Paddy Fahey’s reel

Also known as Fahy’s, Paddy Fahey’s No. 5, Paddy Fahy’s, Thinking Of Fahey.

There are 12 recordings of a tune by this name.

Paddy Fahey’s has been added to 2 tune sets.

Paddy Fahey's has been added to 87 tunebooks.

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Ten settings

X: 1
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Fmaj
A|:B2dB DFBd|cBcA FAcA| B2dB DFBd| cBcA BGGA |
BDGA BDGB| ADFA c2=Bc|d~g3 dc=Bd |1c=BcF DGGA:|2c=BcF DGG^f||
K:Gmaj
|:g2dg Bdga |=f2cf Acfa |gfgd ABcA |dgfa gfga |
{b}ag{a}gf gfdc |(3Bcd BG DE=FA |d~g3 dcBd | cBcF DGGf:|
X: 2
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Gmix
_B2 dB DFBd|c=BcA FAcA|_B2 dB DFBd|c=BcA _BGGA|
BDGA BDGB|ADFA c2 =Bc|d~g3 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
g2 dg Bdge|f2 cf Acfa|g^fgd BcdB|dg (3fga g3 a|
(3bag (3agf gfdc|(3Bcd BG D2 =FA|d~g3 dc (3Bcd|1c=BcF DGBd:|2c=BcF DGGA||
# Added by errik .
X: 3
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Gmaj
B2 dB DFBd|c=BcA FAcA|B2 dB DFBd|c=BcA BGGA|
BDGA BDGB|ADFA c2 =Bc|d g3 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
g2 dg Bdge|=f2 cf Acfa|gfgd BcdB|dg (3fga g3 a|
(3bag (3agf gfdc|(3Bcd BG D2 =FA|d~g3 dc (3Bcd|1cBc=F DGBd:|2cBcF DGGA||
X: 4
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Cmaj
B2 dB DFBd|c=BcA FAcA|B2 dB DFBd|c=BcA BGGA|
BDGA BDGB|ADFA c2 =Bc|d g3 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
| g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
| bga^f gfdc | BdBG D2 FA | d~g3 dcBd|1cBc=F DGBd :|2cBcF DGGA ||
X: 5
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Cmaj
B2 dB DFBd|c=BcA FAcA|B2 dB DFBd|c=BcA _BGGA|
BDGA BDGB|ADFA c2 =Bc|dgg2 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
| g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
| bga^f gfdc | BdBG D2 FA | dgg2 dcBd |1cBcF DGBd :|2cBcF DGGA ||
X: 6
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Fmaj
| B2 dB DFBd | c=BcA FAcA | B2 dB DFBd | c=BcA _BGGA |
| BDGA BDGB | ADFA c2 =Bc | dgg2 dcBd |1 c=BcF DGGA :|2c=BcF DGBd|
| g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
| bga^f gfdc | BdBG D2 FA | dgg2 dcBd |1cBcF DGBd :|2cBcF DGGA |
X: 7
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Fmaj
B2 dB DFBd | c=BcA FAcA | B2 dB DFBd | c=BcA _BGGA |
BDGA BDGB | ADFA c2 =Bc | dgg2 dcBd |1 c=BcF DGGA :|2c=BcF DGBd||
g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
bga^f gfdc | BdBG D2 FA | dgg2 dcBd |1cBcF DGBd :|2cBcF DGGA ||
X: 8
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Fmaj
|: GA | B2 dB DFBd | c=BcA FAcA | B2 dB DFBd |c=BcA _BGGA |
BDGA BDGB | ADFA c2 =Bc |dg ~g2 dc=Bd | c=BcF DG :|
K:G
|: Bd | g2 dg Bdge | =f2 cf Acfa | gfgd ABcA |df (3fga g3 a |
_bgaf gfdc | (3Bcd BG D2 =FA |dg ~g2 dcBd | cBc=F DG :|
X: 9
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Fmaj
B{/c}BdB DFBd | c=BcA FAcA | B{/c}BdB DFBd | c=BcA {/_B} AGGA | BDGA BDGA |
{/B} ADFA !turn!c2 =Bc | dg !turn!g2 dc=Bd |1 c=BcA {/_B}AGGA :|2 c=BcA{/B} AG g^f ||
[K:G]||: !turn!g2 dg Bgdg | =f2 cf Afc^f | gfgd ABcA | dgfa gGga |${/b} aggf gfdc |
(3Bcd BG DE=FA | dggg dcBd |1 cBcA {/B} AGgf :|2 cBcA {/B} AGGA |]
X: 10
T: Paddy Fahey's
R: reel
M: 4/4
L: 1/8
K: Gdor
B2 dB DGBd | c3 A FAcA | B2 dB DGBd | c3 A BGGA |
B2 GA BDGB | AD^FD c2 =Bc | dg g2 dc=Bd | c=Bc^F DGGA ||
B2 dB DGBd | c3 A FAcA | B2 dB DGBd | c3 A BGGA |
B2 GA BDGB | AD^FD c2 =Bc | dg g2 dc=Bd | c=Bc^F DGGA ||
gfgd Bdge | =f2 cf ABcf | g3 d ABcA | dgfa g3 a |
_bgaf gfec | B/c/dBG D2 FA | dg g2 dcBd | cBcA DGBd ||
gfgd Bdge | =f2 cf ABcf | g3 d ABcA | dgfa g3 a |
_bgaf gfec | B/c/dBG D2 =FA | dg g2 dcBd | cBc=A DGGA ||

