Details ABC Sheetmusic Comments

Speed The Plow

reel

Key signature: Amajor

Submitted on December 8th 2002 by Trevor Jennings.

This tune has been added to 129 tunebooks.

Also known as The Naval Pillar, Quigley's, Reel Matane, Speed The Plough, Tire La Langue, Tom Billys.

Recordings of a tune by this name:

40th Anniversary 1946 - 1986 by The Tulla Ceili Band
A Few Tunes by John Skelton
Across The Fence by The Bass Family
Along Blackwater's Banks by Sliabh Notes
An Gaoth Aduaidh - The North Wind by Various Artists
Appalachia Waltz by Yo-Yo Ma, Edgar Meyer, Mark O'Connor
éirí Go Lá by Seamus Begley And Jim Murray
Before Dawn by Harmony Glen
Broken Hearted I'll Wander by Dolores Keane, John Faulkner And Eamonn Curran
Celtic Collections, Vol. 5 - Fiddles Of Scotland by Various Artists
Celtic Reels And Jigs - The Blackberry Blossom by Various Artists
Claddagh's Choice: An Anthology Of Irish Traditional Music by Various Artists
Classics Of Irish Piping Volume 2 by William Andrews And Liam Walsh
Cut Up The Floor by Jigsaw
Dancing Days by Chris Leslie
Drivin' Leitrim Timber by Dave Sheridan
Echoes by Winnie Chafe
Fiddle Volume II by Cape Breton Symphony
Forty Years Of Irish Piping by Seamus Ennis
Good Boy M.A. by Michael Anthony MacLean
Hardcore English: 50 Tunes From Manuscript, Recorded And Aural Sources by Various Artists
In Session by Eoin O'Neill
Joanna by The Bismarks
Kathleen Keane by Kathleen Keane
Kickin' Up The Sawdust by Various Artists
King Of The Melodeon Men by Jimmy Shand
Live Recordings From The William Kennedy Piping Festival by Various Artists
Matt Molloy, Paul Brady, Tommy Peoples by Matt Molloy, Paul Brady, Tommy Peoples
Mountain Air by Brendyn Montgomery And Mike Considine
Musiques Traditionnelles D'Irlande by The Crickard Brothers
Noonday Feast by Joe Shannon And Johnny McGreevy
Northumberland Rant by Various Artists
One's Own Place by Kevin Henry
Piper's Maggot by Chris Miller And Ken Campbell
PJ Wallace And Friends by PJ Wallace
Portrait Of A Scottish Jew's Harp Player by Lindsay Porteous
Sneeze by Heyfeva
Stepping Up: English Country Dance Music by Various Artists
Tampa Session Sets, Vol. 1 by Clan Tampa
Temple House 1 by Temple House Ceili Band
The Barley Grain by Larry Kinsella
The Bluebell Polka by Jimmy Shand
The Frost Is All Over by Paul McGrattan
The Great Bear Trio by The Great Bear Trio
The Limerick Lassies by Mickey Dunne
The Mason's Apron by Sully
The Mystery Inch by Damien O'Kane And Dave Kosky
The New Broom by Willie Kelly And Mike Rafferty With Donal Clancy
The Ships Are Sailing by Comhaltas Concert Tour Group 1978
The Strathspey King by James Scott Skinner
The Uilleann Pipes Of Ireland by Jean-Yves Le Pape
Traditional Irish Dance Music by Various Artists
Traditional Music Of Ireland by Michael Dwyer
Traditional Music Of Ireland by Joe And Antoinette McKenna
Travel 'n Style by Martin Nolan
Tree by Gaelic Storm
Wallop The Spot by Four Men And A Dog

Details ABC Sheetmusic Comments

X: 1
T: Speed The Plow
M: 4/4
L: 1/8
R: reel
K: Amaj
ABcd efec|efec efec|dfdB cAcA|BAGF EFGB|
ABcd efec|efec efec|dfdB cAcA|1 BAGB A2A2:|2 BAGB A2(3efg|
|:a2a2 aece|aAgA fAeA|dfdB cAcA|BAGF EFGB|
Aa2g aece|aAgA fAeA|dfdB cAcA|BAGB A2A2:||

Details ABC Sheetmusic Comments

Details ABC Sheetmusic Comments

From the New England Fiddler's Repertoire. A different tune to "Speed the Plough", and also known as Quigley's.

# Posted on December 8th 2002 by Trevor Jennings

Speed The Plough

# Posted on June 14th 2003 by Dr. Dow

Grrr

I forgot about the left arrow not working in the comments section. Those last 3 bars are:
|faaf ecAc|dece BeAe|GABG A2:|

# Posted on June 14th 2003 by Dr. Dow

Apparently a truly British Tune, the tune was written in London (for the stage apparently) by a Scot who'd lived in Ireland for many years.

