EDITOR'S NOTES ON TUNES IN FOLDER 58
= = = = = = = = = = = = = = = = = = 

X:581001
"Vying in popularity with 'Turkey in the Straw', another American
favorite claims our affection. Famous in song and story, its origin
has baffled investigation. An exhaustive research conducted by
Dr. H.C. Mercer, an official of Bucks County Historical Society
(Doylestown, Pa) relating to its history and antecedants failed of
its purpose. All lines of inquiry extending to Kentucky, Arkansas,
and Louisiana, ended in contradiction and uncertainty. Furthermore,
the quaint dialogue between the 'Traveler' and the backwoods
fiddler was based on nothing more substantial than a fertile
imagination. The opening paragraph of Dr. Mercer's essay 'On the 
track of the Arkansas Traveler', published in the Century Magazine, is
well worth quoting:
       'Sometime about the year 1850 the American musical myth
        known as 'The Arkansas Traveler' came into vogue among
        fiddlers. It is a quick reel tune with a backwoods story
        talked to it while played, that caught the ear at sideshows
        and circuses, and sounded over the trodden turf of fair
        grounds. Bands and foreign-bred musicians were above
        noticing it, but the people loved it, and kept time to it,
        while tramps and sailors carried it across the seas to vie
        merrily in Irish cabins with 'The Wind that Shakes the Barley'
        and'The Soldier's Joy'.
Though classed as a reel, the tune as printed with Dr. Mercer's clever
essay and elsewhere, is scored as a Buckdance, and in a key much
too low for certain instruments. The editor who is responsible for the
setting above presented ventures to suggest that like 'Old Zip Coon'
or 'Turkey in the Straw', 'The Arkansas Traveler' had been evolved
from a venerable Irish strain by some backwoods fiddler whose identity
is lost in the oblivion which engulfed the composers of the multitude
of Irish melodies that have survived many influences inimical to their
preservation."

X:581007
"Not less popular than 'Johnny I hardly knew ye' in the North was 
'The Bonnie Blue Flag'Southern National Air, which was to the 
boys in grey what 'Yankee Doodle' was to the boys in blue. In Adair 
Fitzgerald's 'Famous Songs' we are told the words of 'The Bonnie Blue 
Flag' were written in 1862 by Mrs. Annie Chambers Ketchum to an Irish 
melody adapted or composed by Henry McCarthy. After a fruitless search 
in several old time collections for the now very rare strain it is 
presented as noted from the author's memory."

X:581009
"Known only as 'The Highland Fling', this cheerful tune has served
for that purpose as long as the editor can remember. For its name
as above printed, we are indebted to Officer William Walsh, whose
memory in such matters is phenomenal."

X:581013
"When first received with a batch of fine tunes noted down by our
unselfish friend Francis E. Walsh from the playing of clever San
Francisco musiciansforegoing reel under a slightly different
name was recognized as a variant of 'Rakish Paddy' previously
printed in The Music of Ireland, and O'Neill's 'Dance Music of
Ireland'. Another variant named 'Sporting Pat' is to be found in
O'Neill's 'Irish Music for Piano or Violin'. Under the circumstances,
another variant seemed superfluous, but coming from such a
famous fiddler as John Kelly of Roscommon, it has been cheerfully
welcomed to our pages.

A favorite with all capable pipers and fiddlers of our acquaintance
for many yearstune under any of its recognized names does
not appear in the Bunting, Petrie or Joyce publications. As
'Caper Fey' it was printed in Bremner's 'Second Collection of Scots
Reels or Country Dances', London 1768; yet omitted from 'The Glen
Collection of Scottish Dance Music', Edinburgh 1891.

Most Highland Bagpipe note books include a suitable setting of the
tune under the correct title as above, in Gaelic and English."

X:581014
"This favorite first appeared in Ross' 'Choice Collection of Scots
Reels Country Dances and Strathspeys', Edinburgh 1780."

X:581017
"The above clever tune first appeared in 1761 in 'A Collection of the
Newest and the Best Reels and Country Dances', published in
Edinburgh by Neil Stewart. As 'Capt. Keller's Reel' it has been
reprinted in recent years, but without the spirited second finish."

