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The Brosna Slide #1 (G)

Donal O'Connor, Rushy Mountain (2004)

Donal O’Connor, Rushy Mountain (2004)

I learned this slide as “The Brosna,” as have many others.  However, many years ago I learned another slide called “The Brosna,” and then came to find still other slides called “The Brosna.” The fact that there are many tunes by this name is probably due to the playing of the Brosna Céili Band from North Kerry in the Sliabh Luachra region where slides are very popular — the band was named after the town of Brosna (Brahs-nach) founded in 1837. Then there are the three slides called simply “The Brosna Slides” and associated with Dónal O’Connor’s recording on Rushy Mountain (2004).  They are “The Brosna Slide #1 > Scartaglen Slide  > Padraig O’Keeffe’s Favourite” — at least this is what they are sometimes called — and each of them has been called “The Brosna Slide.”  In short, there is just no telling what someone might mean when calling a tune “The Brosna Slide,” at least not until you hear it.  As our tune here is also known as “The Lonesome Road to Dingle” I have recently been calling it that, but this is also confusing as there is a polka with this name too!  Still, I am posting this as “Brosna Slide #1” since plenty of people know it by the name I first learned.  It is a Sliabh Luachra (schleave lewkra) slide, which is a popular place for slides and polkas to habitate.  Sliabh Luachra, meaning “Mountain of Rushes,” is a mountainous region which was once an uninhabited marshy area of the old Kingdom of Luachra.  The boarders are not clearly defined, but it is at the intersection of three counties (Cork, Kerry, and Limerick) though often more simply described as along the Cork/Kerry border. It is renowned for its musical style and for producing some of the great (southern) Irish players.

For the ABC click Lonesome Road to Dingle

Brosna Slide #1, med tempo (Glen Pekin, fiddle)

 

Brosna Slide, the dots

The Brosna Slide #1

The Brosna Slide #1

Plains of Boyle (D)

Plains of Boyle, Morrison

Plains of Boyle, Morrison

Often called “The Wexford” by pipers, the hornpipe “Plains of Boyle” used to often be played in the set “Plains of Boyle > Leitrim Fancy” at the beginning of the twentieth century.  You can hear a snippet of a 78rpm recording from 1924 of the piper Michael J. Gallagher playing the tune in that set. The mp3 is posted on Internet Archive, which is an amazing resource for many things, and also hosts the Wayback Machine.  Anyway, and just so you know, Gallagher was a Leitrim flute player, but moved to the States where he met Patsy Touhey (1865-1923) — who Capt. Francis O’Neill  (1848-1936) describes as a “wizard” on the pipes — and as a result of their meeting Gallagher picked up the pipes.  Unsurprisingly, Gallagher plays in the Touhey style.  He apparently developed quickly, as O’Neill comments that Gallagher was “a clever performer on the Irish or Union pipes, recently from Ireland” (Waifs and Strays, 1922). Gallagher was first a stage performer, and only started recording in the mid-1920s.  This same “Gallagher-set” is played by Willie Clancy (1918-1973) and can be found on Youtube, but Clancy’s setting of “Plains of Boyle” is in A.  It has remained a popular tune on both sides of the pond, and was also recorded by James Morrison (1891-1947) in 1929, and Leo Rowsome (1903-1970) in 1933. More recently it was recorded by John McGreevy and Séamus Cooley on the album McGreevey & Cooley (1974), by Kieran Hanrahan on banjo on Kieran Hanrahan Plays the Irish Tenor Banjo (1998), by Paddy Keenan and Paddy Glackin on their CD Doublin’ (2000), by James Kelly on his CD Capel Street (2004), by Lehto and Wright on guitar on their CD A Game of Chess (2004).  Most recently it can be found on our own Turlach Boylan’s CD Lift (2011).

