X:216 T:ROCKING THE CRADLE (air) B:WSGM.003 Y:"Andante" S:J.O'Neill Z:Kinder/Black M:6/8 L:1/8 K:D D/E/|FFF GGA/G/|FFD EDD/E/|FFF GAG|FED D2:| A/B/|=c>dc B>^cd|AA/B/A/G/ FDD|=c>dc BAF|A>B^c d2d| d>ef d>ef|AA/B/A/G/ FDD/E/|F/G/F/E/D/F/ EAG|FDD D3|] %%% X:190 T:OLD MAN ROCKING THE CRADLE (air), The B:WSGM.004 Y:"Andante" S:Rice-Walsh manuscript Z:Kinder/Black Q:80 M:6/8 L:1/8 K:D FAA GAA|FAA GFD|FAA GAA|GFD FED| FAA GAA|FAA GFE|DD/E/F/D/ EAG|EDD EDD|| dFF AFF|dFF GFD|dFF AFF|GFD FED| dFF AFF|dFF GFD|DD/E/F/D/ EAG|EDD EDD|| faa gaa|faa gfd|faa gaa|gfd fed| faa gaa|faa gfd|dd/e/f/d/ eag|edd edd|| "A descriptive piece wherein an old man gives voice to his woes, punctuated by the wailing of a peevish child and its calls for its Ma-ma. Skillful fiddlers and pipers would imitate those cries.The fiddle was lowered in pitch and the fiddler would lightly touch the bridge with a large door key held in his teeth to simulate the tones of human expression." %%% X:192 T:ONE BOTTLE MORE (air) B:WSGM.005 S:J.O'Neill Z:Kinder/Black Y:"Moderato" N:A slightly different from the setting in "O'Farrell's Pocket Companion" volume 3. M:3/8 L:1/8 Q:100 K:G G|GBd|d>BG|cee|e2 d/c/| Bdg|dBG|A>FD|D2|| D|G>FG|EFG|A/B/c/d/e/f/|g2 f/e/| dfg|a/g/f/e/d/c/|BAG|GB/d/c| A>FD|D2 E/F/|A/B/c/d/e/f/|g2 f/e/| dg f/g/|a/g/f/e/d/c/|BGG|G3|] %%% X:240 T:Teddy O'Neill B:WSGM.006 F:file ID wsgm/240ton S:Rice-Walsh manuscript Z:Kinder/Black M:6/8 L:1/8 Q:80 K:D "Andante" F/G/|Aff f2 e/f/|gBe dcB|Add dcd|fee e2 F/G/| Aff f2 e/f/|gBe dcB|Adf a2 g/f/|eac d3|| eee e2 d/e/|gBe dcB|Add dcd|fee e2 F/G/| Aff f2 e/f/|gBe dcB|Adf a2 g/f/|eac d3|] %%% X:256 T:Willow Tree (air), The B:WSGM.007 F:file ID wsgm/256wtree S:Miss Lucy Ray Z:Kinder/Black M:4/4 L:1/8 %Q:80 K:Dm "Andante" A2|G3 F D2 D2|F3 G A2 A2|G3 F D2 C2|D4-D2 A2| G3 F D2 D2|F3 G A2 A2|G2 F2 D2 C2|D4-D2|| A2|c3 G A2 d2|c3 G A2 d2|c2 A2 G2 F2|G4 z2 A2| G3 F D2 D2|F3 G A2 A2|G2 F2 D2 C2|D4-D4|] %%% X:104 T:I Was Roaming in the Gloaming (air) B:WSGM.008 F:file ID wsgm/104roam S:James Whiteside manuscript Z:Kinder/Black M:3/4 L:1/8 %%Q:80 K:G "moderato" (3DEF|G2 G2 AF|GF D2 GA|B2 c2 BG|A4 (3ABc| d2 ef e2|dc AG FA|G2 GF D2|D4|| dc|B2 GB dc|AF D2 dc|B2 GB dc|A4 (3ABc| d2 ef e2|dc AG FA|G2 GF D2|D6|] %%% X:154 T:Lullaby for Irish Pipes (air) B:WSGM.009 F:file ID wsgm/154lip S:James Whiteside manuscript Z:Kinder/Black M:3/4 L:1/8 %Q:80 K:F "G dorian" "Andantino" (3dcA|"1"G2 G2 (3AGF|G2 G2 F/E/F/G/|\ A2 d2 e2|f3 e (3dcA| "5"G2 G2 (3AGF|G2 G2 F/E/F/G/|A3 G A2|D4 (3dcA| "9"G2 G2 (3AGF|G2 G2 F/E/F/G/|A2 d2 e2|f3 e fg| "13"a3 g fa|g3 f de|f3 d (3dcA|G4|| % G/F/G/A/|"17"B4 AG|A3 G A2|D4 E2|F4 GA| "21"B4 AG|A4 (3dcA|G2 G2 (3AGF|G4 G/F/G/A/| "25"B4 AG|A4 (3dcA|G2 G2 (3AGF|G4 fg| "29"a3 g fa|g3 f de|f3 d (3dcA|c4 fg| "33"a3 g fa|g3 f de|f3 d d/c/A/G/|F4 GA| "37"B4 AG|A4 (3dcA|G2 G2 (3AGF|HG6|| %%% X:109 T:Irish Lament for Martyred Soggarth Aroon (air) B:WSGM.010 F:file ID wsgm/109ilms S:James Whiteside manuscript Z:Kinder/Black N:1:For clarity of playback, I have replaced |6n/n/n/n/n/n/| with |nn| in measure 1 and 9 (replacements underlined). N:2:Even for a skilled draftsman, reducing sean-nos to standard notation is practically impossible, as this piece demonstrates. N:3:"Soggarth Aroon" < sagart a rún, "dear priest". I don't know what the specific reference is here, and the Chief is silent. %%Q:80 M:4/4 L:1/8 K:Gm "Adagio con expressione" (3D=EF|G2 A>G G2FA|"2"G2 (3FDC D2 (3D^CD| "3"B/>c/B/A/ B>d c/d/c/=B/ c>e|"4"d6 G/A/B/c/| "5"d>=e (3f/g/f/e d>c A>G|"6"G2 A>G F2 G>A|"7"B2 (3AGA G2 (3FDC| "8"D6 (3D=EF|"9"G2 A>G G2FA|"10"G2 (3FDC D2 (3D^CD| "11"B/>c/B/A/ Bd c/d/c/=B/ ce|"12"d6 (3d=ef| "13"g/a/g/f/ g/a/g/f/ d>c A>G|"14"G2 A>G F2 d>c| "15"B2 (3cAG G/A/G/F/ (3D=E^F|"16"G6|] %%% X:58185 T:No Surrender (march) B:WSGM.080 F:file ID wsgm/185nsm S:Hudson manuscript, Dublin 1840-41 C:ABC Kinder/Black (arr.) M:6/8 L:1/8 Q:1/4=120 K:D % source key Bb A|dfd B2d|AFA A2B|A2B d2e|f2a gfe| d/e/fd B2 d|AFA A2 B|A2 g fge|d3 d2|| A|d2 f a2 f|b2 g a2 f|d2 f a2 f|g2 e bge| d2 f agf|gab a2 g|fdB Ade|fda gfe| fdB B2 d|AFA A2 B|A2 B d2 e|f2 a gfe| d/e/fd B2 d|AFA A2 B|A2 g fge|d3 d2|| %%textoption align %%begintext "The setting of 'No Surrender' above submitted was taken from a manuscript volume of Irish melodies compiled by H.Hudson, 24 Stephens Green, Dublin, in the years 1840-41. After the name comes the notation: 'From Ordnance Survey of Londonderry, Vol. 1, page 197.' From the remarks accompanying the famous old march in Dr. Joyce's 'Ancient Irish Music Dublin 1890', we quote: 'It is printed in the Ordnance Memoir of Londonderry where, however, it is practically inaccessible to the general public, as that book is very scarce. It has long been appropriated as the marching tune of the yearly celebration of the shutting and opening of the gates of Derry.' It may be of interest to add that the siege of Derry occurred in 1689. We may be pardoned for remarking that Dr. Joyce's arrangement is in the Scale of C altho both settings were derived from the same scarce publication." %%endtext Source version: K:Bb F|BdB G2 B|FDF F2 G|F2 G B2 c|d2 f edc| B/c/dB G2 B|FDF F2 G|F2 e dec|B3 B2|| F|B2 d f2 d|g2 e f2 d|B2 d f2 d|e2 c gec| B2 d fed|efg f2 e|dBG FBc|dBf edc| dBG G2 B|FDF F2 G|F2 G B2 c|d2 f edc| B/c/dB G2 B|FDF F2 G|F2 e dec|B3 B2|| %%% Chief's note to "Lancers": % Among the mass of his father's manuscript music which Sergt. James % O'Neill brought from Belfast in his youth, was a copy of "The Knight % of St. Patrick Lancers". Many of the original tunes of which it was % composed having been subjected to alteration in the process of its % arrangement, its publication in that form in the O'Neill Collections % was then not favorably considered. Since the appearance of Dr. % Joyce's "Old Irish Folk Music and Songs" in 1909, the composition % has assumed new interest. In a note to a "Reel", page 63, the % learned author remarks: "I find a setting different from mine in a single obscure publication The Knight of St. Patrick Lancers, long since out of print". % Dr. Joyce's unnamed "Reel" it may be added is the well known % "Bonnie Kate". Taking all things into consideration The Knight of % St. Patrick Lancers cannot be out of place in a collection of Waifs % and Strays of Gaelic Melody. %%% X:112 T:Irish Widow's Lament on the Death of Her Only Son (air) B:WSGM.011 F:file ID wsgm/112iwl S:James Whiteside manuscript Z:Kinder/Black M:3/4 L:1/8 %%Q:80 K:Am "Andante" c4 d2|B4 c2|A2 AG ED|E4 z2|\ "5"c4 d2|B4 c2|A3 B cd|e4 d2| "9"c4 d2|B4 c2|A2 AG ED|E4 D2|\ "13"C4 D2|B,4 C2|A,6-|A,4 z2|| "17"e4 d2|c6|d4 c2|B6|\ "21"c3B AG|A3 G ED|C4 D2|E6| "25"e4 d2|c6|d4 c2|B6|\ "29"c3 B AG|A3 G ED|E3 F GB|A6|| "33"e a2 g ed|e4 d2|c3 d Bc|A6|\ "37"d g2 ^f ge|d4 c2|B3 A BA|G4 AB| "41"c4 d2|B4 c2|A3 B cd|e a2 g ed|\ "45"c4 d2|B4 c2|A6-|A8|] %%% X:146 T:Limerick's Lamentation