation to me -Uhad never heard Irish music layed like that before or since. Just listen to "The Rights Of Man’ and get transported. O'Riada also had one of Ireland’ greatest cver singers, Sean O'S¢, in his ine up, a man whois, fortunately, still with us. Tave digressed somewhat from the topic but perhaps not - Lknow that Shane (who of course wrote ‘Shanne Bradley’ is atleast as big an O'Riada nut as myself ‘Sean O'Riada’s:son Peadar, a great musician in is own right, supplied the Carolanesque/O'Riadaesque string arrange- ‘ment forthe end of ‘London You're A Lady’ on the ‘Peace And Lowe album.” —Philip Chevron post on hiep:/ www pogues ‘Asa classical composer © Riada’s real strength was for music of the theatre and film. In 1959 he scored a documentary film by George Morrison called Mise fire (I am Ireland), about the founding of the Republic of Ireland, It is available on CD, together with other film music “Saoirse” (1960) and An Tine Bheo (‘The Living Fire). These works combine traditional lish tunes and "sean-nés” (old style) songs with an orchestral arrangement. Ralph Vaughan Williams had already done this sort of thing with English folk music, but in 1950s Ireland traditional music was still held in low regard by some elements ~ the urban middle class - of lish sociery. Mise fire brought him national acclaim and allowed him to stare a series of programmes on Irish radio called Our Musical Heritage. Between 1961 and 1969 © Riada was leader of a group called Ceoltsiei Chualann. Although they played in concert halls dressed in a black suits with white shirts and black bow tie, they played traditional songs and tunes... Wikipedia inghouse.org/2009/07 /sean-o-riada/ CCE Harp of Tara Kingston Issh Slow Session AirsSouth Wind (An Gaoth Aneas) Air G Major Source: Unknown, photocopy. Eduard Bunting said be got this air in 1792 from an old man known as "Poo sho walked the northern counties playing a tn fiddle O'Sullivan sates that little is known of the author ofthe original Gaelic song, save that he was a native of Irrul, County Mayo, named Doranball Meirgeach Mac Con Mara (Freckled Donal Macnamara). the late fiddler Junior Creban (1908-1998) told a story about how the air was learned by the west Clare musicians It seems that a ghost ship was bringing back to Ireland the souls of the Wild Geese who had been killed in battle, As the vessel proceeded around southwest Cork it was driven up the west coast by a southern breeze and the ghosts of the Wild Geese could be heard chanting this tune, which was picked up by musicians on the coast of Clare who witnessed the event, —Fiddler's Companion Skye Boat Song Air Scot G Major G Em D G © 6 G é Source: unknown, photocopy Airs (CCE Harp of Tara Kingston Irish Slow Session AlyStar of the County Down E Minor - Aeolian Em c G D Song or March G D Em D Em c G D e So Em Source: Uhe Sesion.org Irish; March (4/4 time), Air or Waltz (3/4 time) County Doun takes its name from Downpatrick, where St. Patrick is said to have been buried (‘Down"is a variation ofthe Celtic word Dun, meaning a fortified place), A star, in Irish vernacular, isa beautiful woman. Jobn Loesberg (1980) says the air originally was set to the sheet ballad My Love ‘Nell! but first appears under the ‘Star ofthe County Down' ite in Hughes Irish Country Songs, with words written by Cathal Mac Garvey {1866-1927}. However tis popular air seems to have been attached to numerous songs over the years. Fiddlers Companion Note from Skye Boat Song: Words tothe tune were written by Sir Harold Boulton to an air collected by Miss Annie Macleod (Lady Wilson) in the 18705, It seems that Miss Macl.cod was on a trip tothe isle of Skye and was being rowed over Loch Coruisk (Coire Ug, the ‘Cauldron of Waters) when the rowers broke out into the Gael rowing song ‘Guchag nan Craobh (Uhe Cuckoo in the Grove). A talented composer and singer, MacLeod remembered fragments af the song and fashioned them into an air which she set down in notation with the intentions of using it later in a book she was 10 co-author with Boulton. It was he that transformed the words the group had been singing..and it was he who wrote additional Iyries ina Jacobite mold, introducing the heroic figures of Bonny Prince Charlie and Flora MacDonald. As a piece of modern romantic literature with traditional links it succeeded perhaps 100 wel, for soon people began “remembering” they had learned the song in their childhood, and that the words were old Gaelic lines. In 1893 a publisher, believing she tune to be an ancient sraditional air commissioned a Brechin teacher named Marga A20 CCE Harp of Tara Kingston Issh Slow Session ret Bean to compase another set of yrics to it, which gained some popularity Francis Collinson, in his “Traditional and National Music of Scotland,” says that “Among a sea going island people like those of the Hebrides, the iorram (pronounced-irram) or rowing songs ‘must have been one ofthe most frequently beard songs.” Many of the songs are written in 3/4 or a sow 6/8 time. Stan Reeves remarks "Collinson was puzzled by this as rowing has an in and aut movement. But he had obviously never rowed with long carson the Minch, The Ist beat is very pronounced and cor- responds with lifting the oars out and swinging them forward «as you straighten your arms and lean forward. 