The Fiddler’s Companion

_______________________________

PAA - PAP

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it. [AK]

P. E. I. HORNPIPE, THE. Canadian, Hornpipe. D Major. Standard tuning. AABB. Composed by John Durocher. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 120, pg. 75.

P. J. CONLON'S. AKA and see “Lilies of the Field,” "The Ballinafad Reel [1]." Irish, Reel. D Major. Standard tuning. AAB. P.J. Conlon was an accomplished melodeon player who recorded in the "golden age" of Irish recording, in America in the 1920's and 1930's. He recorded the tune in 1929 under the title “Kitty in the Lane [1].” Taylor (1992) states he sometimes duetted with renowned fiddler James Morrison, and that he came from a great musical family where his parents, a brother and sister all played fiddle or melodeon. Taylor also believes the tunes "Jenny Picking Cockles," "Take Her Out and Air Her [2]," "The Sailor's Jacket" and "Come to your Tay" are all similarly structured tunes. See also the related ‘B’ part of “Kitty in the Lane [1].” Taylor (Crossroads Dance), 1992; No. 26, pg. 20. Shaskeen - "My Love is in America."

X:1
T:Lillies in the Field, The
T:P.J. Conlon's
R:reel
D:Bobby Gardiner: His Master's Choice
D:Terry Bingham
Z:id:hn-reel-504

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D %GRK:7077BB20
Addc ~A3B|~c3d ecdc|Addc ~A3B|cAGE EDD2:|
d2fd Adfd|(3Bcd ef g2fe|d2fd Adfd|eaag eddc|
d2fd Adfd|(3Bcd ef g2fg|afge fdcd|eaag eddc||

P. J. CONWAY’S SLIDE. Irish, Slide (12/8 time). Composed by Bronx, New York, button accordion player Terry Winch, whom Philippe Varlet identifies as a founding member of the Washington, D.C.-based band Celtic Thunder. Terry’s father was a banjo player who player with P.J. Conway in New York; Conway was also a box player and Terry is the present owner of his instrument. Green Linnet SIF 1029, Celtic Thunder (1981).

P. J. HERNON’S. Irish, Reel. G Major. Standard. AABB. Source for notated version: Boston accordion player Colm O’Donnell [Black]. Black (Music’s the Very Best Thing), 1996; No. 235, pg. 126.

X:1

T: P.J. Hernon's

S: C. O'Donnell

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/8

L: 1/8

K: G

GFGB d2 gd | edBe dBAB | GFGB dedB | ABGE DGBA |

GFGB d2 gd | gdBA GABd | eged Bded | gedB AGED :|

degb abge | dBAB GABd | g2 ag gedg | eaag a2 ga |

bg g2 abge | dBAB GABd | egde Bdef | gedB AGED :|

P. J. MacNAMARA’S. Irish. Green Linnet GLCD 1127, “Martin Hayes” (1993).

P.J. McCOMISKEY’S. Irish, Reel. G Major. Standard tuning. AABB’. Composed by Leslie Harris, named for button accordion player Billy McComiskey’s oldest son Patrick. Patty Furlong –“Traditional Irish Music on Button Accordion” (1999). Trian.

X:1
T:P.J. McComiskey's
C:Leslie Harris
S:Mike Rafferty
Z:Lesl
M:C|
L:1/8
K:G
GE|DG~G2 EGce|dBB2 ABce|dB~B2 ABGA|BG~G2 E2 dc|
BEGE FBdc|BG~G2 ABc2|dGBd efge|fdcA AG:|
|ge|:dBB2 ABGA|BG~G2 EGD2|EGDG EGD2|EGAB cdeB|
dBB2 ABGA|BG~G2 EGD2|EGDG EGce|1 d2 cA BGge:|2 d2cA BG~G2||

X:2

T:P.J. McComiskey's
C:Leslie Harris
S:Billy McComiskey
Z:Philippe Varlet
M:C|
L:1/8
K:G
DG~G2 EGce|dB~B2 ABce|dB~B2 ABGA|BG~G2 EGDC|
B,DGE FBdc|BG~G2 ABce|dB~B2 efge|1 fdcA BGGE:|2 fdcA BGGB||
dB~B2 ABGA|BG~G2 EGDG|EGDG EGDG|(3EFG AB cdeg|
dB~B2 ABGA|BG~G2 EGDG|EGDG EGce|1 dBcA BGGB:|2 dBcA BGGE||

P. J. MOLONEY’S (HORNPIPE). AKA and see “Sean Ryan’s (Hornpipe) [6].” Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by County Tipperary fiddler Seán Ryan, in honor of flute player P.J. Moloney (All-Ireland flute champion in 1958). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 31 (appears as “O’Brien’s Hornpipe”). Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 121. Avoca 33-AC-121, Seán Ryan & P.J. Moloney – “Traditional Music of Ireland, vol. 1” (1960).

P. JOE HAYES'. Irish, Reel. A Major. Standard tuning. AABB. Source for notated version: P. Joe Hayes, a fiddler and sometime leader of the Tull Ceili band, via the band Shaskeen (Ireland) [Taylor]. Taylor (Crossroads Dance), 1992; No. 9, pg. 8. Shaskeen - "Mouse Behind the Dresser."

P. M. DONALD MACLEAN OF LEWIS. Scottish, March (6/8 time). A Minor. Standard tuning. AABCCDD’. Composed by Pipe Major Donald MacLeod. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 19.

P. M. JIMMY PRYDE. Scottish. Traditional. Green Linnet SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989).

P. M. SAM SCOTT. Scottish, March (6/8 time). D Major. Standard. AABB’CCDD’. Composed by Pipe Major Peter MacLeod. Martin (Ceol na Fidhle), Vol. 3, 1988; pg. 45.

PA KEANE’S. Irish, Polka. D Major. Standard. AABBCCDD. A two-part version is called “Many’s a Wild Night.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 205, pgs. 118-119.

X:1

T:Pa Kean's

M:2/4

L:1/8

R:Polka

B:Johnny O'Leary of Sliabh Luachra

K:D

D2 D2 :|\

ba | d2 d2 :|\

AB/c/ df | e2 e2 :|\

A2 A2 :|

PA PADDY O’SULLIVAN’S. Irish, Polka.

X:1

T:Pa Paddy O'Sullivan's

D:The Night of the Fair, Dan Herlihy, track 3(b)

N:The second polka comes from the concertina playing of the

N:late Pa Paddy O'Sullivan from Scartaglen [note by Dan Herlihy]

R:polka

Z:transcribed by Paul de Grae

M:2/4

L:1/8

K:D

F2 FE|FA Bd|A>B AD|FE ED|

DF FE|FA Bd|A>B AF|ED D2:|

d>e dc|BA Bd|A>B AF|ED D2:|

PACKINGTON'S POUND. AKA ‑ "The Cut Purse." English, Country Dance Tune (3/4 time). A Minor (Johnson, Raven, Watson): G Dorian (Chappell). Standard tuning. AAB (Johnson, Raven, Watson): AABBC (Chappell). The air appears in the Fitzwilliam Virginal Book, Barley's New Book of Tabliture (1596), Friesche Lust‑Hof (1621), Select Ayres (1659), 180 Loyal Songs (1685), Playford's Pleasant Musical Companion (1687), and John Gay's Beggar's Opera (1729, where it appears as "Thus gamesters united in friendship are found", Air XLIII). Chappell (1859) and Kidson (1922) believe the tune takes its name from Sir John Packington (1549-1625, "lusty Packington"), one of Queen Elizabeth’s Privy Councilors, whom she had knighted. Packington wagered (for the sum of £3,000) that he could swim down the Thames from the bridge at Whitehall, Westminster, to the one at Greenwich. However, when she heard of it, Elizabeth, "who had a particular tenderness for handsome fellows," would not allow one of her favourites to risk himself. Packington’s Pound referred to a pond (“pound”) that he had built near his house at Westwood (Worcester) which was ordered removed when it was found to encroach on a public highway. Packington cut through the walls and allowed the water to flood the countryside. Naunton, rather cryptically, said of him:

***

Sir John Packington was a Gentleman of no meane family, and of forme and feature, no

waies disabled, for he was a brave Gentleman, and a very fine Courtier; and for the time

which he stayed there, which was not hasting, very high in her [Queen Elizabeth I] grace,

but he came in and went out, through disasidutie, drew the curtaine betweene himselfe and

the light of her Grace, and then Death overwhelmed the remnant, and utterly deprived him

of recovery, and they say of him that had hee brought lesse to her Court than he did, he

might have carried away more than he brought, for he had a time on it, but an ill husband of

opportunitie.

***

The air was originally composed as a courante and is often credited to the Elizabethan composer Michael Praetorius (1571-1621). It was popular for over two hundred years, and numerous ballads were written to it. Claude Simpson (1966) says, “This is the most popular single tune associated with ballads before 1700.” Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 259. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18^th Century), 1997; pg. 14. Raven (English Country Dance Tunes), 1984; pg. 10 & 63. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 10, pg. 11. Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992).

X:1

T:Packington’s Pound

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Times
Z:AK/Fiddler’s Companion

K:G Dorian

G3 ^FG2 | A2^F2D2 | G3^FG2 | A4A2 | B3cd2 | c2A2F2 | G2B2A2 | G6 :|

|: d2f2e2 | d6 | d2f2e2 | d6 | defd aa | d2f2e2 | defd e2 | d6 :|

|| d3cd2 | c2A2F2 | G3^FG2 | A2^F2D2 | d3cd2 | c2A2F2 | G2B2A2 | G6 ||

PACKY’S PLACE. Irish, Jig. G Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Packy Clerkin was the son of the family who still ran the neighboring farm to the Reavys in County Cavan. Reavy (The Collected Compositions of Ed Reavy), No. 86, pg. 94.

X: 1

T:Packy's Place

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:Owned by Ed's favorite neighbors, the Clerkins.

N:Their son Packy was running the farm when we made

N:our visit there in '69.

K:G

f | gdB GFG | ABG FED | gdB GFG | Ad^c def | gdB agf | bag faf | gdB cAF | GAG G2 :||

A | B^cd def | gfe d=cB | BGB dBG | cBc ABc | BGB def | gdB ecA | fdB cAF | GAG G2 :||

PADAÍ BHILLÍ NA RÓPAÍ'S HIGHLAND. AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Gay Fellow's Favourite," "The Good Fluter," "The Green Fields of Erin [1]," "The Green Groves of Erin [1]," "The Heather Breeze," “The Low Highland,” "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully [2],” "The Queenstown Lasses."

PADDEREEN MARE, THE. Irish, Air (4/4 time). C Major (?). Standard tuning. One part. "I.e. the priest's mare: 'Paidirin', a prayer, a 'Pater'" (Joyce). Source for notated version: Hugh O'Beirne, a professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 578, pg. 303.

PADDIES EVERMORE (Na Padruig Go Brat). Irish, Air or March (6/8 time, "with spirit"). D Major. Standard tuning. One part. O’Neill (1913) calls this a “splendid martial air.” O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 262, pg. 45.

X:1

T:Paddies Evermore

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 262

Z:AK/Fiddler’s Companion

K:D

A/G/ | F A2 d2f | e2c A2G | F2A d2d | d3 z2g | {a}f2e f2g |

a2f d2f | e2d c2B | A3 z2 g | {g}f2e f2g | a2f d2f | e2c A2F |

A2f d2f | e2c A2F | G3 z2A | B2B g2f | e2c A2 G| F A2 d2d | d3 z2 ||

PADDINGTON POUND. English, Air (4/4 time). F Major. Standard tuning. AB. An Elizabethan lute and dance melody. It is mentioned in a traditional English folksong called “The Maypole”:

***

“Begin,” says Harry,

“Ay, ay,” says Mary,

Let’s lead up Paddington-pound,

“Oh, no,” says Hugh,

“Oh, no,” says Sue,

Let’s dance St. Ledger (Sellinger’s) round.

Then every lad did take

His hat off to his lass;

And every maid did curtsey, curtsey,

Curtsey on the grass.

***

Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 33. Dorian Records, Various artists – “Elizabeth’s Music” (1999). Virgin Veritas 482079-2 138m DDD, The Musicians of Swanne Alley – “In the Streets and Theatres of London.”

X:1

T:Paddington Pound

M:C

L:1/8

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:F

g=Bcf e2d2 | c6 || g2 | gfed c2b2 | ag a2 agfe | dgba gfef | d2d2 ^c4 | dfed gbag |

A2c2d2g2 | f4e4 | d6c2 | faga fgef | decd B2G2 | gbab gafg | efde c2B2 | Ac f2 dfeg | f6 ||

PADDLE YOUR OWN CANOE. English. A quadrille tune. Topic 12TS283, Ned Pearson. Topic TSCD 669, Ned Pearson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Fiddler Pearson was born c. 1875 at Cambo, near Morpeth, Northumberland).

PADDOCK, THE. Scottish, Hornpipe. G Major. Standard tuning. AA’AA’BB. Kerr (Merry Melodies), vol. 4; No. 297, pg. 31.

X:1

T:Paddock, The

M:C|

L:1/8

R:Hornpipe

S:Kerr –Merry Melodies, vol. 4, No. 297 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

PADDY ARTHUR’S PINT. AKA and see “Lads of Doocastle,” “Long Way from Home,” “Trip to Kinvara.” Irish, Reel. Paddy Arthur’s was a pub in Parnell Street, in Ennis, County Clare.

PADDY BARTLEY’S. AKA – “Paddy Bartley’s Highland Fling.” Irish, Highland. D Major. Standard tuning. AAB. A strathspey-setting variant of the Scottish reel “The Moray Club.” Bartley was a member of the McGlynn family of Glenfin, according to liner notes of “The Brass Fiddle.” Claddagh CC44CD, Vincent Campbell – “The Brass Fiddle: Traditional Music from Donegal” (1987. Various artists).

PADDY BE AISY. AKA and see "Hush the cat from under the table,” "Last Nights Fun [2],” "Miss Brown's Fancy [3],” "Sugrady na hOiche Areir,” "Wink and she'll follow you.” Irish, Slip Jig. G Major. Standard tuning. AABB. ‘Aisy’ is a dialect word for easy. Not the "Paddy Now Won't You Be Easy" or "Paddy “Go Easy”" in O'Neill's, despite the confusing similarity of titles. Roche Collection, 1982, vol. 2; No. 254, pg. 24.

PADDY BOLSTER'S REEL. AKA and see "The Twin Brothers [1]," "Lady Cork's Reel," "The Tinker's Stick," "The New Policeman [3]," "An Garda Nua."

PADDY BREEN'S JIG (Port Pháidí Uí Bhraoin). Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: flute, whistle and concertina player Michael Tubridy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 1, pg. 3. Claddagh Records CC27, Michael Tubridy ‑ "The Eagle's Whistle" (1978).

PADDY BREEN'S REEL. AKA and see "The Reel of Mullinavat [1]."

PADDY BROWN (Padraic Brunac). AKA and see “Kitty Alone.” Irish, Air (6/8 time, "gaily"). G Dorian (O’Neill): A Dorian (Stanford/Petrie). Standard tuning. AB. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 437, pg. 76. Stanford/Petrie (Collected Compositions), 1905; No. 446, pg. 112.

X:1

T:Paddy Brown

L:1/8

M:6/8

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 437

Z:AK/Fiddler’s Companion

K:G Minor

D|G2A B2c|d2=e f>ef|g2G G2B|A<cA F2D|G2A B2c|d2=e fdc|d=e^f g2a|(g3 g2)||

^f/g/|a2=f d2=e|g2f d2=e|f2d c2B|A<cA F2D|G2A B2c|d=e^f g2A|B2A G2^F|(G3G2)||

PADDY CANNEY’S (JIG) [1]. AKA and see “Petticoat Loose [1].”

PADDY CANNEY’S (JIG) NO. 2. AKA and see “The Lonely Lad,” “The Pipe on the Hob [2].”

PADDY CANNY’S [1]. Irish, Reel. A G Minor setting of “Cottage in the Grove [3]."

PADDY CANNY’S [2]. “Eileen O’Callaghan('s Reel),” “Geogehan’s Reel,” “Geehan’s Reel,” “Geoghegan’s Favorite.” Irish, Reel. G Major. Paddy Canney and P.J. Hayes recorded the tune as “Grogan’s Favorite” on their famous 1960 LP, after which Canney’s name became attached to the tune.

X:1

T:Geaghan's Fancy (sp?)

T:Eileen O'Callaghan's

T:Paddy Canny's

S:Buttons & Bows, 'Gracenotes'

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

ABce dBGB|Ac c/c/c ecAc|efge dBGB||eaag a2 ga|beee begf|

PADDY CANNY’S TOAST. Irish, (Slow) Reel. G Minor. Composed by fiddler Charlie Lennon. Charlie Lennon - “Musical Memories.” Green Linnett SIF 3051, Frankie Gavin - “Frankie’s Goes to Town.”

PADDY CAREY [1]. Scottish, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 3, pg. 27.

X:1

T:Paddy Carey [1]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 1, pg. 27 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

PADDY CAREY [2] (Paidin Ua Ciarda). AKA and see "Paddy Carrey's Fortune." Irish, English; Country Dance Tune (6/8 time) or Jig. England; Shropshire, Lancashire. D Major (Ashman, Kennedy, Kerr, O’Neill): G Major (Sumner). Standard tuning. AABB (Ashman): AABBCC (O'Neill): AABBCC (Kennedy): AABBCCDD (Kerr, Plain Brown, Sumner). “Paddy Carey” or “Paddy Carey’s Fortune” was a song composed for the theatre in the late 18^th century and popular for the next 100 years, still having cachet as a dance tune. The The Lester Levy Sheet Music Collection has an undated set of the song, published by C. Taws, Philadelphia, entitled Paddy Carey's Fortune or Irish Promotion, A favourite Comic Song. Words in that publication are credited to a “Mr. Cherry,” with music by “J. Whitaker.” The Mr. Cherry probably refers to and Irish actor named Andrew Cherry, who was popular on the London stage of the late 18^th-early 19^th centuries. Cherry was also a playwright and penned the words to the song “Bay of Biscay.” The melody entered tradition early: a version is contained in the 1780 music manuscript of Scottish musician John Fife (a microfilm copy of which is in the National Library of Canada). A broadside version of the ballad begins:

***

‘Twas at the town of neat Clogheen,

That Sergeant Snap met Paddy Carey;

A cleaner boy was never seen,

Brisk as a bee, light as a fairy.

His brawny shoulders four foot square,

His cheeks like thumping red potatoes;

His legs would make a chairman stare,

And Pat was love by all the ladies:

Old and young, grave and sad,

Deaf and dumb, dull and mad,

Waddling, twadling, limping, squinting,

Light, brisk and airy.

***

The tune is sometimes paired in a medley with “Morgan Rattler” in southern England sessions. One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Paddy Carey” was one of eight tunes on barrel no. 5, unidentified on the recording.

***

“Paddy Carey” appears in a startling number of British musician’s 19^th century manuscript collections, including those of the Welch family (Bosham, Sussex), Rev. Robert Harrison (Brampton, Cumbria, 1820), H.S.J. Jackson (Wyresdale, Lancashire, 1823), John Clare (Helpston, Northants, c. 1820), James Winder (Wyresdale, Lancashire, 1835), William Tildesley (Swinton, Lancashire, c. 1860), John Moore (Ironbridge, Shropshire, 1820), William Clarke (Feltwell, Norfolk, 1858), Joshua Gibbons (Market Rasen, Lincolnshire, 1820), Richard Pyle (Nether Wallop, Hants, 1822), an anonymous ms. from the west Midlands, the Durham ms, the Tiller ms, Ellis Knowles (Radcliffe, Lancashire, c. 1847), and a manuscript in the Vaughn Williams Memorial Library of EFDSS known as MS 36 (all per Barry Callaghan, 2007). The jig proved popular among American musicians as well, appearing in the music copybooks of H. Canfield (Hartford, Conn., 1823), Daniel Henry Huntington (Onondaga, N.Y.), and a commonplace book labelled “Greenfields” of. c. 1811. In America it was also printed on song sheets and in music tutors, and in Riley’s Flute Melodies, vol. 2 (New York, 1817).

