Showing posts with label waltz. Show all posts
Showing posts with label waltz. Show all posts

Give Me Your Hand - Tabhair Dom Do Lámh

Give Me Your Hand

GIVE ME YOUR HAND
 (Tabhair domh do lámh). AKA – "Da Mihi Manum," "Oh Give Me Your Hand." Irish, Air (6/8 time) {"boldly"} or Waltz (i.e. Bulmer & Sharpley). G Major/Mixolydian (Brody, Matthiesen, Neal, Oswald): G Mixolydian (Mallinson, O'Neill, O'Sullivan/Bunting, Tubridy). Standard tuning (fiddle). One part (Brody, Mallinson, Ó Canainn, O'Neill): AB (Tubridy): ABC (Matthiesen): AABB (Oswald). The index of the Irish collector Edward Bunting's 1840 collection gives that the piece was composed in 1603 by Ruainn Dall O'Catháin (d. 1653), or familiarly Rory Dall O'Cahan, originally an Ulster harper and a close relative of Donal O'Cahan, chief of his clan, whose stronghold was in Coleraine [according to Grattan-Flood]. The O'Catháin/O'Cahans were a powerfull clan in parts of Antrim and Derry, which lands were called the O'Cahan country, and were loyal pledges to Hugh O'Neill, whose harper Rory Dall was said to be (O'Neill, Irish Music and Musicians, 1913). He performed and composed primarily in Scotland (the Gaelic appelation dall means 'blind'). Rory Dall is said to also have been an accomplished performer on the bagpipes and was much respected by the Highland gentry. There is some indication that O'Catháin changed his name to Morrison while in Scotland. A legendary account, related by Francis O'Neill (1913), gives some idea of the lasting loyalty of feudal obligation. It seems that his composition "Give Me Your Hand" (or, in Latin, Mihi Manum) became renowned in Rory Dall's lifetime, and that both tune and the story of its composition (related below) reached the ear of King James the Sixth, who bade the harper appear at the Scottish court. He performed the tune and so delighted the king that James familiarly laid his royal hand on the musician's shoulder. When he was asked by a courtier if he realized the honor the king had shown him by the action, Rory is said to have replied: "A greater than King James has laid his hand on my shoulder." Who was that man? cried the King. "O'Neill, Sire," proudly said the harper, standing up. Rory's branch of the family came into conflict with the powerful O'Donnell clan of


An account of the occasion of Rory Dall's composing this tune is included in harper Arthur O'Neill's Memoirs (MS 46, p. 27), and goes:

(Rory Dall) took a fancy to visit Scotland where there were great harpers. He took his retinue (or suit) with him. Amongst other visits in the style of an Irish chieftain he paid one to a Lady Eglinton, and she not knowing his rank in a peremptory manner demanded a tune which he declined, as he only came to play to amuse her, and in an irritable manner left the house. However, when she was informed of his consequence she eagerly contrived a reconciliation and make an apology, and the result was that he composed a tune for her ladyship, the handsome tune of "Da Mihi Manum" (Give Me Your Hand) on which his fame spread thro' Scotland.

The melody's popularity was long-lived, as attested by its appearance in many collections throughout the 18th century, including Daniel Wright's Aria di Camera (1727), Neal's Celebrated Irish Tunes (c. 1742—a revised date from the oft-given 1721 or 1726, this based on watermark research--see the appendix to the 2001 edition of O'Sullivan's Carolan: Life, Times and Music of an Irish Harper), Burke Thumoth's Twelve English and Irish Airs (c. 1745–50), Thompson's Hibernian Muse (c. 1786), Brysson's Curious Selection of Favourite Tunes (c. 1790, and Mulholland's Ancient Irish Airs (1810). The Latin title first appears in the Wemyss manuscript of 1644 and in the Balcarres manuscript of 1692, although the English or Gaelic translations were not given until Bunting's 1840 edition (Sanger & Kinnaird, 1992). In modern times this ancient harp air has entered modern Irish playing tradition, and is a favorite in County Donegal, for one. There are two main versions of the tune: one can be found in the collections of the Neals, Thumoth, James Oswald and Edward Bunting, while the other is to be found in the manuscripts and publications of Dow, Balcarres, Wemyss and MacFarlane.


Additional notes
Source for notated version : - Bunting noted the tune in 1806 from the elderly harper Arthur O'Neill [O'Sullivan/Bunting]; Planxty (Ireland) [Brody]; Jay Ungar (West Hurley, New York) [Matthiesen]; O'Neill credits himself with the version in his Music of Ireland, though it seems nearly identical to Bunting's versions; "From the singing of Norry Dwane of Glenoshen: 1857" (Joyce).

Printed sources : - Brody (Fiddler's Fakebook), 1983; p. 120. Bulmer & Sharpley (Music from Ireland, vol. 1), 1974; No. 83. Bunting (Ancient Music of Ireland), 1840; No. 63, pp. 46–47. Johnson (Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); p. 10. Joyce (Old Irish Folk Music and Songs), 1909; No. 38, p. 22. Mallinson (100 Enduring), 1995; No. 97, p. 41. Matthiesen (The Waltz Book II), 1995; pp. 20 & 21. L.E. McCullough (The Complete Irish Tinwhistle Book), 1987; No. 60. Neal (A Collection of the Most Celebrated Irish Airs), Dublin, 1724; p. 3. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pp. 20–21. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 406, p. 71. O'Neill (Irish Minstrels and Musicians), 1913; p. 60. O'Sullivan/Bunting (Bunting's Ancient Music of Ireland), 1983; No. 63, pp. 97–98. Oswald (Caledonian Pocket Companion, vol. 8), 1760; p. 16 (as "Da Mihi Manum"). Samuel, Anne & Peter Thompson (The Hibernian Muse), London, 1787; No. 12, p. 8. Thumoth (12 English and 12 Irish Airs), 1746; No. 5, pp. 34–35. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 40. Daniel Wright (Aria di Camera), London, 1727; No. 36.

Recorded sources : - Bay 203, Jody Stecher – "Snake Baked a Hoecake." Polydor 2383 397, Planxty – "Planxty Collection" (appears as "Tabhair Dom Do Lamh"). RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986). Shanachie 79009, "Planxty" (appears as "Tabhair Dom Do Lamh"). Shanachie 79012, Planxty – "The Planxty Collection" (1974).

See also listing at :
Alan Ng's Irishtune.info [1]
Jane Keefer's Folk Music Index: An Index to Recorded Sources [2]

Give Me Your Hand - Tabhair Dom Do Lámh

Give Me Your Hand

GIVE ME YOUR HAND
 (Tabhair domh do lámh). AKA – "Da Mihi Manum," "Oh Give Me Your Hand." Irish, Air (6/8 time) {"boldly"} or Waltz (i.e. Bulmer & Sharpley). G Major/Mixolydian (Brody, Matthiesen, Neal, Oswald): G Mixolydian (Mallinson, O'Neill, O'Sullivan/Bunting, Tubridy). Standard tuning (fiddle). One part (Brody, Mallinson, Ó Canainn, O'Neill): AB (Tubridy): ABC (Matthiesen): AABB (Oswald). The index of the Irish collector Edward Bunting's 1840 collection gives that the piece was composed in 1603 by Ruainn Dall O'Catháin (d. 1653), or familiarly Rory Dall O'Cahan, originally an Ulster harper and a close relative of Donal O'Cahan, chief of his clan, whose stronghold was in Coleraine [according to Grattan-Flood]. The O'Catháin/O'Cahans were a powerfull clan in parts of Antrim and Derry, which lands were called the O'Cahan country, and were loyal pledges to Hugh O'Neill, whose harper Rory Dall was said to be (O'Neill, Irish Music and Musicians, 1913). He performed and composed primarily in Scotland (the Gaelic appelation dall means 'blind'). Rory Dall is said to also have been an accomplished performer on the bagpipes and was much respected by the Highland gentry. There is some indication that O'Catháin changed his name to Morrison while in Scotland. A legendary account, related by Francis O'Neill (1913), gives some idea of the lasting loyalty of feudal obligation. It seems that his composition "Give Me Your Hand" (or, in Latin, Mihi Manum) became renowned in Rory Dall's lifetime, and that both tune and the story of its composition (related below) reached the ear of King James the Sixth, who bade the harper appear at the Scottish court. He performed the tune and so delighted the king that James familiarly laid his royal hand on the musician's shoulder. When he was asked by a courtier if he realized the honor the king had shown him by the action, Rory is said to have replied: "A greater than King James has laid his hand on my shoulder." Who was that man? cried the King. "O'Neill, Sire," proudly said the harper, standing up. Rory's branch of the family came into conflict with the powerful O'Donnell clan of


An account of the occasion of Rory Dall's composing this tune is included in harper Arthur O'Neill's Memoirs (MS 46, p. 27), and goes:

(Rory Dall) took a fancy to visit Scotland where there were great harpers. He took his retinue (or suit) with him. Amongst other visits in the style of an Irish chieftain he paid one to a Lady Eglinton, and she not knowing his rank in a peremptory manner demanded a tune which he declined, as he only came to play to amuse her, and in an irritable manner left the house. However, when she was informed of his consequence she eagerly contrived a reconciliation and make an apology, and the result was that he composed a tune for her ladyship, the handsome tune of "Da Mihi Manum" (Give Me Your Hand) on which his fame spread thro' Scotland.

