BB'S IRISH TRADITIONAL TUNE LIBRARY
Miscellaneous tunes from O'Neill's "Waifs and Strays"

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folder contents

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X:582001 
T:ALL I WANT IS A DECENT BOY (air)
B:WSGM.042
Y:"andantino"
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
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||

"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."

%%%

X:582002
T:BANISHED TO AMERICA (air)
S:Rice-Walsh manuscript
B:WSGM.049
Y:"moderato"
Z:Kinder/Black
M:4/4
L:1/8
%Q:100
K:D
(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:582003 
T:BONAPARTE'S GRAND MARCH 
B:WSGM.059
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||

"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."

%%%

X:582004 
T:CAPTAIN O'KANE (air)
T:The Wounded Hussar 
B:WSGM.043
Y:"moderato"
S:"McGoun's Repository" 1803
Z:Kinder/Black
M:6/8
L:1/8
%Q:100 
K:G
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|]

"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."

%%%

X:582005
T:CLAN MARCH, The 
T:Hibernian Jig
B:WSGM.058
S:"Aird's Selections" 1782-97
Z:Kinder/Black
M:6/8
L:1/8
%Q:120
R:march 
K:Em % source key Bm (out of range)
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|]

"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."

%%%

X:582006
T:CONNACHT MOTHER'S SLUMBER SONG 
B:WSGM.028
Y:"Moderato cantabile"
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
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:|

"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."

%%%

X:582007 
T:CROPPIES' MARCH NO.1, The 
B:WSGM.060
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:582008
T:CROPPIES' MARCH NO.2, The 
B:WSGM.061
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||

"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."

%%%

X:582009
T:CRUISKIN, An
B:WSGM.088
S:J.O'Neill
Z:Kinder/Black
H:< cruiscin, little jug. No "k" in Gaelic - wonder how this slipped
past O'Neill (a "native speaker")
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:582010
T:CUCKOO (air), The
B:WSGM.031
Y:"Moderato"
S:Miss Lucy Ray
Z:Kinder/Black
M:3/4
L:1/8
%%Q:100
K:A
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:582011
T:DANDY PAT (air)
B:WSGM.071
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||

"This spirited air enjoyed no little popularity some fifty years ago 
when a song of thatname to be found in 'Hyland's Mammoth Hibernian 
Songster' was sung to it."

%%%

X:582012
T:DARK-EYED GYPSY (air), The
B:WSGM.033
Y:"Andante"
S:P.J.Healey, San Francisco
Z:Kinder/Black
M:4/4
L:1/8
%%Q:100
K:G
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:|

"Although suggestive of an English origin, 'The Dark-eyed Gypsy' was
the name of a popular song in Tipperary, Mr. Healey's native county."

%%%

X:582013 
T:DAWNING OF THE DAY (air), The
B:WSGM.038
Y:"Moderato"
S:"Aird's Selections" 1782-97
Z:Kinder/Black
M:4/4
L:1/8
%%Q:100
K:G
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||

"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."

%%%

X:582014 
T:DID YOU SEE MY MAN LOOKING FOR ME? (air)
B:WSGM.024
Y:"Moderato spiritoso"
S:F.O'Neill
Z:Kinder/Black
%%Q:180
M:6/8
L:1/8
K:G
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|]

"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 ?"

%%%

X:582015
T:DRIMEN DUFF (air)
T:Druim Fionn Dubh
B:WSGM.019
Y:"Andantino expressivo"
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
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||

"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."

%%%

X:582016 
T:FATHER TOM O'NEILL (air) 
B:WSGM.022
Y:"Con spirito"
S:F.O'Neill
Z:Kinder/Black
M:6/8
L:1/8
%%Q:120
K:Bm
(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||

"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."

%%%

X:582017
T:FINGALIANS' DANCE, The 
B:WSGM.092
Y:"march"
S:"The Hibernian Muse" 1787
Z:Kinder/Black  
M:4/4
L:1/8
R:march
%%Q:120
K:G
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||

"An identical setting with variations was printed in Burk Thumoth's 
'Twelve English and Twelve Irish Airs', London 1743."

%%%

X:582018
T:FLAG DANCE, The
T:march
B:WSGM.090
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:582019 
T:GAY YOUNG FIREMAN (air), The 
B:WSGM.036
Y:"Moderato" 
S:F.O'Neill
Z:Kinder/Black
N:Part 2 recalls "Spanish Lady"
M:4/4
L:1/8
%%Q:100 
K:G
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||

"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."

%%%

X:582020
T:GIRL I LEFT BEHIND ME (march), The 
B:WSGM.052 % "with variations"
S:Rice-Walsh manuscript
N:O'Neill doesn't mention the origin of this tune as "Brighton Camp",
possibly because it came from England (wouldn't be the first time!)
See his comments on tune 582021 below.
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:|

"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."

