The Frieze Breeches jig

I wouldn’t use too much ornamentation in this tune. For me, it feels like a pipe tune, so maybe cuts (and cranns, if you can manage them) would fit nicely.

I really like the key shift in that c part - changing the c sharp to a c natural. I’ve never heard this tune before though, and I keep switching back in the second bar of that part to c sharp and now I think I like it better that way. Does it really switch keys in that part or is that a typo? How do people usually play it?

No, it’s not a typo. It really does go to c natural in the third part. That’s my favourite bit, too.

T:Cunla
M:6/8
L:1/8
S:Planxty - The well below the valley
R:jig
Z:G.M.P
K:D
FED EFG|AdB cAG|~A3 BAG|FAF GED|
FED EFG|AdB cAG|~F3 GEA|1DDD D3:|2DDD D2A|:
d2e fed|efd cAG|~A3 BAG|FAF GED|
d2e fed|efd cAG|~F3 GEA|DDD D3:|:
DDD =c3|AdB =cAG|ABc ded|ded cAF|
DDD =c3|AdB =cAG|~F3 GEA|1DDD D3:|2DDD D2A|:
d2e fdd|Add fdd|c2d eAA|fed ecA|
d2e fdd|Add fdd|faf gfe|1dfe d2A:|2dfe d2e|:
fed ecA|ded cAG|~A3 BAG|FAF GED|
1fed ecA|ded cAG|~F3 GEA|DDD D3:|
2fdf ~g3|afd cAG|~F3 GEA|DDD D3:|

in English @:
http://www.geocities.com/toeye/dubliners/lyrics_12.htm#Cunla
as gaeilge @:
http://www.celtic-lyrics.com/forum/index.php?autocom=tclc&code=lyrics&id=616
etc

??

-Eric

In any sessions I’ve been in, all of this tune with the exception of the fourth part is played in Dmix, ie with Cnats. Only that fourth part is in D, with C#s.

you can hear a session in Oldham playing this song at

http://www.myspace.com/oddfellowsmondaynightatnine

who has a downloadable version of this song (sung with the words)? I’d love to learn it.

http://www.youtube.com/watch?v=3pxDmAdozxk&feature=related

play video

In O’Neill’s Music of Ireland, ed. by Krassen, the piece is in D with C-naturals almost throughout, which conflicts markedly in flavor with this site’s version. Also, the two versions on u-tube (one on pipes and one on guitar) follow Krassen’s/O’Neill’s notation. I suggest listening to these very haunting, beautiful renditions.

The is basically the transcription from the 1974 Bulmer & Sharpley publications, added for a friend…

X: 3
T: Frieze Breeches, The
B: Dave Bulmer & Neil Sharpley: "Music from Ireland, Volume One", 1974, page 25, #65
M: 6/8
L: 1/8
R: jig
K: DMaj
|: E |\
FED EFG | A2 d =cAG | AGA BAG | FAF GFE |
FED EFG | AdB =cAG | FAF GE[CA] | DED D2 :|
|: A |\
d2 e fed | e2 d =cAG | AGA BAG | FAF GED |
d2 e fed | e2 d =cAG | FAF GE[CA] | DED ~D3 :|
|: DED =c3 | A2 d =cAG | ABc dcd | fed =cAF |
DFA =cBc | AdB =cAG | FAF GE[CA] |[1 DED D3 :|[2 DED D2 ||
|: A |\
d2 e fdd | add fed | c2 d eAA | fAA gfe |
d2 e fdd | add fdd | faf gec | dfe d2 :|
K:DMix
e |\
fed edc | ded =cAG | AGA BAG | FAF GED |
fed edc | ded =cAG | FAF GE[CA] | DED D2 e |
fdf ece | ded =cAG | AGA BAG | FAF GED |
f/g/af gfe | ded cAG | FAF GE[CA] | DED D2 |]

Damn, I left in Jeremy’s K:DMix by mistake - - - and I see I got a bit confused with a couple of the parts, like the lead-in for the second part, so, here it is again with corrections made ~

