Annotation:Port Patrick (1): Difference between revisions

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PORT PATRICK [1] (Cuain-Padraic). AKA and see "Lass and the Money is All My Own (The)." Scottish, Irish; Air, March or Double Jig. G Major (O’Neill): A Mixolydian (Bremner). Standard tuning (fiddle). AABB. Portpatrick [1] is a coastal village in Dumfried and Galloway, southwest Scotland, with a sheltered harbor. It was a ferry port of passengers, postal mail and freight between Ireland and Scotland. At one time it was a destination for couples from Ireland seeking a quick wedding, conducted by the Church of Scotland minister (see note for "annotation:English Bring to Gratney Green the Lasses that Hae Siller (The)" for more). According to Alison Kinnaird, however, Port simply means a 'tune' in harp repertory, for 'Patrick's tune' and categorize it as part of the harp canon. John Purser disagrees, and is of the opinion that the title does refer to the town, and not an older harp tune. The tune is sometimes attributed Rory Dall (Blind Rory), although there were two harper-composers by that name; one Blind Roderick Morison (c. 1660-1713) was the harper to the MacLeods on the island of Skye, while the other was an older Irish harper who plied his trade in Scotland. The connection to either one has yet to be established, and there is some doubt the tune predates the mid-18th century.

John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. His contemporary, James Oswald, printed the tune about the same time in two sections: the first being a duple-time slow setting, the second the lively jig that usually appears alone as "Port Patrick." The tune appears in a few American musicians' manuscript of the latter 18th century, sometimes as a quickstep, including the copybooks of fifer Thomas Nixon (Danbury, Conn., 1776-78), fiddlers John and William Pitt Turner (Norwich, Conn., 1788), and fiddler George White (Cherry Valley, N.Y., 1790). See also note for "annotation:Lass and the Money is All My Own (The)" for more.

Source for notated version:

Printed sources: Bremner (Scots Reels), c. 1757; p. 25. Gatherer (Gatherer’s Musical Museum), 1987; p. 23. Kerr (Merry Melodies, vol. 3), c. 1880's; No. 251, p. 28. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 356, p. 73. Oswald (Caledonian Pocket Companion, Book 12), 1760; p. 15.

Recorded sources: Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004. Learned from concertina player Tim Collins, of the Kilfenora Ceili Band). Temple 001, Alison Kinnaird - "Harp Key"(1978).

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-John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. His contemporary, James Oswald, printed the tune about the same time in two sections: the first being a duple-time slow setting, the second the lively jig that usually appears alone as "Port Patrick." The tune appears in a few American musicians' manuscript of the latter 18th century, sometimes as a quickstep, including the copybooks of fifer Thomas Nixon (Danbury, Conn., 1776-78), fiddlers John and William Pitt Turner (Norwich, Conn., 1788), and fiddler George White (Cherry Valley, N.Y., 1790).
+John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. His contemporary, James Oswald, printed the tune about the same time in two sections: the first being a duple-time slow setting, the second the lively jig that usually appears alone as "Port Patrick." The tune appears in a few American musicians' manuscript of the latter 18th century, sometimes as a quickstep, including the copybooks of fifer Thomas Nixon (Danbury, Conn., 1776-78), fiddlers John and William Pitt Turner (Norwich, Conn., 1788), and fiddler George White (Cherry Valley, N.Y., 1790). See also note for "[[annotation:Lass and the Money is All My Own (The)]]" for more.
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