X: 1 T:Knight of St. Patrick Lancers (#81-A) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:D (3A/2B/2c/2|d>ed def|a>ba afd|e>fe fdc|B>cB B2 A| d>ed def|a>ba afd|{f}e>de fdA|[D2B2] [Gc] [F2d2] z|| abc' d'2 b|c'2 a baf|abc' d'2 b|c'ba b2 c'/2d'/2| d>ed def|a>ba afd|{f}e>de fdA|[D2B2] [Gc] [F2d2]|| K:G (3d/2e/2f/2|[B3d3g3] [B3g3b3]|{b}a>ga bge|ded g2 e'|d'c'b a2 g| [B3d3g3] [B3g3b3]|{b}a>ga bge|d>ed dd'>c'|bgg g2|| K:D M:2/4 L:1/8 d/2d/2d/2d/2 d2|e/2e/2e/2e/2 e2|dd' c'b|ag fe| d/2d/2d/2d/2 d{^c'}d'|e/2e/2e/2e/2 e{^a}b|d{g}a c{g}a|d z d' A|| 2 f>d|ge dc|df a>b|a2 f>a| ag eg|gf df|ge dc|d3 a| a>g fg|ad' c'b|ag fg|a2 c'd'| d'2 bd'|d' c'2 a|c'b a^g|a2 c'/4b/4a/4=g/4f/4e/4|| f/4e/4|dB BB|FB BB|cA A/2B/2c/2d/2|e2 dc| dB BB|FB BB|cA A/2B/2c/2d/2|e2 dc| db ba|bf fe|fb ba|b3 b/2c'/2| d'b c'^a|bf fe/2d/2|cA A/2B/2c/2d/2|e2 dc|| % % Among the mass of his father's manuscript music which Sergt. James % O'Neill brought from Belfast in his youth, was a copy of "The Knight % of St. Patrick Lancers". Many of the original tunes of which it was % composed having been subjected to alteration in the process of its % arrangement, its publication in that form in the O'Neill Collections % was then not favorably considered. Since the appearance of Dr. % Joyce's "Old Irish Folk Music and Songs" in 1909, the composition % has assumed new interest. In a note to a "Reel", page 63, the % learned author remarks: % "I find a setting different from mine in a single obscure publication % The Knight of St. Patrick Lancers, long since out of print". % Dr. Joyce's unnamed "Reel" it may be added is the well known % "Bonnie Kate". Taking all things into consideration The Knight of % St. Patrick Lancers cannot be out of place in a collection of Waifs % and Strays of Gaelic Melody. %NOTE: Due to the length of this tune, I have separated it into % 5 parts. (PTK) X: 2 T:Knight of St. Patrick Lancers (#81-B) M:6/8 L:1/8 S:CONTINUATION OF #81-A K:D f/2g/2|afd B2 d|A2 A A2 B|d2 d {f}e>de|f3 e2 f/2g/2| afd B2 d|A2 A A2 B|d2 f {f}e>de|d3 d z|| A|d2 d f2 a|b2 b a2 g|f2 d dfa|b2 c' d'2 d| d>ed dfa|bc'd' a2 b|g2 a f2 g|e3-e2|| K:G b|bgb b>^c'd'|afa a>^c'd'|g>fg eag|fdd d2 d| ece e>fg|d>Bd def|{a}gfg ad'c'|bgg g2|| B|e3 gfe|fb>b b2 a|gfe {g}fe^d|efg B2 B| e3 gfe|fb>b b2 a|g>fe f>e^d|e3-e z B/2A/2|| G>AG GBd|ceg g2 f/2e/2|d>cB AGA|B3-B2 B/2A/2| G>AG GBd|ceg g2 f/2e/2|dgB AGA|G3-G z|| B|e3 gfe|fbb b2 a|gfe fe^d|efg B2 B| e3 gfe|fbb b2 a|g>fe fe^d|e3-e