Annotation:Take Her Out and Air Her (3): Difference between revisions
No edit summary |
No edit summary |
||
| Line 5: | Line 5: | ||
<br> | <br> | ||
<br> | <br> | ||
Petrie identifies this as a ''Cork reel''. Alan Jabbour says the tune is from a large tune family that includes O’Neill’s “[[Touch Me If You Dare (1)]]” and “[[Kit O' | Petrie identifies this as a ''Cork reel''. Alan Jabbour says the tune is from a large tune family that includes O’Neill’s “[[Touch Me If You Dare (1)]]” and “[[Kit O'Mahony's Hornpipe ]],” Joyce’s “[[Miss Redmond's Hornpipe ]]” and Ford’s “[[Rattlesnake Bit the Baby ]]," "[[Katy Did (2) ]]." | ||
<br> | <br> | ||
<br> | <br> | ||
Jabbour collected a tune from Glen Lyn, Virginia, fiddler Henry Reed, who learned the tune as a boy from an elderly fiddler and fifer named Quince Dillon, who was said to have participated int he Mexican-American War of the mid-19th century (see American Memory website [http://memory.1...:@field(Title+@band(British+Field+March | Jabbour collected a tune from Glen Lyn, Virginia, fiddler Henry Reed, who learned the tune as a boy from an elderly fiddler and fifer named Quince Dillon, who was said to have participated int he Mexican-American War of the mid-19th century (see American Memory website [http://memory.1...:@field(Title+@band(British+Field+March). Reed called the tune a ‘British field march’ and maintained it had been played by British bands during their retreat from their defeat at the hands of Andrew Jackson at the Battle of New Orleans in the War of 1812. Jabbour finds Ira Ford’s “[[Gilderoy (4)” ]] and a tune called “[[Lovely Molly ]]” in a manuscript collection of dance tunes from the latter 18th century as variants. Sharp’s version is identical to that published by Stanford in his 1905 edition of Petrie’s collection. | ||
<br> | <br> | ||
<br> | <br> | ||
Revision as of 05:44, 4 March 2018
Back to Take Her Out and Air Her (3)
TAKE HER OUT AND AIR HER (3). Irish, Reel or Country Dance Tune (2/2 time). Ireland, County Cork. A Dorian. Standard tuning. AB (Stanford/Petrie): AAB (Sharp).
Petrie identifies this as a Cork reel. Alan Jabbour says the tune is from a large tune family that includes O’Neill’s “Touch Me If You Dare (1)” and “Kit O'Mahony's Hornpipe ,” Joyce’s “Miss Redmond's Hornpipe ” and Ford’s “Rattlesnake Bit the Baby ," "Katy Did (2) ."
Jabbour collected a tune from Glen Lyn, Virginia, fiddler Henry Reed, who learned the tune as a boy from an elderly fiddler and fifer named Quince Dillon, who was said to have participated int he Mexican-American War of the mid-19th century (see American Memory website [http://memory.1...:@field(Title+@band(British+Field+March). Reed called the tune a ‘British field march’ and maintained it had been played by British bands during their retreat from their defeat at the hands of Andrew Jackson at the Battle of New Orleans in the War of 1812. Jabbour finds Ira Ford’s “Gilderoy (4)” and a tune called “Lovely Molly ” in a manuscript collection of dance tunes from the latter 18th century as variants. Sharp’s version is identical to that published by Stanford in his 1905 edition of Petrie’s collection.
Source for notated version: “From P. Carew’s MS” [Stanford/Petrie].
Printed versions: Sharp (Country Dance Tunes), 1909; p. 62. Stanford/Petrie (Complete Collection), 1905; No. 397, p. 101.
