The Blarney Pilgrim World of Celtic Fingerstyle Guitar Volume Two

Home , DADGAD, Duck Baker, Martin Carthy, Pat Kirtley, Pierre Bensusan

1 THE BLARNEY PILGRIM WORLD OF CELTIC FINGERSTYLE GUITAR VOLUME TWO

This collection of traditional music from Ireland and Scot- land arranged for solo guitar is the result of a passionate study and adaptation of the tradition by the musicians featured here. The idea of arranging this music for solo guitar is still relatively new – the steel-stringed acoustic guitar appears in the Irish- Scottish tradition only in relatively recent times. Looking back less than a century, you would find this music performed on fiddle, pipes, button accordion, flutes and whistles, in solo and ensemble settings, but never guitar, even in its basic role of providing rhythm and chord backup. The guitar, in its basic role of accompaniment in folk-type music, had been (and still is) used as a chordal instrument. But the sound of Celtic traditional music requires, above all else, attention to just two elements: melody and rhythm. Stark melody, often excluding all chordal accompaniment, is a signature of Irish and Scottish music. Examples are numerous. Many traditional Irish and Scottish fiddlers perform solo in a this style. The intricacy of their playing comes in the form of precise nu- ance and ornamentation, not chords, harmony, or counterpoint. A similar characteristic is carried over to Celtic ensemble playing – even with a group of players on different instruments, it’s typical for everyone to play the melody in unison. Beyond the dominant importance of melody, there is the el- ement of accented rhythms. Celtic dance rhythms – jigs, reels, hornpipes – are built upon simple meters of 3, 4, or 6 beats per 2 measure, but with accents that give each form its unique rhythmic feel. Observing an unaccompanied Irish fiddler performing dance pieces, you realize that the underlying pulse of the music is entirely imagined or “felt”. If the listener cannot figure out “where the beat is”, the convoluted twists and embellishments of melody render it all the more puzzling. But learning to listen is part of the experience. And if the performers don’t provide an obvious rhythm in the instrumentation, tapping feet in the audience usually will. A major challenge fingerstyle guitarists have undertaken is to construct the whole dance-band scenario – embellished melody playing over a throbbing dance rhythm – at once on the guitar. The earliest efforts in this direction on solo guitar were prob- ably from American ragtime guitarists such as Dave Laibman, around 1960. He began to work out arrangements of fiddle tunes, and he was recorded in the early sixties by Stefan Grossman, who observes “These players, having successfully worked out things like arrangements of Scott Joplin’s piano rags on fingerstyle guitar, were looking for some new challenges. They began to find that challenge in arranging fiddle tunes”. At the same time, a new stylistic level of guitar playing was developing within the folk scene in England. The eclectic tastes of the 1960’s British fingerstylists guided them to experiment in certain musical directions. When the first wave of British acoustic nonclassical fingerpickers (notably Martin Carthy, Davey Gra- ham, John Renbourn, Bert Jansch, and Dave Evans) began cre- ating complex embellishments and arrangements of English folk music in the early and mid-1960’s, it was almost instinctive for them to begin working as well with melodies and tunes from the immediate environs of Ireland and Scotland. These players were the vanguard of a progression of guitarists who have focused both creative talent and sustained effort in bringing old music of the Celtic lands to fingerstyle guitar. Davey Graham – who in 1960 recorded the bellwether tune She Moves Through The Fair – was one of the earliest experimenters, and appreciated not only the old Irish fiddle and pipe tunes, but made a passion of visiting countries in the middle east and north Africa to absorb and translate those musical styles too. None of this music was new – far from it – but it was a curiously novel idea to arrange it for solo steel-stringed “folk guitar”. The solo playing style created by these musicians did not become popular in a commercial sense, but it did become an influence for guitarists in the pop world, Paul Simon being a notable example. The complex fingerstyle arrangements, many employing alternate guitar tunings, have remained a small but significant extension of guitar repertoire. In the rediscovery of

3 this genre, beautiful, haunting tonalities and rhythmic forms had been brought to light. The contributions of the British pioneers began to be studied and slowly absorbed by others in the fingerstyle guitar world. A following generation of contributors, notably Duck Baker, Pierre Bensusan, and Martin Simpson (all of whom are happily present in this collection), continued to explore the music. They found more tunes to try, and brought varied backgrounds and influences to the mix. Duck Baker, for instance, was first piqued to investigate Irish music via the Appalachian fiddle tunes that traditional banjoist Art Rosenbaum was playing. Algerian-born Pierre Bensusan, as a young guitar prodigy, was fascinated with American Bluegrass music. These immensely talented artists were able to do something wonderful and essential: they could hear the basic core of the music stripped to its essentials – melodies and rhythms – and weave arrangements that worked beautifully on the steel-stringed acoustic guitar. There were a number of solo fingerstyle guitar recordings of Irish and Scottish jigs, reels, and airs by the above artists, as well as others, in the period from about 1978 to 1988. The recordings of this period, and since, have provided inspiration for an ever growing contingent of players and listeners.

THE MUSIC Of the music played by guitarists such as those represented in this collection, there are four major categories: Dance music, Songs (i.e. ballads and airs), martial (i.e. marches) music, and the unique music of Turlough O’Carolan. Nearly every piece presented here traces back to one of these four lines. Of dance music there are the rhythmic styles characterized as jigs, reels, hornpipes, etc., many of which fall into the category loosely known as “fiddle tunes”. The category of songs includes instrumental arrangements of music that is easily recognizable by the casual listener, and would include titles like Danny Boy, Down by the Sally Gardens, and Believe Me If All Those Endear- ing Young Charms. Martial music, some of it going back to feu- dal times, would be characterized by pieces like Scotland the Brave, March of the High Kings of Laoise, Sir Sidney Smith’s March, and Duke of Fife’s Welcome to Deeside. The music written by the blind harp-player Turlough O’Carolan (1670-1738) is notable because it is stylistically sepa- rate from the other music which was performed (by most musicians in his homeland of Ireland) at the time it was written, yet is now accepted by musicians as an essential component of the tradition. Remarkably, the 200 or so pieces of music he created, which were presented as “new music” in his time, were

4 immediately adopted by the traditional musicians of Ireland, and began to be performed by fiddlers, harpists, and ensembles. Even without written transcription in many cases, the folk tradition adopted and carried on O’Carolan’s melodies all the way to the present. In modern times, credit is due to O’Carolan biogra- pher Donal O’Sullivan, who in the 1950’s assembled and docu- mented most of the 200 existing pieces of music. Writer Art Edelstein comments on the continuing appeal of O’Carolan to modern musicians “Carolan composed his music on the traditional Irish harp at a time when that instrument was beginning to decline in popularity. The long sustain of the brass strings on that instrument produces a sound very different from that heard on the modern nylon or gut strung harp. We suspect the sparse harmonies he wrote were a result of his harp’s par- ticular sound.” Indeed, you will find guitar arrangements of O’Carolan pieces played by most every guitarist who performs Irish traditional music. These tunes work beautifully on the guitar, and it could be observed that the tonality of the brass-strung Irish harp, now essentially lost, is well reproduced by the tone of the steel stringed acoustic guitar.