***

Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]; the Welch manuscript [Sussex Tune Book]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 110a, pg. 46 (appears as "Paddy O Cary"). Callaghan (Hardcore English), 2007; pg. 71. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 144, pg. 35. Kerr (Merry Melodies), vol. 4; No. 201, pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1820, pg. 342. Plain Brown Tune Book, 1997; pg. 55. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 70 (originally set in the key of ‘C’ major). Sussex Tune Book. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Saydisc SDL234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Paddy Carey's [2]

M:6/8

L:1/8

R:Jig

O:England.

A:Lancashire.

H:1860.

H:Wm.Tildesley,Swinton,Lancs.1860s. / Chris Wood & Andy Cuttin

Z:Taz Tarry / Steve Mansfield.

K:G

|:c2A AGA|B2G GFG|F2G A2B|c2A FED|c2A AGA|B2G GFG|E2DE2F|GAB A2G:||

X:2

T:Paddy Carey [2]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 201 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

PADDY CARREY'S FORTUNE. AKA and see "Paddy Carey [2]." Irish, Slide. C Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 75. Ryan’s Mammoth Collection, 1883; pg. 107.

X:1

T:Paddy Carrey’s Fortune

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

(G2c) ({g}c)Bc | (e2.c) cBc | (A.d) (d2.e) | (f2.d) (B2.G) | G2(c {d}c)Bc |

c2e f2a | g2a gec | cBA GAB | cde (d2c) :|

PADDY CARREY’S SHIP. Canadian, Jig. Canada, Prince Edward Island. C Major. Standard tuning. AABB. The tune is a hybrid, finds Perlman (1996), of the ‘A’ part of “Paddy Carrey’s Fortune” and the ‘B’ part of “The New Rigged Ship.” Source for notated version: Merlin Quinn (b. 1929, Cardross, Central Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island) 1996; pg. 146.

PADDY CARTHY’S REEL [1]. Irish, Reel. D Minor. Standard tuning. AABB.

X: 1

T:Paddy Carthy’s [1]

M:4/4

L:1/8

S:Queally, O'Donoghue - Trip Over the Mountain - www.moher.com

R:Reel

K:Dm

Addc AcGE|F3 G AdcA|GFEF DEFG:|

|:Addc d3 c|Acde f2 ed|~c3 B cAGA|

PADDY CARTHY’S REEL [2]. AKA – “Paddy Carty’s.” AKA and see “Man of the House,” "The Merry Thatcher,” “Miss Kelly’s Favourite,” “The New Potatoes,” "Old Tom,” "Sally Grant," “Through the Heather." Irish, Reel. E Dorian. Standard tuning. AA’B. Related to “Autumn Leaves,” “Ginley’s Fancy,” and “Handsome Sally [1].” The most popular name for the tune today appears to be “Man of the House.” Play 50 Reels with the Armagh Piper’s Club, 1982; No.1.

PADDY CARTY’S FAVOURITE. AKA and see “Molloy’s Jig,” “Tony Molloy’s.”

PADDY CARTY’S JIG. AKA and see “Castletown Conners [1],” “Condon’s Frolics,” “Digging for Gold,” “Paddy Carty’s Jig,” “The Thatcher,” “Walsh’s Jig [2].”

PADDY CARTY’S (REEL). AKA and see “Lady Gordon’s (Reel) [2].”

PADDY CAUGHT A RAT. AKA and see "Over the Hills and Far Away."

PADDY CLANCY’S. AKA – “Clancy’s Jig.” AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “Fond of the Ladies,” “The Frolicksome Dame,” “A Health to the Ladies,” “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Over the Callows,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” “Saddle the Pony [2],” “Sweet Biddy Daly,” “To the Ladies.” Irish, Jig. D Major. Standard tuning. AABB. The tune was recorded by Sligo fiddler Michael Coleman under this title, and by flute player John McKenna (1880-1947) as “Clancy’s Dream.” Bulmer & Sharpley (Music from Ireland), vol. 2, No. 38. Mallinson (Essential), 1995; No. 85, pg. 37. Peoples (Fifty Irish Fiddle Tunes), 1986; No. 43.

PADDY CORLEY’S. Irish, Reel. D Minor. Standard tuning. AB. Source for notated version: students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 33, pg. 17.

X: 1

T: Paddy Corley's

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: reel

K: Dm

ADDF (3EFG cG | ADDF EC ~C2 | ADDF (3EFG cG | (3ABc Gc Ad ~d2 |

ADDF (3EFG cG | ADDF ECCG | ADDF (3EFG cG | (3A=Bc GE D2 (3GAB ||

~c2 gc acgc | ~c2 gc Ad^cd | ~c2 gc acgG | (3A=Bc GE D2 (3GAB |

~c2 gc Gcgc | Gcgc Ad ~d2 | (3EFG A=B c2 Gc | (3A=Bc GE D2 ||

PADDY CRONIN'S [1]. AKA and see "The Flowers of Red Cliff," "Mike Anderson's [2]." Irish, Jig. E Dorian. Standard tuning. AABB. The title references west Kerry fiddler Paddy Cronin (b. 1925), originally from Gneeveguilla but who spent most of his life in Boston, Massachusetts, before moving back to Killarney. Taylor (Crossroads Dance), 1992; No. 40, pg. 31. Shaskeen - "Mouse Behind the Dresser."

PADDY CRONIN'S [2]. AKA and see “Down the Broom,” “Crosses of Annagh [1].” Irish, Reel. A Dorian. Standard tuning. AA’BB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 340, pg. 192. (It is possibly the “Paddy Cronins” on) Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Globestyle Irish CDORBD 085, Denis Murphy & Julia Clifford - “The Rushy Mountain” (1994. Reissue of Topic recordings).

PADDY CRONIN’S [3]. AKA and see “O’Keeffe’s (Slide) [2].” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. E Dorian. Standard. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 75, pg. 43. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002). Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as “O’Keeffe’s”).

PADDY CRONIN’S [4]. Irish, Reel. C Major. Standard tuning. AA’BB’. Source for notated version: Wilfred Gotell (b. 1927, Georgetown, Central Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 120.

PADDY CRONIN’S [5]. AKA and see “Paddy Fahy’s No. 1.” Irish, Reel. D Minor. Standard tuning. AB. An un-named tune, called after its source by Randy Miller. It is however, a version on a reel composed by Paddy Fahy. Source for notated version: Kerry fiddler Paddy Cronin [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 31. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 95.

PADDY CRONIN’S [6]. AKA and see “Darby the Driver.” Irish, Jig. A Dorian.

PADDY CRONINS’S (JIG) [7]. Irish, Jig. G Major. Standard tuning. AA’BB’. Treoir, vol. 38, No. 3 & 4, 2006; pg. 34.

X:1

T:Paddy Cronin’s [7]

M:6/8

L:1/8

R:Jig

S:Treoir

K:G

d^ce dBG|cBc decA|1 AGF G2:|2 AGF GBd||:g3 fga|gdB GAB|

A2a abg|fd^c dfa|gfg a2f|gdB GBd|cBc dcA|1 AGF GBd:|2 AGF G3||

PADDY CRONIN’S [8]. AKA and see “Considine’s Grove{s},” “Cronin of Kerry,” “Dinny Ryan’s,” “Game of Love,” “Girls of Farranfore,” “The Gneevguilla Reel,” “The Kerryman’s Daughter [2],” “Miss Brady,” “Rabbit’s Burrow.” Irish, Reel. E Minor.

PADDY DIGGING FOR 'GOOLD'. AKA and see "Kinnegad Slashers," "Land of Sweet Erin," "O! An Irishman's Heart," "O! Merry Am I," "Powers of Whiskey."

PADDY DOORHY’S. AKA and see “Drogheda Lasses [2]," “Eddie Moloney’s [2],” “Mary of the Grove [1].” Irish, Reel. “Paddy Doorhy’s” was the title used by Joe Burke.

PADDY DOORY'S. Irish, Jig. Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977).

PADDY DOYLE. AKA and see “(An) Bhean Spáinneach,” “Finnegan’s Wake [1],” “The Spanish Lady,” “Tim Finnegan’s Wake.” Irish, Polka.

PADDY FAHY’S HORNPIPE [1]. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by renowned Galway fiddler and composer Paddy Fahy. Source for notated version: fiddler Patricia Wright [Treoir]. Treoir, vol. 37, No. 2, 2005; pg. 30.

X:1

T:Paddy Fahy's (Hornpipe) [1]

S:Conor Tully

M:4/4

L:1/8

R:Hornpipe

K:G

G,B,DG BAGF|ECEG c2dc|(3Bcd gd ^cdDF|(3ABA GFG2::(3ABc|\

dggf gdBG|cAag fg (3agf|gdBG ecAG|(3FGA d^c d2d=c|\

BdBd cBcA|(3Bcd fa gfdc|(3ABc dB cAFG|(3ABA GF G2:|

X:2

T:Paddy Fahy’s Hornpipe [1]

M:4/4

L:1/8

R:Hornpipe

C:Paddy Fahy

S:Treoir, vol. 37, No. 2 (2005)

K:G

G,B,DG BAGF | ECCB, CEGc | (3Bcd gd ^cdDF | (3ABA GF G2 :|

(3Bcd BG cBcA | (3Bcd fa gfdc | (3Bcd gd ^cdDF | (3ABA GF G2 :|

PADDY FAHEY’S HORNPIPE [2]. Irish, Hornpipe. B Flat Major. Standard tuning. AABB. Composed by himself. Fiddler Magazine, Fall 2008, vol. 15, No. 3; pg. 41.

X:1

T:Paddy Fahey’s Hornpipe [2]

M:4/4

L:1/8

R:Hornpipe

C:Paddy Fahey

K:Bb

D2 FD E2 GE|DFBd cFAc|Bbag ^fgec|Af f/g/f gf=ef|

Bbag ^fgec|Af f/g/f gf=ef|dBFD E2 GE|DFAc B4:||

PADDY FAHY'S JIG [1] (Port Phádraig Uí Fhathaigh). AKA- “Paddy Fahey’s.” Irish, Double Jig. G Major. Standard tuning. ABB (Breathnach): AA’BB’ (Taylor). Composed by Galway fiddler Paddy Fahy who is not in the habit of naming his tunes, which are thus invariably called “Paddy Fahy’s.” Accordion player Joe Burke is said to have quipped “They’re all called ‘Paddy Fahy’s’ so you can easily tell one from the next.” It is supposedly reported by accordion player Joe Burke that Fahy said he named each of his tunes after himself so that there would be no mistaking who composed them! Fahey has composed over 70 melodies to date. See also the related “Bimid ag Ól.” Sources for notated versions: fiddler Paddy Fahy, 1970 (Ballinasloe, Co. Galway, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ II), 1976; No. 4, pg. 4. Ceol, I, 4, pg. 26. Flaherty (Trip to Sligo), 1990; 108. Taylor (Music for the Sets: Blue Book), 1995; pg. 16. Green Linnet GLCD 1127, “Martin Hayes” (1993). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Leader LEACD 2004, “Martin Byrnes” (1969).

X:1

T:Paddy Fahy's Jig [1]

M:6/8

L:1/8

Z:transcribed by Gregory Taylor

N:Usually played in G with f naturals in

N:third measure of B part

K:Gdor

DGA B2 G|cBc d2 g|gfd Bcd|cAF G2 F|

DGA B2 G|cBc d3|gfd Bcd|cAG FDC|

DGA B2 G|cBc dfa| gfd Bgd| cAF GBd||

X:2

T:Paddy Fahy's Jig [1]

M:6/8

L:1/8

C:Paddy Fahy

R:jig

Z:Philippe Varlet

K:G

DGA ~ _B3 | {d}cBc d2 g |{a}gdc Bcd | {d}cAG =FE=F |

DGA ~ _B3 | {d}cBc d2 g |{a}gdc Bcd |1 {d}cAF G=F_E :|2 {d}cAF GBd ||

~g3 f/g/af | gdc Bcd | {d}cAA ~=f3 | agf def |

~g2 a _bag | fdg fdc | A_BG Adc |1 AGF GBd:|2 AGF G2 =F ||

PADDY FAHY’S JIG [2]. Irish, Jig. G Major. Standard tuning. AA’BB’.

X:1

T:Paddy Fahy's Jig [2]

S:Eilis ni Mathuna & Olivier Rozent

M:6/8

L:1/8

R:Jig

K:G

gfd cAF|1AGF GBd:|2AGF GDB,||

PADDY FAHY’S JIG [3] (Port Phaidí Uí Fhathaigh). Irish, Jig. C Major. Standard tuning. ABB. Another composition from Kilconnell, east County Galway, fiddler Paddy Fahey. Breathnach/Small (1999) says: “The music Paddy Fahey composes is strongly touched with a unique style and atmosphere, a gentle, cheerful and sad style.” Breathnach (CRÉ V), 1999; No. 7, pg. 5.

X:1

T:Paddy Fahy’s Jig [3]

M:6/8

L:1/8

R:Jig

S:Breathnach – CRÉ V, No. 7 (1999)

K:C

{c/d/}cBc dcB | cGE CEG | FEF DEF | GAB ced | ….

PADDY FAHY’S JIG [4]. Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 210, pg. 65.

X:1

T:Paddy Fahy’s Jig [4]

M:6/8

L:1/8

K:G

GAB c2A|BAG AFd|dBd cAc|BGB AFD|…

PADDY FAHEY’S JIG [5]. Irish, Jig. D Mixolydian. Standard tuning. AABB’. Fiddler Magazine, Winter 2007/08, Vol. 14, No. 4; pg. 7. Compass Records 7 4446 2, Oisín McAuley – “Far from the Hills of Donegal” (2007).

X:1

T:Paddy Fahey’s Jig [5]

M:6/8

L:1/8

R:Jig

C:Paddy Fahey

S:Oisín McAuley (Donegal)

Z:Transcribed by Paul Cranford

K:Dmix

AFD ~c3|Ade fge|{e}d=cA ~G3|AdB =cAG|AFD ~c3|Ade fge|

{e}d=cA GEA|D/D/D D DFA::A|daf “tr”g2a|”tr”fed =cAG|daf ged|

^cde ~g3|afd fga|”tr”fed =cAG|AdB =cAG|1 E2 D DFA:||2 E2 D DA,=C||

PADDY FAHY'S NO. 1. AKA – “Paddy Cronin’s [5]. Irish, Reel. D Dorian. Standard tuning. AABB. A modern composition of Kilconnell, east County Galway, fiddler Paddy Fahey that has gained wide currency. Source for notated version: fiddler Ruthie Dornfeld (Seattle, Washington) [Songer]. Breathnach (CRÉ III), 1986; No. 122. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 32. Songer (Portland Collection), 1997; pg. 154. Vallely (Learn to Play the Fiddle with the Armagh Pipers Club), 53. Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland" (1978). Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990).

X:1

T:Paddy Fahy’s [1]

M:C|

L:1/8

N:Variation by Paddy O’Sullivan, Ardfert, North Kerry

K:C

D2 DE FEFG|Ad{e}d^c d2 de|fegf edcA|dcAG FDEC|

D2 DE FEFG|Ad^cA d2 de|fegf edcA|dcAG FD D2:|

^ga=ga ABcA|dcAG FDEC|D2 DE FEFG|Ad^cA d4:|

“Variation”

D2 A,D FEFG|AB=cA d^cde|fagf edcA|dcAG ED=CE|

PADDY FAHY’S NO. 2. AKA – “Flynn’s.” Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by Paddy Fahy. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 103, pg. 32. Larraga Records TR1103, Mary Rafferty – “Hand Me Downs” (2002).

X:1

T:Paddy Fahy’s [2]

R:reel

C:Paddy Fahy

D:Tommy Keane & Jaqueline McCarthy: The Wind among the Reeds

Z:id:hn-reel-693

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

BG~G2 BdcA|BGBd cA~A2|BG~G2 Bcdg|fgaf gedc|

BG~G2 BdcA|BGBd cA~A2|BG~G2 Bcdg|1 fgaf ~g3z:|2 fgaf ~g3a||

bgag dg~g2|fdcA FGAc|BG~G2 Bcdg|1 fgaf ~g3a:|2 fgaf ~g3a||

“variations”

BG~G2 BGcA|BGBd cAFA|BG~G2 Bcde|1 fgaf gedc:|2 fgaf ~g3a||

bgaf dgge|fdcA FGAc|BG~G2 Bcde|1 fgaf ~g3a:|2 fgaf gedc||

PADDY FAHY’S NO. 5. Irish, Reel. G Major: F Major. Standard tuning. AA’BB’. Chulrua – “Barefoot on the Altar” (learned from Matt Molloy & Planxty). Tara 3005, Planxty – “The Woman I Loved So Well.”

X:1

T:Paddy Fahy's [5]

R:Reel

S:Chulrua

Z:Philippe Varlet

M:4/4

L:1/8

K:G

gfea gedB|G2BG dGBd|gfea gedB|GABd eAA2|

gfea gedB|G2BG dGBd|bagb a2 (3gfe |1 d2Bd eAA2 :|2 d2Bd eAAB ||

c2AE cAFA|GdBG dGBd|c2AE cAFA|GedB eAAB|

c2AE cAFA|GdBG dGBd|bagb a2 (3gfe |1 d2Bd eAAB :|2 d2Bd eAA2 ||

PADDY FAHY’S NO. 6. Irish, Reel.

X:1

T:Paddy Fahys Reel [6].

M:4/4

L:1/8

Q:220

C:Paddy Fahy

R:reel

K:Gdor

BG~G2 BGdc | BdGB AFFA | BGGA Bcde | fdcB AFFA :|

~B2fB gBfB | B2f2 cAFA | B2fB gBfB | c_edc BGFG :||

PADDY FAHY’S NO. 10. Irish, Reel.

X:1

T:Paddy Fahys Reel [10].

C:Paddy Fahy

M:4/4

L:1/8

K:C

dg~g2 agfa | gedc BGBc | dggf gage | defg ~a2ge |

dggf gbag | fdcA BGBd | dG~G2 dGBG | BdcA G2Bc :||

PADDY FAHY’S NO. 11. Irish, Reel.

X:1

T:Paddy Fahys Reel [11]

C:Paddy Fahy

M:4/4

L:1/8

K:G

D2 GA ||: _BABd g3d | BG~G2 Bcdc | A=F~F2 Adcd | ^cdBG DGGA |

_BABd ~g2gd | BG~G2 Bcdc | A=F~F2 Adcd |1 ^cdBG DGGA :|

|2 ^cdBG DG~G2 || ~g2fa gfga | bgdg g2dc | BDGB AGFD |

GBAG FDD2 | ~g2fa gfga | bgdg g2dc | BDGB AGFD

|1 GBAF G3 z :||2 GBAF G3 A ||

PADDY FAHY’S NO. 12. Irish, Reel. G Dorian. Standard tuning. AA’BB’.

X:1

T:Paddy Fahys reel [12]

M:4/4

L:1/8

Q:220

C:Paddy Fahy

R:reel

K:Gdor

A ||: B2dB DGBd | ~c2cA FAcA | B2dB DGBd | ~c2cA BGGA |

B2GA BDGB | AD^FD c2=Bc | dg~g2 dc=Bd |1 c=BcF DGGA :|

|2 c=BcF DG=Bd || g^fgd Bcge | f2cf AcfA | g^fgd A=BcA |

dg^fa ~g2ga | bga^f gfdc | (3=Bcd BG D2^FA | dgg2 dc=Bd

|1 c=BcF DGBd :||2 c=BcF DGGA ||

PADDY FAHY’S NO. 13. Irish, Reel. G Mixolydian/Major. Standard tuning. AABB (Vallely): AA’BB’. Bulmer & Sharpley (Music from Ireland), vol. 4; 34. Connelly & Martin (Forget Me Not), 2002; pgs. 94-95. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 43, pg. 20 (appears as “Paddy Fahy’s Reel [1]").

X:1

T:Paddy Fahys Reel [13].

C:Paddy Fahy

M:4/4

L:1/8

K:Gmix

A ||: _B2dB ~c2dc | BG~G2 DEFD | GABG c2dc | BGA^F DGGA |

(3Bcd Bd ~c2cd | BG~G2 DEFD | GABG ccdc |1 BGA^F G3A :|

|2 BGA^F G2 (3ABc || dgg^f dgBg | dgag ^fdcB | cef2 cfAf |

cfag fdcA | dg~g2 dgBg | dgag ^fdef | g2ag ^fage|1 ^fdcA G2Bc :||2 ^fdcA G3 A ||

PADDY FAHY’S NO. 15. Irish, Reel. G Major. Standard tuning. AABB’. Green Linnet SIF 1181, Martin Hayes - “The Lonesome Touch.”

