Annotation:Dublin Reel (1) (The)

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X:1 T:Dublin Reel [1], The M:C L:1/8 Q:250 K:D dF ~F2 dF eF | dF ~F2 A2 Bc | dF ~F2 df ed | cd Bc A2 Bc | dF ~F2 dF eF | dF ~F2 A2 Bc | dF ~F2 df ed | cd Bc A2 cd | eA (3cBA eA fA | eA (3cBA BA FA | eA (3cBA eg fe | dB {c}BA BA FA | eA (3cBA eA fA | eA (3cBA BA FA | eA (3cBA eg fe | dB {c}BA BA FA | d3c dA FA | dc dB AD FA | d3c df ed | cd Bc A2 Bc | d3c dA FA | dc dB AD FA | d3f e3g | fd Bc d4 :||

DUBLIN REEL [1], THE ("Seisd Baile-Ata-Cliat," "Ríl Bhaile Átha Cliath" or "Cor Baile-Ata-Cliat"). AKA and see Cock's Tail (The)," "Dublin Lasses (3)," "Shuffle Reel (The)." Irish, Single Reel. G Major (O'Neill/Krassen): D Major (Mitchell, O'Neill/1850, Sullivan): C Major (Mitchell). Standard tuning (fiddle). AB (Mitchell): AA'B (O'Neill/1850): ABC (Mitchell): AA'BC (O'Neill/1001, Sullivan): ABB'CC' (O'Neill/Krassen): ABCA'BC (Moylan): AABBCD (Miller & Perron). Known as a piping tune. The first part is similar to that of "Knocknagow." The G Major form of the tune is known as "Jackson's", from County Sligo/New York fiddler Michael Coleman's recording of it. The name Dublin is derived from the Gaelic dubh linne, or 'the black pool'. "Shuffle Reel (The)" is a related tune. According to Caoimhin Mac Aoidh, it is known as "Cock's Tail (The)" in County Donegal where it is associated with the playing of Mickey Mór Doherty, the father of fiddlers Mickey, John and Simon Doherty. County Leitrim piper and fiddler biography:Stephen Grier (c. 1824-1894) entered a version of the reel as "Dublin Lasses (3)" in Book 2 of his large c. 1883 music manuscript collection. A late 19th/early 20th cent. music manuscript in the possession of south Armagh curate and fiddler biography:Rev. Luke Donnellan (1878-1952) also has a version of "Dublin Lasses" quite similar to that contained in the Grier collection^[1].

Additional notes
Source for notated version : - Boston/Kerry fiddler Paddy Cronin (b. 1925) [Miller & Perron]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Delaney [O'Neill]; fiddler Jimmy McHugh [Bulmer & Sharpley]; Rev. Luke Donnellan music manuscript collection (late 19th/early 20th cent., Oriel, Ulster) [O'Connor].

Printed sources : - Bulmer & Sharpley (Music from Ireland vol. 1), 1974; No. 33. Breathnach (Ceol Rince na hÉireann vol. III), 1986; No. 102. Corfield (Tunes from New Brunswick), 2024; p. 33. Miller & Perron (Irish Traditional Fiddle Music, vol. 3), 1977; No. 28. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 66. Mitchell (Dance Music of Willie Clancy), 1993; Nos. 51 & 52, pp. 58-59 (two settings). Moylan (Johnny O'Leary of Sliabh Luachra), 1994; No. 218, p. 125. O'Connor (The Rose in the Gap), 2018; No. 36, p. 40. O'Neill (Krassen), 1976; p. 90. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1374, p. 256. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 624, p. 113. Ryan's Mammoth Collection, 1883; pp. 24 & 75. Sullivan (Session Tunes, vol. 3); No. 56, p. 23.

Recorded sources : - A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992). Claddagh Records CC17, Seán Keane - "Gusty's Frolics" (1975). Rex LPR-1006, Liverpool Céilí Band - "Off to Dublin" (1966). Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995. Learned from piper Séamus Ennis). Noel Hill - "The Irish Concertina" (1988). Paddy Glackin & Paddy Keenan - "Doublin'" (1978).

See also listing at :
Alan Snyder's Cape Breton Fiddle Recording Index [1]
Jane Keefer's Folk Music Index: An Index to Recorded Sources [2]
Alan Ng's Irishtune.info [3]

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↑ Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by a unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler.

[1] Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by a unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler.

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