GUITAR APPROACHES The challenge for those who attempt to translate Irish and Scottish traditional music for fingerstyle guitar is to preserve the unique qualities which are the essence of the style. This has been achieved by taking a minimalist approach in arranging, and by using alternate tunings. The minimalist direction is characterized by the thought that most of this music consists of but two elements: melody and rhythm. Harmonization, in the classical sense, tends to sound out of place and uncharacteristic. With this standard musical device unavailable, successful approaches are found in fiddle-and-pipe-like embellishment of melody, and rhythmic bass patterns. The popularity of alternate tunings in this music tends to come from two different directions. One is in the desire for production of tonalities of droning instruments, · la the bagpipes, and tunings such as DADGAD and EADEAE make this effect relatively easy. On the other hand, there are guitar tunings which lend them- selves easily to the melodic steps and fullness found in the dia- tonic Celtic harp, such and DGDGBD (open G tuning) and the CGDGAD favored by Dave Evans and El McMeen. Perhaps one of the reasons for the apparent popularity of the DADGAD tuning in celtic music is that it offers a compromise to the utiliza- tion of both approaches, providing easily achieved droning tonalities, while not being at all unfriendly to major-key melodies. – Pat Kirtley 5 THE PERFORMERS

MARTIN SIMPSON Martin Simpson was born in Northern England, played his first paid gig at fourteen, became profes- sional at seventeen, and since then has become known as one of the most widely admired acoustic guitar players in the world. He has played with Richard Thompson, Steeleye Span and Fairport Convention as well as working in the Albion Band and for 10 years as collaborator with June Tabor. His solo guitar perfor- mances showcase his mas- tery of the guitar as well as his far ranging repertoire. Martin achieves a very clear bell-like tone here with his Sobell Model One guitar, (crafted by Northumberland luthier Stefan Sobell) on which he is using me- dium gauge strings. He adds that it’s his favorite guitar. Simpson emphasizes that his approach to arranging traditional celtic tunes in fingerstyle form comes more from the realm of songs than from the instrumental tradition. In other words, most of these pieces he arranges for guitar normally have words. He tells the story of the medley here of tunes from the northeast region of Scotland: “This trio of tunes is about the idea of love gone wrong. Rosie Anderson is a classic ‘big ballad’. The story concerns a tragic divorce which took place in the early 19th century in Scotland. It’s very much the story of the upper classes. The third party in the divorce was Lord Elgin who is historically famous for stealing marble from the Parthenon to take back to England, but also stole peoples’ wives. The Shearing’s Not For You and Bogie’s Bonnie Belle are both ballads that are rural in origin and both concern girls who have gotten pregnant outside of marriage – totally on the opposite end of the class spectrum – the working class”.

6 PIERRE BENSUSAN Pierre Bensusan has, throughout his career and string of recordings, con- firmed his place as an acoustic visionary who combines sensibility with shadings of ethereal jazz, pop, ethnic and classical melodies, free and fusion styles. Born in 1957 in French Algeria, Pierre Bensusan released his de- but album Prés de Paris in 1975, which included bril- liant interpretations of Irish jigs and reels – at the age of 17 – and won Le Grand Prix du Disque at the Montreux Festival in Swit- zerland (1976). He was also a Bluegrass musician and started his career playing guitar and mandolin with the Bill Keith Bluegrass Band in France, Bel- gium and Switzerland. More albums and extensive touring fol- lowed, as well as a recording contract with Columbia in the U.S. Beyond his reputation as a musical colorist and composer, he is known for his adoption and comprehensive knowledge of the guitar tuning DADGAD. Though Bensusan exploits a widely varied palette of musical styles and colors, he returns time and again to explorations of the music of Ireland. On the collection here, he gives us welcome new recordings – of a reel that is a signature tune from the days of Prés de Paris – The Pure Drop, an old Irish melody Heman Dubh (originally recorded on his album Musiques), and his eclectic exploration of that most popular O’Carolan compo- sition, Sheebeg An Sheemor.

EL MCMEEN El McMeen began playing the acoustic guitar while attending Harvard College and notes that one of his greatest influences was folksinger Phil Ochs. At that time, McMeen didn’t approach the guitar as a solo instrument. Upon reapplying himself in the early 1980’s to the instrument (and intensively studying numerous cassette lessons from Stefan Grossman, which he strongly endorses) he encountered what he saw as an incred-

7 ible breadth of new music. In studying the guitar now as a solo instrument, he moved away from relying solely on alternating bass technique and the standard American repertoire. He found himself attracted to Irish music, alternate tunings, and different approaches to arranging. Within this musical style, he notes some recurring influences “My favorites are the Bothy Band albums from the 1970’s – the greatest of all Irish bands in my opinion; Liz Carroll and Martin Hayes on fiddle; and Kim Robertson on harp”. Primarily he plays in Low C tuning (CGDGAD) which he discovered after listening to Dave Evans on Irish Jigs, Reels, Hornpipes, and Airs (1979, Kicking Mule, reissued on Shanachie 97011). He says he was attracted to the richness of the tuning and found it accessible, evocative and versatile. Occasionally, he plays in DADGAD tuning also. DUCK BAKER Duck Baker has been a seminal figure and influence in the bringing of Irish traditional music to the guitar. Baker is one of those rare musicians who doesn’t draw upon the repertory of his chosen instrument for musical raw material, but rather finds ideas in the broader musical stream, and shapes them to the sensibilities of the guitar. From the application of that talent comes his acknowledged success at translating Irish fiddle, pipe, and harp music for the guitar. His memorable but not widely distributed 1980 album Kid On the Mountain outlined a stylistic approach that eschews any cosmetic prettiness of tone, and focuses rather upon the possibilities of stark, open harmonies and complex interwoven bass lines. That album first introduced to many guitarists in America viable arrangements of some es- 8 sential Irish tunes, a few of which are found in the volumes of this video collection, including The Blarney Pilgrim, Morgan Magan and Duke of Fife’s Welcome to Deeside . Though that album is long out of print, many of the landmark arrangements found there have been reissued on various CD collections. On volume two of our video collection, Baker reprises his arrangement of Blarney Pilgrim, among others, and one of his own recent compositions, a modern jig called The Rakes of Wa- terloo. PAT KIRTLEY A Kentucky-born guitarist who learned the instrument at an early age via the Atkins / Travis / Doc Watson heritage, Kirtley admits to having been hard-bitten by the Irish music bug in the late 1980’s after hearing guitarist John McCormick playing celtic tunes in DADGAD tuning. He began exploring that tuning, and channeling significant creative energy into arranging Irish fiddle tunes and airs. “I am as fascinated by the fabulous wealth of musicality represented in the Irish folk-tradition as I am by the fact that I went through most of my musical life being totally ignorant of its existence” remarks Kirtley. The results of that work are here

9 represented by his arrangements of Planxty Irwin (in DADEAD tuning), the set dance Rodney’s Glory, and airs Moran’s Return and The South Wind, all taken from his 1997 album Irish Gui- tar.

