Annotation:Droghedy March
Tune properties and standard notation
DROGHEDY MARCH. AKA and see "Mummer's March (The)." Irish, March (6/8 time). Standard tuning (fiddle). ABCDEFDH. Fleischmann gives a reference for this tune in J. Brysson's A Curious Selection Of Favourite Tunes With Variations to which is added upwards of fifty favourite Irish Airs for the German Flute or Violin, with a Bass for the Harpsichord or Violoncello. Harmoniz'd by an Eminent Master (Edinburgh, c. 1790). He notes that the title of the melody probably refers to Charles Moore, 2nd Viscount Drogheda who as involved in the siege of that same town in 1642. He was killed in clashes with Owen Roe O'Neill in 1643. The title may also be a corruption of the Irish word draiocht, meaning magic (see note for "Drocketty's March").
A "Droghedy's March" from county Wexford is described by Patrick Kennedy in 1812 in his book On the Banks of the Boro:
<blocquote>
The tune called Droghedy's March was occasionally danced to among the
hornpipes, by a performer furnished with a short cudgel in each hand, which
he brandished and clashed in harmony with the tune. But we had the good fortune
to see it performed in a complete fashion on the borders of the barony of Bargy,
in the old manor-house of Coolcul, whose young men, joined by the stout
servants and labourers on the farms, were well able, in country parlance, to
clear a fair. Amongst these the present chronicler was initiated into the
mysteries of mumming, and was taught to bear his part in that relic of the
Pyrrhic or Druidic dance, "Droghedy's March." We practiced it in one of the
great parlours, and this was the style of it's execution: six men or boys
stood in line, at reasonable distance apart, and six others stood opposite
them, all armed as described. When the music began, feet, and arms, and sticks
commenced to keep time. Each dancer, swaying his body to the right and left,
described an upright figure of 8 with the fists, both of them following the
same direction, the ends of the sticks following the same figure, of course.
In these movements no noise was made, but at certain bars the arms moved
rapidly up and down, the upper and lower halves of the right-hand stick
striking the lower half of the left-hand stick in the descent of the right arm,
and the upper half of it in the ascent, and vice versa. At the proper point of
the march each man commenced a kind of fencing with his vis-a-vis, and the
clangs of the cudgels coincided with the beats of the music and the movements
of the feet. Then commenced the involutions, evolutions, interlacings and
unwindings, every one striking at the person with whom the movement brought
him face to face, and the sounds of the sticks supplying the hoochings in
the reels....The steps, which we have forgotten, could not have been difficult,
for we mastered them.....This war dance is (or was) performed to a martial tune
resembling Brian Boru's march... [Pp.231-32]
See O'Neill's "Mummer's March (The)" and Darley & McCall's "Drocketty March" for more.
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