setting 1 (air) B:WSGM.012 F:file ID wsgm/146llam1 S:Bunting's Arrangement 1809 Z:Kinder/Black M:3/4 L:1/8 %%Q:150 K:Eb "Adagio" E>F|G2 BF|G2 BF| GB, C2 E>F|G2 E2 E>F|E4:| E>F|G2 B2 B>c|B2 AG F>G|E2 e2 e>f|e4 E>F| G2 B2 Bc|B2 AG F>G|E2 e2 e>f|e4 Bc| d>c d>e f>d|c>B c>d e>c|B>c eG FE|F4 EF| GB, C2 E>F|G2 E2 E2|E4|| %%textoption align %%begintext "As far back as 1676, this melody was referred to as 'The Irish Tune'. Earliest printed setting with title of 'Limerick's Lamentation' was Daniel Wright's collection published about 1730. Compare this setting with that published by McCullough" (X:147 in this file) %%endtext %%% X:147 T:Limerick's Lamentation setting 2 (air) B:WSGM.013 F:file ID wsgm/147llam2 S:"McCullough's Collection of Irish Airs" 1821 Z:Kinder/Black M:3/4 L:1/8 %%Q:100 K:G "Moderato" G>A|B2 B2 B>c|B2 A2 Bd|e2 A2 A>B|A4 G>A| B2 cBAG|E2 D2 G>A|B2 G2 A>G|G4:| G2|B>c d3 d|de dc BA|G2 g2 g2|{ba}g4 G>A| B>c d3 d|ed cB AG|G2 g3 g|g4 d>e| =f3 g f2|e2 d2 eg|d2 ed cB|B2 A2 G>A| B2 cB AG|E2 D2 G>A|B2 G2 A>G|G4z2|] %%% X:149 T:Lochaber No More (air) T:Farewell to Lochaber, Farewell to My Jean B:WSGM.014 F:file ID wsgm/149loch S:"Caledonian Muse" London 1785 Z:Kinder/Black M:3/4 L:1/8 %%Q:80 K:G "Andante moderato" G>A|B2 B2 Bc/d/|B3 A (3BAG|\ e2 A2 AB/c/|A4 G>A| B2 cB AG|D3 E GA|B2 AG A>B|G4:| G>A|B>c d2 ef/g/|d3 c B>A|G2 g2 g>a|g4 G>A| B>c d2 e2|d>e dc BA|G2 B2 de/f/|g4 d>e| =fe fa gf|e3d B/d/g|ed cB AG|A4 G>A| Bc de A>G|D3e dc|B2 A>G A>B|G6|| %%textoption align %%begintext "Using various printed references, O'Neill asserts that 'Limerick's Lamentation' is Irish, rather than Scottish, because it appeared in print as 'An Irish Tune' fifty years prior to the first printing of 'Lochaber No More'. See Note to Tune #12." (= X:146 in this file) %%endtext %%% X:225 T:Slainte Righ Pilib setting 1 T:A Health to King Phillip B:WSGM.015 F:file ID wsgm/225srp1 S:Burk Thumoth's "Scotch & Irish Airs" 1743 N:"Phillip" correctly "Philip" Z:Kinder/Black M:3/4 L:1/8 %%Q:100 K:Gdor "Moderato" G4 ^F2|G2 A2 c2|d4 c2|A4 d2|c4 AG|^F2 A3 G|^F3 E F2|D6| G4 ^F2|G2 A2 c2|d4 A2|c4 de|f2 e2 d2|c2 A2 G^F|G6-|G6:| g4 ^f2|g2 a2 b2|a4 gf|d4 de|f3 g fg|f2 d2 f2|c4 A2|^F4 {E}D2| G3 A G^F|G2 A2 c2|d4 A2|c4 de|f2 e2 d2|c2 A2 G^F|G6-|G6:| %%textoption align %%begintext "Song refers to King Phillip IV of Spain, who died in 1665. This setting and the two that follow illustrate the tendency to create variants of popular compositions." (O'Farrell version not included here - see ofpc.2/81srp). %%endtext %%% X:226 T:Slainte Righ Pilib setting 2 T:Health to King Phillip B:WSGM.017 F:file ID wsgm/226srp2 S:Thomson's "Original Irish Airs", 1814-1816 Z:Kinder/Black M:3/4 L:1/8 %%Q:100 K:Bb "F modal" "moderato" F4 E2|F2 G2 B2|c4 B2|G4 c2|B4 GF|E4 C2|C4 C2|C2 D2 E2| F4 E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 E2|F6-|F6| f4 =e2|f4 g2|f4 _e2|c4 d2|e4 e2|e2 c2 e2|B4 G2|E4 C2| F4 E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 E2|F6-|F6|| %%% X:128 T:Kate Kearney T:Beardless Boy, Dissipated Youth B:WSGM.018 F:file ID wsgm/128kate S:F.O'Neill Z:Kinder/Black N:O'Neill has a slightly different 2-part setting of this in "Music of Ireland" (the "1850" - #263) M:3/4 L:1/8 R:waltz %%Q:120 K:G "Temp di Valse" GE|D2 B,2 D2|G3 A BG|A2 G2 G2|G4 D2|G2 B2 d2|ed cB AG|B2 A2 A2|A4 Bd| "9"e2 g2 ge|d4 c2|B2 d2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2|| GE|"17"D2 B,2 D2|D2 B,2 D2|G4 G2|G4 E2|D2 B,2 D2|D2 B,2 D2|A4 A2|A4 d2| "25"e2 c2 e2|d2 B2 d2|c2 A2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2|| Bd|"33"g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 d2|e4 de| "41"g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 A2|G2 z2|| %%textoption align %%begintext "Long before the song 'Kate Kearney' was written by Lady Morgan, the melody appeared as 'The Beardless Boy' in Bunting (1796) and again in Bunting (1809) as 'The Dissipated Youth'. Also appeared as 'Kate Martin' in Murphy's 'Irish Airs and Jigs'." %%endtext %%% X:52 T:Drimen Duff (air) T:Druim Fionn Dubh B:WSGM.019 F:file ID wsgm/052drim S:Burk Thumoth "Scotch & Irish Airs" 1742 N:The infamous "Burk Thumoth" at work! Consensus seems to be that this unlikely and ungainly name is a corruption of "Burke, Thomas" or its Gaelic equivalent. How the Chief - native speaker and all - didn't pick up on this is one of the small mysteries of ITM. Z:Kinder/Black M:3/4 L:1/8 %%Q:160 K:Am "Andantino expressivo" AB|c4 B2|A2 G2 AB|c4 B2|A4 GA|B4 A2|G2 E>D E>G| g2 dB cA|G4 AB|c4 B2|A2 G2 AB|c4B2|A4 B2|cB cd eg| a4 g2|ed B2 dB|A4||AB c4 B2|A2 G2 AB|c2 Be dc|A4 GA| B4 A2|(3G^FD (3EFG (3g^fe|(3dBg (3dcB (3cBA|G4 AB|c4 (3dcB| A4 (3GAB|c4 B2|A4 B2|(3cBc (3cde (3e^fg|a4 g2| (3eg^f (3gfe (3dcB|A6|| %%textoption align %%begintext "In former times it was much more common to find a white stripe along the spine of brown or black cows, and this coloration was called 'Druim-fionn', or white-back. which became 'Drimmin' or 'Drimen'. Thus we have 'Drimmin-fionn-dubh' or White-back black cow, etc. In poetical literature those titles are allegorical. 'Drimmin Dhu' was a political password among the Irish Jacobites, and all 'Drimmin' songs breathe a spirit of fealty to the Jacobite cause." %%endtext %%% X:135 T:Lament of the Aran Fisherman (air), The B:WSGM.021 F:file ID wsgm/135laf S:Seamus Moriarty, SFO Z:Kinder/Black M:3/4 L:1/8 %%Q:60 K:G "Andante con Expression" GA|B2 e2 (3fe^d|e E3 GA|B3 AAG|G4 Bc| d2 Bd ef|g2 fe f>^d|e2 =dB A>G|E4|| Bc|d2 Bd ef|g2 fe f>^d|e>=d BA BG|E4 (3EGA| B2 e2 f^d|e E3 GA|B2 AG A>G|G6|] %%textoption align %%begintext "Mr. Francis E. Walsh of San Francisco noted this air from the singing of Seamus Moriarty, a native of Kerry. The verses bewailed the drowning of a fisherman." %%endtext %%% X:62 T:Father Tom O'Neill (air) B:WSGM.022 F:file ID wsgm/062fton S:F.O'Neill Z:Kinder/Black M:6/8 L:1/8 %%Q:120 K:Bm "Con spirito" (3B/c/d/|e2e f2 e|d2 B BAF|A2 F E2 E|E3-E2 F/G/| A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2|| F/G/|A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2 c/d/| e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2|| %%textoption align %%begintext "A ballad of 19 verses sung to this air recited the conspiracy of an infatuated wealthy heiress in County Armagh to inveigle or coerce a young clergyman, the son of a widow, into matrimony; and the frustration of her designs by the confession of an accomplice." %%endtext %%% X:86 T:Graine Uaile (air) T:Grace O'Malley B:WSGM.023 F:file ID wsgm/086gom S:"O'Farrell's Pocket Companion" volume 4 (as "Granah Weale") Z:Kinder/Black M:6/8 L:1/8 %%%Q:60 K:Gm "Slow and with feeling" B/c/|d>ed cAG/F/|DGG G2 A/B/|cAc/d/ cAG|FDE F2 d/g/| fed c/B/A/B/c/A/|d/c/d/e/f/d/ g2 a/g/|\ f/e/d/e/f/d/ d/c/B/A/G/F/|G2 G G2|| (3d/e/f/|gdB gdB|G2 G G2 (3c/d/e/|fcA fcA|\ F2 F F2 G/A/| B2 D D3|c2 D D3|d/c/d/e/f/d/ g2 a/g/|\ f/e/d/e/f/d/ d/c/B/A/G/F/|G2G