%%%

X:582021
T:GLADLY WOULD I GO (march)
B:WSGM.079
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||

"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."

%%%

X:582022 
T:Go My Own Darling Boy (air) 
B:WSGM.026
Y:"Andante"
S:Hudson manuscript 1841
Z:Kinder/Black
M:3/4
L:1/8
%%Q:180
K:D % source key Eb
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:582023 
T:GRAINE UAILE (air)
T:Grace O'Malley
B:WSGM.023
Y:"Slow and with feeling"
S:"O'Farrell's Pocket Companion" volume 4 (as "Granah Weale")
Z:Kinder/Black
M:6/8
L:1/8
%%%Q:60
K:Gm
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|]

"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."

%%%

X:582024
T:HILL OF UISNEACH (air)
T:Cnoic Uisneach
B:WSGM.034
Y:"Maestoso"
S:P.J.O'Donohue, San Francisco
Z:Kinder/Black
M:4/4
L:1/8
%%Q:60
K:G
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|]

"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."

%%%

X:582025 
T:HOMEWARD BOUND (march) 
B:WSGM.053
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|]

"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."

% 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:582026 
T:I FOUND MY LOVE IN THE MORNING (air)
B:WSGM.027
Y:"andante moderato"
S:Rice-Walsh manuscript
Z:Kinder/Black
M:6/8
L:1/8
%%Q:100
K:Em
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:582027 
T:I WAS ROAMING IN THE GLOAMING (air)
B:WSGM.008
Y:"moderato"
S:James Whiteside manuscript
Z:Kinder/Black
M:3/4
L:1/8
%%Q:80
K:G
(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:582028
T:IRISH LAMENT FOR MARTYRED SOGGARTH AROON (air)
B:WSGM.010
Y:"Adagio con expressione"
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:F
"^G dorian"
(3DEF|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 (3DEF|"9"G2 A>G G2FA|"10"G2 (3FDC D2 (3D^CD|
"11"B/>c/B/A/ Bd c/d/c/B/ ce|"12"d6 (3def|
"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/ (3DE^F|"16"G6|]

%%%

X:582029
T:IRISH LASSIE (air), The
B:WSGM.045
Y:"Andante cantabile"
S:"Aird's Selections" 1782-97
Z:Kinder/Black
M:6/8
L:1/8
%%Q:100
K:G
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:582030 
T:IRISH WIDOW'S LAMENT ON THE DEATH OF HER ONLY SON (air)
B:WSGM.011
Y:"Andante"
S:James Whiteside manuscript
Z:Kinder/Black
M:3/4
L:1/8
%%Q:80
K:Am
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:582031 
T:JESSE THE FLOWER OF DUNBLANE (air)
B:WSGM.040
Y:"Andante con moto"
S:"Wood's Songs of Scotland", Edinburgh, 1848
Z:Kinder/Black
M:6/8
L:1/8
%%Q:100
K:G
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 A<F G/E/|\
D>EC B,<DG|GAB A2 G/A/|
B>cB A<dB|GFG A<F G/E/|D>EC B,<DG|AE>F G2||
B|B>GA B<ed|BGA B<GB|A<FG A<dB|AF>E D2 D|
G>BA BG>A|BdB cA>B|c>de dB>G|A>EF G2 G/E/|
D>EC B,<D G/A/|BdB c<AB|c>de d<BG|AE>F G2||

"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."

%%%

X:582032
T:JOB OF JOURNEY WORK 
B:WSGM.084
Y:"set dance"
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
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:|

"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."

%%%

X:582033
T:JOHNNY I HARDLY KNEW YE (march)
B:WSGM.069
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||

"Classed as a street ballad in 'Halliday Sparling's Irish Minstrelsy'
(London 1887) the editor adds, in a note on page 366,

%%textoption center

      '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.'

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:

         When Johnny comes marching home again, said to
         have been composed by the celebrated Patrick S.
         Gilmore.

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."

%%%

X:582034
T:JOHNNY'S TRIP TO FRANCE (march)
B:WSGM.077
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|]

"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.

%%%

X:582035
T:KATE KEARNEY 
T:Beardless Boy, Dissipated Youth
B:WSGM.018
Y:"Tempo di Valse"
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
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||

"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'."

%%%

X:582036
T:LAMENT OF THE ARAN FISHERMAN (air), The
B:WSGM.021
Y:"Andante con Expression"
S:Seamus Moriarty, SFO
Z:Kinder/Black
M:3/4
L:1/8
%%Q:60
K:G
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|]

"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."