# Posted on January 12th 2006 by Compo

Another version from Brendan Breatnach

X: 1
T: Speed the Plough
M: 4/4
R: reel
K: G
D | ~G3B dedB | degd egdB | cecA (3Bcd BG | FAAF GFEF |
~G3B dedB | degd egdB | cecA B2BG |1 FAAF G3 :|2 FAAF G2||
|: Bd|~g3f gdBd | (3fga bg egdB | cecA (3Bcd BG | FAAF gfef |
~g3f gdBd | (3fga bg egdB |cecA (3Bcd BG |FAAF G2 :||

# Posted on March 3rd 2006 by Pierre Commes

"New England Fiddler's Repertoire"

by Randy Miller and Jack Perron, first published in 1983.

http://www.randymillerprints.com/fiddletunebooks.htm

Page 94: "Speed the Plow"

# Posted on March 9th 2006 by ceolachan

The version I know is from one of Kerr's Collections of Scottish dance tunes (not sure which one, I haven't got it to hand) and goes as follows:
T: Speed the Plough
M: 4/4
R: reel
K: A
E2 | A2Ac efec | eaec efec | dfdB cecA | dcBA GABC |
A2Ac efec | eaec efec | dfdB cecA |cBAG A2 :||: e2 | aAaA aAce | aAgA fAeA| dfdB cecA | dcBA GABd | (3cBA eA fAeA | fgaf ecAc | decd BcAB | FAGB A2 :||

# Posted on June 13th 2007 by martin clarke

Known in Québec as "Reel Matane"

Matane is a small town alongside the St.Lawrence river.

Recorded in 1931 by Joseph Guilmette:
http://www.collectionscanada.ca/obj/m2/f7/13077.mp3

# Posted on March 11th 2008 by québécois

The Québec group "La Bottine Souriante" plays this version:

# Posted on March 14th 2008 by québécois

Plough

# Posted on August 22nd 2008 by Njal

This tune is in the Fermanagh Gunn MS (1865) as a hornpipe - also appears in a few other collections as a hornpipe. I suspect the impatience of musicians over the years has led to many tunes originally hornpipes now being played fairly universally as reels!

# Posted on January 21st 2010 by The Archivist

Rescued from possible deletion:

Speed The Plough
reel
Key signature: Eminor
Submitted on September 30th 2011 by Ian Gillingham.

X: 1
T: Speed The Plough
M: 4/4
L: 1/8
R: reel
K: Emin
"Em"EFGA BcBG | BcBG BcBG | "Am"A2 cA "Em"G2 BG |
A2 F2 F4 | "Em"EFGA BcBG | BcBG BcBG | "Am"A2 cA "Em"G2 BG |
F2 D2 "Em"E4 :: "Em"e2 e2 eBGB | e2 dc B2 G2 | "Am"A2 cA "Em"G2 BG | A2 F2 F4 |
"Em"e2 e2 eBGB | e2 dc B2 G2 | "Am"A2 cA "Em"G2 BG | "B7"F2 D2 "Em"E4 |]

Old piece - new key

Having looked for Speed The Plough in Em, I could only find the G major version, so have submitted this. It's often played in our sessions, first the minor version, followed by the major.

# Posted on September 30th 2011 by Ian Gillingham

It would have been better to post this in the comments section, of the Gmaj version, it's more useful that way to find different versions of the same tune.

# Posted on September 30th 2011 by SmashTheWindows

# Posted on October 2nd 2011 by Weejie

John Moorhead:

As for the provenance of this tune, it does seem that it was composed by John Moorhead or Moorehead. O'Neill suggests that Moorhead was born in Edinburgh, but there seems to be no other source to suggest that. Other sources say that he was born in Ireland around 1760. Indeed, in a letter to Thomas Dibdin, sent from Tothill-Fields prison, he refers to an Irish inmate as "a countryman of mine" - so he thought himself an Irishman.

The story of Moorhead is quite interesting and deserves some extensive detail here. It appears that he was working in Manchester before the dramatist and songwriter Thomas John Dibdin employed him at Sadler's Wells around 1796. The tune 'Speed the Plough' was originally called 'The Naval Pillar' and was part of a musical by Dibdin to coincide with plans to erect a monument - under the patronage of The Duke of Clarence - to celebrate naval victories of that period. The musical was first staged on 7th October 1799. Dibdin says in his reminiscences:

[...as the "Naval Pillar" was extremely well received, I went home in very good spirits. The new music in the "Naval Pillar" was composed by John Moorhead ; and one dance was so popular, that it was after- wards introduced in "Speed the Plough" changing its name from the " Naval Pillar " to that of the comedy ; and remains an established favourite.]
The comedy "Speed the Plough" was by Thomas Morton.
Moorhead suffered from mental health problems, which seemed to run in the family. A fairly detailed account of his behaviour is given in Dibdin's reminiscences Dibdin last worked with Moorhead on the musical "The Cabinet" which was staged in March 1802:

