The 9th Of July jig

Also known as Elizabeth Keane’s, Sean Ryan’s.

There are 3 recordings of this tune.

The 9th Of July has been added to 1 tune set.

The 9th Of July has been added to 37 tunebooks.

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Two settings

X: 1
T: The 9th Of July
R: jig
M: 6/8
L: 1/8
K: Dmin
|: G | Add cec | AGE DCA, | A,DE FEF |c=Bc GEC |
Ddd cec | AGE DCA, |A,DE FEF | GEC D2 :|
|: G | Ade ~f3 |gfg afd | c=Bc ecc | gcc edc |
Ade ~f3 |gfg afd | c=Bc AGE | EDC D2 :|
X: 2
T: The 9th Of July
R: jig
M: 6/8
L: 1/8
K: Ddor
A2d cec | AGE EDE | A,DE F3 | ~G3 cGE |
D2d cec | AGE EDC | A,DE F3 | ~E3 D2z :|
|:Ade f2g | gfg afd | GAc ecc | gcc edc |
Ade f2g | gfg ~a3 | cdc AGE | EDE D2z :|

Four comments

Sean Ryan Strikes Again…

My last posting had me going back through "The Hidden Ireland", where I found this lovely jig (directly underneath "A Thousand Farewells" on the page, which is already in the tune database here). So it would appear that I’m now on a Sean Ryan "kick", so I’ll just roll with it. It’s in the relatively rare (for jigs, anyway) key of D minor/ D dorian, which makes it all the more appealing (unless you’re a fluter/whistler/etc.). There’s one small adjustment I find myself making in the melody, though. It occurs in the transition between measures 2 & 3 and where the same phrases repeat at measures 6 & 7. Rather than slavishly following what’s on the page, I change the last note of measures 3 & 6 to a low "G"; I find it accentuates the upward movement of the phrase in the next measures nicely. The Phrase(s) would go thus:


So you can copy & paste that in & give it a whirl. Let me know what you think- and as always, enjoy!


seems like D minor if it has a Bb in the key signature. D dorian is the key of C

Being in need of some D minor tunes to play on my C/C# and in starting my search this was the first tune for me to try and I like it so thank you jaychoons for posting it. I am playing it as it comes and at a very steady pace.

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The 9th Of July, X:2

I learned this tune as Elizabeth Keane’s from Mark Robert’s recording The Gloup and posted it here about 13 years ago. I never found out where it came from. Today, I heard the Queally sisters playing it on their lovely new recording Beyond the Bellows and the Bow. They had the proper title - and it’s apparently been here for quite a while. As a flute player, I enjoy Mark’s take on this tune (not to mention that how great it is to have a playable jig in Dm) but it’s nice to finally learn its origin.