Mayor Harrison’s Fedora reel

I first learned this off a tape of Donal Lunny in concert. You’ll see the title also confused as Major Harrison’s Fedora.

I’ve occasionally heard a third part played at sessions, though to my ear it doesn’t fit as seamlessly into the tune as the first two parts do together.
The third part goes:
|:G2 GF GABc|dBAG FDDA|Be (3eee edef|gefd e2 (3ABc|
|dcdB AGFA|GEFD EFGA|dedB AGFA|GEFD E2 (3DEF:|

I’ve recently found out that this tune…Mayor Harrison’s Fedora has a third part…do you know about this? or do you have the music for it? please advise..thanks. Dave Riddles

Dave, I’ve only heard the third part once, at a 3 am session of ITM giants. It went like a version of Johnny’s Wedding, something like this:

K: E Dorian
|:G2 GF GABc|dBAG FDDA|Be (3eee edef|
|gefd e2 (3ABc|dcdB AGFA|GEFD EFGA|
|dedB AGFA|1 GEFD E2 (3DEF:|2 GEFD ~E3 F|

I didn’t include it in the original posting because it’s not all that commonly played, and (selfishly) I like the tune better without it. Hope this helps.

Will…thanks for the help and I know what you mean about liking the tune without a third part…it just seems to flow nicely without that extra baggage. I recently played with a fiddler who just had to have that third part so now I can step in there when it’s needed…thanks again! Dave Riddles

I’ve always heard this tune played with its third part. (Have a recording of Tommy Peoples playing it that way somewhere as well.) Anyway, that’s how i learned it and have only heard it from other players with the third part. –?

As I said above, I learned it off a concert tape of Donal Lunny and friends, and they played only the first two parts. I’ve since heard it played at sessions with no more than two parts by the likes of Cillian Vallely, Brian Conway, and Tom Doorley, though I’m not sure which of them “led” the tune that way. I’ve also heard the three-part setting at several sessions. What all this means to me is that Mayor Harrison’s Fedora gets played both ways, and it doesn’t hurt to know the third part, whether you “always” play it or not (though in hindsight, I probably should have included it in the original posting). But part of the charm of this music comes from not being held to “official” settings–there are no such things. To my ear, the third part sounds added on, an afterthought rather than an original and integral piece of the tune. But I’m probably wrong…..

I was simply reporting my experience of this tune, not claiming any official anything…

This tune is in O’Neill’s 1001 jigs reels etc. (Not the yellow “bible”)
There is no “major” Harrison. Mayor Harrison was Mayor of Chicago from 1897 to 1915 - The era when O’Neill was collecting is tunes in Chicago. The 3rd part is in O’Neill and thus “orriginal” for what it maters. We play the third part.

I agree with you about the 3rd part Will. It doesn’t develop the tune much does it?

On second thoughts maybe it’s just because that’s not how I first learnt it. I first came across the 3rd part at a session. Maybe if you make it go up to top A and vary the rhythm a bit it could be given a character of its own. If backers start on a chord of G it’d be nice:

K: Edor
|:F|G2GF GABc|dBAG FADA|Beed efga|(3gfe df e3c|
~d3B A3F|GFEF GABc|dedB AGFA GEFD ~E3:|

I was bowled over by the Paddy O’Brien version of this a number of years ago and learned it from the recording. But I’m pretty sure it used to get played around the Edinburgh session scene as a hornpipe. Anybody else come across this?

hmmm… Did the hornpipe have a third part? (puffs on pipe and looks inquisitive) *puff puff*

Yes, Holmes, a third part was included.

And I can now reveal that a slightly slower (and very beautiful) version of this is to be found on The House Band album (Topic 1985) which would explain the Edinburgh connection. On first listening this seems to have nothing to do with my liking the Paddy O’Brien version. But now I remember learning this version off the LP at the time.

To bring you this information I had to clear a whole pile of CDs, cassettes and duck figurines off the top of my (still connected to the hi fi) turntable. I could be in for a night on the vinyl….

I’ve realised why I don’t like the 3rd part - it sounds too much like the B-part of Colonel McBain.

I heard this great tune a few weeks back in Maddens’ in Belfast and the third part was the one stuck in my head- I love it.I think the contrast actually helps -sounds deadly on the Desi Wilkinson Three Piece Flute album-played through once I think.