X:1

T:Paddy Fahys reel (number 15)

M:4/4

L:1/8

C:Paddy Fahy

K:G

G,2B,D GBdB | ~c2ag fgdc | BG~G2 BcdB | cdAG (3FED CA, |

G,2B,D GBdB | ~c2ag fgdc | BG~G2 BcdB | cAFA G2Bd :||

~g2fa gdBG | =FGAB ~c2dc | Aaag abag | fdAd adfa |

~g2fa fdBG | =FGAB ~c2Bc | dggf defd |1 cAFA G2Bd :||2 cAFA G2 z2 ||

PADDY FAHY’S REEL [16]. Irish, Reel. C Major (Vallely): A Major (O’Malley). Standard tuning. AB (O’Malley): AABB (Vallely). Bulmer & Sharpley (Music from Ireland), vol. 4; 9. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 53, pg. 27. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 44, pg. 21.

X:1

T:Paddy Fahy’s Reel [16]

M:C|

L:1/8

R:Reel

K:C

cBGF DEFD | (3GAG DG BGBd | cBGA Bcde | fded cedB |

cBGF DEFD | (3GAG DG BGBd | cBGA Bcdc | (3BAG FD C4 :|

c3 df ecdc | BGGA B3c | dggf defd | gfdc (3BAG AB :|

X:2

T:Paddy Fahy’s [16]

M:C|

L:1/8

R:Reel

B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 53 (1976)

Z:AK/Fiddler’s Companion

K:A

AGED B,CDB,|E2 B,E GEBG|AGEF GABc|(3ded cB AcBG|

AGED B,CDB,|E2 B,E GEBG|AGEF GABA|GEDB, A,2 (3EFG||

A2 ce dcBG|AGED B,CDB,|EA ~A2 EAce|dcBG EA A2|

EAce (3ded BG|AGEF =GFGA|(3Bcd ed Bcdf|edBG A2z2||

PADDY FAHY’S REEL [17]. Irish, Reel. B Flat Major; G Major. Standard tuning.

X:1

T:Paddy Fahy`s
M:4/4
L:1/8
C:Paddy Fahy
S:Crotty/Cullinan (Nicky & Anne McAuliff;Kerry)
R:reel

BGDB cA~A2| fdfa gf(3def)|eceg fd(3fga)||g3a gbag|fddf ecce|gfga bgag|

PADDY FAHY’S REEL [18]. Irish, Reel. C Major. Standard tuning. AAB. Breathnach (CRÉ V), 1999; No. 112, pg. 58. Fiddler Magazine, Fall 2008, vol. 15, No. 3; pg. 41.

X:1

T:Paddy Fahy’s Reel [18]

M:4/4

L:1/8

R:Ree

S:CRÉ V, No. 112

K:C

{c/d/}cBcG EGcG | FA,DF EFGA | _B3G c3A | Bgdc BGBd |

{c/e/}cGcG EGcG | FA,DF EFGA | _B2 Gc {d}cBGF | DF_B,D C2 EG :|

|| cBce {a}g^fag | ^fgec G=FEG | F3D (3EFG cA | Bcde fdBd |

cBce {a}g^fag | ^fgec G=FEG | (3FGF DF EG,CE | {G}FDB,D C2 EG ||

c2 {d}cB cGEG |D.S.

PADDY FAHY’S REEL [19]. Irish, Reel. C Major. Standard tuning. ABB’. Breathnach (CRÉ V), 1999; No. 113, pg. 58.

X:1

T:Paddy Fahy’s Reel [19]

M:4/4

L:1/8

R:Reel

S:CRÉ V, No. 113

K:C

GF | (3EFG CD EFGA | _B3G c=Bcd | edBd {c/d/}cBGF| DEB,D G,DGE |

{G}F2 EC DE{G}FD | GABG cBcd | ecBd {c/d/}cBGF | DEB,D C3D |

(3EFG CD EFGA | _BABG c3d | ecBd {c/d/}cBGF | DEB,D G,DGE |

{G}F2 EC DE{G}FD | GABG cBcd | ecBd {c/d/}cBGF | DEB,D C3E ||

cBGA Bcdf | ecBd {c/d/}cBGF |1 DEB,D C2 EF :|2 DEB,D C3D ||

PADDY FAHY’S REEL [20]. Irish, Reel. C Major. Standard tuning. AB. Breathnach (CRÉ V), 1999; No. 114, pg. 59.

X:1

T:Paddy Fahy’s Reel [20]

M:4/4

L:1/8

R:Reel

S:CRE V, No. 114

K:C

G,CEG c2 {d}cA | _BABF D_B, B,2 | G,CEG cBcd | ecdB GcBd |

c3 G EGcA | _BABF DB, B,2 | G,CEG cBGF | DE B,D C2 EB ||

c2 {d/c/}Ac BAGB | AF F2 G2 AB | c2 {c}cA Bcdf | ecdB Gc{d}cB |

cecA _BdBd | AF F2 Gcdf | ecBd {c/d/}cBGA | _B2 cA BGFD ||

PADDY FINLAY'S FAVOURITE. AKA and see "Paddy Finley's Fancy Reel."

PADDY FINLAY’S REEL. Irish, Reel. G Major. Standard tuning. AB. Not “Paddy Finley’s Fancy Reel.” Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 17.

X:1

T:Paddy Finlay’s Reel

MC|

L:1/8

R:Reel

K:G

d2 eB dBAG|EGGF G2||ef| g2 fg edBd|eaag agef|g2 fg edBd|eaaf g2 ef|g2 fg edBd|

eaag agef|g2 fg edBd|eaaf g3||

PADDY FINLEY'S FANCY REEL. AKA ‑ "Paddy Finlay's Favourite." AKA and see "The Galway Rambler," "Lord Wellington [1]," "Tiarna Wellington." Irish, Reel. G Major. Standard tuning. AAB. The name comes from Hugh Gillespie’s 1938 recording of the tune usually known nowadays as “The Galway Rambler.” See also the ‘A’ parts of “The Fairy Hurlers” and “Walsh’s Favourite.” Carlin (Master Collection), 1984; No. 217, pg. 127. Coleman Music Center CHC 009, Charlie Higgins & Jack Dolan – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Green Linnet CD3066, Hugh Gillespie.

PADDY FITZ’ SLIDE. Irish, Slide (12/8 Time). G Major. Standard tuning. AABB. Source for notated version: Treoir [Black]. Black (Music’s the Very Best Thing), 1996; No. 247, pg. 132.

X:1

T: Paddy Fitz's

Q: 375

R: slide

Z:Transcribed by Bill Black

M: 12/8

L: 1/8

K: G

G2 G G2 G BAB d2 B | G2 G G2 A ABA E2 D |

G2 G G2 A BAB def | g2 g g2 e d2 B c2 A :|

d^cd def g2 g g2 e | d2 B BAB d2 B BAB |

d^cd def g2 g g2 e | d2 B cBA G3-G2 :|

PADDY FROM CLARE (Peaidí a’ Chláir). Irish, Reel. D Major. Standard tuning. AB. Source for notated version: collected by Liam Donnelly (County Tyrone) who noted it was from William Jones (County Fermanagh) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 108, pg. 56.

PADDY FROM CORK. Irish, Jig. D Major. Standard tuning. AABB. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19^th century manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. The melody is related to O’Neill’s “Paddy in London [1]” and Joyce’s “Carrickmacross [2].” Shields/Goodman (Tunes of the Munster Pipers), 1998; pg. 26.

X:1

T:Paddy from Cork

M:6/8

L:1/8

R:Jig

S:James Goodman manuscripts (mid-19^th century)

K:D

PADDY FROM PORTLAW (Paidin Ua Port-Laga). AKA and see “Drum,” “Frazer’s (Jig) [2],” “Jackson’s Drum,” “Miss Frazer’s Delight,” “Thatched Cabin.” Irish, Double Jig. D Major. Standard tuning. AABB. Under the name “Drum,” the tune is attributed by Goodman to the famous 18^th century uilleann piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. The melody appears in Ryan’s Mammoth Collection (1883, pg. 74) as “Frazer’s.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 764, pg. 142. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 47, pg. 24. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Brian Rooney – “The Godfather.”

X:1

T:Paddy from Portlaw

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 47

Z:AK/Fiddler’s Companion

K:D

PADDY GAVIN’S REEL. Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: Seán & Colm Gannon (Boston, MA) [Black]. Black (Music’s the Very Best Thing), 1996; No. 297, pg. 159.

X:1

T: Paddy Gavin's

S: Gannon Bros.

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

GABG BddB | cdec dBGB | ce e2 dBGB |1 AGFA GDEF :|2 AGFA GABc ||

d3 g edBc | dG G2 dGBG | eg g2 edBd | eaag agef |

gdBA GABG | cABG AGED | EGce dBGB |1 AGFA GABc :|2 AGFA G4 ||

PADDY GET UP. AKA and see “Jerry’s Beaver Hat,” “The Returned Yank.” Irish, Jig. D Major. Standard tuning. AABB. Levey (Dance Music of Ireland, 2^nd Collection), 1873; No. 31, pg. 13.

X:1

T:Paddy Get Up

T:Jerry’s Beaver Hat

M:6/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2^nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

DFA d2e | fdB BAF | ABA AFD | EFE E3 | DFA d2e |

PADDY GLACKIN’S. Irish, Jig. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 49.

PADDY "GO EASY" (Paidin Sasda). AKA and see “The Beer Drinker,” “Jackson’s Stranger [1],” “Larry the Beer Drinker.” Irish, Double Jig. D Major ('A' and 'C' parts) & A Mixolydian ('B' part). Standard tuning. AABBCC. Levey prints the tune as “The Beer Drinker,” so perhaps the ‘go easy’ of the title is an admonition for moderation in drink! See also the related “Fiddler’s Heaven [1].” O'Neill (Krassen), 1976; pg. 75. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1108, pg. 209. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 298, pg. 64.

X:1

T:Paddy “Go Easy”

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 298

Z:AK/Fiddler’s Companion

K:D

PADDY GOT A RAT. AKA and see "Over the Hills and Far Away."

PADDY GOT DRUNK ON FISH AND POTATOES. AKA and see "Shoehammer," "Big Fat Gal's Good I Know, But a Little Fat Gal’s Better O." American. G Major. Standard tuning. AABB. An untitled quadrille in Christeson (1973, No. 188, pg. 135) resembles the tune (especially in the 'B' part), says Bayard. Source for notated version: Funk (Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 531B, pg. 474.

PADDY HANDLY'S GOOSE. Irish, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 4. Kerr (Merry Melodies), vol. 2; No. 227, pg. 25. Ryan’s Mammoth Collection, 1883; pg. 25.

X:1

T:Paddy Handly’s Goose

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 2, No. 227

Z:AK/Fiddler’s Companion

K:G

GEDE GABd | e2 (de) gedB | e2 (de) gedB | A2 (AG) AcBA |

GEDE GABd | e2 (de) gedB | egde BdAB | G2G2G2 :|

(3BcB GB (3BcB GB | (3cec Ac (3cec Ac | Bdef gage | dBAB G2 :|

PADDY HIÚDAI’S. Irish, Slip Jig. Ireland, County Donegal. G Major. Standard tuning. AABB. Also recorded by Altan, who call it “James Byrne’s”, after their source for the melody. Donegal fiddler James Byrne’s source was family, for Paddy Hiúdai Byrne was a cousin of James’s father. Breathnach (CRÉ IV), 1996; No. 35. CC52, James Byrne – “Road to Glenlough.”

X:1

T:Paddy Hiúdai’s

B:Ceol Rince na hÉireann 4, no. 35

S:Stephen Grier ms., Leitrim, late 19th century

R:slip jig

M:9/8

L:1/8

K:G

G2 g dBG GFG|EFG ABG FED|G2 g dBG GFG|EFG AGF G3:|:

AFD AFD DEF|GAB (4Acdc BAG|AFD AFD DEF|GAB cAF G3:||

PADDY HUGHES’ JIG. AKA and see "Mulally's (Jig)," "The Stolen Purse [1]," "The Lark on the Strand [1]." Irish, Double Jig. A Dorian ('A' part) & G Major ('B' part). Standard. AABB. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 3, No. 58. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 31. Outlet 1010, Na Filí (1971).

PADDY IN LONDON [1] ("Paidin Ann Lungoun" or "Paidin i Lungdun"). AKA and see “The Four Courts [4],” "Piper Hick's Favorite," “Jackie Fitzpatrick's Reel." Irish, Double Jig. D Major. Standard. AABB'CC (O'Neill/1850 & Krassen): AABCC (O'Neill/1915). Despite the number of Irish musicians hired on the Chicago police force, Captain Francis O’Neill generally did not allow himself to be distracted from his work by music, which he kept to home and while visiting friends, however, there were occasions when this was impossible, as O’Neill describes:

***

One Monday morning I unexpectedly encountered John McFadden

in the corridor outside my office in City Hall, and wondering what

could have happened since we parted the evening before, I asked,

‘What brings you here so early, John?’ ‘I wanted to see you privately

in your office, Chief’, he quietly replied. To my suggestion that we

could transact our business just as well where we were as in my

office, where so many others were waiting, he did not agree, so in

we went through three intervening rooms. When the door was closed

behind us Mac did not keep me in suspense. ‘Chief, I lost the third

part of ‘Paddy in London’ which you gave me last night & when I

got up this morning, all I could remember were the first and second

parts, and I want you to whistle the missing part for me again.’

***

Using an early Edison cylinder machine, O’Neill later recorded McFadden playing the tune. Philippe Varlet believes O’Neill acquired it after seeing it at the 1893 Chicago World’s Fair. See also the related melodies “Paddy from Cork” (Goodman) and “Carrickmacross [2]” (Joyce). Source for notated version: John Hicks (c. 1880’s), “celebrated from Washington to Boston as a great Irish piper, a protégé of ‘Sporting’ Captain Kelly of the Curragh of Kildare [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 136, pg. 79. O'Neill (Krassen), 1976; pg. 60. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1040, pg. 194. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 250, pg. 55.

X:1

T:Paddy in London [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 250

Z:AK/Fiddler’s Companion

K:D

PADDY IN LONDON [2]. AKA and see “The Clare Jig [1],” “Delaney’s Drummers,” “Jug of Brown Ale,” “The Mug of Brown Ale [1],” “The Raffle Jig,” “Winter Apples [2].” Irish, Jig. A Dorian. Standard tuning. AABB (Mulvihill, Taylor): AA’BB’ (O’Malley). No relation to “Paddy in London” [1]. Source for notated version: a recording of Pete Conlon, via Vinny Meehan [O’Malley]. Mulvihill (1^st Collection), 1986; No. 24, pg. 123. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 85, pg. 43. Taylor (Crossroads Dance), 1992; No. 50, pg. 38. Shaskeen - "My Love is in America."

X:1

T:Paddy in London [2]

M:6/8

L:1/8

R:Jig

K:Ador

gf | eAA fAA | {a}gfg age | dBG {A}GFG | BAG Bcd | eAA fAA |

{a}gfg age | dBB gdB | ABA A2 :: d | efg a2a | aba {b}age | {e}dBd {a}g2g |

gag {a}ged | efg a2a | aba {b}age | dBB gdB | ABA A2 :|

PADDY IN LONDON [3]. Irish, Reel. A Minor.

PADDY IN PARIS. Irish, Waltz. Composed by Davey Arthur.

PADDY JOE GORMLEY’S. AKA and see “Davy, (Davy,) Knick-Knack/Knick-Knock,” “Kerry Mills (Barn Dance) [2],” “Paddy Taylor’s Barndance,” Irish, Barndance.

PADDY KEARY. Scottish, Jig. C Major. Standard tuning. AABBCC. Carlin (Master Collection), 1984; No. 161, pg. 95.

PADDY KEENAN’S JIG (Port Pheaidí Keenan). Irish, Jig. E Minor. Standard tuning. AABB. Gael-Linn CEF 045, “Paddy Keenan” (1975).

PADDY KELLY'S (JIG). Irish, Jig. D Mixolydian. Standard tuning. AA'B. Source for notated version: Liz Carrol (Chicago) via a tape from Lar Gavin of east Galway accordion player Paddy Kelly. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 160. Shanachie 29010, Liz Carroll ‑ "Kiss Me Kate."

PADDY KELLY’S (REEL) [1]. AKA and see “Aggie Whyte’s (Reel),” “Father Ahearn’s.” G Major. Standard tuning. AA’BB’. The tonality shifts between G and D Major. According to the liner notes on Mary Bergin’s “Feadoga Stain 2” it would seem that Galway fiddler Paddy Kelly composed this tune. Source for notated version: John Loughran [Feldman & O’Doherty]. Breathnach (CRÉ II), 1976; No. 186 (appears as untitled reel). Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 242 (appears as first “Untitled Reel” on the page). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Shanachie 79083, Mary Bergin – “Feadoga Stain 2” (1989).

X:1

T: Paddy Kelly's [1]

S: Treoir

M: 4/4

L: 1/8

Q: 350

R: reel

K: G

gage abaf | gage fd d2 | gage a2 ga | b3 a gfed |

g3 e a3 f | gage fd d2 | g3 e a2 ga | b2 ba gfed ||

PADDY KELLY’S (REEL) [2]. Irish, Reel. D Mixolydian. Standard tuning. AB (Black): AABB (Miller). Galway fiddler Paddy Kelly played with the renowned Aughrim Slopes Céilí Band, whose recording hey-day was in the 1940’s. Philippe Varlet finds the tune on a 78 RPM record by button accordion player George Ross who recorded it in the 1950’s under the title “O’Brien’s Fancy.” He suspects that Paddy O’Brien’s name became attached to the the tune as O’Brien played with Kelly in the Aughrom Slopes for a time, and may have picked up the tune then. Black (Music’s the Very Best Thing), 1996; No. 166, pg. 87. Miller (Fiddler’s Throne), 2004; No. 228, pg. 139. Shanachie 29015, Paddy O'Brien & James Kelly ‑ "Is It Yourself?" (1979). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

X:1

T:Paddy Kelly’s [2]

M:C|

L:1/8

K:D

|:BE (3EEE BEcE|BE (3EEE BcdB|cA (3AAA cAeA|1 ceef e2 dc:|2 ceef e2 de||

f2 fedc BA|effe d3e|f2 fefd af|ecAc e2 dc||"Final"ecAc e3d|

X:2

T: Paddy Kelly's (a)

S: J.Kelly - P.O'Brien

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

AD D2 ADBD | AD D2 ADAc | BG (3GFG BGdG | Bdde d3 :|

ceed cBAG | ceed c3 d | e2 ed efge | dBGB d3 :|

PADDY KELLY’S (REEL) [3]. Irish, Reel. A Dorian. Standard tuning. AA’BB’. See also the related tunes "The Old Bush [2]," "The Five Leaved/Leaf Clover [2],” “The Hawthorne [1],” “The Haymaker,” “Heel of the Hunt,” “The Hunter’s Purse," “An Sceach.” Source for notated version: a recording by Galway accordion player Joe Burke [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 49, pg. 25.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Paddy O’Carrol [1]

M:6/8

L:1/8

R:Jig

S:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:D

X:2

T:Paddy O’Carroll [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 202

Z:AK/Fiddler’s Companion

K:D

FDD FDD|FGF FED|AFF dFF|D>ED D2:|

fdd ecc|BdB AGF|AFF dFF|D>ED D2:|

X:3

T:Paddy O’Carrol

M:6/8

L:1/8

R:Jig

S:John Rook manuscript (Cumbria, 1840)

K:D

PADDY O'CARROLL'S [2]. AKA and see “Burke’s Jig [2],” “Rollicking Boys of Tandaragree,” “The Jolly Corkonian.” Irish, Double Jig. E Minor. Standard tuning. AABB. Source for notated version: fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 82.

PADDY O CARY. AKA and see "Paddy Carey" [2].

PADDY O'FLYNN. AKA and see "Lassie of Gowrie," "The Wicklow's March," "The Miners of Wicklow," "Nolan the Soldier." Irish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 11, pg. 36.

