Found this among some sheet music I purchased from Waltons Ltd. in Ireland while I was there. It was originally recorded by Jim Kelly, a 5-string banjo player. Several typos (or perhaps better, notos) had to be corrected. In the original music, the pickup measure was not written as a triplet but it was played as such by Kelly in concert.
Think I’ll give it a try.
I remember this piece being played in A Major. I’m not surprised that a Five string Banjo player would put it in G. Nonetheless, I think I’ll give this version a pop.
There’s a version in the New England Fiddler’s Repertoire and it’s in F, which is considered by some old-time contra dance musicians THE key to play it in (the other, frowned-upon option being D). This is the first time I’ve heard of versions in G and A. Interesting!
To hear it in F (and to hear an INCREDIBLE banjo version), go to http://www.sls.hawaii.edu/bley-vroman/contra/dances/fisher.html.
They’ve got ABCs and midi files and dance calls for a bunch of contra dance chestnuts. See http://www.sls.hawaii.edu/bley-vroman/contra/dances/
This is the version in F from the New England Fiddler’s Repertoire.
c2|fcAc BdcB|AcAc BdcB|AcFc BdGd|AcFA G2 (3cde|
fcAc BdcB|AcFc BdcB|ABcd efge|f2a2 f2:|
|:ef|gece gebg|afcf afba|gece gaba|gfed c2Bc|
dBFB dBfd|cAFA cAfc|dfed cBAG|F2A2 F2:||
This is a Welsh harp hornpipe, from the National Library of Wales Tro Llaw collection. Being written specifically for the harp it may not lie particularly comfortably for the fiddle player, but flautists may like to have fun with it. Bars 3 and 4 of the A part and bars 1-3 of the B part are typical of harp writing.
The English translation of the title is "The Thresher".
Cute tune, and very out of place here.
Ummm…more commonly known (at least in an oh-so-similar variant) as Fisher’s Hornpipe, and more commonly played in D, or F if you’re into annoying the whistle players. And even at that, more common now in the contra dance and old timey tradition than at modern Irish sessions, at least on this side of the pond.
Trevor, I sense that you’re not making many friends with your selection of tunes….
I think it’s a good tune, and hey guys, go easy on trevor. true some people may not like him posting WTM, But then again I see that we have some american tunes in the database, there even more out of place than these.
Daffyd, we’re not against Trevor, just his insistent posting of non-Irish-session tunes. Agreed—the american tunes are ALSO out of place. That’s why some of us are trying to quash all of these odd duck tunes. You allow Mozart or Texas Swing or hardanger tunes at an Irish session, and pretty soon people think it’s open to everything. And then the folks who want to play Irish music quit coming. They start another session (as Brad says) on the other side of town. Some of us don’t want to see thesession.org go down that road.
Coming from Wales, you don’t mind seeing Welsh tunes posted here. Understandable. But I’ve played Irish music for more than half of my life (and I don’t even remember being 13, 🙂, and I’ve never seen a tune named Y Dynwr in *any* collection or heard it played at any session. When it turns out to be an eccentric (to my non-Welsh ear) version of Fisher’s Hornpipe, it strikes me as a confusing, misleading, and ultimately goofy thing to post at a site devoted to Irish trad dance music. I might as well post Orange Blossom Special. Fun tune? You bet. Worth posting? Absolutely. But NOT on this site. I hope I never hear Orange Blossom Special played at an Irish session, or Y Dynwr, either, for that matter.
So: This site isn’t a clearinghouse for all genres of traditional music. Lots of us play many different forms of music (I too started in classical), but this is our Irish trad music sanctuary. If I want rock tunes, I go to rock music sites. An interesting welsh tune now and then is okay by me (though maybe not by everyone here), but first establish some credibility by posting 10 *good* Irish session tunes, tunes that you play, that you know like old friends.
Despite all this, we’re really a welcoming bunch. Someone less friendly (and I’ve seen them in action at real world sessions) would’ve cussed once or twice and kicked the tune out the door before it finished playing.
In short, we’re trying to communicate our interests in the music, and a few people apparently aren’t getting the message. So the message has gotten increasingly blunt. Let’s keep the communication going and see if we can’t work through this. You and Trevor and loads of other people are welcome here, but the purpose is to talk about and share Irish trad music for sessions.
