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{{SheetMusic
{{SheetMusic
|f_track=Tom Brigg's Jig.mp3
|f_track=Leo Rowsome - St Patrick's Day.mp3
|f_pdf=Tom Brigg's Jig.pdf
|f_pdf=St.Patricks Day.pdf
|f_artwork=Briggs' banjo instructor.jpg
|f_artwork=Irish brigade.jpg
|f_tune_name=Tom Briggs' Jig
|f_tune_name=St. Patrick's Day
|f_track_title=Tom Briggs' Jig
|f_track_title=St. Patrick's Day
|f_section=abc
|f_section=X11
|f_played_by=[https://www.youtube.com/channel/UCULm3jROXEj83hMZCFllrcw Jordi Savall]
|f_played_by=[https://open.spotify.com/artist/5ZIhbzIF7v2lYvU6Xoogn6?si=rKsfUZJNTBm2ULon6nJQOQ Leo Rowsome]
|f_notes= Briggs' banjo instructor.
|f_notes=The Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy.
|f_caption=Briggs' banjo instructor (music) : containing the elementary principles of music, together with examples and lessons, ... to which is added a choice collection of pieces, numbering over fifty popular dances, polkas, melodies, &c. &c., many of which have never before been published. Composed and arranged expressly for this work.
|f_caption=This is the only occasion on which country dances are performed at the Irish court. The ball on Patrick’s night is always opened by the lively dance of “Patrick’s day.” The dowagers of both sexes then come into play; and “the Irish trot” of many a veteran belle, recalls the good old times of the Rutland Court: when French quadrilles were “undreamed of in philosophy” of the dancing of that noted epoch.
|f_source=[https://www.youtube.com/watch?v=Gb1J11feTbc Youtube]  
|f_source=[https://open.spotify.com/track/1sCZEFYWr8558PJQy2Y9PH?si=54e4302356dd4aa3 Spotify]  
|f_pix=420  
|f_pix=420  
|f_picpix=200
|f_picpix=200
|f_article=[[Tom Briggs' Jig | '''Tom Briggs' Jig''']]
|f_article=[[St. Patrick's Day | '''St. Patrick's Day''']]


Tom Briggs (c. 1824/25-1854) learned to play the banjo from one of the first blackface minstrel musicians, Bill Whitlock. He played with Wood's Minstrels and performed in England in 1849.  
The first mention of the tune is that it was one of two tunes (with "The White Cockade") played by the pipers of the Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy on May 11, 1745.  


He traveled to California with E.P. Christy's Minstrels in the mid-1850's, via the Gulf of Mexico and the Isthmus of Panama, to tour the gold camps and to perform in San Francisco. However, soon after opening night in that city he succumbed to typhoid fever or tuberculosis contracted in Panama. His banjo tutor, '''Briggs' Banjo Instructor''' (Oliver Ditson, Boston 1855) was completed by his friend, minstrel James Buckley.  
Flood (1906) and O’Neill (1913) believe was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which survived only in Scotland) of which there is any mention.


Tom Briggs, according to Edward Le Roy Rices’ '''Monarchs of Minstrelsy''' (New York, 1911) was:
'''Rutherford's 200 Country Dances, volume 1''', 1756, contains the first country dance printing of the tune, which also appears in English collections as a jig by the name "[[Barbary Bell]]." 
<blockquote>
 
''...one of the earliest and greatest banjo performers in minstrelsy; when he first went''
Typically for popular melodies of the time, it also became the vehicle for many songs, including air 35, "A plague of these wenches," in the opera '''Love in a Village''' by T.A.
''on the stage, in the early 40’s, he travelled under the name of Fluter. He invented the''  
Arne and I. Bickerstaffe (London, 1762). As song, country dance or quickstep it remained popular for many years. In later military tradition it was played on December 31, 1811 by the 87th Regiment band as a French attack became a rout at Tarifa, and Winstock (1970) remarks it was a favourite quickstep of the Napoleonic era Peninsular War in the British army.  
''banjo thimble in 1848 [used for rapid tremolo picking], and it came into general use three''
 
''years later. He was the first to do the bell chimes  [i.e. harmonics] , and gave imitations''
Queen Victoria requested the melody from piper Thomas Mahon when she and the Prince Consort visited Ireland for the first time in 1849. Mahon was surprised to learn that she and the Prince were familiar “with the best gems in Irish music,” and he also played “The Royal Irish Quadrilles” and “Garryowen” at their behest.
''of a horserace on the banjo. He played successful engagements in the 40’s and 50’s with''
 