TOM LONG California guitarist Tom Long muses about his early ex- posure to the specialized niche which now provides fodder for his guitar repertoire “In the late 1960s I definitely heard stuff on FM radio that was an open- tuned guitar doing a traditional Irish tune. In maybe 1975 I was trying to play an ‘Irishy-sound- ing thing’ and there was a girl, Beth, at school who was a fiddler I only knew in a bluegrass context. She played me some Irish tunes a couple of times. What turns me on about it is the access that I have, via recordings, to a living musical culture. I can take any one of these traditional tunes and try to make it my own thing” “I can’t put my finger on any single experience that got me interested in Irish tunes. I’m sure that it was a common process of being aware of others doing it and saying ‘I could do that.’ I did hear Stefan Grossman play a tune at a concert in 1980 at UCLA’s Royce Hall, where he played with John Renbourn, and Ralph McTell. I don’t know what tune it was but it was obviously (to me anyway) a fiddler’s tune that he worked up for solo guitar, and that night was a transcendent experience I guess.” Long’s two tunes in this collection, Jenny Picking Cockles and The Broken Pledge, both showcase his bare-bones rhythm and melody approach to arranging Irish music for guitar. His intense use of guitaristic elements – such as hammer-ons, pull- offs, and slides – conveys the articulation of pipes and celtic fiddling very effectively.

STEVE BAUGHMAN An American born and raised in Southeast Asia, Steve Baughman now makes his home in San Francisco. He derives his musical style primarily from British Isles fiddlers, most sig-

10 nificantly Martin Hayes. His album A Drop of the Pure features his extremely rhythmic and lyrical arrangements, and showcases his unique touch on the guitar. His two tunes here are representative of his style. Bill Malley’s Barndance is his arrangement of a fiddle tune from Martin Hayes’ album Under the Moon, and the stately version of Fanny Power is a Turlough O’Carolan tune that Steve says “is one of my all- time favorite melodies”.

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13 RODNEY’S GLORY

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21 BILL MALLEY’S BARNDANCE

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0 5 757757 045 5 5 Ô4 5 5 0 0 0 5

œ j 27 œ œ œ œœœ œ %œœœœ gœœ. &œ œ œ œ gœ. ‰ œ œ˙ g˙. ‰ ˙ g œ J J 970 023 232 % 0 g 0579 Ô0 24 g 0 023 g3 g 0 g0 0 0

25 j j 1. . œ œ œ.œœ j 30 œ œ . œ j g œœ. j gœ.œœœ & œ˙g . ˙œ œ gœ.œ ‰ œ ˙ ‰J‰ œ ‰œ˙ J J J

791091012 g 5 3 g220 g 0 g00 Ô 0 g 400g00 0 0 5 0 54 5

j j j 34 œ œ œ œ jœ & œ œ œ œœœœ. œ œ. ‰œœ Œ ˙ œ œ œ œ˙œ T J 03 30 5 0 0 Ô 45 04 00 05 0 05 5 25 0 j 2. œ œ œ œ. œ œ 37 gœ g g œ . œ g œ g g gœœ. j &gœ œ. g#œ g œ g . œ œ gJ œ. g œ ˙ ‰ œ ˙ J

0 12 g 5 3 g 9 11 12g 12 g11 12 g 0 Ôg g g 0 g 400 g 0 g 0 0 g10g 11 0 0

40 j j j jj œ. œ œ œ œœœœ &gœ. œ œœœ œœœœ. g‰ œ ˙ ‰œœ J œœ œ œ˙œ œ. T J g 2 2 0 0330 g 00 0 0 Ôg 00 45 04 05 54 0 05 25 0 0

26 THE BLARNEY PILGRIM

DADGBE Trad. arr. Duck Baker # 6 œœœ & 8 œ. œ œ œ œ œ œ.œœœœœœœœ œ. œ. œ.œ.œ.œ. œAå

10 Ô 0 22224 2020 00002 2 00 00 00

4 # jœœ &œœœœœœœ.œœœœœœœœ œ.œ.œ.œ.œ. œ.

1 Ô020 02224 22000002 00 00 00

7 #œ ..œ œ œ œ œ &œœœœœœœœœ... œ œ.œ.œ.œ.œ. œ. œBå 0 0 3 330 Ô2020 0 0 2 200 00 00 00 j 10 # œœœœ3 œ &œ œ œ œ œ œ œœœœœœœœ œ. œ. œ.œ.œ.œ.

27 1. j 13 # œ œ œ œ œ . & œ œ œœœœœœœœœœœœœ œ œ œ . œ. œ. œ.œ.œ.œ.œ. œ.

320 30 3 Ô 0 20240 20240 0200 2 2 00 00 00 00

2. 17 # œ .œ œ œœœœœ &œ œ œ œ œ œ œ œ œ œ œ œœ. œ. œ. nœ. œ. œ. œCå

1 Ô0200 0 24 2224 4 00 00 00 35 0 00 35 0

20 # œ œ œ œ œœ &œ œ œ œœ œ.œœ œœœœœ œ. œ. œ. nœ.œ.

0 Ô2020 020 24 2 22000 00 3 5 35 5 5 35

23 # &œ œ œ œ œ œœœœœœ . œ œ.œœœœ. œ œ œ œ œ. œ. J J

1 0 Ô2224 2020 0 00 2 200 0 3 5 000 5 5

28 THE RAKES OF WATERLOO

DADGBE Duck Baker # 6 j & 8 œ œ œ œ œ œ œ œœœœœœœœœœœœœœ œ. œ. œ. œ. œ. œ. œAå

Ô 20 420 42420 0 2 420 42420 0 05 0 0 0 4 0

4 # & œ jœœœœœœœœœœ œœœœœœ œ.œœ. œ. œ. œ. œ.

Ô 0 20 224 4 2 420 02420 00 0 05 0 2 0 4

7 1. 2. #j œ . &#œœnœ j œ . j œœœœœœ œ œ. œ œ œ. œ. œ. œ. œ œ. œ

Ô120 54 42420 0 0 0 50 50 0 5 5

10 # j œ œœœ &œ. œ œ œœœœœœjœ œ. œœœœ.œ œ. œ.œ. œ. œBå

29 13 # œ œ œ.œœœœœœœ & œ œ œ œ œ. œœœœ œ. œ. œ.œ.œ.

0 131 0 Ô 20 0 24 20 24 420 3 00 0 00

1. 2. 16 # . &œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ œ. œ œ.

Ô000 000 0 22 2 0 5 3030 00 00 00

3 19 #œ œ œj nœœœœœ &œ œ œ œ œœœœœœœœ œ. œ. œ.œ.œ.œ. œCå 131 0 33 3 31 Ô45 45 45 4542 5 00 0000

3 22 œ #œ œœœœœœœœ &œ œ œ œ œ œ œœœ œ. œ. œ.œ.œ.œ.

353 2 0 10 3 10 31 Ô24 20 22 4 00 0000

30 1. 2. 25 # . & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ œ. œ œ. œ œ.

Ô 00 0 2 222024 303 030 30 00 00 00

28 # .j œ œ . jœœ &œ œ œ œ.œœœœœœ œ.. œ œ..œ œ..œ œDå

1 1 Ô00 20 00 2 24 33 3 33 22 20 22

1. 31 j #j jœœœ œ œ &œ œ œ œ œ œœœœœ.œœ œ œ œ œ œ œ œœœœ.œ œ. œ. œ..œœ..œ œ. œ.

1 1 3 Ô2 420 00 20 45 542 0420 0 33 3 00 22 22 00

2. 35 # œ œ .œ œ œ œ œ œœœ. &œ œ œ œ œ œ œ. œ. œ. œ. œ.œ.

