The Cliffs Of Moher jig

This tune sounds just as good played fast as it does played slowly. However, I find that I can put more expression into the music at the slower speed.

Given the title of the tune, it might be safe to assume that this is a County Clare tune. The Clare style of playing tends to be slower than in other regions, with a distinctly sad, or “blue” sound.

Sliding up to notes, especially the opening A, sounds nice. Don’t worry if your intonation isn’t perfect; that’s part of the Clare sound, too. 🙂

On the last round of playing this tune try finishing on a low A. This means replacing the last bar with EDC A.

I think the ending in the last two bars is nicer as efgbaged(low)ba. its really nice as a variation

T:Cliffs of Moher
M:6/8
L:1/8
S:Skip Healy - have ye this one\have ye this one
R:jig
Z:gm
K:G maj
d|:~a3 bag|eaf ged|c2A BAG|EFG A2e|~a3 bag|e/f/af ged|cBA BAG|EFG A2:|:d|~e3 dBA|~e dBA|G2B dBA|~G3 dBd|1~e3 dBA|e/f/ge dBA|GAB dB/c/d|edB A2:|2~d3 dee|cee Bee|EFG AGE|dBe A2||

As taught to a friend by Patrick Ourceau. I just love the turn on the end of the B part. To wrap this setting up, it seems best to end on the A part.

X: 1
T: Cliffs Of Moher, The
M: 6/8
L: 1/8
R: jig
K: Gdor
d|:gfg agf|dge fdc|B2G AGF|DEF G (3ABc|
dgg agf|dge fdc|B2G AGF|DEF G3:|
~d3 cAG|~d3 cAG|FGA cAG|FGA cAc|
~d3 cAG|~d3 cAG|FGA cAG|DEF G3|
~d3 cAG|~d3 cAG|FGA cAG|FGA cAc|
Add edd|cdd =Bdd|G=Bd D^FA|G=Bd f2 d||

Ken

Key signature: E Dorian
+ other transcripts in the ‘Comments’
Submitted on January 30th 2003 by Dow.
https://thesession.org/tunes/1390

…and in O’Neill’s you would find this…

X: 861
T: The Cliffs Of Moher
S: O’Neill’s Music Of Ireland
R: jig
M: 6/8
L: 1/8
K: G
d|gfg agf|dgg fdc|AGG (A/2G/2FE)|DGG AGG|
gfg agf|dgg fdc|AGG (A/2G/2FE)|DGG G2:|
|:A|ded cAA|ded cAG|(F/2G/2A).B cAG|(F/2G/2A).B c2A|
ded cAA|ded cAG|(F/2G/2A).B cAG|FGG G2:|

Kevin Burke chops off the very last dotted crotchet (the A3) just before going back to playing the tune a second time through.

|:a3 bag| eaf ged| c2A BAG| EFG ABd|

etc to last line

efe ded| cec BeB| GAB dBA| EFG | and back to start.

It works really well.

Watch and listen to Sorcha Costello play a very hauting version of the tune: http://comhaltas.ie/music/detail/comhaltaslive_265_5_sorcha_costelloe

If I’m not mistaken, she is Mary MacNamara’s daughter.

P.J. Hernon recorded a G major version of the tune, which is close to what “WhistlinLeeds” posted above.

There’s a very similar G major jig called “An Tiochfaidh Tu Abhaile Liom”: https://thesession.org/tunes/1220

Kevin Burke. Truncating the last bar (as described above) after the second time through but not the first time. http://www.youtube.com/watch?v=SsMril_qCHk

play video

Second tune. http://www.youtube.com/watch?v=KBONRwNY77c They do end on the A part as mentioned in a post above.

play video

I can see why a fiddler might prefer to play in in Gdor.

Setting 7 here is my transcription of Clare accordion player Johnny McCarthy’s recording from his CD “Steele’s Rock”. He plays it twice through with very little variation and then ends with half of the A part. I’ve omitted the cuts he uses (mostly on the long notes at the start of measures). Other than that, I’m not hearing ornamentation. This is the second tune of a set starting with Banish Misfortune. I added his setting of that yesterday.

https://www.youtube.com/watch?v=hD3DcBIO8es

play video

This is the setting we play in Alkmaar. The biggest difference compared to the first listed setting is the final two bars.

Poor sight without glasses, thought this was the Cliffs of Mother.

Played by Seamus Tansey on flute - first jig, followed by “Paddy Fahey’s” :
https://youtu.be/Bv0Pyys4CGo

play video

From the playing of Emmett Cooke.

From the playing of Perpetual e-Motion.

From the playing of Turas.

From the playing of Connemara.

Version transcribed from Tommy Keane album “The Piper’s Apron”