z| d'/2c'/2|b2 g a2 f|g2 e deg|[d3f3a3] [d3f3a3]|[d3f3a3] [d2d'2] c'| [B2b2] g [A2a2] f|[G2g2] e d2 e|g3 g3|[B3d3g3]-[B2d2g2]|| X: 3 T:Knight of St. Patrick Lancers (#81-C) M:6/8 L:1/8 S:CONTINUATION FROM #81-B K:G B|e3 gfe|fb>b b2 a|g>fe fe^d|efg B2 B| e3 gfe|fbb b2 a|gfe fe^d|e3-e z| d'/2c'/2|ged g2 g|g3-g2 b|age a2 a|a3-abc'| d'>c'b d'>c'b|gfe d2 b/2a/2|ged g2 g|g3-g2|| B|e3 gfe|fb>b b2 a|gfe {g}fe^d|efg B2 B| e3 gfe|fbb b2 a|g>fe fe^d|e3-e z|| e|dGG AGG|dGG Gge|d>cB BAG|FAA A2 B/2c/2| dGG AGG|dGG e2 d/2c/2|B>cd def|gGG G2|| K:D M:2/4 L:1/16 dB|AFdB ABAF|DFAF E2 EB|AFAd BGBd|cABc dcdB| AFdB ABAF|DFAF E2EB|AFAd BGBd|cABc defg|| a2fd fafd|fafd e2ef|gfef gbag|fedc defg| a2fd fafd|fafd e2ef|gfef gbag|fedc d2|| K:G M:6/8 L:1/8 (3d/2e/2f/2|g>ag gdB|d>ed def|g>ag gdB|A>aa a2 b| g>ag gdB|d>ed d'2 c'|b>ab ged|egg g2|| (3b/2a/2g/2|gbd' d'bg|faa a2 (3a/2g/2f/2|gbd' d'bg|b2 a a2 (3a/2g/2f/2| gbd' d'bg|faa a2 c'|bab ged|egg g2|| X: 4 T:Knight of St. Patrick Lancers (#81-D) M:6/8 L:1/8 S:CONTINUATION FROM #81-C K:G (3d/2e/2f/2|gdB gdB|d>ed d2 (3d/2e/2f/2|gdB gfg|faa a2 (3d/2e/2f/2| gdB gdB|ded d'2 c'|bab ged|egg g2|| K:D f/2e/2|d2 B B>cB|A2 A A2 A|B2 B B>cB|g3 f2 e| d2 B B>cB|A2 A A2 c|B>cd ecA|d3-d z|| A|d2 e f2 g|aba a2 f|d2 e f2 g|a3 f2 a| bab a2 f|g>ag f2 e|d2 B BcB|g3 f2 e|| a|d'd'a b2 a|d'2 a b2 a|f2 d g2 e|f2 d g2 e| f>ga B>cd|e>fd c>BA|B>cd ecA|d3-d z|| a/2g/2|f2 f fga|b g2 z gf|e2 e efg|a f2 z2 a| g2 d B2 g|e2 cA2 a|f2 d {e}dcd|f2 e z2|| A|f>ff f2 d|g>gg gfg|a>ba agf|e3 d zz| f>ff f2 d|g>gg gfg|a>ba agf|e3 d2 X: 5 T:Knight of St. Patrick Lancers (#81-E) M:2/4 L:1/16 S:CONTINUATION FROM #81-D K:A edcB|A2(3cBA eA(3cBA|eAaA gAfA|eA(3cBA eAfA|BEcE dEBE| A2(3cBA eA(3cBA|eAaA gAfA|efec eaec|BABc A2 z2| E2(3GFE BE(3GFE|BEdE cEBE|A2(3cBA eA(3cBA|eAaA gAfA| efec agaf|efec agaf|ecag fedc|BAGF EFGE|| X: 6 T:Winter Garden Quadrille (#82) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:D "NO. I" fdB AFA|BGB AFA|fdB AFA|B2 c d2 e| fdB AFA|BGB AFA|fdB AFA|B2 c d2 e|| f2 a e2 f|dcd A2 g|f2 a e2 f|gfg a3| bbb aaa|gfg ede|fdB AFA|B2 c d2 e|| K:G "NO. II" FAA Afe|dBB BAG|FAA d2 e|fdd dAG| FAA Afe|dBB BAG|FAA d2 e|fdd d2|| e|fef afe|dBc d2 e|fgf ede|fdA Bde| fef afe|dBc d2 e|fgf ede|fdA BAG|| "NO. III" E2 B BAG|F2 d AFD|E2 B BGB|AGF e2 f| gfe dcB|AFd AFD|E2 B BGB|AGF E3|| eBe gab|aga faf|eBe gbg|afd e2 f| gfe dcB|AFd AFD|E2 B BGB|AGF E3|| "NO. IV" GBB dBB|gBB dBB|cAA fef|gfa gdB| GBB dBB|gBB dBB|cAA fef|g3 g3|| afd