%%%

X:582037 
T:LAMENTATION OF AUGHRIM (air), The
B:WSGM.030
Y:"Andantino"
S:"McCullough's Collection of Irish Airs", Dublin 1821
Z:Kinder/Black
M:3/4
L:1/8
%%Q:150
K:D
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||

"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."

%%%

X:582038 
T:LIMERICK'S LAMENTATION setting 1 (air)
B:WSGM.012
Y:"Adagio"
S:Bunting's Arrangement 1809
N:Loads of cut time in the original which sounded awful in
the sound file, hence eliminated here.
Z:Kinder/Black
M:3/4
L:1/8
%%Q:150
K:Eb
EF|G2 BG FE|F2 E2 EF|G2 BG FE|F4 EF|
GE AF GE|CB, C2 EF|G2 E2 EF|E4:|
EF|G2 B2 Bc|B2 AG FG|E2 e2 ef|e4 EF|
G2 B2 Bc|B2 AG FG|E2 e2 ef|e4 Bc|
dc de fd|cB cd ec|Bc eG FE|F4 EF|
GE AF GE|CB, C2 EF|G2 E2 E2|E4||

"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" (#582039 in this file).

%%%

X:582039 
T:LIMERICK'S LAMENTATION setting 2 (air)
B:WSGM.013
Y:"Moderato"
S:"McCullough's Collection of Irish Airs" 1821
Z:Kinder/Black
M:3/4
L:1/8
%%Q:100
K:G
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|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:582040 
T:LOCHABER NO MORE (air)
T:Farewell to Lochaber, Farewell to My Jean
B:WSGM.014
Y:"Andante moderato"
S:"Caledonian Muse" London 1785
Z:Kinder/Black
M:3/4
L:1/8
%%Q:80
K:G
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||

"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:5820146 in this file)

%%%

X:582041 
T:LONG JOHN'S WEDDING MARCH 
B:WSGM.064
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|]

"The foregoing march is an elaboration of a Jig named 'Long John's 
Wedding', No. 233, O'Neill's 'Dance Music of Ireland' ".

%%%

X:582042 
T:LORD LINDSAY'S MARCH 
B:WSGM.054
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|]

"An almost identical setting is named 'Capt. Hillman's March' in the 
same volume" [i.e. Aird's]

%%%

X:582043
T:LULLABY FOR IRISH PIPES (air)
B:WSGM.009
Y:"Andantino"
S:James Whiteside manuscript
N:This tune is given in F (= G dorian) in the book, which
seems kind of a strange choice for a pipe tune . . .?
Z:Kinder/Black
M:3/4
L:1/8
%Q:80
K:G % source key = F
"^A dorian"
(3edB|"1"A2 A2 (3BAG|A2 A2 G/F/G/A/|\
B2 e2 f2|g3 f (3edB|
"5"A2 A2 (3BAG|A2 A2 G/F/G/A/|B3 A B2|E4 (3edB|
"9"A2 A2 (3BAG|A2 A2 G/F/G/A/|B2 e2 f2|g3 f ga|
"13"b3 a gb|a3 g ef|g3 e (3edB|A4||
%
A/G/A/B/|"17"c4 BA|B3 A B2|E4 F2|G4 AB|
"21"c4 BA|B4 (3edB|A2 A2 (3BAG|A4 A/G/A/B/|
"25"c4 BA|B4 (3edB|A2 A2 (3BAG|A4 ga|
"29"b3 a gb|a3 g ef|g3 e (3edB|d4 ga|
"33"b3 a gb|a3 g ef|g3 e e/d/B/A/|G4 AB|
"37"c4 BA|B4 (3edB|A2 A2 (3BAG|HA6||’

%%%

X:582044 
T:McDERMOT ROE (air)
B:WSGM.072
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|]

"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."

%%%

X:582045 
T:MOLLY OF LOUGH ERNE SHORE (air)
B:WSGM.035
Y:"Andante"
S:James Whiteside manuscript
Z:Kinder/Black
M:3/4
L:1/8
%Q:100
K:G
"^D modal"
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:582046 
T:MY CHARMER FROM CLARE (air)
B:WSGM.048
Y:"Andante con Sentimente" 
S:Whiteside manuscript
Z:Kinder/Black
M:3/4
L:1/8
Q:100
K:G
(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|]

"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'".

%%%

X:582047
T:MY DEAR IRISH GIRL (air)
B:WSGM.014
Y:"Con spirito"
S:F.O'Neill
Z:Kinder/Black
M:4/4
L:1/8
%%Q:120
K:Em
(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||

"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."