P.S. I think the idea of a Welsh music site is great. I’d go there, hoping to learn more about Welsh music and culture.
I think that perhaps I should have made it clearer that this submission was made in order to help a harpist who recently said in a thread that they were looking for harp tunes. This tune is harp writing, and I agree that it doesn’t make a lot of sense on the fiddle, even though it is technically playable on that instrument. The tune is apparently of Irish origin, even though it has a Welsh title and has popped up in the Welsh National Library archives. But didn’t I say somewhere that musicians have been travelling all over the world for centuries, exporting and importing tunes as they do so? So who can say for sure which came first, Fisher’s or this tune?
I’m aware of possibly about half a dozen or so tunes of this genre written specifically for the harp, and I like to think that harpists would enjoy them if submitted. Is it really going to lead to collapse of sessions world-wide if these few Celtic harp tunes are submitted at infrequent intervals over the next few months?
I’ve just seen the sheetmusic produced from the ABC I submitted and noticed that the apostrophes (‘) on the high b’s, c’s and d’s in my text didn’t actually end up in the ABC code as received by thesession.org. I have now edited the ABC of this tune on thesession.org by hand, and it is now authentic.
I think the problem arises out of the fact that I use Microsoft Word to prepare the ABC transcription and I forgot on this occasion that there have been problems in postings whereby apostrophes have appeared as curious combinations of symbols.
My practice is to transcribe a tune into ABC manually, using Word, then to check the ABC visually, then to listen to the transcribed ABC with ABCmus at about half speed, comparing it with the printed dots at the same time, and then perhaps I might sometimes print out the score with ABC2Win and compare it with the original. I then copy and paste the final version to thesession.org. It seems I shall now have to take careful notice of apostrophes in a tune!
My sincere apologies to everybody for any confusion this may have caused.
I know this is not the place for general discussion, but I have a relevant point to make: If a tune is directed at somebody in particular, and is clearly outside the boundaries of what would be called Irish Traditional Music (the definition of which definitely does not belong in the Tunes section; neither do I possess the intellectual capacity to even attempt to expound on such a subject), you would do better to send it directly to the said person via The Session (or private) email, than to post it here in the tunes section.
"Is it really going to lead to collapse of sessions world-wide if these few Celtic harp tunes are submitted at infrequent intervals over the next few months?"
Heh, Trevor, I didn’t suggest that, now did I? And, even though no one seems to be listening, I keep saying that I (and apparently most folks here) don’t care where a tune originated, just that we try to focus on tunes as they’re played within the contemporary Irish session tradition (which itself is a relative newcomer to the trad music scene, and perhaps didn’t originate in Eire either). To my ear and experience, Y Dynwr doesn’t really fit the bill. At the very least, it belongs in the comments as a variant on Fisher’s Hornpipe.
I suppose I jumped on it because I’ve asked you to post tunes that you actually play at the sessions you go to, and I’ve seen one or two (and learned them, thank you!), but not many. I just think those tunes—which you’ve had some time to digest and personalize—would likely be more interesting to most of us here.
Given the discussions of late, and knowing that you’re a well-meaning, good hearted fellow, I’d just like to reiterate my request. Post a tune that makes your local session sail—something you and your session mates play that makes people at the bar turn around and take notice. All I’m suggesting is do that a few times, and the old guard around here will soften up and will gladly tolerate the occasional Welsh harp piece.
The sheetmusic now corresponds to the corrected ABC.
In the Key of F
F major is the common key that it is played by Texas fiddlers as well.
Also known as?
Sharon Shannon’s liner notes for the album Out the Gap suggests that this tune is called The Fisherman’s Lilt. On TheSession, there is a tune by that name whose principal listing is The Kerryman’s Daughter, and which is not this tune. (Is that clear?!)
& it repeats itself, “burp!”
I heard this hornpipe played at an English session by a box player who came across an F-major version of it as an untitled tune in the William Winter Tune Book, which is a private compilation of tunes that William Winter collected in the 19th century. It apparently contains tunes from several sources - English, Irish, Scottish and Welsh.