030 3 3 3 Ô 45 542 45 540 00 00 00

31 SERGEANT EARLY’S DREAM Trad. arr. Duck Baker DADGBE 3 4 œ#œ œ œ œ œœœ 3 œ & 4 . œœœ œœœœœœ œ ˙ ˙ ˙ ˙ œAå

3232 030 01 30 30 Ô 2 02420 0 3 52 œ 3 3 œœœ œœœœœ œœœœœœœ &œœœœ ˙ ˙˙˙

05578 7 5753 1013 Ô242024 0 0 3 3 5 œ œœ œ 3 œ & œœœ œœœœœœ œ ˙ ˙ ˙ ˙

030 01 30 30 Ô 2 02420 0 3 52

1. 3 2. 73œ œœœœœœœ œ œ œ œ . &œœœœœ ˙œ ˙ ˙˙˙ ˙ ˙

32 œ 11 œ œ œ œ œ œ œ œ œœœ . œ œ œœ & . ˙ œ œ œ œ œ Œœ œBå bend} release 0 5 35303 5 57 78 ˜ 75 0 80 Ô 7 0 02 3 70

jœœ 13 œ œ #œ œ œ œœœœœ &œ œ œ œ œ œ œ œ ˙. œ œ œ

3235 5757 0 03 80 Ô2420 7 0 023 5 0 œ œœ 15 œ œ œ œ œ œ œ œ œ œœœœ & œ œ œ œ œ ˙ Œœ bend} release 0535303557 78 ˜ 75 0 80 Ô 7 0 02 3 70

17 œ 3 œ 3 œ œ œ œ œ œ œ œœœ˙. &˙ œœ˙ œ œ œœ.˙ J 33 3 Ô4 444 4 4 024202 0 0 5502 0

33 CHIEF O’NEILL’S FAVORITE Trad. arr. Duck Baker DADGBE œ ## 4 œ œ œ œ œ œ œ œ œ œœœœœœ & 4 œ œ œœ ˙ œ œ ˙

0 50 0 77878 73 Ô 7 7 7660 0 0 7 0 0 5

3# jœœœ &#j3 œœœœnœœœ#œœ œœœœœœœ . œ˙ œœ˙

0 0010 3 2 Ô 02 227 4020004 0 00 00 5#œœœœœœœœœœœœ &# œœœœ œ œœœ ˙ ˙

50 0 77878 73 Ô7 7660 0 0 7 0 0 5

1. 2. 7# œ œ &#œœœœœœœ . œœœœœœœœœœœœ œ œœ œœŒ Œ

34 11 ## j j nœœœœ & n œ . œ œ . œ œœ˙œœœ Œ ˙ n œ œ

0 101310 Ô 02 0 20 3 2 03 0

3 13 ##œ œ œ œ œ œ œ œ œ œœ œœ &œ œ.œ Œ œ ˙ œ ˙

20 0 3333 3 3 232 Ô2 227 0 2 0 0

15 œ ##œ œ œ œ œ œ œ œœœœœœ &œ œ œœ ˙ œ œ ˙

50 0 77878 73 Ô7 7660 0 0 7 0 0 5

1. 2. 17 # &#œ œ œ œ œ œ œ . œ œ œ œ œœœœœœœœœ œ œ œ œœŒ œ

0 Ô 020 4024 40020 002 0 0245 4 0 5 4 4

35 MISS FORBES FAREWELL Trad. arr. Duck Baker DGDGBD 3 # 4 œ œ œœœœœ & 4 œ œ œœ œœœœœ œ œ œœ œ œ œ œœ œœœœœ œ œAå

00310 0357875 Ô 02 20 0 0 00420 045 04 40 0 3#œœœœ œ & œœœœœœœœœœœœœœœœ œœœœ œ œ œœœœœœœœœœœœœœœœ

3 3530 010 00310 Ô 02 220200 0 20 0 4 4540 020 00420 04 4404 40 3 1. 6 # œœœœœœœ œ œ œ & œœœ œ œ œ œ œ œ œ œœœœœœœ. œœ œ œ œ œ œ œ œœ œ œ œ œ œ œœœœœœ

035787533530 1010 Ô00 5 00 0 2 00002 5 0 0524 045 44540 2020 0 0 4 00

36 1. 12 # œ œ œ œ œ œ œ œ œœœœ œ œ & œ œ œœœœœœœ œ œ œ œ œ œ ˙ #˙ œœœœœœ œ œ œ œœœœ œ œ œ œ

75 5785 75 33530 0 10 57 Ô 0 00 0 020 2257 7 0 0057 56 44540 020 57 04 44

15 œ œ œ œœœ # œ œ œ œ œ œœœœœœœœœœœ &˙ œ ˙œ œœœœœœ ˙#˙œœœœœœœ

7 75 8875785 75 33530 1 Ô07 97 0 00 0 2 979 7 0 97 56 44540 2 4

2. 18 # œœ œ &œ œ œ œ œœœœœ.œ œ œ œ œ œ œ œœ œœœœ œ œœ œ œ œ œœœœœ œ œ œ œ œ œ œ œœ œœœœ

0 10 57 0 10 00310 Ô0 0057 02202 20 0557 00 020 057 020 00420 0 4424 40

3 21 # œ œ œ œ œ œ œœœœ & œ œ œœœœœœœœœœ œ œ œ œœ œœœœ œ œ œœœœœ

50 0 3 57875 3501010 Ô 0 002 00 0 0 0 045 45 0 054 0 0 05

37 POLL HALFPENNY Trad. arr. Duck Baker DGDGBD # 4 œ œ 3 œœ & 4 œœœœœœœœ œœœnœœ ˙. œ ˙˙ œAå

31 0010 01 Ô 00002 0 5 23 00 0

3 #œ 3 & œœœœœœnœœœœœœœœ ˙ ˙ w

0 10 10 01 Ô 00 000 355 0 0

3 5 j #œœœœœœœœœœ œœœœnœœœ & œ œœœœœ ˙. œ˙˙

02020 02020 022320 Ô 001 310 1 000

7 #œnœœœœ 3 & œœ œ œœ œœœœœ. ˙ ˙ ˙.

53530 10 10 Ô 0 0000 5 0 0

38 9 # œ œ nœœœœœœœ œœnœœœœœ & . ˙n˙ œ n˙œ œ œ œœ œBå

3 353 353 35 55335 53 Ô 5 5 5 3 0 0 00 3 j 3 j 12 #œ œ œ œ œ œ. nœ œœœœœœ.nœ &˙ ˙ œ œ œ œ

555 555 886 886 Ô7 7 5 5 0 00 0

3 14 j j #œ. œ. j œœœœnœœœ &œ œ œœœœ œ œ œ œ œŒ ˙

022320 5001 Ô57 575 00 5 9 70

16 #œ nœ œ œ œ 3 &œ œ œ œ œ œœœœœ. w ˙.

