Boy-Girl Tune jig

Also known as The Boy-Girl Tune.

There are 2 recordings of a tune by this name.

Boy-Girl Tune has been added to 2 tune sets.

Boy-Girl Tune has been added to 80 tunebooks.

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Five settings

X: 1
T: Boy-Girl Tune
R: jig
M: 6/8
L: 1/8
K: Emin
M:26/8
|:EB,E BBA BcBz ABc ccB GBG AAF AGFG|
EB,E BBA BcBz ABc ccB GBG AAF AGFG:|
|:EF/G/A AGA BBD ADGB AAD GDFA GAB FGF|
[1 EF/G/A AGA BBD ADGB AAD GDFA GAB FGF:|
[2 EF/G/A AGA BBD ADGD AAG F/G/AF GBG A=FFE||
|: ABc cBc e2c dedc B2D GD dD GD BcBE|
ABc cBc e2c dedc B2D GAB A2=F FGFE:|
K:Cmin
|:=EFG GFG BzG ABAG FGA AGA _eeA =BcBA|
[1 GFG GFG BzG ABAF GzC EFG FF_D DEDC:|
[2 GFG GFG BzG ABAF GzC EFG FF_D DECz||
# Added by MM .
X: 2
T: Boy-Girl Tune
R: jig
M: 6/8
L: 1/8
K: Emin
|2 AB/c/d dcd eeG dGcG ddc B/c/dB cec d_BBA||
|2 cBc cBc ezc dedB czF ABc BB_G GAFz||
# Added by MM .
X: 3
T: Boy-Girl Tune
R: jig
M: 6/8
L: 1/8
K: Emin
|:FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:13/8]FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG|
|:FCF c2B cdc2|[M:4/4]Bcd d2c AcA B2G BAGA|[M:5/4]FCF c2B cdc2|[M:4/4]Bcd d2c AcA B2G BAGA:|
|:[M:13/8]FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG|
FG/A/B/ BAB c2E BEAc|[1 B2E AEGB ABc GAG:|[2 B2A G/A/BG AcA B=GGF|
|:Bcd dcd f2d efed|c2E AEe EAE cdcF|Bcd dcd f2d efed|c2E ABc B2=G GAGF:|
[K:Gmin]^FGA AGA c2A BcBA|GAB BAB f2B ^cdcB|AGA AGA c2A BcBG|[1 A2D FGA G2_E EFED:|[2 A2D FGA G2_E EFD2||
X: 4
T: Boy-Girl Tune
R: jig
M: 6/8
L: 1/8
K: Emin
|:FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:6/8]FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG|
FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG:|
|:[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:13/8]FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG|
FG/A/B/ BAB c2E BEAc|[1 B2E AEGB ABc GAG:|[2 B2A G/A/BG AcA B=GGF|
|:Bcd dcd f2d efed|c2E AEe EAE cdcF|Bcd dcd f2d efed|c2E ABc B2=G GAGF:|
[K:Gmin]^FGA AGA c2A BcBA|GAB BAB f2B ^cdcB|AGA AGA c2A BcBG|[1 A2D FGA G2_E EFED:|[2 A2D FGA G2_E EFD2||
X: 5
T: Boy-Girl Tune
R: jig
M: 6/8
L: 1/8
K: Emin
|:FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:6/8]FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG|
FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG:|
|:[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:6/8]FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG|
FG/A/B/ BAB|[M:7/8]c2E BEAc|[1 B2E AEGB|[M:6/8]ABc GAG:|[2 B2A G/A/BG|[M:7/8]AcA B=GGF|
|:[M:6/8]Bcd dcd|[M:7/8]f2d efed|[M:6/8]c2E AEe|[M:7/8]EAE cdcF|
[M:6/8]Bcd dcd|[M:7/8]f2d efed|[M:6/8]c2E ABc|[M:7/8]B2=G GAGF:|
[M:6/8][K:Gmin]^FGA AGA|[M:7/8]c2A BcBA|[M:6/8]GAB BAB|[M:7/8]f2B ^cdcB|
[M:6/8]AGA AGA|[M:7/8]c2A BcBG|[M:6/8][1 A2D FGA|[M:7/8]G2_E EFED:|[M:6/8][2 A2D FGA|[M:7/8]G2_E EFD2||