dcd|edc BAB|dBG GFG|AcB A2 c| Bdg gdB|dfa afd|def def|g3 g3|| X: 7 T:Holiday Fancy (#83) M:2/4 L:1/8 S:Sergt. James O'Neill manuscripts K:G D|GG BB|dc/2B/2 A/2c/2B/2A/2|GG BB|AF/2E/2 D/2E/2F/2D/2| GG BB|dc/2B/2 A/2c/2B/2A/2|GG AF|G2 G|| d|gg gd/2B/2|dc/2B/2 A/2c/2B/2A/2|GG BB|AF/2D/2 Dd| gg gd/2B/2|dc/2B/2 A/2c/2B/2A/2|Bd de|dc BA|| GG BB|dc/2B/2 A/2c/2B/2A/2|GG BB|GF/2E/2 D/2E/2F/2D/2| GG BB|dc/2B/2 A/2c/2B/2A/2|GG AF|G2 G|| d|cA AB/2c/2|dd de/2f/2|gf ag|fd d/2f/2e/2d/2| cA AB/2c/2|dd de/2f/2|ge d^c|d=c BA|| % % This spirited tune was found among the O'Neill manuscript % but without a title. With a view to its identification in the % Index we have named it. X: 8 T:Job of Journey Work (#84) M:2/4 L:1/8 S:Aird's Selections 1782-97 K:G g2|dB GB|"tr"d2 dg|dB c/2B/2A/2G/2|A2 GA| B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|de e^d|g2:| |:d2|gg a/2g/2f/2e/2|dd dB|gg a/2g/2f/2g/2|"tr"e2 dB| gg a/2g/2f/2e/2|dd dg|dB c/2B/2A/2G/2|"tr"A2 GA| B/2A/2G/2A/2 B/2A/2G/2F/2|E>F GA|Be e^d|e2:|| % % This is a variant of the Long Dance of the same name % in O'Neill's Dance Music of Ireland. It differs however % in having two bars less in the second part. X: 9 T:Humors of Listivain (#85) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:C EAA AGA|BAB GAB|eAA AGA|BAB g3|egg dee| Bdd GAB|eAA AGA|BAB g3|egg dff|BEG A3:| |:eaa aga|bab g3|aga e3|gfg d3|ee/2f/2e/2d/2 BB/2c/2B/2G/2| AA/2B/2A/2G/2 E3|EAA AGA|BAB g3|egg dff|BEG A3:|| % % The above setting of which there are several variants, is no % doubt the original. In O'Farrell's National Irish Music for the % Union Pipes, 1797-1800, a tune named "Jerry's Rambles" % closely follows it. More distinct variants are "The Jolly Old % Woman" and "The Humors of Bandon", the latter as % printed in O'Neill's Dance Music of Ireland being the % arrangement favored by modern dancers. X: 10 T:Morgiana in Ireland (#86) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G D2 D G2 G|AGA B3|D2 D G2 A|B2 c BGE| D2 D G2 G|AGA Bcd|edc BcA|G2 G BGE:| d2 d dcB|e2 f g3|d2 d dcB|e2 f gdB| ded dcB|efe efg|dec BcA|G2 A BGE:| |:GFG B2 d|AGA c2 e|GFG G2 A|B2 c BGE| GFG B2 d|c2 e B2 d|f2 g B2 d|G2 A BGE:|| X: 11 T:Suisin Ban (#87) T:White Blanket M:4/4 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:G G>A|B2 E2 E2 D>E|G2 AB c3 A|B2 AG E2 D>E|A2 A2 A2 GA| B3 A GEDE|G2 G2 G2:||:B2|cBcd efgf|edcB c3 A|B2 AG E2 D>E| A2 A2 A2 G>A|B3 A GED>E|G2 G2 G2:|| X: 12 T:Cruiskin (#88), The M:4/4 