Lady Iveagh polka

It is a march (I didn’t find march type) from Edward Bunting’s "Ancient Music of Ireland, third edition 1840.

Marches coming in many different key signatures there is no one place on site to file them under, but having ‘march’ listed at least in the alternate title list helps. In some cases converting old tendencies to transcribe them as 2/4 to 4/4 can make them easier on the eyes, less ‘black’ and easier to scan/read. As an exact example, if you were to do a search here using ‘march’, and they aren’t all yet so tagged, you’d see what I mean about the great variety of forms:

https://thesession.org/tunes/search?type=&mode=&q=march

Just because they used to notate marches as 2/4, and still often do in Scotland, doesn’t mean it is the best way to convey the nature of a march in ABCs or dots… It’s one way, but 4/4 more often just makes more musical sense, in my mind anyway… 😎
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ABC Notation

Modern ABC conventions, but old too, knowing both, pre and apre computers, is to not add the ‘2’ after the forward slash, as the forward slash on its own already means ‘halving’ the count. Simplifying part of your transcription ~

From ~ B/2A/2G/2F/2
To ~ B/A/G/F/ ~ past and current…

http://www.lesession.co.uk/abc/abc_notation.htm
http://en.wikipedia.org/wiki/ABC_notation
http://abcnotation.com/

Also, more generally, this is played as an air rather than specifically as a march, though Bunting in his collection “The Ancient Music of Ireland” suggests it being played “Quick and Spirited”. However, by that, Bunting’s suggested tempo is that a quarter note = 80 beats per minute, in general not ‘march time’. Other information on this is from his work:

Name: Lady Iveagh
Author and date: Thomas Connalon, 1660
Where and from whom procured: O’Neill, harper, 1792

Page 2 of “The Ancient Music of Ireland, arranged for the Piano Forte” 1840

I’ve simplified the transcription, but the notes are as Bunting gives them but also ‘note’ the bar count…

Where did you get your ABCs? Or, did you actually do this transcription yourself? 😏

Page 91 ~ VII. (No. 2 in the Collection.) “Bantighearna Iveagh.” “Lady Iveagh.” --- An air remarkable for its haughty and majestic style, suited most probably to the rank and character of the lady ot whom it was addressed. The Lady Iveagh, whose name is preserved in this characteristic melody, was Sarah, daughter of Hugh O’Neill, the great Earl of Tyrone. She was married to Art Toe Magennis, who was created Viscount Iveagh by patent of July 18th, 1623.