The Fairies’ Revels march

Sadly not learned from the fairy folk but from mad folk, you all know them, Irish uilleann pipers - - - also as played by Leo Rowsome.

Notes of X:2 and X:1 are alike but I took the liberty of altering the layout as it appears on sheet music because in 2 places the short bars of music take up a whole line which looks stretched out and strange! It is a nice tune.

I think you’ve missed out bar 6 in the B part. It should be the same as the A .

Huh? I don’t get it. X: 1 is a classic layout for notation, breaking the tune up, as usual, into four lines, four 4 bar phrases, the first four bars of both parts, A & B, including the lead-in… Why duplicate it by forcing it into an atypical 3 line notation? I can’t see any useful reason for doing that… Offering a ‘different’ notation all together, say how you play it, or your local session, or from a different recording, that would be useful. Presenting notation of dance music by its phrasing is not just off the cuff. There is actual sense behind it, a reason. It’s informative, useful…

X:2 - Andy Hornby, quite right I have left out the bar in 2nd part and I’m sorry. My motive in trying to post X:2
was for the sake of the look of the sheet music but I see X:1 has recently been edited and sheet music looks great now (to my eyes). Oh well, perhaps the odd person has looked at this tune lately which is all to the good. Will try to delete X:2 though maybe that isn’t possible! Apologies for an intervention that lacked care…

Did try to delete X:2 but request for ABC comes up in bold print and it can’t be done. So X:2 remains but I’ve put in missing bar and changed it into A major version (useful fiddle key) as I couldn’t exclude it altogether. It is a pity that tunes can’t be removed if poster has 2nd thoughts and wishes to delete!!

You can ‘CONACT’ our webmaster Jeremy and he will gladly clear up any mistakes or answer a want to delete. However, presenting it in A is a useful addition, appreciated…

Years back now there was a major overhaul to the website that could leave notations hanging, as with lead-ins, meaning one bar could occupy a whole line. The current software recognizes the back slash (\) and when used in notation, as in concluding a lead-in, joins up the lead-in to the following line of notation. Unfortunately a lot of comment notations were also moved up to full submissions and weren’t properly set-up for that. Over time some of us have been slowly making corrections where needed. Jeremy has also made some further adjustments, such as moving a notation like this ~

D2 |\
G2 G2 A2 Bc | de dc A2 Bc | d2 cA G2 EG | F6 D2 | - - -

to this:
D2 |\ G2 G2 A2 Bc | de dc A2 Bc | d2 cA G2 EG | F6 D2 | - - -
or this:
D2 | G2 G2 A2 Bc | de dc A2 Bc | d2 cA G2 EG | F6 D2 | - - -

Note, true of the majority of dance tune transcriptions given on site here, and as a classic practice, the versions given here are with each line of notation representing a four bar/measure phrase…

I’ve been wracking my brains to remember how I came to know this tune..
It came to me today. It was on an LP by the Glasgow Uillean piper Pat McNulty that I had in the late 70s.

He played it after the “Mountains of Pomeroy”

https://www.discogs.com/release/4512222-Pat-McNulty-Uilleann-Pipes-