L:1/8 S:Sergt. James O'Neill manuscripts K:G Bc|d2 de dBAB|d2 de d2 BA|Beee efge|defa g2 g2|abag fagf| egfe d2 BA|Beee egfe|defa g2 eg|edcB AcBA|G2 GG G2|| X: 13 T:Walsh's Frolics (#89) M:6/8 L:1/8 S:Francis E. Walsh, San Francisco K:G d/2c/2|B2 G BdB|"tr"B2 G Bdg|e2 A Aag|f2 d def| g2 d gfe|d2 c Bcd|edB d2 A|GBA G2 d| b2 g {b}agf|"tr"g2 f efg|e2 d efg|"tr"d2 c Bcd| e2 A Adc|B2 G BdB|"tr"B2 G Bdg|ed^c d2 B|GBA G2|| X: 14 T:Flag Dance (#90), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D a|f2 d ded|f2 d ded|e2 f g2 f|e2 d cBA| d2 e f2 g|a2 a agf|e2 f g2 f|e2 f g2 a| f2 d ded|f2 d ded|e2 f g2 f|efd cBA| d2 e f2 g|a2 a abc'|d'2 a abg|f2 d d2|| X: 15 T:Rope Dance (#91), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:G B/2c/2|def gfg|d2 B Bcd|edc BAG|F2 D DBc| def gfg|d2 B Bcd|edc BcA|G3 G2:| |:B|c2 A ABA|B2 G GAG|c2 A ABA|B2 G GBd| def gfg|d2 B Bcd|edc BcA|G3 G2:|| X: 16 T:Fingalians' Dance (#92), The M:4/4 L:1/8 S:The Hibernian Muse 1787 K:G B2 G2 G2 Bc|d2 G2 d2 G2|B2 G2 G2 Bc|d4 {c}B4| c2 A2 A2 cd|e2 A2 e2 A2|c2 A2 A2 cd|e4 {d}c4|| G2 g2 g2 fg|agfe dcBA|A2 a2 "tr"a2 ga|bagf dcBA| G2 g2 "tr"g2 fg|f2 ga D2 g2|f2 ga D2 g2|f4 {e}d4|| % % An identical setting with variations was printed in % Burk Thumoth's Twelve English and Twelve % Irish Airs, London 1743. X: 17 T:Hibernian Dance (#93) M:6/8 L:1/8 S:Clinton's Irish Melodies 1840 K:G d|g2 d B2 G|A>GA fef|g2 d ded|c2 A A2 d| g2 d B2 G|A>GA f2 e/2f/2|g2 d dec|BGG G2:| |:d|gfg efg|abg fed|gfg aga|bgg gab| c'bc' efg|abg fed|g2 d dec|BGG G2:|| X: 18 T:Wild Irishman (#94), The M:6/8 L:1/8 S:The Hibernian Muse 1787 K:D A|d2 e f2 d|g2 e f2 d|d2 e fed|c2 d e3| d2 e f2 d|g2 e f2 d|fga gec|d3 d2:| |:g|fed c2 A|ABA c2 A|fed c2 A|c3 e3| fed c2 A|ABA c2 A|fga gec|d3 d2:|| X: 19 T:Tom Jones (#95) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D [A3c3a3] [A3c3g3]|fdf ecA|d2 f ecA|d2f ecA| dcd ede|fef gfg|a2 d c2 B|A3 A3| D2 F E2 G|F2 A G2 F|GAB ABc|B3 A3| GFG AGA|BAB cBc|d2 G F2 E|D3 D3|| X: 20 T:Merrily Dance the Quaker (#96) M:6/8 L:1/8 S:Bremner's Coll. of Scots Reels or Country Dances 1760 K:G GAB D2 B|A2 G "tr"E2 D|GAB D2 D|E3 F3:|| dcB edc|dcB ABc|dcB efg|"tr"B3 d3| dcB gfe|dcB A2 A|GAB D2 D|E3 G3|| % % For over a century the name "Merrily Kissed the Quaker" has been % associated with a tune or Special Dance in Ireland, but no song or % verse relating thereto has been traced. In "O'Farrell's Pocket % Companion for the Irish or Union Pipes 1804-10", we