%%%

X:582048
T:MY ONLY JOE AND DEARY O (air)
B:WSGM.047
Y:"Maestoso"
S:"Wilson's Companion to the Ballroom", London 1816
Z:Kinder/Black
M:4/4
L:1/8
%%Q:100
K:G
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||

"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."

%%%

X:582049
T:MY TRUE LOVE HAS GONE FROM ME (air)
B:WSGM.046
Y:"Moderato con expressivo"
S:F.O'Neill
Z:Kinder/Black
M:4/4
L:1/8
%Q:1/4=100
K:Dmaj % source key G
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||

"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."

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:582050 
T:NO SURRENDER (march)
B:WSGM.080
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||

"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."

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||
%%%

%%%

X:582051 
T:NORTH WIND (march), The
B:WSGM.056
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:582052 
T:O'CONNELL'S LAMENTATION (air)
B:WSGM.041
Y:"Andante"
S:J.O'Neill
Z:Kinder/Black
M:6/8
L:1/8
Q:80
K:Am
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|]

"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."

%%%

X:582053
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:582054
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:582055
T:OVER THE HILLS AND FAR AWAY (march)
B:WSGM.055
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||

"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'"

%%%

X:582056
T:PADDY WILL YOU NOW (air)
B:WSGM.051
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:|

"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."

%%%

X:582057 
T:REEL OF TULLOCH, The 
B:WSGM.101
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||

"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."

%%%

X:582058
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:582059
T:SARSFIELD'S LAMENTATION (air)
B:WSGM.032
Y:"Andante sostenuto"
S:"Hibernian Muse", London 1787
Z:Kinder/Black
M:3/4
L:1/8
%%Q:80
K:F
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|]

"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."

%%%

X:582060
T:SHAUN TRUISH WILLICHAN  
B:WSGM.103
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
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:|

"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."

%%%

X:582061 
T:SLAINTE RIGH PILIB setting 1 
T:A Health to King Phillip
B:WSGM.015
Y:c
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
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 D2|
G3 A G^F|G2 A2 c2|d4 A2|c4 de|f2 e2 d2|c2 A2 G^F|G6-|G6:|

"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).

%%%

X:582062
T:SLAINTE RIGH PILIB setting 2 
T:Health to King Phillip
B:WSGM.017
Y:"moderato"
S:Thomson's "Original Irish Airs", 1814-1816
Z:Kinder/Black
M:3/4
L:1/8
%%Q:100
K:Bb
"F modal"
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:582063
T:SUISIN BAN, An 
T:The White Blanket
B:WSGM.087
Y:"set dance"
S:"O'Farrell's Pocket Companion" 1804-10 [?]
N:Not to contradict the Chief, but I don't find this tune (by this name 
anyway) anywhere in the O'Farrell volumes (= tunefolders 47 & 48).
Z:Kinder/Black
M:C
Q:120
L:1/8
K:G
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:582064
T:SWEET CASTLE HILL (air)
B:WSGM.025
Y:"Andante"
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
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:582065
T:TEDDY O'NEILL
B:WSGM.006
Y:"Andante"
S:Rice-Walsh manuscript
Z:Kinder/Black
M:6/8
L:1/8
Q:80
K:D
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:582066
T:TOM JONES (air)
B:WSGM.095
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:582067 
T:TULLOCH GORM 
B:WSGM.100
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|c<Ae>A dG B2|c<Ae>A cAea|c<Ae>A d>G B2|c<Ae>A c2 B<a|
c<Ae>A dG B2|c<Ae>A cAea|cAeA dG B2|c<Ae>A c2 Bc||
A<a (3efg d>G B2|A<ae>a caea|ca (3efg d>G B2|A<ae>a c2 Bc|
A<a (3efg dG B2|A<ae>f g>ea>e|g>ag>e d>GB>g|a>eg>e a4||

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:

       'the first composer of strathspeys in the age'.

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."

%%%

X:582068 
T:VALLEY NEAR SLIEVENAMON (air), The
B:WSGM.050
Y:"Andantino Calmato" 
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
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||

"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:

    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."

%%%

X:582069 
T:WHISTLE O'ER THE LEAVE O'T
B:WSGM.104
Y:"strathspey"
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
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:|

"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:5820222).
On such excellent authority it has been included in this
classification."

%%%

X:582070
T:WILLOW TREE (air), The
B:WSGM.007
Y:"Andante"
S:Miss Lucy Ray
Z:Kinder/Black
M:4/4
L:1/8
%Q:80
K:Dm
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:582071
T:YOUNG ELLEN OF MY HEART (air)
B:WSGM.044
Y:"Andante"
S:Rice-Walsh manuscript
Z:Kinder/Black
M:4/4
L:1/8
%Q:80
K:Am
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|]

%%%