I also think the version of Major Harrison’s Fedora played by the house band is really lovely. I’d like to hear a Lúnasa arrangement some time too. I do have a question however, this rather basic I am afraid.

I am both ‘paper trained’ and ear competent for learning tunes. But I am NOt familiar with the notation you use in this thread (and elsewhere) for sharing tunes. Is there a primer I can read to learn the meaning of the notation?

I am going back to Gallway Ireland in June and will do some session playing and would like to learn variations in case I encounter or start the tune.

But the way on the Lúnasa CDs I highly recomment the folliwng tunes for a listen: “The Mileler of Drohan”, “The Last Pint “(new version) and “Across the Black River/ Iain MacDonald’s”

Belay that request …I just compared the sheet version to the tablature(?) description an now see the translation rubric.

I would however like to learn more on the tradition and its origin and use if anyone has an idea or further pointers.

thanks much.

A great version of this tune. It is the second one.

http://www.youtube.com/watch?v=D1IHW0nTt8w

play video

Expertly played (with all 3 parts!) http://comhaltas.ie/music/detail/comhaltaslive_369_5_niall_o_murchu/

http://www.youtube.com/watch?v=UUtdwH6n8_M

play video

http://www.youtube.com/watch?v=vf5wmt8jOC8

play video

Matt Malloy, Cathal Hayden and Steve Cooney. First tune in the set.

Jason, that is the Golden Keyboard in that set. They do sound the same, though.

Quite right, “pipersgrip” - but …. “Matt Molloy, Cathal Hayden and Steve Cooney” … - why doesn’t Brian McGrath on keyboards rate a mention ?

This is my reel for the Fleadh in which I am competing - it’s a great tune with loads of scope for variaton and ornamentation. (I play it with three parts Just because that’s how I know it) 🙂

I also saw a video of Damien Mullane play it in F minor! (but I got taught it in E dor) 🙂

This tune is in O’Neill’s “The Dance Music of Ireland (the 1001)”, #799. There it is shown in E Minor (1 sharp). All the versions here are in E Dorian (2 sharps)—which sounds much better to my ear. Dare I disagree with Francis O’Neill? Or is there an Ur version before O’Neill that has a stronger provenance?

I’ve really ‘gone down the rabbit-hole’ with this tune. Chicago has a penchant for hereditary mayors. In my lifetime it was the Daly’s, father and son. In Francis O’Neill’s day it was the Harrison’s, father and son, Carter Harrison, Sr. and Carter Harrison, Jr. I’ve only ever been able to find a picture of Carter, Jr., wearing a Fedora hat. Carter, Sr., is always shown wearing a high crowned ‘slouch’ hat or a Stetson. Since the Fedora was popularised by Sara Bernhardt, the actress, in 1889, , and Carter, Sr. was assassinated by a deranged individual in 1893, it is unlikely Carter, Sr. was the mayor in question. Francis O’Neill served as Superintendant Of Police under both the Harrisons. I am open to correction on this bit. I think it is fair to say this was a tune composed contemporaneously with all three of these men. Wonder who the composer was? Francis O’Neill? Or Sgt. Early?

Paul De Grae has notes that he made on sources for all the tunes in O’Neill’s, available via irishtunes.info, and here’s his note on this tune:
“DMI 799. Mayor Harrison’s Fedora.

Not found in any of the older collections in the Bibliography. According to Breandán Breathnach, it was composed by Edward Cronin: see “The Use of Notation in the Transmission of Irish Folk Music”, reproduced in “A Man and His Music: An Anthology of the Writings of Breandán Breathnach”, ed. Seán Potts, Terry Moylan and Liam McNulty (NPU, 1996).

Named for Chicago mayor (and O’Neill’s political patron) Carter Harrison Junior; there is a photograph of Mayor Harrison, complete with his trademark fedora, in Nicholas Carolan’s book on O’Neill, “A Harvest Saved” (Ossian, 1997).“
https://www.irishtune.info/public/
https://www.irishtune.info/public/oneill-sources.htm

BTW, Early wasn’t a huge composer of tunes, but both Cronin and McFadden were. FWIW.

Good to know Nico. Thank you Nico.

Based on O’Neill’s #799.

This version has been played in the San Diego, CA sessions for many years. Not sure where this variant originally came from.

Arranged for B/C Box with 12 bass including both Push and Pull E, Push B, thirds out of all chords

Upper Case = Bass button / Lower Case = Chord button