2 and 3 are the pulling stroke. Imagining this when you are playing wil give ‘you the right tempo and a very primitive rhythmic chanted fee, rather than the twee parlour interpretations. Try it with Pear a’ Bhata!" or the Skye Boat Song: These are ust two ofthe many «airs used as waltzes in the Western isles which clearly predate the introduction ofthe waltz.” —Fiddler’s Companion AirsSpancill EDorian Em G D Source: Walton’, Clare McKenna - Ireland's Best Tin Whistle Tunes 1, adapted ‘Spancil Hill isa traditional Irish folksong which bemoans the plight of the Irish immigrants who so longed for home from: their new lives in America, many of whom went to California with the Gold Rush. Spancil Hill (or ‘Spancill Fill) is also the name of the "District Electoral Division as well of « small settlement in East County Clare, about 5 km cast of Ennis, on the regional road 10 Tulla. However, the actual name ofthe central settlement is "Cros of Spancilbill’, as mentioned in the song. The area was originally called Cnoc Fuar Choile (The Hill ofthe Cold Wood), a name that was somehow anglicsed to Spancil Hill Michael Considine was born around 1850 and emigrated tothe USA from Spancillill at around 1870. At the age of 23, he suffered from ill health for along time and, knowing he hadn't long to live, he wrote the poem "Spancilbil’ to be sent home in remembrance of bis love and it was kept safe by bis six year old nephew, Jobn Considine. It issaid that Michael Considine died sometime in 1873 and may have been buried in the Spancilill graveyard. Fiddlers Companion Airs (CCE Harp of Tara Kingston Irish Slow Session AllSpancilhill D Minor Dorian Dm D c e Dm Source: Walton’, Clare McKenna - Ireland’ Best Tin Whistle Tunes 1, Transposed. Note: Every year a major horse fair takes place at Spancilbil, a cros-roads four mies from Ennis, In the song the emigrant dreams of the spot and the happy memories it bolds for him. Words by Michael Considine, who died sometime in 1873. Whiskey in the Jar (Kilgary Mountain) D Major D Bm G D e Source: The Dubliners. Transcription by Brian Flynn, Robert MacDiarmid, but based on Jobn Chambers 2006 as Kilgary Mountain: Jobn notes that there is no such mountain, atleast notin Ireland The song's exact origins are unknown. A number ofts ines and the general plot resemble those of contemporary broadside ballad ‘Pasrick Fleming’ (alo called ‘Patrick Flemmen he was a Valiant Soldier’) about an Irish highwayman executed in 1650. In the bok “The Folk Songs of North America’ folk music historian Allan Lomas: suggests that the song originated inthe 17th century, and (based on plossmiariies) that Jobn Gays 1728 "The Beggar's Opera” seas inspired by Gay bearing an Irish balad-monger singing ‘Whiskey inthe Jar’ In regard tothe history ofthe song, Lomax states, “The fll of seven teenth cntary Britain liked and admired ther local bighwaymen; and in Ireland (or Scotland) where the gentlemen ofthe roads robbed English landlords, they were regarded as national patriot, Such fel- ings inspired this rollicking ballad.” A22d CCE Harp of Tara Kingston Issh Slow Session ‘The song issetin the southern mounains of eland, with specicmen om of counties Cork and Kerr, aswell as Feit awllagein county ery [tis about a Rapparee(Highusayman), who i berayed by his suifeor love, andisone ofthe most widely performed traditional sh songs It bas been recorded by numerous profesional arts since the 1950 he song it gained wide exporre when the rich folk band “he Dubliners performed it internatonally aca signature ong, and recorded itom hve alburns in te 1960s Building on their sucess, the Irish rockband Uhm Ly bit the Irish and British pop charts with the song in the early 1970 The American meal band Metallica brought isso aider rock aince in 1998 by playing a version very similar 0 ‘that of Usin Liveys with a beaver oxnd, and won a Grammy forthe song in 2000 for Best Hard Rack Performance. Wikipedia AirsSummer River (Afon Yr Haf) Slow Ais, Welsh, E Minor - Aeolian Em G Em D Em Em D Em Em G D Em Fine c D Em Em D c Tem RE pC altine o Source: CD ‘Hyn' by the Welsh group Careg Lafer. Transcribed by Paul McAllister. he Key has been transposed, and the Time Signature changed from 4/4 to a more relaxed 3/4 Airs (CCE Harp of Tara Kingston Irish Slow Session A23Mo Ghile Mear (Oar Hero, My Gallane Darling) GMajor G DG c G Em D G G G c Am e hexp://wwwpipersie/tutor/seorch/MoGhileMearhtm http://pipers.ie/tutorasp By the 1700', the old Gaelic order in Ireland and Scotland was crumbling before the advances ofthe colonizing English. The hopes of both peoples rested with Prince Charles Sacart, "Bonnie Prince Charlie” ‘Mo Ghile Mear' (My Gallant Darling) isan old Irish song, written in the Irish language by Sen Clérach Mac Domhnaillin the 18th century. Composed in the convention of Aisling (dream or vision) poetry, iti lament by the Gaelic goddess Eire for Bonnie Prince Charlie, who was then in exile A24 CCE Harp of Tara Kingston Irish Slow Session AirsTRISH REPUBLIC Anihesite na bhhBiann (The Soldier's Song) Abhran na bhFiann - The Soldier's Song B Flat Major Peader Kearney and Paddy Heeney c F c F o Source:http://www saoiseach gou.ie/eng/ Youth Zone/About_the Constitution, Flag, Anthem Harp/National Anthem.btml The text of The Saldier’s Song (Ambbrin na bhFiann), consisting of three stanzas and a chorus, was writen in 1907 by Peadar Kearney, an uncle of Brendan Behan, who together with Patrick Heeney alo composed the music. First published in the newspaper Irish Freedom in 1912, it became popular in the Irish Volunteer Force. The song was not widely known until it was sung during the Easter Rising of 1916 and later at various internment camps. The chorus was formally adopted asthe National Anthem in 1926, displacing the earlier Fenian anthem, God Save Ireland. A section ofthe National Anthems (consiting of the fist four bars followed bby the Last fve) is aso the Presidential Salute. The copyright expired in January 2012, The Irish government, concerned that it might be used in ad jingles’ purchased the copyright for £100 ‘here are three verses but only the chorus is normally played. Airs (CCE Harp of Tara Kingston Irish Slow Session ArsA26 CCE Harp of Tara Kingston Irish Slow Session AirsCarolsAll Through the Night (Ar Hyd y Nos) “Trad. Welsh Lullabye G Major G c A D c D7 G © Gc Gi c Am Am G Am Em c D oS Source: Arranged, Paul McAllister ‘Ar Flyd y Nos" (AU Through the Night’) isa Welsh folksong sung to a tune which was first recorded in Edward Jones’ Musical and Poetical Relics ofthe Welsh Bards (1784). All Through the Night (Ar Hyd y Nos) ‘Trad. Welsh Air F Major F Bb G Bb cr F BbooF pb OF BP Gm F Gm F Dm B> 2 Source: Arranged, Paul