[...It had been arranged, in the first instance, that John Moorhead should compose the music, and he had received an advance of fifty pounds on account of it ; but an unfortunate nervous attack, approaching rapidly to imbecility of mind, and ending in insanity, made it necessary to give him partners in his work : the opening chorus, a song, and quartette, were all he was able to contribute ; but Mr. Harris, feeling for the melancholy situation of Moorhead, liberally allowed him to keep the fifty pounds which had been advanced, and which amounted to half the price of composing the whole opera....
...As this was the last season in which I had any material professional intercourse with Moorhead, I will just mention that his mental malady continued, with a few intervals, to increase, till he was some time confined in Northampton-house : a relapse soon after, on quitting that asylum, led him into an extraordinary succession of eccentricities at Richmond, where he posted critical placards on the merits of contemporary composers, in the public reading-rooms, broke all the glasses and furniture in his lodgings, stopped the Duke of Queensberry's horses on Richmond Hill, and turned the carriage round, in spite of the well- applied lash of an athletic coachman ; and one day, having snatched a Secretary to the Russian Embassy up in his arms, on the public walk at Richmond, and very nearly succeeded in an at- tempt to throw him in the Thames, poor Moorhead was committed, in a strait waistcoat, to Tothill- Fields Prison. Among minor wanderings, he had just before this laboured under the delusion that I had gone to Bath without paying him the respect of taking leave, and dispatched an unsealed letter after me, containing a challenge. I happened to meet him in Richmond, as he returned from putting it in the post, when he was quite as displeased at the idea that I had not gone to Bath. On this occasion, he walked into my lodging with me, and sat down by the fire : it was evening, and we were tête-à-tête. As his language was extravagant, and a little too high for any hope of soothing him, (for any attempt of that kind added fuel to the flame,) I began to contemplate what means I should pursue to get rid of such a visitor, no one but a female servant happening to be within ; and at length was obliged to make up my. mind. He was a powerful man, about six feet high ; and in his delirium boasted much of how easily he could crush any man who opposed him. I said I thought him too sanguine, and, for my own part, I had made up my mind how to place myself on an equality with a Hercules, should he condescend to take advantage of his merely superior physical powers. He sarcastically inquired, how ? on which, I drew a red-hot poker from the fire; and being at a very well-measured fencing distance, I told him no power on earth should prevent my burying that glowing weapon in the bosom of any gen- tleman who did not respect the rights of hospi- tality : the parlour door opened immediately to the street, without any intervening passage ; and Moorhead stalked stately up Richmond Hill in a twinkling,
Nor cast one longing, lingering look behind.
He had, very shortly before this, nearly killed Mr. Goodwin, the music copyist of Covent- Garden Theatre, on some imaginary cause of offence, by striking him on the temple with a large rummer glass: I had therefore some cause for apprehension ; more particularly as Moorhead's frantic ebullitions were generally directed against those who, in moments of sanity, he most valued and esteemed. I had, as before related, brought him to London, procured his brother and himself engagements at Sadler's Wells, prevailed on Mr. Harris to place him as a tenor in the orchestra of Covent-Garden, and in every musical production where I was concerned, I had given him opportunities of credit and emolument, besides obtaining for him the composition (with Davy) of "Perouse," and other profitable employments : but he was a destined man ; his faults were entirely involuntary, and proceeded from constant fever in his head. The annexed letter, which I afterwards received from him when in Tothill-Fields Prison, will show his mind, though disordered, was rather of superior cast ; his attainments as a scholar rather above the generality of his professional brethren ; and even in his hours of derangement, one might truly say —

Though this be madness, yet there's method in 't.
Tothill-Fields Prison, Jan. 5th, 1803.
Exordium