X:581020
"'Col. McBain's Reel' first appeared in print in Bremner's '2nd
Collection of Scots Reels, or Country Dances', London 1768,
and reprinted in McGoun's 'Repository of Scots and Irish;
Strathspeys, Reels, etc.', Glasgow 1803. Its popularity was not
confined to Scotland for we find it named 'Duke of Clarence Reel'
in Lavenu's 'New Country Dances for the Year 1798', published at
London. A setting of this noted reel as played by the experts of the
Irish Music Club of Chicago may be found on page 116 of O'Neill's
'Dance Music of Ireland'.
In composition and fluency of rhythm the variant above presented
compares very favorably with the original especially when given
expression on the fiddle in the inimitable style of the genial
Paddy Stack from whom the manuscript was obtained."

X:581026
"In former O'Neill publications John McFadden's setting of this reel
was given preference, being in the florid style of that famous
traditional fiddler. The version here presented memorized from lilting
by the editor in schoolboy days, may not be devoid of interest
especially as the arrangement is suited to the scales of the Highland
or Irish warpipes."

X:581027
"Though plainly of Scotch origin both in name and tone, 'Cuttie Sark'
is not to be found in any of the old Scotch or Miscellaneous
Collections which have been examined. Translated in English,
'Cutty Sark' means Short Shirt, or Chemise, and as far as memory
serves meabove setting had been obtained from a comparatively
modern manuscript obtained from Sergt. James O'Neill."

X:581028
"There is enough resemblance between the above melody and that
 which follows to suggest a common origin. The 'Dalkeith Maiden'
 was taken from Aird's  'Selections of Scotch, English, Irish and
 Foreign Airs, Vol.III', published in  Glasgow, 1786. The earliest
 setting of 'Biddy I'm Not Jesting' available is that obtained by
 Petrie in 1829  from Paddy Coneelyfamous Galway piper,
 and which appears in the key of A Flat in the Stanford Petrie
 'Collection of Irish Music'. The source of this memorized version
 of earlier years cannot now be recalled by the writer."

X:581037
"This catchy strain which is a superior variant of 'The Dancing Master'
in O'Neill's 'Dance Music of Ireland' was introduced to Chicagoans by
John Dromey, an excellent fluter, and amateur piper, whose name it
bears. Mr. Dromey who is yet hale and hearty, was in his prime, a
generation agostar of every Irish gathering, for as a traditional 
singer of Irish songs, he was unrivalled."

X:581038
"'Dumfries House' is one of the numbers on 'A Collection of Scots
Reels, or Country Dances, and Minuets, etc.' composed by John
Riddle at Ayr, and sold by himself about the year 1766."

X:581039
"From Glen's Analytical Table we learn that a tune named 'Dunse
Dings A' ' was printed in Neil Stewart's 'A Collection of the Newest
and the Best Reels, or Country Dances, Adapted for the Violin or
German Flute', Edinburgh 1761-62. Dunse is a town in the Lowlands,
a few miles from the English border, that gave name to several tunes.
'Dunse Dings A' ' signifies in plain English 'Dunse surpasses or
excels all', an exaggerated yet pardonable expression of local pride."

X:581041
"'The Factory Lass' was first heard by the editor at Gaelic Park
Chicago on July 4th, '22. It was cleverly rendered in concert by
Mr. Mullaney, Miss Geary, and Mr. McGrath, on the Irish or Union
Pipes, Violin, and Flute, respectively. The similarity of strain,
especially in the the first part, to that of the 'Home Made Reel'
which follows [#233] may be noticed."

X:581042
"Altho McGoun's tune was at hand for years, and was not known to
our traditional musicians, I hesitated to claim it as Irish, until
O'Farrell specifically notes it as being Irish in his 'Collection for
the Irish or Union Pipes'. Few variants, while preserving a distinct
strain, differ so widely in their development. O'Farrell was a
renowned Irish piper who took part in operatic performances on
the London stage late in the 18th Century."

X:581043
"According to legendary lore the fairies or good people enjoy the same
activities and pastimes, especially hurling and dancing, as they did
before being called to another life. Many a tale is told of their
kidnapping a competent piper when necessary to entertain them
at their festivities in the subterranean they are said to occupy
within the ancient raths or forts so numerous all over Ireland.
The Fairy Faith survives."