X: 3
T: Frieze Breeches, The
B: Dave Bulmer & Neil Sharpley: "Music from Ireland, Volume One", 1974, page 25, #65
M: 6/8
L: 1/8
R: jig
K: DMaj
|: E |\
FED EFG | A2 d =cAG | AGA BAG | FAF GFE |
FED EFG | AdB =cAG | FAF GE[CA] | DED D2 :|
A |:\
d2 e fed | e2 d =cAG | AGA BAG | FAF GED |
d2 e fed | e2 d =cAG | FAF GE[CA] | DED ~D3 :|
|: DED =c3 | A2 d =cAG | ABc dcd | fed =cAF |
DFA =cBc | AdB =cAG | FAF GE[CA] |[1 DED D3 :|[2 DED D2 ||
|: A |\
d2 e fdd | add fed | c2 d eAA | fAA gfe |
d2 e fdd | add fdd | faf gec | dfe d2 :|
e |\
fed edc | ded =cAG | AGA BAG | FAF GED |
fed edc | ded =cAG | FAF GE[CA] | DED D2 e |
fdf ece | ded =cAG | AGA BAG | FAF GED |
f/g/af gfe | ded cAG | FAF GE[CA] | DED D2 |]

X: 4
T: Frieze Breeches, The
M: 6/8
L: 1/8
R: jig
K: DMaj
|: E |\
FED EFG | A2 d =cAG | A^GA BA=G | F/G/AF GFE |
FED EFG | A2 B =cAG | FAF GEC | DED D2 :|
|: A |\
d2 e fed | e2 d =cAG | A^GA BA=G | FAF GED |
d2 e ff/e/d | e2 d =cAG | F2 F GEA | DED ~D2 :|
|: A |\
DED =c3 | AdB =cAG | ABc d2 e | fed =cAF |
DED =cBc | A2 d =cAG | F/G/AF GEC | DED D2 :|
|: A |\
d2 e fdd | Add fed | c2 d eAA | fAA gec |
d2 e fdd | add fed | f/g/af gec | ded d2 :|
e |\
fed edc | ded =cAG | A^GA BA=G | FAF GED |
fed e2c | ded =cAG | FAF GEC | DED D2 :|
fd/e/f ece | ded =cAG | A2 A BAG | F/G/AF GEc |
f/g/af ge/f/g | afd cAG | F/G/AF GEA | DF/E/D D2 |]

This take favours the C# ~ going natural in only the 3rd part ~

X: 5
T: Frieze Breeches, The
B: Based on another source - David Brody: "The Fiddler’s Fakebook", pages 113 & 114
M: 6/8
L: 1/8
R: jig
K: DMaj
|: E |\
FED EFG | AAd cAG | AAA BAG | FAF GED |
FED EFG | Add cAG | AA/A/A GE[CA] | DD/D/D D2 :|
|: A |\
d2 e fed | efd cAG | AAA BAG | FAF GED |
d2 e fed | efd cAG | FF/F/F GE[CA] |[1 DD/D/D D2 |[2 DED D3 :|
|: DD/D/D =c3 | AdB =cAG | AB=c ded | ded =cAF |
DD/D/D =c3 | AdB =cAG | FF/F/F GE[CA] |[1 DD/D/D D3 :|[2 DD/D/D D2 ||
|: A |\
d2 e fdd | Add fdd | c2 d eAA | fed ecA |
d2 e fdd | Add fdd | faf gfe | dfe d2 :|
|: e |\
fed ecA | ded cAG | AAA BAG | FAF GED |
fed ecA | ded cAG | FF/F/F GE[CA] | DD/D/D D2 :|

I remember this with more parts, I believe 8 or nine, and I also remember an odd way of playing this without the repeats, just once through each part… I’ll see if I can drag out those other parts, or maybe someone else will?

Well, there is a Willie Clancy setting with 10 parts……

X: 6
T: Gallagher’s
T: Frieze Breeches, The
B: Terry Moylan: "Johnny O’Leary of Sliabh Luachra", 1994, page 157, tune #275
Z: Terry Moylan
M: 6/8
L: 1/8
R: jig
Q: N3 = 128 bpm (N for note, L: 1/8)
K: DMaj
AG |:\
(3F/G/F/ED EFG | Azd cAG | ADD BAG | EAF GFE |
FED EFG | Add cAG | EFG AGE |[1 EDC D2 E :|[2 EDC D3 ||
|: d2 e fed | e/f/ed cAG | ADD BAG | EAF GED |
d2 e fed | e/f/ed cAB | EFG AGE | EDC D3 :|
|: D{A/}ED =c3 | Add cAG | ABc d2 d | ded cAF |
DEG =c3 | Adc cAG | EFG AGE |[1 EDC D3 :|[2 EDC D2 c ||
|: d2 e fdd | Add fed | c2 d ecA | fAA ecA |
d2 e fdd | Add ede | f/g/aA gec |[1 ded d/e/dA :|[2 ded d2 e ||

fed edc | ded cAG | ADA BAG | EAF GED |
f/g/fd edc | d/e/fd cAG | EFG AGE | EDC Dze |
f{g/}fd edc | ded cAG | ADD BAG | EAF GED |
f3 gfg | afd cAG | EFG AGE | EDC D2 E |]

