Annotation:Touch Me If You Dare (1): Difference between revisions
*>Move page script |
m (Text replace - "[[{{BASEPAGENAME}}|Tune properties and standard notation]]" to "'''Back to [[{{BASEPAGENAME}}]]'''") |
||
Line 1: | Line 1: | ||
[[{{BASEPAGENAME}} | '''Back to [[{{BASEPAGENAME}}]]''' | ||
---- | ---- | ||
<p><font face="garamond, serif" size="4"> | <p><font face="garamond, serif" size="4"> | ||
Line 15: | Line 15: | ||
</font></p> | </font></p> | ||
---- | ---- | ||
[[{{BASEPAGENAME}} | '''Back to [[{{BASEPAGENAME}}]]''' |
Revision as of 11:27, 3 April 2012
Back to Touch Me If You Dare (1)
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.
Back to Touch Me If You Dare (1)