X:1

T:Paddy O’Flynn

M:6/8

L:1/8
R:Jig

B:Kerr – Merry Melodies, vol. 1, pg. 36 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

PADDY O'MEAGHAN'S REEL. AKA and see “The Old Blind Sow.” Old-Time, Reel. G Major. Standard tuning. AA'BB. Source for notated version: John Summers (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 178. Franklin George – “Swope’s Knob” (played by fiddlers Frank George and John Summers on the cut).

PADDY ON THE TURNPIKE [4]. Old-Time, Breakdown. USA, West Virginia. C Major. Standard tuning. AA'BB (Phillips): ABBC (Reiner & Anick). Source for notated version: Clark Kessinger (W.Va.) [Phillips, Reiner & Anick]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 180. Reiner & Anick (Old‑Time Fiddling Across America), 1989; pg. 79. County 747, Clark Kessinger‑ "Sweet Bunch of Daisies." Vocalion 5248 (78 RPM), Clark Kessinger (appears as “Patty on the Turnpike”).

PADDY O'RAFFERTY [1]. AKA and see "Padeen O'Rafferty." Irish, Scottish; Double Jig. A Major. Standard tuning. ABCD (O'Sullivan/Bunting): AABB (Carlin/Gow, Kerr): AABB’CDD’E (Feldman & O’Doherty). Breathnach (1976) remarks the tune is extremely well-known in Ireland, “and there are as many versions of it as there are musicians.” Curiously, however, is the lack of alternate titles for such a common tune (with such a relatively ancient pedigree), whereas other common tunes have myriad titles; there are, however, many songs and ditties written to it in both Irish and English. The 'A' and 'B' sections of Carlin/Gow and Kerr's version (which are very similar) correspond generally and respectively to the 'B' and 'D' sections of Bunting's version and the ‘C’ and ‘D’ sections of John Doherty’s Donegal version in The Northern Fiddler. O'Sullivan (1983) also finds the melody in the following publications: O'Farrell's Pocket Companion for the Irish Pipes (volume I, pg. 106), Holden's Collection of Irish Slow and Quick Tunes (book II, pg. 32), Brysson's Curious Selection of Favourite Tunes (pg. 11), O'Neill's Dance Music of Ireland (No. 178), McFadden's Scotch, English, Irish and Foreign Airs (volume III, No. 475), and Murphy's Irish Airs and Jigs (pg. 9). It also appears in dancing master Thomas Wilson’s Companion to the Ball Room (London, 1816). In America, “Paddy O’Rafferty” was published by John Paff in Gentlemen’s Amusement, No. 2 (New York, 1812). O’Neill himself remarked what was “probably the original setting in two strains” was printed in Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 3, 1789, as “Paddeen O’Rafardie, Irish,” and Breathnach agrees Aird’s is the earliest printed version. Sullivan came across a single set of words to the tune, in Irish, in a booklet of songs by the late Fionan Mac Coluim called Cosa Buidhe 'Arda. Paddy O'Rafferty is also the name of a Scottish country dance, frequently taught by 19th century dancing masters. The tune was known in County Donegal, Ireland, as evidenced by the diary entry of a fiddler named William Allingham, who was employed as a customs officer and whose vocation was traditional music. He visited a poor fiddler named Tom Read in the (probably Ballyshannon) poorhouse who played for him both “Ain Kind Dearie” and “Paudeen Ó Rafferty” in November of 1847, the time of the potato famine. Allingham gave George Petrie several tunes which appear in the latter’s collection of Irish music. A rather simple setting of the tune from north Clare appears in Breathnach’s CRÉ V from the playing of father and son concertina players James and Chris Droney (see “Paddy O’Rafferty [2],” below). One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a mechanical barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Paddy O’Rafferty” was one of eight tunes on barrel no. 4. Sources for notated versions: The Irish collector Edward Bunting obtained the tune from J. McCalley of Ballymoney, Co. Antrim, in 1795; fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Carlin (The Gow Collection), 1986; No. 368. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 60 (appears as “Paidin O’Rafferty”). Kerr (Merry Melodies), vol. 1; No. 19, pg. 37. O'Sullivan/Bunting, 1983; No. 85, pgs. 18-130. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 of the Golden Age of Mechanical Music).

X:1

T:Paddy O’Rafferty

M:6/8

L:1/8

R:Jig

S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19^th century)

Z:AK/Fiddler’s Companion

K:B Flat Major

B/c/dF FGF | Fed efg | fdb fdB | BcB BGF :|

Fdd Fcc | Fdd cBc | def gab | BcB BGF :|

PADDY O'RAFFERTY [2] (Páidín Ua Rabartaig). AKA - "Paudeen O'Rafferty." AKA and see "Drink of This Cup." Irish, Double Jig. G Major (most versions): A Major (Gow). Standard tuning. AAB (Gow): AA’BB’ (Breathnach): ABCD (Mitchell): ABBCC (Cole, Kerr): AABBCCDD (Kennedy): AABBCCDDEE (Mulvihill, O’Neill). Similar in many places to version #1. O’Neill (Irish Folk Music, 1910) reports it to be:

***

…another of those ancient tunes which has been the subject of

embellishments or variations about the end of the 18^th century.

It is said to have been composed by O’Carolan in honor of a

little boy of that name who won immortality by obligingly

opening the gate for the bard while paying a visit to his first

love, Bridget Cruise.

***

Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)[Mitchell]; Tony Smith (County Cavan & Dublin) [Mulvihill]; father and son concertina players Janes and Chris Droney (north Clare) [Breathnach]. Breathnach (CRÉ V), 1999; No. 14, pg. 9. Cole (1000 Fiddle Tunes), 1940; pg. 55. Gow (The First Collection of Niel Gow’s Reels); 1784 (revised edition, 1801); pg. 36. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 146, pg. 36. Kerr (Merry Melodies), vol. 2; No. 261, pg. 29. Mitchell (Dance Music of Willie Clancy), 1993; No. 61, pg. 65. Mulvihill (1^st Collection), 1986; No. 35, pg. 72. O'Neill (Krassen), 1976; pg. 46. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 954, pg. 177. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 178, pg. 44. Ryan’s Mammoth Collection, 1883; pg. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980. Appears as “Páidín Ó Raifeartaigh”). Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Paddy O’Rafferty [2]

M:6/8

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 178

Z:AK/Fiddler’s Companion

K:G

X:2

T:Paddy o Rafferty

M:6/8

L:1/8

R:Jig

S:Gow – The First Collection of Niel Gow’s Reels (revised edition, 1801)

Z:AK/Fiddler’s Companion

K:A

ecA “tr”B>cd|(c<d).B (AF).B:||(Ac).e (Ac).e|(Ac).e fdB|Ace “tr”f>ga|(Ac).B (AF).B|(Ac).e (Ac).e|

(Ac).B (AF).B|(Ac).e (Ac).e|Ace efg|”tr”agaecB|(Ac).B (AF).B||

PADDY O'RAFFERTY [3] (Páidín Ó Raifeartaig). Irish, Double Jig. D Major. Standard tuning. AABBCC (Mulvihill, Taylor/Crack, Taylor/Crossroads): ABB’CC (Mitchell): AA’BB’CC (Boys of the Lough, Taylor/Blue): AA'BB'CC'DD' (Breathnach): AABBCCDDEEFFGGHH (O’Farrell). "A popular pipe tune,” note the Boys of the Lough, well-known as well in Scotland. Perhaps the earliest recording of the tune was by melodeon player James Brown (1880-1919), a Scot born in Edinburgh. He recorded it in November, 1912, for the Gramaphone Company in London, as an untitled jig. Brown was a Scottish champion on the instrument, winning a title in 1909, with subsequent recording sessions in 1909, 1911 and 1912. He recorded until the year before his death; lastly for the Winner Record Company in September, 1919 (Treoir). Sources for notated versions: piper Seamas Ennis (Dublin, Ireland), in Miltown Malbay, County Clare, 1959 [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Tony Smith (County Cavan & Dublin)[Mulvihill]; Sean McAloon, a piper and fiddler from Co. Fermanagh [Boys of the Lough]. Boys of the Lough, 1977; pg. 7 (appears as “Padeen O’Rafferty”). Breathnach (CRÉ II), 1976; No. 11 [1], pg. 8. Mitchell (Dance Music of Willie Clancy), 1993; No. 60, pg. 64. Mulvihill (1^st Collection), 1986; No. 31, pg. 71 (appears as “Padeen O’Rafferty”). O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 106-107. Taylor (Where’s the Crack?), 1989; pg. 22. Taylor (Crossroads Dance), 1992; No. 47, pg. 35. Taylor (Music for the Sets: Blue Book), 1995; pg. 11 (appears as “Paidín Ó Raifeartaigh”). Treoir, vol. 35, No. 2, 2003; pg. 23. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007). Shaskeen - "Mouse Behind the Dresser" & "Shaskeen Live."

X:1

T:Paddy O’Rafferty [3]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

PADDY O'RAFFERTY [4] (Páidín Ó Raifeartaigh). Irish, Double Jig. G Major. Standard tuning. AABCDD'EE. Source for notated version: whistle player Des O'Conner, 1968 (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 11 [2], pgs. 8‑9.

PADDY O’ROURKE’S. AKA and see "Before I Was Married [2]," "Billy O'Rourke's Jig [1]," "The Black Rogue [1]," “Come Under My Plaidie,” "Johnny McGill," "An Rogaire Dubh," "Tibbie Dunbar." Irish/Scottish, Jig.

***

An American postcard from 1882, picturing the ‘arrival of Paddy O’Rourke’, disdainfully entitled “Our New Citizens.”

PADDY O'SNAP (Paidin Ua Snaip). AKA and see "Quick, We Have But a Second." Irish, Slip Jig. D Major (Kennedy, O'Neill): C Major (Hardings): B Flat Major (Kerr). Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 62, pg. 19. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 58, pg. 13. Kerr (Merry Melodies), vol. 2; No. 281, pg. 30 (appears as "Paddy Snap"). O'Neill (Krassen), 1976; pg. 88. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1175, pg. 221.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Paddy O’Snap

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1175

Z:AK/Fiddler’s Companion

K:D

f2d {e}dcd fed | g2e efd cBA | f2d {e}dcd fed | efg ABc d2 :|

|: {A}a2A ABG FAd | B2e efd efg | {A}a2A ABG FAd | efg ABc d2 :|

X:2

T:Paddy O'Snap.

M:9/8

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:D

f2 d {e}dcd fed | g2 e efd cBA | f2 d {e}dcd fed | efg ABc d3 :|| {A}a2 A ABG FAd | B2 e efe efg |

{A}a2 A ABG FAd | efg ABc d3 | {A}a2 A ABG FAd | B2 e efd efg | a2 A ABG FAd | efg ABc d3 |]

PADDY O’SULLIVAN’S JIG. Irish, Double Jig. Composed by the late North Kerry fiddler Paddy O’Sullivan (Ardfert, Co. Kerry).

X:1

T:Paddy O'Sullivan's jig

S:Paddy O'Sullivan

R:double jig

M:6/8

Z:transcribed by Paul de Grae

L:1/8

P:AABB

K:A

EFA ABc | BAA ABc | EFA ABc | BAB cAF |

EFA ABc | B2 A Ace | agf ecA |1 BAB cAF :|2 BAB cBc ||

c2 e ecA | cde efg | a2 f ecA |1 BAB cBc :|2 BAB cAF || A3

PADDY O'WHACK. See "Paddy Whack."

PADDY RAFFERTY’S FAVOURITE. Irish, Reel. G Major. Standard tuning. AB. The late Paddy Rafferty (d. 2000), brother of flute player Mike Rafferty, won several All-Ireland lilting championships. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 133, pg. 40.

PADDY RAINEY’S JIG. Irish, Jig. Composed by Danú fiddle player Jesse Smith. Shanachie 78030, Danú – “Think Before You Think” (2000).

PADDY REYNOLD’S DREAM. Irish, Jig. D Major/Mixolydian. Standard tuning. AABBCC. Staten Island, New York, fiddler Reynolds told Bill Black he had not composed the tune, only arranged it. Reynolds was originally from Ballinamuck, County Longford, and immigrated to New York in 1948. He remembered:

***

My first job I ever had in this country playing music was in the

caberet…I was walking by, I was only a greenhorn, when I heard

Irish music. I walked in, stood at the bar, and I was homesick as

hell, and I was almost in tears. And there was the lousiest fiddler

I’d ever heard in my life on the stage…She came down…and I

turned around and I complimented, I says, “ Nice music. You play

nice music. My name is Paddy Reynolds.” “Oh, Paddy Reynolds,

Where are you from?” She had a husky voice; she liked her whiskey.

And I said, “I’m from Co. Longford.” “I’m from Tipperary myself.”

And we got talking and well, she says to me, “Do you play music?”

And I said, “A little bit, on the fiddle.” “Do you have it with you?”…

and I got out the fiddle and I went up on the stage and I played that

night. And that night I was employed for Friday, Saturday, and

Sunday night, in Brooklyn, in Plunket’s Cabaret. Incidentally, that’s

where I met my darling. (excerpted from Rebecca Miller, “Irish Traditional and Popular Music in New York City,” The New York Irish, 1996, ed. by Bayor & Meagher).

***

Black (Music’s the Very Best Thing), 1996; No. 97, pg. 50. Green Linnet SIF1027, Mick Moloney - “Strings Attached.”

X:1

T: Paddy Reynolds' Dream

S: Mick Moloney

Z: transcribed by B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: D

Adf afd | Bcd eag | fed ecA | GEA D2 :|

dcd faf | gec Ace | dcd AGA | GEA D2 :|

G | d3 a3 | gfg a3 | d3 a2 f | gef gfe |

def dcA | GAB AFD | Ace GBd | AFE D2 :|

PADDY REYNOLD'S FAVORITE. Irish, Jig. An old jig reworked by New York fiddler Paddy Reynolds, who added a third part. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981).

PADDY RUN THE RAT. AKA and see "Over the Hills and Far Away."

PADDY RYAN'S DREAM [1] (Aisling Paidin Ui Riain). AKA and see “Mooney’s Reel,” “Tullagh Reel.” Irish, Reel. A Minor (Cranitch, Miller & Perron/1977): A Dorian (Miller & Perron/2006, O'Neill): A Mixolydian/Dorian (Feldman & O’Doherty). Standard tuning. AB (Miller & Perron/1977): AA'B (O'Neill/1850 & 1001): AABB (Cranitch, Miller & Perron/2006): AA'BB' (Feldman & O’Doherty, O’Malley, O'Neill/Krassen). The tune was popularized by County Sligo fiddler Michael Coleman (1891-1945), who appears to have been the first to record it, in New York in 1921. “Paddy Ryan’s Dream” is a derivation of the Scots tune “Miss Lyall [2],” composed by Captain Simon Fraser, also known as “Mrs. Grant of Laggan” (the title under which it was later printed by the Gows). The “Mooney’s Reel” title was used by County Donegal fiddler John Doherty (1895-1980). A version of the tune is known in County Donegal as “The Cat that Kittled in Jamie’s Wig,” set as a Highland. See also the variant “Humours of Ennistymon [2],” in Kerr. Sources for notated versions: Seán McGuire (1927-2005, Belfast, Ireland) [Miller & Perron/1977]; Kerry fiddler Paddy Cronin (b. 1925) [Miller & Perron/2006]; Donegal fiddler John Doherty [Feldman & O’Doherty]; students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. Cranitch (The Irish Fiddle Book), 1996; No. 68, pg. 151. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 77 (appears as “Untitled Reel,” the middle of three on the page). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 35. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 95. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 40, pg. 20. O'Neill (Krassen), 1976; pg. 92. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1181, pg. 223. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 461, pg. 89. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959). Green Linnet SIF 3041, Matt Molloy - “Stony Steps.” Shanachie SH 29009, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner." Shanachie 79095, Arcady - “Many Happy Returns.” Shaskeen Records OS‑360, Andy McGann, Felix Dolan & Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. Learned from New York fiddler Andy McGann, who based his version on that of the late accordion player Paddy O’Brien). Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?). Paul McGrattan & Paul O'Shaughnessy - “Within a Mile of Dublin.” Sean McGuire & Joe Burke.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Paddy Ryan's Dream [1]

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:A

cA~A2 cAB=G|E=GDB, =CEDB,|=CA,A,=G, A,B,CD|EAGB A2::fg|\

agae ceAf|=gfgd BFGB|Aaae ceAc|B=GED CEAa|\

agae ceAf|=gfgd BFGB|cBcd edcB|Aagb ae:|

X:2

T:Paddy Ryan’s Dream [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 461

Z:AK/Fiddler’s Companion

K:Amin

G>E (3EEE cABG|EGDC B,CDB,|(3A,A,A, A,B, CDEG|1

cAB^G AbcB:|2 cAB^G (3AAA A2||B2|Aaa^g aecA|Ggg^f gdBG|

Aaa^g ae=fd|edcB (3cBA BG|Aaa^g aecA|Ggg^f gdBG|AcBd cedf|edcB ABcB||

X:3

T:Paddy Ryan's Dream

R:reel

H:See also #342

H:Same as the Scottish tune "Miss Lyall"

H:There is a story that goes with this tune (from Ted Furey):

H:Paddy Ryan was the son of a widow who lived in the Midlands. He had a dream

H:that he went to Dublin, and that he walked to and fro on the bridge without

H:stopping, and that he found his fortune there. He told this strange dream

H:to his mother, who sold her only cow, and said: "Padraig, go to Dublin and

H:see about your dream."

H:So Paddy went on the train to Dublin, and there he marched up and down on

H:O'Connell Bridge. He hardly had any money left, but after a while he met a

H:neighbour from home, who said: "What are you doing here, Paddy? Have you

H:come to Dublin?". "Well," said Paddy, "I had this funny dream three nights

H:in a row that I should find my fortune here on O'Connell Bridge in Dublin."

H:"Well," said the neighbour, "that's strange. I also had a dream three nights

H:in a row that there was a crock of gold buried at the back of your garden,

H:under a gooseberry bush."

H:"Oh, I don't believe that", said Paddy. But that night he took the train

H:back to where his mother lived in County Offaly, and he said: "Mother, find

H:me a spade", and started digging under the gooseberry bushes in the garden,

H:and it was true; under the last one, which was all dry and nearly dead, he

H:found three crocks full of gold.

H:So Paddy and his mother could buy a lot of cows and build a new house, so

H:wasn't it true that he found his fortune marching up and down O'Connell

H:Bridge in Dublin?

Z:id:hn-reel-143

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Ador

ECDC B,CDB,|~A,3B, CB,CD|1 EAAG A2cB:|2 EAAG ABcB|| |:Aaa^g aecA|

edcB A2cB:|2 edcB ABcB||

"Version 2:"

AE~E2 cE~E2|DB,~B,2 G,B,~B,2|~A,3B, CEAB|1 cABG A2cB:|2 cABG ABcB||

Ac (3Bcd cedf|1 edcB A2cB:|2 edcB ABcB||

"Version 3:"

DEDC B,CDB,|A,B,CD EGAB|1 cABG A2cB:|2 cABG ABcB|| |:Aaa^g aecA|

edcB A2cB:|2 edcB ABcB||

X:3

T:Paddy Ryan’s Dream [1]

M:C

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:Ador

cB | A~E3 (3cBA BG | E(B,D)(B, G,A,)B,G, | A,~E3 A,EAB |

(3cdc Bc A(Bc)B | A~E3 (3cBA BG | E(B,D)(B, G,A,)B,G, | A,~E3 A,EAB |

[G3c3](B A)BcB :| A(a{b}a)^g aecA | G(g{a}g)f gdBG | A(a{b}a)^g aefd |

edcB c/d/c Bc | A(a{b}a)^g a=gef | g/a/g fa gedB | A/B/c Bd ced=f |

edcB AB({d}c)B | A(a{b}a)^g aecA | G(g{a}g)f gdBG | [E3A3>](^g a)efd |

edc(B c)eBc | Aa^gb a=ge(f | g2) fa ({ga}g)edB | A/B/c Bd ced=f| edcB A2 ||

PADDY RYAN'S DREAM [2] (Aisling Paidin Uí Riain). Irish, Reel. A Dorian. Standard tuning. AA'B. A variant of “Paddy Ryan’s Dream [1].” Source for notated version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1182, pg. 223.

