Irish Guitar Podcast
info_outline Lesson 89. Shoemaker's Daughter
Irish Guitar Podcast
“Shoemaker’s Daughter” is a composition of legendary Cavan fiddler Ed Reavy (1897-1988).
info_outline Lesson 88. Scatter the MudIrish Guitar Podcast
info_outline Lesson 87. St Patricks' Day
Irish Guitar Podcast
The tune is in jig time (6/8) but is a set dance and is played considerably slower than normal jig tempo.
info_outline Lesson 86. Saddle the PonyIrish Guitar Podcast
A very well known tune, so much so that it is played by musicians outside of the Irish music genre.
info_outline Lesson 85. O'Rourke'sIrish Guitar Podcast
As much as Tony would like to claim credit for this composition it’s not his to claim. This tune was in circulation a long time ago.
info_outline Lesson 84. Forget Me NotIrish Guitar Podcast
Some musicians play this tune in C, others in D.
info_outline Lesson 83. O'Carolan's Receipt for DrinkingIrish Guitar Podcast
This tune is sometimes known as “Dr. John Stafford”.
info_outline Lesson 82. Mullingar RacesIrish Guitar Podcast
Tony describes how to play a triplet on the lower (thicker) strings when describing how to play this reel.
info_outline Lesson 81. Máire RuaIrish Guitar Podcast
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“Athair” is the Irish word for “father”, and the Anglicized title “Fr. Jack
Walsh” is often used as the title for this tune, as is “Tatter Jack Walsh”.
The tune is played in the D mixolydian mode and thus contains the same
notes as a G Major scale. A cursory glance at the chords used in the sheet
music should alert you to this. The two main chords used are D and C and
this combination in a “D” tune invariably tells you it’s mixolydian. The key
signature is one sharp (F#). If I used two sharps (F# and C#) then there would
be natural signs used for the C notes occurring in the tune.
Some tune books incorrectly notate the tune this way. Tony’s old copy of that
excellent small collection “Allan’s Irish Fiddler” has it in D Major with
natural signs for the C. Although the transcription still ends up with the same
notes it is not very good “musical grammar”. There are two accidentals in the
tune, both in the last bar of each section. In fact the last three bars of each
section are identical.