G3|] %%textoption align %%begintext "This was the earliest setting of this famous old air which the editor could trace. A florid version entitled 'Granu Weal or ma-ma-ma' obtained from McDonnell, a renowned piper, in 1797, is to be found in Bunting's 3rd collection. The sub-title represents certain passages wherein a repeated note reinforced by concords on the regulators produced tones like ma-ma-ma. Grainne ni Mhaille, who flourished in the reign of Queen Elizabeth, was the most forceful character of her day. Her Irish maiden name became one of the allegorical titles by which Ireland is poetically known, and eclipses totally those of her two husbands, O'Flaherty and Sir Richard Bourke. In the course of time, the original Irish name became corrupted to 'Granu Weal', 'Graina Uaile', 'Grainu Mhaol', and other forms." %%endtext %%% X:47 T:Did You See My Man Looking For Me? (air) B:WSGM.024 F:file ID wsgm/047dysm S:F.O'Neill Z:Kinder/Black %%Q:180 M:6/8 L:1/8 K:G "Moderato spiritoso" G/F/|DGG A2d|cAd cAG|DGG A2d|cAF G2:| e/f/|gfe fdd|ece dBG|gfe fdd|ece d2e/f/| gfe fdd|edg dBG|FGA B2d|cAF G2|] %%textoption align %%begintext "Of this old folk song, I remember the following verse: Did you see my man, He was a fine man ? Did you see my man looking for me ? He wore a green jacket, a pair of white stockings, A hump on his back and he's blind in one eye; a corduroy breeches; his brogues full of stitches Did you see my man looking for me ?" %%endtext %%% X:235 T:Sweet Castle Hill (air) B:WSGM.025 F:file ID wsgm/235sch S:P.J.Healy, SFO Z:Kinder/Black N:I don't get a good feeling from the playback but the notation is per source (with the exception of the pickup to m.1, which is |G/D/E| in source). I suspect some scribal difficulties but who would know at this point? M:3/4 L:1/8 Q:100 K:G "Andante" D|G3 A B2|AG G3 A|B2 AG E2|G4 B2| "5"cd/2e/2 d2 BA|G2 EG A2|d2 e2 de|B2 AG A2| "9"B2 AG E2|D4 DE|G3 F E2|D2 d3 B| "13"A3 G A2|G4||DE|G3 A B2|GA B2 AG| "18"E G3 DE|G2 A B3|AG E A3|B A3 z2| "22"d2 e2 de|B2 A2 GA|B2 AG E2|D4 DE| "26"G3 F E2|D2 d3 B|A3 G A2|G6|] %%% X:82 T:Go My Own Darling Boy (air) B:WSGM.026 F:file ID wsgm/082gmdb S:Hudson manuscript 1841 Z:Kinder/Black M:3/4 L:1/8 %%Q:180 K:D % source key Eb "Andante" d>c|B2 A2 F>E|D4 D>D|E2 E2 GA/B/|A>G F2 d>c| B2 A2 (3FGE|D4 D>E|FB/A/ FD E>F|D4|| A>A|d2 dc B>e|A4 d>d|ed BA (3FDA|A>G E2 d>c| B2 A2 (3FGE|D4 D>E|Fd/c/ F>D E>F|D6|] Source version: K:Eb e>d|c2 B2 G>F|E4 E>E|F2 F2 AB/c/|B>A G2 e>d| c2 B2 (3GAF|E4 E>F|Gc/B2 GE F>G|E4|| B>B|e2 ed c>f|B4 e>e|fe cB (3GEB|B>A F2 e>d| c2 B2 (3GAF|E4 E>F|Ge/d/ G>E F>G|E4|| %%% X:103 T:I Found My Love in the Morning (air) B:WSGM.027 F:file ID wsgm/103ifml S:Rice-Walsh manuscript Z:Kinder/Black M:6/8 L:1/8 %%Q:100 K:Em "andante moderato" D|EFE EDB,|G3 G2 A|BcB BAB|d3 dge| dBG BdB|AFD DFA|BGE DB,D|E3 E2:| d|efe edB|g3 f2 e|dBG GAB|d3 d2 B| G/2A/2Bc d2 B|AFD DFA|BGE DB,D|E3 E2:| %%% X:28 T:Connacht Mother's Slumber Song B:WSGM.028 F:file ID wsgm/028cmss S:Francis E. Walsh, San Francisco Z:Kinder/Black N:A version of "Star of the County Down" M:4/4 L:1/8 %%Q:100 K:Em "Moderato cantabile" B,D|E2 E2 E2 DE|G2 G2 A3 G/A/|\ B2 AG E2 D^C|D6 B,D| E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:| Bc|d2 B2 B2 AG|A2 A2 A2 GA|B2 AG E2 DB,|D6 B,D| E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:| %%textoption align %%begintext "Not the least charming of the many airs and dance tunes for which we are indebted to our liberal San Francisco contributor Francis E. Walsh is the finest Slumber Song above printed. It is an old strain of which variants under divers names gained wide circulation. Who hasn't heard the one time popular ballad about 'my Love Nell from the Cove of Cork' and her inconstancy. 'Mary of Blackwater Side', one of the numbers in Joyce's 'Old Irish Folk Music and Songs', Dublin 1909, betrays a similar origin." %%endtext %%% X:136 T:Lamentation of Aughrim (air), The B:WSGM.030 F:file ID wsgm/136lama S:"McCullough's Collection of Irish Airs", Dublin 1821 Z:Kinder/Black M:3/4 L:1/8 %%Q:150 K:D "Andantino" DE|F2 A2 B>A|d2 d2 (3def|e2 d2 f>d|c>B B2 AF| "5"A2 A2 FA|B4 AF|D3 D ED|D4 D>E| "9"F2 d3 c|B2 A2 F>E|E2 D2 E>D|D4|| fg|"13"f2 e2 ga|g2 f2 ba|gf ed cd|d2 c2 A2| "17"Bc de fg|a2 f2 g2|f2 d'2 c'2|d'4|| %%textoption align %%begintext "At the battle of Aughrim, July 12th 1691, fought near Ballinasloe, County Galway, General St. Ruth in command of the Irish forces, and 7,000 of his troops were killed." %%endtext %%% X:35 T:Cuckoo (air), The B:WSGM.031 F:file ID wsgm/035cck S:Miss Lucy Ray Z:Kinder/Black M:3/4 L:1/8 %%Q:100 K:A "Moderato" C2|F2 F2 EC|FF F2 G2|B2 B2 GF|E4 C2| F2 F2 EC|F2 F2 EC|F2 A2 B2|c4|| cB|A2 A2 ec|B2 B2 cB|A2 A2 GF|E4 C2| F2 F2 EC|F2 F2 c2|cB A2 G2|F3-F3|| %%% X:219 T:Sarsfield's Lamentation (air) B:WSGM.032 F:file ID wsgm/219sars S:"Hibernian Muse", London 1787 Z:Kinder/Black M:3/4 L:1/8 %%Q:80 K:F "Andante sostenuto" Ac|d2 d2 cA|f2 f2 e>d|c>d c>A G>A|F2 G2 A/G/F| "5"D2 de c>A|f>g gf/g/ a2|F3 G Ac|G4:| AB|"9"d2 d2 c>A|f2 f3 E/F/|g2 g3 f/g/|a2 ba ge| "13"d>e d>c d/c/A|f2 g/f/g a2|F>E F>f d/2c/2A|1 G4:|2 HG6|] %%textoption align %%begintext "This lamentation derives its importance from the historical prominence of General Sarsfield as the Irish Commander at the Siege of Limeriick. That circumstance obviously accounts for its being confounded in later times with 'Limerick's Lamentation'. This composition bears no resemblance except in name to the 'Lament for Sarsfield', No. 433 in O'Neill's 'Music of Ireland', Chicago, 1903." %%endtext %%% X:41 T:Dark-Eyed Gypsy (air), The B:WSGM.033 F:file ID wsgm/041deg S:P.J.Healey, San Francisco Z:Kinder/Black M:4/4 L:1/8 %%Q:100 K:G "Andante" d2|B2 cA G3 g|B2 cA G3 d/e/|=f2 g2 A2 _B2|=B2 c2 d3 B/c/| d2 ga b3 a/g/|gf dB c3 B/c/|B g2 f d2 cA|A2 G2 G2|| Bc|d2 ga b3 a/g/|gf dB c3 B/c/|de =fe d2 cA|A2 G2 G2:| %%textoption align %%begintext "Although suggestive of an English origin, 'The Dark-eyed Gypsy' was the name of a popular song in Tipperary, Mr. Healey's native county." %%endtext %%% X:92 T:Hill of Uisneach (air) T:Cnoic Uisneach B:WSGM.034 F:file ID wsgm/092hill S:P.J.O'Donohue, San Francisco Z:Kinder/Black M:4/4 L:1/8 %%Q:60 K:G "Maestoso" e>d|B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E6 (3BAF| E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d6|| AF|E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d4 e3 d| B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E8|] %%textoption align %%begintext "I am informed by our liberal contributor, Mr. Francis E. Walsh of San Francisco, that variants of the above air are known to several of his musical acquaintances but by different names such as 'Knuck Usnach Gathering'; 'Knuck Costhnach'; 'The Coming of Lugh'; and 'The Poor Man's Friend'. Mr. O'Donohue, whose setting is presented, insists that it is the true