X:1

T:Paddy Ryan’s Dream [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1182

Z:AK/Fiddler’s Companion

K:Amin

cB | AE{F}EE cBAG | EGDC B,A,G,B, |1 A,>EA,>E (3A,A,A, A,>E |

ABcB AedB :|2 A,{B,}A,G,A, B,C E2 | AcBG A2 (3Bcd || eaa^g age^f |

(3gfe dc BGGf | eaa^g age^f | (3gfe df eAAg | ea{b}a^g age^f | g^fgd BcdB |

(3ABc (3Bcd cbag | fde^f g2 fg ||

PADDY RYAN'S FAVORITE IRISH JIG. Irish?, American; Jig. Edison 52313 (78 RPM), 1928, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett [composer of "Dixie"] (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle.}.

PADDY SCANLON’S. AKA and see “I Looked East and I Looked West,” “Martin Mulvihill’s (Polka).” Irish, Polka. G Major. Standard tuning. AABB. Paddy Scanlon was a musician from the Kerry/Limerick border area. The tune appears in the collection of New York fiddler and teacher Martin Mulvihill (1919-1987), originally from Glin in west County Limerick. Julia Clifford recorded the tune under the alternate title. Black (Music’s the Very Best Thing), 1996; No. 329, pg. 176. Mulvihill (1^st Collection), 1986; No. 1, pg. 112. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

X:1

T: Paddy Scanlon's

S: M. Mulvihill

Q: 250

R: polka\

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: G

D | GB B/c/B/A/ | FA AD | G2 Bc | d2 cA |

GB B/c/B/A/ | FA A>B | cA FA | G3 :|

d | g2 fe | fA AB | cd ef | g2 fe | dg fe | fA A>B | cA FA | G3 :|

PADDY SEAN BAN. AKA and see "The Downfall of O'Reilly."

PADDY SHANNON’S. Irish, Reel. G major. Standard. AABB. Green Linnet SIF 3085, 4 Men and a Dog – “Barking Mad.”

X: 1

T: Paddy Shannon's

R: reel

S: 4 Men and a Dog: Barking Mad

M: 4/4

L: 1/8

K: G

Bdge dBGE | FADF AGAB | cBcg fdde | fgaf g3 :|

DE=FE DG G2 | BG G2 ABce | d^cde =f2 ef | cAFA G3 :|

PADDY SHOWN MORE. Irish, Air (3/4 time, "moderate, or rather slow"). C Major/A Minor? Standard. AB. Source for notated version: "Copied...about 1873 from a MS. lent me from near Lough Conn, County Mayo" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 312, pg. 146.

X:1

T:Paddy Shown More

M:3/4

L:1/8

R:Air

N:”Mod.: or rather slow”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:Amin

d2 dfec|d2c2c2|c4||A2|c2 cdcA|c2d2 ef|g2 fg|agfedc|A3c de|a2 fedc|e>f d>e c>d|

A2G2 Ac|d2 dfec|d2c2c2|c4||

PADDY SNAP. See "Paddy O'Snap."

PADDY SPILLANE’S [1]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AA’BB’. Source O’Leary identified Paddy Spillane as a neighboring tin whistle and concert flute player from Knockbeag, Kerry, who used to play this tune and “Paddy Spillane’s [2]" as a pair. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 49, pg. 29.

PADDY SPILLANE’S [2]. AKA and see “Ballyoran Polka [1]," “(An) Gallope,” “Gallop Hey,” “The Kerry Polka,” “Port Dalaig [5]" and [6]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB. Source for notated version: Paddy Spillane via accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 50, pg. 30.

PADDY STACK’S FANCY JIG. AKA and see “Lyon’s Favourite,” “Maurice Carmody’s Favourite,” “Morrison’s Jig [1],” “The Stick Across the Hob.” Irish, Jig. G Major. Standard. AABC. O’Neill (1922) remarks: “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.” Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 142.

X:1

T:Paddy Stack's Fancy Jig

M:6/8

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

K:G

"tr"E3 BEB|EBE AFD|"tr"E3 BEB|edB AFD|

E3 BEB|EBE AFD|EBE BEB|edB AFD:|

eee fee|aee fee|efe fef|a2 g fed|

eee fee|bee fee|e/2f/2ge fde|dcB AFD||

eee fee|bee fee|bee fef|a2 f def|

gba/2g/2 fag/2f/2|egf/2e/2 def/2g/2|egf/2e/2 d2 A|BAG FED||

PADDY STACK’S FAVORITE. Irish, Jig. Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

PADDY STACK’S FLING. AKA and see “Miss Lyall [1].” Irish, Fling. G Major. Standard tuning. AB. Source for notated version: Paddy Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 107.

X:1

T:Paddy Stack's Fling

M:4/4

L:1/8

Q:180

S:Patrick Stack, Chicago

Z:Paul Kinder

R:Fling

K:G

A>A,A,>B, C>DE>F|G2 (3AGF G2 c>d|e>cd>B c>AB>G|g>e (3dcB A2||

e>aa>f g>ba>f|e>aa>f g2 g>a|(3bag (3agf (3gfe (3def|(3gfe (3dcB A2||

PADDY SULLIVAN’S. AKA and see “Charlie Mulvihill’s (Hornpipe) [1].” Irish, Hornpipe. The Paddy Sullivan of the title is Paddy O’Sullivan, from whom Tralee fiddler Maire O’Keeffe learned the tune (a one-time member of the all-female Irish band Macalla). Concertina player Michelle O’Sullivan, also from Tralee and who sometimes played with O’Keeffe, also calls the tune “Paddy (O’)Sullivan’s.” Macalla – “Mna na hÉireann."

PADDY TAYLOR’S (BARN DANCE). AKA and see “Davy, (Davy,) Knick-Knack/Knick-Knock,” “Kerry Mills (Barn Dance) [2],” “Paddy Joe Gormley’s.” Irish, Barn Dance.

PADDY TAYLOR’S [1]. Irish, Double Jig. G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB. Source for notated version: the Desmond Ceili Band (Castlerslana, Co. Kerry), recorded at Ennis, County Clare [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 11, pg. 66.

PADDY TAYLOR’S [2]. AKA and see “The Foynes Jig.” AKA – “Paddy Taylor’s Favourite.” Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated versions: “from Paddy Taylor (1912-1976), Loughill (between Askeaton and Foynes), Co. Limerick, R.I.P.” [Breathnach, Mulvihill]. According to Brendan Breathnach, Taylor learned this jig from Mick Barry, a local blacksmith in Loughill. Breathnach (CRÉ II); No. 1, pg. 3 (appears as “Gan Anim”). Mulvihill (1^st Collection), 1986; No. 68, pg. 79. Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005. Learned from the playing of Dermot and Tara Diamond). Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Paddy Taylor’s (Jig) [2]

T:Dawn’s Jig

T:Foynes Jig

C:Martin Mulvihill

M:6/8

L:1/8

K:D

FGF EFE | DFA d2 c| ded cAG | F2 A GFE |

FGF EFE | DFA def | edc ABc | dfe D3 :||

PADDY TAYLOR’S JIG [3]. AKA and see “The Banks of the Shannon [3].” Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: Paddy Taylor (1912-1976, originally from Loughill, County Limerick, emigrated to London) [Breathnach]. Breathnach (CRÉ II); No. 5, pg. 4 (appears as “Gan Anim/Untitled”). Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

PADDY TAYLOR’S (JIG) [4]. AKA and see “Fasten the Leg on Her.”

PADDY TAYLOR’S NO. 2. AKA and see “Paddy Taylor’s Reel [2].”

PADDY TAYLOR’S (SLIDE). Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Mulvihill (1^st Collection), 1986; No. 2, pg. 115.

PADDY TAYLOR'S REEL [1] (Ríl Phádraig Táilliúir). AKA and see “McCabe’s Reel [2].” Irish, Reel. D Major. Standard tuning. AA'B (Breathnach): AABBCC (Black). Composed by Paddy Taylor (1914-1976), a London-based flute player originally from Loughill, west County Limerick. He was born into a musical family—his father (who died young) was a singer, his mother a noted concertina player, two cousins played the flute and his maternal grandfather, Patrick Hanley, was a renowned piper and flute player. Hanley even played before Queen Victoria. Taylor emigrated to London in 1933, settling in Camden Town where he found the company of many Irish musician émigrés, including Sligo fiddle players Martin Wynne and Joe Dowd. According to Marie O’Keeffe (in liner notes to “The Smoky Chimney”), the tune was popularized by the Castle Ceili Band when they played it during the 1966 Leadh Cheoil in Boyle, County Roscommon. It is usually played in two parts, though Black’s setting is in three. Source for notated version: fiddler Seán Keane (County Clare, Ireland) [Breathnach].

***

Taylor learned his music from his mother, Katie or Honora Taylor, a concertina player. He moved to London in 1934, was a founding member of the West London branch of Comhaltas Ceoltoiin Eireann, and played with Frank Lee’s Tara Band Band (1934‑8) and the Garryowen Band (1938 to early 1960s), with Joe Dowd and Martin Wynne. Anthony Buffery says he was a “live wire” who played in all the local Hammersmith (London) ceili bands and was a regular at sessions.

***

Brendan McGlinchey remembered the Taylor family in London, and said that “old Mrs. Taylor” used to get Paddy to round up musicians on a Sunday to come over for dinner at the family home in Chiswick. He remembers she had an extensive collection of 78 RPM Irish music records and a lovely concertina, and used both to entertain her guests. “Anybody (i.e. musicians) around London at the time would be in that house.” McGlinchey also recalled that she sent her sons out on Christmas day to Hammersmith Broadway to round up stray Irishmen to come home for holiday dinner! See also the related "Errigal Braes."

***

Black (Music’s the Very Best Thing), 1996; No. 146, pg. 77. Breathnach (CRÉ III), 1985; No. 154, pg. 72. Vallely (Play 50 Reels with the Armagh Pipers Club), 1982; 49. Claddagh Records CC17, Sean Keane ‑ "Gusty's Frolics" (1975). Gael‑Linn Records CEF 069, Sean Keane ‑ "An Fhidil II" (1980). Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Shanachie 78031, James Keane – “Sweeter as the Years Roll By.” Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996. Learned from Denis McMahon and Connie O’Cannell, a fiddle duo from the Cork/Kerry region).

X:1

T: Paddy Taylor's

S: J. O'Sullivan

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

FADF ABAF | GE=cE dEcE | FADF ABAF | GE=cE ED D2 :|

|| Addc d3 A | Beed e3 e | fgfe d3 A | (3Bcd AF ED D2 |

Addc d3 A | Bdef g3 g | afge d2 dA | (3Bcd AF ED D2 ||

X:2

T:Paddy Taylor’s

M:4/4

L:1/8

R:reel

K:D

FEDF A3F|GE=cG =cD=CE|FEDFA3F|1 GE=cEEDE :|2 GE=cEED2||

d3c dfed|e3d efge|d3c dfed|cafe EDD2|

d3c dfed|cdef g2fg|gafe cdBd|AdAG FDED||

F3G A2dG|G2dG G2dG|F3G A2d=c |ABGE EDDE:||

PADDY TAYLOR'S REEL [2]. AKA and see “The Youngest Daughter [2].” AKA – “Paddy Taylor’s No. 2.” Irish, Reel. A Mixolydian (Ceol, Harker/Rafferty): G Minor (Heymann). Standard. AB. Sources for notated versions: flute player Paddy Taylor (1912-1976, who lived in London) [Ceol, Heymann]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (Ceol Rince na hÉireann II), 1976; No. 241. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 26 (appears as “Paddy Taylor’s Reel”). Ceol, "The Man and His Music", 1969, 3(3); pg. 89. Harker (300 Tunes from Mike Rafferty), No. 117, pg. 36. Heymann (Off the Record), 1990; pgs. 30-33. Comhaltas CL3, Deirdre Collins – “Comhaltas Fleadh” (1970). Rounder Records, Mike Rafferty – “Light Through the Leaves.” Temple Records 013, Ann Heymann & Alison Kinnaird – “Harper’s Land” (1983. Appears as “Charlie’s Fancy,” Heymann’s name for an untitled tune collected from Paddy Taylor via her husband, Charlie Heymann).

And where are ye from?

The town of Ballyhack

Where seven praties weight a ton.

***

John Glen (1891) finds the earliest Scottish printing of it in Robert Ross's 1780 collection (pg. 7). It appears in English collections before that date, however: Longman, Lukey and Broderip’s Bride’s Favourite Collection of 200 Select Country Dances, Cotillions (London, 1776), Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773). After appearing in these dance volumes, “Paddy Whack” was often printed in instrumental tutors such as Longman and Broderip’s Entire New and Compleat Instructions for the Fife (London, c. 1780), T. Skillern’s Compleat Instructions for the Fife (London, c. 1780), Charles and Samuel Thompson’s Compleat Tutor for the Fife (London, c. 1770 and1786), Thompson’s Compleat Tutor for the Hautboy (London, 1790), Wilson’s Pocket Preceptor for the Fife (London, 1805), Northumbrian piper Peacock’s Favorite Collection of Tunes with Variations (Newcastle, 1805), and Clementi’s Entire New and Compleat Instructions for the Fife (London, c 1815), and, in America, Joshua Cushing’s Fifer’s Companion No. 1 (Salem, Mass., 1805), David Hazeltine’s Instructor in Martial Music (Exeter, N.H., c. 1810), and Gilford’s Gentleman’s Pocket Companion for the Flute or Violin (New York, c. 1802).

***

It is similarly well-represented in musicians’ manuscript collections of the period. In England, “Paddy Whack” appears in the John Rook collection (Wigton area, Cumbria, 1840),

American musicians’ commonplace books containing the jig include that of the Bellamy band (Hamden, Conn., 1799), flute player Micah Hawkins (1794), fluter William Williams (Pautuxit, R.I., 1775), fluter George Willis (1795), fluter R.B. Washburn (1816), flute player Ralph Pomeroy (New Haven and Hartford, Conn., 1790), clarinet player J. Williams (Salem, N.Y., 1799), Abel Shattuck (Colrain, Mass., begun 1801), woodwind player Silas Dickinson (Amherst, Mass., 1800), fluter Joseph Cabot (Cambridge & Salem, Mass., 1784), flutist Elias Boynton (Pepperell, Mass., 1799), fifer Ebenezer Bevens (Middletown, Conn., 1825), flute player Henry Beck (1786), John Beach (Gloucester, Mass., 1801), and Sarah Brown Hereshoff (1790). It retained its popularity in traditional music circles and was cited as having commonly been played at Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly).

***

Perhaps the earliest recording is from 1905 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford).

***

Sources for notated versions: Walter Neal (Armstrong County, Pa., 1952) and Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1963) [Bayard]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; contained in the 19^th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]; Jehile Kirkhuff (Pa.) [Phillips/1995]. Ashman (The Ironbridge Hornpipe), 1991; No. 116b, pg. 48. Bayard (Dance to the Fiddle), 1981; No. 543A‑B, pg. 484. Cole (1000 Fiddle Tunes), 1940; pg. 59. Ford (Traditional Music in America), 1940; pg. 32. Kerr (Merry Melodies), vol. 1; No. 45, pg. 40. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18^th Century), 1998; pg. 9. The Joseph Kershaw Manuscript, 1993; No. 59. Levey (Dance Music of Ireland, 2^nd Collection), 1873; No. 38, pg. 16. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 25. O'Neill (Krassen), 1976; pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 759, pg. 141. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 43, pg. 24. Peacock (Peacock’s Tunes), reprint 1980; No. 22, pg. 7. Phillips (Traditional American Fiddle Tunes), 1989; pg. 38‑39. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 375. Raven (English Country Dance Tunes), 1984; pg. 118. Ryan’s Mammoth Collection, 1883. White’s Unique Collection, 1896; No. 29, pg. 5.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Paddy Whack [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 43

Z:AK/Fiddler’s Companion

K:G

BGG G2:||:B|GBd g>fg|edc BAG|GBd e>fg|fdd d2z|1 GBd g>fg|edc BAG |

GAB cAd|BGG G2:|2 (e/f/)|gbg afd|c>de dBG|GAB cAd|BGG G2||

X:2

T:Paddy Whack [1]

M:6/8

L:1/8

R:Jig

S:John Rook manuscript (Cumbria, 1840)

K:G

|:BdB cec|dBG A2G|GBd gfg|gfd d3|geg fdB|cec dBG|GBd cAF|GGG G3:||

PADDY WHACK [2]. Variation of the above. Irish, English; Jig. G Major. Standard tuning. AABB (Kennedy, Raven): AABBCCDD (O’Farrell). The melody was published in several London editions of the latter 18^th century, beginning with Charles and Samuel Thompson’s Compleat Collection, vol. 3 (1773), followed by Straight and Skillern’s Two Hundred and Four Favourite Country Dance Tunes, vol. 1 (1775), Brides Favourite Collection of 200 Select Country Dances, Cotillions (1776), and Skillern’s Compleat Collection of Two Hundred and Four Reels, Country Dances (1780). The jig also appears in various instrumental tutors of the period. This is perhaps the version that is one of the "missing tunes" from Northumbrian musician William Vickers' 1770 dance manuscript collection, however, it was entered in numerous other musicians’ manuscripts of the period, indicating its popularity. In America it appears in the music manuscripts of flute player Henry Beck (1786), Elias Boynton (Pepperell, Mass, 1799), Joseph Cabot (Cambridge & Salem, Mass., 1784), John Beach (Gloucester, Mass., 1801), Sarah Brown Herreshoff (1790), Ebenezer Bevens (Middletown, Conn., 1825), and Silas Dickinson (Amherst, Mass., 1800), among numerous others (see EASMES site for more). “Paddy Whack” also can be heard played on a few surviving New England-made musical clocks of the late 18^th century.

***

Kerr (Merry Melodies), vol. 1; pg. 40, and Peacock's Tunes (c. 1800), 1980; No. 22. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 148, pg. 36. O’Farrell (Pocket Companion for the Irish or Union Pipes, vol. 1), c. 1805; pgs. 26-27. Raven (English Country Dance Tunes), 1984; pg. 115. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 187.

X:1

T:Paddy Whack [2]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:G

BGG G2 :: B/c/ | dBB ecc | dc/B/A/G/ (A2G) | dBB ea/b/a/g/ | fdd def |

gb/g/b/g/ fa/f/a/f/ | eg/f/g/e/ dBG | GBd cAd | BGG G2 :||

X:2

T:Paddy Wack [2]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

GBd gfg|edc BAG|GBd gfg|fdd d2 e/f/|geg fdf|ece dBd|cBc ABc|BGG G3:|
|:BcB ccc|dcB A2G|Bcd efg|fdd d2 e/f/|geg fdf|ece dcB|cBc ABc|BGG G3:||

PADDY WHACK [3]. Irish, Jig. G Major. Standard tuning. AABB. No relation to the “Paddy Whack” tunes above. From the music manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3^rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3^rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

X:1

T:Paddy Whack [3]

M:6/8

L:1/8

R:Jig

S:Henry Livingston’s manuscript copybook, late 18^th century

Z:AK/Fiddler’s Companion

K:G

B>BB c>cc | ({d/c/}B)GG G3 :: B>BB c>cc | dBG “tr”A2G | B>BB c>cc |

dBG A3 | Ggg =fdd | ecc (dc/B/A/G/) | B>BB c>cc | ({d/c/}B)GG G3 :|

PADDY WILL YOU NOW? AKA and see "Tow Row Row." Irish, March (2/4 time). G Major. Standard tuning. AABB. O’Neill (1922) says: “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 300 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 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.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 51.

X:1

T:Paddy Will You Now

M:2/4

L:1/16

S:Capt. F. O'Neill

Z:Paul Kinder

R:Air

K:G

g2B2 B2AG|F2A2 A2BA|B2g2 gfga|b2g2 g2:|

eeee e2d2|g2B2 B2A2|GGGF G2A2|

B2G2 E2D2|GGGF G2B2|AAAB A2B2|B2g2 f2e2|

d2c2 B2A2|GGGG G2B2|AAAA A2B2|B2g2 f2a2|g4 g2:||

PADDY WON'T YOU DRINK SOME (GOOD OLD) CIDER. AKA and see "Davy, Davy," "Sailing Down the River," "Old Grey Goose [3]." Old‑Time, Breakdown. USA; North Georgia, North Carolina, Kentucky, Arkansas, Oklahoma. D Major. Standard or ADae tuning. ABB (Hensley/Beisswenger & McCann): AABB (most versions). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The Frank Brown collection (vol. III, pg. 74) gives a North Carolina version (with ‘Sallie’ instead of ‘Paddy’) and links it to the titles “Sweet Cider” and “Pretty Little Black-Eyed Susan.” Arkansas fiddler and violin maker Violet Hensley’s version is crooked in the second strain. Early (78 RPM) recordings were by the eastern Kentucky group The Jimmy Johnson String Band, featuring fiddler Andy Palmer (b. 1881, Anderson County, Kentucky), G.B. Grayson & Henry Whitter (1927), Arthur Tanner (1930), and J.E. Mainer (1938).

