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Táim In Arrears slip jig

Also known as Táimse ‘n Arrears.

There are 14 recordings of this tune.

This tune has been recorded together with

Táim In Arrears appears in 1 other tune collection.

Táim In Arrears has been added to 9 tune sets.

Táim In Arrears has been added to 35 tunebooks.

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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:|
# Added by S .
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.

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