Annotation:Touch Me If You Dare (1): Difference between revisions

Find traditional instrumental music
(Created page with '[[{{BASEPAGENAME}}|Tune properties and standard notation]] ---- <p><font face="garamond, serif" size="4"> <p><font face="garamond, serif" size="4"> '''TOUCH ME IF YOU DARE [1] (B…')
 
No edit summary
Line 1: Line 1:
[[{{BASEPAGENAME}}|Tune properties and standard notation]]
[[{{BASEPAGENAME}}|Tune properties and standard notation]]
----
----
<p><font face="garamond, serif" size="4">
<p><font face="garamond, serif" size="4">
<p><font face="garamond, serif" size="4">
'''TOUCH ME IF YOU DARE [1] (Buin Liom Ma's B-Fearr Leat)'''.
'''TOUCH ME IF YOU DARE [1] (Buin Liom Ma's B-Fearr Leat)'''.

Revision as of 11:17, 27 October 2010

Tune properties and standard notation


TOUCH ME IF YOU DARE [1] (Buin Liom Ma's B-Fearr Leat). AKA and see "You Rogue, You Daren't Meddle Me." Irish, Reel. A Dorian, Standard. AAB. Alan Jabbour says the tune is from a large tune family that includes Petrie’s “Take Her Out and Air Her (3) " O’Neill’s “Kit O’Mahony’s Hornpipe ,” Joyce’s “Miss Redmond’s Hornpipe ” and Ford’s “Gilderoy (2) .” American fiddler Henry Reed had a variant (called simply “British Field March”) from an elderly fiddler and fife player named Quince Dillon, and claimed it had been played by the British to retreat in the Battle of New Orleans. See also the related reel “Old Torn Petticoat .” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1388, pg. 258. Roche Collection, 1982, vol. 3; No. 85, pg. 26.


Tune properties and standard notation