X:581050
"Following the example of Dr. Petrie and Dr. Joyce, whose collections
abound in variants, some of which differ but slightly from others in
their pages; the editor has continued the practice, rather than risk
the loss of a worthy strain. Of that class is 'Fond of the Ladies',
the opening bars of which remind us of 'Sweet Biddy Daly', or 'The 
Irishman's Heart to the Ladies' previously printed."

X:581051
" 'The Four Hand Reel' as far as the writer is aware was first brought
to Chicago in 1886 by Barney Delaney, an excellent Irish piper. So
versatile was he, like most great Irish musicians, in the manipulation
of his instrument, that he varied his tunes according to fancy
without detriment to tone or rhythm, but rather to the advantage of
the general effect. Although not included in any collection of Irish
music published beyond the Atlanticstrain must have been quite
popular in the Eastern States, for we find the tune in a Boston
publication no less than four times, and named respectively:
'Corporal Casey's Favorite', 'Lady Gardner's Reel', 'Parnell's Reel',
and 'Yellow-Haired Laddie'; all consisting of but two parts each.
The setting here presented was memorized from Delaney's playing,
but no bare scoring of measured bars could do justice to his
inimitable execution.

Since the foregoing was written I find that 'The Five Mile Chase'
in R.M. Levey's 'Second Collection of the Dance Music of Ireland',
London, 1873; consisting of but two parts, is also a variant of
'The Four Hand Reel'."

X:581053
"This setting of the Gaelic Club' differs materially from the 'Glasgow
Club' of the Highlanders, and the 'Gaelic Club Jig' in former O'Neill
collectionssecond part being new and original."

X:581056
"This characteristic Scottish dance tune was first printed in
'Bremner's 2d Collection of Scots Reels, or Country Dances',
London 1768. Like most tunes of that early datecomposer's
name is unknown. The origin of the name is traced to 'Callum a
chinn mhoir', anglicized Malcom Canmore, which signifies Callum
of the big head. He incurred the displeasure of the Highlanders
by marrying a Saxon princess which involved many unpopular
changes. Gillie Callum, or Callum's tax-gatherer, (an odious
official everywhere) has been immortalized in melody, while
the traditional story is well nigh forgotten.

The Sword dance is of high antiquity, and diversified in form
according to race, and the period of its practice. The
picturesque Sword Dance of the agile Highlanders alone has
survived to the present day."

X:581062
"Robert Burns' song to this oldtime favorite strain, was in general
circulation among the Irish peasantry early in the last century,
and the name is still well remembered. The melody much older
than the poet's day, was known as 'We're a' dry wi' drinking o't'.
In reel time it was first printed in 1761 by Neil Stewart of Edinburgh
in 'A Collection of the Newest and Best Reels, or Country Dances,
Adapted for Violin or German Flute'. The traditional Irish version of
the tune as remembered by the editor may prove not uninteresting
to the musical student of a later generation."

X:581064
"A rather florid setting of 'The Hare in the Corn', procured 'from a
piper in 1800' is printed in Bunting's 'Ancient Music of Ireland',
published in 1840, with notation 'Author and date unknown'.
The name is not indexed in any of the Petrie or Joyce Collections.
The setting herewith presented was taken from Aird's 'Selections
of Scotch, English, Irish, and Foreign Airs', 1782-97. It is also 
knownas 'The Hare in the Corner'."

X:581065
"The above reel, which is a variant of 'The Five-Leaved Clover' in
former O'Neill Collections, is printed as remembered from boyhood
days at the dances, before 'patrons' were proscribed."

X:581067
"The above jig, named after a blind fiddler of East Clare two
generations ago, is a better setting of 'Hinchy's Delight', first
published in 'O'Neill's Music of Ireland' (1903). It was noted down
from the whistling of Daniel Rogers in Chicago many years ago."

X:581068
"This spirited tune was found among the O'Neill manuscript
but without a title. With a view to its identification in the
Index we have named it."

X:581070
"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."

X:581071
"'Hoptown House' as it was then named was first printed in the
9th Number of Robert Bremner's 'A Collection of Scots Reels and
Country Dances', Edinburgh 1760. The editor has taken the liberty
of supplying it with a second finish."

