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|f_tune_title=Battering Ram (1) (The)
|f_tune_title=Battering Ram (1) (The)
|f_aka=Mary O'Hara (1)
|f_country=Ireland
|f_country=Ireland
|f_genre=Irish
|f_genre=Irish
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|f_year=1974
|f_year=1974
|f_page=No. 54
|f_page=No. 54
|f_theme_code_index=1H6 1H4 1H5 41
|f_theme_code_index=1H61H4 1H541
|f_score=1
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T:Battering Ram, The
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T:Battering Ram [1], The
R:jig
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N:Lesl Harker says it is nearly identical to Mike Rafferty's setting
N:Lesl Harker says it is nearly identical to Mike Rafferty's setting
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B|deg aga|bge edB|deg aga|bge e/f/ga|\
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bag age|ged e/f/ge|dBG AGE|GED D2:|*
bag age|ged e/f/ge|dBG AGE|GED D2:|
d|B2G A2G|B2D D2d|BAG AGE|GED D2d|\
d|B2G A2G|B2D D2d|BAG AGE|GED D2d|
B2G A2G|B/c/dB BAG|AGA BAB|GED D2:|**
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T:Battering Ram [1], The
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'''BATTERING RAM [1], THE.''' Irish, Double Jig. G Major. Standard tuning. ABC (Flaherty): AABBCC (most versions): ABCD (Miller). Doolin, north County Clare, tin whistle player Micho Russell saw the melody as a programmatic piece which reminded him of the battering ram which the English used to evict poor people in Ireland in the 19th century. Each succeeding part represented the increasing force of the ram as it demolished the house. Ciaran Carson, in his book Last Night's Fun (1996) describes flute player Seamus Tansey's rendition of the melody:
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He soars into 'The Battering Ram'-not the standard version, but the
one he got from Jim Donoghue, the great Sligo tin-whistle-player who
perversely played a 'C' whistle ('D' is standard) out of the side of his
mouth, and produced a great strong flute-like tone full of wood and
embouchure and breath, jumping octaves; and he put a funny twist
into this jig; reversing it and generally standing phrases on their
heads. Tansy imputes many of his stylistic traits to Donoghue, and
this tune is a tribute, an hommage, a dedication, Tansey playing it
beautifully as he can because he loves the playing of Jim Donoghue,
and he is beholden to him.  (pgs. 60-61)
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Much further a-field (and admittedly irrelevant to the tune), 'Battering' has another meaning in the context of Irish music and dance, however, signifying the production of rhythm to the beat of the music. John Kerr (Irtrad 3/03) explains:
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"Battering", in relation to dancing of Irish country sets (e.g. Caledonian,
Lancers, etc.), is the pounding out of rhythm with the feet that is done by
the dancers as they execute the figures of the set.  Traditionally,
battering was typically done by the male dancers, and often in the old house
dancing days a flagstone was specially placed with no earth underneath it
in front of the fireplace so as to better pick up the rhythms pounded out by
the dancer at the top of the set. I have seen demonstrations of older
dancers in Clare dancing sets and battering in the traditional style, and
it's a truly beautiful thing. Even without the music, you could hear the
rhythms of the tune being played, be it a reel, jig or hornpipe, and almost
be able to ascertain what tune it was by name.
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<blockquote>Nowadays, in "modern" set dancing, everybody batters, and the sky's the
limit. There's no subtlety at all, no nuance, no art or music to it
whatsoever. To gain a sense of it, think of the finest, most artful bodhran
playing you have ever heard. Then think of a room full of bodhran players
pounding away at will, as loud as they can. The gulf between what battering
once was and what it has now been reduced to is a thousand times greater
than that.</blockquote>
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Sources for notated versions: 'Clarke's whistle' {i.e. a conical whistle} player Jim Donoghue, 1910-1990 (Drimacoo, Monasteraden, Co. Sligo, Ireland) [Flaherty]; the Tulla Ceili Band [Mulvihill]; sessions in the Regent Hotel, Leeds, England [Bulmer & Sharpley]; the 1968 Topic recording of Lucy Farr (1911-2003, Co. Galway), Jimmy Power (1918-1985, Co. Waterford) & Andy O'Boyle (Co. Mayo) [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; from a recording of Sean Ryan [O'Malley].
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''Printed sources:'' Brody ('''Fiddler's Fakebook'''), 1983; pg. 36. Bulmer & Sharpley ('''Music from Ireland'''), 1974, vol. 1, No. 54. Flaherty ('''Trip to Sligo'''), 1990; pg. 178. Harker ('''300 Tunes from Mike Rafferty'''), 2005; No. 227, pg. 70. Mallinson ('''Essential'''), 1995; No. 95, pg. 41. Miller & Perron ('''Traditional Irish Fiddle Music'''), 1977; vol. 1, No. 32. Miller & Perron ('''Traditional Irish Fiddle Music,''' 2nd Edition), 2006; pg. 14. Mulvihill ('''1st Collection'''), 1986; No. 77, pg. 81. O'Malley ('''Luke O'Malley's Collection of Irish Music,''' vol. 1), 1976; No. 97, pg. 49. Russell (The Piper's Chair), 1989; pg. 12. Sullivan ('''Session Tunes'''), vol. 2; No. 29, pg. 12. Tubridy ('''Irish Traditional Music,''' vol. 1), 1999; pg. 35.
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''Recorded sources:'' Front Hall, How To Change a Flat Tire- "A Point of Departure." Shanachie 79021, "Chieftains #1." Topic Records 12T176, Jimmy Power, Lucy Farr & Andy O'Boyle - "Paddy in the Smoke: Irish Dance Music from a London Pub" (1968).
See also listings at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources [http://www.ibiblio.org/keefer/b04.htm#Batra]
Alan Ng's Irishtune.info [http://www.irishtune.info/tune/3696/]
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T:Battering Ram, The [1]
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B|dBG BAG|dBG G2B|dBG AGE|GED D2B|
B|dBG BAG|dBG G2B|dBG AGE|GED D2B|
dBG BAG|B/c/dG BAG|A3 BAB|GED D2:|
dBG BAG|B/c/dG BAG|A3 BAB|GED D2:|
|:B|deg aga|bge edB|deg aga|bge e2b|bag age|ged e/f/ge|dBG AGE|GED D2:|
|:B|deg aga|bge edB|deg aga|bge e2b|
bag age|ged e/f/ge|dBG AGE|GED D2:|
|:d|B/c/BG A/B/AG|B/c/BD D2B|BAG AGE|GED ded|
|:d|B/c/BG A/B/AG|B/c/BD D2B|BAG AGE|GED ded|
B/c/BG A/B/AG|B/c/dG BAG|AGA BAB|GED D2:||
B/c/BG A/B/AG|B/c/dG BAG|AGA BAB|GED D2:||
 
