Paddy Fahey’s

Paddy Fahey’s

Is there a definitive list anywhere as to which Paddy Fahey’s reel/jig/whatever is which sorted by date written?

Re: Paddy Fahey’s

Thanks. That’s a pretty good start.

Re: Paddy Fahey’s

Yeah, it’s that search of the session.org that got me asking the question. There just isn’t much in the way of title differentiation in thesession’s slew of Paddy Fahey material. Some are key changes, some are completely different and all of it is fairly confusing. It they were numbered somewhere like in Kenny’s reference - that’s great. If there’s nothing denoting a numeric or whatever, then it’s logical (and therefore probably wrong in the ITM context) that tunes could be assigned a numerical index in chronological order.

One can only hope.

Re: Paddy Fahey’s

Be a bit careful with this. The man, himself, is still alive and he has the right to name or number his tunes as he sees fit. Any numbering system that Mr. Fahy has not approved seems to me to be quite disrespectful. He has made a point of leaving most of his tunes without names or numbers.

Re: Paddy Fahey’s

Good point Fiddler3, although it seems Maria Holohan already did that when she numbered the transcripts herself in her thesis.

Re: Paddy Fahey’s

Notations of a large number of Paddy Fahey’s tunes (12 jigs, 29 reels, 2 hornpipes) are given as .PDF files in the ‘Tune Library’ pages of www.rudemex.co.uk. They are numbered, but regrettably no information as to date of composition.

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Re: Paddy Fahey’s

Wow. That’s a lot of pdf’s!

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At least one of the rudemex files for the Paddy Fahey files is incorrect for the name and a comparison between a single file from the rudemex source and the Holoman thesis show significant differences. I wonder how "open-source" these files are considered. I.E., what’s the status if they’re re-created as abc notation. I’m fairly certain there’s low commonality with either of the aforementioned sources and the settings of same here on thesession.

Re: Paddy Fahey’s

Tremendous! So glad the Holohan thesis is digitized!

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I just finished converting the pdf transcriptions to abc notation:
http://www.thisoldtractor.com/guzzi007/Celtic/Paddy_Fahey_-_Maria_Holohan.zip
Paddy Fahey’s Jig no 7 isn’t actually in the thesis though. Somehow, Paddy Fahey’s Reel no 12 got substituted for that page in the pdf file so unless the original thesis still has the correct page or someone transcribes the recording, that particular version is lost.

All credit for the lovely transcriptions go to Maria Holohan of course. I hope she doesn’t mind the abc notation conversion.

Also; there may be some errors. Caveat Emptor.

Re: Paddy Fahey’s

Callison - your posting above says ‘At least one of the rudemex files for the Paddy Fahey files is incorrect for the name and a comparison between a single file from the rudemex source and the Holohan thesis show significant differences’. If you could identify the one (and others, if such there be) containing errors and/or discrepancies with the Maria Holohan settings I’ll try and correct them.

Further to your note on Jig No 7 . . . you’re right, it doesn’t show up in Holohan or the Rude Mex site, but I have come across a 32-bar jig attributed to Paddy Fahey that doesn’t occur elsewhere in the list. I’ve assumed that it may be the missing no. 7, but could be wrong. The Thesis was published in 1996, so I guess there may be any number of subsequent compositions. I’ve not tried putting a tune into abc, but will look up how to do it and post the ‘found’ jig.

And I endorse your note in appreciation of Maria Holhan’s work.

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Re: Paddy Fahey’s

Bazza, I’ll go back and look. My memory is a little short of remembering everything I’ve run across. FWIW: I’ve got a pretty good workflow and software for converting pdf’s and images to abc notation. I used the Rude Mex site to generate the basic tunes since they’re pdfs are clear vs the image massaging necessary to get the Holohan pages to convert then used those for the boilerplate of the thesis images. It’s quicker that way. So, in essence, I have the Rude Mex stuff in abc notation as well but didn’t feel justified in sticking it up somewhere as well. A lot of the Rude Mex and Holohan versions were identical except that the Rude Mex versions uses the more efficient |1 and |2 repeat sequences instead of completely writing things out as in the thesis versions.

Re: Paddy Fahey’s

Bazza, I went over the differences and they’re actually minor. That first statement of significant differences was based on a quick visual glance were the Holohan version had lots of lines (8) vs the Rude Mex version (4) which typically turned out to be a repetition on the transcription in the thesis. The only major difference I found was the addition of an extra measure on reel no 27 at the end to add a resolving eight-count note. The only other differences are the tuples as notated in the thesis vs the style done in the Rude Mex versions. That and the repeats etc would probably relate to how we do notation in the current era vs the era of the thesis where there was notably less musical notation software. Some other differences were the Rude Mex versions combined the varations into one score and the thesis typically has them as separate. This seems to hold true for all tunes where the basic title matches. When those vary, things get different in a big hurry and I haven’t looked into that so much. I don’t find any correlation with "Paddy Fahey’s Jig (web) transcription by Daniel Gourdon with any settings from thesession but it appears to be a variant with minor differences of Paddy Fahey’s Jig no 1 as found in the thesis.

I guess the long and the short of it is that there is a (logical) sequencing of the Paddy Fahey material but the titles of tunes by Paddy Fahey found on thesession don’t bear those numbers in general.

Re: Paddy Fahey’s

Quite apart from the taxonomical aspects of the Fahey oeuvre, one observation I’ve made (as, no doubt, have others) is that although the tunes are so distinctive and inventive, they all fall under the fingers remarkably readily for a fiddle player. (Don’t know what they’d be like on a euphonium …). The melody lines take you in unexpected directions, but very rarely do they demand exceptionally tricky or unconventional fingering: in fact, exactly the opposite - he seems to use some basic fingering tricks to achieve melodic idiosyncrasies, such as bouncing the tune off an interesting note played by the same finger on an adjacent string.

Another tune writer I’ve come across who manages to take tunes down unusual paths is Ian Hardie, but I find his compositions make more demands on the fiddle player. This one, at least.

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