X:581075
"The above setting, of which there are several variants, is no
doubt the original. In O'Farrell's 'National Irish Music for the
Union Pipes', 1797-1800, a tune named 'Jerry's Rambles' closely 
follows it. More distinct variants are 'The Jolly Old Woman' and 
'The Humors of Bandon', the latter as printed in O'Neill's 'Dance 
Music of Ireland' being the arrangement favored by modern dancers."

X:581078
"Popular since its first publication in Bremner's 'Collection of Scots
Reels or Country Dances' 1767, 'I'll gae nae mair to yon town' has
been a fruitful source of variants which circulated under various
titles. The variant herewith presented, was found without a name
in Sergt. O'Neill's manuscripts."

X:581084
"An anonymous variant of 'Jackson's Frolic' was memorized from
the fluting of James Moore in Chicago some fifty years ago.
Another version of the tune heard later differed so materially in
the second part, that it was added as a third part to Moore's
variant, and printed as 'Kitty of Oulart' in former O'Neill
collections."

X:581086
"A tune known to me as 'Jenny Rock the Cradle' was declared to be
'Jacky Latin' by a musical acquaintance, and it was under the latter
name that it was printed in O'Neill's 'Dance Music of Ireland' in
1907. If both tunes were derived from Jackson's original compositiony
furnish a striking illustration of how time, taste, and development
diversify a strain of music in a few generations."

X:581087
"This old time Scotch reel found in many publications, ancient and
modern, first appeared in Bremner's 'Collections of Scots Reels or
Country Dances', 1757. The version of it as played by the famous
Patsy Touhey on the Irish or Union pipes, much less cranky than
the original and later versions, may be found interesting."

X:581091
"The above is a variant of 'Well May the Keel Row', a North of
England song tune. It is not listed in Glen's 'Analytical Table of
Old Scotch Dance tunes'. As 'Jenny's Frolics' it appears in
Vol. 2 Paul Alday's 'A Pocket Volume of Airs, Duets, Songs,
Marches etc'., Dublin  C 1800."

X:581095
There's another "Kitty O'Neill" in "Music of Ireland" (tunefolder 49), 
but it's not related to this one. Seems odd that the Chief would use the same 
name for two unrelated tunes, but it happens (and occasionally I get the 
feeling that the Chief didn't have as much to do with editing this volume 
as he did with the first two). I added "Fancy" to distinguish the two tunes - 
can't imagine the Chief objecting too much!

X:581096
"In the days of our fathers, 'An Chnoicin Fraoich', or 'Little Heathy
Hill', both as song and air enjoyed no little popularity in the
province of Munster, particularly in the counties of Cork and Kerry.
As an air several settings of the melody have been printed, but never
as a hornpipe until now, and under its colloquial name among the
peasantry.
%
"It will be remembered that many notable dance tunes, especially
hornpipes and long dances, have been derived from song airs, such
as 'The Blackbird', 'The Job of Journeywork', 'The Garden of
Daisies', 'Rodney's Glory', and many others."

X:581097
"I saw this tune in manuscript written in West Cork early in the
19th Century. The fact remains that it had been preserved in
printer's ink in Bremner's 'Collection of Scots Reels, or Country
Dances',  Edinburgh 1757. Its oldtime popularity is attested by
its inclusion in several other worthy Collections long out of print,
such as 'The Caledonian Muse' 1785; and Neil Gow's and Sons'
'Complete Repository etc'., 1805."

X:581104
"'Light and Airy' first appeared in 'A Choice Collection of Scots Reels
or Country Dances & Strathspeys, etc.,' published by Robert Ross at
Edinburgh, 1780."

X:581105
"The expression 'Ligrum Cus', evidently corrupt Gaelic, may be
translated 'Let go my foot'. It may also relate to the rent
question. [BB - ???]  We can hardly blame the Scotch, while 
Irish titles in 'Moore's Melodies' present similar difficulties."

X:581112
"In boyhood days I memorized the first part of this reel from the 
fiddle playing of Mr.Downing, a gentleman farmer who taught me the
rudiments of music on the flute. Thirty-five years later the second
part was supplied by A.S. Beamish, another West Cork musician. Being 
without a name the tune was called 'Timothy Downing' or 'Downing's Reel', 
in the O'Neill Collections. With a third part obtained from the famous 
fiddler John McFadden of Mayo, this tripartite reel is presented under 
its presumably true name."