Turlach Boylan

Turlach Boylan, Lift (2011)

Today the tune is most commonly played in D, with a c natural in the fourth measure, as it was played by Gallagher. Though it is sometimes asserted to be in Dmix with a c sharp in the third measure, and though there is admittedly a small bit of chordal ambiguity, I think it is pretty clearly in D rather than Dmix.  As the actual plains of Boyle are in the northern part of co. Roscommon, the tune is sometimes called “North Roscommon Airport,” or even “Pains and Boils.” The folks at Dusty Banjos, run by Mary Lovett in Galway, have a slow version on the page for their Beginner’s Class (just scroll down for a close version played on Concertina). Though it can be played with any other tune you like, you might try it in a set with any of the following: “Eamonn McGivney’s Hornpipe” (Eaeol), “Home Ruler” (D), “Chief O’Neill’s Favorite” (D), “Dinny O’Brian’s” (Dmix), “The Wonder” (G), or “Murphy’s Hornpipe” (G) — this last is in fact what follows “Plains of Boyle” on Turlach Boylan’s Lift (2011).

For the ABC click Plains of Boyle

Plains of Boyle, slow tempo (mandolin, Dave Agee)

Plains of Boyle, med tempo

Plains of Boyle, the dots

Plains of Boyle

Plains of Boyle, Hornpipe in D

Jenny Dang the Weaver (D)

There is a view that the title of this reel was originally something like “The Jenny Damned the Weavers,” and that it concerns the way technology (i.e., a Jenny = an engine = machines) undermines traditional activity (e.g., weaving).  However, on Arty McGlynn’s CD McGynn’s Fancy (1994) Benedict Kiely writes that there are several tunes named after a certain “fair lady,” one Jenny. Though I think it highly unlikely, it is possible, of course, that all the Jenny tunes are named after the same person, as they could have been renamed around the same time and in the same area.  If so, then it would have had to have been a good while back.  Rev. Alexander Garden (1688-1778), a minister of Birse, Aberdeenshire, Scotland, is the supposed composer of this tune (according to Fiddler’s Companion). It was known in the States as far back as American colonies, probably as early as the mid-eighteenth century. Sir Alexander Boswell (1775-1822) put lyrics to the tune:

1st Verse
A’ Willie’s wedding on the green / The lassies, bonnie winches
Were a’ dress’d oot in aprons clean / And braw white Sundee mutches
Auld Maggie bade the lads tak’ tent / But Jock would no believe her
But soon the fool his folly kent / For Jenny dang the weaver

Chorus:
Jenny dang, Jenny dang / Jenny dang the weaver
But soon the fool his folly kent / For Jenny dang the weaver

Patsy Touhey (1865-1923) plays it in a jig-reel set: “Fasten the leg in her (jig) > Jenny dang the weaver (reel).” It has been observed that there is some similarity between this tune and the Irish three-part setting called the “Longford Tinker.” It is popular among Cape Breton players, and is often heard at sessions.

For the ABC click Jenny Dang The Weaver

 

Jenny Dang the Weaver, the dots

Jenny Dang The Weaver

Jenny Dang The Weaver

Beare Island (Emix|Edor)

Beare Island

Beare Island

This reel was composed by West Cork accordionist Finbar Dwyer, but is sometimes claimed to be the work of Paddy Fahy.  It is on the Kevin Burke and Mícheál Ó Domhnaill album Portland (1982), as well as Mick Conneely’s Selkie (1999). It’s a two-part reel played AABB, with the A-part in Emix and the B-part in Edor. The name comes from an scenic island in Bantry Bay, in the western part of co. Cork, Ireland.  It’s off the Beara Peninsula, and known as “Oiléan Béarra” in Irish, and in English “Beare Island” or “Bere Island,” which sounds close to Beer Island to me.  In fact, the Irish word “Béarra” means Bear, and the island acquired this name in the second century when the King of Munster named it after his wife, from the O’Sullivan-Beara clan, daughter of Heber Mór, King of Castile.  Still, today it is officially called “An tOileán Mór” meaning “The Big Island.”  With a population of about two hundred, it has two ferries and its highest point is Knockanallig. The main harbor of the island is Lawrence Cove, near the main village of Rerrin, or Raerainn in Irish, which is toward its eastern end.  In August of 2014 they held the first Bere Island Music and Silence Festival.

The tune is in two modes (as are a few other tunes).  The first part (A part) is in E ionian (E major), while the second part (the B part) is in E Dorian (E minor, or E natural minor).  This is important because when backing the tune you need to be sensitive to the changes in order to provide either a standard backing, or to improvise a new, more interesting accompaniment.