Twenty-four comments

Happy happy

written by Mick McAulney, transcribed from solas’ hour before dawn.
i discoverded this tune just after my girlfriend gave me the news that there was a second baby comming (due any time now …).
will it be a boy? girl? in the car, this tune often is on ‘repeat’ for several km.
i just love it, soon to be played in our sessions in ghent …

Posted by .

Key

originally ‘t was in F#min, but i took the liberty to put it in Emin.
i’ll also put the Amin version up:

T: boy-girl tune
M: 26/8
L: 1/8
R: jig
K:Amin
|:AEA eed efez def ffe cec ddB dcBc|
|AEA eed efez def ffe cec ddB dcBc:|
|:AB/c/d dcd eeG dGce ddG cGBd cde BcB|
|1 AB/c/d dcd eeG dGce ddG cGBd cde BcB:|
|2 AB/c/d dcd eeG dGcG ddc B/c/dB cec d_BBA||
|: def fef a2f gagf e2G cG gG cG efeA|
|def fef a2f gagf e2G cde d2_B BcBA:|
K:Fmin
|:=ABc cBc ezc dedc Bcd dcd _aad =efed|
|1 cBc cBc ezc dedB czF ABc BB_G GAGF:|
|2 cBc cBc ezc dedB czF ABc BB_G GAFz||

Posted by .

Splitting bars

Would it maybe be easier to split some of these 26/8 bars in two. Sometimes the 26/8 can be split into two 13/8 bars - other times into two irregular length bars. If you did this then it may be clearer to see how the tune should be accented. Interesting tune nonetheless. Can you give us any insight into how you like to play it?

26/8 vs. 13/8

jake,
i understand what you say, about the 13/8, and maybe you’re right, but … just as when you play any melodie, you shouldn’t have to think about what key or what rythm you have to play. if you know the tune, it just IS there.
i think it would be a lot more difficult if i had devided every 26/8 bar into (10/8+12/8+4/8) next (13/8+13/8) next (9/8+7/8+10/8) and again (9/8+7/8+10/8).
accentuation is clear imho by the 3322-3333-22-division of the notes (accent on each first of a group).

i have a tendency to play these kind of tunes (5/8-7/8-11/8-etc.) different, according to the accompaniment. if there’s a guitarist or percussionist that knows this rythm (beter even the tune), then i go for the complete thing, but mostly, i like play it with my foot stamping every second note (thus accually stamping 13/4 with my foot). i do this because then you get a much more flowing and steady rythm. i know it’s not that easy to do, nor to explain, but if you get the hang of it, you notice that you play the tune rather then the notes.

do i make any sense?

Posted by .

"If you know the tune, it just IS there"

MM, did you post this for the benefit of people who don’t know the tune, and for whom the tune *isn’t* there? If so, then it’s very difficult to make any sense of it from your transcription because of the lack of barlines. It just looks like a long string of notes.

I have to agree that the length of bar may make it difficult to interpret. It doesn’t just look like a long string of notes to me however. I can feel the accents you speak of. All I feel is that for the benefit of most of us who have not played this with an accompaniment it would be beneficial to think of another way of transcribing it. There’s no need to fear the idea of dividing it into further bars - all it does is make things clearer.

I should add that I know exactly what you mean when you say - "the tune is there". Everyone feels that about their own favourite numbers. I guess it would be there for us if we heard you play. I think I’ll look out the Solas recording. Is it a good record as a whole? Would be good to know. Thanks.