McAllister. Transposed Don Oiche did i mBeithil (To That Night In Bethlehem) EMinor- Acoian Em D Em G D D Em G D G Em D Em G D Em e Source: photocopy from unknown Book of irish Christmas Carols. Discography: Chiefains - Bells of Dublin AB CCE Harp of Tara Kingston Irish Slow Session CarolsAuld Lang Syne Scottish Air, words by Burns G Major (Transposed from F) G Em Am D G c Choris Dp Em Am D G c e Source: Ottawa Slow Jam, Carp Addendum ‘Auld Lang Syne F Major F Dm F Gm C9 CAdim = Dm Fv Bb GAaim F Dm Gm Co AT Dm Gn? c7 OF co F Dm Gm co F FT Bb Ghaim F Dm Ga co Ay Dm Gm7c7 F oe Source: Big Book of Christmas Songs Carols (CCE Harp of Tara Kingston Irish Slow Session Arg‘Tua BethIchem Dref (On to Bethichem Town) ‘Trad. Welsh Carol D Minor - Aeolian Da c Dm c Da G Da G Da Da F Dm F c Da Dm G Da e Source: Traditional Welsh Carol, Arrangement by Dean C. Young, from the film A Child's Christmas in Wales’ Cypress Films tp://www.cypressfilmscom/PDE/Tua_Bethlem Drefpdf ‘The Wexford Carol (Enniscorthy Carol, Caril Loch Garman) GMajor dss D AmG ° o o Da Am B Gas F © Source: Photocopy, unknown source ‘Traditional religious Irish Christmas carol originating from County Wexford, and specifically, Enniscorthy (whence its name), and dating tothe 12th century. "The Wexford Carol'may be one of the oldest extant carols in the European tradition. A30 CCE Harp of Tara Kingston Irish Slow Session CarolsHarp TunesCaptain O'Kane (Cailintghe mhéit, Captain Henry O'Kain, The Wounded Hussar (song ir) E Aeolian Em Bm Em c Bm Source: Gréinne Hambly Goderich workshop, Judi Longstreet Irish, Air or Planxty (6/8 time). E Aeolian (Johnson, Mat- shiesen, O'Neill, O'Sullivan): G Aeolian (Gow): A Minor (O'Farrell): D Minor (Martin). Standard tuning. AB (Com- plete Collection, Matthiesen, O'Neil, O'Sullivan): AAB (Johnson, Martin): AABB (Gow, O'Farrell). O'Farrell directs: “Slow.” “Captain O'Kane” is thought to have been composed by lind Irish harper Turlough O’Carolan (1670-1738) for his fiend Captain O'Kane (or O'Caban), a sporting’ Irishman of «distinguished County Antrim family who was well-known in his day as “Slasher O'Kane'(O'Sullivan, Carolan, Uhe Lifeand Times, based on information in Hardiman’s rsh Minstrels, 1831}. O'Carolan authority Donal O'Sullivan could find no at- tribution in any source to O'Carolan, but says the style is his and he generally accepts itis a composition ofthe bard. O'Sullivan alo could find no further information on ‘Slasher’ O'Kane O'Neill (1922) says: "We learn from Alexander Campbells song ‘The Wounded Hussar’ printed with the musicin Smith’ Irish Minstrel (Edinburgh, 1825) the O'Kain was Captain Henry Grdinne Hambly O'Kain who died of bis wounds on the banks ofthe dark rolling Danube.” O'Sullivan’s attribution is based on a comment by Hardimann (who said O'Carolan wrote it) and because of ty istic similarities with other O'Carolan works. O'Neill (1913) quotes Patrick O'Leary, an Australian correspondent, who wrote shat the Captain ofthe title was “the hero ofa hundred fights, fom Landon to Oudenarde, who, when old and war-worn, tot- tered back from the Low Countries to his birthplace to die, and found himself nat only a soranger, but an outlawed, disinberited, ‘homeless wanderer in the ancient territory that bis fathers ruled «as Lords of Limavady.” The earliest printing ofthe tune Captain Francis O'Neill could locate was in James Aird’s 1788 Selection of Scatch, English, irish and Foreign Airs (vol. 3), although he also found it (under the ttle “Captain Oakbain: A Favourite Irish Tune") in MeGoun's Repository of Scots and Irish Airs, Strathspeys, Reels etc. (Glasgow, 1803)—the same title and pre- sumably the same tune was printed in Alexander McGilashan's 1786 collection. Gow also gives “Irish” as the une's provenance. —Fidéler’s Companion “Since the 1970's in particular there are waves of very passionate harpers around the country, and indeed outside of Ircland experimenting daily with techniques. I think ultimacely what we're all waiting for isa new generation of Irish hrarpers who are going somehow or other to link back into that original broken spark in the early nineteenth century: and that ean only come through a new kind of creativity” - Micheal O’Suilleabhain - Bringing It All Back Home Grainne won the All-Ireland senior competition in Clonmel in 1994 on the concertina. In 1990 atthe Glencolmeille Annual Summer School she met Janet Harbison and began playing the harp. After only four years playing the harp she ‘won competitions at the Keadue (1994) and Granard (1995) Harp Festivals and the al-Irland senior harp competition in 1994 Asone of che original members of the Harp Orchestra Grainne plays a variety of music both traditional and classical She is also a member of the National Folk Orchestra. Source: hetp://www.mayo-iteland.ie/ Mayo /Towns/MayAbbey/MAPblen {ag1995 /GrainneH.hes ABZ CCE Harp of Tara Kingston Irish Slow Session Harp TunesCarolan’s Draught (0'Carolans Draught) G Major Tuslough O'Carolan c D c G Am D D SG D Em Bm c c D Em D, G QD fe o Source: Sunita Staneslow - Solo Harp (Lifscapes, 1998). Mr: Richard Dowden, Alderman of Cork. Though bitherto Adapted, by Judi Longstreet unpublished, and, apparently, unknown to preceding collectors, Composed by blind Irish harper Turlough O'Carolan (1670- she peculiarities ofits style, and of its flow of melody, can leave 1738). The air was printed in Petriés "Music of Ireland” (1882) no doubs as to its being « genuine composition ofthe eminent with this note: “Whe following spirited harp melody was ob composer whose name it bears: and ast eems tobe known only tained from an old MS. music-book sent to me by Father Walsh, in Munster, it may perhaps be regarded as one of the many sunes BB of Sncem, in the county of Kerry: and Lfound a second composed by the bard during his sojourn in thas province; and setting of tin an extensive manuscrips collection of tunes made, which, unlike the majority of bis Connaught tunes, do not ap within the present century, by Patrick Carew, a