air of 'Willy Reilly', the old time favorite of an earlier generation. The melody is the real thing however." %%endtext %%% X:172 T:Molly of Lough Erne Shore (air) B:WSGM.035 F:file ID wsgm/172mles S:James Whiteside manuscript Z:Kinder/Black M:3/4 L:1/8 %Q:100 K:G "D modal" "Andante" AB|c2 B2 c2|A2 G2 G2|A2 B2 c2|d4 fg|\ a2 g2 a2|=f2 e2 d2|d2 e2 A2|A4 f2| a2 g2 a2|f2 e2 d2|d2 c2 A2|f4 ge|\ d2 A2 B2|c2 A2 G2|A2 B2 c2|d6|] %%% X:75 T:Gay Young Fireman (air), The B:WSGM.036 F:file ID wsgm/075gyf S:F.O'Neill Z:Kinder/Black N:Part 2 recalls "Spanish Lady" M:4/4 L:1/8 %%Q:100 K:G "Moderato" ED|E2 A2 A2 GA|B2 AG E2 D2|G3 A G2 D2|EDEG A2 z2| D2 DD d3 B|A2 G2 G2 AB|c3 A B2 AG|E2 D2 D2|| %%textoption align %%begintext "Some fifty years ago I heard a ballad sung to this air by a young lady from Brooklyn, NY. It recited the fascinations of A Gay Young Fireman of that city. The strain, unmistakably of Irish origin, displays marked individuality." %%endtext %%% X:179 T:My Dear Irish Girl (air) B:WSGM.014 F:file ID wsgm/179mdig S:F.O'Neill Z:Kinder/Black M:4/4 L:1/8 %%Q:120 K:Em "Con spirito" (3DEF|GFGB edBG|AGEE E3 d|efgf eede|ccBA B3 d| efgf efde|ccBA e2 dB|GFGB edBG|AGEE E3|| M:6/8 R:jig K:G D|GAG GAG|BAG Bcd|GAG GFG|FAG FED| GAG G2 G|BAG Bcd|efg edB|AGF G3|| %%textoption align %%begintext "Not a few songs or ballads have been sung to a variant of this old air, one of them being named 'The Hat My Father Wore'. Where the second part came from the Editor is unable to say, except that it has lodged in his memory for many years." %%endtext %%% X:43 T:Dawning of the Day (air), The B:WSGM.038 F:file ID wsgm/043dawn S:"Aird's Selections" 1782-97 Z:Kinder/Black M:4/4 L:1/8 %%Q:100 K:G "Moderato" DE/F/|G>AGF E2D2|dd g/f/e/d/ B2 c/B/A/G/| GFGA B2 g/f/e/d/|B>c A2 G2:| z2|e>def g2 ga/b/|agfe d2 B2|ed e/g/f/a/ ggab| agf>e e4|edef gg g/f/e/d/|Bg B/g/B/g/ A2 B/A/G/F/| GFGA B2 g/f/e/d/|Bc A2 GF G2|| %%textoption align %%begintext "This fine air, the best known of the compositons of the great harper Thomas O'Connellan, was taken from 'Aird's Selection of Scotch, English, Irish and Foreign Airs, Vol.3', published in 1788. 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. As the above setting differs materially from that of Bunting in his second collection issued in 1809, and others much more recent, its introduction among 'Waifs and Strays' may be not without interest to students of Irish musical history." %%endtext %%% O'Neill's notes on "Lamentation of Owen Roe" % This fine composition is attributed to Carolan in Bunting's General % Collection of the Ancient Irish Music, Dublin 1796; Hardiman's Irish % Minstrelsy, London 1831; and Clinton's Gems of Ireland, London 1841. % Grattan Flood, an eminent authority, states in his A History of Irish % Music, Dublin 1905, that this "glorious lament was composed on the % death of Owen Roe O'Neill in 1649", a date preceding Carolan's birth % by twenty-one years. Owen Roe O'Neill, prince of Ulster, was a % gallant military leader who vanquished the British forces at the % battle of Benburb in 1646. %%% X:121 T:Jesse the Flower of Dunblane (air) B:WSGM.040 F:file ID wsgm/121jesse S:"Wood's Songs of Scotland", Edinburgh, 1848 Z:Kinder/Black M:6/8 L:1/8 %%Q:100 K:G "Andante con moto" G/A/|BcB AdB|GFG AF G/E/|DEC B,DG|GAB A2 G/A/| BcB AdB|GFG AF G/E/|DEC B,DG|AEF G2|| % B|BGA Bed|BGA BGB|AFG AdB|AFE D2 D| GBA BGA|BdB cAB|cde dBG|AEF G2 G/E/| DEC B,D G/A/|BdB cAB|cde dBG|AEF G3|] % P:source version with dotted rhythm "Andante con moto"G/A/|B>cB A>dB|G>FG AEC B,cB AEC B,F G2|| B|B>GA BE D2 D| G>BA BG>A|BdB cA>B|c>de dB>G|A>EF G2 G/E/| D>EC B,de dF G2|| %%textoption align %%begintext "Early in the nineteenth century, this song was composed by a modest weaver, Robert Tannahill of Paisley, and was set to an alleged ancient Scottish melody by Robert A. Smith, author of the 'Irish Minstrel' and the 'Scottish Minstrel'. According to Farquhar Graham, editor of 'Woods' Songs of Scotland', not a few of the airs in the latter work were composed by Smith himself. Whatever the origin of the above melody may have been it has a decidedly Gaelic tonality." %%endtext %%% X:187 T:O'Connell's Lamentation (air) B:WSGM.041 F:file ID wsgm/187ocl S:J.O'Neill Z:Kinder/Black M:6/8 L:1/8 Q:80 K:Am "Andante" E|A2 d/c/ AGE|Gcd ea^f|gec dcA|GE^F G2E| "5"Adc AGE|c-c/d/e/^f/ gea|gec dcA|A3-A2|| e/^f/|"9"g-g/^f/a/f/ g-g/b/a/g/|f/e/d/e/f/d/ e2 A| "11"c/B/c/d/e/^f/ gec/A/|GEc/A/ GEG| "13"AA/B/c/A/ BB/c/d/B/|cc/d/e/^f/ gea| "15"gec dcA|A3-A2||A/B/|cE^F G2 A/B/|c/B/c/d/e/^f/ gea| "19"g/f/e/g/f/e/ d/f/e/d/c/B/|cE^F G2 A/B/| "21"cE^F G2 A/B/|c/B/c/d/e/^f/ gea| "23"gec dcA|A3-A3|] %%textoption align %%begintext "Comparing very favorably with compositions of this class, 'O'Connell's Lamentation' is presented as the production of two members of the once famous Irish Music Club of Chicago which flourished in the early years of the twentieth century. The first and second parts were outlined by John McFadden, an untutored fiddler of fertile fancy and dextrous execution. The third part as well as the whole arrangement is the work of Sergt. James O'Neill, the club's worthy scribe." %%endtext %%% X:1 T:All I Want Is a Decent Boy (air) B:WSGM.042 F:file ID wsgm/001all S:"O'Farrell's Pocket Companion 1804-1810" (says the Chief) Z:Kinder/Black N:I can't find any tune by this name in any O'Farrell volume! %%Q:100 M:3/4 L:1/8 K:G "andantino" DE|GA GA Bd|ef ed Be|dB/A/ GA BA|AG E2 DE| GA GA Bd|ef ed Be|dB/A/ GA BA|AG G2 z A| BB g2 B2|gfed B2|dB/A/ GA BA|AG E2 DE| GA GA Bd|e/f/e/d/ B3e|dB/A/ GA BA|AG G2|| %%textoption align %%begintext "The name of a ballad sung to this air has been substituted for 'The Young Man's Dream', an obviously wrong title - as printed in O'Farrell's work." %%endtext %%% X:22 T:Captain O'Kane (air) T:The Wounded Hussar B:WSGM.043 F:file ID wsgm/022cok S:"McGoun's Repository" 1803 Z:Kinder/Black M:6/8 L:1/8 %Q:100 K:G "moderato" E/D/|B,EF G2F/E/|F/G/A/G/F/E/ DEF| GBG B/A/G/F/E/D/|B,EE E2 E/D/|B,EF G2F/E/| F/G/A/G/F/E/ DEF|GBB B/A/G/F/E/D/| B,EE E2||E/F/|GBB B2A/G/|FAA A2d/c/| Be^d e>fg|Be^d e2e/f/|g>fe d>cB|AFd DEF| GBG B/A/G/F/E/D/|B,EE HE3|] %%textoption align %%begintext "The earliest setting of this rare composition which the compiler can trace is that found in Vol.3 of Aird's Selections of Scotch, English, Irish and Foreign Airs, printed in 1788. Slightlly disguised as 'Captain Oakhain: A Favorite Irish Tune', it appears in McGoun's 'Repository of Scots and Irish Airs, Strathspeys, Reels, etc', Glasgow 1803, but it is not numbered among the Bunting or Petrie Collections. 'The Wounded Hussar' we learn from Alexander Campbell's song of that name printed with the music in Smith's 'Irish Minstrel, Edinburgh 1825', was Captain Henry O'Kain who died of his wounds on 'the banks of the dark rolling Danube'.Included as one of Carolan's compositions in Hardiman's 'Irish Minstrelsy, 1831' the author adds: 'Capt. O'Kane or O'Cahan of a distinguished family, a sporting Irishman well known in Antrim in his day as 'Slasher O'Kane'. There can be no doubt that he was the hero of Campbell's song. 