find the tune % with name annotated "New Sett Irish". Continuing the investigation % we discover that "Merrily Dance the Quaker" (probably the original % tune) was printed in No. 7 of "Bremer's Collections of Scots Reels, % or Country Dances" issued in 1760. The traditional version in North % Kerry taken from the Rice-Wlash manuscript serves to illustrate how % far a tune may deviate from the original in a few generations. X: 21 T:Merrily Kiss the Quaker (#97) M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-10 K:D g|fef A2 A|BAB G2 g|fef A2 A|B3 g3| fef A2 A|BAB G2 g|faf gec|d3 d2:| |: g|faf afd|ege gec|f/2g/2af afd|f3 a3| faf afd|ege gec|f2 d gec|d3 d2:|| X: 22 T:Merrily Kiss the Quaker (#98) M:6/8 L:1/8 S:Rice-Walsh manuscript K:G D|GAB DED|cBA BGE|GAB DED|ABA BGE| GAB DED|cBA BGE|GAB DED G3 G2|| A|BBB BAG|ABA GBd|efe edB|egf/2a/2 gfe| def gfe|dBG AGE|GAB DED|G3 G2|| X: 23 T:Rosin the Bow (#99) M:6/8 L:1/8 S:Sergt. James O'Neill manuscripts K:G D|GAG BAG|Bcd efg|dBG GAB|"tr" E3-E2 D| GAG BAG|Bcd efg|dBG AGA|G3 G2:| |:B/2c/2|dBd dBd|g2 e g2 e|dBG GAB|E3-E2 D| GAG BAG|Bcd efg|1dBG AGA|G3 G2:|2baf agf|g3 g2|| % % The name "Rosin the Bow" has clung to the writer's memory since % childhood, and the tune, like the song about "Old Rosin the Bow" % (a nickname for the fiddler) may have passed into oblivion, had % not the melody been fortuitously found recently in a faded % miscellaneous manuscript collection long discarded by Sergt. James % O'Neill. A version of it I find is printed in Joyce's "Old Irish Folk % Music and Songs - 1909". X: 24 T:Tulloch Gorm (#100) M:4/4 L:1/8 S:Officer William Walsh R:Strathspey K:C a|cA dG B2|cA cAea|cA d>G B2|cA c2 BA dG B2|cA cAea|cAeA dG B2|cA c2 Bc|| AG B2|Aa caea|ca (3efg d>G B2|Aa c2 Bc| Af g>ea>e|g>ag>e d>GB>g|a>eg>e a3|| % % Sometimes written "Tulloch Gorum" or Tullagorum", this famous % strathspey first published in Robert Bremner's Collections of Scots % Reels, or Country Dances, Edinburgh 1757" was composed by % William Marshall, butler and house stewart in the service of the Duke % of Gordon for thirty years. His tunes were plagiarized ruthlessly by % comtemporaries. In the words of Robert Burns, Marshall was: % "the first composer of strathspeys in the age". % The grace notes peculiar to pipe music are omitted in the setting. % A clergyman at Linshart, Rev. John Skinner composed songs to % "Tulloch Gorum" and several others of Marshall's tunes. X: 