For the ABC click Beare Island

Beare Island

Beare Island. Reel in Emix|Edor by Finbar Dwyer

Home Ruler (D)

Dick Glasgow

Dick Glasgow

The hornpipe “Home Ruler” was composed in the 1960’s by the co. Antrim fiddler Frank McCollam. In sessions it is sometimes called “Home Rule” or “Daniel O’Connell, the Home Ruler” and thought to commend the belief in Irish Home Rule championed by, for example, Daniel O’Connell (1775-1847) and James Brown Armour (1841–1928).  You will also find that some websites where this tune is posted will display a picture of one or the other man.  This association is mostly due to the Chieftains album Boil the Breakfast Early (1979), where the tune is identified with the latter name and played first in a set of three called “Bealach An Doirín” (track 5) — that title could be translated as “Path Through the Wood” in English, or better “The Green Way.”  The album, which is usually just called “Chieftains 9” and marks the departure of Sean Potts (1930-2014) and Mick Tubridy (b. 1935), is their first with Matt Molloy, who in fact plays the tune a bit on the slow side, but with his typical panache. So, many people will tell you that the tune is about Home Rule or was originally dedicated to Daniel O’Connell. However, even though that may have been the Chieftains aim, as Dick Glasgow wrote in Irish Music Magazine (June, 2002) and North Antrim Music (June, 2011), “Frank in fact named the tune after his wife, Sally; and Frank’s daughter Catherine later confirmed this by telling me how all the men then, used to refer to their wives as ‘The Home Ruler’.”  The version here is pretty close to the one common at many sessions, but it’s slightly different in some ways than the original, which you can hear Dick Glasgow play on Soundcloud. When the two parts are reversed some people call the tune “The Hangman’s Noose.” That title is unfortunate since McCollum did compose another tune he actually called “The Hangman’s Noose,” which Dick Glasgow asserts is a reference to John MacNaghten (1722–1761), who is sometimes refered to as “Half-Hung MacNaghten” even though he was actually hung twice, in November and December 1761. You can also find a common version of “Home Ruler” in Phil Rubenzer’s Midwestern Irish Session Tunes (2000).

For the ABC click Home Ruler

Home Ruler, slow tempo

Home Ruler, med tempo

Home Ruler, the dots

Home Ruler

Home Ruler, Hornpipe in D

 

The Wonder (G)

This hornpipe is on De Dannan’s CD Hibernian Rhapsody (1996), the second of two tunes on track 10 “New Century” and “The Wonder,” collectively called “George Ross’ Horn Pipes.”  This tune was recorded by the Wexford accordionist George Ross in the 1950s (which is apparently where members of De Dannan picked it up), but it is most often attributed to James Hill (c. 1811-1853), the “Paganini of hornpipes,” publican, and fiddler from Newcastle, Northumberland, who is also commonly said to have composed “Rights of Man,” “Navvy on the Line,” “Sailor’s Hornpipe,” and numerous others. On the Danú CD The Road Less Traveled (2003) our hornpipe here is on track 10, and paired with “The Impish Hornpipe,” a Danú original. Now, just for clarity, there is also a tune called “The Wonder” on concertina player Father Charles Coen’s album Father Charlie (1979) as the second of two hornpipes in the set “The Echo/The Wonder.”  However, the tune on Father Charlie is a different hornpipe, and as far as I can tell is unique to that album.  Our hornpipe “The Wonder” is #1604 in O’Neill’s 1850 (1903) but there entitled “Coey’s Hornpipe,” and it’s in Ryan’s Mammoth Collection (1883) listed as “Tammany Ring.”