'The Wounded Hussar' is also included in Serenne's 'Songs of Ireland without words', Edinburgh 1854." %%endtext %%% X:262 T:Young Ellen of My Heart (air) B:WSGM.044 F:file ID wsgm/262yemh S:Rice-Walsh manuscript Z:Kinder/Black M:4/4 L:1/8 %Q:80 K:Am "Andante" g|edcB AGFE|G2AA A3 E|ABcd e2 ec|d2 ed c2 BA| ABcd e^fge|d2 ed c2 gf|edcB AGEF|G2AA A3E| ABcd e^fge|d2 ed c2 gf|edcB AGEF|G2AA HA4|] %%% X:110 T:Irish Lassie (air), The B:WSGM.045 F:file ID wsgm/110ilas S:"Aird's Selections" 1782-97 Z:Kinder/Black M:6/8 L:1/8 %%Q:100 K:G "Andante cantabile" G/A/|B2A B2g|dBG A2B|E2D EFG|AFD D2G/A/| B2 A B2 g|^ceg f2e|f>ed ed^c|d3-d2d/c/| B>cB cA>f|g3 d2 c|B>GB c2 d|ede gfe| d2 (3e/f/g/ f2 e|d2 c B/c/dD|EcB ADF|G3-G3|] %%% X:181 T:My True Love Has Gone From Me (air) B:WSGM.046 F:file ID wsgm/181mtl S:F.O'Neill Z:Kinder/Black M:4/4 L:1/8 %Q:1/4=100 K:Dmaj % source key G "Moderato con expressivo" FA|B3 A d2 F2|G4 BAFE|F2 EF D2 D2|D4-D2 de| f2 fg f2 ed|e3 g f2 ef|d3 d c3 B|A4-A2|| de|f2 fg f2 ed|e3 g f2 ef|d3 d c3 B|A4-A2 FA| B3 A d2 F2|G4 BAFE|F2 EF D2 D2|D4-D2|| %%textoption align %%begintext "This air like scores of others was unconsciously memorized in my boyhood days at Tralibane some three miles southeast of Bantry, West Cork. All that I can remember now of the ballad sung to it is the distich: "My true love he has gone from me, and I can't tell how far Eighteen hundred thousand miles , on board of a man of war" It is not likely that the poetaster in equalizing his meter realized the absurdity of a voyage equal to seventy-two times the circumference of the earth." %%endtext source version: K:G "Moderato con expressivo" Bd|e3 d g2 B2|c4 edBA|B2 AB G2 G2|G4-G2 ga| b2 bc' b2 ag|a3 c' b2 ab|g3 g f3 e|d4-d2|| ga|b2 bc' b2 ag|a3 c' b2 ab|g3 g f3 e|d4-d2 Bd| e3 d g2 B2|c4 edBA|B2 AB G2 G2|G4-G2|| X:180 T:My Only Joe and Deary O (air) B:WSGM.047 F:file ID wsgm/180joe S:"Wilson's Companion to the Ballroom", London 1816 Z:Kinder/Black M:4/4 L:1/8 %%Q:100 K:G "Maestoso" B|e3 f gfed|e2 B2 B3 G|A3 c BAGF|G2 E2 E3 G| e3 f gfed|e2 B2 B3 G|A3 c BAGF|G2 E2 E2 z|| B|e3 f g2 e2|f2 ^d2 B2 z B|e3 f g2 fe|f2 d2 d2 ef| g2 e2 gfe^d|e2 B2 B2 G2|A3 c BAGF|G2 E2 E2 z|| %%textoption align %%begintext "Classed as a Scotch tune among the 'figure' dances in Wilson's 'Companion to the Ballroom', 'My Only Joe and Deary O' is not listed in the Analytical Table of the 'Glen Collection of Scottish Dance Music, Strathspeys, Reels and Jigs', Edinburgh, 1891. It is quite distinct however from 'My Ain Kind Dearie', first printed in the 12th Number of Robert Bremner's 'Collection of Scots Reels or Country Dances' issued in Edinburgh in 1761. An elaborite arrangement of the latter, with 12 bars in each part appears in McGoun's 'Repository of Scots and Irish Airs, Strathspeys, Reels, etc.', published in Glasgow about 1803." %%endtext %%% X:178 T:My Charmer from Clare (air) B:WSGM.048 F:file ID wsgm/178mcfc S:Whiteside manuscript Z:Kinder/Black M:3/4 L:1/8 Q:100 K:G "Andante con Sentimente" (3EFG|A2 A2 dc|B2 G2 (3AGE|(3DEF G2 G2|G4 (3Bcd| e2 ef ge|f2 d2 ed|c2 BA B2|E4|| (3Bcd|e2 ef ge|f2 d2 ed|c2 BA B2|E4 (3EFG| A2 A2 dc|B2 G2 (3AGE|(3DEF G2 G2|G6|] %%textoption align %%begintext "James Whiteside, the 'Bard of Bray', County Wicklow, was a genius - scholar, poet, musician, composer. Born in County Monaghan in 1844, he retired after 40 years service as a schoolteacher at Bray. His playing of the violin won two first honors at two Feiseanna. An interesting sketch of his life appears on pages 384-7, 'Irish Minstrels and Musicians'". %%endtext %%% X:4 T:Banished to America (air) S:Rice-Walsh manuscript B:WSGM.049 F:file ID wsgm/004ban Z:Kinder/Black M:4/4 L:1/8 %Q:100 K:D "moderato" (3ABc|d2 de dcAF|G2 GF GBAG|F2 GFD2 D2|D4-D2 DE| F2 FE FGAF|G2 GF G2 Ac|d2 dc ABce|d4-d2|| DE|F2 FE FGAF|G2 GF G2 Ac|d2 dc ABce|d4-d2 fe| d2 de dcAF|G2 GF GBAG|F2 GF D2 D2|D4-D2|| %%% X:248 T:Valley Near Slievenamon (air), The B:WSGM.050 F:file ID wsgm/248vns S:M.Flanagan, Dublin Z:Kinder/Black M:2/4 N:This lovely song is always performed in 3/4 time today. L:1/8 H:Gaelic sliabh na mban = "mountain of the women" (Co.Tipperary) %Q:80 K:G "Andantino Calmato" d|d2 ed|G2 DG|B2 cd|E2 AG| "5"F2 DE|F B2 A|G3 d|d2 ed| "9"G2 DG|B2 cd|E2 AG|F2 DE| "13"F B2 A|G2-G|| G|"15"A2 AB|c3 c|BGGA|B2 BB| "19"^c2 AB|^c f2 e|d3 d/d/|ed ^cd| "23"G2 EG|B2 cd|E2 AG|F2 DE| "27"F B2 A|G2-G|| %%textoption align %%begintext "This fine air which runs to the unusual number of 14 bars in each part was sent me by a Dublin friend, Mr. M. Flanagan, a distinguished linguist and scholar. In his leisure moments, he enjoys the music of his fiddle, and union pipes, being a skillful perfomer on both instruments. A brief sketch of his eventful life appears in 'Irish Minstrels and Musicians'. Whether suitable to the meter of the melody or not, Mr. Flanagan's charming verses will be no less appreciated than his music: %%endtext %%textoption center %%begintext Alone, all alone by the wave-washed strand / All alone in the crowded hall / The Hall is gay and the waves are grand / But my heart is not here at all / It flies far away, by night and by day / To the times and the joys that are gone / And I ne'er can forget / the sweet maiden I met / in the valley near Sliavnamon. It was not the grace of her queenly air / Nor her cheek of the roses glow / Nor her soft black eyes, nor her flowing hair / Nor was it her lily-white brow / 'Twas the soul of truth, and melting ruth / And the smile like a summer dawn / That stole my heart away, one mild autumn day / In the valley near Sliavnamon." %%endtext %%% X:199 T:Paddy Will You Now (air) B:WSGM.051 F:file ID wsgm/199pwyn S:F.O'Neill Z:Kinder/Black M:2/4 L:1/16 %Q:50 K:G (3def|g2B2 B2AG|F2A2 A2BA|G2g2 gfga|b2g2 g2(3def| g2B2 B2AG|F2A2 A2BA|B2g2 gfga|b2g2 g2:| Bc|d2B2 d2ef|g2f2 e2d2|d2B2 d2ef|g2f2 e2d2| eeee e2d2|g2B2 B2A2|GGGF G2A2| B2G2 E2D2|GGGF G2B2|AAAB A2B2|B2g2 f2e2| d2c2 B2A2|GGGG G2B2|AAAA A2B2|B2g2 f2a2|g4 g2:| %%textoption align %%begintext "The above setting differs not materially from that in 'Clinton's 200 Irish Melodies for Flute', Dublin 1840. Under the same name a much simpler version appears in Haverty's '150 Irish Airs', New York 1858, having but the exceptional number of 13 bars altogether. To the editor this strain was known in boyhood days as 'Tow Row Row' both names being taken from the first line of the song 'Tow Row Row, Paddy, will you now', which song by the way cannot be found in any Irish collection at present available. 'Ta na la' or 'It is day' one of three tunes of that name in the Stanford-Petrie Collection is obviously the same strain. The arrangement however is quite different; the melody and chorus together consisting of but 17 bars. To add to the diversity, we find that the arrangement of 'Paddy will you now' to which is set Gavan Duffy's poem 'Watch and Wait' in 'Ballads and Songs by the Writers of 'The Nation', Dublin 1845, is limited to 14 bars." %%endtext %%% X:96 T:Homeward Bound (march) B:WSGM.053 F:file ID wsgm/096hbm S:F.O'Neill Z:Kinder/Black M:4/4 L:1/8 R:march %%Q:120 K:D % source key G FE|D2 DD D2 FG|A2 AA A2 fe|d2 A2 GFGA|B2 E2 E2 FE| D2 DD D2 FG|A2 AA A2 fe|d2 A2 BAGE|F2 D2 D2|| FG|A2 d2 dcde|d2 A2 A2 FA|B2 e2 edef|e2 B2 B2 cB| A2 d2 dcde|fefg a3 g|fafd (3efg ec|d2 dd d2|] %%textoption align %%begintext "This spirited march was memorized by the writer in early life; all circumstances relating to its acquirement being now forgotten. We have no assurance of its Gaelic origin, yet few would deny that it was worth preserving at least. For obvious reasons, a name has been supplied for its identification." %%endtext % Source version in wsgm_ABC file Source version: K:G BA|G2 GG G2 Bc|d2 dd d2 ba|g2 d2 cBcd|e2 A2 A2 BA| G2 GG G2 Bc|d2 dd d2 ba|g2 d2 edcA|B2 G2 G2|| Bc|d2 g2 gfga|g2 d2 d2 Bd|e2 a2 agab|a2 e2 e2 fe| d2 g2 gfga|babc' d'3 c'|bd'bg (3abc' af|g2 gg g2|| %%% X:152 T:Lord Lindsay's March B:WSGM.054 F:file ID wsgm/152llm S:"Aird's Selections", 1782-97 Z:Kinder/Black M:4/4 L:1/8 %%Q:120 R:march K:D (3ABc|d2 dd d2 fd|e2 ee e2 ge|f2 ff fagf|edcB AGFE| dAFA dfed|ecAc egfe|fadf gece|d2 dd d2|| fg|afdf aa b/a/g/f/|gece gg a/g/f/e/| fdBd fa b/a/g/f/|edcB AGFE|DFAd fdAF| EGBd gecA|fadf gece|d2 dd d4|] %%textoption align %%begintext "An almost identical setting is named 'Capt. Hillman's March' in the same volume" [i.e. Aird's] %%endtext %%% X:194 T:Over the Hills and Far Away (march) B:WSGM.055 F:file ID wsgm/194ohfa S:F.O'Neill Z:Kinder/Black M:4/4 L:1/8 %Q:120 R:march K:D AB|d3 e defe|d2 B2 B2 AB|d3 e defd|f2 e2 e2 AB| d3 e defe|d2 B2 B2 d2|ABAG ABde|f2 e2 e2|| fg|a3 b afef|d2 B2 B2 fg|a3 g f2 ed|f2 e2 e2 fg| a3 b afef|d2 B2 g3 B|A2 AB ABde|f2 e2 e2|| %%textoption align %%begintext "Gay Robin was a piper young, and many an air he played and sung But sweetest far the love fraught lay 'Over the hills and far away'" %%endtext %%% X:186 T:North Wind (march), The B:WSGM.056 F:file ID wsgm/186north S:Rice-Walsh manuscript Z:Kinder/Black M:4/4 L:1/8 Q:120 R:march K:G (3DEF|G2 GG GBdB|c2 A2 A2 c2|BGBd gdBG|d2 de dcBA| G2 GG GBdB|c2 A2 A2 c2|(3BdB GB (3AcA FA|G2 GG G2|| (3def|g2 ga bgdB|c2 A2 A2 fg|a2 ab agfe|dgfe dcBA| G2 GG GBdB|c2 A2 A2 c2|(3BdB GB (3AcA FA|G2 GG G2|] %%% X:24 T:Clan March, The T:Hibernian Jig B:WSGM.058 F:file ID wsgm/024chj S:"Aird's Selections" 1782-97 Z:Kinder/Black M:6/8 L:1/8 %Q:120 R:march K:Em % source key Bm D|D>B,D D>B,D|D>B,D D2G|E>GE E>DE|G>AB B2A| A>Bd e/f/ge|dBA G>AB|B>ed B>AB|G>EE E2|| d|ded dBd|efe e2d|dBd edc|B2A G2e| ged edB|dBA GAB|Bed BAB|G>EE E3|] %%textoption align %%begintext "In 'Aird's Selections of Scotch, English, Irish and Foreign Airs etc' this tune is designated 'An Irish Jigg' while in the index it is named 'An Irish Air'. Its emphatic swing and antique cadences proclaim this spirited strain a march, altho as "The Hibernian Jig" it was included in O'Neill's 'Dance Music of Ireland' (1907), but in a much lower key." %%endtext % Source version in wsgm_ABC file Source version: K:Bm A|A>FA A>FA|A>FA A2d|B>dB B>AB|d>ef f2e| e>fa b/c'/d'b|afe d>ef|f>ba f>ef|d>BB B2|| a|aba afa|bc'b b2a|afa bag|f2e d2b| d'ba baf|afe def|fba fef|d>BB B2|| %%% X:9 T:Bonaparte's Grand March B:WSGM.059 F:file ID wsgm/009bgm Z:Kinder/Black S:J.O'Neill R:March M:4/4 L:1/8 % dotted rhythm %%Q:200 K:D A2|d2dd d2 A/B/c/d/|e2ee e2 de|f2ef g2f2|e2ee e2A2| ddAA FFAA|ddAA FFAA|d3 f edef|d2dd d2|| P:part 2 f2|edcB ABcA|dcde defd|edcB ABcA|dcde defd| B2gg g2B2|A2ff f2af|e2e2 edef|d2dd d2|| P:part 3 fg|a2a2 b2b2|a3g f2a2|g2g2 f2af|edef e2ef| g2 g/f/e/d/ c2A2|aaff d2A2|f2fa gfed|a2aa a4|| %%textoption align %%begintext "In the heyday of Bonaparte's renown, early in the nineteenth century, many song, marches, hornpipes etc were named in his honor in Ireland. Most of the tunes, being traditional, retain their popularity. It is not claimed that "Bonaparte's Grand March" is an Irish composition. In fact we have no information concerning its history or origin, but there can be no question as to its circulation and popularity in Ireland in former times. Its rescue from the oblivion of faded manuscript to the publicity of the printed page may endow this spirited march with renewed vitality." %%endtext %%% X:31 T:Croppies' March No.1, The B:WSGM.060 F:file ID wsgm/031cm1 S:Patsy Touhey Z:Kinder/Black N:This is known today as "Lakes of Sligo" or "Banks of Inverness" (in G). M:4/4 L:1/8 Q:120 R:March K:D B|A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d2 B2 BcdB| A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:| e|f2 a2 a3 f|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 B2 d2| f2 a2 a3 f|g2 b2 b3 c'|d'2 c'2 c'2 a2|b4 b3 a| f2 a2 a2 f2|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 BcdB| A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:| %%% X:32 T:Croppies' March No.2, The B:WSGM.061 F:file ID wsgm/032cm2 S:F.O'Neill Z:Kinder/Black M:4/4 L:1/8 %%Q:120 R:March K:D B|:A>BAF ABde|faef d/e/f/d/ Bd|A>BAF ABde|faef d2 d2:| faag/f/ gbba/g/|faef d/e/f/d/ BA| faag/f/ gbbc'|d'c'ba b2 ba|faag/f/ gbba/g/| faef d/e/f/d/ Bd|A>BAF ABde|faef d2 d2|| %%textoption align %%begintext "The term 'Croppy' grew from the custome of the English and Scotch reformers in 1795, who cut their hair short. The same custom was adopted by the reformers in Ireland; and hence all those who wore their hair short were denominated 'Croppies', and were the marked objects of government vengeance. In truth, clipped hair constituted secondary evidence of treason, and was sufficient to cause the arrest and ill treatment of any person daring enough to adopt it." %%endtext %%% X:124 T:Johnny I Hardly Knew Ye (march) B:WSGM.069 F:file ID wsgm/124jih S:F.O'Neill Z:Kinder/Black M:6/8 L:1/8 %%Q:120 R:march 6/8 K:Am A/G/|E2 A A2 B|c2 B c2 A|G3-G2 E|G3-G2 A|E2 A A2 B|c2 B c2 d| e3-e2 c|e3-e2 c/2d/2|e2 e edc|d2 d dcB|c2 c cBA|B2 B GBd| e2 e d2 d|c2 c BAG|EAA A2 ^G|A3-A2 B|c2 E EGE|G2 E EGE| AGA c2 d|e3-e2 c/2d/2|ege d2 B|cBA B2 ^G|EAA A2 ^G|A3-A2|| %%textoption align %%begintext "Classed as a street ballad in 'Halliday Sparling's Irish Minstrelsy' (London 1887) the editor adds, in a note on page 366, %%endtext %%textoption center %%begintext 'Johnny I Hardly Knew Ye ! This favorite old song is here for the first time given complete. It dates from the beginning of the present century (19th), when Irish regiments were so extensively raised for the East India service.' %%endtext %%textoption align %%begintext This spirited air almost