Here is it’s ABC
c2|fcAd BdcB|AFAc BdcB|AFAF BGBG|AFAF G3d|
fcAd BdcB|AFAF BdcB|Acfa bgeg|f2f2 f2:|
|:ef|gece gebe|gece g2ga|gfed c2 ^c2|dBFB dBfd|
cAFA cAfc|dfed cBAG|F2f2 f2:||
An unusual feature of this version is that the 2nd part has only 7 bars. It "could" be an error in the tune book, but it makes quite good musical sense as it stands, so I doubt it if it is an error. Perhaps it was intended for a particular form of dance.
Sounds like an error to me and makes no musical sense at all. Add |afcf a2af| or similar as bar 2 of the B-part and then it starts to sound like a proper tune.
i’m aghast that this page doesn’t mention the recording of this tune on Star Above the Garter. it’s a kind of light, leisurely romp through the tune with some nice variation and descending crossbowing bits. beautiful, of course.
It does now ‘Dan the Man’…
Fisher’s is played in Cape Breton in F - or at least Howie MacDonald plays it in that key on Live from West Mabou.
Here is his setting:
T: Fisher’s Hornpipe
fe|:fcAc BdcB|AFcF BdcB|AFcF BABG|AGAF G2fe|
fcAc BdcB|AFcF BdcB|ABcd ebge|[1 f2fe fgfe:|[2 f2fe f2ef|
gece gebg|afcf afef|gece geba|gfed c2(3ABc|
dBFB defd|cAFA cAec|dfed cBAG|F2f2 (3fgf ef|
gece gebg|afcf afef|gece g^fga|gfed c2fe|
dBFB defd|cAFA cAec|dfed cBAG| F2fe fgfe||
Transcribed from playing of Padraig O’Keeffe
This is clearly a version of Fisher’s Hornpipe, a tune commonly played as a reel in American fiddle music. I transcribed this from Kerry Fiddles (Ossian CD 10), recorded in Castleisland, Co. Kerry in 1952. I didn’t transcribe the 2nd B part b/c it’s virtually identical to the first one.
dfay - I think you would do better to post this in the comments here:
As you say yourself, it is a version of Fisher’s Hornpipe - which has already been posted at the above URL. Duplicate postings usually get deleted.
Also, as a general rule for tune postings, I would suggest (I think others here will agree) posting a simple version first and then add alternate settings and variations in the comments.
A nice setting, BTW.
My favorite version so far
I play it in D since I don’t have nice enough F whistle to play on.
This version slightly modified by me is the best one I’ve come across so far.
(3ABc|:"D"dAFD "G"GBAG|"D"FEDF "G"GBAG|"D"FDFD "A7"GBAG|"D"FGAF "A7"E2(3ABc|
"D"dAFD "G"GBAG|"D"FEDF "G"GBAG|"D"FGAd "A7"cdec|1"D"(3dcB AF D2 (3ABc:|2"D"(3dcB AF D2 cd|
"A7"ecAc egfe|"D"fdAd fagf|"A"ecAc egfe|"E7"d2 B2 A2 A_B|
"G"BGDG BdcB|"D"AFDF A2 _B2|"G"BGBd "A7"cdec||1"D"(3dcB AF D2 cd:|2"D"(3dcB AF D2 ||
D is most popular around here
In the NE United States, I have never heard anyone play this in a key other than D, except of course, Bflat fifers, whose sheet music shows it in D, but it comes out as Bflat.
Does anyone know why this is a hornpipe? every time I have heard others play this tune it has not been ether slow or syncopated (the usual trade marks of a hornpipe). Just for the record I have never heard it played in anything but F.
Fisherman’s Lilt a la Liam O Floinn
This should be close to enough to the hornpipe "Fisherman’s Lilt" as recorded by Planxty on "Well Below the Valley"
|:(3ABc|dAFD GBAG|FEFA dFGE|FAdc dcBA|BGEF GABc|
|dAFD GBAG|FEFA dFGE|FA (3def gecd|eddc d2:|
|:dg|fAdc dfaf|ed (3Bcd efge|fAdc dfaf|(3gfe (3dcB ADFA|
|BG~G2 BG (3Bcd|AF (3ABc defd|(3ABA fd Bgec|eddc d2:|
Pat Costello uses this tune (on banjo) for the theme music on his
Clare FM Friday show "Wheels Of The World" — is it the
Gerry O’Connor recording? Anyway, it’s a nice version - a bit different
from the one posted here.
Norman and Nancy Blake do a lovely version of this tune on his ‘Blackberry Blossom’album on fiddle and cello. It’s the last tune played as part of a set on the track ‘D Medley’, but there’s a few lovely tunes played just before it that i’d love to get the name of in anybody knows them?
Hup, I´ve only seen your posting above because I was on holiday at the time.
The recording of Fisher´s hornpipe as a signature tune for his programme is by Pat himself. . Although he only played guitar and occasionally sang when he
was with Shaskeen CB, he is in fact a very accomplished banjo and mandolin player.
“Burp!” “BRRAAPPP!” ~ more repeating
Submitted on March 2nd 2011 by davis135
|: (3ABc |\
"D" dAFD "G" GBAG | "D" FDFD "G" GBAG | "D" FDFD "G" GBAG | "D" FDFD "A" E2 (3ABc |
"D" dAFD "G" GBAG | "D" FDFD "G" GBAG | "D" FGAB cdec | d2 d/e/d/c/ d2 :|
|: cd |\
"A" ecAc efge | "D" fdAd fgaf | "A" ecAc efgf | edcB A2 A2 | "D" BGDG BdcB |
"G" AFDF A2 GA | "D" BdcB "A" AGFE | "D"D2 d2 D2 :|
X: 10 ~ "The Fisherman’s Hornpipe"
Submitted on February 25th 2007 by dfay.
Duplication ~ in Welsh ~ “Y Dynwr Pibddawns / Hornpipe”
“The First Of May” ~ relative
Submitted on January 12th 2012 by Mix O’Lydian.
Pat Costello’s version from ‘Wheels of the World’
A/B/c|dAFD GBAG|FDFA GBAG|FDFA GEGB|AFDF E2 A/B/c|
dAFD GBAG|FDFA GBAG|FA d/e/f gece|d2dc d2:||
cd|ecAc egfe|fdAd fagf|ecAc efgf|e/f/e d/c/B A2 dc|
BGDG BdcB|AFDF A2d2|cdef gece|d2dc d2:||
Engelska Langdans nr. 1
Whilst exploring a Swedish tune website I came across this tune.
It is likely that the tune came from Ola Olsson of Blekinge but probably NOT composed by that person as it is clearly Fisher’s.
hetty not happy
I am a little bit miffed as both my transcription and title have changed. Was that automatic? or did someone have a hand in doing it. My transcription direct from Swedish writing was in 2/4 with semiquavers as the measure.
My version is NOT known in Sweden as "Y Dynwr" but the base melodies are virtually the same. My aim in presenting this was to show both the similarity and the differences so I feel somewhat insulted.
I did not want to start a completely new offering and could have tagged this onto ‘Fisher’s Hornpipe’ but ‘Y Dynwr’ is the closest to it.
Setting as per John Greenwood MS, 1785.
Fisher’s, X:13 - Addendum
Entitled: "Fischer’s Hornpipe" in the John Greenwood MS.
Recordings of this as a hornpipe?
Can anyone suggest a recording of this actually played as a hornpipe (syncopated etc) as opposed to a reel?
My version of this tune
5 string banjo
5 string banjo - Fishers works well with double C tuning with capo to D
P.W.Joyce had already found a Danish "reel" that matched this hornpipe. He didn’t give the Danish name of the reel, but he published it on page 52 of his "Old Irish Folk Music and Songs" in 1909, under the title he knew for the hornpipe, "The Blacksmith’s Hornpipe".
The Danish band Ashplant once recorded this as a hornpipe into a crooked reel with irregular beats - maybe that’s a Danish setting (or French Canadian?).
You’re using "syncopated" to mean something other than what that word means. I think you mean "dotted".
A nice, but short, rendition of this towards the end of track 2 of the "Shores of the Forth" album by John Watt and Davey Stewart, following on the Matt Armour song of the same name.
In very dotted hornpipe style with a liberal smattering of triplets too, played in D.
The accordionist is Jock Mullen from Kelty, with the Beggar’s Mantle Ceilidh Band.
The tune comes in at about 3.00. on this clip, but worth watching the whole thing for some fine archive pics of the old herring boats, and a good song!