Murphy's Hornpipe (2)

Find traditional instrumental music
Jump to: navigation, search

X:1 T:Murphy's Hornpipe [2] M:C| L:1/8 R:Hornpipe S:O'Neill - Dance Music of Ireland: 1001 Gems (1907), No. 856 Z:AK/Fiddler's Companion K:G (3DEF | GABG EFGE | ABcA FGAF | GBdg ecAG | FGAF DEFD | GABG EFGE | ABcA FGAF | GBdg ecAF | G2 GG G2 :| |: Bc | dedc BcdB | (3efg ed cdef | gfgd ecAG | FGAF DEFD | GABG EFGE |ABcA FGAF | GBdg ecAF | G2 GG G2 :|]

Chicago's Irish Music Club, c. 1903. Adam Tobin is seated, extreme right.
MURPHY'S HORNPIPE [2] (Crannciuil Uí Murcada). AKA and see "Dingle Hornpipe (The)," "Kerry Hornpipe (2) (The)." Irish, Hornpipe. G Major. Standard tuning (fiddle). AABB. See also the related "Cooney's Hornpipe."

Additional notes
Source for notated version : - set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. "Tobin" [O'Neill]--O'Neill makes but brief mention of Adam Tobin, a Chicago piper and fiddler originally from Kilkenny, in Irish Minstrels and Musicians (1913, p. 286), but has more to say in Irish Folk Music, A Fascinating Hobby (1910):

One of our best Chicago Irish pipers, Adam Tobin, is equally fluent on the flute and fiddle, and being of an accommodating disposition, is correspondingly popular. A young lady of his acquaintance had a date with her sweetheart one evening, but the latter being persona non grata with her father, how to circumvent the old gentleman’s watchfulness and keep him ignorant of her absence, was no simple problem.

The proverbial resourcefulness of her sex did not fail on this occasion, for she hit on a plan which required but Tobin’s kindly cooperation to prove successful. Her father was a great lover of Irish pipe music and enjoyed any discussion relating to that or kindred subjects - so she confided her difficulty to the sympathetic Adam and arranged for him to drop in early in the evening, and of course engross her father's attention until she returned from the theatre.

Everything worked out splendidly except that she did not show up at the appointed time. Tobin, however, posessed the loyalty and fortitude of Casabianca and continued playing and arguing until he collapsed from pure exhaustion long after midnight.

But what happened to the fair lady? Nothing much, only that when she got home, she stole quietly in and upstairs to her dormitory unobserved; her mind being so absorbed between the fear of detection and the delights of the evening, that she never thought of the gallant Tobin and his heroic sacrifice.

Printed sources : - McNulty (Dance Music of Ireland), 1965; p. 25. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 40. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 120. Mulvihill (1st Collection), 1986; No. 2, p. 87. O'Neill (Krassen), 1976; p. 179. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1624, p. 301. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 856, p. 148. Prior (Fionn Seisiún 2), 2003; p. 30. Taylor (Through the Half-Door), 1992; No. 66, p. 47. Taylor (Music for the Sets: Blue Book); p. 22.

Recorded sources : - Soodlum (tape), David McNevin - "50 Solos for Tenor Banjo." NPU 007, Seamus Meehan, Dermot McLaughlin, and Madonna Horran - "Face the Hob." Shaskeen - "Shaskeen Live."

See also listing at :
Alan Ng's [1]

Back to Murphy's Hornpipe (2)

(0 votes)