forgotten in Ireland blossomed into new popularity during the American Civil War, and, after its arrangement by a master hand - Patrick Sarsfield Gilmore - it became a great favorite with military and volunteer bands. Parodies on the original song such as 'When Johnny comes marching home again', 'Johnny fill up the bowl' etc., were sung to it by the Union soldiers. After the manner of the 'Loobeens' and occupational songs of olden days in Ireland, additional verses were improvised, some possibly crude, yet always mirth-provoking, and well-calculated to keep up their spirits on the march, or relieve the monotony of camp life. The circumstance of its arrangement as above stated no doubt led Adair FitzGerald to refer to it in his 'Stories of Famous Songs' in qualified words: %%endtext %%textoption center %%begintext When Johnny comes marching home again, said to have been composed by the celebrated Patrick S. Gilmore. %%endtext %%textoption align %%begintext The latter, a native of Dublin quite probably had memorized the tune in his youth. The original, it may be observed, included a refrain of four lines not found in the parodies." %%endtext %%% X:150 T:Long John's Wedding March B:WSGM.064 F:file ID wsgm/150ljwm S:F.O'Neill Z:Kinder/Black M:6/8 L:1/8 %%Q:120 R:march K:G d/c/|B2 G GBG|gfe d2 c|B2 G GAB|c2 B ABc| "5"B2 G GBG|gfe d2 c|B2 G AFA|G3 G2:| D|"9"G2 A B2 c|dcd d2 B|cBc ABc|d2 c BAG| "13"e2 f gfe|d2 c B2 d|e2 d c2 B|A3 d3| "17"G2 A B2 c|dcd d2 B|c2 B ABc|d2 c BAG| "21"e2 f gfe|d2 g d2 c|B2 G AFA|G3 G3|] %%textoption align %%begintext "The foregoing march is an elaboration of a Jig named 'Long John's Wedding', No. 233, O'Neill's 'Dance Music of Ireland' ". %%endtext %%% X:78 T:Girl I Left Behind Me (march), The B:WSGM.052 % "with variations" F:file ID wsgm/078gilb S:Rice-Walsh manuscript Z:Kinder/Black M:2/4 L:1/16 Q:80 R:March K:G gf|edB^c dBA=c|BAGF EDEF|GFGA GABc|dedc B2gf| "5"(3efg de (3Bcd Ac|BAGF EDEF|GFED EGFA|G4 G2:| BA|"9"Bdef gfgb|agfe d2Bd|edef gfed|(3efg af g2fg| "13"(3efg de (3Bcd Ac|BAGF EDEF|GFED EGFA|G4 G2:| gf|"17"(3efg dB (3cde cA|(3Bcd BG FDEF|GBdB cdec|(3efg (3fga gfed| "21"(3efg dB (3cde cA|(3Bcd BG FDEF|GFED EGFA|G4 G2:| GF|"25"DGBd dcAB|cBGB BAFA|DGBd dcAg|(3fga gf gdBG| "29"DGBd dcAB|cBGB BAFA|BAGA (3Bcd FA|G4 G2:| dc|"33"BA (3Bcd ed (3efg|(3fga gf gdBG|BA (3Bcd ed (3efg|(3fga gf g2fg| "37"(3efg dB (3cde cA|(3Bcd BG FDEc|(3BdB GB (3AcA FA|G4 G2:| %%textoption align %%begintext "Few tunes are more widely known than 'The Girl I Left Behind Me', or 'The Spalpeen Fanach', as an air, march, or hornpipe. Even so, no apology is needed for the introduction of this elaborate setting with variations by Jeremiah Breen, a famous blind fiddler of North Kerry of the past generation. His tunes noted down by a pupil, Thomas Rice, were transcribed by a friend, Sergt. James P. Walsh of the Chicago Police." %%endtext %%% X:40 T:Dandy Pat (air) B:WSGM.071 F:file ID wsgm/040dandy S:F.O'Neill Z:Kinder/Black Q:140 M:6/8 L:1/8 K:D A|d2 d def|B2 B B2 A|c2 c cBA|d2 d d2 A| d2 d def|B2 B B2 g|f2 e f2 g|a3-a2|| f/g/|a2 f a2 f|a3 agf|e2 f gfe|f2 g a2 z| a2 f a2 f|a3 agf|e2 f g2 a|f2e d3|| %%textoption align %%begintext "This spirited air enjoyed no little popularity some fifty years ago when a song of that name to be found in 'Hyland's Mammoth Hibernian Songster' was sung to it." %%endtext %%% X:158 T:McDermot Roe (air) B:WSGM.072 F:file ID wsgm/158mdr C:Carolan S:"Hibernian Muse" 1787 N:The Chief must have missed this piece when he was compiling his earlier selection of Carolan airs (in "the 1850"). It's interesting to note that his spelling of the family name there is always "McDermott" (two t's). Z:Kinder/Black M:6/8 L:1/8 Q:80 K:F c|AFF Acc|f2 F fed|e/f/gc dcB|Acc f2 g| ab/a/g ab/a/g|fdd d2 e/f/|gcg ga/g/f|ec/d/e f2 c| AFF cA/B/c/A/|FA/B/c/A/ F2 f|ecc dB/c/d/B/| c/B/A/B/c/A/ G>AG|FAf fFf|gcg afa|agf ece|fFF F3|| GCC GCC|AF/G/A/F/ BGG|A/B/cc d/e/ff|e/f/gg ece| fc'b a/b/c'/b/a/g/|fcf fcf|bg/a/b/g/ fd/e/f/d/| Bc/d/g ece|f2 F fed|c2 A BAG|A/B/cc fg/f/e|f3-f3|] %%textoption align %%begintext "Among Carolan's many distinguished friends and patrons, no one was more generous and loyal than Mrs. McDermot Roe, of Alderford House, County Roscommon. At the outset of his professional career in 1693, it was she who equipped him with a horse and an attendant harper; and it was to her hospitable home he directed his feeble footsteps in his declining days. Exceptionally honored in death, Carolan's remains were interred near the family vault of his benefactress." %%endtext %%% X:126 T:Johnny's Trip to France (march) B:WSGM.077 F:file ID wsgm/126jtf S:F.O'Neill Z:Kinder/Black M:4/4 L:1/8 %%Q:140 R:march K:G gf|"1"e2 A2 A2 Bd|edef gedB|G2 GA BAGA|B2 d2 d2 gf| "5"e2 A2 A2 Bd|edef gedB|G2 GA BAGA|B2 A2 A2:| Bd|"9"e2 a2 a2 ga|b2 ab a2 gf|edef gfga|bc'ba g2 ed| [1 "13"e2 a2 a2 ga|b2 ab a2 gf|edef gagd|B2 A2 A2:| [2 "17"a2 gf g2 fg|edef gedB|G2 GA BAGA|B2 A2 A4|] %%textoption align %%begintext "The above fine marching tune tho' manifestly in the Irish style is probably of Scotch origin because it comes from the subconscious memory of the writer who associated in Chicago nearly 50 years ago, with such noted Highland pipers as McLean, Cant, and Monroe. Of the four distinct tunes, named after Lochiel the Jacobite hero to be found in old printed collections I find that one specially arranged for the Highland bagpipe is a variant of 'Johnny's Trip to France'; dreamily remembered by the editor since early manhood. %%endtext %%% X:81 T:Gladly Would I Go (march) B:WSGM.079 F:file ID wsgm/081gwig S:F.O'Neill Z:Kinder/Black M:6/8 L:1/8 %%Q:120 K:D A/G/|F2 A AFA|BGB AFD|F2 A AFd|EFE E2 G| F2 A AFA|BGB AFD|FA>F GEC|D>ED D2|| A|dBd cAc|BGB AFD|dBd cAc|BGB A2 B/2c/2| dBd cAc|BGd AFD|FA>F GEC|D>ED D2|| %%textoption align %%begintext "This fine old march was memorized from the playing of William McLean, a famous Highland piper much admired in Chicago some fifty years ago. The tune in almost identical setting was included in a book of pipe music, published at Glasgow about 1825 under two names: 'The Duke of Athol's March' and a long Gaelic title expressive of romance and chivalry. Its spirited swing and characteristic cadences, no less than its Gaelic title indicate an Irish origin." %%endtext %%% X:123 T:Job of Journey Work B:WSGM.084 F:file ID wsgm/123jjw S:"Aird's Selections" 1782-97 Z:Kinder/Black N:Kinder's version has |g2| in measure 8. I'm pretty sure this is a misprint for |e2| M:2/4 %%Q:180 L:1/8 R:hornpipe K:G "set dance" g2|dB GB|d2 dg|dB c/B/A/G/|A2 GA| B/A/G/A/ B/A/G/F/|E>F GA|de e^d|e2:| % d2|gg a/g/f/e/|dd dB|gg a/g/f/g/|e2 dB| gg a/g/f/e/|dd dg|dB c/B/A/G/|A2 GA| B/A/G/A/ B/A/G/F/|E>F GA|Be e^d|e2:| %%textoption align %%begintext "This is a variant of the Long Dance of the same name in O'Neill's 'Dance Music of Ireland'. It differs