X:581113
"This fine reel first published in 1781 is but one of many composed by
Wm. Marshall, who for thirty years was in the service of the Duke of
Gordon as butler and house steward. In music as in other accomplish-
ments he was entirely self taught. His playing of strathspeys and 
reels was so inspiring, it is said, that neither the old nor the young 
could overcome their inclination to dance. As an amateur violin player 
of Scottish dance music, he was unrivalled in the last half of the 18th 
Century. No composer of his time was so victimized by plagiarists who 
appropriated his tunes, changed a few notes, and passed them off as 
their own under different titles."

X:581115
"For over a century the name 'Merrily Kissed the Quaker' has been
associated with a tune or Special Dance in Ireland, but no song or
verse relating thereto has been traced. In 'O'Farrell's Pocket
Companion for the Irish or Union Pipes 1804-10', we find the tune
with name annotated 'New Sett Irish'. Continuing the investigation
we discover that 'Merrily Dance the Quaker' (probably the original
tune) was printed in No. 7 of 'Bremer's Collections of Scots Reels,
or  Country Dances' issued in 1760. The traditional version in North
Kerry taken from the Rice-Walsh manuscript serves to illustrate how
far a tune may deviate from the original in a few generations."

X:581123
"'Miss Forbes' Return' as noted by Humphrey Murphy in Sergt. James 
O'Neill's manuscripts differs notmaterially from 'Miss Forbes' Farewell' 
as printed in Aird's 'Selections of Scotch, English, Irish and Foreign
Airs' 1782-97. This strain is no less popular in Ireland than it is with 
Highland pipers everywhere. It may be claimed that Murphy's variant is 
more Irish in character than the original."

X:581123
"Well-born and of surprising loveliness only equalled by their poverty,
the famous Gunning sisters, Maria and Elizabeth, born in Roscommon
and educated in Dublin, became Lady Coventry, and Dutchess
of Hamilton respectively, in 1752, one year after their arrival in
London. The marriages of 'two Irish girls of no fortune who are
declared the handsomest women alive' were great public events.
'May the Luck of the Gunnings attend you' was a proverbial Irish
blessing.
%
The above setting of a tune composed in their honor, and printed in
'Aird's Selection of Scotch, English, Irish and Foreign Airs, vol.1',
is doubtless the original. A highly elaborate and difficult
variant in four parts found in Sergt. James O'Neill's manuscripts,
entitled 'The Contradiction' was printed in former O'Neill
Collections.
%
As an example of what may be developed from a simple composition
by a skillful hand, both original and variant are herewith submitted
for comparison."

X:581127
"The origin or meaning of the name of this popular tune defied
investigation and inquiry for many years. Eventually a glance
thru the pages of McGoun's 'Repository of Scots and Irish Airs,
Strathspeys, Reels, etc.', Glasgow 1803, led to the solution of
the puzzle. Among the contents was 'Sir Archibald Grant of
Moniemusk's Reel'. The popular name Moniemusk was that of an 
estate, and the full name of the reel being inconveniently
long, it was abbreviated to 'Moniemusk' and the rest of the
name forgotten. The first and second parts as above noted
constitute the original tune composed by Daniel or Donald
Dow, a musician of note who died at Edinburgh in 1783.
The third was substituted for the more difficult second by modern
fiddlers, and the fourtheditor memorized from the playing of
Wm. McLean, the greatest Highland piper of his day in Chicago,
some fifty years ago."

X:581132
"This tune is a variant of 'The Cloone Hornpipe' pubished in 
'O'Neill's Music of Ireland' and 'O'Neill's Dance Music of Ireland'.
%
It was obtained from Sergt. James Early who learned it from his
tutor on the Union Pipes 'Old Man' Quinn. Like many other fine
tunes it was anonymous, so it was named 'The Cloone Hornpipe'
in honor of the famous piper's native town and parish in County
Leitrim, Ireland.
%
Its continued popularity is evidenced by its inclusion in a recent
Irish Collection under the identical name invented for it by its
sponsor, Sergt. James Early of Chicago."

