Murphy's Hornpipe (1)
X:1 T:Hornpipe T:Murphy's Hornpipe  M:C| L:1/8 R:Hornpipe S:James Goodman music manuscript Collection (mid-19th cent., County Cork, vol. 1, p. 57) Z:AK/Fiddler's Companion F:http://goodman.itma.ie/volume-one#?c=0&m=0&s=0&cv=60&z=290.0351%2C922.1391%2C5690.0366%2C3446.5021 K:D fe|d2 AF d2 AF|ddfd ecAG|FAdf gfed|c2 A2 Ggfe| d2 AF d2 AF|ddfd ecAG|FAdf gedc|d2d2d2:| |:fg|afdf gfed|ce A2 A2 BG|FAdf gfed|c2 A2 A2 fg| afdf gfed|ce A2 A2 BG|FAdf gedc|d2d2d2:| |:AG|FA D2 GB E2|defd ecAG|FAdf gfed|c2 A2 A2 AG| FA D2 GB E2|defd ecAG|FAdf gedc|d2d2d2 :|
MURPHY'S HORNPIPE  (Cornphiopa Uí Mhurchada). AKA – "Murphy's Delight," "Murphy's Fancy." AKA and see "Kilderry Hornpipe," "Nellie Murphy’s," "Touhey's Favorite Hornpipe." Irish, Hornpipe. D Major. Standard tuning (fiddle). AABB (Brody): AA'BB' (Kerr): AABBCDE (Breathnach): AABB'CCDD' (Miller): AABCCDD' (Carlin). The earliest appearance of the tune to date is in the mid-19th century music manuscript collections of uilleann piper and Church of Ireland cleric James Goodman, County Cork, where it was entered three times, twice as untitled "Hornpipes" in three strains. A three-part version (very close to one of Goodman's settings) was also entered into Book 3 of the c. 1883 music manuscript collection of County Leitrim fiddler and piper Stephen Grier (c. 1824-1894). The earliest sound recording of the hornpipe was made in 1904 by Capt. Francis O'Neill, from the tin-whistle playing of uilleann piper and vaudeville performer Patrick "Patsy" Touhey. O'Neill used a home cylinder machine. The Chicago pipes and fiddle duo of Joseph Sullivan and WIlliam McCormick recorded it in 1927 as "Tuohy's Favorite" and the closely related "Kilderry Hornpipe" was recorded in 1928 by Boston fiddler Michael Hanafin with Dan Sullivan's Shamrock Band. That side paired it with an unrelated "Murphy's Hornpipe," which might explain why the "Murphy's" name was subsequently transferred to the Touhey/Hanafin tune when the tune was recorded in 1935 by Sligo master Michael Coleman. Coleman transformed the basic two-part reel into a four-part fiddle showpiece, creating the setting now most commonly heard.