The Humours Of Ballymanus slip jig

Good first tune for a set.

K: C Major
|: G2 G GFE GFE | G2 G GFE ABc | G2 G GFE GFE | ABA A2 ^G ABc :|
|: c2 d ecA dBG | c2 d ecA efg | c2 d ecA dBG | ABA A2 ^G ABc :|
|: EGE cGE cGE | EGE cGE ABc | EGE cGE cGE | ABA A2 ^G ABc :|

K: A Major
|: E2 E EDC EDC | E2 E EDC FGA | E2 E EDC EDC | FGF F2 ^E FGA :|
|: A2 B cAF BGE | A2 B cAF cde | A2 B cAF BGE | FGF F2 ^E FGA :|
|: CEC AEC AEC | CEC AEC FGA | CEC AEC AEC | FGF BG^E FGA :|

K: D Major
|: A2 A AGF AGF | A2 A AGF Bcd | A2 A AGF AGF | BcB B2 ^A Bcd :|
|: d2 e fdB ecA | d2 e fdB fga | d2 e fdB ecA | BcB B2 ^A Bcd :|
|: FAF dAF dAF | FAF dAF Bcd | FAF dAF dAF | BcB B2 ^A Bcd :|
f2 f efe d2 B | A2 A AGF AGF | fgf efe d2 G | BcB B2 ^A Bcd |
f2 z e2 z d2 z | ABA AGF AGF | fgf efe d2 G | B2 B B3- B3 ||

R: Hop Jig
K: D Major
|: A2 A AGF A2 F | A2 A AGF B2 d | A2 A AGF AGF | B2 B B2 A Bcd :|
|: dfa a2 d cBA | d2 e fdB f2 a | d2 a a2 d cBA | B2 B B2 A Bcd :|
|: F2 F dAF d2 A | FAF d2 A Bcd | F2 F d2 A d2 F | B2 B B2 A Bcd :|

In some early collections this tune is called a ‘Hop Jig’, which usually means more of a swing, for example:

|: A2 A A2 G A2 F | ~

K: C Major
|: GAG GEG GEG | GAG G2 E ABc | GAG GEG GEG | ABA A2 G ABc :|
|: c2 c edc BAG | c2 c edc e2 g | c2 c edc BAG | ABA A2 G A2 c :|
|: EGc cGE cGE | EGc c2 E ABc | EGc cGE cGE | ABA A2 G ABc :|
|: ceg gec dBG | ceg g2 c f2 d | ceg gec dBG | ABA A2 G A2 c :|

Key signature: D Major
Submitted on February 12th 2007 by ceolachan.
https://thesession.org/tunes/6798

R: slip jig
K: D Major
|: ABA A2 F A2 F | ABA A2 F Bcd | ABA AFA AF/G/A | B^AB B2 =A Bcd :|
|: d2 d fed cBA | d2 d fed f2 a | d2 d fed cBA | B^AB B2 =A BB/c/d :|
|: FAd dAF dAF | FAd d2 F BB/c/d | FAd dAF dA/G/F | B^AB B2 =A B2 c ||
|: dfa afd cBA | df/g/a afd c2 a | dfa afd ecA | B^AB B2 =A BB/c/d :|

“Teague’s Ramble” ~ other takes on the transcript

The final measure on all four parts can be in total agreement, bar 4, parts A, B, C & D, two examples:

~ | BcB B2 A Bcd :| ~ or ~ | B^AB B2 =A Bcd :|

& the 2nd bar, part-D, other possibilities:

~ | d2 a afd g2 e | ~ or ~ | dfa a2 f gfe | ~

The Fiddler’s Tune-Book Series
Compiled & edited by Peter Kennedy
Mallinson Publications ~ http://www.mally.com/
ISBN: 1-899512-51-9

Page 20, tune #83: “Teague’s Ramble” ( K: C Major )

Yeah, well, I was playing through some collections and I came across this and started taking it through it’s paces ~ “Hey, I know this tune!”, dyslexic that I am. But the name didn’t tweak and the memory didn’t kick into gear. So I went and spent some time, considerable, trying to see if I could find it on site here. Nothing came up with the goods, not the title or variations of, not half a dozen measures in two different keys… Such effort, anyway, I did end up transcribing some other ways with it, and adding another key for it… So, not all wasted time. I also enjoyed playing it and now all these other transcriptions in comparison…so I’m happy. See ~ 😉

LOL did you see how quickly Jezza deleted it too? He really likes you, ‘c’! 😀

This tune first came to my attention through the wonderful Siobhan Peoples cd.
I could -and have- listen/ed to this particular track on a loop all day; for all eternity really.
It’s one of these…
Included in O’Neill’s 1001.