It’s a boy !!!

sorry to have kept your questions unanswered, but … it’s a healthy boy, alexander (‘sanderke’ for short) born on august 7.
both he and mother are doing just great.
sorry, DOW, if it doesn’t make any sense to you, maybe have a listen to the solas-track as jakki S is giong to.
anyway, shouldn’t we be learning these tunes by ear? aren’t the dots just a help on our way to get the tune? that was my goal anyway, not to put it up here for people to learn, but to help those who want to learn it (by ear).
as i mentioned on an earlier submitted tune: https://thesession.org/tunes/2745 i am always willing to send anyone a mp3 of the tune as played by me … though for this one: if you want to learn the tune, get a hold of the soals-cd and learn it from there.

lots of tunes,
happy daddy mm

Posted by .

Boy-Girl Tune

I don’t like the tune.It’s one of those crooked melodies written just to show off.

Boy-Girl Tune

I think it’s a great tune and sounds very traditional. Well, it’s not Irish or Scottish though. Bulgarian? Hungarian?

Baby-tune

well, jocklet, it’s your verry right to dislike the tune, i guess, no problem.

slainte, the tune isn’t trad, but newly composed, as for origin, why does everyone think of 7/8 or 11/8 or whatever-if-not-6-or-9-or-12/8 tunes to be eastern-european? can’t they just be what they are? newly composed melodies? from earth? (north-east-south-west-middle-earth…)

Posted by .

Maarten, I know this is a quite recent composition. But, it’s clearly an imitation of the traditional tunes from Eastern Europe. Other members of Solas also wrote some tunes imitating Galician or Eastern European tunes.

hi slainte,
i do agree it has an eastern-european feel to it, but that’s as far as i would go, to say wether it is bulgarian, macedonian or hungarian, i wouldn’t go, it’s a western melody with an eastern feel to it.
just as any ‘irish’ tune i would write, it would still be a flemish tune, wathever feel it has (indian, african, even inuit …). you might not agree, which is OK, but that’s my point.
maybe we should go move over to the discussions-page?

Posted by .

Well, I think the tune itself is more important than who wrote it. I mean this isn’t an Irish tune.

Boy-Girl Tune

My favourite tunes are all ones that stick in your head after one hearing.I just don’t think it’a memorable tune,but as MM points out,that’s just my opinion.Anyway,I don’t think you’ll be hearing the milkman whistling it in the mornings.

Great tune

I love it.

Posted by .

it’s hard to "understand" the rythm.. but.. maybe i got it

Posted by .

Awesome tune

This is a brilliant composition. And it has it all. Great melody, awesome rhythm. And on the recording the arrangement is great, and instrumentation is fantastic! Great tune, great track.

Nice

I love this tune as well. I heard it for the first time last night and it’s been in my head all day. I think the it would make the most sense to have the meter change according to the shift in where the strong beats happen, and group the notes similarly, like this ("e’s" are eighth notes, "q’s" are quarter notes):

M: 5/4 eee qe eeq | M:C| eee qe eee qe eeee | M: 5/4 eee qe ee q | M:C| eee qe eee qe eeee :|

M: 13/8 eee eee qe eeee | qe eeee eee eee | eee eee qe eeee | qe eeee eee eee :|

| qe eee eee eeee

eee eee qe eeee | qe eee eee eeee | eee eee qe eeee | qe eee qe eeee :|

eee eee qe eeee | eee eee qe eeee | eee eee qe eeee | 1. qe eee qe eeee :| 2. qe eee qe eeq

Um, i mean this

M: 5/4 eee qe eeq | M:8/4| eee qe eee qe eeee | M: 5/4 eee qe ee q | M:8/4| eee qe eee qe eeee :|

M: 13/8 eee eee qe eeee | qe eeee eee eee | eee eee qe eeee | qe eeee eee eee :|

| qe eee eee eeee

eee eee qe eeee | qe eee eee eeee | eee eee qe eeee | qe eee qe eeee :|

eee eee qe eeee | eee eee qe eeee | eee eee qe eeee | 1. qe eee qe eeee :| 2. qe eee qe eeq

Version in the key of F# minor, and rhythmically closer to original McAulney

I find this identical to the original, especially with regards to preserving original quarter notes and omitting rests that do not appear in the original, and I find this version easier to read. I cannot bring myself to give "c2E AE eE AE cdcF" instead of "c2E AEe EAE cdcF" because the latter follows the pattern McAulney set for the rest of the section. The Solas version seems to be closer to the former, though I think the latter, again, is more consistent and interesting, though more challenging to pull off.