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T:Battering Ram, The
M:6/8
L:1/8
R:Jig
B:Treoir, vol. 38, No. 2, 2007 (p. 29)
D:Dublin Records LP, Laichtín Naofa Céilí Band - "Come to an Irish Dance Party" (1959).
N:The Laichtín Naofa Céilí Band, Co. Clare, were winners of the Oireachtas in 1959.
K:G
B|dBG BAG|dBG G2B|dBG AGE|GED D2B|
dBG BAG|BdB BAG|AGA BAB|GED D2:|
|:B|deg aga|bge edB|deg aga|bge ega|
bag age|ged ege|dBG AGE|GED D2:|
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B2G A2G BdB BAG|AGA BAB|GED D2:|
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Latest revision as of 00:34, 19 August 2023


Battering Ram (1) (The)  Click on the tune title to see or modify Battering Ram (1) (The)'s annotations. If the link is red you can create them using the form provided.Browse Properties <br/>Special:Browse/:Battering Ram (1) (The)
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 Theme code Index    1H61H4 1H541
 Also known as    Mary O'Hara (1)
 Composer/Core Source    
 Region    Ireland
 Genre/Style    Irish
 Meter/Rhythm    Jig/Quadrille
 Key/Tonic of    D
 Accidental    2 sharps
 Mode    Ionian (Major)
 Time signature    6/8
 History    
 Structure    AABBCC
 Editor/Compiler    Biography:Bulmer & Sharpley
 Book/Manuscript title    Book:Music from Ireland vol. 1
 Tune and/or Page number    No. 54
 Year of publication/Date of MS    1974
 Artist    
 Title of recording    
 Record label/Catalogue nr.    
 Year recorded    
 Media    
 Score   (1)   



Battering Ram (1) (The): Annotations

X:1 T:Battering Ram [1], The R:jig M:6/8 L:1/8 Z:Jeff Myers N:Based on the playing of Billy McComiskey N:Lesl Harker says it is nearly identical to Mike Rafferty's setting K:D B|dBG BAG|dBG G2B|dBG AGE|GED D2 B| dBG BAG|B/c/dB BAG|AGA BAB|GED D2:| B|deg aga|bge edB|deg aga|bge e/f/ga| bag age|ged e/f/ge|dBG AGE|GED D2:| d|B2G A2G|B2D D2d|BAG AGE|GED D2d| B2G A2G|B/c/dB BAG|AGA BAB|GED D2:|


X:2 T:Battering Ram [1], The L:1/8 M:6/8 K:G B|dBG BAG|dBG G2B|dBG AGE|GED D2B| dBG BAG|B/c/dG BAG|A3 BAB|GED D2:| |:B|deg aga|bge edB|deg aga|bge e2b| bag age|ged e/f/ge|dBG AGE|GED D2:| |:d|B/c/BG A/B/AG|B/c/BD D2B|BAG AGE|GED ded| B/c/BG A/B/AG|B/c/dG BAG|AGA BAB|GED D2:||


X:1 T:Battering Ram, The M:6/8 L:1/8 R:Jig B:Treoir, vol. 38, No. 2, 2007 (p. 29) D:Dublin Records LP, Laichtín Naofa Céilí Band - "Come to an Irish Dance Party" (1959). N:The Laichtín Naofa Céilí Band, Co. Clare, were winners of the Oireachtas in 1959. K:G B|dBG BAG|dBG G2B|dBG AGE|GED D2B| dBG BAG|BdB BAG|AGA BAB|GED D2:| |:B|deg aga|bge edB|deg aga|bge ega| bag age|ged ege|dBG AGE|GED D2:| |:c|B2G A2G|B2D D2c|BAG AGE|GED Ddc| B2G A2G BdB BAG|AGA BAB|GED D2:|


Battering Ram (1) (The): Annotations

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