53530 10 10 Ô0 0 000 5 0 0

39 THE PURE DROP DADGAD, Capo 2 mTrad. arr. P. Bensusan % m m ## 2 œ œ . œ œ œœœœœœœœ & 4 œ. . œœœœœœœœœœœœœœœœœ œ œ œœœœ œAå m m 04 4020 04 024 00 00 024m 00 00 Ô 2 2 4400 44 00 00 00 m m 5 ## œœœ œ œœœœœœ &œœœœœœœœœœœœœœœœ œœœ œ œœ m 04 4020 0 00 00 024m Ô006 2 44 9 4400 70 5 00 00m 8 œ ##œœœœœœœ œœ.œ œ œ œ œ &œœœœœœœœ.œ œ œ œœœœœ œ œBå

00000 054004 40 04 m 00 Ô4 004 0044 0 70 04 5 m 00 11 œ œ ##œ œ œ œ œ œ œ œœœœœœœœœ &œ œœœœœœœ œ œ œœœœ

40 3 m 14 # œ œ œ œ œ œ œœœœœœœœœœœœ & # œ œ œœœœœ œ œœœœœ œ œ œ œœ

0540 04 00420 025 402 0 00 4 m440 Ô 4 0 0000 0 00 0 04

3 3 17 ##œ œ œ œœœœœœœœœœœœœœœ &œ œ œ œ œ œœœœœ œ œ œœ œœ

042004 00420 02 0 00 44 Ô406 54 9 00 0 70 0 5 00 0

3 20 #œ œ œ œ œ #œ œ œ œ œœœœœœœ &œ œ œœœœœœœœœ œ œ œœœœ

0 407040 042004 0 00 Ô 406 0054 9 00 70 04 5 00 m 3 D.S. 23 #œ œ œ #œ œ œœœ œ œ œœœœœœœ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ

00420 025 402 0 4 m 440 04 Ô 4 004 0 44 0 70 0 04 5

41 THE FLAX IN BLOOM Trad. arr.m P. Bensusan DADGAD, Capo 2 m ## 2 œ œœœœœœ & 4 œ œ œ œ œ œ œ œ œœœ œ ‰ œ œœ œAå J m 4020 00 024m Ô 4 00 040 4 00 5 0000

3 ##œ œœœœ &œœœœœœœœœœœœœœœœœœœœœ œ‰œ‰œœœ‰œ JJ J 0 02 00 00 02 Ô4 004 004 04 44 00 040 4 5 70 5 005 00 3m mm 6 mœœ ##œœœœœœœœœœœœœœœœ &œœœœœœœœœ œœœ‰œœœ J m 4202 4 2 0 05 405400 m 20 0 00 m7 m Ô 4 0040 0 0 0004 5

42 m m 12 # œ œ œ œ œ œ œ œ œœ & # œ œ œ œœœœ œ œ œ œ œ œ‰œ J m 24202 4 2 0 07 m 20 0 00 Ô 0 4 40 02 2 04

m 3 14 œ œ œ m œ ##œ œ œ œ œœœœœœœœœœ &œ œ œ œœœœ œ œœœ.≈ œ œ œ‰ œ œœœJ J m 575420 02 4202 0 0 5 m 20 0 00 4 Ô0 4 0 0 40 4 0 0 5 04 20 m 17 œ #œ œ œ œ œ œœ mœœ &#œ œ œ œœœœœœ œ œ œ œœœœœœ œœ‰œ œBå m J 4 42 2 00 047 044 020 0 m 0 Ô72 0 4 0 04 0 4 20 4 04 m m m 20 #œ œ œ œ œ œ œœœœœœœ œ &#œ œ œ œœ œœœœ œœœ œ œ œ œ m m m 5754 0 440202 00 70 4 400 0 Ô0 4 0 4 0 4 20 5 0

43 23 œ # œ œ œ œ œœœœœ.œ & # œ œ œœ. œ œ œ œ œJ≈ œ ‰ œ œœ J 045754 40 5 07 7 Ô 0 0024 0 4 0 0450 m 25 m œ #œ œ œ œ œ œœ mœœ &#œ œ œ œœœœœœœœœ œ œ œœJ‰œœœœ œ‰œ J m m 4 42 2 00 047 04400 0m 0 Ô72 0 0 440 04 0 4 20 4 04 √ m m 28 ‚ m #œ ‚‚ œ œ œ œ œœœœœ œ œ &#u ‚ œ œ œ œ œœœœœ œ œ œ œ œ œ J ‰ œ m m m 57<>4 0 440202 00 <<>7> 70 4 40200 Ô<<>7> 4 u<<>7> 0 4 0 4 20 5 0

31 œ œœ ## œ œ œ œœœœ &œ œ œ œ œ œ œœ œ ‰ œ œœ J 045754 40 07 7 Ô 0 0 024 0 0 0 045

44 SHEEBEG AN SHEEMOR Trad. arr. P. Bensusan DADGAD, Capo 2 m j r m m # 4 œ. œ œ ˙ œ. œ œ.. œ œ & # 4 ˙œ ˙ œ ˙ œ ˙Œ˙œ Rubato, Freely m m m 022 420020 Ô 20 00 0 20 0 5 m 5#r .. œ #œ œ.œœ.œœgœœ.. œ œ œ œ &œ.. œ œœœ. gœ .. œ .. œ œ œœœ.œg˙ œ œ œ R m 0g2 02 0 04 g500 Ô0 44 g44 4 540 g54 2 g0 02454525

8#jœ.œœ. œ #œ œœœ˙ œ..œœœ &˙œ œœ˙œŒœœœœœ œ œ ˙ ˙

2475 04 2 7 222 Ô060 00 7420 42 070 0 5

11 ## r œ &˙. r .. œ œ. ˙œ Œ .. œ œ. œ œ≈œ.. .œ ˙. ˙ œ œœœœœ

45 √r 14 # œ.. œ œ œ # œ ˙‚‚œ œ & œ. œ œ œ œ. œ œ ‚‚œ ˙œ œ. œ J ‚ œ.. R

47540 0 <>7 7 Ô <>7 242 2 47<> 0 45254 7 <>7 7507<> U> U> accel. 3 bœ5 m- 17 # œ œ œ œ œœ œ. #œ. œ œœœ œ œbœœœœœ˙œ & ≈œ. ˙ œ ˙. ˙. J .. œ œ. œ œ R > m - 045785 0 00 47 7014 Ô44 70 0 7 82 42 0 0 5 045

m - 3 - r .œ 20 #œ.. rœ. œ ˙œ.. œ œ. œœ œ.œœœœ.œœ # œgœ ˙ gnœ &œ ˙ g ˙ gœ J gœ œ g ˙ ˙ g˙. m- 0244420 g2 420 12 Ô 05g 5 g3712 g4 2 g011 245g 4 g4 0 0 g 0 m 0 0 œ.. ‚.œœ 23 #gœ.. R ‚˙œœœœœœœœ &#gœ.. œœŒgœœœ g œ.g gœ‰. œ ŒŒ˙ m g9 <12>11 9 4540227 g912<>57g4 Ôg7 2 g4 g7 5 g57 g 02 0 g5

46 r 3 3 26 # œ.. œ œ # g˙ gœ œ œ œ.. œ.œœ.œœœ.. œœœœ & g˙ gœ ‰. œ œ œ‰. œœœ.œ œ g gœ ˙R œ ˙R g˙ g

g4 44g20 00 0 g44g 2 420 22220 Ô g22g 4 00 g42g 4 42 g g 20 g04g 5 r 29 # œ #Ó œ ‰. œ œ. œ œ.. .œgœ &˙. ˙ œ. œ ˙œ‰. œ œœ gœ ˙. ˙ œ ˙œ˙R - 4 2 0 0 222g Ô 76 00g 4 2000 42g 4 072 4 445 œ 33 œœ.œ ## œ.œœ.œœœ.œœ.œ &˙r œ.œ œ˙ ‰. œœ.œ œ œ œ œ˙

