Annotation:Hey Dance to the Fiddle and Tabor: Difference between revisions
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|f_annotation='''HEY DANCE TO THE FIDDLE AND TABOR.''' AKA and see "[[Flaming O'Flanigan's]]," "[[Nothing Can Sadden Us]]." Irish, Air and Jig (6/8 time). F Major. Standard tuning (fiddle). One part. The tune, originally Irish, was employed by Northumbrian composer William Shield for his opera '''Lock and Key''', first staged in 1796. Fr. John Quinn finds versions of the tune as an untitled "[[Irish Jig (4)]]" in Glasgow musician James Aird's sixth and last collection of 1803, and as the vehicle for Thomas Moore's song "[[Nothing Can Sadden Us]]." | |||
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'''HEY DANCE TO THE FIDDLE AND TABOR.''' Irish, Air and Jig (6/8 time). F Major. Standard tuning (fiddle). One part. The tune, originally Irish, was employed by Northumbrian composer William Shield for his opera '''Lock and Key''', first staged in 1796. Fr. John Quinn finds versions of the tune as an untitled "[[Irish Jig (4)]]" in Glasgow musician James Aird's sixth and last collection of 1803, and as the vehicle for Thomas Moore's song "[[Nothing Can Sadden Us]]." | |||
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Latest revision as of 03:28, 18 August 2021
X:1 T:Hey Dance to the Fiddle and Tabor M:6/8 L:1/8 R:Jig O:Irish C:William Shields N:This version from a Rondo setting of the music published in N:New York by Edward Riley c. 1816 (No. 210, p 56). B:https://babel.hathitrust.org/cgi/pt?id=mdp.39015096470375&view=1up&seq=3 Z:AK/Fiddler’s Companion K:F A3 {A}GFG|F>GF FAc|~c>ef cBA|BGG {A}GFG| A3 {A}GFG|F>GF FAc|~d>ef cfA|G3 F3| a3 {a}gfg|f>g fac'|~d'>e'f c'ba|bgg {a}gfg| a3 {a}gfg|f>gf fac'|~d'>e'f' c'f' a|g3 f3| ~A>Bc ccc|~c>d_e ~d>=ef|{d}c>BA {B}A>GF|E>FG ~GAB| ~A>Bc ccc|~c>d_e ~d>=ef|{d}c>BA {B}A>GF|GEG !fermata!B3| A3 {A}G>FG|F>GF FAc|~d>ef cBA|BGG {A}GFG| A3 {A}G>FG|F>GF FAc|~d>ef cfA|G3 F3| a3 {a}gfg|f>gf fac'|~d'>e'f' c'ba|bgg {a}gfg| a3 {a}gfg|f>gf fac'|~d'>e'f' c'ba|g3 f3||
HEY DANCE TO THE FIDDLE AND TABOR. AKA and see "Flaming O'Flanigan's," "Nothing Can Sadden Us." Irish, Air and Jig (6/8 time). F Major. Standard tuning (fiddle). One part. The tune, originally Irish, was employed by Northumbrian composer William Shield for his opera Lock and Key, first staged in 1796. Fr. John Quinn finds versions of the tune as an untitled "Irish Jig (4)" in Glasgow musician James Aird's sixth and last collection of 1803, and as the vehicle for Thomas Moore's song "Nothing Can Sadden Us."