county of Cork pear to have been ever collected during their author’ lifetime.” piper, the use of which has been kindly allowed me by my fiend —Fiddler’s Companion Edward Bunting 1792 - c.1843 Bunting was born in County Armagh, Ireland, Ac the age of seven he was sent to study music at Drogheda and at eleven he ‘was apprenticed to William Ware, organist at St. Anne's church in Belfast and lived wich the family of Henry Joy McCracken, ‘Ar nineteen he was engaged to transeribe musie from oral-tradition harpists at the Belfast Harp Festival in 1792. As Bunting was a classically trained musician, he did not understand the unique characteristics of Iish musi, such as modes, and when transcribing tunes he ‘corrected! them according to Classical music rules. One proof of this is that some tunes published by him ‘were in keys that could not have been played by the harpists. His notes on the harpists, how they played and the terminology they used is however invaluable, and many tunes would have been lost ifhe had not collected them, Bunting went on a number of collecting tours between 1792 and 1807, and was the first to transcribe music ‘in the field’ as played by the musicians. He realized the importance of the Irish words to che songs and Patrick Lynch was employed to collect these. Bunting, who lived in Belfast with the McCrackens until his marriage in 1819, moved to Dublin where he held the post of organist at St. George's Church. He died in Dublin on December 21, 1843 and is buried at the Cemetery of Mount Jerome, Dublin. Bunting's papers were lost for many years, but were rediscovered in 1907 and currently reside in the library of Queen's Uni versity of Belfast. Donal O Sullivan has restored the original words to the ars that Bunting published without che words. The Chieftains’ 1993 album “The Celtic Harp” isa wibute to Edward Bunting, Source: Wikipedia Harp Tunes CCE Harp of Tara Kingscon Irish Slow Session A33Carolan's Welcome (0'Carolan's Welcome ) A Minor - Aeolian Am ‘Turlough O'Carolan? G Em Em Am G Em Dm Am Em Am E Am G Am Am G A 3 e Source: Marcel Picard, Harold Kenny, Dennis Wilton ~The Kingston Collection of Irish Dance Tunes nish, Air (3/4 time). E Minor (Jobnson): A Minor (O'Sullivan). From the Carolan bible, ie, Donal O'Sullivan’ book, page 287: This and the other tunes in Part Two were probably composed for patrons whose names have been lost; they ‘have come down to us either with wrong titles or with no titles at all. The present tune was given to Forde by Patrick MacDowell sand is marked “aid to be Carolan’? Also Rnown as “Carolan's Welcome” And from p. 362 (in the appendix to the 2001 edition, not A34 CCE Harp of Tara Kingston Issh Slow Session in the earlier edition): Tune 171 (untitled) is now commonly known as ‘Carolan's Welcome’ Derek Bel, harpist with the Irish traditional group The Chieftains, recorded it on his second album of Carolan's music, "Carolan’s Favourite” with Uilleann ‘piper Paddy Moloney joining him. The Chieftains also played it ‘asa group, in honour ofthe Pope's visit Ireland in 1979, from which the piece acquired its name. The piece was also re-worked by the Popes composer; Monsignor Frisina, who orchestrated it for the albumn “A Christmas in Rome” “All of Carolan’ compositions predate the waltz, so tedimically this tuncis not a walrz, —Fiddler’s Companion Harp Tunes,Give Me Your Hand (Tabhair dom do Lamh) G Major c G c G Air Ruaiti Dall O'Cathain Em c D Em D c G Em c D7 G Em c pg D7 Source: Tomas O Canainn - Traditional Slow Airs of Ireland, adapted Ist & 2nd endings, o repeat or end the tune. Ruairi Dall O’Cathdin c. 1570-c.1650 The tune is by Ruairi Dall O'Cathain,c. 1570-€.1650, an Irish harper contemporary with O’Carolan, who emigrated to Scotland. Dated in the Bunting collection to about 1603. The index of the Irish collector Edward Bunting’s 1840 col- lection gives thatthe piece was composed in 1603 by Rainn Dall ©’Cathdin (d. 1653), or familiarly Rory Dall (© Cahan originally an Ulster harper who performed and composed primarily in Scotland (the Gaelic appellation ‘dal! means ‘blind’). Rory Dall is said to also have been an accomplished pesformer on the bagpipes and was much respected by the Highland gentry. There is some indication that O'Cathain changed his name to Morrison while in Scotland, The (O'Cathdin/O’Cahans were a powerful can in parts of Antrim and Derry, which lands were called the O’Cahan country, and ‘were loyal pledges to Hugh O'Neill, whose harper Rory Dall Harp Tunes (CCE Harp of Tara Kingston Irish Slow Session was said to be (O'Neill, 1913) ‘An account of the oceasion of Rory Dalls composing this tune is included in harper Arthur O'Neill's Memoirs (MS 46, pg. 27),and goes: “... Amongst other visits in the style ofan Irish chiefeain he paid one to a Lady Eglinton, and she not knowing his rank in a peremptory manner demanded a tune, which he declined... and in an irritable mannet left the house However, when she was informed of his consequence she «eagerly contrived a reconciliation and made an apology, and the result was that he composed a tune for her ladyship, che handsome tune of ‘Da Mihi Manu (Give Me Your Hand) ‘on which his fame spread thro Seotland” —Fiddler’s Com- panion AssFanny Power (Fanny Poer) GMajor Turlough O'Carolan G ° Am D G D Em G c Dd e Source: The Angel Band, Brockville Irish Cultural Society workshop. Score by the Angel Band, transposed, rom “The Complete Works of O'Carolan." Composed before 1728 by blind Irish harper Lurlough O' Carolan (1670-1738) in praise of Frances, the daughter and heiress of patrons David and Elizabeth Power of Coorbeen, Loughrea, Co. Galway. .. Harper Rose Mooney (1740-1798) played it atthe Belfast Harp Festival im 1792. Mooney, originally from County Meath and one of the few female harpers of her day, was like many other musicians, blind, and was lead by a female servant whose name was Mary. —FC Lord Inchiquin D Major Turlough O'Carolan D G D A G D Em eo Source: Marcel Picard, Harold Kenny, Dennis Wilton - the Kingston Collesion of lish Dance Tunes, adapted Composed by Turlough O'Carolan (1670-1738) in honor ofthe young 4th Earl of Inchiquin, William O'Brien (1694-1777), who became Grandmaster of the Freemasons of England in 1726. The family seat was in Dromoland Castle, Newmarket-on-Fergus, County Clare, which remained until 1962 in the hands ofthe Lords Inchiquin (it is now a high-end resort). Donal O'Sullivan (1958) says that O'Carolan was visiting the Rev. Charles Massey of Doonass, nearby to Dromoland, and suspects the piece was composed on that ocasion. —Fiddler’s Companion A36 CCE Hap of Tara Kingston Irish Slow Session Harp TunesMorgan Magan G Major ° Em c G Turlough O'Carolan Am D G D7 G e Source: Source: David Brody - The Fiddler's Fakebook. Discog raphy: Chieftains 4 AB (Barnes, Brody, Sullivan): ABB (Complete Collection Miller & Perron, O Canainn, O'Sullivan). ‘The air was composed by the blind Irish harper Tarlough O'Carolan (1670-1738) in honor of one Morgan Magan of Tagherstown, County Westmeath. Magan died in 1738, and is probably the "Captain Magan’ referred to in another of O'Caralan’s tunes, Donal O'Sullivan (1958) finds be was a younger son of Morgan Magan of Cloncy, Westmeath. His sister ‘Susanna married Sir Arthur Shaen, the subject of another Harp Tunes (CCE Harp of Tara Kingston Irish Slow Session Am D G c O'Carolan air that bears Shaen's name. The melody appears 10 have been fist published by Jobn and William Neal in ‘A Collection ofthe Most Celebrated Irish Tunes” (Dublin, 24) as ‘Morgan Macgann.’ Another early version of ‘Mor: gan Megan according tothe Appendix to the 2001 edition of (O'Sullivan’sseminal work, appears in Daniel Wright's Avia di Camera (London, «.1730) as ‘Welch Morgan It was collected by Edward Bunting (1773-1843) and appears in his "General Collection ofthe Ancient Music of ireland” (London, 1809, pg 71). Fiddler's Companion AITPlanxty Connor (Sean © Conchubhair Planxty Mrs. 0'Conot) GMajor c D c c G Am G An D c G Bm c D7 1G ne Source: Carolan’ Receipt, A Collection of Carolan's music as re- untitled publication of Carolan’s melodies, printed in Dublin corded by Derek Bell on Claddagh Records Ltd. for lish Harp, around 1742, .. Donal O'Sullivan (1958) says it clear rom ‘Neo Irish Harp and Tompan. Lyra Musie Company, 1980. ‘manuscript copies ofthe poem that Jobn O'Connor “was one of Adapted, by Judi Longstreet the O'Connors of Offaly and that he was a young bachelor at One ofthe more popular compositions by the blind Irish harper the time it was composed.” However, O'Sullivan was not able to Turlough O'Carolan (1670-1738). It appears in Burk Uou- trace his identity. The melody was employed (along with other mothis “Twelve English and Twelve Irish Airs" (c. 1745-50, Irish tunes) bythe English popular composer William Shields for No, 42, under the corrupted stle Planks of Connaught’) suse in the finale of his 1782 opera "Ie Poor Soldier” —Fid- however, the earliest printing isin Jobn and William Neales ders Companion Carolan or O’Carolan? According to O'Sullivan, when full names (first and last together) are waitten in Gaelic it is customary to add the 6 prefix. However, in using the surname alone, Sullivan states, one should use the form the owner and his friends used. In his songs for Fallon and John Stafford, Carolan referred to himself as Cearbhallin, not © Cearbhallin. In his elegy for Carolan MacCabe uses the same, as do several other elose friends in writing of Carolan, Writing in English they refer to him as Carolan - not O'Carolan, O'Sullivan, therefore, fels certain that Carolan was known to himself and his friends as Cearbhallin or Carolan. Source: http://www.contemplator.com/carolan/carlabio.heml ABS CCE Harp of Tara Kingston Irish Slow Session Harp TunesPlanxty George Brabazon G Major G An D ¢ D Em G Am e Source: arranged by Judi Longstreet Turlough O'Carolan (1670-1738) composed this sprightly drinking song for George Brabazon of New Park (later Brabazon Park), County Mayo. Donal O'Sullivan (1958) says Brabazon must have been a young man and a bachelor when O'Carolan composed the air, while the harper himself was near the end of bis carcer. Fiddler’ Companion Planxty Irwin Planxty G Major ‘Turlough O'Carolan, (1670-1738) D br GCG Em p— S AS OD b7 G c G Em c G Gc pe e Source: Matt Cranitch - the Irish Fiddle Book D Major (Brody, Matthiesen, O'Neill: C Major (Complete Collection... O'Sullivan): @ Major (Barnes, Cranitch, O Canainn). 18 time, “spirited” .. Composed by blind Irish harper Turlough O'Carolan (1670-1738) for a patron, Colonel ohn Irwin (1680-1752) of lanrego House (situated on Ballsodare Bay, inthe townland of Tanrego West), County Sligo. Donal O'Sullivan (1958) thought i was compased around the year 1713 after Irwin's return from overseas wars, as O'Carolan'ssong to the tune ‘mentions Irwin's miliary exploits in Flanders. Uhe Irwin family were originally English grantees of lands in ireland under the Cromuellian Settlement in the mid-17th century, expanded in settlement of arrears of military pay. Uhey were neighbors of the Grafton family of Longford House, Catholic gentry, who lived a few miles south. Alshough the Irwins fought for the Williamite side during the Jacobite wars the Croftons gave them refuge when they were in need. —Fiddler’s Companion Harp Tunes (CCE Harp of Tara Kingston Irish Slow Session A39Si Bheag, Si Mhér (Shecbeg and Sheemore - an Englished version of the original Gaelic) D Major “> ° eo Source: Matt Cranitoh - The Irish Fiddle Book ‘Whe air, according to O'Sullivan (1958) and tradition, was probably the frst composed by blind Irish harper Turlough Carolan (1670-1738), Asa young man Carolan first found favor at the house of bis frst patron, Squire George Reynolds of Lough Seur at Let- terfain, Co, Leitrim (himselfa harper and poet). tis said that Carolan was at this time only moderately killed at the harp and the Squire advised him to direct his talents to composing, ashe “might make a better fist of bis tongue than his fingers” Isis