X: 1
T: Boy-Girl Tune
M: 5/4
L: 1/8
R: jig
K:F#min
|:FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:13/8]FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG|
FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG:|
|:FCF c2B cdc2|[M:4/4]Bcd d2c AcA B2G BAGA|[M:5/4]FCF c2B cdc2|[M:4/4]Bcd d2c AcA B2G BAGA:|
|:[M:13/8]FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG|
FG/A/B/ BAB c2E BEAc|[1 B2E AEGB ABc GAG:|[2 B2A G/A/BG AcA B=GGF|
|:Bcd dcd f2d efed|c2E AEe EAE cdcF|Bcd dcd f2d efed|c2E ABc B2=G GAGF:|
[K:Gmin]^FGA AGA c2A BcBA|GAB BAB f2B ^cdcB|AGA AGA c2A BcBG|[1 A2D FGA G2_E EFED:|[2 A2D FGA G2_E EFD2||

Rests

I take back what I said about the rests not being in the original, I don’t know why I thought they weren’t. So aside from that I think the above is spot on, leaving aside the question of whether "AEe EAE" allows for the best phrasing.

Better version, last one I promise

I changed the meter in some spots to make it more readable. I left in the quarter notes instead of inserting the rests; I don’t want to add the rests because of the way the converter I was using makes the notes look when I put the rests in — it turns what should be a two-note grouping plus one note into a three-note grouping, which messes up the phrasing.

X: 1
T: Boy-Girl Tune
M: 5/4
L: 1/8
R: jig
K:F#min
|:FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:6/8]FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG|
FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG:|
|:[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:13/8]FG/A/B/ BAB c2E BEAc|B2E AEGB ABc GAG|
FG/A/B/ BAB c2E BEAc|[1 B2E AEGB ABc GAG:|[2 B2A G/A/BG AcA B=GGF|
|:Bcd dcd f2d efed|c2E AEe EAE cdcF|Bcd dcd f2d efed|c2E ABc B2=G GAGF:|
[K:Gmin]^FGA AGA c2A BcBA|GAB BAB f2B ^cdcB|AGA AGA c2A BcBG|[1 A2D FGA G2_E EFED:|[2 A2D FGA G2_E EFD2||

Ok, last time

More meter fixes…I should have realized before that the bass drum in the Solas recording give a pretty good indication as to proper phrasing.

X: 1
T: Boy-Girl Tune
M: 5/4
L: 1/8
R: jig
K:F#min
|:FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:6/8]FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG|
FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG:|
|:[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA|
[M:5/4]FCF c2B cdc2|[M:6/8]Bcd d2c|AcA B2G|[M:2/4]BAGA:|
|:[M:6/8]FG/A/B/ BAB|[M:7/8]c2E BEAc|B2E AEGB|[M:6/8]ABc GAG|
FG/A/B/ BAB|[M:7/8]c2E BEAc|[1 B2E AEGB|[M:6/8]ABc GAG:|[2 B2A G/A/BG|[M:7/8]AcA B=GGF|
|:[M:6/8]Bcd dcd|[M:7/8]f2d efed|[M:6/8]c2E AEe|[M:7/8]EAE cdcF|
[M:6/8]Bcd dcd|[M:7/8]f2d efed|[M:6/8]c2E ABc|[M:7/8]B2=G GAGF:|
[M:6/8][K:Gmin]^FGA AGA|[M:7/8]c2A BcBA|[M:6/8]GAB BAB|[M:7/8]f2B ^cdcB|
[M:6/8]AGA AGA|[M:7/8]c2A BcBG|[M:6/8][1 A2D FGA|[M:7/8]G2_E EFED:|[M:6/8][2 A2D FGA|[M:7/8]G2_E EFD2||