''Wood’s Minstrels, likewise Buckley’s Serenaders. September 20 1854, he left New York''
The Queen must have been impressed with his playing, for she directed that henceforth Mahon have the title “Professor of the Irish Union Bagpipers to Her Most Gracious Majesty, Queen Victoria” (O’Neill, 1913). English country dance versions appear several times in James Oswald’s '''Caledonian Pocket Companion''' (London, 1760), and James Aird printed it in Glasgow in his '''Selection of Scotch, English, Irish and Foreign Airs, vol. 1''' (1782). In fact, English printings of the tune by far predate Irish ones, and it may be the provenance is English, despite the Irish-sounding title.  
''with E.P. Christy’s Minstrels to play an engagement in San Francisco; he contracted an''  
''illness on the way, and was unable to play. Tom Briggs died in San Francisco October 23, ''
''1854; aged 30 years.'' (p. 46)
</blockquote>
}}
}}

Latest revision as of 15:53, 17 March 2024



This is the only occasion on which country dances are performed at the Irish court. The ball on Patrick’s night is always opened by the lively dance of “Patrick’s day.” The dowagers of both sexes then come into play; and “the Irish trot” of many a veteran belle, recalls the good old times of the Rutland Court: when French quadrilles were “undreamed of in philosophy” of the dancing of that noted epoch.
St. Patrick's Day

Played by: Leo Rowsome
Source: Spotify
Image: The Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy.

St. Patrick's Day

The first mention of the tune is that it was one of two tunes (with "The White Cockade") played by the pipers of the Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy on May 11, 1745.

Flood (1906) and O’Neill (1913) believe was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which survived only in Scotland) of which there is any mention.

Rutherford's 200 Country Dances, volume 1, 1756, contains the first country dance printing of the tune, which also appears in English collections as a jig by the name "Barbary Bell."

Typically for popular melodies of the time, it also became the vehicle for many songs, including air 35, "A plague of these wenches," in the opera Love in a Village by T.A. Arne and I. Bickerstaffe (London, 1762). As song, country dance or quickstep it remained popular for many years. In later military tradition it was played on December 31, 1811 by the 87th Regiment band as a French attack became a rout at Tarifa, and Winstock (1970) remarks it was a favourite quickstep of the Napoleonic era Peninsular War in the British army.

Queen Victoria requested the melody from piper Thomas Mahon when she and the Prince Consort visited Ireland for the first time in 1849. Mahon was surprised to learn that she and the Prince were familiar “with the best gems in Irish music,” and he also played “The Royal Irish Quadrilles” and “Garryowen” at their behest.

The Queen must have been impressed with his playing, for she directed that henceforth Mahon have the title “Professor of the Irish Union Bagpipers to Her Most Gracious Majesty, Queen Victoria” (O’Neill, 1913). English country dance versions appear several times in James Oswald’s Caledonian Pocket Companion (London, 1760), and James Aird printed it in Glasgow in his Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (1782). In fact, English printings of the tune by far predate Irish ones, and it may be the provenance is English, despite the Irish-sounding title.

...more at: St. Patrick's Day - full Score(s) and Annotations

X:11 T:Patrick's Day in the Morning with Variations M:6/8 L:1/8 R:Jig S:Philip Carolan music manuscript collection N:Philip Carolan (c. 1839-1910, Crossmolina, County Mayo), a musically literate N:farmer and fiddler who compiled his ms. probably during 1863-1873. S:Angela Buckley, thesis, “A Critical Edition of the Irish Music Manuscripts of S:Philip Carolan c. 1839-1910, vol. 2”, Waterford Institute of Technology, S:2007, p. 118. Carolan ms. 2, No. 34. K:G V:1 clef=treble name="11." [V:1] D|GAG GAB|ded dcB|AcB AGF|EFE E2D| GAG GBd|gfe dcB|AcB AGF|1 E2F G2:|2 E2F G3|| |:def gag|fed edB|def gag|fed e3| def gag |fed efg|gdB ecA|1 dBG AGF:|2 dBG AGD|| |:(G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED| E/F/(GF) .E.Dz| |:(G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED|E2-F G2z:| |:def (g/a/)g/f/e|(f/g/)f/e/d e2B|def (g/a/)g/f/e|(f/g/)f/e/d e2-f| def (g/a/)g/f/e|(d/e/)f/e/d e2B|def (g/a/)g/f/e|(f/g/)f/e/d efg| (G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED|E/F/(GF) EDz| (G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED|(E2F) G2z:| |:.G/.A/.B/.c/.d/.e/ .B/.c/.d/.e/.f/.g/|ded dBG|.B/.A/.B/.c/.d/.c/ .B/.A/.G/.F/.E/.D/|.E/.F/GF EDz| .G/.A/.B/.c/.d/.e/ .B/.c/.d/.e/.f/.g/|ded dBG|.B/.A/.B/.c/.d/.c/ .B/.A/.G/.F/.E/.D/|E2F G2:|]


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