Annotation:Jenny Tie Your Bonnet: Difference between revisions
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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Jenny_Tie_Your_Bonnet > | |||
'''JENNY TIE YOUR BONNET''' (Cuir Snaidhm ar do Chaipín, a Shinéad). AKA and see "[[Down with the Mail]]," "[[In and Out the Harbor (1)]]," "[[Jenny Lace Your Tight]]," | |f_annotation='''JENNY TIE YOUR BONNET''' (Cuir Snaidhm ar do Chaipín, a Shinéad). AKA - "Jenny Lace Your Bonnet." AKA and see "[[Down with the Mail]]," "[[In and Out the Harbor (1)]]," "[[Jenny Lace Your Tight]]," "[[Jenny Pin Your Bonnet Tighter]]," "[[Lassie Tie Your Bonnet]]," "[[Rambler's Rest]]," "[[Tie the Bonnet]]," "[[Upstairs in a Tent (2)]]." Irish, Reel. A Dorian. Standard tuning (fiddle). AB (Breathnach): ABCD (Mitchell). An early version of the reel can be found in the mid-19th century music manuscript collection of D. Curtin of Sliabh Luachra as "A Favourite Reel" (No. 12, p. 5). As "Jenny Pin Your Bonnet Tighter" the reel appears in the c. 1885 music manuscript collection of fiddler Francis Reynolds (Gaigue, Ballinamuck, Co. Longford). Frances O'Neill prints versions of the tune under the titles "[[Tie the Bonnet]]," "[[Down with the Mail]]," and "[[Rambler's Rest (The)]]." Brendan Breathnach collected it in County Clare as "[[In and Out the Harbor (1)]]" and in Fermanagh as "[[Jenny Lace Your Tight]]." Peter Kennedy (1997) finds relatedness with "[[Jenny Nettles (1)]]." The Irish reel seems to have been originally a Scottish tune called "[[Janet Tyed the Bonnet Tight]]" (sometimes "Jeannie Tied the Bonnet Tight"), as printed in '''The Piper's Assistant''' (1854). | ||
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The melodic themes explored in the A dorian mode in "Jenny Tie Your Bonnet" can be heard in different but similar combinations in tunes like "[[Cavan Reel (The)]]," "[[Cottage in the Grove (2) (The)]]," "[[Faraway Wedding (1) (The)]]," "[[Gravel Walks (The)]]," "[[Gravelled Walks to Granny (The)]]," "[[Highland Man that Kissed his Grannie (1) (The)]]," "[[Jolly Seven (The)]]," "[[Lassie Tie Your Bonnet]]," "[[Lizzie's Bonnet]]," "[[Stenson's No. 1]]," "[[Tailor's Thimble (2) (The)]] | The melodic themes explored in the A dorian mode in "Jenny Tie Your Bonnet" can be heard in different but similar combinations in tunes like "[[Cavan Reel (The)]]," "[[Cottage in the Grove (2) (The)]]," "[[Faraway Wedding (1) (The)]]," "[[Gravel Walks (The)]]," "[[Gravelled Walks to Granny (The)]]," "[[Highland Man that Kissed his Grannie (1) (The)]]," "[[Jolly Seven (The)]]," "[[Lassie Tie Your Bonnet]]," "[[Lizzie's Bonnet]]," "[[Stenson's No. 1]]," "[[Tailor's Thimble (2) (The)]]." | ||
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See also the similar, perhaps cognate, first strain of the Scottish reel "[[Haud the Lass Till I Come at Her]]." | |||
|f_source_for_notated_version=piper Willie Clancy (1918-1973, Miltown Malbay, west Clare, Ireland) [Breathnach, Mitchell]; Rev. Luke Donnellan's early 20th century music manuscript collection<ref>Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by a unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler. </ref> (Oriel, Ulster) [O'Connor]. | |||
|f_printed_sources=Breathnach ('''Ceol Rince na hÉireann, vol. III'''), 1985; No. 96, p. 50. Mitchell ('''Dance Music of Willie Clancy'''), 1993; No. 20, pp. 40-41. O'Connor ('''The Rose in the Gap'''), 2018; No. 23, p. 36 ("The Wedding" is given as an alternate title). | |||
< | |f_recorded_sources=Claddagh Records CC32, Willie Clancy - "The Pipering of Willie Clancy" (1980). LOCH 1233, Old Blind Dogs - "Legacy." Lauren MacColl - "When Leaves Fall." | ||
|f_see_also_listing=Alan Ng's Irishtune.info [http://www.irishtune.info/tune/1909/]<br> | |||
</ | }} | ||
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Alan Ng's Irishtune.info [http://www.irishtune.info/tune/1909/]<br> | |||
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Latest revision as of 22:33, 3 August 2022
X:1 T:Jenny Pin Your Bonnet Tighter M:C| L:1/8 R:Reel S:Francis Reynolds' music manuscript collection (c. 1885, 1st ms., No. 37) N:Reynolds was a fiddler from Gaigue, Ballinamuck, County Longford Z:Transcribed by Conor Ward K:Ador A2 Ag (fd)ec|A2 Ac (dB)GB|A2 Ag (fd)ef|1 g2 gd B(G G2):|2 g2 gd B(G G)|| |:g|(fg)af (gf)ed|(cA)eA (cA)Ag|(fg)af (gf)ef|g2 gd (BG) G:|]
JENNY TIE YOUR BONNET (Cuir Snaidhm ar do Chaipín, a Shinéad). AKA - "Jenny Lace Your Bonnet." AKA and see "Down with the Mail," "In and Out the Harbor (1)," "Jenny Lace Your Tight," "Jenny Pin Your Bonnet Tighter," "Lassie Tie Your Bonnet," "Rambler's Rest," "Tie the Bonnet," "Upstairs in a Tent (2)." Irish, Reel. A Dorian. Standard tuning (fiddle). AB (Breathnach): ABCD (Mitchell). An early version of the reel can be found in the mid-19th century music manuscript collection of D. Curtin of Sliabh Luachra as "A Favourite Reel" (No. 12, p. 5). As "Jenny Pin Your Bonnet Tighter" the reel appears in the c. 1885 music manuscript collection of fiddler Francis Reynolds (Gaigue, Ballinamuck, Co. Longford). Frances O'Neill prints versions of the tune under the titles "Tie the Bonnet," "Down with the Mail," and "Rambler's Rest (The)." Brendan Breathnach collected it in County Clare as "In and Out the Harbor (1)" and in Fermanagh as "Jenny Lace Your Tight." Peter Kennedy (1997) finds relatedness with "Jenny Nettles (1)." The Irish reel seems to have been originally a Scottish tune called "Janet Tyed the Bonnet Tight" (sometimes "Jeannie Tied the Bonnet Tight"), as printed in The Piper's Assistant (1854).
The melodic themes explored in the A dorian mode in "Jenny Tie Your Bonnet" can be heard in different but similar combinations in tunes like "Cavan Reel (The)," "Cottage in the Grove (2) (The)," "Faraway Wedding (1) (The)," "Gravel Walks (The)," "Gravelled Walks to Granny (The)," "Highland Man that Kissed his Grannie (1) (The)," "Jolly Seven (The)," "Lassie Tie Your Bonnet," "Lizzie's Bonnet," "Stenson's No. 1," "Tailor's Thimble (2) (The)."
See also the similar, perhaps cognate, first strain of the Scottish reel "Haud the Lass Till I Come at Her."
- ↑ Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by a unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler.