The Fairy Dance reel

This is is a realy old Scottish tune and is in Gow’s Original Collection, although there is some debate as to whether he wrote it or merely noted down an existing tune.

Including Old Molly Hare and Largo’s Fairy Dance

If you are looking for the version on Natalie McMaster’s ‘In My Hands’ CD, it is “a multi-part version evolved from Skinner’s set in the Harp and Claymore. Winston Fitzgerald’s setting is close…”. See cranfordpub.com/natalie/Hands to find a link to Fitz. Have fun!

You can also find a longer version at www.minarsas.demon.co.uk/harn/folksongs/fairy.htm

Here is the version played on the uilleann pipes on track 1 of The Chieftains 4.

X: 1
T:Fairy Dance
M:4/4
L:1/8
R:Reel
K:D
g|~f2dg ~f2dg|~f2dB cdeg|~f2df gfed|cABc dfag|
fAdg fAdg|fAdB cdeg| (3fga df gfed|cABc d2~f2|
aAdf bagf|(3gfe ce aeAg|fdBd gfed|cABc d2~f2|
a2 (3fga bagf|(3gfe ce Aceg|fdBd gfed|cA (3GFE D4||

You can also find the multi-part version in a book entitled “Session Tunes for Scots Fiddlers” available at all good folk music shops. It also includes a multi-part version of Masons Apron.

Here’s the version of the A part that I play.

d2f2gfeg|f2d2edBA|d2f2gfed|cABcd4

I guess that’s the Old Molly Hare version.

Don’t know why I got interested in this, this morning. I’ve looked it up, and I gather that ‘Largo’s Fairy Dance’ actually consists of two Gow tunes, The Fairy Dance, as posted here, and The Fairies Advance. I’ve found two versions of the Fairies Advance, here:

http://www.village-music-project.org.uk/abc/HARRISON.ABC

To save people having to scroll down and find them, here they are:

X: 57
T:Fairies Advance,The.(primo) RH.043
M:C
L:1/8
Q:120
S:Rev.R.Harrison’s MS,c1815,Cumbria
R:March
O:England
A:Temple Sowerby,Cumbria
Z:vmp.Simon Wilson….
K:D
F>G|A2A>A (A/c/d/e/) (f/c/d/B/)|A2F>F F2d>c|\
B/A/G/F/ dA f/e/d/c/ B/A/G/F/|F2E>E E2F>G|!
(Acde) fcdB|A2F>F F2d>c|Bged cbac|d2d>d d2:|!
|:f>g|a2a>f b2b>a|g/f/g/a/ ge a2ag|\
fedc Be/f/ g/f/e/d/|dcBA Bcde|!
f3g/f/ e3f/e/|d3e/d/ c3d/c/|\
Bc/d/ e/f/g/e/ d/c/B/A/ B/d/c/e/|d2d>d d2:|]

X: 58
T:Fairies Advance,The.(secundo) The RH.043
M:C
L:1/8
Q:100
S:Rev.R.Harrison’s MS,c1815,Cumbria
R:March
O:England
A:Temple Sowerby,Cumbria
Z:vmp.Simon Wilson….
K:D
D>E|F2F>F (F/A/F/A/) (d/A/B/G/)|F2D>D D2F>F|\
G/F/E/D/ FF d/c/B/A/ G/F/E/D/|D2A>A A2D>E|!
FAFA dABG|F2D>D D2B>A|GBcA FFGE|F2F>F F2:|!
|:d>e|f2f>d g2g>f|e/d/e/f/ ecf2fe|dcBA GA/B/ e/d/c/B/|FAFA GABc|!
d3e/d/ A3d/A/|F3A/F/ A3F/A/|FABG FD AG|F2F>F F2:|]

Both seem to have B parts that are similar to The Fairy Dance B part, but which is the Gow tune? Is either one the Gow tune, or is it something else again?

|D ( F#aug )|D A7|D G(or Em)|A7 D:|
|:D B7|Em A7|D G(or Em)|A7 D:|

As written down by Nigel Gatherer

K:D
g |: fAdg fAdg | fAde cdeg | fAdf gfed |1 cABc d4 :|2 cAbc defg ||
a2 ag b>bba | geee aaag | fadf gfed |1 cABc defg :|2 cAbc d4 ||

from https://thesession.org/discussions/17161

https://thesession.org/tunes/2944

Has anyone tried playing the Primo and secundo Fairies Advance together? They look like clarinet and fiddle parts for the same tune.

I never liked this tune much. The G version (see link above) is nicer, or should I say, slightly less irritating!

It’s listed under miscellaneous in O’Neill’s because, I assume, it is more of a schottische than a reel.
See how for instance, the run: gfed |1 cABc defg (here in D) is also found in
The Blacksmith Schottische’s cBAG FDEF|GABc (in G)
https://thesession.org/tunes/7945

If you think you don’t like this tune, have a listen to Steph Geremia’s version. Could well change your mind.

I’ve heard many versions and none did ‘it’ for me, K. But it is true that ‘version’, interpretation or setting has everything to do with ‘it’.
I’ve realised today, for instance, that the 2d part of The Holy Land (see: https://thesession.org/tunes/616) is very similar to the 1st part of The Fairy Dance, in one of its versions at least. Yet I love the Holy Land. How uncanny!
The question is: will it make me like the Fairy Dance better or will I begin to hate The Holy Land? :-o
I’ll try not to think too hard about that one!

This tune is truly Fairy’s work!
In Moore’s Manx Ballads, Mona Douglas wrote that this tune ‘Arrane Queeyl-Nieuee’ is one of the rare surviving songs of labour and one of only two cante-fables that survived on Man. What have the fairies got to do with it then? Read ‘The Lazy Wife’ at: http://www.isle-of-man.com/manxnotebook/fulltext/sm1911/p062.htm (from Sophia Morrisson’s Manx Fairy Tales (1911) or in Folk Song Journal, No28)

Here’s how goes:
X: 1
T: Arrane Queeyl-Nieuee / Spinning Wheel Song / “Snieu, Wheeyl, Snieu” / ‘Snieu, Queeyl, Snieu’
M: 2/2
L: 1/8
R: reel
K: Dmaj
a2af b4 | g2ge a3a | ffff gggg | edef d4 | aaaf bb2b | ggge A4 | f2f2 g2g2 | edef d4 ||

Snieu, wheeyl, snieu,
Snieu, wheeyl, snieu;
Dy chooiley vangan er y villey,
Snieu, ermyskyn,
Lesh y ree yn ollan,
As lesh my hene y snaih;
Son shenn Trit Trot
cha vow ish dybraa.

Snieu, wheeyl, snieu
’Rane wheeyl, ’rane,
As dy chooilley chlea er y thie
Snieu ermyhon.
Lesh y ree yn ollan bane
As lesh my hene y snaih;
Son shenn Trit-Trot,
cha vow ish dy-braa!

Snieu, wheeyl, snieu;
’Rane wheeyl, ’rane,
As dy chooilley tonn er y thie
Snieu ermyhon.
Lesh y ree yn ollan kkear
As lesh my hene y snaih;
Son tra bee y Fidder cheet,
Cha vow ish dy-braa!

ie:
a2 (af) b4 |
Snieu wheeyl snieu |
g2 (ge) a3 a |
Snieu wheeyl snieu; Dy
ff ff gg gg |
chooiley vangan er y villey |
(ed) ef d4 |
Snieu ermyskyn |
aa af bb2 b
Lesh y ree yn ollan, As |
gg ge A4|
lesh my ~hene~ y snaih |
f2 f2 g2 g2 |
Son shenn Trit Trot
ed ef d4||
cha vow ish dybraa ||
etc

I gleaned those interesting notes (both musical and scholarly) in The Manx National Song Book (vol 2, Compiled by Charles Guard, Shearwater Press 1980) where the melody is notated in F Major & 2/4. I transposed it in D, 2/2 for ease of comparison. NB: This song version has only one part.

Dictionary/Fockleyr: http://www.mannin.info/Mannin/fockleyr/help.php

A rough translation gives:
Spin, Wheel, spin!
Every leaf/slate/wave upon the trees/house/beach spin along!
Old Tom Tit Tot the weaver shall never!

Rumpelstiltskin, Tom Tit Tot, Ferradiddledumday / Rumpelstilzchen, Repelsteeltje / Le Nain Tracassin, Barbichu, Broumpristoche, Outroupistache, Grigrigredinmenufretin / Trit Trot, Mollyndroat / Titelitury / Whatsitasgaeilge?
http://en.wikipedia.org/wiki/Rumpelstiltskin
http://www.statemaster.com/encyclopedia/Rumpelstiltskin
See also: Betushka, a Czech fairy tale about a dancing weaving fairy, and so forth, the theme has spun endless spools of versions!

With its insistent and descending-ascending phrases, this tune reminds me strongly of this other fling-like tune, once common, I presume, all over the contredanse dancing West, known as Cochinchine in French, Den Toppede Hone in Denmark, etc…

Here’s a setting of it…

X:1
T: Cochinchine
M:4/4
L:1/8
R:
K:Dmaj
a2aa fdfa|fdfa age2|a2aa fdfa|1 agec defg :|2 agec dcde|
f2f2 dBB2|g2gg eccc|a2aa fdfa|1 agec dcde :|2 agec d4||

…and a short peep at the ‘fairy dance’ that accompanies it: http://www.youtube.com/watch?v=kM-XWURhLQU

play video

The Fairy Dance followed by Cochinchine makes a nice set.

Another Manx version of the tune is called Car ny Ferrishyn (Tune of the Fairies), which I’ve added above. The Dukes of Atholl ruled the Isle of Man for parts of the eighteenth and nineteenth centuries, and as they were the Gows’ patrons, it is possible that this is how the tune found its way to the Island.

is this tune is the same as the version of Fairy dance posted by birlibirdie above? or have i missed something? if so apologies.

# Added by Kenny - May 4th, 2004
https://thesession.org/tunes/2944

B: “Dances of Donegal”, collected by Grace Orpen, D.M. Wilkie, London, 1931

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page 10 - music notation / page 11 - dance description
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Dance: The Fairy Reel
Tune: “The Fairy Dance” 2/4

Six dancers: 2 Men and 4 Women
The dancers stand as Fig. 1, facing across the set. (3-facing-3)
They stand still for the first four bars of music, then join hands and dance in place for four bars. - - - 8

Steps - - - - - - - - - Description - - - - - - - - - Bars

1 - - - Advance and retire. Repeat. - - - 8
2 - - - The three dancers on either side join hands.
- - - - -Ring to right and left. - - - 8
3 - - - Men advance to meet, while 1st and 2nd women face each other and cross over to opposite side, passing right shoulders, while 3rd and 4th women do

the same. - - - 2
- - - - -Men retire while women dance in place facing each other. - - - 2
- - - - -Men retire while 1st and 2nd, 3rd and 4th women cross over back to place passing right shoulders. - - - 2
- - - - -Men advance while women dance in place facing across the set. - - - 2
4 - - - 1st man and 1st woman join inside hands, while 2nd man and 4th woman do the same. 2nd and 3rd women turnm to their right, Fig. 2.
- - - - -All advance and dance in place. - - - 4
- - - - -2nd and 3rd women retire and dance in place while couples turn, advance and dance in place. - - - 4
- - - - -Repeat the figure, the 1st man dancing with the 2nd woman and the 2nd man with the 3rd woman. - - - 8
5 - - - 1st man turns 2nd woman, while 2nd man turns 3rd woman, linking left arms. - - - 2
- - - - -1st man turns 1st woman while 2nd man turns 4th woman linking right arms. - - - 2
- - - - -Repeat. - - - 4
- - - - -Repeat whole dance ending with “Hands About” in two rings.

This page also includes two small figures/illustrations using squares and circles to represent the dancers, 3-facing-3, a man with a woman on either hand.

Change of figures ~ X = square = woman / O = man ~ an attempt to approximate

FIG. 1

1-1-2
X-O-X

X-O-X
3-2-4
- - - - -

FIG. 2

X-O \ -X

X- \ O-X

<[ NOTES: The root to the official ceili dance “The Fairy Reel”. ]>

––––––––
Price - - 3/-
––––––––

Obtainable from
D.M. Wilkie
383, Clapham Road
London, S.W.9
—
1931

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- - - MAKING SENSE OF THESE DESCRIPTIONS/DANCES?! - - -
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Mostly I’ll leave this up to you, though I have entered a few simple guides, such as CW for clockwise and ACW for anti-clockwise (or counter clockwise). Some of these dances will be seen to be obvious roots for some of the ‘official’, booked & standardized, 32 ceili dances of An Coimisun le Rinci Gaelacha/The Irish Dance Commission. I promised I’d make this publication available for one Donegal dance instructor and thought ~ why not make it available to anyone else with an interest in the dances of Donegal and the history of Irish social dancing? So, here it is, make what you will of them.

I have collected these dances myself in the North, Ulster, including Donegal, and the descriptions of non-progressive dances, such as the six-hand version of the first dance, “The Fairy Reel”, fit what had been shared freely with me in my wandering around the countryside asking for a tune or a dance. All wonderful folk, on the whole, and even those balaclava clad lads with their 45s, and the British Army lads having a ‘chat’ with me with their guns trained on me. The lad laying flat in the ditch with his rifle aimed at me, when I opened up instrument cases to show they weren’t weapons, there had been gun fire in the area, County Armagh, piping in with something along the lines of “Back home (England) I play accordion in a ceili(dh) band!” (Was it one of you?)
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CONTENTS (page 5)

.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. PAGE
(Forward .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 7 - 9)
The Fairy Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 10, 11
https://thesession.org/tunes/424
Six Handed Duke .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 12, 13
The Irish Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 14, 15
A Trip to the Cottage .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 16, 17
“Strasperry” Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 18, 19
The Irish National, or “Petticoat Swish” .. .. .. .. .. .. .. .. .. . 20, 21
The Waves of Tory .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 22, 23
Six Handed Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 24
The “Pin” Dance .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 25
Shoe the Donkey .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 26 - couple dance
https://thesession.org/tunes/13745
Military Two-Step .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .27 - couple dance
https://thesession.org/tunes/1080
The Highland .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 28 - couple dance
https://thesession.org/tunes/5418
The Barn Dance .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 29 - couple dance
https://thesession.org/tunes/3357
The Corn Rigs .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 30 - couple dance
https://thesession.org/tunes/1936
Berlin Polky .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .31 - couple dance
https://thesession.org/tunes/1133

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(page 7)

FOREWARD

These dances have been collected from the peasants in Donegal, and are all Set or Couple Dances, emplying only a few simple steps. The complicated Solo Jigs have purposely been omitted as no two dancers agree as to the correct order and performance of the steps.

The Donegal peasants dance on the stoe floors of their cottage kitchens in their thick boots, and the characteristic stamps and beats which mark the rhythm should be imitated. An effort has been made to preserve the dances in their simplicity; only dances still performed have been included in this collection. The style is simple and the footwork should not be stressed. The aim should be rather correct figure formation than a precise execution of steps.

The dances have been handed down from one generation to another, and as is always the case, words used in explanation have come to have a different form through inaccuracies in pronunciation.

For example, the “Strasperry” Reel is obviously a corruption of “Strathspey,” the “Polky” was once a “Polka,” while the “Petticoat Swish” must have been given its name when long petticoats were a feature of the women’s costume.

The tunes for “Show the Donkey,” the “Corn Rigs,” and one or two others have been taken down by ear from a musician in Donegal. He in turn has been handed them down from another generation, so that tunes similar t these may be found under different names in other parts of the country with slight variations. Irish Jig and Reel tunes are numberless, and though in this collection one tune only has been allotted to each dance, other tunes can be substitued or added to avoid monotony.

A violin or a concertina is the musical instrument most commonly employed, but for convenience the music in this book has been arranged for the piano. The musician decides the length of the dance—for all can be repeated as many times as desired, or the leader of the Set claps to indicate that the dance is over.

The tunes are arranged in two phrases of eight bards marked for convenience in the music as A and B. Each phrase unless otherwise stated, is played twice through. Every new step must begin with a new phrase of the music, but it is not necessary for each repat of the whole dance to begin with the A music.

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(page 8)

THE STEPS

Throughout the dances, unless otherwise directed, if the dancers move forward, backwards, or round in a ring, either a lilting walking step or a change of step is used; the men generally the former and the women the latter. This rule if strictly applied would make the dance very monotonous, so many variations may be introduced and dancers as they gain in proficiency may introduce extra steps and beats as they wish.

Individual steps are explained as they occur in the dances. Unless otherwise directed, the right foot begins.

THE FIGURES

The dances have been divided into:
(a) Set Dances for a definite number.
(b) Set Dances for any number.
(c) Couple Dances.

In the diagrams the women are described by squares and the men by circles. The course of the figure and the direction are shown by a dotted line and arrowhead.

When hands are joined they are held at shoulder level with the elbows bent. A few fundamental figures which occur in the dances are described here and referred to later by name only.

‘Advance and Retire’
Two couples or two lines of dancers stand facing each other with hands joined. They advance to meet each other with four steps and retire backwards in the same manner. This occupies four bars of music and is always repeated.

‘Ring to Right and Left’
The dancers join hands and turning to the right move round (ACW) for eight steps, turn without dropping hands and repeat to the left (CW).

‘Lead Round’
Partners join inside hands, i.e. the man takes the girl’s left hand in his right, and lead round in a ring to the right (ACW) for eight steps. They drop hands, turn and lead home (CW) with the other hand. The woman is on the outer side all the time.

‘Follow Round’
The dancers follow each other round in a ring to the right (ACW) for eight steps, the man following his own partner. They turn and follow back (CW) to place. Dancers must face the middle as they change direction.

(page 9)

‘Dance in Place’
At the beginning of each dance and between most of the figures the dancers stand and mark rhythm of the music for two or four bars as directed.

‘The Swing’
This figure is characteristic of the Donegal dances and requires practice. Partners face each other, the woman places her hands on her partner’s shoulders while the man places his hands on her hips. The right feet are placed close to each other and take the weight. In this position the couple swing by pushing off with the left feet at first slowly and then with increasing speed then gradually decreasing as the music finishes. A swing occupies eight bars of music, occasionally double or half the time is given. Dancers should keep both feet close to each other and avoid too boisterous a movement.

‘Hands About’
The leader of the set or the musician calls “Hands about” to finish the dance. All dancers join hands in a ring, with their hands resting on each other’s shoulders. In this position they travel round to the left as in the “Swing.”

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I have an idea that the tune Fairy Dance might well have been an inspiration for a pop song of the early 20th Century; it’s called “Just You, Just Me”. Tenor saxophonists Lester Young and Wardell Gray made sweet hay with this tune.

Lester Young playing Just You, Just Me:

http://youtu.be/XTzLFveREu8

play video

As a fiddle tune, I hear the chords of the first part of the Fairy Dance as: D–G–Em–A–D–G–A7–D.

Mmm, don’t hear that at all myself, JYJM is nowhere near as repetitious or hypnotic or whatever, and its chords are D-B-G-G#dim-D-A, at least in almost every take I’ve heard; haven’t listened to Lester and Wardell yet, maybe they reharmonized it. Don’t doubt that jazzers might go slumming through folk material for stuff though, I always thought Like Someone in Love’s opening notes sounded suspiciously like Danny Boy: https://www.youtube.com/watch?v=BHsMXQRiapA

play video

Sometimes you hear a jazz player quote the Irish Washerwoman; I once came across Benny Goodman playing the Collier’s Reel in the opening of a Billy Holiday side, which is an order of magnitude more hip. https://www.youtube.com/watch?v=nVsrh6Sle2E

play video

Now look what happens when I forget to add an important extra. distractions in the kitchen, like now, waiting for the Toulouse sausages and buffalo mozzarella to thaw so I can get the the important task of creating three evenings worth of lasagna for us, loosely following a favourite recipe from an old copy of a mag we used to subscribe to, “Bon Appétit”, March 2004, page 106, “Smoked Cheese and Sausage Lasagna”.

I got a good chuckle out of this and enjoyed the links. Back to what I’d forgotten to add here, not about the rest of the ingredients for the lasagna… 😉 Damn, I think we’re out of olive oil. It’ll just have to be the hazelnut then. 😀

http://www.itma.ie/

Grace Orpen’s Local Donegal Dances, 1931
http://www.itma.ie/digitallibrary/print-collection/donegal-dances-1931

“Dances of Donegal” collected and edited by Grace Orpen, 1931
Click on ’32 Pages to view them…
http://www.itma.ie/digitallibrary/book/dances-of-donegal

Cairdeas na bhFidiléirí / Donegal Fiddle Music
http://www.donegalfiddlemusic.ie/

“Damhsaí Cúplaí Thír Chonaill/The Couple Dances Of Donegal:
Traditional Music and Dance from Donegal” - DVD
http://www.donegalfiddlemusic.ie/dvd-1.htm

A selection of couple dances from Donegal produced by Cairdeas na bhFidiléirí in conjunction with Scoil Cheoil Frankie Kennedy.

The dances featured on this DVD include: The Highland, The Barndance, The Corn Rigs, Germans, The Mazurka, The Peeler & The Goat, The Palais Glide, Father O’Flynn, The Éire Ó, Shoe The Donkey, The Military Two Step, and The Marine.

The dancers and musicians include Vincent Campbell, Jimmy Campbell, Peter Cambell, Paddy McMenamin, Anne Connaghan, Clement Gallagher, Raphael Meehan, Bríd Uí Dhomhnaill, Eithne Ní Dhomhnaill, Aidan O’Donnell, Danny Meehan, Jimmy Meehan, Rosabell Kerrigan, Eamonn Monaghan, Cití Seán Ua Chuinneagáin, Damhsóirí Theach Jack, Anna Ní Chuinneagáin, Anna Uí Chasaide, Nora Ní Chasaide, Seán Con Johnny Ó Beirne, Thomas Cunningham, Ciarán Ó Maonaigh, Máirtín Ó Dúgáin, Máire Mhic Pháidín, Packie Doohan, Veronica Doohan, Grace Anne Brady, Mícheál Brady, Caitlín Brady, Madge O’ Grady, Séamus McCarry, Madge McCarry…

Producer: Ciarán Ó Maonaigh
Director: Eoghan Mac Giolla Bhríde

Discussion: “Damhsaí Cúplaí Thír Chonaill” ~ Brilliant!!!
# Posted by ceolachan - May 8th, 2009 😎
https://thesession.org/discussions/21517

Now I can return to my early morning tipple of Redbreast. 🙂

( - - - 6-Hand Reels - - - )

The Fairy Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 10, 11
https://thesession.org/tunes/424