0712975 0 0010 59 Ô 11 9 9 04 5 47 09 45709 5 Ÿ ~~~~~~~~ - 36 # r #˙. œ. œ ˙. . œ.. œ gœ. œ &˙ ˙ œ œ œ ˙ gœ ˙. J gœ ˙ ˙ - } 24 0 0 02 05g Ô0 g4 4 52245g 0 g0 0 0

47 U 3 j - r œ. œ.œ.œ 39 # jœ œ œ œ œ œ œ gœ.rœ # œ œ œ g nœ.. gœ.jœœ. & œ œ œ g œœ.. gœ.œ œ gn œ ≈ œ gœ.≈ ˙ gJ

2 444540g2 4 79 9912 7 g3 910 Ô g0 770 00 g4 579 g30 0U U 5 Œ œ. œ œ œ m 42 œ ‚ ## ˙ nœ œ œ &‚. gœœ Œgœ Œ m 11 14 12 11 9 420 <>12 2 Ô 5 5 <>12 2 > 3 j U nœ œ œ œ. 5 44 œ . œ ##œ g nœœ nœ œ œ œ. œ œ œ œ œ œ œ &gb œ œ J œ œ œ ˙. g 3 œ

22g7101212 14 4 4 4 5 4 2 0 g30 Ôg3 2 g5 7 10 12 12 14 4 0 4

accel. œ œ œ 3 46 # œ œ œ œ # œ.. œœœœ œœ ˙rœ.œœœ & œœœ ‰.œœgœ œ 6 g 7 ˙

0 0 7 9 12 9 7 0 0 09 922g20 Ô 9900g 049 02g 27 5

48 poco a poco rall. al fine 48 ## 3 3 œ œ & œ œ œ . œ . œ œ g ˙ ˙œ œ œ œ ˙ g ˙ œ œ g ˙ g ˙

4 2 0 g 2 Ô 4 g 0 4242024g 0 4 g 02 0 g 2 g 4 4 m5 œ. 51 # œ œ œ. œ gœœœ.œœ.œ &#œ j œ g˙ ≈ œ œ œ œ œ œ g œ œ g˙ m 07g975 0 0010g59 Ô 11 g9 04 0 g5 477 g 40 g5 3 > 3 53 œ. œ œœœœ. ##œ œ œ œ œ. œ ˙œ.œ gœ˙ &œ œ.œœg˙. ˙. g g˙. > 97 0 0 797g70 97 7 g Ô76 6 76 0 g 5 7 g4 0 g g0 HEMAN DUBH [ Trad. arr. P.[ Bensusan DADGAD, Capo 2 m 3 m b2 œ œ &4œ œ œ œ œ œ œ œœœœœ œ. œ œ œ œ.œœœ legato m } m 3 0 3 0 30 0 Ô 00 0 03 303 00 0 00 0 © 1979 CÉZAME/France. All rights reserved for all countries.

49 m m 3 œ œ œ œ œœœœ & b œ œ œ œœ œ œ. J œ œ œ œ.Jœœœ

0320 0320 Ô 03m 303m 3 33 33 33 333 3 - 5 bœœ œœœœœœ &œœœœœœœœ. œœ œœ .œœ œ œ -

0 00 0 Ô03 0 3303 33 0023 02 0 32 0 0 [ [ 7 m3 m bœ œ &œœœœœœœœœœœœ œ.œœœœ.œœœ m m 30 0 30 0 Ô00 0 03 303 0 00 0 00 0

9- - bœœœœœnœœœœœœnœœ & ‰œ ‰œ œ. œœ. œ -œœœ-œœœ

0 0 03 302 03 3020 Ô 0 0 3 3 33 3 5 33 3 5

50 11 b œ œ œ œ œœœœœœœ. & œ œ œ œ œ œ œ œ œ œ œ.œœ

0 00 0 Ô 03 0 3303 0023 2 33 0 32 0 0 m - m 13 œ b.œ œ œ œ œ œ œ œ œœœœœœ &œ g œ ˙ g œ œœœ - m m 0 0 030 0 Ô303 303 330 02 0 0 322[ - mm 15 j œ bœ œ œ œ œ œ œ œ œœœœœœ &œ œ œ œ œ œœ œ œ œ - œœ m m 00030 0 0 Ô35303 303 33 002 00 0 0 320

17 œ œ bJ g œ œ œ œ œ œ œ œ œ Jgœœœœœœœœ &≈ g œ.. ≈gœ.. œ g œ œ. œ.gœœœ.

5000050000 55 3 53 Ô77 7 0 0 53523

51 1. m 19 œ œ b J gœ œ œ œ œ œ œ œ œ J gœ œ œ œ œ œ œ œ . & ≈ gœ.. ≈ gœ.. œ g œ œ. œ.g œ œ œ. m 500005000 55 3 530 Ô 77 7 0 0 53553

2. m 21 œ œ œ œ œ œ œ œ œœ &bJ g œ œœœœœœœœ ≈ gœ.. œ.œœœ œ. œ œ œ. ˙ m 50000 3 5300 0 Ô7 22 20 0 00 5 3 553 0 [ m 23 œ œ œ œœ &bœ œ œ œ œ œœœœœœœœ œ. œ œ œ œ.œœœ ˙ m 30 0 3 00 3 00 0 Ô22 22 20 0 00 5 13 3 0 [ - m m 25 œ œœœœœœ bœ œ œ œ œ œ œ œ .jœœœ & œ .œ.œœ.≈ œ. œ œ œ.œœ - m m 30 00 3 357 5 3 00 3 53 Ô22 0 33 7 10 33

52 m 27 œ œ œ œ œ œj œ œ œœœœœœjœ3 & b œ œ œiœ8 œ. œ œ . i ≈ œ.œœ.≈ œ. œ œ œ.œœ m 335753 3 335753 Ô 53 53 33 733 7 55 33

29 3œ œ œ œ œ œ œ 2œœ &b8œ. œ œ 4œœœœ œœœœ œ œ œ. œœ œ œ. J ˙

335753 3 5 00 0 Ô0 22 20 3 00 5 0 3 5 0 [ m 31 œ œ œ œœ &bœ œ œ œ œ œœœœœœœœ œ. œ œ œ œ.œœœ ˙ m 30 0 3 00 3 00 0 Ô22 22 20 0 00 5 13 3 0 [ [ 1., 2., 3. m 4. m > 33 œ œ œ œ œ œ jœœ w &bœ œ œ œ œ .œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ w J > m m 30 00 30 0 00 3 00 335 Ô22 22 0 0 10 1335

53 JENNY PICKING COCKLES Trad. arr.Tom Long DADGAD 3 ## 4 œ œ œ nœœœ & 4 œ œ œ œ œ œ œœœœœœœ œ œ œœ œAå

05 5 0 0353 Ô 70 0000 72422 0000

3 3##œœœ nœ &œœœœœœœœœœœœœœ œœœœ

05 5 0 03 Ô70 00 7240 20 5 0000

3 5##œœœ n˙ &œœœœœœœœœœœ œœœŒœ

05 5 0 03 Ô70 0 72424 0 0000

7# #œœnœ nœ. &œœœœœœœœœœœœœœ œœœœ

54 3 9 # œ œ œ œ œ # . œ œ œ œ nœœœœœ & . œ œ œœ œ œ œœ œBå

474024520 Ô 3202320 0000 00 00

3 3 11 œ œœ ##œ œ œ œ œ œ œ œ œœœœœ &œ œ œœ œ œ œœ

457402420 7754 0 Ô 77 0000 0000

3 3 13 œ ##œ œ œ œ œ œ œ nœœœœœœœ &œ œ œœ œ œ œœ

4740 2420 Ô 32023235 0000 00 00

15 # #œ œ nœ œ œ nœ. &œ œ œ œ œœœœœœœœ œ œ œœ

20 30 3 Ô20 0 0 24 22200 5 00 00

55 THE BROKEN PLEDGE

DADGAD, Capo 3 Trad. arr.Tom Long # # 4 œ nœ nœ 3 & 4 œ œ œ œœœj œ œ œnœœœœœ ˙ ˙ ˙˙ œAå 0 30 0 30 Ô 0 0 0 42 5 35323 0000