likely this was Carolan’ first attempt at composition. His inspiration was a story told to bim by Reyonolds of Si Bheag and Si Mbor, two ranges ofbills near Lough Su, that according to Planxty A term used by Turlough O'Carolan (1670-1738), the last of the great itinerant Irish harper-composers, “Planxty” isa word that Carolan prefixed to the surname ofa lively melody for one of his patrons, Although its exact meaning is of some debate it appears to some to be a form of salute. The most respected Carolan authority, Donal O'Sullivan, suggested that ‘Planxty’ was based on the Latin plangere (in its supine form, planxtum) on the model of che existing lish word planneaim, which means to strike (as strike the hap’). There have been several other thoughts about the origins of Planxty. ‘The academic and concertina player Geardid © hAllmhursin (1998) writes thae the word was derived from the Gaelie plearécha, or praise pieces (see below)... Sean © Riada pro posed that since many of Carolan’s songs begin wich the Irish ‘word sléinte (health), perhaps Planxty was derived from it—a corruption of sorts. Guitarist Paul de Grae believes i is simply nonsense word employed by Carolan in a snippet of English verse in the otherwise Irish song called “Planxty George Brabazon.” However, In a review of several arguments, Donal A40 D CCE Harp of Tara Kingston Issh Slow Session Aic Turlough O'Carolan 1670 -1738 G_ A Depa D _ local lore were the seats of two groups of aires of opposing dispo- sition. Uhese hosts engaged in a great battle in which Finn Me- Gool and bis Fianna were defeated. Some versions ofthe legend relate that the mounds were topped by ancient ruins, with airy castles underneath where heroes were entombed after she battle between the two rivals, Squire Reynolds is supposed to have been ‘much pleased by the composition. the fairy mounds appear to have been ancient conical heaps ofstones and earth called motes or rath, prebistoric remnants, See O'Sullivan (1958) notes to No, 202 (pgs. 295-296) for a more complete explanation. O'Sullivan believes the air tobe an adaptation ofan older piece called ‘tn Chuatchin Mbaiscacb' (‘Ihe Bonny Cuckoo' or “the Cuckoo). Fiddler's Companion (O'Sullivan concludes that each explanation for the derivation of the word planxty has too many exceptions, and therefor there was no useful definition that could be promulgated. Regardless ofits origin, O'Sullivan points out that Carolan seldom actually used the word, and that ie was later publishers who applied the term to his tunes—for example, his “John Drury” became known as “Planxty Drury.” “Itseems prob- able that the early editors used the term ‘Planxty’ in the ttle only when they did not know the name, or at any rate the full name, of the subject ofthe tune, says O'Sullivan. The ticle planxey appears twice in Neals Collection of the Most Celebrated Irish Tunes (Dublin 1724, spelled "Planksty” Paul de Grae finds that John Lee published a Carolan collection ©. 1780, “possibly a revised reissue of another collection he published in 1748 (ten years after Carolan’s death) of which ‘no copy survives; out of 68 tunes, only three ae titled “plana: ties" -Plangsty Bourk’,“Plangsty Connor” and “Planksty by Carolan’ the latter beinga version ofthe “Madam Cole” in Continued next page Harp Tunes‘Thomas Leixlip the Proud D Major D GA_D é Source: Internet, adapted by Al Steinberg Irish, Air or Planxty (6/8 time, “pirited"). D Major Standard tuning. AAB. Composition attributed to blind Irish harper Turlough O'Carolan (1670-1738), mainly by O'Neill. Donal O'Sullivan does not belive that O'Carolan had anything to do with composing it, however. The ttle is a corruption of ‘Though Leixlip is Proud; the ttle under which the melody was heard in Shields ballad opera "Poor Soldier” which premiered in 1783 (Air 12). The melody first appears in print in MeL.ean’s "Scots Tunes” ( 1773). O'Neill (Krassen), 1976; pg. 230, O'Neill (Music of Ireland: 1850 Melodies), 1903/1979: No, 638, pg. 114 Fiddler’ Companion the same book.” ‘A contemporaneous lrish term used for a planxty-type air was “Pléarsca” (spelled “Plea Rarkeh” in one title of the Neal collections), meaning ‘merriment: In modern times, says de Grae, Brendan Breathnach used the term “Pléaréca” as the Irish equivalent of “Humours” as in "The Humours of Drinagh” = "Pléarsca Dhraighnt Fiddler's Companion Harp Tunes CCE Harp of Tara Kingscon Irish Slow Session A4lTurlough O’Carolan Toirdhealbhach © Cearbhallin1670 (Nobber) - 25 mar 1738 (Alderford) Turlough Carolan, aso known as Turlough O’Carolan, (lvish: Toirdhealbhach © Cearbhalléin; 1670 ~ 25 March 1738) was 2 blind early Irish harper, composer and singer whose great fame is due to his gift for melodic composition. ‘He was the last great Irish harper-composer and is considered by many to be Ireland’ national composer. Harpers in the old Irish tradition were still living as late as 1792, as ten, including, Arthur O'Neill, Patrick Quin and Denis O' Hampscy, showed up at the Belfast Harp Festival, bur there is no proof of any of these being composers, Some of Carolan’s own compositions show influence from the style of continental classical music, whereas others such as Carolan’s Farewell to Music reflect a much older style of “Gaelic Harping” Biography 'Carolan was born in 1670 near Nobber, County Meath, but in 1684 he moved with his family, co Ballyfarnon, County Roscommon, where is father took ajob with the MacDer ‘mot Roc family of Alderford House. Mrs. MacDermott Roe gave him an education, and he showed ralentin poetry. After being blinded by smallpox, at the age of eighteen, Carolan ‘was apprenticed by Mrs MacDermott Roe to a good harper. At the age of twenty-one, being given a horse and a guide, he set out to travel Ireland and compose songs for patrons. For almost fifty years, Carolan journeyed from one end of the country to the other, composing and performing his tunes. In 1720, O° Carolan married Mary Maguire. He was then 50 years of age. Their frst