"’Gallagher’s Jig’ Pádraig (O’Keeffe) used call that, ‘Tis the Galway crowd called it ‘The Frieze Breeches’. And ‘Gallagher’ Paddy Killoran had on the record for it." ~ Johnny O’Leary

29/4/1992 - Rathmore, recorded by Terry Moylan
POK / KF (Frieze Breeches)
See also: "Pádraig O’Keeffe, Denis Murphy & Julia Clifford: Kerry Fiddles" - track 7, tune #1
https://thesession.org/recordings/display/519

That break between the 4th and last part shouldn’t be there… It may be something to do with Notepad. It was acting up with some weird layout when cutting and pasting from it earlier…

I’m now wondering if the rambling extra parts I was remembering might have been courtesy of the dearly departed fiddler Séan McGuire, who loved to add ‘extras’… 😏

Thanks to Weejie for the reminder, as I’d planned to turn to the pipers, and Willie for whom I’ve several recordings of him playing this, and also the work of Pat Mitchell, "The Dance Music of Willie Clancy", which has four transcriptions of Willie’s playing of a jig called "The Frieze Breeches" - all are D Mixolydian, no C sharps ~

Page 26, transcription #11 - 2 parts - once through
Page 27, transcription #12 - 5 parts - once through
Page 79, transcription #101 - 6 parts - once through
Pages 80 & 81, trans. #102 - 5 parts - twice through

This last one is Pat’s generosity in giving us the tune transcription for twice through the 5-part version…

Here is the 6th part from Pat Murphy’s 3rd transcription, starting with the last bar from the 5th part:

~D3 {A/}D2 (3E/F/G/ |:\
A2 B c2 B | c2 d cAG | ~A2 d dcd | (3.g.f.e .d cAG |
~A2 B cAG | dcB {d/}cAG | F.A.A {A/}GE{B/}A | ~D3 {A/}D3 :|

With a slide up from B to c between bars 1 and 2, and within bar 5, indicated with an arrow…

X: 8
T: Frieze Breeches, The
B: O’Neill’s "1001 Gems: The Dance Music of Ireland", 1907, page 58, tune #260
M: 6/8
L: 1/8
R: jig
K: DMaj
|: A/G/ |\
FEF DED | A2 d cAG | ABA GAG | F2 A GEC |
FEF DED | A2 d cAG | FEF GEC | DED D2 :|
G |\
A2 d d2 e | fed cAG | ABA GAG | F2 A GEC |
A2 d d2 e | fed cAG | FEF GEC | DED D2 G |
A2 d d2 e | fed cAG | ABA B<cd | ded cAG |
fef efe | ded cAG | FEF GEC | DED D2 ||
|: F |\
DED {d/}cBc | AdB cAG | ABc d2 e | fed cAF |
DED {d/}cBc | AdB cAG | FEF GEC | DED D2 :|
|: A |\
d2 e f2 g | a2 f {a/}ged | c2 d efg | fdf ecA |
d2 e f2 g | a2 f {a/}ged | faf gec | ded d2 :|
|: d |\
fdf ece | ded cAG | ABA A2 G | F2 A GEC |
fdf ece | ded cAG | FEF GEC | DED D2 :|
|| F/G/ |\
A2 B cBA | c2 d cAG | A2 d d2 e | fed cAG |
A2 B cBA | dcB cAG | FEF GEC | DED D2 G |
A2 B {d/}c2 B | c2 d cAG | A2 d d2 e | fed cAG |
faf {a/}gec | ded {d/}cAG | FEF GEC | DED D2 |]