***

Paddy won't you drink some,

Paddy won't you drink some good ole cider.

***

Had a little cider last night

A little night before, sir,

Going out tomorrow night to get a little more, sir.

***

You be the horse,

And I'll be the rider,

Going to Paddy Watson's to get a little cider. (Riley Puckett & Clayton McMichen, 1929)

***

Sources for notated versions: The Skillet Lickers (Atlanta, Georgia) [Kuntz]; Ed Hicks (Adair County, Oklahoma) [Thede]; Harvey Taylor [Phillips]; Violet Hensley (b. 1916, Montgomery County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 54. Brody (Fiddler’s Fakebook), 1983; pg. 215. Ford (Traditional Music in America), 1940; pg. 41. Kuntz (Ragged But Right), 1987; pg. 331‑332. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 180. Thede (The Fiddle Book), 1967; pg. 53. Also appears in Ira Ford's book. Flying Fish 089, The Red Clay Ramblers‑ "Chuckin' the Frizz" (1979. Learned from "Lowe Stokes et. al.). Rounder 1023, Gid Tanner and His Skillet Lickers (North Ga., 1928) ‑ "The Kickapoo Medicine Show." Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997). Tennvale 004, Pete Sutherland‑ "An Anthology."

Digital Library of Appalachia: Clyde Davenport (fiddle and vocal)

http://www.aca-dla.org/Berea/image/341.mp3

X:1

T:Paddy Won’t You Drink Some Cider

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:D

a2 ae/f/|gg/a/ g/f/e|f/e/d/B/ A/F/A/B/|d/B/A/F/ ED:|

PADDY WORKS ON THE RAILROAD. American, Jig. USA, southwestern Pa. D Major (noted in B Flat Major). Standard tuning. AA'BB'. Bayard (1981) identifies this tune as a version of the widespread "Lazarus" tune family (as is the better‑known "Gilderoy" and "Bonaparte's Retreat [5]") that is perhaps more common as a vocal rather than instrumental set of the melody. He has found closely related British Isles sets collected by Sharp ("The Farmer's Curst Wife") and Davis ("The Rich Man and Lazarus"). In America the tune also appears in vocal sets in the hymns "The Babe of Bethlehem," "Jordan's Shore," and "Jolly Soldier." In Pennsylvania Bayard collected a rhythmic tag with the tune that went:

***

Oh Paddy works up and Paddy works down

And Paddy works on the Railroad;

Oh Paddy works here and Paddy works there,

And Paddy works on the railroad.

***

Source for notated version: Hiram White (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 451, pg. 431.

PADDY’S DELIGHT. Scottish, Hornpipe. G Minor. Standard tuning. AB. Composed by the great Scots composer J. Scott Skinner (1843-1927), who included it in his section of Irish tunes in his Harp and Claymore (1904). Skinner (Harp and Claymore), 1904; pgs. 144-145.

X:1

T:Paddy’s Delight

M:2/4

L:1/8

R:Hornpipe

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Gmin

D | ({G/A/}G/>)^F/G/>A/ B/>A/B/>G/ | A/>^F/D/>F/ GG/>A/ | ({B/c/}B/>)A/B/>c/ d/>c/d/>B/ |

c/>A/F/>A/ BB/>c/ | (d/>^f/g/>)=f/ e/>d/c/>=B/ | (c/>=e/f/>)_e/ d/>c/B/>A/ | c/>B/A/>G/ ^F/>D/=E/>F/ |

GgG, || (g/a/) | b/>(a/g/>)(^f/ g/>)(e/d/>)(^c/ | d/>)(c/B/>)(A/ G)f/>(g/ | a/>)(g/f/>(=e/ f/>)(d/c/>)(=B/ |

c/>)(B/A/>)(G/ | F/>)(A/B/>)c/ | (d/>^f/g/>)=f/ e/>d/c/>=B/ | (c/>=e/f/>_e/) d/>c/B/>A/ |

c/>B/A/>G/ ^F/>D/=E/>F/ | GgG, ||

PADDY’S DREAM. See “The Priest and/in His Boots [1].”

PADDYS EVERMORE. Irish, Air (6/8 time). G Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 868, pg. 216.

PADDY'S EXPERIENCE. AKA and see "Billy O'Rourke is the Boy,” “Billy O’Rourke’s the Buachaill [1].”

PADDY'S FAREWELL TO AMERICA. Irish, Jig. G Major. Standard tuning. AABB. Composition credited to one Tom Doyle in Ryan’s Mammoth Collection (1883). Cole (1000 Fiddle Tunes), 1940; pg. 71. Ryan’s Mammoth Collection, 1883; pg. 102.

PADDY'S GONE TO FRANCE. AKA – “Johnny’s Gone to France.” AKA and see “The Ballina Lass,” “Johnny When You Die [1],” “The Mayo Lasses,” “West Mabou Reel.” Irish, Reel. G Major. Standard tuning. AB. Catholic France was a favorite destination of expatriate Irish soldiers (see “Wild Geese”), although the title may refer to either of the World Wars of the 20^th century. The title was remembered by one older musician as “Paddy’s Gone to France and He’s Never Coming Back.” Tubridy (Irish Traditional Music, Book Two), 1999; pg. 17 (appears as “Paddy Gone to France”).

X:1

T:Paddy’s Gone to France

L:1/8

M:C|

K:G

eBBB eBdB|A2 GA Bd d2|eBBB eBdB|A2 GA BG G2|

eBBB eBdB|A2 GA Bd d2|eBBB eBdB|A2 GA BG G2||

gbag egde|gbag ea a2|gbag egdB|A2 GA BG G2|

gbag egde|gbag ea a2|bgag egdB|A2 GA BG G2||

PADDY'S GREEN ISLAND. Irish, Air (6/8 time). C Major. Standard tuning. AB. "This graceful air I copied from a MS. lent me by the late John O'Daly, of Anglesea Street, Dublin" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 9, pg. 7.

X:1

T:Paddy’s Green Island

M:6/8

L:1/8

R:Air

N:”Gracefully, and with well-marked time”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 9

Z:AK/Fiddler’s Companion

K:C

Gge dc>d|ecc c2||e/d/|ceg gec|ceg gec|fga gec|Bde f2 g/>f/|ecc dcc|

A<cA GEF|Gge dc>d|ecc c2||

PADDY’S IN CHICAGO. Irish, Hornpipe. D Major. Standard tuning. AABB. A modern composition by Eoghan O’Brien. Green Linnet SIF 1173, Deanta – “Whisper of a Secret” (appears as part of “Paddy and the Bandit” set).

X:1

T:Paddy's in Chicago

M:4/4

L:1/8

C:Eoghan O'Brien

S:from DEANTA "Whisper of a Secret"

R:Hornpipe

K:D

fAAf ed ~B2 | ABAF {g}EDEF | DEDB, A,B,DF | E2EF D2 :||

DE | FA,A,F ED (3 B,CD | A,B,DF EDB,D| (3 FED ED EFED|

BEED E2AG | FA,A,F EDB,D | A,B,DF EDEF | Ddef edBd | Add{e}c d2 :||

PADDY'S JIG [1]. Irish, Jig. RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991).

PADDY'S JIG [2]. AKA and see "Gigue a Paddy."

PADDY’S LAND. AKA and see “The Rose Tree [1]," “The Rose Tree of Paddy’s Land.”

PADDY'S LEATHER BREECHES. Scottish, Jig. B Minor. Standard tuning. AABBCCDD. The tune is played for the dance The Irish Washerwoman, familiarly known as the Irish Jig by Scottish dancers, and part of the modern repertoire at dancing schools. Emmerson (1972) states: "The tune is a superb set of variations, usually published under the title of 'Paddy's Leather Breeches,' which, in the hands of a good piper, can sound absolutely fascinating." Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 38.

PADDY'S PET. AKA and see “Mamma’s Pet.” Irish, Reel. G Major. Standard tuning. AB. Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 302.

X:1

T:Paddy's Pet

M:4/4

L:1/8

S:Patrick Stack, Chicago

Z:Paul Kinder

R:Reel

K:G

(3DEF||G2 FG E2 (3DEF|GB (3BAB GBAF|G2 FG EFGA|(3Bcd ed BA A2|

(3GFE (3FED EB, (3B,A,B,|GB (3BAB GBAF|G2 FG EFGA|(3Bcd ed Bdgf||

eA (3AAA eA (3AAA|BG (3GGG BG (3GGG|e2 AA eAcA|(3Bcd ed Bdgf|

eBce dcBA|GFGA Bcdf|e2 ef gfed|(3Bcd ed (3BAG AF||

PADDY’S POLKA [1]. Irish, Polka. E Dorian. Standard tuning. AABB. One of two polkas recorded by Josephine Marsh as “Paddy’s Polkas,” learned from her father in East Clare. JM CD001, Josephine Marsh.

X:1
T:Paddy’s Polka [1]
R:polka
S:Brendan Begley
Z:id:hn-polka-110

PADDY’S POLKA [2]. Irish, Polka. JM CD001, Josephine Marsh.

PADDY’S RAMBLES THROUGH THE PARK. Irish, Slow Air (3/4 time). Ireland, County Donegal. A Dorian: B Minor. Standard tuning. One part. A popular air in County Donegal. Paddy Glackin has recorded an influential rendition of the piece in the key of A Minor as did the famous Donegal fiddler John Doherty. According to Caoimhin Mac Aoidh (Between the Jigs and Reels, 1994), this air was associated with the Banshee (a being whose eerie wails fortold the death of a person with the surname beginning with ‘O’ or ‘Mac’). He quotes John Doherty, who told the story of a Donegal man who was crossing through a pairc, pronounced ‘park’, or farm field, on his way home late one night. In this park the farm hands had piled large cairns of stones to clear the fields, and it was here that Doherty’s hero heard the wailing lament of the Banshee. At the first cry he looked behind the nearest cairn, and of course found nothing, but on approaching the next cairn he heard it again, and again he looked for but did not find the singer. Doherty said this pattern repeated itself “through the park all night ‘till a little while before daylight in the morning. And the song that the Banshee sang Paddy had it all learned and it’s called ‘Paddy’s Rambles Through the Park.’ It’s a very old, weird kind of an air.” Jimmy Campbell, from Glenties, Donegal, identifies Paddy as having wandered from “sí to sí”, in other words, from fairy mound to fairy mound, all night. The sleeve notes Doherty’s album “Bundle and Go” say that he learned the tune from the lilting of his great-grandmother, Nannie Rua McSweeney. Musicians Dezi Donnelly and and Dermot Byrne both play it in the key of B Minor. Source for notated version: fiddler Simon Doherty (County Donegal) [Feldman & O’Doherty]. O’Doherty & Feldman (The Northern Fiddler), 1979; pg. 96. Claddagh CNF 003, Peter Campbell (et al) – “The Fiddle Music of Donegal, Vol. 3.” DD9901, Dezi Donnelly – “Familiar Footsteps.” Gael-Linn CEFCD 153, Paddy Glackin – “In Full Spate.” Green Linnet, John Doherty – “Bundle and Go” (1984, originally recorded for Topic records, also on Ossian OSSCE17). Hummingbird HBCD0007, Dermot Byrne. Lavalla Records LA01, James Keane – “James Keane: Live in Dublin.” John Doherty – “The Fiddler and the Fairy.” Ronan Browne – “The Wynd You Know.” Shanachie 78031, James Keane – “Sweeter as the Years Go By.”

X:1

T:Paddy's Rambles Through the Park
M:3/4
L:1/8
Q:65
S:Johnny Doherty

Z:Paul Keating
R:Air
K:G
A/2G/2F/2G/2|:[A,2E2] [E2A2] [E2A2]|G B3 {Bc}BA|B G3 [G,2G2]-|[G,4G4] A
G|!
[A2,E2] [E2A2] AB|{d}c4 {Bc}BA|^G E3 [B,2E2]|[B,4E4] ^cd||!
e2 {fe}d ^c e2|d2 {ed}^c Bd2|^c2 {dc}BA c2|B4 EF|!
G3 B e<^c|d3 e f<^d|e2 E2 ^G2|1[E4A4] AG:|2[E4A4} [A,2E2|!
[E2A2] a2 a2|
M:4/4
L:1/8
A2 g2 g2 BA|
M:3/4
L:1/8
{c}B G3 G2-|G4 B_B|!
A2 a2 a2|
M:4/4
L:1/8
A2 g2 g2 BA|
M:3/4
L:1/8
^G E3 [B,2E2]-|[B,4E4] ^cd|!
e2 {fe}d^c e2|d2 {ed}^cB d2|^c2 {dc}BAc2|B4 EF|!
G3 B e<^c|d3 e f<^d|e2 E2 ^G2|[E4A4||

PADDY'S RESOURCE [1] (Tionsgnad Paidin). AKA and see “Belle of the Kitchen [1],” “Coleraine,” "Ill Omens," “Kitty of Coleraine,” “New York Jig [3],” “The Rover [2].” Irish, English; March (6/8 time) or Jig. E Flat Major (Winstock): F Major (Aird): D Major (Aird): G Major (O'Neill, Sumner): A Major (McGlashan). Standard tuning. AB (Winstock): AABB (Aird, McGlashan, O'Neill, Sumner). Winstock (1970) says it was written by band sergeant James O'Connor (Galway, Ireland) as a march for his British army regiment, the 77th, in the Crimean War (1855), at the suggestion, it is said, of his commanding officer. Perhaps it was that O’Connor adapted it, for the tune (as “Paddie’s Resource”) appeared some seventy years earlier in a collection of Scots Measures by 'King' McGlashan and in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 2 (1782). See also the related “The Rover” and “Road to Skye.” Source for notated version: the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; Nos. 66 & 67, pg. 25 (two settings, one in F, one in D). McGlashan (Collection of Scots Measures), c. 1780; pg. 21. O'Neill (Krassen), 1976; pg. 50. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 997, pg. 186. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 212, pg. 49. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 70 (originally set in the key of ‘C’ major). Winstock (Music of the Redcoats), 1970; pg. 159.

X:1

T:Paddie’s Resource [1]

M:6/8

L:1/8

R:Jig

B:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:A

X:2

T:Pady’s (sic) Resource [1]

M:6/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:F

F>GF CA,C | FGF e2c | c>de fcB | AFF F2 :|

F>Ac fed | cAF G2F | AFD C>DF | AFF F2 :|

PADDY'S RESOURCE [2]. AKA and see “Bit of Ginger,” “The Fisherman,” “Fisherman’s Lilt [2],” “Joe Derrane’s Jig,” “Lissalumna Fiddler,” “Lilting Fisherman.” Irish, Jig. D Major ('A' part) & G Major ('B' part). Standard tuning. AAB. Carlin (Master Collection), 1984; No. 257, pg. 147.

PADDY'S RETURN [1]. AKA and see "The Far Away Wedding [2]," “Kitty Lie Over (Next to the Wall),” “Patsy McCann’s,” “(The Praties are Dug and) The Frost is All Over,” “What’ll I do if the Kettle Boils Over [2],” “Young Tim Murphy.” Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: Creighton Lindsay (Corvalis, Oregon) who learned the tune in Maine [Songer]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 100, pg. 50. Songer (Portland Collection), 1997; pg. 155. Sullivan (Session Tunes), vol. 2; No. 30, pg. 13. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 29. Green Linnett SIF1401, Kevin Burke & Micheal O Domhnaill - “Portland” (1982).

X:1

T:Paddy’s Return [1]

M:6/8

L:1/8

R:Jig

K:D

PADDY’S RETURN [2]. Irish, Air or March (4/4 time). A Minor. Standard tuning. AB. A version of the well-known air “Star of the County Down” (see note). O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 100. Stanford/Petrie (Complete Collection), 1905; No. 867, pg. 216.

X:1

T:Paddy’s Return [2]

M:C

L:1/8

R:Air or March

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)

Z:AK/Fiddler’s Companion

K:Amin

E | A>BAG A>Bcd | e>dcA G2G2 | AAA>G ABcd | eedc A2A2 :|

PADDY'S SURPRISE (Iogantas Paidin). Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850 & 1001): ABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 154. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1516, pg. 280. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 735, pg. 129.

X:1

T:Paddy’s Surprise

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 735

Z:AK/Fiddler’s Companion

K:G

dBec d2 (3def|gfge dBge|dBAB G2||(3def|gfgd edBd|gabg agef|gfgd edBd|

cABG AGEG|gfgd edBd|gabg agef|gfge dBge|dBAB G2||

PADLOCK, THE. English, Scottish; Reel. D Major. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of this tune in print in Robert Ross's 1780 collection (pg. 31), however, it was earlier published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). It was entered into the music manuscript collections of Northumbrian musician William Vickers (1770), and, in America, in the copybook of Norwich, Conn., fiddlers John and William Pitt Turner (1788). Numerous tunes from the Thompson’s 1773 collection were penned by the Turners into their manuscript. “The Padlock” probably takes its name from The Padlock, a 1768 two-act afterpiece opera with words by Isaac Bickerstaff and music by Charles Dibdin, first performed at Drury Lane. The opera features a character named Mungo, a blackface caricature of a West Indian servant. Seattle (William Vickers), 1987, Part 3; No. 417. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 114.

X:1

T:Padlock, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

g|f2 fd gefd|f2 fd eAcA|f2 fd gefd|(B/c/d/B/) (c/d/e/c/) d3:|
|:f/g/|afdg (f/g/a/f/) df|ecAd (c/d/e/c/) Af/g/|afdg (f/g/a/f/) dA|BABc d3:||

PÁDRAIC MAC GIOLLARNÁTH. Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Source for notated version: whistle player Pat White/Padraic de Faoite (Ireland), who had it from the man named in the title [Breathnach]. Breathnach (CRE I), 1963; No. 44, pg. 18. Bulmer & Sharpley (Music from Ireland), vol. 4, 50 (appears as untitled jig).

PÁDRAIC O'KEEFFE'S SLIDE. AKA and see “The Dark Girl (Dressed) in Blue [4],” “Denis Murphy’s Slide [1],” “The Girl in the Dress,” “The Gleanntán (Slide),” “Julia Clifford’s Slide [1],” “Napoleon Crossing the Alps [2]." Irish, Slide (Jig). D Major. Standard tuning. AABB. See also other O’Keeffe slide’s under the spelling “Padraig...” Source for notated version: Boys of the Lough (Ireland/Shetland) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 215. Rounder 3006, Boys of the Lough‑ "Second Album." Island 9379, Chieftans‑ "Chieftains 3" (appears as "Denis Murphy's Slide"). Front Hall 09, How To Change a Flat Tire‑ "A Point of Departure."

PÁDRAIC RÉICE (Rakish Paddy). AKA and see “Rakish Paddy.”

PÁDRAIG MAC CONMARA. AKA and see "Paddy Mack."

PÁDRAIG MAC GIOLLARNÁTH. See “Pádraic Mac Giollarnáth.”

PÁDRAIG Ó CAOIM. AKA and see “Sharon Shannon’s (Slide).”

PÁDRAIG O'KEEFFE'S FAVOURITE. AKA and see "The Brosna (Slide) [2]," “Callaghan’s Slide.” Irish, Slide. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Mixolydian (Moylan, Taylor): A Dorian (Breathnach). Standard tuning. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]; accordion player Denis Doody (Kerry) [Breathnach]. Breathnach (CRÉ III), 1985; No. 53, pg. 24 (appears as “The Brosna”). Ceol, vol. 5, No. 1 (appears untitled). Moylan (Johnny O’Leary), 1994; No. 86, pg. 49. Taylor (Music for the Sets: Blue Book), 1995; pg. 15. Globestyle Irish CDORBD 085, Johnny O’Leary - “The Rushy Mountain” (1994. Reissue of Topic recordings). Mulligan Records LUN 019, "Denis Doody Kerry Music." Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

PÁDRAIG O’KEEFFE’S (JIG) [1]. AKA and see “The Cullen Jig,” “Cuilinn Ua Chaoimh,” “Humours of Glynn/Glin [1],” “Jackson’s Hornpipe [1],” “Thomas Leixlip the Proud,” “The Sligo Rambler [2].” Irish, Jig. Mulligan LUN 057, Fisherstreet - "Out in the Night" (track 9, tune 3).