For the ABC click The Wonder

The Wonder, slow tempo

The Wonder, med tempo

The Wonder, the dots

The Wonder

The Wonder

Girl Who Broke My Heart (Gmix)

Burke, If the Cap Fits

Burke, If the Cap Fits (1978)

The reel “Girl Who Broke My Heart” is in Gmix, but in some settings there are the occasional B flats à la Kevin Burke’s If the Cap Fits (1978).  As a result it is sometimes thought to be in other keys/modes.  This tune, though not a girl, inspires discussions that can break your heart if you spend time working on modes.  So, just to be clear, the key signature of Gmix has no sharps (or flats), not one, and so that signature could designate the following: C Ionian, D Dorian, G Mixolydian, or A Aeolian. Just which of these the tune is actually in would make little difference to a melody players, of course, since the melody is not the melody which alters when it alteration finds.  However, anyone accompanying the tune would find that the only chords that make sense are in Gmix, viz., G, Am, C, Dm, F.  I know modes are pretty confusing to many people, novice and seasoned players alike.  Melody players can play with alternate settings, throwing in flatted notes or sharped ones, but there are still only certain chord patterns that will make sense unless you prefer Trazz, or seek to explore twelve-tone Trassical music.  In essence, there are all sorts of nonsense out there, and it’s important to keep clear of it. The way to do that is to keep reading!

Heaton, Dearga

Heaton, Dearga (2003)

Our tune is also on Kevin Burke’s album Sweeney’s Dream (1973), De Dannan’s Hibernian Rhapsody (1995), Matt and Shannon Heaton’s Dearga (2003), and Martin Hayes and Dennis Cahill’s Welcome Here Again (2007); and the tune is #1176 in O’Neill’s 1850 (1903), and #456 in O’Neill’s 1001 (1907).

For the ABC click Girl Who Broke My Heart

Girl Who Broke My Heart, slow tempo (David Agee, fiddle)

Girl Who Broke My Heart, med tempo (David Agee, fiddle)

Girl Who Broke My Heart, the dots

Girl Who Broke My Heart

Girl Who Broke My Heart

Atholl Highlanders (Amix)

Atholl Highlander

John MacPherson, Pipe Major of the Atholl Highlanders (1858)

The four-part jig “Atholl Highlanders” is originally a Shetland tune, and originally called “The Three Sisters.”  I don’t think anyone has called it by the original name for a very long time, however. It is a characteristic Scots pipe march, though there are some odd things about it. As a pipe march it is known as “The Gathering of the Grahams,” and came to be played by the 77th Regiment of Foot, formed in 1778.  This is a bit surprising, though not unheard of, as a march in 6/8 would usually have been played for cavalry. The 77th Regiment was disbanded in 1783, then reformed in 1839 with a more ceremonial function, and recruited from The Scottish Horse.  Though they rarely parade, the Regiment did participate in the Year of Homecoming (2009) when all of Scotland’s clans took part in a parade in Edinburgh.  The tune is also popular among dancers and dance musicians, who will refer to it by its associated dance “The Duke of Gordon’s Reel,” which could be pretty confusing as this is a jig.  There are several versions of this jig, which is not at all surprising given its age, but most of them are pretty close.  Often paired with “Jig of Slurs” in sessions, also forming a popular set for contra dancing, on the album Fiddlesticks: Irish Traditional Music from Donegal (1991) they put “The Irish Washerwoman” between these two tunes, which is surprising as that middle tune was usually held to be a melodia non grata even in the early 1990s. As for influential sets with this tune, an early one is The Tannahill Weavers who pair it with “Johnnie Cope” on Tannahill Weavers IV (1981).  On the other hand,  on the Mairéad Ní Mhaonaigh and Frankie Kennedy album Ceol Aduaidh (1983), which is one of my favorites,  they play the set “Pet in the Kitchen > An Fathach Éireannach > Atholl Highlanders.”  So, it depends on the direction you like best. The “Atholl Highlanders” is in Phil Rubenzer’s Midwestern Irish Session Tunes(2000), so it has been played in the Midwest for a long while.