25 T:Reel of Tulloch (#101), The M:4/4 L:1/8 S:Neil Gow & Sons Complete Repository c.1805 K:D f|"tr"e2 Ac/2d/2 ecAa|"tr"e2 AB/2c/2 dBGB|{B}e2 Ac/2d/2 eAce| dE cd/2e/2 dBGB:||:"tr"cA cd/2e/2 "tr"c>AAB|cA cd/2e/2 dBGB| cA d/2e/2f cAcA|BE c/2d/2e dBGB|"tr"cA c/2d/2e "tr"cAAB| cA c/2d/2e dBGB|cA c/2d/2e cA c/2d/2e|BE c/2d/2e dBGB|| % % Noted for its dashing rhythm rather than for its melodic merits, % "The Reel of Tulloch" first appeared in print in the 10th number % of "Robert Bremner's Scots Reels, or Country Dances" issued in % 1761. It originated in the parish of Tulloch, Aberdeenshire, Scotland. % The traditional stories relating to its composition are too long and % unreliable for narration here. A wild orgie of dancing under % improbable circumstances in one case, and a desparate encounter % with swords in another, are given as the inspiration of what has been % termed "the maddest of all Highland reels". Altho Officer William % Walsh obligingly favored me with a bagpipe setting of the tune, % preference has been given to that played by the famous violinist Neil % Gow, which leaves nothing to be desired. X: 26 T:Gillie Callum - Sword Dance (#102) T:Keellum Kallum M:4/4 L:1/8 S:Officer William Walsh, Chicago K:C A2 cA d2 BG|A2 cA d2 cA|B2 ge d2 BG|A2 cA dB e2:|| A2 cA g2 BG|A2 cA a2 cA|a2 cA g2 BG|A2 cA dB e2| A2 cA a2 BG|A2 ce aeae|g>a (3gfe dF "tr"E2 A,>F|F2 "tr" ED G/2F/2E/2D/2 CE| D/2D/2D D>F E2 A,E|"tr"F2 ED C>A,A,:| |:G|A>cAG G>AGF|F>GFD G/2F/2E/2D/2 CG| A>cAF G>AGE|FD G/2F/2E/2D/2 CA,A,:| |:A|d/2d/2d d>f "tr"e2 c>e|f2 "tr"ed g/2f/2e/2d/2 ce| d/2d/2d d>f e2 Ae|fd g/2f/2e/2d/2 c>AA:| |:g|aa _b/2a/2g/2f/2 gg a/2g/2f/2e/2|ff g/2f/2e/2d/2 eccg| aa _b/2a/2g/2f/2 gg a/2g/2f/2e/2|fe g/2f/2e/2d/2 cAA:|| % % With this tune is associated a special Highland dance, commonly % referred to as "Sean Truis", but occasionally as "Willichan". % The full name as above given is the same in Glenn's Analytical % Table , and in "Bremner's Collections of Scots Reels, or Country % Dances 1757-61". After Robert Bremner's death in 1789 his % collections were reprinted by Preston, a great London publisher. X: 28 T:Whistle o'er the Leave o't (#104) M:4/4 L:1/8 S:The Caledonian Muse 1785 K:G G>DE>G B>A B2|d>eB>g "tr"A>G E2|G>DE>G B>ABg|GG A2 G2:| |:de/2f/2 g>d e>d "tr"B2|d>eB>g A>G E2|g>be>g d>eB>g|GG A2 G2:| |:G>BA>c B>GA>c|B>GA>E G>B A2|G>BA>c B>dG>B|GG "tr"A2 G2:| G/2A/2B/2c/2 dg"tr"ed B2|c>AB>G c>G "tr"E2| BA/2B/2 