however in having two bars less in the second part." %%endtext %%% X:234 T:Suisin Ban, An T:The White Blanket B:WSGM.087 F:file ID wsgm/234sban S:"O'Farrell's Pocket Companion" 1804-10 [?] N:I don't find this tune (by this name anyway) anywhere in O'Farrell's collections. Z:Kinder/Black M:C Q:120 L:1/8 K:G "set dance" G>A|B2 E2 E2 D>E|G2 AB c3 A|B2 AG E2 D>E|A2 A2 A2 GA| B3 A GEDE|G2 G2 G2:|B2|cBcd efgf|edcB c3 A|B2 AG E2 D>E| A2 A2 A2 G>A|B3 A GED>E|G2 G2 G2:| %%% X:34 T:Cruiskin, An B:WSGM.088 F:file ID wsgm/034cru S:J.O'Neill Z:Kinder/Black H:< cruiscin, little jug M:4/4 L:1/8 %%Q:120 K:G Bc|d2de dBAB|d2de d2BA|Beee efge|defa g2 g2|abag fagf| egfe d2 BA|Beee egfe|defa g2 eg|edcB AcBA|G2 GG G2|| %%% X:69 T:Flag Dance, The T:march B:WSGM.090 F:file ID wsgm/069flag S:"Aird's Selections" 1782-97 Z:Kinder/Black %%Q:120 M:6/8 L:1/8 K:G % source key D d|B2 G GAG|B2 G GAG|A2 B c2 B|A2 G FED| G2 A B2 c|d2 d dcB|A2 B c2 B|A2 B c2 d| B2 G GAG|B2 G GAG|A2 B c2 B|ABG FED| G2 A B2 c|d2 d def|g2 d dec|B2 G G2|| Source version: K:D a|f2 d ded|f2 d ded|e2 f g2 f|e2 d cBA| d2 e f2 g|a2 a agf|e2 f g2 f|e2 f g2 a| f2 d ded|f2 d ded|e2 f g2 f|efd cBA| d2 e f2 g|a2 a abc'|d'2 a abg|f2 d d2|| %%% X:68 T:Fingalians' Dance, The B:WSGM.092 F:file ID wsgm/068fdm S:"The Hibernian Muse" 1787 Z:Kinder/Black N:In another collection (Clinton's "Gems of Ireland"), I treated this as a march, so I'll do the same here. (The Chief doesn't help.) M:4/4 L:1/8 R:march %%Q:120 K:G "march" B2 G2 G2 Bc|d2 G2 d2 G2|B2 G2 G2 Bc|d4 B4| c2 A2 A2 cd|e2 A2 e2 A2|c2 A2 A2 cd|e4 c4|| G2 g2 g2 fg|agfe dcBA|A2 a2 a2 ga|bagf dcBA| G2 g2 g2 fg|f2 ga D2 g2|f2 ga D2 g2|f4 d4|| %%textoption align %%begintext "An identical setting with variations was printed in Burk Thumoth's 'Twelve English and Twelve Irish Airs', London 1743." %%endtext %%% X:243 T:Tom Jones (air) B:WSGM.095 F:file ID wsgm/243tom S:"Aird's Selections" 1782-97 Z:Kinder/Black N:You can substitute |Ace ceg| for the two chords in the first measure. M:6/8 L:1/8 %%Q:160 K:D [A3c3a3] [A3c3g3]|fdf ecA|d2 f ecA|d2f ecA| dcd ede|fef gfg|a2 d c2 B|A3 A3| D2 F E2 G|F2 A G2 F|GAB ABc|B3 A3| GFG AGA|BAB cBc|d2 G F2 E|D3 D3|] %%% X:246 T:Tulloch Gorm B:WSGM.100 F:file ID wsgm/246tgss S:W.Walsh, Chicago Z:Kinder/Black N:For all you strathspey fans out there. Gaelic name means "Blue Hill". No mention of any boys, however! M:4/4 L:1/8 %%Q:120 R:strathspey K:Am a|cA dG B2|cA cAea|cA d>G B2|cA c2 BA dG B2|cA cAea|cAeA dG B2|cA c2 Bc|| AG B2|Aa caea|ca (3efg d>G B2|Aa c2 Bc| Af g>ea>e|g>ag>e d>GB>g|a>eg>e a4|| %%textoption align %%begintext Sometimes written 'Tulloch Gorum' or 'Tullagorum', this famous strathspey first published in Robert Bremner's 'Collections of Scots Reels, or Country Dances, Edinburgh 1757' was composed by William Marshall, butler and house steward in the service of the Duke of Gordon for thirty years. His tunes were plagiarized ruthlessly by contemporaries. In the words of Robert Burns, Marshall was: %%endtext %%textoption center %%begintext 'the first composer of strathspeys in the age'. %%endtext %%textoption align %%begintext The grace notes peculiar to pipe music are omitted in the setting. A clergyman at Linshart, Rev. John Skinner composed songs to 'Tulloch Gorum' and several others of Marshall's tunes." %%endtext %%% X:211 T:Reel of Tulloch, The B:WSGM.101 F:file ID wsgm/211rtull S:"Neil Gow & Sons Complete Repository" c.1805 Z:Kinder/Black M:4/4 L:1/8 %Q:180 R:reel K:D "A modal" f|:e2 Ac/d/ ecAa|e2 AB/c/ dBGB|e2 Ac/d/ eAce|\ dE cd/e/ dBGB:| cA cd/e/ c>AAB|cA cd/e/ dBGB|cA d/e/f cAcA|\ BE c/d/e dBGB| cA c/d/e cAAB|cA c/d/e dBGB|cA c/d/e cA c/d/e|\ BE c/d/e dBGB|| %%textoption align %%begintext "Noted for its dashing rhythm rather than for its melodic merits, 'The Reel of Tulloch' first appeared in print in the 10th number of 'Robert Bremner's Scots Reels, or Country Dances' issued in 1761. It originated in the parish of Tulloch, Aberdeenshire, Scotland. The traditional stories relating to its composition are too long and unreliable for narration here. A wild orgie of dancing under improbable circumstances in one case, and a desparate encounter with swords in another, are given as the inspiration of what has been termed 'the maddest of all Highland reels'. Altho Officer William Walsh obligingly favored me with a bagpipe setting of the tune, preference has been given to that played by the famous violinist Neil Gow, which leaves nothing to be desired." %%endtext %%% X:222 T:Shaun Truish Willichan B:WSGM.103 F:file ID wsgm/222stw S:'Preston's Reprint of Bremner's Collections', London 1789 Z:Kinder/Black N:Name is phonetically spelled - probably should be "Sean Trubhais Uillechain" (some kind of old trousers?). Not sure why the Chief - native speaker as he was - didn't offer some kind of translation (this is Scots Gaelic, not that much different from Irish). An online dictionary says "uillechain" means "angles", which doesn't seem to help. M:4/4 L:1/8 R:hornpipe Q:150 K:Am "hornpipe" A,|D/D/D D>F E2 A,>F|F2 ED G/F/E/D/ CE|\ D/D/D D>F E2 A,E|F2 ED C>A,A,:| P:part 2 G|"5"A>cAG G>AGF|F>GFD G/F/E/D/ CG|\ A>cAF G>AGE|FD G/F/E/D/ CA,A,:| P:part 3 A|"9"d/d/d d>f e2 c>e|f2 ed g/f/e/d/ ce|\ d/d/d d>f e2 Ae|fd g/f/e/d/ c>AA:| P:part 4 g|"13"aa _b/a/g/f/ gg a/g/f/e/|ff g/f/e/d/ eccg|\ aa _b/a/g/f/ gg a/g/f/e/|fe g/f/e/d/ cAA:| %%textoption align %%begintext "With this tune is associated a special Highland dance, commonly referred to as 'Sean Truis', but occasionally as 'Willichan'. The full name as above given is the same in Glenn's Analytical Table , and in 'Bremner's Collections of Scots Reels, or Country Dances 1757-61'. After Robert Bremner's death in 1789 his collections were reprinted by Preston, a great London publisher." %%endtext %%% X:254 T:Whistle o'er the Leave O't B:WSGM.104 F:file ID wsgm/254wolo S:"The Caledonian Muse" 1785 Z:Kinder/Black N:Simplified measure 15: |B2c2 dfge| M:C| L:1/8 % dotted rhythm, removed here R:hornpipe %Q:150 K:G "strathspey" GDEG BA B2|deBg AG E2|GDEG BABg|GG BG A2 G2:| "5"(3def gd ed B2|deBg AG E2|gbeg deBg|GGBG A2 G2:| "9"GBAc BGAc|BGAE GB A2|GBAc BdGB|GGBG A2 G2:| "13"GABc d/g/e/d/ B2|cABG cG E2|(3BAB (3cBc (3def (3gfe|\ dGBG A2G2:| %%textoption align %%begintext "Identical with the above setting of 'Whistle o'er the Leave o't' is that printed in 'Bremner's Collections of Scots Reels, or Country Dances 1757-61'. Its claim to consideration in this work is based on the statement of Joseph Cant of Chicago, a first prize winner at several piping competitions; that it was the favorite tune for the Sean Truis or 'Old Man's Dance' in his native Perthshire. The rhythm of it was deemed more suitable to the requirements of dancers burdened with years than the preceding tune (#103, X:222). On such excellent authority it has been included in this classification." %%endtext %%%