For the ABC click Atholl Highlanders

Atholl Highlanders, slow tempo (David Agee, fiddle)

Atholl Highlanders, med tempo (David Agee, fiddle)

Atholl Highlanders, the dots

Atholl Highlanders

Atholl Highlanders, Jig in Amix

Jig of Slurs (D|G)

G.S. McLennan

G.S. McLennan (c. 1926)

Though Scottish musicians so often assert that Irish tunes are “originally Scottish” that the very claim is now met with an unbelieving shrug, in this case it happens to be true.  It was composed by the Aberdeen piper George S. McLennan (1883-1927), who played before Queen Victoria as a boy.  According to the Fiddler’s Companion, in 1910 McLennan wrote “My Jig o’ Slurs, I’m extremely proud of, not of course as a tune with a fine melody but for its grand execution. I do not know of a tune which is nearly as difficult or requires such a nimble finger to play. The person who can play it through two or three times without missing a slur has no cause to be ashamed of his fingers.”  A great version is on Matt Molloy’s Stony Steps (1987) played alone with Arty McGlynn on guitar the first time through, and with Donnal Lunny on bouzouki thereafter — Lunny also plays bodhrán on the album. Often paired with “Atholl Highlanders” in sessions, it is also a popular set for contra dancing.  You can find it on the album Fiddlesticks: Irish Traditional Music from Donegal (1991) though they put “The Irish Washerwoman” between these two tunes — though on the MP3 download of the album from Amazon it is called “The Jug of Slurs,” which also seems to fit well. The tune is in Phil Rubenzer’s Midwestern Irish Session Tunes (2000), and has been played in the Midwest for a long while, since at least the late 1970s.

Note that this tune completely disregards the adage concerning horses and rivers: the four-part “Jig of Slurs” changes keys in the middle, from D to G. This is much less important to melody players than to accompanists, of course.  Though, in general, I think the adage still stands.

For the ABC click Jig of Slurs

Jig of Slurs, slow tempo (David Agee, fiddle)

Jig of Slurs, med tempo (David Agee, fiddle)

Jig of Slurs, the dots

Jig of Slurs

Jig of Slurs (D | G)

Arthur Darley’s (D | Daeol |D)

Arty McGlynn CD 1994

Arty McGlynn, McGlynn’s Fancy 1994

This tune, “Arthur Darley’s Jig,” is also commonly known as “The Swedish Jig” and less well-known as “The Bruckless Shore.”  On the Arty McGlynn CD McGlynn’s Fancy (1994) the liner notes read “Arthur Darley arrived in Co. Donegal from Dublin to play the organ in a church somewhere around, it is believed, Bruckless.” Arthur W. Darley (1873–1929) was a classically trained musician, and became the Church of Ireland organist in Bruckless.  Having retained a respect for traditional music, he traveled around co. Donegal listening to traditional music, especially the fiddle music of John Doherty and Donny O’Donnell.  Together with his friend Patrick J. McCall they collected many tunes from Donegal around the turn of the last century, and the collection was later published as The Darley & McCall Collection of Irish Music (Ossian Publications Limited, 1914). They also composed tunes and songs, including “The Boys of Wexford” and “Boolavogue.”  This jig was one of the tunes composed by Arthur Darley and he called it “The Bruckless Shore.” He passed it on to John Doherty, and as Caoimhi Mac Aoidh explains, John Doherty then passed it on to Danny Meehan who was visiting from London.  However, when Meehan returned to London he couldn’t remember the tune’s name, and some at the session thought it sounded like a Scandinavian tune, and so would request that Meehan play “that Swedish jig.”  That name spread with the tune as it traveled from London (Between the Jigs and Reels, Caoimhin Mac Aoidh, 1994), but was boosted by the Le Cheile album Lord Mayo (1978) with Danny Meehan on fiddle, and played in the set “The Runrig Jig > The Swedish Jig” on the Aly Bain and Phil Cunningham CD The Pearl (1994). So, though you might hear someone call it “Arthur Darley’s Swedish Jig,” you now know why that’s just a jumble.

Notes: the tune has an extra beat in the second measure of the A part (so that one measure is in 9/8).  The tune is sometimes played with an F natural in the first bar of the C part.  Further, you may find places on the web where the tune is posted in different keys, but uses the same notes. This is just a confusion due to the common failure to understand modes.

For the ABC click Arthur Darley’s Jig

Arthur Darley’s Jig, slow tempo (David Agee, fiddle)

Arthur Darley’s Jig, med tempo (David Agee, fiddle)

Arthur Darley’s Jig, the dots

Arthur Darley's Jig

The Bruckless Shore Arthur Darley’s
The Swedish Jig