Six Handed Duke .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 12, 13
https://thesession.org/tunes/385

( - - - 4-Hand Reels - - - )

The Irish Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 14, 15
https://thesession.org/tunes/2549

A Trip to the Cottage .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 16, 17
https://thesession.org/tunes/70

“Strasperry” Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 18, 19
https://thesession.org/tunes/75

The Irish National, or “Petticoat Swish” .. .. .. .. .. .. .. .. .. . 20, 21
https://thesession.org/tunes/101

The Waves of Tory .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 22, 23
https://thesession.org/tunes/1232

( - - - Circle Mixers - - - )

Six Handed Reel .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 24
https://thesession.org/tunes/317

The “Pin” Dance .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 25
https://thesession.org/tunes/6334

( - - - Couple Dances - - - )

Shoe the Donkey .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 26
https://thesession.org/tunes/13745

Military Two-Step .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .27
https://thesession.org/tunes/1080

The Highland .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 28
https://thesession.org/tunes/5418

The Barn Dance .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 29
https://thesession.org/tunes/3357

The Corn Rigs .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 30
https://thesession.org/tunes/1936

Berlin Polky .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .31
https://thesession.org/tunes/1133

http://www.itma.ie/

“Ár rinncidhe fóirne: 10 popular figure dances” (Vol. 1 of 3, 24 pages - later published as a single volume)
http://www.itma.ie/digitallibrary/book/ar-rinncidhe-foirne

“A Guide to Irish Dancing” by J.J. Sheehan, London - Dublin - New York, John Denvir, 1902
http://www.itma.ie/digitallibrary/book/guide-to-irish-dancing

https://www.dropbox.com/s/qjs39iykdo79cuq/Fairy%27s%20Mazurka.wav?dl=0

There is an ongoing discussion at the moment about changing the rhythm of tunes, and I mentioned that a few years back I’d made a mazurka out of the “Fairy Dance” reel. If the “Dropbox” link above works, you should be able to hear a recording of me on whistle, and “RonP” on guitar playing it live in Dundee in 2001.

PS - I should say that if you have any concerns about the security of the “Dropbox” site, don’t open it at all. As far as I know, it’s safe.

Welsh version I play based from the version in the Welsh Tune Book; Cadw Twmpath by the welsh folk dance society. Called in Welsh…….
Dawns y Tylwyth Teg
dawns uh tul..with t..eh..g

The Harpist Nansi Richards played and recorded in her time.

Here is the link to read the interesting variations composed by J. Scott Skinner :
http://www.abdn.ac.uk/scottskinner/display.php?ID=JSS0643
Sorry not to provide the ABC format of this score : it seems it is forbidden to copy this music…

Slight tweak to suit GHB-style pipers.

The Fairy Reel

Source: Journal of the Irish Folk Song Society, April 1904.

I believe that this transcription needs, and justifies, a somewhat lengthy introduction.

I hesitated over whether to post this transcription as a variant setting of one of the many tunes found on this site (and elsewhere) with a similar title. Having listened to a good number of such, I decided that most of them were clearly a different tune from this, and that those which were somewhat similar to this one were to my ear at least not similar enough to be called variants. Furthermore, few of those tunes were in 2/4 as this one is (which is why because of the way this site works I have here to call it a polka, despite the fact that my source calls it a reel.) Finally, many of these other tunes are described as originally Scottish, Welsh, or Manx, while my source, an impeccably respectable one, quite definitely designates it as Irish. Given all this, I thought it was justified to give this tune its own record as an original. It’s possible, though, that I’ve just missed a version somewhere that is identical or very similar to this one.

I’ve made the abc transcription reflect the source score in as much detail as possible, including chords, ties and slurs, and ornamentation. I know this isn’t the usual practice on this site, but given the (in my opinion) importance and quality of the tune, I thought it should be represented accurately. Anyone who prefers a simplified version should find it easy to make one. The source has a footnote indicating that the two D’s in the third measure of the second section are not tied on the repeat.