“The Roche Collection of Traditional Irish Music, Volume II”, 1912
“Hop Jigs” ~ pages 24 - 28

X: 8
T: Humours Of Ballymanus, The
M: 9/8
L: 1/8
R: slip jig
K: Dmaj
|: ABA A2 F A2 F | ABA A2 F Bcd | ABA A2 F BAF | E2 B B2 A Bcd :|
|: d2 e fed cBA | d2 e fef a3 | d2 e fed cBA | B2 B B2 A Bcd |
Dcd fed cBA | dcd ede f>ef | agf efd cBA | B2 B B2 A Bcd :|

X: 9
T: Humors of Ballymanus
S: “O’Neill’s Music of Ireland: 1850 Melodies”, 1903, page 212, #1124
S: “O’Neill’s Dance Music of Ireland: 1001 Gems”, 1907, page 83, #417
M: 9/8
L: 1/8
R: slip jig
K: Dmaj
|: A2 A AGF AGF | A2 A AGF Bcd | A2 A AGF AGF | B2 B B2 A Bcd :|
|: dfg afd cBA | dfg afd fga | dfg afd cBA | B2 B B2 A Bcd :|
|: FAF dAF dAG | FAF dAF Bcd | FAF dAF dAF | B2 B B2 A Bcd :|

& not forgetting “O’Farrell’s Pocket Companion, Volume 1”, 1805

http://www.ibiblio.org/
http://www.ibiblio.org/fiddlers/HUMOURS_HUMP.htm#HUMORS_OF_BALLYMANUS

Súan-traige + Gen-traige all wrapped into one?

Perhaps your maddening eerie magic weightlessness springs from the fact your melody never ‘touches down’ drone level (D) but hovers high above F: 1)‘A’, 2)‘high d’, 3)‘F’. Your last part (based on the major third) taking us away from the tonal-based 2d part that seemed more conclusive, to lead us back into the dominant-based 1st part and close your angelical vicious circle loop on us, like a witch’s hex or a fairy dance spell!
There isn’t a hint of sadness in you as not one ‘dorian’ E is present (an extremely rare feature in the Irish repertoire) and ‘eolian’ B’s are safely tucked away in the fabric of the tune. Only the phrygian F’s make their exquisite exotic presence felt, giving, perhaps, a hint of strange melancoly, of exhilarated longing?

..and your repetitions incantatory…
Sweet, sweet, sweet tune!

Source: Emer Mayock
Trancription: gian marco pietrasanta

https://thesession.org/tunes/279

T: The Humours Of Ballymanny
S: Emer Mayock
R: slip jig

M: 9/8
L: 1/8
K: Dmaj
ABA A2F A2E|ABA A2F Bcd|ABA A2F BAF|E2B B2A Bcd:|
d2e fed cBA|ddd fff a2f|d2e fed cBA|BBB B2A Bcd|
d2e fed cBA|ddd eee f2g|agf efd cBA|BBB B2A Bcd|

whoops!

This tune appears under the title “Teagues Ramble” in “A Collection of Strathspeys, Reels and Irish Jigs… composed and selected by I. Cooper at Banff”, published in 1806/07, just a year or so after its appearance in O’Farrell’s Pocket Companion Vol 1.
Isaac Cooper’s setting is very similar to the C major setting (X: 4) given above.

This jig was mentioned in an account of one of the old pipers of County Louth, a man named Cassidy, as recorded by William Carleton in his Tales and Sketches of the Irish Peasantry, published in 1845. Breathnach (1997) believes the first name of this piper was Dan, and that he was blind. Carleton, born in 1794, was a dancing master who taught in the 1820’s, and was engaged to teach the children of the ‘dreadful’ Mrs. Murphy. It seems that Carleton:
***
having spent several nights at piper Cassidy’s house weighing up the local
dancers …was impelled by vanity to show them how good a dancer he was
himself. He asked one of the handsomest girls out on the floor, and, in
accordance with the usual form, faced her towards the piper, asking her to
name the tune she wished to dance to. Receiving the customary reply, ‘Sir,
your will is my pleasure,’ Carleton called for the jig Polthogue. He next
danced Miss McLeod’s Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)

(The preceding from the website of fiddler Vi Wickam)

It also appears in the song The Boys of Tandragee:
***
Have you e’er seen an Irishman dancing Polthogue
How he faces his partner and turns up his brogue
He shakes at the buckle and bends at the knee
They’re wonderful dancers in Tandragee

It’s seems to be the Irish word Polltóg, which is supposed to mean ‘a blow’ or ‘a blow from a fist’.