Chicago Irish Music Club, c. 1903. Timothy Dillon is standing in the back row, 5th from left (next to Chief O'Neill)YELLOW WATTLE [2] (An Bata Buide). Irish, Double Jig (6/8 time). D Major. Standard tuning (fiddle). AABB (Sullivan): AABBCCDD (O’Neill). Distantly related to "Yellow Wattle (1)". The 2nd, 3rd and 4th strains correspond to mid-19th century uilleann piper and collector James Goodman's "Yellow Wattle (5)." Abeyta et al [1] note that the first strain, not replicated in any other versions, is reminiscent of the first strain of O'Neill's "Church Hill." The authors speculate that source Timothy Dillon may have adapted that part and prefixed it to a three-part setting of "Yellow Wattle."
"Yellow Wattle" has also been called "Jackson's Yellow Twigg," invoking the name of Walker "Piper" Jackson, of Lisduan, Balligarry, County Limerick, who died in 1798. More tunes have been attributed to him than he could possibly have written, so the thinking goes, and this tune would seem to predate him. "Jackson's Yellow Twigg" was mentioned in a list of tunes played by biography:Isaac Isaacs, a German-born Jewish hammered dulcimer player of some renown in Dublin in the late 18th century[2]
Additional notes Source for notated version : - Francis O'Neill had the tune from fiddler and patrolman Timothy Dillon, originally from County Kerry. He received a sketch in Irish Minstrels and Musicians (1913, p. 395):
When it comes to traditional fiddle-playing in its most cultured sense, no one displays such marked individualityas Timothy M. Dillon of the Chicago police force. While not a few others of our acquaintance leave little or nothingto be desired in the way of rhythm, graces, and execution, the plaintive, pleading, haunting tomes which Officer Dillonproduces on his instrument are indescribably weird and wailing even in his reveling reels.
Many a pleasant hour has the present writer enjoyed listening to this wizard of the violin, and wondering howsuch peculiarly quaint music was produced. Notwithstanding the luxuriance of his turns, rills, and triplets, we noticedthat his finger tips slid slightly from the stops with much frequency, thereby shading the tones in a most expressiveway. This style of execution is practiced to a limited extent by capable violinists in playing airs. None but an expertwho had acquired the art in early life--and Dillon had--would attempt it in the rapid passages of Irish dance music.
Born in the Parish of Rathea a few miles from Newmarket West, County Limerick, the subject of this sketch commencedthe study of the violin in 1855, when but nine years old, under the tuition of Patrick O'Grady, and in a few yearswas ranked with the best of them. Old customs and usages had not yet been placed under the ban, so that young Dillon'spractice in dancing kept pace with his progress in music, and many are the contests he won among the disciples ofTerpsichore in his native county before heading for the "land of the free."
A genial, kindly gentleman in pubic and private life, he has never been afflicted with temperament, and is thereforeat peace with the world; able and willing to entertain all comers with music and true Irish hospitality.
Printed sources : - O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 353, p. 73. Sullivan (Session Tunes vol. 3); No. 6, p. 3.
See also listing at : Alan Ng's Irishtune.info [1]
Jane Keefer's Folk Music Index: An Index to Recorded Sources [2]
Hear versions of the jig on youtube.com [3][4]
↑Abeyta et al, Drawing from the Well, 2010, p. 17.
↑Further information can be found in Seán Donnelly, "A German Dulcimer Player in Eighteenth-Century Dublin", Dublin Historical Record, Vol. 53, No. 1 (Spring, 2000), pp. 77-86
Cookies help us deliver our services. By using The Traditional Tune Archive services, you agree to our use of cookies.