Twenty-seven comments

Another Paddy Fahy’s

Source :Seamus & Kevin Glackin : Na saighne

Liz and Yvonne kane play this on their CD. Typical Fahy tune - gorgeous!

One of my fave Fahey tunes… fookin’ dead-leh, as my friend from Bray would put it. ;o)

Liz and Yvonne Kane play this as Paddy Fahey’s/Man of the House (in D Min)/Paddy Fahey’s. Track #4 on their first CD, "The Well Tempered Bow". Great tunes, great set, great fiddlers.

Posted by .

Hate to say it, but it’s already somewhere on the session…. BUT I LOOOOVE this freakin’ setting.

I love the Kane Sisters.

I love Paddy Fahey.

I love insane fiddle keys that no else can play but us fiddlers!! XD

Well.. concertina.. Accordion.. OH WELL.

Cheers,
Armand

I had no idea it was on here. I really didn’t feel like searching through all the Fahey tunes. hehe…do ya blame me?

This seemed "obscure" enough to submit.

Posted by .

The great thing about this tune, though, is how it moves between G Mixolydian, G Dorian, G Major, and B-flat Major. The set that the Kane sisters play it with is great… the tunes are in C Mixolydian/D Dorian/and finally this tune.

Posted by .

I dunno, Armand. I searched for it here a year or so ago and came up blank.

This is my fave Fahey tune, but I was startled by the B nats in measure 5 of the A part. Is it normally played that way? The only recording I have is the Kane Sisters’ and they don’t go to major there. And I think maybe they play the F sharp in measure 5 of the B part.

Can’t say I like it with the shift to major. That hardly ever works for me. There’s another Fahey tune here and on the same Kane Sis CD that does that and it just annoys me.

Bob,

Those B’s in measure 5-A are flat, if I’m not mistaken. I thought that the flat sign on the B in measure 4-A established that. And the F in measure 5-B is definetely sharp, as established in the third measure of the B-part. It doesn’t go back to natural until the 6th measure.

Posted by .

Notation problems?

Re accidentals!!!! I am not Classsically trained, but I do read dots tolerably well. The standard convention with "accidentals" is that they apply at the pitch shown only (i.e. not in other octaves) for the whole of the bar they are in AFTER being stated and unless cancelled, but ONLY as far as the bar-line, which automatically cancels them! The key signature given at the beginning of each stave otherwise applies throughout, regardless of octave - and in ABC the stated key signature of course has the same effect , but any accidentals have to be specified EVERY time they occur. I don’t want to seem stuffy, but conventions like these (e.g. standardised spelling) developed for very obvious, practical reasons. If you don’t come to terms with them, you just misrepresent your own intentions and confuse or mislead others. I’m lookng forward to trying the tune when I get it home form the Library. Cheers!

Well, I guess the classical theory that I was taught in school is somewhat off, then… either way, this music is best learnt by ear, to get all those quirks and accidentals in the natural way.

Posted by .

Accidentals

I am good at playing accidentals, expecially in a Fahey tune, but this is confusing as hell, what is the real key signature anyway?
I don’t feel like I can trust this transcription, it makes me feel like throwing all my abc’s in the trash

Reminders

Ahh, I figured it out, but this seriously needs rewriting, there are way too many accidentals in this transcription, it’s in the key of C, fluctuating between one flat and one sharp, it probably doesn’t need any natural symbols.

