Annotation:Terry Heigh Ho the Grinder (1)

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X:1 T:Terry Heigh Ho the Grinder [1] M:9/8 L:1/8 R:Slip Jig S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 427 Z:AK/Fiddler’s Companion K:Ador ABA A2B G3|ABA A2B d2B|ABA A2B G3|GAG GAB d2B:| gfg edc BAG|gfg efg a2f|gfg edc BAG|ABA A2B d2B| gfg edc BAG|gfg efg a2a|bag agf gfe|dBA A2B d2B||

TERRY HEIGH HO THE GRINDER [1] (Toirdealbac {Eig Og}/{Ucon an} An Meilteoir). AKA – “Tally-i-o the Grinder," "Terry the Grinder," "Tobias the Grinder." AKA and see “Grenadiers (The),” “Grinder (The),” “'Tis little for glory I care," "Margery Grinder," "Our Bride is No Maid (1)," "Search all the world over." Irish, Slip Jig (9/8 time). A Dorian/G Major. Standard tuning (fiddle). AABB. Versions of the slip jig in English musicians' manuscripts from the first half of the 19th century go by the title "Tobias the Grinder." Paul de Grae[1] finds song settings as "Grinders (The)" (in Crosby's Irish Musical Repository, 1808, p. 253, with the first line "Search all the world high and low"), with a chorus that begins "Terry I-o, I-o", which resulted in the later version of the title. R.M. Leavy printed an instrumental version under the title "Grinder (The)," and Paul finds another song version as "Margery Grinder".

The parts of the melody are reversed in several publications.

Additional notes

Printed sources : - Cole (1000 Fiddle Tunes), 1940; p. 51 (appears as "Terry Heigh"). Haverty (One Hundred Irish Airs vol. 3), 1859; No. 278, p. 138. Howe (Musician’s Omnibus No. 2), c. 1864; p. 100. Hughes (Gems from the Emerald Isles), London, 1867; No. 9, p. 3. O'Neill (Krassen), 1976; p. 82. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1139, p. 215. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 427, p. 84. Ryan’s Mammoth Collection, 1883; p. 80 (appears as “Terry Heigh”).

Recorded sources : - Chudleigh Roots – CR002, Jackie Oates - "The Violet Hour" (2008. As "Tobias the Grinder"). RBRCD29, Leveret - "In the Round" (2016).

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  1. Paul de Grae, “Notes on Sources of Tunes in the O’Neill Collections”, 2017 [1].