The Groves hornpipe

There are several settings of this 5-part hornpipe. This is based on Matt Molloy’s version from his 1st LP. The triplets in the 4th and 5th parts are almost obligatory. A classic.

Thank you, Kenny,

now we have all the tunes listed here from Matt Molloy’s first recording which is one of the recordingd I love most and has listen to most!

We’re not there yet, urs. I dont think the 2nd “Travers’” reel is in the database yet. I’ll post it later unless someone else does.

Also, look out for matt’s wonderfull cascade of tripets in the fourth bar of the first part

Change the B notes to B flats and you have the Drunken Sailor, basically. Both tunes are hornpipe variants of the reel called Paddy on the Turnpike or the Bunch of Keys, or in O’Neill’s, the Flowers of Limerick.

Also with the Drunken Sailor you have F naturals. In the reel versions these flat notes are found to a lesser or greater degree - pipers vary in their use of them - Johnny Doran didn’t use the keys at all - it is his version Paddy Keenan plays on Doublin’ - Seamus Ennis not only used the keys for Bb and Fnat, but also would tap the regulator keys with the bottom of the chanter - because it’s the “Bunch of Keys,” you see.
I always thought “Keys” referred to the fruit of the maple tree, myself.

Martin Hayes has been introducing this tune as “The Banks.” I’ve added that as an alternate title so that the next person who tries to track the tune down after hearing MH play it doesn’t have the trouble I did.

It’s not “The Banks”. Are you sure that it is this 5-part hornpipe that Martin Hayes called the “Banks”, or have you mis-identified it ? When and where did he play it ?
It’s been the “Groves” for over 100 years - it’s in O’Neill’s. It’s staying as “The Groves”.

https://thesession.org/tunes/922

right, this is “the groves”! unfortunately, none of get to say ‘the name’s staying ___’ about any tune. as a fiddler friend said when I realized the ‘mistake’, “no wonder there is rampant confusion about which title goes with which tune!” … in fact, it’s sort of thrilling to watch the folk process happening in such a discrete instant ;) you don’t have to allow the alternate name here, but don’t be surprised if it spreads

Maybe I should add one, but for now, I do tend to take one bar differently than given here, the third bar of the A-part ~

~ | =F2 F>E F2 (3GAB | ~

Here it is simplified, including no (3s ~

X: 2
T: Groves, The
M: 4/4
L: 1/8
R: hornpipe
K: Gmaj
|: D2 |\
G2 G>F G>AB>c | d>GB>G A>FD>E | F2 F>E F>GA>B | c2 f>e d>cA>F |
G2 G>F G>AB>c | d>GB>G A>GF>A | d2 e>g f>dc>d | A2 G2 G2 :|
|: d>c |\
B2 B>A B>cd>e | f>dc>d A>F F2 | D>F F2 A>F F2 | A2 c>A B>G G2 |
B2 B>A B>cd>e | f>dc>A d>Bc>A | d2 e>g f>dc>d | A2 G2 G2 :|
|: B>c |\
d2 g>f g>df>g | a2 a>g f>gf>e | d2 d>e f2 f>g | a2 a>g f>ge>f |
d2 g>f g>df>g | a2 a>g f>gf>e | d2 e>g f>dc>d | A2 G2 G2 :|
|: D2 |\
G>dB>d G>dB>d | F>cA>c F>cA>c | G>dB>d G2 B>c | d2 d>e f>dc>A |
G>dB>d G>dB>d | F>cA>c F>cA>c | d2 e>g f>dc>d | A2 G2 G2 :|
|: d2 |\
g>dB>d g>dB>d | f>cA>c f>cA>c | g>dB>d g>dB>d | A2 A>c A>DF>A |
d2 d>B c2 c>A | B2 B>G A2 F>A | d2 e>g f>dc>d | A2 G2 G2 :|

~ here follows that reduced further, a ‘dinxterless’ transcription in memory of Jack Gilder/‘phantom button’, who may have lost his way, his mind, his balance, and drastically reduced the breadth of his sense of humour, but who has been missed ~ all of that and including the scrapes, bickering and his irascible ways… The nature of character includes peculiarities and quirkiness, and sometimes paranoia too… One old character I once knew was convinced that the world, politics and media, were being taken over by a lizard race of aliens, and some of his descriptions, looking at some pictures, were convincing… 😛

X: 2
T: Groves, The
M: 4/4
L: 1/8
R: hornpipe
K: Gmaj
|: D2 |\
G2 GF GABc | dGBG AFDE | F2 FE FGAB | c2 fe dcAF |
G2 GF GABc | dGBG AGFA | d2 eg fdcd | A2 G2 G2 :|
|: dc |\
B2 BA Bcde | fdcd AF F2 | DF F2 AF F2 | A2 cA BG G2 |
B2 BA Bcde | fdcA dBcA | d2 eg fdcd | A2 G2 G2 :|
|: Bc |\
d2 gf gdfg | a2 ag fgfe | d2 de f2 fg | a2 ag fgef |
d2 gf gdfg | a2 ag fgfe | d2 eg fdcd | A2 G2 G2 :|
|: D2 |\
GdBd GdBd | FcAc FcAc | GdBd G2 Bc | d2 de fdcA |
GdBd GdBd | FcAc FcAc | d2 eg fdcd | A2 G2 G2 :|
|: d2 |\
gdBd gdBd | fcAc fcAc | gdBd gdBd | A2 Ac ADFA |
d2 dB c2 cA | B2 BG A2 FA | d2 eg fdcd | A2 G2 G2 :|

Why do people feel a necessity to dumb down the music. If you can’t play it, listen to those who can and stop making the music moronic!!!

It’s only moronic to think there is only one way to see or consider a melody, or to play it. Dots can only ever be a skeleton, even when you burden them with lots and lots of twiddly bits and other directions, and then, even that tends to be once through and minus the subtler nuances of rhythm and articulation…

There are few of us who don’t think ‘ears first’, and direct sourcing wherever and whenever possible…

It’s also impossible to tell from someone’s abc whether or not they can actually play. To say otherwise is pretty… moronic 😀

Matt Molloy’s setting in F Major.