Galway Bay hornpipe

This name has already been used as an alt. for the Drunken Sailor but this is the tune that’s in O’Neill’s and recorded by both Joe Burke and Andy McGann as Galway Bay, so I hope it’s ok to use it.

I’ve relied on the McGann recording. If you like his use of double stops you could try |:[B3D3]c [d3F3]f| for the first bar of the A and |d [g2d2] [g2d2]| for the last bar of the B part.

X:2
T:Galway bay
R:hornpipe
S:O’Neill
M:4/4
L:1/8
K:Gmin
GA|BABc dcd^f|g^fga gabg|=fdbg fdcd|BAG^F GFDF|
G2GA BABG|=F2FG AGFD|GABc dcBA|B2G2G2:|
|:g2|gfd^f gabg|g=fdf GFDF|BABc dcd=e|fcdB AGFD|
G^FGA BABc|BFdB AFec|d^fga bag=f|d2g2g2:|

It’s also recorded by John McGann in his Octave Mandolin & Bouzouki book.

Someone asked in a discussion thread what people played with The Rights of Man. I remember someone playing this with it (not what I use myself - that’s Kemp’s, to be submitted soon).

I’ve known this tune ever so long. But now I discover that it’s from Kerr’s Merry Melodies Vol II. There, it is in G minor, but since I’ve always thought of it (and, as far as I know heard it played this way) in Eminor, that’s what I’ve used here.

My preference is to go into “The Blackbird”. Nice change of key I feel.

Which Blackbird, hetty?

This one!
https://thesession.org/tunes/1104

It’s the only one I’ve ever known but thank you for the prompt, I hadn’t realised there were so many.
I’ve never had the need to research it. Just shows there is always something new to learn.

Paddy Carty, Conor Tully etc. played this tune a lot - in the key of Gm and basically as a slowish reel rather than a hornpipe (no dotted notes)

https://thesession.org/tunes/10145/comments

X: 1
T: Democratic, The
M: 4/4
L: 1/8
R: hornpipe
K: Emin
EF | GFGA ~B3d | edef dfge | dBge dBAB | GFED EDB,D |
~E3F GFGE | D2DE FEDB, | EFGA BAGF | G2E2 E2:|
~e2- | edBd efg~e- | edBd EDB,D | ~G3A BABc | dABG FEDB, |
GDBG FDcA | GDBG FDcA | Bdef gfed | B2e2 e2 :|

The Democratic
Someone asked in a discussion thread what people played with The Rights of Man. I remember someone playing this with it (not what I use myself - that’s Kemp’s, to be submitted soon).
I’ve known this tune ever so long. But now I discover that it’s from Kerr’s Merry Melodies Vol II. There, it is in G minor, but since I’ve always thought of it (and, as far as I know heard it played this way) in Eminor, that’s what I’ve used here.
# Posted on December 27th 2009 by ethical blend

The Democratic is also the name for this tune in Cole/Ryan’s, where it’s in g.

I have done a transcription of Paddy Carty’s version of this tune this afternoon. It’s a quick job but consists of most of the important elements in his playing. If anybody is interested, feel free to email me and I can send you on a MuseScore file with the score attached. It would be too much hassle for me to write it out in ABC with all of the ornaments and such included.

Tommy Potts called this “The Drunken Sailor” on his excellent solo fiddle album “The Liffey Banks” (which Frankie Gavin just highly recommended to an audience in Austin a couple nights ago, and rightly so).

And yes, the one listed above (https://thesession.org/tunes/10145/comments) does seem to be a duplicate. Is there a way to request a merge?

This is the version I originally learned many years ago in the key of G Dorian. This is the same version only in E Dorian.

This seems to belong in the Pride of Petravore / Rights of Man / King of the Fairies stable of tunes. Nice to throw in as a contrast to some of the lighter, major scale hornpipes. Or maybe just put all the minor / dorian ones together - fill yer boots!

Taken from ‘A Fine Selection of Over 200 Irish Traditional Tunes for Sessions’, compiled by David Speers with a Forward by Matt Cranitch.

This is Matt Molloy’s version from his cd “Back to the Island” (https://thesession.org/recordings/6041)

youtube link : https://www.youtube.com/watch?v=yQHCDGnXDXI

play video

The A part is a lot like the other settings posted here but the B part has some differences.

Throughout the A part except for the last two measures, Mr. Molloy uses the cross fingering on the c natural, causing it to be a bit to sharp and to have an effect similar to what a c# would achieve.

Basic transcription (unornamented; rolls expanded in quavers) of the first 32 bars of Kevin Burke’s playing here: https://www.youtube.com/watch?v=Zgjaf-e8hbE

play video

Intriguing variations and stunning ending in bars 31-32.

Nice hornpipe in a minor key.

I worked this up after listening to Tom Oakes’s playing. He leads into “Galway Bay” with an intimate version of “The Wounded Hussar”.

Hi Tom S. - can I ask where you heard Tom O. playing his version of “The Wounded Hussar”, please ?

transcription from Michelle Mulcahy’s playing from her album “Suaimhneas “

Monster tune in any key but in G Dorian it’s dark.
There’s a lot of ways to play it, so I wrote it out long ways.
( Can start with the B pattern or the G shapes….. )

This is a flute setting. Bars B5 and 6 are hard, but worth it.
Good workout for D# and Bb and Fnatural keys.

I was inspired to learn this setting ( or something like it ) from Rennie Pearson’s flute playing.

Somewhat based on Martin Hayes tutorial in https://youtu.be/wGRWLsbssrI

play video

For flute/whistle players who don’t have a keyed flute or find it too hard to half hole etc, This version can be played on a B flat whistle to get the key which has two flats (B flat and E flat) like in Martin’s video. Hopefully it’s clear. Since I’m flute/whistle player, I’m used to reading of all notation as if it were describing the pitch and fingering of a D flute/whistle. Hard for me to transpose on the fly. So I have written this version just to show the fingering of how I would play it on a D whistle, but if used on a B flat whistle it would sound as the key with the 2 flats.