Pigeon on the Gate (2)
X:1 T:Pigeon on the Gate  M:C| L:1/8 R:Reel B:Ryan's Mammoth Collection (1883) K:Ador (gf)|.e.A(3^cBA .e.A(3cBA|^cdef gfge|d2 (BG) dGBG|^cdef g2 (fg)| .e.A.(3cBA eAcA|^cdef g2 (fg)|afge dBGB|AcBG A2:| |:(^cd)|eaa^g a2 (a=g)|edef g2 (ge)|d2 (BG) dGBG|^cdef g2 (fg)| eaa^g aba=g|edef g2 (fg)|afge dBGB|AcBG A2:|]
PIGEON ON THE GATE  (“An Colm Ar an nGeata” or “An Colúr ar an nGeata”). AKA and see “Jack Tar,” “Pigeon on the Gatepost (2),” “Pigeon on the Pier (2),” “Sturgeon Tea (The),” “Twin Sisters (1).” Irish, Canadian; Reel. Canada; Cape Breton, Prince Edward Island. A Dorian (Breathnach, Cole, Dunlay & Greenberg/Gillis, Dunlay & Reich, O'Neill/1850): G Dorian (Allan, Cranford, Dunlay & Greenberg/Briand, Little): G Mixolydian (Perlman). Standard tuning (fiddle). AB (Breathnach): AA'B (O'Neill/1850 & 1001): AABB (Allens, Cole, Dunlay & Greenberg, Dunlay & Reich): AA’BB (Perlman): AABB’ (Cranford). Some Cape Breton settings tend to have a more minor flavor than Irish ones; pipe settings are in the key of A minor. In nearby Prince Edward Island the tune is played in (at least by Francis MacDonald, whom Perlman says was heavily influenced by Cape Breton fiddling) G Mixolydian so that it sounds double-tonic. Dunlay & Greenberg (1996) report the tune seems to have developed two main strains on Cape Breton, one in A Dorian and one in G Dorian. Angus Chisholm is credited with the local popularity of the tune in Cape Breton (Cranford). The Irish County Donegal setting is a close variant of the Scotch settings. Caoimhin Mac Aoidh remarks that years ago Paddy Glackin recommended Allan’s Irish Fiddler as a text which had a number of County Donegal settings, and Mac Aoidh himself believes “Pigeon on the Gate” in Allan’s to be “the same setting as that which is considered to be diagnostic to (County Donegal fiddler) Neily Boyle of Dunlgoe.” Boyle credited his version to his mother, Annie Sweeney of Cruit Island, and chose the key to reflect the character of her lilting.