3 3 ##œœ.nœœœœœœ &œœœœœœœœœ ˙˙˙˙

0 042 05 020 0 Ô0504 024 00 00

5# j #œnœnœœœjœ3 &œœœœœj œœœnœœœœœ ˙˙˙˙

0 30 0 35323 Ô0 0 0 2 5 35323 0000

7# 3 #œœnœœj. &œœœœœœœœœœœœœ. ˙˙˙˙

56 j 9 œj # œ œ œ œœœœœœ & # . nœ œ œ œ œ nœœœ ˙ ˙ ˙˙ œBå

0024742402 30 02 302 Ô 0

00 00

3 11 œ ##n œ œ œ œœœœœnœœ &œ œ œ œ œ ˙ ˙ ˙˙

0 2450 4 2 30 3 303 Ô00 2 0000

3 13 #œ œ œ œœœœ &#nœ œ œ œ œ aœœnœœœ ˙ ˙ ˙˙

002420 0 30 02 40 30 Ô0 0

00 00

15 # 3 #j j œ œ œ nœ œœœj. &œ œ œ œ œ œ œœœœœœ ˙ ˙ ˙˙

0 05 020 Ô050 45424 2520 5 0000

57 MORAN’S RETURN Trad. arr. Pat Kirtley DADGAD, Capo 2 ## 4 œ. j œœ & 4 œ œ œ. œ œ œ œ œœœ œ ˙ ˙ ˙˙ œAå 02 0 20 Ô 00 4 22 400 00 0 04

3j. 3 #œœœœœ3 &#œœœœœœœœœœœœœ.jœœ ˙˙˙œœœœ˙˙œ˙œ

2420 0 420 20 Ô 02002 00 004242024 4 22 00 00

6 j # œœœ.œ # œ œœœœœ . &œœœ ˙˙œœ.œœœœœ ˙˙ ˙œ

02 2420 0 Ô 420 400 0042420 0 0 4 04 0

58 j jj 12 # œ.œœœœœœœœœœœœœœ # œ. œ. œœœœ.œœœœœ. & œ.œœœ.œ ˙œ œœ. œ œ œœœ JJJ

22 4 454 0 0 4540 4 22 077 70777 Ô 000 0606 0000 707 0 0 22 0

15 # jœ. #œœ.œ œ œ. œ œ œœ.œœœœœœ . &œ . œœœ. œœœœ.œœœ œ. ˙ œ ˙˙˙ œ J œ

00 02242 0 07 0 25400 Ô440 04 0 4 2420 0 2 0 4 54 5 0

SOUTH WIND DADGAD,# Capo 2 Trad. arr. Pat Kirtley # 3 j œ & 4 œ œ œ. œœœœœ.œ˙œœœœ œ˙ ˙. ˙. œæA⁄¡å

Ô 02 45 420024 2 4202 0 0 0 0

4 ## j . &˙ œœœ.œœ˙.œœœœ˙. ˙ ˙œœ.œœœœœ˙ Œ œ JJ ˙

59 j 9 # œ. œ œœ œœ & # . œ œ œ. œ œœœœœœ œ œ˙ œ.œœ. œ ‰J œœ œæB⁄¡å JJ

20 0 24 54 40 0 Ô 2 4 2 4 00 00 2 5 4

1. 13 # &#˙ œ œœœ 3 ˙ œ œ ˙œ. ˙.œœœ ˙. œ ˙ ˙

Ô0 002 4204 2420 0 2 0 5 0

17 2. ## jœ˙ & .j œ œœ˙˙ ˙ œ œ œ œ œœ˙˙ ˙ œ˙

00 020 Ô 0 02 0 2000 4 042 0 0 0 j j 21 j œ j #œ œ. œ œœ.œœ. ˙œœ #.˙ œ œ. œ˙œœ ˙ &˙. ˙. œ œ˙ ˙. ˙. œ œæA¤¡å

7 0 45 9 97 7910 777 Ô7 7 7 060 0 0 77 7 0 4 0 0

60 j j 26 # œ œ . # . œ œ œœ˙.j ˙ . & œœ. ˙ œ˙œ‰œœœœœœ œ œ ˙. œ

5 40 00 0 07 0 0 Ô 0 4 0 0 0 04 4 0 0 5 0 0 j œ œ ˙ œ œ. œ œ œ 30 # ˙ ˙ œ. ˙ ˙˙ œ &#. œ œ œ ˙ ‰J œ œæB¤¡å

911 12 12 12 11 9 779 9 9 7 Ô 11 11 7 9 9 9 10 7

1. j 34 #˙˙ œ œ. œ œ œ œ œ ˙ œ˙ &#˙ œ. ˙˙ ˙˙. œ Œ ˙ ˙ œ ˙

7 0 7 0 7109 910 7 7 Ô7 9 0 6 0 7 9 7 7 0 7 0 4 9

2. j 39 . œ ##œ œ œ œ œ ˙. ˙ & œ œ œ œ ‰jœœœœ ˙ œ J œ œ J ˙. ˙

0 5 0 0 9 74 0 Ô 9 00 0 77504 4 0 0 0 0 0

61 JOCK O’HAZELDEAN

CGDGAD, Capo 4 Trad. arr. El McMeen # 3 œ œ ˙ j & 4 œ œœœœœœœœœœœœ œ œœ œ œ˙œ.œ œ œ œ.œ.œœœ Œ

02 0 20 020 0 02 0 Ô 0 0 0 0 00 2 0 000 0 4 2 224 2

5# Œ ˙œœ œœ &œœœœœ œœœœœ.œœœœœœœœ Œœ œ˙œ œœ œ œ

2 2 0 3 232 0200 57 Ô0 2 0 0 2242 22 0 44 0 2 2 2 0 2 2

9#˙ œ & œœœœœœœœœ œœœ œœ œœœ œœ œœ œœœœ œ œ ˙ Œœ œœ

0 0 520020 0 02 0 Ô0 0 00 0 00 02 00 00 4 2 7 2 4 2

13 #Œ ˙. œ &œ œ œ œ œ œœœœœ˙.œœœœœœœ œœœœ œ œ œ.œ.œœ

62 j 17 # œœœœœœœœ. œœœ & ˙ œ œ ˙œœœ œ œ œœ œ œ œ œ˙œ

02 420 2 50 3233 77 Ô 0 2 7 2 2 5 0 2 0 5 0 0 0 j 21 #œ. œ œ œœœœœ &œ œ œ œ œœœ œœœœœœœœ œ œœ œœ œ œ œœ˙œœ