family home was a cottage on a parcel of land near the town of Mohill in Co Leitrim, where they setdled. They had seven children, six daughters and a son, (O'Carolan is buried in the McDermott Roe family erypt in Kilronan Burial Ground near Ballyfarnon, County Roscom- mon, ‘The annual O’Carolan Harp Festival and Summer School commemorates his life and work in Keadue, County Roscommon each yeae ‘A bronze monument by sculptor isin Kelly depicting ‘Tarlough Carolan playing his harp, was erected on a plinth More: Grainne Yeats ~The Rediscovery of Carolan: herp 0'Carolan: hep: ‘Tribute to Turlough O’Carolan by Bridget Haggerty: herp Scores, Complete works in ABC: hrcp: Ag CCE Harp of Tara Kingston Issh Slow Session at the Market Square, Mohill, on 10 August 1986, and was unveiled by His Excelleney, Doctor Patrick Hillery, President of eland Musicand Style Carolan composed both songs and instrumental harp mu sic. Except for one song with an English text, all of his songs are in Irish. Most of his songs were dedicated to and about specific individuals. Many songs do not survive whole; what Iyries survive have only been published in part, His lyrics are rarely earned, whereas many of his tunes are widely per- formed and appreciated. Carolan’s musical style shows a mix of traditional and clas- sical elements. He typically composed the tune frst—as he rode from place to place—then added words later. Many of the tunes attributed to Carolan are older traditional melodies that he improved or lengthened, He wrote many “planaties" (cibutes) in honour of some person. Itis said that weddings and funerals were often delayed until he could arrive to per- form. Publication His music was frst published in Neale’s A Collection of the Mose Celebrated Irish Tunes... in Dublin, ¢.1726. Atleast 220 eunes which survive to this day are attributed to him, though most were not published or even written down in his liferime; they survived in the repertories of fiddlers, pipers and the last of the old Irish harpers and were collected and published piecemeal in the late 18th and 19th centuries. ‘Only in 1958 was his entire repertoire published in one edition by Donal O'Sullivan, and even then few lyries were given and some of the tunes were edited to make them ft the treble register. ‘A definitive and comprehensive edition of harp sectings matched with the words of the songs has yet to be produced although a number of song settings appeared in The Bunting Collection of Irish Folk Music and Song by Donal O'Sullivan. Source: Wikipedia ;vww-harpspectrum.org/folk/yeats_long sheml ;www.contemplator.com/carolan/caslnbio.html Awww.oldmusieproject.com/OCC.heral /ewwoldmusicproject.com/occ/tunes.heml Complete works in ABC Harp Tunes,Fonn Mall Slow Airs Slow airs (fonn mall)are tunes often played by a solo-instrument only. Many slow airs are actually the melodies of traditional songs in the Irish language. A musician playing a slow air isin fact imitating a traditional (Sean Nés, meaning ‘old style) singer. Sean-nés singers usually sing solo, without accompaniment (although there are also sean-nés sing- cers who sing together) and interpret the song in their own way, letting go of the exact, timing and rhythm and instead using their own timing for expression. The songs tell a story, very often a more or less tragic love story and every sean-nés singer has her or his ‘own version of a particular song. Musicians who play slow airs do jus that. They also let {go of exact timing and rhythm, giving much room for personal expression in the music and concentrating on the melody. They also tell a story, but with their music only. Slow Airs CCE Harp of Tara Kingscon Irish Slow Session AwBAmbhran na Leabhar - The Song of the Books (Cuan Bhéil Inse) E Dorian vo SS SS Source: Matt Cranitch - The Irish Fiddle Book One part (Cranitch): AB (O Canainn). The song to this air was written by Tomds Rua O Stilleabhéin (1785-1848), a poct and musician from Iveragh (Uibb Raitheach) or Derrynane, County Kerry. 6 Suilleabbain bad been acting-schoolmaster at Caherdaniel and was faced to transfer to Portmagee when another schoolmaster was appointed to the permanent postion. As he suas leaving he placed bis treasured and huge (far the times!) library of lather-bound books for transport on a boat going from Derrynane to Goleen (Goilin, Valentia Harbor), while he bimself travelled by road. The boat struck a rock and was lst, tragically ‘along with the pricles collection of books, prompting O Silleabb into seek solace in song. —Fiddlers Companion Aad CCE Harp of Tara Kingston Irish Slow Session Slow AirsAn Cool G Major (An Céilfhionn, The Coulin) e Source: Tomas O'Canainn - Traditional Slow Airs of Ireland G Major (O Canainn, O'Farrell, O'Neill/1915 & 1850, Roche): F Major (Joyce) “The Queen of ish Airs’ maintains Francis O'Neill (1913). There are many versions of this ancient and celebrated air ‘of which Bunting’: and Moores are not among the best: they are both wanting in simplicity” states Joyce (1909), who prints the sune as collected by Forde from Hugh O Beirne (a Munster fiddler from whom a great many tunes were collected). He considers Forde’ version “beautif..(and) probably the original snadulterated melody,’ and adds that it is similar to the version he heard the old Limerick people sing in his youth during the 1820! Grattan Flood (1906) states itis probable the air dates from the year 1296 or 1297, believing it must have been composed not lang after the Statute, 24th of Edward I, in 1295, which forbade those English in Ireland (who were becoming assimilated into the majority Gaelic culture) to affect the Irish hair style by allowing their locks to grow in ‘coolins (long, flowing locks). he original song, told from a young maiden's point of view, berates those Anglo-lrish who conformed to the edit hy cutting their hai, and praises the proud Irishman who remained true to ancestral customs (the Gaelic title‘An Chuilfhionn.’ means the fair-haired one). The Irish Parliament passed another law in 1539 forbidding any male, rish or Anglo-Irsh, from wearing long or flowing locks of bair-this enactment, relates Flood, isthe source ofthe claim printed by Walker in 1786 in "Historical Memoirs ofthe Irish Bards" «asthe impetus for the song. {Ed. note—Grattan Flood is notorious for inaccuracies and unsubstantiated claims, and his information should be viewed as suspect until confirmed]. —the Fiddler’ Companion Note: Slow Airs are the least amenable of lish tunes to being reduced to a score. They are played sol, slowly with alot of ormamentation, variation, and individual expression. ‘The score docsn't give much but the key and some of the principal notes. Before trying to play ‘the Coolin’ it would be very helpful to listen to a few different versions, all availabe, played by master musicians, on the Combaltas Traditional Musie Archive, under An Cililthionn Slow Airs CCE Harp of Tara Kingscon Irish Slow Session AdsInis Orr (inisheer) Slow Air G Major ‘Thomas Walsh Optional Lead in c Bm Em Em/D c GB Am? Bm D7 id iS GiB aS o Source: CD Buttons & Bows (Sligo fiddlers Seamus and Manus McGuire and Sliabb Luachra button accordion maestro Jackie Daly) ~The Fist Month of Summer. Transcribed R MacDiarmid, ‘homas Walsh isa contemporary accordion player from Dublin. With 1,400 acres, Inisheer isthe smallest and most eastern of the three Aran Islands in Galuay Bay off the West coast of Ireland. Many pupils come to Insheer to learn the Irish language since itis stillin daily use by the 300 residents AMG CCE Harp of Tara Kingston Irish Slow Session Slow AirsIndex - Airs (Common Tune Names) ‘Airs A Abhean Na Bhfsnn —A25 All Through the Night (F) ~ 28 All Through the Night (G) ~ A 28 Ambrin na Leabbar ~ A44 An Coolin — A453 An eanbhean Bhoche ~ A17 Ashokan Farewell — A4 ‘Auld Lang Syne (F) ~ A29 ‘Auld Lang Syne (G) ~ A29 B Blind Mary — AS Boolavogue - A6 Buachaill O'n Fine — A6 c (Captain O'Kane ~ A32 Carolan’ Draughe ~ A33 Carolan’s Welcome ~ A 34 D Dark ble - AZ Dawning ofthe Day — A7 Dirty Old Town — AS Don Oiche bd LmBeithil - 428 Down by the Sally Gardens — 16 E FrinGo Brigh - AS F Fanny Power - A36 Far Away - AB Foggy Dew, The (Dm) - A9 Follow Me Upto Carlow — AQ G Give Me Your Hand — A35 H Hector the Hera = A10 I TIM MeMa - A10 Inis Oise — 46 L Lord Inchiquin ~ A36 M ‘MacPhersonis Lament — ALL Maris Wedding ~ A 12 Mist- Covered Mout Mo Ghile Mear ~ A24 Morgan Magan ~ A37 N sof Home = A 12 [Niel Gow's Lament for the Death of His Second Wife (D) ~ A 13 Niel Gow Lament for the Death of His Second Wife (G) - AIA ° (O18 Sedo Bheatha ‘Bhaile ~ A 15 P Parting Glass, The - A16 Plansty Connor — A38 Plansty George Brabazon — A39 Plansty Irwin — A39 R Rising of the Moon, The - A14 s Scotland the Brave ~ A17 Shanne Bradley ~ A18 SiBheag, SiMhor ~ A40 Si Bhean Locha Léin ~ A15 Skye Boat Song - A South Wind - A19 Spancilhill (Dm Dorian) ~ A 22 Spancilhill (E Dorian) ~ A21 Star ofthe County Down — A20 Summer River — A 23 T “Thomas Leisip the Proud - A41 ‘Tua Bethlehem Deef ~ A30 w ‘Wexford Carol, The — A30 ‘Whiskey in che Jar — A22 CCE Hap of Tara Kingston lsh Slow Sesion AaIndex - Airs (Including Alternate Tune Names, A Abbran Na Bhfisnn — A25 ‘Afon Yr Haf ~ A23 All'Through the Night (F) — A28 I Through the Night (G) ~ A28 Amhein na Leabhar ~ A44 ‘An Coolin ~ A45 An Giilfhionn ~ 45 An Gaoth Aneas — A19 An Traigh Mughdhoma - A 16 ‘An Seanbhean Bhocht - A 17 ArHyd yNos (F) - A28 ‘Ar HydyNos (G) = A28 “Ashokan Farewell — A4 ‘Auld Lang Syne(E) — A29 ‘Auld Lang Syne (G) ~ A29 B Blind Mary ~ AS Boolavogue - AG Boy from Ireland - A6 sight Ring of the Day, The - A7 Buachaill On Fime - AG c Callin tighe his ~ A32 Call ofthe Fighters — A15 Captain Henry O'Kain — A 32 Captain O'Kane ~ A32 Carolan’s Draught — A33 Carolan’ Welcome ~ A34 Cari Loch Garman ~ A30 Cifidh mé na mérbheanna — A 12 Come By the Hills ~ AG Coulin, The - A4S Cuan Bhéil Ine — A44 D Dark ble ~ A Dawning ofthe Day - AT. Dirty Old Town ~ AS. Don Oiche id I mBeichil ~ A28 DordnabhFiann ~ A 1S oven by the Sally Gardens — A 16 Dr Mackay’s Farewell to Creagorty - A7 E Eisigh Na Geline - A14 Enniscorthy Carol ~ 30 Erin Go Brigh ~ A8 F Fiinne Gaclan Lae — A7 Fairy Woman of Locha Léin, The ~ AIS Fanny Poet ~ A36 Fanny Power — A36 Far Away — AS Foggy Dew; The (Dm) ~ A9 Follow Me Up to Carlow — A9 H Hector the Hero = A10 I TITell MeMa ~ A.10 Inisheer - A46 Inis Oirr - A46 Ireland Forever - AS Will See the Mounsains — A 12 K Kilgary Mountain = 22 L Lord Inchiquin ~ A36 M ‘MacPherson’s Farewell — ALL ‘MacPherson's Lament — A 11 ‘MacPherson's Rant — AL ‘Maids of the Mourne Shore - A 16 ‘Maire Dhall - AS Maicis Wedding — AI2 Maris Wedding ~ A 12 Mater McGrath ~ A8 Mist-Covered Mouncains of Home ~ A 12 MoGhile Mear ~ A24 ‘Morgan Magan ~ A37 N ‘Neil Gowe’s Lament for the Death of His Second Wife (G) - ALA [Niel Gow's Lament for the Death of His Second Wife (D) ~ A 13 ASS CCE Harp of Tara Kingston Irish Slow Session AlcsIndex - Airs (Including Alternate Tune Names ‘Airs ° (O'Carolans Draught — A33 (O'Carolans Welcome — A34 Old Melody, The = AS On Raglan Road — A7 Onto Bethlehem Town ~ A30 (Gt6 Sé do Bheatha'Bhaile ~ A.15 (Our Hero, My Gallant Darling ~ A 24 P arcing Glass, The - A16 Planxty Connor ~ A38 Planxty George Brabazon Plansty Iewin — A39 Planxty Mes. 'Conor ~ A38 Poor Old Woman, The — 17 R Risingof the Moon, The ~ A14 aay s Scotland che Brave — AI? Sean © Conchubbair — A.38 Shanne Bradley ~ A18 Shan Van Voeht ~ A17 Sheebeg and Sheemore ~ A40 SiBheag,SiMhor — A40 Si Bhean Locha Léin ~ A15 Skye Boar Song ~ A19 Soldier’ Song, The ~ A25 Songofthe Books, The ~ A44 South Wind — A19 Spancilhll (Dm Dorian) ~ A22 Spancihil (E Dorian) — A21 Star ofthe County Down A20 Summer Rive ~ A23 T Tabhair dom do Lamh — A3S, “Thomas Leitip the Proud - A4L ‘To That Night In Bethlehem — A28 Tua Bethlehem Dref - A30 w Wearing ofthe Green - ALA Wenford Carol, The - A30 Whiskey in the Jar ~ A22 Wounded Hussae,The ~ A32 Y Yougal Harbour — A6 Yougal Harbour - A (CCE Harp of Tara Kingston Irish Slow Session Ady