Less symbols on the page

X: 1
T: Paddy Fahey’s
M: 4/4
L: 1/8
R: reel
K: F
B2 dB DFBd|c=BcA FAcA|B2 dB DFBd|c=BcA BGGA|
BDGA BDGB|ADFA c2 =Bc|d g3 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
K: G
g2 dg Bdge|=f2 cf Acfa|gfgd BcdB|dg (3fga g3 a|
(3bag (3agf gfdc|(3Bcd BG D2 =FA|d~g3 dc (3Bcd|1cBc=F DGBd:|2cBcF DGGA||

Even beter

X: 1
T: Paddy Fahey’s
M: 4/4
X: 1
T: Paddy Fahey’s
M: 4/4
L: 1/8
R: reel
K: F
B2 dB DFBd|c=BcA FAcA|B2 dB DFBd|c=BcA BGGA|
BDGA BDGB|ADFA c2 =Bc|d g3 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
K: C
| g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
| bga^f gfdc | BdBG D2 FA | d~g3 dcBd| 1cBc=F DGBd :| 2cBcF DGGA ||

Final answer

There were some errors in the correction above, so I finally will stick with this version. All of the accidentals are explainable as either neighbor tones, Escape tones, or appogiaturas (sp?) which is consistent with other Fahey tunes I’ve learned.



X: 1
T: Paddy Fahey’s
M: 4/4
L: 1/8
R: reel
K: F
B2 dB DFBd|c=BcA FAcA|B2 dB DFBd|c=BcA _BGGA|
BDGA BDGB|ADFA c2 =Bc|dgg2 dcBd|1c=BcF DGGA:|2c=BcF DGBd||
K: C
| g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
| bga^f gfdc | BdBG D2 FA | dgg2 dcBd | 1cBcF DGBd :| 2cBcF DGGA ||

Ok I’m Really Sorry

X: 1
T: Paddy Fahey’s
M: 4/4
L: 1/8
R: reel
K: F
| B2 dB DFBd | c=BcA FAcA | B2 dB DFBd | c=BcA _BGGA |
| BDGA BDGB | ADFA c2 =Bc | dgg2 dcBd |1 c=BcF DGGA :|2c=BcF DGBd|
| g2 dg Bdge | f2 cf Acfa | g^fgd BcdB | dg^fa g3 a |
| bga^f gfdc | BdBG D2 FA | dgg2 dcBd |1cBcF DGBd :|2cBcF DGGA |

Another setting

This setting comes from the Kane Sisters (can’t remember if it’s on the !st or 2nd CD, though…sorry!) Their version is basically the same, but their 2nd part is essentially G mixolydian, instead of G dorian as you have it here. I change the key in the 2nd part to one sharp, so as to avoid a slew of F sharp accidentals (I’ve often seen G mix tunes written out this way in various collections, so it’s not without precedent).

T:Paddy Fahey’s
R:reel
M:4/4
K:F
|: GA | B2 dB DFBd | c=BcA FAcA | B2 dB DFBd |
c=BcA _BGGA | BDGA BDGB | ADFA c2 =Bc |
dg ~g2 dc=Bd | c=BcF DG :||
K:G
|: Bd | g2 dg Bdge | =f2 cf Acfa | gfgd ABcA |
df (3fga g3 a | _bgaf gfdc | (3Bcd BG D2 =FA |
dg ~g2 dcBd | cBc=F DG :||

Accidentals

my transcription has three sharps in the b part; yours has
three naturals. you changed the key, I didn’t have to. I also don’t have to read any accidentals on the beat, or in other places they shouldn’t be.

Accidentals

You’re missing my point, Earl. The version you posted doen’t need to change keys in the "b" part because it stays in G dorian: the version from the Kane Sisters’ CD goes to G mix. I wasn’t criticizing your transcription, I was simply putting up a different version. Since you didn’t put in any comments, where did you get your version from (just out of curiosity)?

Paddy Fahey’s

I unfortunately don’t have a single solid source for this tune, so I have made it my own in many ways. I am confused however about the key. You say it goes to Gmix but one sharp is G major.
which is D mixolydian, if that were the case. My sincere wish is for a solid version of this tune to replace all of the bad versions on the internet

Notation…

hey jaychoons,

The notation of your transcription didn’t turn out as you wanted it to, I think. There’s no key change in the second part and a load of B-flats there too.

Seems as though the B-nat’s in Bar 5-A sound best, and I’m sure the Kane Sisters are doing it.

Posted by .

Paddy Fahey’s, X:9

I couldn’t find this on the session right away so I transcribed this setting from Brenda Castles’ album, "Indeedin You Needn’t". This is the tune that Maria Holohan indexed as Reel No. 5 in her dissertation.
As far as the dissertation to my ear this tune on this recording is in G Dorian for the A section and G Major for the B. In Holohan’s transcription (Paddy Fahey) he plays the Bbs all the way through so I would call it G Dorian for both sections. There are several B naturals however so there is definitely a shifting major/minor tonality. I’ll post this version as well.

Paddy Fahey’s, X:10

This is the Holohan dissertation transcription from Paddy’s pwn playing of this tune.