menu
Log in or Sign up

Táim In Arrears slip jig

There are 13 recordings of this tune.

This tune has been recorded together with Hardiman The Fiddler (lots of times).

Táim In Arrears appears in 1 other tune collection.

Táim In Arrears has been added to 6 tune sets.

Táim In Arrears has been added to 27 tunebooks.

Download ABC

Five settings

1
X: 1
T: Táim In Arrears
R: slip jig
M: 9/8
L: 1/8
K: Ador
eaa aba ged|eaa age g2a|
baa aba ged|1 ede gdB AB/c/d:|2 ede gdB A3||
BAA ABA G2A|BAA AB/c/d e2d|
ege dBA G2A|1 BeB dBA A3:|2 BeB dBA AB/c/d||
2
X: 2
T: Táim In Arrears
R: slip jig
M: 9/8
L: 1/8
K: Gmaj
|:D2G GAG FGA|BAB GAB [c2C2]d|DGG GAG FGA|{d}BAB cAF [G2G,2]d:|
|:d (3fed cAG FDD|d (3fed cAB [c2C2]c|d (3fed cAG FGA|{d}BAB cAF [G3G,3]:|
3
X: 3
T: Táim In Arrears
R: slip jig
M: 9/8
L: 1/8
K: Amaj
|:~E2A ABA GAB|cBc ABc d2e|EAA ABA GAB|{e}cBc dBG A2e:|
|:efe dBA GEE|efe dBc d2e|efe dBA GEB|{e}cBc dBG A3:|
4
X: 4
T: Táim In Arrears
R: slip jig
M: 9/8
L: 1/8
K: Gmaj
|:D2G GAG FGA|B3 GAB c2d|DGG GAG FGA|BF/G/B cAF G2A:||
|:df/g/d cAG FGA|df/g/d cAB c3| df/g/d cAG FGA|B3 cAF G3:||
# Added by JACKB .
5
X: 5
T: Táim In Arrears
R: slip jig
M: 9/8
L: 1/8
K: Ador
|:eaa aba ged|eaa age g2a|
b2a aba ged|1 edB gdB AB/c/d:|2 edB gdB A3||
|:BAA ABA G2A|BAA AB/c/d e2d|
cge dBA G2A|1 BeB dBA A2A:|2 BeB dBA AB/c/d||

Six comments

Táim In Arrears

From the album ‘Lá ag Ól Uisce’, by Tomás Ó Gealbháin, Caoimhín Ó Fearghail & Seán Ó Fearghail.

The sleeve notes say that this tune "is a version of the song ‘Táim in Arrears’ which Ciarán Ó Gealbháin brought to my attention. It is to be found in the old song-book ‘Amhrán na nGleann’, edited by Finghin na Leamhna in 1939".

Here is a setting in G

I learned this from Tim Collins in a workshop in Florida around 2008.

Molly Rua?

Sure seems to be the tune I’ve learned as Molly Rua or Red Molly

Táim In Arrears, X:3

As played by accordionist Seamus Begley with guitarist Tim Edey. Begley plays it in the key of A (sometimes in Bb when using an Eb-pitched accordion), which made it challenging for me to find the tune; hopefully this will help others. This is a bare-bones transcription with only a little of the ornamentation. The distinguishing feature of Begley’s version is the ornamented low E to start the tune, which he also throws in for variety at other points in the tune.