X:1

T:Padraig O’Keeffe’s

R: Double Jig

M:6/8

Z:transcribed by Rob Greenway

L:1/8

K:D

~B3 BAF|Adc d2A|~B3 BAF|AFE EFA|

~B3 BAF|Adc d2F|~G3 FGF|EFE D2A:|

Adf ~a3|abf a2f|gfe fed|1 edB AFE:|2 edB AFA

PADRAIG O’KEEFFE’S (JIG) [2]. AKA and see “The Cordal Jig,” “Julia Clifford’s (Jig) [2],” “Port na Cordaile,” “Tom Billy’s (Jig) [4],” “Wren’s Nest [2].” Irish, Jig. D Major. Standard tuning. AABB. A sleeker version of O’Neill’s “Morgan Rattler.” Source for notated version: set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]. Taylor (Music for the Sets—Blue Book), 1995; pg. 4.

X:1

T:Padraig O’Keeffe’s Jig [2]

T:Julia Clifford's

R:Jig

M:6/8

L:1/8

K:D

~F3 DFA|d2f edc|1 B2A Bcd:|2 B2A BcA||!

cBc ecA|ded (3Bcd c|1 B2A BcA:|2 B2A Bcd||"end"BAF ~E3|D6||

PADRAIG O’KEEFFE’S (JIG) [3]. Irish, Jig. G Major. Standard tuning. AA’BB’. Recorded by De Danann. Black (Music’s the Very Best Thing), 1996; No. 356.

X:1

T:Padraig O’Keeffe’s Jig [3]

M:6/8

L:1/8

R:Jig

K:G

GAB d2B | dBe dBA |1 GAB dBA | Bee e3 :|2 GAB dBA | GEE E3 ||

X:2

T: Padraig O'Keeffe's Jig [3]

S: De Danann

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

aff gee | fdd B2 A | GAB dBA | FEE E2 :|

GAB d2 B | dBe dBA | GAB dBA | FEE E2 :|

PÁDRAIG O’KEEFFE’S NEW REEL. Irish, Reel. D Major. Standard tuning. AA’BB. Composed by fiddler Padraig O’Keeffe out of “Speed the Plow [2].” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 304, pg. 175.

PÁDRAIG O’KEEFFE’S POLKA. Irish, Polka. D Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 43, pg. 142. Cranitch (Irish Session Tunes: Red Book), 2000; 43.

PÁDRAIG O’KEEFFE’S (REEL). AKA and see “Quinn’s Reel [1].”

PÁDRAIG O'KEEFFE'S SLIDE [1] (Sleamhnán Phádraig Uí Chaoimh). Irish, Slide (12/8 time). D Major. Standard tuning. AA'BB. Padraig O'Keeffe (d. circa 1964) was a near-legendary itinerant fiddler and schoolmaster of the Sliabh Luachra region, and "is remembered as a great stylist, much of which he passed on to today's best exponents of Kerry fiddle music" (Boys of the Lough). According to accordion player Johnny O’Leary, O’Keeffe “wouldn’t play without a drink. No way could he without a drink. Denis Murphy was different. He never wanted a drink, and so with Tom Billy. But the drink got the upper hand of Padraig like. But he was the best I’d say, ever caught a fiddle in his hand, no doubt about it.”

***

Padraig O’Keeffe (1887-1964)

***

Mark Johnson relates the story of Padraig O'Keefe's Fainting Spell:

***

It was at a house dance hosted by an affluent family. Padraig O'Keefe,

always fond of a drop, was disappointed by the scant amount and

poor quality of the liquid refreshments offered to the musicians by

their hosts. After playing a short while, he fell to the floor in a convincing

imitation of a fainting spell, in the hopes that a stronger potation would

be produced to assist in his revival. Sure enough, the host brought out

a bottle of his best brandy and proceeded to minister to the stricken

fiddler. Another local man, a notorious tippler and cadge, realizing what

Padraig was up to, fell to the ground right next to him. Padraig opened one

eye, and hissed to the man "Go off to another house, man, and get your own faint!"

***

A slide is a jig‑style dance known mostly in the south west of Ireland ‑ west Clare and Cork, and County Kerry. Source for notated version: fiddler Seamus Cragh & accordion player Jackie Daly (County Cork, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 46, pg. 22. Vallely (Learn to Play the Fiddle with the Armagh Pipers Club), 24. Gael‑Linn Records CEF 057, "Jackie Daly & Seamus Creagh" (1977). Rounder 3006, Boys of the Lough ‑ "Second Album" (1974).

X:1

T:Padraig O’Keeffe’s Slide [1]

M:12/8

L:1/8

R:Slide

S:Breathnach – CRÉ III, No. 46 (1985)

Z:AK/Fiddler’s Companion

K:D

FEF A2F E3 E2F|(G3 G)FE (F3 F2)A|d2e {a}f2d cBc e2c|1

B3 BcB A3 A3:|2 B3 BcB A3 A2||:d|e3 ede f3 fec|d3 dcB c3 c2B|

d2e {a}f2d cBc e2c|1 B3 BcB A3 A2:|2 B3 BcB A3 A3||

PÁDRAIG O'KEEFFE'S SLIDE [2] (Sleamhnán Phádraig Uí Chaoimh). AKA and see "The Bank of Turf [1]." Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AA'B (Breathnach): ABB’ (Moylan). Johnny O’Leary remembered this was played in a medley with “The Scartaglen Jig” by fiddler Denis Murphy: “The two of them are out of each other.” The melody is attributed to Sliabh Luachra master fiddler Padraig O’Keeffe. As “The Bank of Turf” the tune was printed in Treoir, V, 5. Sources for notated versions: fiddler Paddy Glackin (Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Breathnach (CRÉ III), 1985; No. 56, pg. 25. Moylan (Johnny O’Leary), 1994; No. 38, pg. 23. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter.” Gael‑Linn Records CEF 060, Paddy Glackin ‑ "Ceol ar an bhFidil" (1977).

X:1

T: Pádraig O’Keeffe’s Slide [2]

M:12/8

L:1/8

R:Slide

S:Breathnach – CRÉ III, No. 56 (1985)

Z:AK/Fiddler’s Companion

K:D

ABA DFA {d}BAF DFA|d3 ede fef def|1 g2g gab afd Bcd|(4efec efd cBA Bcd:|2

g2g gab afd ABB|ABd efe ddd dcd||(4.e.f.eA efg {f/g/}f2d fga|fgg eff edB ABd|

(4.e.f.eA efg {f/g/}f2d fga|gfe dcB A2A ABd|(4.e.feA .e.feA {f/g/}f2A {f/g/}f2A|

g2A {f/g/}f2A ecB ABd|(4.e.feA efg {f/g/}f2d fga|gfe dcB AFA Bcd||

PÁDRAIG O’KEEFFE’S SLIDE [3]. Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AAB. Source O’Leary paired this tune with “Julia Clifford’s Slide.” Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]; from the playing of Mick Hourihan (Co. Cork) [Mulvhihill]. Ceol, vol. 5, No. 1. Moylan (Johnny O’Leary), 1994; No. 132, pgs. 77-78. Mulvihill (1^st Collection), 1986; No. 13 in slide section, pg. 117 (appears as untitled slide). Treoir, vol. III, No. 1 (untitled). Topic 12T311, John & Julia Clifford - “The Humours of Lisheen” (untitled).

X:1

T:Pádraig O’Keeffe’s Slide [3]

M:12/8

L:1/8

R:Slide

S:Mulvihill – 1^st Collection (1986)

Z:AK/Fiddler’s Companion

K:D

g|fed B2d A2d F2B|A2F DEF E3 E2g|fed B2d A2d F2B|A2F EFE D3 D2:||

fef a3 baf a2a|fef a2f g3 a2g|fga efg fed B2d|ABA GFE D3 D2||

PÁDRAIG O’KEEFFE’S SLIDE [4]. AKA and see under spelling “Padraic...” AKA and see “The Dark Girl (Dressed) in Blue [4],” “Denis Murphy’s Slide [1],” “The Girl in the Dress,” “The Gleanntán (Slide),” “Julia Clifford’s Slide [1],” “Napoleon Crossing the Alps [2]."

PÁDRAIG O’KEEFFE’S SLIDE [5]. Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 30, pg. 136. Cranitch (Irish Session Tunes: Red Book), 2000; 30.

X:1

T: Pádraig O’Keeffe’s Slide [5]

M:12/8

L:1/8

R:Slide

K:D

F2A ABA G2B BAG|F2A dAF E2E EDE|….

PÁDRAIG O’KEEFFE’S SLIDE [6]. AKA and see “Baile an tSamhraidh.” Irish, Slide (12/8 time). E Minor. Standard tuning. AAB. Brendan Breathnach prints the tune twice; as “Baile an tSamhraidh” (CRÉ III, No. 39) and as an untitled tune in CRÉ II (No. 92). Mulvihill (1^st Collection), 1986; No. 3, pg. 115.

X:1

T: Pádraig O’Keeffe’s Slide [6]

M:12/8

L:1/8

R:Slide

S:Mulvihill – 1^st Collection (1986)

Z:AK/Fiddler’s Companion

K:Emin

B|efe B2A GFE B2A|FED A3D d2F A2B|efe B2A GFE B2A|FED FAF E3 E2:||

B2e ede f2a afa|baf a2f e2d B2g|faf f2e efe B2A|FED FAF E3 E2||

PÁDRAIG O’KEEFFE’S SLIDE [7]. Irish, Slide (12/8 time). D Major. Standard tuning. AB. Green Linnet SIF 3065, Jackie Daly – “Music from Sliabh Luachra” (reissue of Topic 358). Topic 358, Jackie Daly – “Music from Sliabh Luachra.”

X:1

T:Pádraig O’Keefee’s Slide [7]

R:slide

M:12/8

L:1/8

Z:Transcribed by Jeff Myers.

K:D

A2F A2d f3 f3|gfe fed B3 B2A|Bcd B2A Bcd B2A|Bcd efe d3 dcB|

A2F A2d f3 f3|gfe fed B3 B2A|Bcd B2A Bcd B2A|Bcd efe d3 d2f|

a3 a2f e2d BAB|e2d BAB e2d BAB|a3 a2f e2d BAB|Bcd efe d3 d2f|

a3 a2f e2d BAB|e2d BAB e2d BAB|a3 a2f e2d BAB|Bcd efe d3 dcB||

PÁDRAIG O’KEEFFE’S SLIDE [8]. Irish, Slide. D Major. Standard tuning. AA’BB’.

X:1

T:Pádraig O'Keeffe's [8]

D:"The Night of the Fair", Dan Herlihy, track 1(a)

R:slide

M:12/8

L:1/8

K:D

ABc def a2 f e2 d|cde B2 c d2 f A3|ABc def a2 f e2 d|

1 cde B2 c d3 d3:|2 cde B2 c d3 def|

|:a3 a2 b a2 f e2 d|cde B2 c d2 f A3|a3 a2 b a2 f e2 d|

1 cde B2 c d3 def:|2 cde B2 c d3 d3||

PADRAIG O’KEEFFE’S SLIDE [9]. AKA and see “The Labyrinth [2],” “The Ballyfin.” Irish, Slide. D Major.

PÁDRAIG SPÓIRTIÚIL. AKA and see "Sporting Paddy [1]," "Irish Pat."

PÁDRAIGIN RUA. Irish, Reel. D Major. Standard. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black. Black (Music’s the Very Best Thing), 1996; No. 104.

X:1

T: Paidraigin Rua

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

BAFA Bcdf | afge dBBA | FB (3BAB dBAG | FDEC D3 :|

PAIDIN AN BUALADOIR. AKA and see "Paddy Whack [1]."

PAIDIN AN RACAIRE. AKA and see "Rakish Paddy."

PAIDIN I LUNGDUN. AKA and see "Paddy in London [1]."

PÁIDÍN Ó RAIFEARTAIGH/RAIFEARTA. AKA and see "Paddy O'Rafferty."

PAIDIN UA CEARBAILL. AKA and see "Paddy O'Carrol{'s_Jig} [1]."

PAIDIN UA PORT-LAGA. AKA and see "Paddy from Portlaw."

PÁIDÍN UA RABARTAIG. AKA and see "Paddy O'Rafferty."

PAIDIN SASDA. AKA and see "Paddy "Go Easy"."

PAINE'S REEL. AKA and see “Dundee Hornpipe,” “Pantomime Reel.” American, Reel. F Major. Standard tuning. AABB. A member of the large “Dundee Hornpipe,” “Kildare Fancy,” “Union Hornpipe [3]” family of tunes. Cole (1000 Fiddle Tunes), 1940; pg. 46. Ryan’s Mammoth Collection, 1883; pg. 74.

X:1

T:Paine’s Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

A/c/f/c/ .a/(f/e/f/) | g/c/a/c/ b/c/a/c/ | g/f/e/d/ .c(f/g/) | .a/(f/ g/4f/4e/4f/4) d/f/c/f/ |

A/c/f/c/ .a/(f/e/f/) | g/c/a/c/ b/c/a/c/ | g/c/d/e/ f :|

PAÍSDÍN/PÁISTÍN FIONN [1], AN (‘The Fair-Haired Child’ or ‘The fair young maid’). AKA and see "The Little Fair Child [1]," “Maid of the Golden Tresses.” Irish, Slow Air (6/8 or 3/4 time). D Dorian (Roche): D Major (Russell): D Major/Mixolydian (Ó Canainn, Shields/Goodman). Standard tuning. One part (Ó Canainn, Russell): AB (Roche, Shields/Goodman). The tune can be found in Cooke’s Selection of Twenty-one Favourite Original Irish Airs arranged for Pianoforte, Violin or Flute (Dublin, 1793) and Joyce’s Irish Music and Song. Doolin, north County Clare, tin whistle player Micho Russell had a major version of the melody (which his father and mother both sang), though remarkably similar to the dorian setting in Roche. Russell (1989) said vaguely the tune had “something to do” with a rogue who abducted a woman, only to find the girl he had carried off was not the one he had intended. In fact, the lyrics can be found in Father Walsh’s Songs of the Irish Gael, and seem to be an fervent ode to a young woman (or perhaps a very young woman, for the singer laments that its his “woe that I don’t have you from your mother”) rather than a ‘child’. Danú, whose version comes from the Waterford Gaeltacht (the Gaelic-speaking area), descibes the song as ‘a light-hearted love song’ in which the protagonist describes the beauty of his secret beloved and the obstacles he would overcome to win her. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

***

The Irish song begins:

***

Grá lem’ anam mo pháistín fionn

A bhfuil a croi sa a haigne ag gáire liom;

A cíocha geala mar bhláth na gcrann

Is a píob mar eala lá Márta.

(Chorus)

Is tusa mo rún, mo rún, mo rún,

Is tusa mo rún is mo ghrá geal;

Is tusa mo rún is mo chumann go buan,

‘Sé mo chreach gan tú agam ó do mháithrín.

***

See also “Pausteen Fawn” and Francis O’Neill’s version, printed under the title “Maid of the Golden Tresses.” The melody is also used for the song
”Lone Shanakyle,” which concertinist Mícheál Ó Raghallaigh plays as a slow air on his recording “The Nervous Man.” Source for notated version: the 1861 manscript collection of James Goodman, a Church of Ireland cleric who collected in County Cork [Shields]. Ó Canainn (Traditional Slow Airs), 1995; No. 79, pg. 70. Roche Collection, 1982, vol. 1; No. 21, pg. 13. Russell (The Piper’s Chair), 1989. Shields (Tunes of the Munster Pipers), 1998; No. 22, pg. 12. Shanachie 78030, Danú – "Think Before You Think" (2000). Chieftains 2. Gearóid Ó hAllmhuráin's – "Traditional Music from Clare and Beyond" (based on the playing of Micho Russell).

X:1

T:Paístín Fionn, An

S:Based on Gearóid's setting obtained from Micho Russell

L:1/8

Z:Jerome Colburn

M:3/4

K:D

FG | A4 d2 | d6|-d4 de | f3 e d2 | e6|-e4\

fe | d4 c2 | A2 G2 F2 | G2 A2 E2|-E4\

FG | A4 d2 | d6|-d4 de | f3 e d2 | e6|-e4\

fe | d3 c A2 | G2 E3 A | D6 | D4 ||\

DE | F3 G A2 | d6 | A4 A2 | B4 A2 | G4 FG | A3 G E2 | F4\

DE | F3 G A2 | c4 (3ABc | d6 | d4 \

DE | F3 G A2 | =c6 | A4 G2 | A d3 e2 | f2 \

ge | d3 c A2 | GE-E2 EA | D6 | D4 |]**

PAÍSDÍN/PAISTIN FIONN [2]. Irish, Air (6/8 or ¾ time). E Dorian. Standard tuning. AB (Roche): AABB (O’Farrell). O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 12 (appears as “The Pausteen Feaun or the fair Child”). Roche Collection, 1982, vol. 1; No. 22, pg. 13.

X:1

T:The Fairhaired Child (An Paístín Fionn)

L:1/8

M:3/4

K:Edor

B2 | e3 f e2 | d2 e2 f2 | g4 e2 | f4 gf |e3 d cB | G3 A Bc | d4 B2 | B4 B2 |

e3 f e2 | d2 e2 f2 | g4 e2 | f4 gf |e2 d2 B2 | A2 G2 F2 | E6 | E4 || EF |

G3 A Bc | d2 B2 B2 | c2 A2 A2 | d2 B2 A2 |G3 A Bc | d2 B2 d2 | e6 | e4 EF |

G3 A Bc | d2 B2 A2 | B e3 f2 | g3 a fe |e2 d2 B2 | A2 G2 F2 | E6 | E4 |]

PAÍSDÍN FIONN [3]. AKA and see “The Fair-Haired Child [1]." Irish, Reel.

PAÍSDÍN FIONN [4], AN. Irish, Hornpipe. E Dorian. Standard tuning. AABB. A hornpipe setting derived from the minor-key air of the same name (see version #2). Celtic Tradition – “I Have Waited for Many a Night and Day.”

X:1

T:An Paístin Fionn

M:4/4

L:1/8

S:Ken Phillips

R:Hornpipe

K:Edor

(3Bcd|egfe de (3fed|gbag f2gf|~e3d BAGA|\

BdcA B2 (3Bcd|egfe de (3fed|gbag f2 gf|\

~e3d BAFG|E2E^D E2::EF|GABe dBBd|\

cA (3ABc dBBA|GABe dBBA|Bee^d e2EF|\

GABe dBBA|Beef ~g3f|~e3d BAFG|E2E^D E2:|

PÁISTÍ SCEICHÍN A’RINCE (Children of the Little Dancing Bush). Irish, Reel. E Dorian. Standard tuning. AABB’. A modern compostion by Cork accordion player Eoghan O’Sullivan. The title refers to the children O’Sullivan teaches at a small school in south Tipperary, at a place called Sceichín a’ Rince (the Dancing Bush). Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

X:1
T:Páistí Sceichín a' Rince
T:Children of the Little Dancing Bush
C:Eoghan O'Sullivan
D:O'Sullivan, Harrington, de Grae, "The Smoky Chimney", 6(b)
R:reel

Z:Transcribed by Paul de Grae
M:4/4
L:1/8
K:Edor
FA||:BEED EFGA|BeeB d2 (3Bcd|efed B2 AG|FDFA dAFA|
BEED EFGA|BeeB d2 cd|efed B2 AG|FAGF EFGA:||
Beed e2 ef|g3 a gfeg|fddc dAFA|dfAd fded|
Beed eBef|gBef gfeg|fddc dBAF|(3GAG (3FGF E2 (3FGA||
Beed e2 ef|g3 a gfeg|fddc dAFA|dfAd fagf|
eB ~B2 gBeg|fdaf gfef|eBBA BdBA|(3GAG (3FGF E2||

PAITI LEARY’S. Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AB. Paiti O’Leary was an uncle of source Johnny O’Leary, not remembered very fondly for excessive corporal punishment when a very young O’Leary transgressed and played the older man’s squeezebox when he was away. Source for notated version: accordion player Johnny O’Leary (Slaibh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 117, pgs. 67-68. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

PALATINE'S DAUGHTER, THE ("Iníon an Phalaitínigh). AKA and see "The Garden of Daisies [2]." Irish; Air, Hornpipe. “The Palatine’s Daughter” is the song sung to the tune “The Garden of Daisies [2],” and was popularised by Seán Ó Sé (who used a variant of O’Neill’s setting of the tune). It can be found in Donal O’Sullivan’s Songs of the Irish (1960). The melody is essentially the same tune as "Tatter Jack Walsh." According to Alan Ward, author of the booklet “Music from Sliabh Luachra”:

***

This ['The Palatine's Daughter'] is quite a well-known song in

Munster. John and Julia first heard it from their schoolmaster in

Gneevgullia, Diarmuid Cronin, who sang a macaronic version [i.e.,

alternating verses in Irish and English]. Years leater in London

they could only remember parts of it so obtained the music from

Walton's music shop in Dublin and re-learned it. They used to

play the tune in a medley with other songs such as 'Will you come

to the bower?'. For a text, background information on the song,

and who the Palatines were, see D. O'Sullivan, 'Songs of the Irish'

(1960) pp.68-70.