X: 9
T: Frieze Breeches, The
M: 6/8
L: 1/8
R: jig
K: DMaj
|: E |\
FED EFG | Add cAG | A3 GAA | FAA EFG |
FF/E/D EFG | A2 d cAG | FEF GEE | DED D2 :|
|: A |\
d2 e fed | e2 d cAG | AFA BAG | FEF GED |
d2 e fed | efd cAG | FEF GEE | DED D2 :|
|: A |\
D3 =c3 | AdB =cAG | AB=c ded | ded dAF |
D3 =c3 | AdB =cAG | F3 GEE | DED D2 :|
|: A |\
d2 e fdd | add fed | c2 d ecA | fed ecA |
d2 e fdd | add fed | faf gee | ded d2 :|
|: e |\
fed edc | ded cAG | AFA BAG | FDF GED |
[1 fed edc | ded cAG | F3 GEE | DED D2 :|
[2 f3 g3 | afd cAG | F2 F GEE | DED D2 |]

"The Kilfenora Ceili Band: Set On Stone" -
Track 2, tune 2 of 3 = 2 parts repeated = AABB

"Willie Clancy: The Gold Ring - CD 1 of 2" -
Track 5 = 5 parts repeated = AABBCCDDEE

"Padraig O’Keeffe, Denis Murphy, ‘Julia Clifford’: Kerry Fiddles"
Track 7, tune 1 of 2 = 5 parts repeated = AABBCCDDEE

"Ronan Browne & Peter O’Loughlin: The South West Wind"
Track 2 = 6 parts repeated = AABBCCDDEEFF

"Leo Rowsome: Classics Of Irish Piping"
Track 15 = 7 parts repeated = AABBCCDDEEFFGG

My way with it and preference is for the c natural to be prevalent with only the occasional c sharp ~ D Mixolydian…

Here’s another simplified ABC transcription, along the lines of how I play it, well, the bare bones of that. It’s a little tough pinning down the actual key, with the 7th note in flux, C, moving back and forth between natural and sharp, though tending to finish on sharp - | FAF GE[^CA] | DED D2 :| ~ Which could also be given as K: DMaj and adding more = signs for natural instead as I’ve done here for the sharps ~ ^c & ^C… It’s a lovely tune that moves back and forth beautifully between D Major and D Mixolydian, with a slightly minorish feel to it. But, in my current semi-conscious state I would welcome any further clarity from anyone. My brain isn’t at its best right now, but this is a skeleton of one of the ways I take it…

This is for a friend ~

X: 10
T: Frieze Breeches, The
T: Friar’s Britches, The
T: Vicar’s Knickers, The
M: 6/8
L: 1/8
R: jig
K: DMix
|: E |\
FED EFG | A2 d cAG | A^GA BA=G | FAF GFE |
FED EFG | A2 d cAG | FAF GE[^CA] | DED D2 :|
|: A |\
d2 e fed | e2 d cAG | A^GA BA=G | FAF GED |
d2 e fed | efd cAG | FAF GE[^CA] | DED D2 :|
|: A |\
DED c3 | AdB cAG | AB^c d2 e | fed cAF |
D^CD =c3 | AdB cAG | FAF GE[^CA] | DED D2 :|
|: A |\
d2 e fdd | Add fed | ^c2 d eAA | fAA ge^c |
d2 e fdd | add fed | faf ge^c | ded d2 :|
e |\
fed ed^c | ded cAG | A^GA BA=G | FAF GED |
fed e^cA | ded cAG | FAF GE[^CA] | DED D2 e |
fdf e^ce | dAd cAG | A^GA BA=G | FAF GE^c |
faf geg | afd cAG | FAF GE[^CA] | DED D2 |]

This is a great one for the well known and well worn dance "Haymakers Jig", depending on your timing of the figures… Another 5-parter for that task is "Dr. O’Neill’s"…

Key signature: Dmixolydian
Submitted on August 1st 2009 by birlibirdie.
https://thesession.org/tunes/9781

"The Frieze Britches" - a few recordings
"John O’Brien, uilleann pipes: Wind & Reeds" (a CD that also features Paudie O’Connor on button box)
Track 10 = 7 parts repeated = AABBCCDDEEFFGG

"Beauty An Oileáin: Music And Song Of The Blasket Islands" - various
Track 15, Muiris Ó Dálaigh on button accordion the 2nd tune of 4 - a unique 2 parts with repeats AABB

"Finbarr Dwyer: Pure Traditional Irish Accordion Music"
Track 5, tune 1 of 2 = 5 parts repeated = AABBCCDDEE

