Source : Brian Hughes
Transcription : Gian Marco Pietrasanta ( craniota )
Play it slow.
Perhaps the key should be E minor?
I don’t think so.
The melody goes to Emin, but starts in G. ( for my ears )
I think this is one of those tonally ambivalent tunes that people can argue about for ever! There are plenty of them in ITM.
I base my argument for Emin mainly on the fact that every fourth bar, which includes the last bars in the A and B parts, ends in Emin, so it can be said that the tonal trend is clearly towards Emin.
Regarding the 1st, 3rd and 5th bars which give an impression of Gmaj, I think the way in which they start with a strong B3 foreshadows the change to Emin later on in the tune; B, being the 5th of the key of Emin, is the second strongest tonal point in that key, but is not the second strongest tonal point in G. If the tune had G3 instead of B3 in bars 1, 3 and 5 there would have been a stronger impression of Gmaj and I think the transition to Emin would have sounded more abrupt.
Perhaps the easy way to settle this sort of thing would be to define the key of the tune solely by the number of sharps or flats, leaving the player and listener to decide whether it is major, minor or modal. But then we wouldn’t be having these interesting discussions - or would we?
This tune is also known as My Mind Will Never Be Easy and was posted as such at https://thesession.org/tunes/191
Slainte included his setting in Gmaj/Em in the comments section there.
Um…who posted "The Kerry Polka" as an alternate title? That’s highly unlikely, since this is a slip jig….. Let’s not muck up the database, eh? Of course, perhaps everything here should be fed into the post for My Mind Will Never Be Easy (except that I feel guilty even suggesting that, since I was the one who posted the tune under that name… *sheepish grin*).
This reminds me of Dervish’s version of that Emin slip jig "The Emigrant’s" was it? Surely they must be related…
Trevor - this is one of those tunes which shows up Western musical theory for what it is.
David - yes, I agree. Western musical theory finds it difficult to cope effectively with musical concepts outside its remit. I put forward an argument for Emin; I have no doubt someone else could put forward one for Gmaj, or even Bphryg for that matter, but all that’s really being argued is how the tune should be classified for a database.
the eponymous band does a neat mouth music version of this. I haven’t had the time to figure out the guitar part, but I’ll let you know…
I am maybe splitting hairs here but this seems to be a good example of a HOP JIG. The difference between a hop and slip has been discussed a few times on this and other sites.
A well-known guitarist, banjoist and teacher in the NYC Irish scene teaches this tune in 3/4 as a hop jig — which is DIFFERENT than any other kind of jig and is not done anymore — he knows about 11 more tunes called hop jigs - they are NOT slip jigs although the bounce of SOME slip jigs can be the same as the hop jig. Somewhere along the line it looks like people haved melded the hop jig into the slip jig simply because they had no info on the hop jig
This tune has been used for the 3/2 song Dance To Your Daddy. Here is a version from Nancy Kerr and James Fagan, learnt from Peggy Seeger and collected by Cecil Sharp in Berkshire:
T: Dance To Your Daddy
E4 E2D2 C2E2|G4 G2F2 E2c2|E4 E2D2 C2B,2|A2,A2 A2G2 A4:|
A2B2 c2A2 B2G2|E2G2 G2^F2 G4|A2B2 c2A2 B2G2|E2AA- A2G2 A4|
A2B2 c2A2 B2G2|E2G2 G2^F2 G4|E4 E2D2 C2B,2|A2,A2 A2G2 A4||
Transposed into the standard key, that becomes:
T: Dance To Your Daddy
B4 B2A2 G2B2|d4 d2c2 B2g2|B4 B2A2 G2F2|E2e2 e2d2 e4:|
e2f2 g2e2 f2d2|B2d2 d2^c2 d4|e2f2 g2e2 f2d2|B2ee- e2d2 e4|
e2f2 g2e2 f2d2|B2d2 d2^c2 d4|B4 B2A2 G2F2|E2e2 e2d2 e4||
“The Time Of Day” ~ in another key
Key signature: b minor
Submitted on October 9th 2007 by ceolachan.
Definitely a Hop Jig
I’ve never known this tune to be anything but a "hop jig". It often gets paired with "The Dusty Miller", another tune of this type. Wouldn’t go so far as to write it out in 3/4 though; it’s definitely in 9/8 with a SLIGHT 3/4 feel to the rhythm. I have it as follows:
|:B3 B2 A G2 A|B2 d d2 c d3|B3 B2 A G2 A|B2 e e2 d e3:|
|e2 f g2 f g3|B2 d d2 c d3|e2 f g2 f g2 d| B2 e e2 d e3|
e2 f g2 f g3|B2 d d2 c d3|e2 B B2 A G2 A|B2 e e2 d e3||
Most people I’ve talked to about this tune give Sean-nos singer Elizabeth Cronin as the source for the melody & title. She’s worth looking up as a resource for airs & song tunes, lovely stuff!
Also played in D. Here’s a setting that fits easily in the first octave on a whistle.