***

The title refers to a group of German-speaking people originally located on the River Rhine. Their homeland was a state called the Palatinate and was independently ruled by the Elector Palatine. The population fared poorly during the War of the Spanish Succession which saw armies contesting and re-contesting the territory. Sympathetic to the Protestant population of the region, the English Government decided to “rescue” them by offering havens in British colonies, principally in Ireland and America. In 1711 about 300 families, most of who stayed in or around Dublin, arrived and a few settled on land in Limerick and north Kerry. At about the same time other Palatine groups were relocated to New York. Donal OSullivan (Songs of the Irish) states that many Irish Palatines later emigrated to America in the 1770s (similar to ‘Scots-Irish’ Protestants in northern Ireland) and that the rest intermarried and, like the Palatine's daughter of the song, became Catholic.

Topic Records, The Star of Munster Trio. John & Julia Clifford – “Rushy Mountain.”

X:1

T:Palatine's Daughter, The (1)

N:as learned from David Kidd

N:includes some of his variations

M:4/4

L:1/8

R:Hornpipe

K:G

DE(3FED GFDC | B,A,B,C DE(3FED | GFGB AGFA | G2G2G2 :|

d2e2 c2A2 | BABd cA BA | G3A BGAF | GAGF D2Bc |

d2e2c2A2 | B2d2 cABA | GFGA BGAF | GAGF DCB,C |

DE(3FED GFDC | B,A,B,C DE(3FED | GFGB AGFA | G2G2G2 :

X:2

T:Palatine's Daughter, The [2]

M:4/4

L:1/8

R:Hornpipe

N:same as (1) but transposed to the key of D

N:for easier comparison with (3)

K:D

AB(3cBA dcAG | FEFG AB(3cBA | dcdf edce | d2d2d2 :|

a2b2g2e2 | fefa gefe | d3e fdec | dedc A2fg |

a2b2g2e2 | f2a2 gefe | dcde fdec | dedc AGFG |

AB(3cBA dcAG | FEFG AB(3cBA | dcdf edce | d2d2d2 :

X:3

T:Palatine's Daughter, The [3]

D:The Rushy Mountain

D:John & Julia Clifford, The Humours of Lisheen?

N:Probably not a polka, but resembles a slow polka on this recording

M:2/4

L:1/8

Q:180

R:Polka

K:D

GG A/B/c/A/ | dd c/d/e/c/ | d3 :|

a>f ge | fd e>c | d>e fe | dc Af/g/ |

ab ga | fd e>c | d>e f>e | dc A2 |

AA A/B/A/F/ | GG A/B/c/A/ | dd c/d/e/c/ | d3 |

PALERMO HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB (Cole): AA'BB' (Phillips). Source for notated version: April Limber [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 92. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 215. Ryan’s Mammoth Collection, 1883; pg. 127.

X:1

T:Palermo Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

g/f/e/d/ c/B/A/G/ | AcA :|

PALL MALL. Scottish, Hornpipe. D Major. Standard tuning. AA’BB. Pall Mall is a street in the West End of London between Trafalgar Square and St. James’s Place, in the heart of London’s club district. Located on Pall Mall are several distinguished gentlemen’s clubs, including the Athenaeum, the Reform, the Army and Navy and the Travellers. The title comes from paille-maille, a croquet-like game played on a course laid out in the late 17th century on the site of what is now the thoroughfare. King Charles II used to play the game there. Kerr (Merry Melodies), vol. 4; No. 281, pg. 30.

X:1

T:Pall Mall

M:C|

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 4, No. 281 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

FDFA d2 (ef)|gfed c2A2|defd efge|f2d2d2:|

FDFA d2 (ef)|gfed c2A2|defd efge|f2d2d2:|

PALLET ON THE FLOOR. Old‑Time, Breakdown. Not related to the African‑American blues tune of the same title. County 401, "The Stripling Brothers."

PALM SUNDAY (Domnac Na Pailme). Irish, Double Jig. A Dorian. Standard tuning. AABB. See also the related single jig “Mariner’s Frock.” O'Neill (Krassen), 1903/1976; pg. 30. O'Neill (Music of Ireland: 1850 Melodies), 1907/1979; No. 829, pg. 154. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 93, pg. 31. Green Linnet SIF 3002, Kevin Burke & Jackie Daly - “Eavesdropper.”

X:1

T:Palm Sunday

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 93

Z:AK/Fiddler’s Companion

K:Amin

PALM TREE, THE. Irish, Reel. D Major. Standard tuning. AABB (Harker): AA’BB (Cranford/Holland). Composed (originally in the key of B flat) by Brooklyn born B/C button accordion player Billy McComiskey (Baltimore, Md.). McComiskey was challenged by piano accordion player Lori Anders to produce tunes on the button box in the keys of Eb and Bb, no problem on the piano accordion, but nearly impossible on the button accordion system (he also wrote “Flowers of Brooklyn” in E flat). Flute player Kevin Crawford changed the key to D major for his recording, and that is the usual session key nowadays. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Cranford (Jerry Holland: The Second Collection), 2000; No. 62, pg. 25. Harker (300 Tunes from Mike Rafferty), 2005; No. 134, pg. 40. Jerry Holland – “Crystal Clear” (2000).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Palm Tree

Z:id:dc-reel-266

M:C

L:1/8

K:D Major

AFF2 Adfa|g2ag fddf|eAA2 d=cAF|G2AF GFe=c|!

AFF2 Adfa|g2ag fddf|eaa2 aged|cAGE FDD2:|!

aff2 dff2|gee2 ceAG|F2AF GBed|ca^ga bagb|!

aff2 dff2|gee2 ceAG|F2AF GBed|cAGE FDD2:|!

PALM TREES WAVE ON HIGH. Irish, Waltz. Green Linnet SIF3040, De Dannan - "Ballroom" (1987).

PALMER’S GATE. Irish, Reel. E Minor. Standard tuning. AABB. Composed by Joe Liddy. Sliabh Notes Gleanntan.

X:1

T:Palmer's Gate

C:Joe Liddy

S:Mary Crowley

R:reel

M:4/4

L:1/8

K:Em

Beed e2 ef|gefd edBA|G2 BG dGBA|GABe dBAd|

Beed e2 ef|gefd edBA|GABd edBA|GEFD E2:|

PALMERSTOWN LASSES. Irish, Reel. D Major. Standard tuning. AAB. Palmerstown is in County Mayo, near Killala. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 153, pg. 36.

PALMETTO HORNPIPE. American, Hornpipe. A Major ('A' part) & E Major ('B' part). Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 95. Ryan’s Mammoth Collection, 1883; pg. 127.

X:1

T:Palmetto Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

A>GA>B A>ce>c | {c}B>^AB>c B>Fd>c | B>cd>e f>ga>f | (3.e.f.e (3.d.c.B A2 :|

PAMELA ROSE GRANT. Scottish, Strathspey. F Major. Standard tuning. AB. Composed by Scottish fiddler Alasdair Frazer in 1995 for the occasion of the wedding of Rose Grant and Alan McLeod, of Oakland.

X: 1
T: Pamela Rose Grant
C: Alasdair Frazer (1995)
R: strathspey
M: C
L: 1/8
K: F
"C7"A>B \
| "F"c2 A>B c>B A<F | "Bb"d2 B>c d<f "C7"e<g \
| "F"c2 A>B c>B A<F | "Gm"D<G G>A B2 "C7"A>B |
| "F"c2 A>B c>B A<F | "Bb"d2 B>c d<f "C7"e<g \
| "F"ce "Dm"f>d cA B2 ||"C7"A>G \
| "F"F2 f>g a>g f<c | "Bb"d<f "F"c>A "Gm"A<G "C7"G>A \
| "F"F2 f>g a>g fg/a/ | "Bb"b>a g<f "Gm"d>c "C7"d<f |
| "F"F2 f>g a>g f<c | "Bb"d>c "Gm"d<f "C7"g2 f>g \
| "F"a>g "Dm"f<d "F"c>d f>A | "Gm"D<G G>A B2 |]

PAM'S HOUSE. Shetland, Reel. G Major. Standard tuning. AAB. "Composed (by Tom Anderson) in 1979, in Austin, Texas, when visiting Pam Swing's house" (Anderson). Anderson (Ringing Strings), 1983; pg. 94.

PAM'S PEERIE TUNE (Pam's Little Tune). Shetland, Reel. G Major. Standard tuning. AABB. "A tune for Pam Swing who studied with Tom (Anderson) for a year and who helped him with the book Haand me Doon Da Fiddle. Pam was the first American student to study with Tom" (Anderson). Anderson (Ringing Strings), 1983; pg. 91.

PAM’S TUNE. American, Reel. A Major. Standard tuning. AABB’. Composed (on the guitar) by Larry Unger in honor of Shetland-style fiddler Pam Swing. Songer (Portland Collection), 1997; pg. 156. Unger (The Curvey Road to Corinth).

PAN CAKE. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

PANMURE HOUSE. AKA and see “The Cat the Kittled in Jamie’s Wig,” “Faill na mBan,” “Miss Lyall [2]." Scottish, Strathspey. A Minor. Standard tuning. AB (Surenne): AABB (Gow, Williamson). The name Panmure is thought to come from the words pant mawr, meaning ‘large hollow’. "Panmure House is in Forfarshire, one of the traditional seats of the Earls of Dalhousie. In 1934 the two earliest manuscripts of Scottish music that have yet been found were discovered there. One is a virginal book containing mostly pieces by William Kinloch, the owner of the book, and it is dated 1685. The other book is dated 1622 and contains airs to 16th century Scottish poetry and many early airs written in a tablature for the cittern. The tune written here is a strathspey named after the house and dates probably from the 18th century" (Williamson, 1976). An early and important classical Scottish manor called Panmure House, north of Carnoustie, Angus, was demolished in the 1950’s as the structure was considered beyond reasonable repair for the methods that existed at the time (it also had 130 rooms, but only two bathrooms!). Another Panmure House is located off the Royal Mile in Edinburgh City Centre, built in 1690 as the city home of the Earls of Panmure. It was restored in the middle of the 20^th century and now houses Edinburgh social service offices. Gow (1817) notes it is “Very Old.” Gow (Complete Repository), Part 4, 1817; pg. 25. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 40. Surenne (Dance Music of Scotland), 1852; pg. 138. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 63.

X:1

T:Panmure House

M:C

L:1/8

S:Gow – 4^th Repository (1817)

Z:AK/Fiddler’s Companion

K:A Minor

c/B/|A<A, A,>B, ~C>E~E>^F|G<G B>A ~G2 Gc/B/|A<A, A,>B, ~C>DEc/d/|

e>cd>B A2 Ac/B/|A<A, A,>B, ~C>D~E>^F|G<G B>A ~G2 Gc/d/|e>cd>B c>AB>G|

E>A (c/B/)A/^G/ A2A||c/B/|Aa~a>b g>g (a/g/)^f/g/|eaab (g>^f/4g/4) f>g|ea~a>b g>g (a/g/^f/g/)|

e>cd>B A3 c/B/|Aa~a>b g>g a/g/^f/g/|ea~a>b (g>^f/4g/4) f>g|(3ag^f (3gab (3edc (3Bcd|e>cd>B A2A||

PANSY BLOSSOM [1], THE (Blat An Sailcuaig). AKA and see “Shunster’s Hornpipe,” “St. Elmo Hornpipe,” “Sunshine Hornpipe.” Irish, Hornpipe. A Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 189. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1667, pg. 310.

X:1

T:Pansy Blossom, The [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1667

Z:AK/Fiddler’s Companion

K:A

c>d | (3eae (3cec (3AcA E2 | C>EA>c e>cA>c | (3dfd (3cec (3BcB A2 |

(3GAB (3AGF E2 c>d | (3eae (3cec (3AcA E2 | C>EA>c d>ef>g |

(3agf (3edc (3fed (3cBA | (3GAB (3EFG A2 :: B>c | d>BG>B E>GB>c |

d>BG>B d2 c>d | e>c (3AcA E>Ac>d | e>c (3Ace a2 g>a | (3fgf (3efe (3ded (3cdc |

B>cd>e f>ef>g | (3agf (3edc (3fed (3cBA | (3GAB (3EFG A2 :|

PANSY BLOSSOMS [2]. American, Country Rag. Composed by Charles Johnson of Kansas City, c. 1900.

PANTALÚIN GHORMA, NA. AKA and see “Blue Pantaloons.”

PANTHEON [1], THE. English (?), Jig or Cotillion (6/8 time). G Major. Standard tuning. AABBC. A very popular melody in the latter 18^th century into the early 19^th century. The melody also appears in Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), Skillern’s Compleat Instructions for the Fife (London, 1780), and T. Skillern’s Complete Collection of Two Hundred and Four Reels…Country Dances (London, 1780). In addition to the Skillern publications, the jig was printed in Thompson and Son’s Complete Tutor for the English Flute (London, 1768), Charles and Samuel Thompson’s Compleat Tutor for the Fife (London, c. 1770), Longman and Broderip’s New and Compleat Instructions for the Fife (London, c. 1780), Neil Stewart’s Select Collection of Scots, English, Irish and Foreign Airs, Jiggs and Marches (Edinburgh, 1788), and Thomas Wilson’s Companion to the Ball Room (London, 1816), among others. In America, it appears in print in Joshua Cushing’s Fifer’s Companion No. 1 (Salem, Mass., 1805) and William Williams New and Complete Preceptor for the Fife (Utica, N.Y., 1819). Appearances of “The Pantheon” also appear in numerous musicians’ manuscript collections of the period on both sides of the Atlantic. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 112, pg. 41. Sweet (Fifer’s Delight), 1965/1981; pg. 39 (includes a harmony part).

X:1

T:Pantheon, The [1]

M:6/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

|| B3 AGA | BcB AGA | BcB AGA | BcB AGA | BcB A3 |

a2a a2g | f2f f2e | d2d ede | d2 d2 G/A/B/c/ ||

PANTHEON [2], THE. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. In print, the melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). It also appears in the 1788 commonplace book of fiddlers John and William Pitt Turner, of Norwich, Conn., as do several tunes from the Thompson’s vol. 3. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 32.

X:1

T:Pantheon, The [2]

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

c e2 d/c/|B d2 c/B/|A c2 B/A/|BE E2|c e2 d/c/|B d2 B/d/|cA {c}BA/G/|A4:|
|:E A2 c|BdcA|G A2 B|cB B2|caBg|e>fed|cA {c}BA/G/|A4:||

PANTHEON DANCE, THE. English, Jig. G Major. Standard tuning. AABB. A different tune than Aird’s “The Pantheon.” Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 149, pg. 36.

PANTOMAIME, THE. AKA and see “Pantomime Reel.”

PANTOMIME REEL. AKA and see “The Kildare Fancy,” “Paine’s Reel.” American, Reel. F Major. Standard tuning. AABB. A member of the large “Dundee Hornpipe,” “Duxbury,” “Union Hornpipe [3]” etc. family of hornpipe tunes. Cole (1000 Fiddle Tunes), 1940; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 48.

X:1

T:Pantomime Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

A/c/f/c/ .a(f/e/f/) | g/c/a/c/ b/c/a/c/ | {a}g/f/e/d/ .c(f/g/) | .a/.f/ (g/4f/4e/4/f/4) d/f/c/f/ |

A/c/f/c/ .a(f/e/f/) | g/c/a/c/ b/c/a/c/ | {a}g/c/d/e/ f :|

PAP OF GLENCOE, THE. Scottish, Pipe March (cut time). A Mixolydian. Standard tuning. AABBCCDD’. A 20th century composition by William Lawrie. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 57, pg. 24.

PAPA STOUR SWORD DANCE. Shetland, Sword Dance (4/4 and 3/2 time). A Major. Standard tuning. ABCC'. The island of Papa Stour, Shetland, had its own team of dancers performing throughout the 19th century up until 1892; the dance was revived on the island in 1922 until 1968‑9, and again on the Mainland in the 1970's and 1980's. Cooke says the island now has too few people to support a musical tradition. The 'A' part is "a short snatch of melody played as each of the seven dancers‑‑the Seven Champions of Christendom‑‑is introduced in turn tot he audience by the leader (St. George), reciting the traditional text...The second piece is for the dance proper. It should perhaps be classed as a Muckle Reel, so similar is its structure and its function, for it is repeated continuously for as long as the dancers are 'running' the dance. Great use is made in this piece of what Shetlanders call 'the shivers', i.e. the rapid reiteration of a note or chord to strengthen the accent and enliven the general effect" (Cooke, 1986). Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 7, pg. 59.

PAPA’S PET. AKA and see “Mangan’s.” Irish, Reel. G Dorian. Standard tuning. AABB. The tune is called “Mangan’s” in Luke O’Malley’s collection, the title fiddler John McGrath used. O’Brien (Irish Folk Dance Music).

X: 1

T: Papa's Pet

S: J. O'Brien: "Irish Folk Dance Music"

M: 4/4

L: 1/8

Q: 350

Z: Transcribed by Bill Black

R: reel

K: Gdor

DG G2 AF F2 | AFcF dFcF | DG G2 AF F2 | AFcA BGGF |

DG G2 AF F2 | Ac c2 dcAd | dAcd fage | fdcA BG G2 :|

gafg dfcA | GAFG Ac c2 | d3 e f2 (3gfe | fdcA BG G2 :|

PAPER MAKER'S BREAKDOWN, THE. Canadian, Breakdown. D Major. Standard tuning. AA'BB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 12, pg. 13.

PAPPY DAILY’S BREAKDOWN. Canadian, Reel. B Flat Major. Standard tuning. AABB. Composed by Ottawa fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career as a radio fiddler. Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, vol. 3.”

X:1

T:Pappy Daily's Breakdown

C:Ward Allen

R:Breakdown

M:2/4

L:1/16

K:Bb

B2BA BcdB|fBbf gfdB|cdcB AFGA|BdcA B2:|

g2ga b2bg|f2fc dcBd|cBcB AFGA|BdcA B2:|

C:Paddy Fahy

DFA d2e | fdB BAF | ABA AFD | EFE E3 | DFA d2e |

One Monday morning I unexpectedly encountered John McFadden

My dad and my Grandad both loved fiddle music though they neither

It is said to have been composed by O’Carolan in honor of a

R:Jig

I’d ever heard in my life on the stage…She came down…and I

Z: transcribed by B.Black

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

And where are ye from?

The town of Ballyhack

T:Paddy Whack [2]

BGG G2 :: B/c/ | dBB ecc | dc/B/A/G/ (A2G) | dBB ea/b/a/g/ | fdd def |

Had a little cider last night

E | A>BAG A>Bcd | e>dcA G2G2 | AAA>G ABcd | eedc A2A2 :|

There was an old woman tossed up in a blanket

Seventeen times as high as the sky…

Cucaí cucae cá ndéanfaidh mé nead?

Cucaí cucae cá ndéanfaidh mé nead?

Munster. John and Julia first heard it from their schoolmaster in