Geese in the Bog (1)

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X:1 T:Geese in the Bog [1] M:6/8 L:1/8 R:Jig S:James Goodman (1828─1896) music manuscript collection, S:vol. 3, p. 151. Mid-19th century, County Cork Z:AK/Fiddler’s Companion K:D d2e fdB|AFA AFA|d2e fdB|AFA B2A| d2e fdB|AFA A2f|gfe fdB|AFA B2A:| |:AFE F2D|E2D F2D|AFE F2D|DFA BdB| AFE F2D|E2D F2D|gfe fdB|AFA B2A:|]



GEESE IN THE BOG [1] ("Na Géabha sa bPortach" or "Na Geadna Annsa Mointe"). AKA and see "Bob Thompson's Favourite," "Green Meadows (2)," "Humors of Limerick (2) (The)," "Jackson's Coola," "Jackson's Trip to Limerick," "Jackson's Walk to Limerick," "Lark's March (The)," "Mist on the Meadow," "Morrison's Fancy," "Mountain Lark (5) (The)," "Piper's Frolic (The)," "Twice Tricked," "Wiseman's Favourite," "Tom Broderick's Jig," "Tuhy's Frolic." AKA - "Grouse in the Bog (The)." Irish, American; Double Jig (6/8 time). D Major. Standard tuning (fiddle). AABB (Cole, Kerr, O'Neill/Krassen): AABB' (O'Neill/1001, White): AA'BBCCDDEE (Breathnach). There are several 6/8 time tunes that have been named "Geese in the Bog." One tune by this name was popular as long ago as 1779; its playing is mentioned by Berringer in an account of a "cake" dance (a dance where a cake was given as a prize) he attended in Connacht. Breathnach states the tune is related to "Saddle the Pony (6)" printed by R.M. Levey (No. 43) and to P.W. Joyce's "Housemaid (The)" (No. 841). Breathnach remarked that Petrie (edited by Stanford, 1905, No. 940) printed the first two parts of the multi-part version he inserted in his Ceol Rince na hÉirreann, vol. II; Petrie's version, however, has the parts reversed from many other settings of the tune. The great County Sligo/New York fiddler Michael Coleman recorded the jig on a 78 RPM disc in the key of G Major, although his version differs slightly.

The title "Geese in the Bog" reminds one of a story related to Charlie Piggott by flute player Roger Sherlock, who was born in County Mayo on the border with Sligo. The story appears in Vallely's and Piggott's Blooming Meadows (1998) and concerns Michael Coleman's brother Jim, also a fiddler and accounted by many to have been even more proficient at the instrument than his famously-recorded brother. Sherlock remembered house-dances that Coleman played for, performing all night, sometimes playing his instrument while simultaneously dancing on a half-door that had been taken from its hinges. At that point coins would be thrown onto the door at his feet, his only pay. Sherlock reminisced:

Well, then he'd put the fiddle in the case and outside he had a flock of geese that would accompany him to and from the dances. The geese used to follow him everywhere. He had fifteen or eighteen geese. And he used to walk from our house to a place called Drumacoo, which would be-he used to walk as the crow flies of course, across the fields and the bogs-'twould be roughly about seven miles. And the geese would be with him all the time.

"Geese in the Bog (1)" appears in the large mid-19th century music manuscript collection of County Cork cleric and uilleann piper Canon James Goodman. Famed Co. Sligo fiddler Michael Coleman recorded a two part version of the tune in the 78 RPM era, as did Paddy Killoran. Alternate titles and close relatives are many: Goodman gives a version as "Humors of Limerick (2) (The)," Dickman as "Piper's Frolic (The)," Hudson as "Jackson's Coola," and "Twice Tricked" in Holden. "Catholic Boys' (2) (The)" shares one part. Early 19th century uilleann piper O'Farrell (Pocket Companion) printed a related four-part tune as "Tuhy's Frolic," which O'Neill absorbed in two settings, "Green Meadows (2)" and "Morrison's Fancy." Sources for notated versions: Frank Keane [Petrie]; accordion player Sonny Brogan (d. 1966. Dublin, Ireland; originally from Prosperous, County Kildare. Brogan made records in the 1930's with The Lough Gill Quartet and was a member of Ceoltóirí Chualann under the direction of Seán Ó Riada) [Breathnach]; flute and whistle player Micko Russell, 1969 (Doolin, north Co. Clare, Ireland) [Breathnach].


Additional notes



Printed sources : - Breathnach (CRÉ II), 1976; No. 53, p. 29. Breathnach (CRÉ I), 1963; No. 28, p. 12. Cole (1000 Fiddle Tunes), 1940; p. 77. Ford (Traditional Music in America), 1940; p. 106. Kerr (Merry Melodies, vol. 1), c. 1880; No. 46, p. 40. P.M. Haverty (One Hundred Irish Airs vol. 2), 1858, No. 134, p. 61. Levey (First Collection of the Dance Music of Ireland), 1858; No. 61, pp. 24-25. O'Neill (Krassen), 1976; p. 67. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1085, p. 204. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 279, p. 61. Roche (Collection of Irish Traditional Music, vol. 1), 1913; No. 91, p. 40. Ryan's Mammoth Collection, 1883; p. 110. Stanford/Petrie (Complete Petrie Collection of Ancient Irish Music), 1905; No. 940. White's Unique Collection, 1896; No. 19, p. 4.

Recorded sources : - Decca 12077 (78 RPM), Paddy Killoran (1936). Green Linnet GLCD 1092, "Liz Carroll" (1988). Plant Life Records PLR017, "The Tannahill Weavers" (1979). Rodeo 47, Johnny Wilmot - "Another Side of Cape Breton." Tara Records 2006, Noel Hill & Tony Linnane.

See also listing at :
Jane Keefer's Folk Music Index: An Index to Recorded Sources [1]
Alan Ng's Irishtune.info [2]
Alan Snyder's Cape Breton Fiddle Recordings Index [3]
Hear Paddy Killoran's 1936 recording at Soundcloud.com [4]. Parts reversed from the way it is usually played. Killoran is backed by tenor guitar player Michael "Whitey" Andrews, who came by his nickname because he was an albino with pink eyes and poor eyesight. He could not read music, however, he was blessed with perfect pitch and a prodigious aural memory, and solid rhythm.



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