The melody's popularity was long-lived, as attested by its appearance in many collections throughout the 18th century, including Daniel Wright's Aria di Camera (1727), Neal's Celebrated Irish Tunes (c. 1742—a revised date from the oft-given 1721 or 1726, this based on watermark research--see the appendix to the 2001 edition of O'Sullivan's Carolan: Life, Times and Music of an Irish Harper), Burke Thumoth's Twelve English and Irish Airs (c. 1745–50), Thompson's Hibernian Muse (c. 1786), Brysson's Curious Selection of Favourite Tunes (c. 1790, and Mulholland's Ancient Irish Airs (1810). The Latin title first appears in the Wemyss manuscript of 1644 and in the Balcarres manuscript of 1692, although the English or Gaelic translations were not given until Bunting's 1840 edition (Sanger & Kinnaird, 1992). In modern times this ancient harp air has entered modern Irish playing tradition, and is a favorite in County Donegal, for one. There are two main versions of the tune: one can be found in the collections of the Neals, Thumoth, James Oswald and Edward Bunting, while the other is to be found in the manuscripts and publications of Dow, Balcarres, Wemyss and MacFarlane.


Additional notes
Source for notated version : - Bunting noted the tune in 1806 from the elderly harper Arthur O'Neill [O'Sullivan/Bunting]; Planxty (Ireland) [Brody]; Jay Ungar (West Hurley, New York) [Matthiesen]; O'Neill credits himself with the version in his Music of Ireland, though it seems nearly identical to Bunting's versions; "From the singing of Norry Dwane of Glenoshen: 1857" (Joyce).

Printed sources : - Brody (Fiddler's Fakebook), 1983; p. 120. Bulmer & Sharpley (Music from Ireland, vol. 1), 1974; No. 83. Bunting (Ancient Music of Ireland), 1840; No. 63, pp. 46–47. Johnson (Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); p. 10. Joyce (Old Irish Folk Music and Songs), 1909; No. 38, p. 22. Mallinson (100 Enduring), 1995; No. 97, p. 41. Matthiesen (The Waltz Book II), 1995; pp. 20 & 21. L.E. McCullough (The Complete Irish Tinwhistle Book), 1987; No. 60. Neal (A Collection of the Most Celebrated Irish Airs), Dublin, 1724; p. 3. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pp. 20–21. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 406, p. 71. O'Neill (Irish Minstrels and Musicians), 1913; p. 60. O'Sullivan/Bunting (Bunting's Ancient Music of Ireland), 1983; No. 63, pp. 97–98. Oswald (Caledonian Pocket Companion, vol. 8), 1760; p. 16 (as "Da Mihi Manum"). Samuel, Anne & Peter Thompson (The Hibernian Muse), London, 1787; No. 12, p. 8. Thumoth (12 English and 12 Irish Airs), 1746; No. 5, pp. 34–35. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 40. Daniel Wright (Aria di Camera), London, 1727; No. 36.

Recorded sources : - Bay 203, Jody Stecher – "Snake Baked a Hoecake." Polydor 2383 397, Planxty – "Planxty Collection" (appears as "Tabhair Dom Do Lamh"). RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986). Shanachie 79009, "Planxty" (appears as "Tabhair Dom Do Lamh"). Shanachie 79012, Planxty – "The Planxty Collection" (1974).

See also listing at :
Alan Ng's Irishtune.info [1]
Jane Keefer's Folk Music Index: An Index to Recorded Sources [2]

The Waltz Books, compiled by Bill Matthiesen

"Must-haves for the waltz lover." ---Fiddler Magazine

Welcome to The Waltz Books page. As a backup pianist for contradances, Bill Matthiesen created the first waltz book in 1992 to give working musicians a wider common repertoire of these beautiful tunes. He had no idea how popular that book and its sequels would become. Each book is $25.  I will ship anywhere in the USPS for $7 extra.  To order any of the books using your credit or debit card, follow the link to my PayPal account (on the sidebar), or here.  Make sure you include your shipping address and a cell#.  The book(s) will be mailed usually within 48 business hours from receiving payment.

The Waltz Book

Many musicians have praised the wonderful tune selection ("finally -- a music book where I enjoy almost every single tune!"), the clear notation, a layout that makes it easy for several musicians to read off the same book, chord symbols for backup musicians, and the heavy-duty spiral binding. Beginning and closet musicians have found the tunes inspiring, slower and easier than jigs or reels, and very rewarding for the time and effort invested.