X:581137
"In the year 1902 a thin oblong book of manuscript music came to
hand from Prof. P.D. Reidy, 'Professor of Dancing, London and
Castleisland'. Altho it included forty tunes from the repertory of
five competent fiddlers, nearly all were variants of tunes already
in our possession. The above as played by Daniel J. Kelleher
is one of the exceptions. There can be little doubt that Mr.
Reidy's title was well deserved, because his fame as a dancer
and dancing master in early life in North Kerry was successfully
maintained later in life in London, where he was esteemed as
an authority on the subject. Frequent mention of his name
appears in 'Irish Minstrels and Musicians'."

X:581138
"An Irish song extolling the many good qualities of
'An sean caora adarcach' in supplying drink, food,
and clothing to her owner was sung to this air.
No. 238 in O'Neill's 'Dance Music of Ireland' is a
sprightly variant."

X:581141
"This fine jig, remarkable for originality of composition, and the
technique essential to giving it adequate expression, is a
masterpiece of execution at the hands of the amiable Patrick
Stack who obligingly scored it on paper, after charming us
with it on his fiddle - Coming from Jerry Breen, the much admired
blind fiddler of North Kerry, it was preserved in the Rice-Walsh
manuscript and is now recorded for print for the first time."

X:581145
"This March or Hornpipe tune noted from memory may be worthy of preser-
vation, but when or where it was acquired the writer is unable to state.
Suggestion supplied the name."

X:581146
"Altho' this splendid reel does not appear in the Bunting, Petrie or
Joyce Collections, it was pretty generally known to the pipers and
fiddlers of Chicago, hailing from the west and south of Ireland
and always by the same name. Occasionally variants of the tune
are found in manuscript collections. In arrangement, Touhey's
setting differs both in key and style from that printed in former
O'Neill Collections."

X:581147
"'Petticoat Loose' is an old name for a dance tune. A jig under
that name in O'Neill's 'Dance Music of Ireland' bears no resemblance 
to the above."

X:581148
"'The Piper's Maggot', as this old tune was called, first appeared in
print in Bremner's 'Collection of Scots Reels and Country Dances',  
Edinburgh 1758. As the word 'Maggot', which means an odd fancy or whim 
is obsolete in this agechange of name is permissible. The tune was 
printed in Aird's 'Selections etc.', London 1797, and in later publications 
somewhat varied."

X:581149
"This marching tune above was another of McLean's favorites
which seems to be unknown to the pipers of this generation.
The original name not being ascertained, a suggested title
is here presented. McLean was a native of Ross, Scotland."

X:581151
"A few years ago as Mr. Leech was fingering a stray reel on his
flute, Prof. John Cummings (mentioned on page 282-4, Irish
Minstrels and Musicians) remarked 'that's "The Raveled Hank
Of Yarn" and I had forgotten it for the last forty years'. Although
then in his 85th year he buckled on his pipes, and played the
tune in a style which astonished his audience. It is a variant
of No.638 in 'O'Neill's Dance Music of Ireland' ('Nelly O'Donovan')."

X:581153
"'Reidy's Reel' is named after a North Kerry fiddler from whose playing
our liberal contributor Mr. Stack learned it in his youth. Altho'
reminiscent of other tunes in certain phrases, 'Reidy's Reel' was
until recently a stranger to Chicago musicians."

X:581158
"The name 'Rosin the Bow' has clung to the writer's memory since
childhood, and the tune, like the song about 'Old Rosin the Bow'
(a nickname for the fiddler) may have passed into oblivion, had
not the melody been fortuitously found recently in a faded
miscellaneous manuscript collection long discarded by Sergt. James
O'Neill. A version of it I find is printed in Joyce's 'Old Irish Folk
Music and Songs - 1909'.

X:581165
"This spirited Slip Jig is a variant of 'Dublin Streets', obtained from
Mr. Ennis of the Irish Music Club of Chicago, and published in
former O'Neill Collections. 'The Splashing of the Churn', or in
Irish 'Glugur an Meadair' is the original name of the tune.
Following is another version of it [Humors of Bottle Hill #182],
obtained thru the courtesy of Sergt. James P. Walsh of Chicago, 
whose manuscript collection has been a prolific source of many desirable 
melodies hitherto unpublished."