The tune was contributed to the Journal by Herbert Hughes, who says he collected it in 1903 from a fiddle player in Donegal and adds a story behind the tune which is too good to leave out and, to my mind, also too good to worry about whether it is true. The story is taken from the book Songs of Ulfldh (1904) by the Irish lyricist and poet Seosamh Mac Cathmhaoil, who also wrote under the English name of Joseph Campbell (not to be confused with the well-known mythologist of the same name.) Since the story’s origin is set in the early 19th century, if the tune being described in it is the same as the one I’ve transcribed here, which I admit seems not altogether clear, then this version of the tune may possibly be the ancestor of some of the similar extant tunes with fairy in the title. But admittedly this is speculation.

Here below is the story as given in Songs of Ulfldh. “John’s Day” is St. John’s Day, June 23, which was traditionally celebrated with hill-top bonfires, presumably a survival of old Solstice festivals. The spelling “fidil” for “fiddle” is as in the original.

— Begin quote —

On one particular John’s Night about fifty or sixty years ago, when the fire was wearing low, the dancing nearly over, and the sturdiest steppers getting tired, a stranger came among the people, announcing himself in the words: “ Sonas ! sonas !—luck on all here ! The music called me, and I going to bed.“ He said no more. He was attired only in his night-garments. Much consternation was caused by his curious appearance and behaviour, the more so as he was quite unknown to the festive-makers. He went around asking the young girls to dance with him but out of fifty or more assembled there he found but one (and she, happily, was not a native of the district) who expressed herself willing to accept. There were three or four fidilers there, and one piper, and he called on them to turn on the “ Fairy Reel.“ But not one of them knew it. Every man of them declared that the air and the name was new to him. Whereupon the mysterious stranger snatched the fidil out of the hands of Mac Fhionnlaoich, the Falcarrach man, who was nearest him, and flourishing his bow with the grace of a master, turned on the tune himself, the people standing around with their mouths wide open in wonderment, “ Now,“ he said to Mac Fhionnlaoich when he had finished the wonderful tune, “ there’s your fidil for you. Turn on the ‘Reel.’ Play it after me; for you’re the only man in the Five Kingdoms can do that same.“ So Mac Fhionnlaoich complied—somewhat reluctantly, it must be said—and played the “Fairy Reel “ through from beginning to end without a break, while the weird stranger and his fair partner danced, all the people looking on. When he had finished dancing with the girl, he slipped a gold piece into her hand, and turning solemnly towards the people said,” Remove the fire seven paces to the North, and enjoy yourselves till daybreak. Sonas! Sonas! – luck with all here!“ And so saying he strode off into the darkness, disappearing as mysteriously as he had come.

— End quote —

I have an idea who the stranger was, and who the girls were, but it’s no doubt sheer fancy, and at any rate is beyond the scope of this web site.

My composition Three Fairy Songs includes an adaptation of this tune as the first of the three used. If anyone’s interested in hearing it, a score and computer-generated audio demo file is available at:

https://musescore.com/user/2488/scores/5723515

or:

https://youtu.be/xqFQ9yrkQwE

play video

Sorry, Jon, to my ears this is just a corrupted version of The Fairy Dance.

Not even that corrupted to be honest. It’s clearly a version of the Fairy Dance. If you check the comments you’ll find the Donegal and Manx versions are relatively recent in context of the age of the tune. https://thesession.org/tunes/424

I’ll wait for further comments to see if there’s a consensus on whether this should be moved (I don’t know how to do this on this site myself.)

“The Fairy’s Mazurka” - my version of “The Fairy Dance”, aided and abetted by “RonP” :
https://youtu.be/35HKwMm-oNk

play video

Just found this on “Youtube”, from 1992 :

https://youtu.be/CkJ7_VlTJts

play video