Waltz Book II
Waltz Book II followed in 1995, with 23 more tunes than the first book. A few of these are more challenging waltzes. As with the first book, the tunes are arranged alphabetically for quick access during gigs. Both include brief stories from the composers and/or information about the source of the tune. 
Waltz Book III

Waltz Book III was published in June 2002. Like its predecessors, it contains a mix of traditional and composed tunes. In addition to Scandinavian waltzes, it contains new and traditional tunes from bluegrass, French Canadian, Irish and Shetland tradtions. It also contains a number of Latin waltzes, plus French musette and Breton waltzes. 

Waltz Book IV
Waltz Book IV, published in 2013, was several years in the making. It contains 75 wonderful waltzes, with more newly composed tunes than previous books. Bill only intended to include 60-some tunes but had such a hard time narrowing down his long list of suggestions and large (!) box of submissions that he ended up with the longest book yet. This volume shares the same format as previous Waltz Books, with a similar mix of easy and more challenging tunes. 

REVIEW from Fiddler Magazine (Fall, 1996, Vol 3, #3) by Mary Larsen

The Waltz Book and The Waltz Book II are a couple of must-haves for the waltz lover. Book One (The Waltz Book) contains 52 waltzes, some traditional, and some from great fiddlers and composers such as Jay Ungar, Jerry Holland, Bob McQuillen, and Pete Sutherland. Many favorites are included: Midnight on the Water ... My Own Home ... Sheebeg & Sheemore ... Tombigbee Waltz ... Westphalia ... McQuillen's Amelia, and Ungar's Ashokan Farewell. Book One also includes a good article called Thoughts on Harmony by David Kaynor, and a very helpful section called Notes on Piano Accompaniment for Waltzes by Bill Matthiesen. Book II contains 74 waltzes, mostly less common than those in the first book, with a combination of modern and traditional tunes. This book contains several tunes that are more challenging, in their notes or their chords, but also contains plenty that will be accessible to even the beginning fiddler. 

Some of the composers represented in this volume include Kenny Baker, O'Carolan, Bob McQuillen, Jay Ungar, Johnny Cunningham, James Scott Skinner, Pete Sutherland, George Wilson, Molly Mason, and Varise Connor.
No matter what your favorite styles are, you'll find plenty in these books to keep you amused for a long time. Styles include old-time, Scottish, Irish, Cajun, Scandinavian, New England, French, and more. What they have in common is 3/4 time and the fact that they're worth playing and dancing to.

Another great thing about these books are the quotes from many of the tunesmiths on how the tunes were written, as well as their addresses, in case you want to tell them how much you enjoy a particular piece. In many cases, discography information is also included. Chords are given for all tunes in both books. If you enjoy waltzes, you'll be in waltz heaven with these books!

The History of The Waltz

The Waltz 
The Waltz is the oldest of the ballroom dances, dating from the middle of the Eighteenth Century. The German "Lander", a folk dance, is supposed to be the forerunner of the Waltz. During this time period a dance developed which was called the "Walzer", a word owing its origin to the Latin word Volvere, which indicates a rotating motion. Napoleon's invading solders spread the waltz from Germany to Paris; then the dance glided across the channel to England and finally made its way to the United States.

When the Waltz was first introduced into the ballrooms of the world in the early years of the Nineteenth Century, it was met with outraged indignation, for it was the first dance where the couple danced in a modified Closed Position - with the man's hand around the waist of the lady.

Beginning about 1830, the waltz was given a tremendous boost by two Austrian composers Lanner and Strauss. They set the standard for the Viennese Waltz, a very fast version played at about 55 - 60 measures per minute. The fast tempo did indeed present problems. Much of the enjoyment of the new dance was lost in the continual strain to keep up with the music.

It is not known exactly when the waltz was introduced to the United States. It was probably brought to New York and Philadelphia at about the same time, and by the middle of the Nineteenth Century was firmly established in United States society.

During the later part of the Nineteenth Century, Waltzes were being written to a slower tempo than the original Viennese rhythm. Around the close of the Nineteenth Century, two modifications of the waltz developed in the United States. The first was the "Boston", a slower waltz with long gliding steps; there were fewer and slower turns and more forward and backward movement than in the Viennese Waltz. This version eventually stimulated the development of the English or International Style which continues today. The American Style Waltz is similar to the International Style except the American Style has open dance positions and the dancers legs pass instead of close. The second modification was the "Hesitation Waltz", which involves taking one step to three beats of the measure. Although the "Hesitation Waltz" is no longer danced, some of it's step patterns are still in use today.

Today both the faster Viennese Waltz, made forever popular by the Strauss family, and the slower American and International style waltzes are extremely popular today with dancers of all ages.