0 0 20 020 20 223 30 0 Ô0 0 040 0 0 0 0 0 4 2 442002 j j 25 #œ œ &œ œ œ œ œœœ œœœœœ ˙ œ œ˙˙.œ œ œ. œ. œœœJœœ J 00 02 20 020 0 02 Ô 0 0 0 2 0 0 0 4 2420 224 2

29 # œœ˙. Œ œ œ œœœ œœ˙. & œ œ œ œœœœœœœ˙ œ œo˙. œ œ.œ.JJ

55 5 02 020 30 2 Ô 0 00 0 22 2 00 0 0 0 o0 0 22

63 THE CASTLE OF DROMORE Trad. arr. El McMeen CGDGAD, Capo 4 # 3 œ œ ˙ œ ˙œœ˙œ˙œœ & 4 œ˙ œœ œœœœ˙ œ œ œœœ

000220024 23 23 2 Ô 0 0 0 0 0 0 2 0 0 0 0 0 0 j j j 5#œ.œ j œœ. œ ˙œœ.œœœ.œœ˙œ˙ œœ &œœ ˙œœœ˙œœ œœœŒœ

55 00 24 55 7023 32 7 Ô5 0 0 5 5 5 0 0 0 5 5 2 0 0 5 2 j 10 # j œœœ &˙ œ œ.œœœœœ.œœœ. ˙ ˙. œœŒœ œŒ œ ˙. œ œœ

020 020 02 3 Ô 0 0 550 4 2 2 2 5 4 0 0 2 4 0 j j j 14 # j œœœœ. œœœ.œœ œ œ. œ ˙.œ‰ ˙ œ. & œ œ œœ ˙ œ œ œ ˙˙Œ œœ

64 j 19 j # œ. œ œ ˙ œ j & œ. ˙œœ.œœ.œœ˙. œ˙ œ˙œ.œœ œ ˙ ˙œœ œ J

2420 0 3 2223320 Ô 00 0 0 0 0 00 4 2 542 0 4 2

24 j j #Œ œ œ œ œ &œ œ œ œ .œ. œ œœ˙œœ.œ œ œ œ œœ œœ œ œ œ œ ˙.œ

0 0 0 0 2 33032 23 Ô0 0 0 22 0 0 0 0 2 0 4 0 2 4

1. 29 j j j #œ. œ œ œœœœ.œ. &œ. œ œ œ.œœœœœ.œœœœ.˙œ. œœœŒœŒœ œ œ œ œ œ

0 00 00 33020 320 02 Ô 0 000 0 22 00 40 0 0 2 0 0 0 2

2. 33 % #œ. œ œ œ œ˙. &œ. œ œ œ.œœœœœœœœg˙. œœœŒœ g˙. œ œ œ ˙. g˙. % 20 0 5 33020 22g2 Ô 4 0 0 g0 22 00 40 g0 0 2 0 g0 0 2

65 O’CAROLAN’S FAREWELL TO MUSIC O’Carolan, arr. El McMeen CGDGAD, Capo 2 4 3333 jœœ & b 4 . œ œ œ œ œœœœœœœœœœœœœ.œœœ œ œ œ œ œ œ Ó ˙ œ œ ˙œŒœ œAå 0 0 333330 07 Ô 000 333330 0 0 0000 0 10 000010 5 0 j 5 œ. œ œ œ œ j œ. j j b ˙ œ œœ .œ œ œ œ œ œœœœœ .œ œ & œ œ œ œ œœœ œœ œ œ ˙ œ œ Ó œŒœ œ ‰ J Œ

575 0 0 00 0 880 50578050 Ô 07 55 0553 3 0 30 70 33 7333

9 3333 b œ œœœœœœœœœœ &œœœœœœœœœœœœœœœœœ œŒœŒ˙œœ˙œ

10 0333330 Ô00 0 000 333330 0300000 0 0 0000 5 5

12 œœ 3 œœ œœ‰ œœ &bœ œ œ œ œ œ œ œœœ œ.œœœ ˙ œ œ Œ œœœœ œ Œ J

557803 010 535 5 Ô00 0 0000 3 003 3 00 05 5 0 0 0

66 15 b œ œ œ œ.jœ œ œœ & œ œ œ œ œ œœœœœœœœœœœœœœœœœ œŒœ œœœœœŒœŒ˙œ

0 0 3310100 1 Ô 0000 0300 0 333 0 00 0 0 0 00 0 223200 00 55

19 ˙œœœœœœœœœœœœœ bœ œœ œœ &œœœœœœœœœœœœœ œŒœ ‰œœœŒœJœ.Ó œBå J

55755757857870 5 85 10 8 0 Ô0 0 00 00 0 00000 00000 0

j œœ 23 . œ œ œœœœ œœœœœ bœ œ œœ œ œœ &œ œ œ œ œ œ œ œœœœœœœœœœœœœ œ œœ œœœJ‰Œœ

303530 35 7537 5878750 0 00 000000 8 Ô0 0 33530 5 753 0 00 0 7 0

œœœ 27 ˙ œ œ œœœœœœœœœœœ b˙ œ œ œ œœœœ œœ &œ œ œ œ œ œœœœ œœœœ œ ‰ J ‰ œŒ‰J‰ œŒœœ‰J‰œ‰œ J J JJ

5575575785787870 5555855 55 10 Ô0 0 10 0000 0000000 0 0 00 000

67 j 31 œœœ œ. œ œ œ œœœœœœ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ œŒ œœ˙ ˙

323578 7 0 010108 75311 Ô 0 10 9 75322 32350 0 00 0

34 bœ œ˙Œœ˙ . &œ œ œ œ œ œ œ œœœœ˙œœœœœœ˙œœœ. œ Œ œŒ œ‰Jœœ‰Jœ

00 00 10 Ô00 0 0000 000 0300000 0000 0 0 0 5 5 5

37 œ Break Time — Rubato œ œ œ &bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

00 0 013 3 131 Ô00 0 00235 2 œ · 38 ‚ œ œ ‚ ‚ ‚ · &bœ œ œ œ œ œ

0 8 10<<> 12> 012<>> Ô 012<<>> 00<>12 <<>12> <<>12> 0 0

68 Pat Kirtley Martin Simpson Planxty Irwin Rodney’s Glory Martin Simpson Medley: Rosie Anderson, The Shearing’s Not For You & Bogie’s Bonny Belle Steve Baughman Bill Malley’s Barndance Fanny Power Duck Baker The Blarney Pilgrim The Rakes of Waterloo Medley: Sergeant Early’s Dream & Chief O’Neill’s Favorite Medley: Miss Forbes Farewell & Poll Halfpenny Pierre Bensusan Medley: The Pure Drop Tom Long & The Flax In Bloom Sheebeg An Sheemor Heman Dubh Tom Long Jenny Picking Cockles Broken Pledge Pat Kirtley Moran’s Return South Wind El McMeen Medley: Jock O’Hazeldean & The Castle Of Dromore Duck Baker VESTAPOL 13063 Running time: 59 minutes • Color Photo of Martin Simpson by Anna Grossman Photo of Duck Baker by Jo Ayres Photo of Tom Long by Leslie A, Smith Nationally distributed by Rounder Records, One Camp Street, Cambridge, MA 02140 Representation to Music Stores by Mel Bay Publications © ® 1998 Vestapol Productions A division of Stefan Grossman's Guitar Workshop, Inc.

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