"Joe Burke & Charlie Lennon: The Bucks Of Oranmore"
Track 4 = 5 parts repeated = AABBCCDDEE

"The Festival of Traditional Irish Music, volume 1" - various
Track 6, Sean McGuire, fiddle & Roger Sherlock, flute = 5 parts repeated = AABBCCDDEE

"I’m Leaving Tipperary" - Various
Track 6, Tom Ennis, uilleann pipes = 5 parts repeated = AABBCCDDEE

"Irish Dance Music" - various
Track 11, The Flanagan Brothers = 5 parts repeated = AABBCCDDEE

"Planxty: The Well Below The Valley"
Track 1 = 2 parts with singing, then part 3 sneaks in, in and out and lilting too, those first 2 parts, and then Liam O’Flynn’s pipes give us 5 parts with that lovely second ending, beautiful, but only once through, leaving me longing for more… = AABB & AABBCCDDEE

"The Coleman Country Ceili Band" - various
Track 6, tune 1 of a set of 2 = 5 parts with repeats = AABBCCDDEE

# Posted on February 3rd 2005 by ceolachan
https://thesession.org/discussions/5739

"The Frieze Breeches" ~ the 5-part version of the jig, the 5th part

More transcriptions will follow… 😎

http://youtu.be/L9FClN2bP6A

play video

X:12 and 13 from Willie Clancy. The 1st setting has an additional part the old pipers in Ireland usually had (Ennis, Reck, Rowsome). The 2nd setting was played by Garrett Barry, and with its barrage of quadruplets is much like Padraig O’Keefe’s version, which O’Keefe called Gallagher’s. I mean to transcribe that one at some point as well.

X:14 (!) from Padraig O’Keefe, who called this setting "Gallagher’s," it may be heard on the Sliabh Luachra Fiddle Master CD. I must credit Drew Beisswenger with writing out this beautiful bit of Munster music in his excellent book Irish Fiddle Music from Counties Cork and Kerry: http://www.amazon.com/Irish-Fiddle-Music-Counties-Kerry/dp/0786683759/ref=la_B001K8IWRY_1_5?s=books&ie=UTF8&qid=1393721364&sr=1-5 I replaced some of his more ornate bits of transcription with simple rolls, and also didn’t bother with the variations O’Keefe played, of which there were plenty. A book well worth having on the shelf.

Reg Hall’s recording of Johnny Gorman, Michael Plunkett et al


http://sounds.bl.uk/World-and-traditional-music/Reg-Hall-Archive/025M-C0903X0263XX-0700V0

I learned this off of Ashley MacIsaac. He calls it the Chorus Jig, but I believe that name is already taken. A dandy little tune, it is great for burning up the floor.

This is a duplicate, of the first two parts of The Frieze Britches:
https://thesession.org/tunes/34#setting12438

Chorus Jig - in the NA dance form is actually a reel. Confusing, but, that’s what it is.

This is a 9 note pipe setting of this old chestnut that I learnt a few years back as the Friar’s Britches. The version here has come from the Irish pipe band scene I believe and I’ve a suspicion that particular and long lost manuscript came from the Cullybackey band. Where they got it from is another matter, Terry Tully perhaps? I’m sure there was a video doing the rounds of the interweb of Richard Parkes giving it large playing a very similar setting but I can’t find it now. It’s possible I’ve cocked up the ABC so just play it to sound right. That 5th part is a bit trick but it does work when you get the flow of the tune going.

Listening to the ABC on the midi for the first time has led me to the odd correction. I’ve not tried to fix the last bar of each line, those 2 held low A notes, normally I birl them or trick them up one way or another. They definitely need something but what that will be depends on your instrument I guess.

If anyone is confused by K:Dmaj - think K:Amix.

This thread is great! I’ve been meaning to learn this tune for a little while now. Planxty’s version of it is wonderful, and the local session does a version I enjoy. I’ve been working with a setting from here, and learning off Planxty’s version and a version I found on youtube by David Surette (I try not to learn anything wholly by notation). I love all the variations here, and the discussion regarding them. I’m quite new at all of this, having started learning tunes since around December 2017. One element I love about ITM is that it’s living, breathing music.

Nice version on mandolin here:

https://youtu.be/Yz_7rCpXS2I

play video

This is the way we play it at our local session.

From Flatback Capers Fairport Convention..