View source for Annotation:Tatter Jack Walsh

{{TuneAnnotation
|f_annotation='''TATTER JACK WALSH''' (t’Athair Jack Walsh). AKA ‑ "Tatter Jack Welch." AKA and see “[[Cone's Favourite]],” "[[Father Jack Walsh]]," “[[Harry Barrett's Favourite]],” "[[Kitty of Ballinamore]]," "[[So now my dear Johnny]]," "[[To Cashel(l) I'm Going (1)]]."  Irish, Jig and Air (6/8 time). D Mixolydian (Allan, Breathnach, Carlin, Harker/Rafferty, Hinds, Mulvihill, O'Neill, Taylor, Tubridy): D Major (Cole, O'Neill/1001, Russell). Standard tuning (fiddle). AABB (most versions): AA’BB (Harker/Rafferty, Russell). "Tatter Jack Walsh" has long been a popular jig played under several names. The title derives from the Irish "An t‑Athair Jack Walsh;” ''Athair'' meaning Father, as in a Catholic priest with the form ''An t-Athair'' being Irish Gaelic usage before a proper name. Carlin begs comparison with "[[Kate Caulfield's Jig]]" which he thinks is probably a variant of this tune. Tunes having the same basic melody are "[[Palatine's Daughter (The)]]," "[[ Garden of Daisies (2) (The)]]", "[[Savourna Delight]]," and "(Garbh‑) [[Chnoicin Fraoigh (An)]]" (The Rough, Heathy Little Hill). See also the closely related Cape Breton tune "[[Charlie's Aunt]]" and the possibly partly-related “[[Little Brown Jug]].” 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).
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The title is among those mentioned in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of which goes:
<blockquote>
''Murtagh Murphy’s barn was full to the door when the eve grew dull,''<br> 
''For Phelim Moore his beautiful new pipes had brought to charm them;''<br> 
''In the kitchen thronged the girls - cheeks of roses, teeth of pearls -''<br>  
''Admiring bows and braids and curls, till Phelim’s notes alarm them.''<br> 
''Quick each maid her hat and shawl hung on dresser, bed, or wall,''<br> 
''Smoothed down her hair and smiled on all as she the bawnoge entered,''<br> 
''Where a shass of straw was laid on a ladder raised that made''<br> 
''A seat for them as still they stayed while dancers by them cantered.''<br>
<br>
''Murtagh and his vanithee had their chairs brought in to see''<br>  
''The heels and toes go fast and free, and fun and love and laughter;''<br> 
''In their sconces all alight shone the tallow candles bright -  ''<br>
''The flames kept jigging all the night, upleaping to each rafter!''<br> 
''The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,''<br> 
''So the couples took their ground - their hearts already dancing!''<br> 
''Merrily, with toe and heel, airily in jig and reel, ''<br>
''Fast in and out they whirl and wheel, all capering and prancing.''<br>
<br>
''“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,” ''<br>
''“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”''<br> 
''“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,” -''<br>  
''As lapping breakers from the sea the myriad tunes at Marley!''<br> 
''Reels of three and reels of four, hornpipes and jigs galore,''<br> 
''With singles, doubles held the floor in turn, without a bar low;''<br> 
''But when the fun and courting lulled, and the dancing somewhat dulled,''<br> 
''The door unhinged, the boys down pulled for “Follow me up to Carlow.”''<br>
</blockquote>
|f_source_for_notated_version=Bobby Brown (Toronto) [Hinds]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; fiddler Aggie Whyte, of the famous east County Galway ceili band The Ballinakill Traditional Players [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
|f_printed_sources=Breathnach ('''CRÉ V'''), 1999; No. 12, p. 8. Cole ('''1000 Fiddle Tunes'''), 1940; p. 61 (appears as "Tatter Jack Welch") and 72. Harker ('''300 Tunes from Mike Rafferty'''), 2005; No. 174, p. 54. P.M. Haverty ('''One Hundred Irish Airs vol. 2'''), 1858; No. 117, p. 54. Hinds/Hebert ('''Growling Old Woman'''), 1981; p. 24. Joyce ('''Old Irish Folk Music and Songs'''), 1909; Nos. 9, 169, 191, 254, and 492. Kerr ('''Merry Melodies, vol. 1'''), c. 1880; p. 39. Levey ('''Dance Music of Ireland'''), p. 8. McDermott ('''Allan's Irish Fiddler'''), c. 1920’s; No. 32, p. 8. Miller and Perron ('''Traditional Irish Fiddle Music, vol. 1'''), No. 39. Mulvihill ('''1st Collection'''), 1986; No. 22, p. 69. O'Neill (Krassen), 1976; p. 38. O'Neill ('''Music of Ireland: 1850 Melodies'''), 1903; Nos. 885 and 434. O'Neill ('''Dance Music of Ireland: 1001 Gems'''), 1907; No. 136. Petrie‑Stanford ('''Complete Collection'''), Nos. 731, 325, and 505. Reavy, No. 21. Robbins, Nos. 55 and 31. Roche ('''Collection of Traditional Irish Music, vol. 1'''), 1912; No. 9. Russell ('''The Piper’s Chair'''), 1989; p. 28. Taylor ('''Crossroads Dance'''), 1992; No. 43, p. 33. Tubridy ('''Irish Traditional Music, Book Two'''), 1999; p. 36.
|f_recorded_sources=Gael-Linn CEFCD 142, Seán Ryan – “Siúil Uait/Take the Air.” Shaskeen - "Mouse Behind the Dresser." Dervish – “A Midsummer’s Night Session” (Video. Performed with flute player Seamus Tansey).
|f_see_also_listing=Alan Ng's Irishtune.info [https://www.irishtune.info/tune/1880/]<br>
Jane Keefer's Folk Music Index: An Index to Recorded Sources [http://www.ibiblio.org/keefer/f02.htm#Fatjawa]<br>
Alan Snyder's Cape Breton Fiddle Recordings Index [https://www.cbfiddle.com/rx/tune/t2718.html]<br>
|f_tune_annotation_title=https://tunearch.org/wiki/Annotation:Tatter_Jack_Walsh >
}}
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