Annotation:Banish Misfortune (1)
X: 1 T:Banish Misfortune [1] R:jig D:Tommy Keane & Jacqueline McCarthy: The Wind among the Reeds D:Chieftains Live. Z:First bar also played |^fed cAG| Z:id:hn-jig-3 M:6/8 F:http://www.john-chambers.us/~jc/music/abc/mirror/ChrisCorrigan.com/music/tunes.txt K:Dmix =fed cAG|AGd cAG|~F3 DED|~F3 GFG|~A3 cAG|AGA cde|fed cAG|Ad^c d2e:| |:f2d d^cd|f2a agf|e2c cBc|ece gfe|f2g agf|e2f gfe|fed cAG|Ad^c d2e:| |:f2g e2f|ded cdc|~A3 GAG|~F3 ded|c3 cAG|AGA cde|fed cAG|Ad^c d2e:|
("Dibir an Mio-ad" or "Ruaig an Mí-ádh). AKA and see - Bag of Meal (The), Ruaig an Mí-ádh, Little Bag of Meal (The), George Whelan's Jig, Humors of Mullinafauna (1) (The), Shady Groves of Piedmont (The), Máire Ní Eidhinn, Nancy Hines, Nancy Hynes, Parish Girl (2) (The), Round the Carthouse, Dibir an Mio-ad, Shady Groves (The), Come Let's a' to the Bridal, Come to the Bridal.
Mixolydian versions are most familiar to modern ears, stemming from the influential recording by The Chieftains in the late 1960's. O'Neill (Dance Music of Ireland, 1907) prints the tune under the titles "Banish Misfortune," "Humors of Mullinafauna (1) (The)" and "Nancy Hines," while Roche has it as "Humors of Mullinafauna (1) (The)" and "Little Bag of Meal (The)." P.W. Joyce gives the jig as "Bag of Meal (The)" and was the first to print it (in his Ancient Irish Music, 1873), according to Brendan Breathnach, a setting reproduced in Howe and William Bradbury Ryan's publications. "Máire Ní Eidhinn" (Nancy Hynes) is the title in Stanford/Petrie's 1905 Complete Collection of Irish Music, although O'Neill thought the 3-part version he collected in Chicago from County Tipperary fiddler Edward Cronin to be "much superior." Petrie takes his title from the poem "Máire Ni Éidhin" by Raftery, the blind poet of Connacht, which he wrote in honour of one thought the loveliest girl in Ireland, and which is still sung to this tune. Piper Willie Clancy gives an alternate title as "Shady Groves of Peamount (The)" (Piedmont). Paul de Grae [1] believes the three versions of the jig ("Banish Misfourtune," "Humors of Mullinafauna (1) (The)" and "Nancy Hynes") printed by O'Neill are dissimilar enough from either Joyce's or Petrie's settings that they can be discounted as O'Neill's source. De Grae remarks:
O'Neill's settings are sometimes open to criticism that they do not seem like accurate renderings of how a traditional musician would actually play the tunes. "Banish Misfortune" is a rare example of a tune where we can compare the book setting with a recording of it played by the source musician: O'Neill's cylinder recording of Cronin shows that the printed setting is quite accurate in this instance, although it does omit Cronin's variation on the repeat of the first part. It is quite likely, however, that it was Cronin himself, not the usual "scribe" James O'Neill, who supplied the transcription.
The earliest sound recording extent is by O'Neill's source, County Tipperary fiddler Edward Cronin, whose playing O'Neill recorded on a wax cylinder in the very first years of the 20th century.
De Grae finds Petrie's song air entitled "Banish Misfortune (2)" and the related jig Bacach na Cleithe" are unrelated to "Banish Misfortune (1)," but rather are variants of O'Neill's "Connie the Soldier."