" Dear Sir, I have a great deal to say to you in extenuation of, and apology for, my repeated misconduct towards you : I assure you, sir, I have a full sense of my errors, and hope I may, after this acknowledgment, be allowed to proceed to business. Argumentium ad hominem.- — 'Your biography in the Monthly Mirror has given me particular satisfaction, as it reminds me of former times. Now, sir, the recollection of former times naturally brings ' Alonzo and Imogine' along with it : on that ground, I request you may put ' Rudiger ' (a piece I had once given him to compose, and afterwards withdrawn : it was afterwards acted at the Surrey Theatre as the ' Silver Swan') into my hands for Sadler's Wells, or any piece of the like kind. I make this request with some degree of confidence, relying on the same candour and justice which have marked your conduct towards me hitherto. My price for the Wells is ten guineas : I ask no more, and wish to go to work sur rinstant, as I want to employ my mind fully, and to get some money. To use one of your puns, Mr. Allingham has made a good hand of your head (alluding to a portrait of me painted by Mr. C. Allingham) ; better than Bob's (another portrait by Dighton). Peroratio. — I shall rely on your speedy answer, as there is nothing (I sincerely assure you) on this earth will give me greater satisfaction than a reconciliation with you and your friends. Best respects to Mrs. Dibdin, her sister, and your niece : I have a crow to pluck with : it was not friendly of him to abuse my duett in his flimsy monthly publication : when you see him, say I said so, and that I shall remember his notice of me ; or you may deliver the message (sæva indignatio fecit) to his lady. I have an apology to make to Mr. Reeve, and wish him to understand I do not mean to interfere with him at the Wells. Best regards to your brother Charles and wife. Your obliged humble servant, J. MOORHEAD.
P. S. An Irishman ax'd "whether the weather-glass had fallen up or down" and another countryman of mine (poor Pat !), going on the secret expedition, being dunned by a comrade for a debt often shillings, — tore a one-pound note in two, and the creditor accepted one of the halves as payment of his demand. A friend of mine lately translated ' Tam Marti quam Mercurio ' into ' more military than civil.' "

When Moorhead was liberated from Tothill- Fields, he entered, as a common sailor, on board Admiral Lord Keith's ship, the Monarch : the captain soon discovered the volunteer was equal to something better, and Lord Keith made him master of his band. One afternoon, while the ship lay in the Downs, the captain observing Moorhead more than usually depressed, gave him leave to go on shore for a day or two by way of relaxation : he called on a musical friend in Deal, who was giving a lesson, and Moorhead observed he would take a walk, and return to tea. He was never more seen alive, being found some days afterwards strangled with his handkerchief, which he had tied to the lower bar of a field gate : his brother Alexander, whom I have mentioned, and with whom we were always on the best terms, died shortly after in the Lunatic Asylum at Liverpool ; as did, I believe, a third brother in a similar situation. Moorhead had usually resided very near the cider-cellar in Maiden-lane, to which place he one evening entreated me to accompany him, that he might introduce me to his friend the celebrated Greek Professor Porson, who, as well as Moorhead, was so completely intoxicated, that the Professor took me for Moorhead, and Moorhead mistook the Professor for me.]

The Reminiscences of Thomas Dibdin, 1827.

Note that the death of John Moorhead's brother was announced in the press on 10th September 1803 - before John killed himself, which was around March 1804.
For those who are still following this, the story doesn't end there. In January 1804, the following announcement was placed in the press (this is from the York Herald, January 28th):

[ Mr Moorhead, the well known composer, some time since entered on board a ship as instructor of the band of music. In an unguarded moment he lifted his hand against one of the officers. For this misconduct he was flogged to severity, that his life is considered in danger.]
Very shortly after, another announcement appeared in the papers (this from the London Gazette, February 1804):
[The following is an extract of a letter sent by Captain Searle, of his Majesty's ship Monarch, in the Downs, addressed to Mr. John Johnstone, of Drury Lane Theatre:-
"Monarch, in the Downs, Jan.27.
Sir,- A paragraph reflecting on the conduct of Mr. Moorehead, and stating that his life is despaired of in consequence of a severe flogging he has received, &c, &c. having appeared in several daily papers of the 24th instant, I feel extremely anxious to have it contradicted.
It is surprising how so infamous a falsehood could have been fabricated, and if I did not deem it beneath my notice, I should think it a much more severe reflection upon me than him.
It may, perhaps, afford consolation to his friends, to know, that his conduct here, has procured him the respect and esteem of all the Officers, and, as far as is consistent with the rules and regulations of a King's ship, that it has been on all occasions their study to alleviate his present situation.
I am, Dear Sir,
Your most obediant servant,
J.C. Searle" ]
Within just a few weeks of this, Moorhead was found dead.
I'm wondering if the flogging did happen or was it the publicity - or what appears to be a bipolar disorder that led to his death?
The Grove Dictionary mentions that Moorhead composed the music for "The Muffin Man". This is not to be confused with the well known rhyme (which does involve Drury Lane, interestingly) which seems to come from a later date. The "Muffin Man" in this case is a song by Thomas Dibdin - the chorus goes:

Lily-white muffins,
O, rare crumpets smoking,
Hot Yorkshire cakes,
Hot loaves and charming cakes,
One a-penny, two a-penny, Yorkshire cakes.

# Posted on October 2nd 2011 by Weejie

Formatting..

Apologies for the long-winded post being poorly formatted. It didn't transfer all that well from the document I wrote it in originally.

# Posted on October 2nd 2011 by Weejie

Further to this story of John Moorhead, or Moorehead, it seems that the blind piper and pipemaker William Kennedy was taught piping at one time by John Moorehead's father in Armagh.

# Posted on October 2nd 2011 by Weejie