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Irish fiddlers have often recorded "The Banks" as well, including Michael Coleman, Lad O'Beirne, Sean McGuire, Andy McGann, Sean Keane, Seamus McGuire, and Joe Burke. Queens, New York, fiddler Brian Conway plays an exquisite version. However, Fr. John Quinn finds versions in Irish tradition in much earlier musicians' music manuscripts under the title "Morgan's Hornpipe." Fr. Quinn analyzed versions of the tune and came to some surprising conclusions:

If one carefully studied the ABC structure of a fairly complete selection of tune variants, one might be expected to arrive at what the original setting the composer intended. It might become obvious how jumbled settings arose from performers not understanding the original intended structure.

A case in point is “Morgan’s Hornpipe”, [Stephen] Grier’s [1883] version of which I attach...The tune has a very clear structure: A, B+A; A’, B’+A’. The second half of the second part is a repeat of the first part. The third part is a variant on the first part, and the fourth a variant on the second plus a repeat of the variant on the first part. I imagine if Morgan, if he was the composer, wished to add a further variation, it would be A”, B”+A”, and if another A’’’, B’’’+A’’’, etc.

But it is obvious that nobody that I know of who has gone into print, or who has attempted to play this tune, actually understood the original intended structure. W.B. Lawrence, in Köhler, has quite a jumbled structure: A, B+A”, A’+A’’’. Scott Skinner has perpetuated this structure, only varying the individual bars in his highly ornamented version, published by Hardie. In Ireland, Coleman and Maguire popularised this jumble. Ryan’s Mammoth Collection has a simpler setting, closer to the original, but which also doesn’t understand the intended structure: he has A, B+A’, B’. He claims Luigi Ostinelli of Boston as the composer, whereas Hardie has the story about Parazotti composing it under Mrs. Taff’s roof. The garbled structure of both Ostinelli’s and Parazotti’s “compositions” is proof enough to me that neither of them was the composer.

The Grier setting attached has the coherence to justify attributing this tune to Morgan, whoever that Morgan was. Some day we may find out. If there were no other reference associating this gentleman with this hornpipe, we might be inclined to say maybe Grier called it after someone he got it from, for example. But there is an oblique reference to our man: John McCarthy of Cappamore, whose manuscripts range from 1876 to 1912, has a very minimal manuscript version of the tune, with structure A, A’ only, but with the title “The Morigan Hornpipe”. The intrusive “i” may be just the way “Morgan” was pronounced, following a similar intrusive “ə” whenever a “g” follows an “r” in Gaelic.

...more at: Banks Hornpipe - full Score(s) and Annotations

X:2 T: The Banks T: Banks Hornpipe [1] S: McGann / Conway R: hornpipe M: 4/4 L: 1/8 K: G V: 1 clef=treble name="2." [V:1] (3DEF|G2 B2 B2 (3dBG|F2 A2 A2 (3cAF | C2 e2 e2 fg | ^cded =cBAG | B,2 d2 d2 ef | C2 e2 e2 fg | FGAB cAFA | G2 B2 G2 :| |:ba | b2 g2 g2 (3bab | a2 f2 f2 (3aba | g2 e2 e2 ag | fed^c d2 D2 | Fdad Fdad | Gdgd Gdgd | ^cdef gece | d^cde d=cBA | GBdB gdAG | FAdA fAGF | EGBG edcB | ABAG FEDC | B,GdG B,GdG | CGeG CGeG | FGAB cAFA | G2 B2 G2 :| P: original key Eb K: Eb |:(3B,CD|E2 G2 G2 (3BGE|D2 F2 F2 (3AFD|A,2 c2 c2 de| =ABcB _AGFE | G,2 B2 B2 cd | A,2 c2 c2 de | DEFG AFDF | E2 G2 E2 :| |:gf| g2 e2 e2 (3gfg | f2 d2 d2 (3fgf | e2 c2 c2 fe | dcB=A B2 B,2 | DBfB DBfB | EBgB EBgB | =ABcd ecAc | B=ABc B_AGF | EGBG eBFE | DFBF dFED | CEGE cBAG | FGFE DCB,A, | G,EBE G,EBE | A,EcE A,EcE | DEFG AFDF | E2 G2 E2 :||