X:581168
"This rare jig tune which has haunted my memory for years was
evidently derived from 'The Old Woman Lamenting Her Purse',
No. 560, 'O'Neill's Music of Ireland' (1903). The air does not appear
in the Bunting Collections. A setting in which the first part is
repeated after the second part is printed without note or comment
in Petrie's 'Complete Collection of Irish Music'."

X:581171
"It may be remarked that Mr. Dunne was a farmer of the townland
of Kilbraugh not far from Thurles, Tipperary. From his wonderful
repertory of dance tunes, generously contributed some years ago,
many have been selected."

X:581178
"An excellent double jig called 'Tumble the Tinker' was printed for
the first time in the enlarged edition of 'O'Neill's Irish Music for
Piano or Violin', issued in 1915. It was obtained from John McFadden, a
clever traditional Irish fiddler of Chicago, who until then had forgotten
the tune since last leaving his native Mayo some forty years before.
Since its publication as stated, a spirited second finish has been
developed. As varied in the present setting 'Tumble the Tinker',
heretofore so little known, is assuredly worthy of preservation, and
enhanced publicity."

X:581180
"An excellent setting of a Double Jig as played by Delaney, Early,
and McFadden, and of which the above is a popular variant that was 
printed for the first time in the O'Neill Collections 1902-09
and named 'The Merry Old Woman'".

X:581182
"'The Waves of Tramore', obtained from our versatile friend
Mr. McCormick, who swings a bow, or fingers a chanter with
equal facility, is a much better jig than 'Larry Grogan' of
which it is a variant. The latter was composed early in the
18th century by Lawrence Grogan of Johnstown Castle,
Kilkenny, a 'gentleman piper', celebrated in song and story.
'Larry Grogan' was printed in Aird's 'Selections of Scotch,
English, Irish and Foreign Airs' (Glasgow, 1782) and in
'The Hibernian Muse' (London 1787). An unmusical second part
detracted from its popularity, altho few Irish dance tunes have
been favored with such liberal publicity."

X:581185
"The Single Jig, like the Double Jig, is in six eight time, but differs
from the latter chiefly in having at most but one triplet in each bar.
More ancient that the Double Jigdance steps of the Single Jig are
more light and graceful." (BB note: To the Editor's comments I would add 
that single jigs are the basis of most slides, which evidently weren't 
yet known by that name in the Chief's day.)

X:581192
"It may be permissable to abbreviate such an involved title as 
'Sae Braely as I was kiss'd yestreen' into 'Yesterday's Kisses'
both for convenience and euphony, especially as the sentiment
has not been clouded by the change. This jig preserved also in
Aird's 'Selections', has been given circulation recently on the
player-pianos."

X:582001
"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:582003
"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
"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
"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
"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:582008
"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:582011
"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."

X:582012
"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
"This fine air, 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
"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
"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."
=
BB note:
Re "Burk Thumoth" (WSGM's source for this tune)
%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. (That this attribution persisted in
WSGM is a further indcation to me that O'Neill himself had little
or nothing to do with the editing of this volume.)

X:582016
"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:582019
"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
"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
"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:582023
"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 timeoriginal Irish name became corrupted 
to 'Granu Weal', 'Graina Uaile', 'Grainu Mhaol', and other forms."

X:582024
"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'old time 
favorite of an earlier generation. The melody is the real thing 
however."

X:582025
"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."

X:582031
"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:582033
"Classed as a street ballad in 'Halliday Sparling's Irish Minstrelsy'
(London 1887) the editor adds, in a note on page 366,

      '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
"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
"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
"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
"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
"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" [BB note: #582039 in this file.]

X:582040
"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'".

X:582041
"The foregoing march is an elaboration of a Jig named 'Long John's 
Wedding', No. 233, O'Neill's 'Dance Music of Ireland' " 

X:582044
"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:582046
"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
"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
"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
"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."

X:582050
"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."

X:582052
"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
"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:582056
"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
"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:582059
"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
"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."
=
BB note:
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), but as I
note elsewhere, he may not have had much to do with the production of
"Waifs and Strays". (BTW An online dictionary says "uillechain" means 
"angles", which doesn't seem to help.)

X:582061
"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." (BB note: only one
other setting in this file; the other is is OFPC)

X:582067
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
"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
"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. On such 
excellent authority it has been included in this classification."