cB/2c/2 de/2f/2 gf/2e/2|dGBG A2 G2:|| % % Identical with the above setting of "Whistle o'er the Leave o't" is % that printed in "Bremner's Collections of Scots Reels, or Country % Dances 1757-61". Its claim to consideration in this work is based on % the statement of Joseph Cant of Chicago, a first prize winner at % several piping competitions; that it was the favorite tune for the % Sean Truis or "Old Man's Dance" in his native Perthshire. The % rhythm of it was deemed more suitable to the requirements of % dancers burdened with years than the preceding tune (#103). % On such excellent authority it has been included in this % classification. X: 29 T:Ligrum Cus (#105) M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D ABA A2 G|F2 E D3|ABA AFA|B3 d3| dcB ABG|FGE D3|def ecA|B3 d3|| d2 e fgf|e2 d c2 A|d2 e fgf|e3 A3| d2 e fgf|e2 d cBc|dcB AFA|B3 d3|| % % The expression "Ligrum Cus", evidently corrupt Gaelic, may be % translated "Let go my foot". It may also relate to the rent % question. We can hardly blame the Scotch, while Irish titles % in Moore's Melodies present similar difficulties. X: 30 T:Petticoat (#106), The M:6/8 L:1/8 S:Aird's Selections 1782-97 K:D D/2E/2|F2 F FED|A2 A ABc|d2 B AFD|E3 E2 D| F2 F FED|A2 A A2 d|Bgf edc|d3 d2:|| e|fed cde|fdB "tr"^A2 F|dcB cf^A|"tr"B3 dcB| A2 A A2 f|ede d2 B|AFD G2 F|{F}"tr"E3 GFE| D2 E F2 G|BGd dcB|AFD GEA|D3-D2|| X: 31 T:Paddy Stack's Fling (#107) M:4/4 L:1/8 Q:180 S:Patrick Stack, Chicago R:Fling K:G c>B|A>A,A,>B, C>DE>F|G2 (3AGF G2 c>B|A>A,A,>B, C>DE>G|c2 (3edc A2 c>B| A>A,A,>B, C>DE>F|G2 (3AGF G2 c>d|e>cd>B c>AB>G|g>e (3dcB A2|| A,2|e>aa>f g>ba>g|e>aa>f g>ed>f|e>aa>f g>ba>B|c2 (3cBA B2 A,2| e>aa>f g>ba>f|e>aa>f g2 g>a|(3bag (3agf (3gfe (3def|(3gfe (3dcB A2|| X: 32 T:Bonny Woods and Braes (#108) M:4/4 L:1/8 S:Capt. F. O'Neill K:G d2|G2 GA Bd d2|cABG AG (3FED|G2 GA Bd d2|(3efg fa g2 b2| G2 GA Bd d2|cABG AG (3FED|G2 GA Bd d2|(3efg fa g2|| d2|gaba gfed|efge dcBA|gaba gfed|(3efg fa g3 d| gaba gfed|efge dcBA|(3GGG GA Bd d2|(3efg fa g2|| % % Known only as "The HIghland Fling" this cheerful tune has served % for that purpose as long as the editor can remember. For its name % as above printed, we are indebted to Officer William Walsh % whose memory in such matters is phenomenal. X: 33 T:Lark in the Morning (#109) M:6/8 L:1/8 S:James Carbray, Quebec Canada K:G B,|[B,2E2] c BGE|D2 d AFD|[B,2E2] c BAF|GFE e2 e/2f/2| gfe dcB|A/2B/2AG FED|EFG ABc|BGF E2:| |:B|eBe g