Key signature: Gmajor
Submitted on July 20th 2001 by martin t.
This tune has been added to 79 tunebooks.
Also known as Frank Roche's Favourite, Frank Roche's Favourite Highland Fling, Frank Roche's Highland Fling, Lady Ann Hope, Lucy Ann Hope, Roche's Favourite, Strathsbey.
Recordings of a tune by this name:
X: 1
T: Frank Roche's
M: 4/4
L: 1/8
R: strathspey
K: Gmaj
G2GB AGE2|cBce dBd<g|1 B2Bd (3cBA (3BAG|(3EFG (3FGA (3GBG (3AFD:|
[2 B2Bd (3cBA (3BAG|(3EFG (3FGA G4||
|:dgBg dgBg|(3gab (3agf e2ef|(3gab (3agf (3gfe (3dcB|
[1 (3cde (3def (3gdc (3BAG:|2 (3cde (3def (3gdc (3BcA||
The source
The truth of this tune is that it is really classified as a fling.but i think that there really is no difference between a fling and a strathspey.the tune first appeared in print in the frank roach collection.
# Posted on July 20th 2001 by martin t
Further up, further in
I started playing this tune and it sounded really familiar to me. At first I couldn't put my finger on it but then I realised that this tune was used by the Waterboys in their song "Further Up, Further In" on the album "Room to Roam".
I seem to recall Mike Scott saying it was a Scottish melody. Anybody out there know what it's called in Scotland?
# Posted on July 20th 2001 by Jeremy
Lady ann hope
this iseems to be a version of a scottish strathspey called 'lady ann hope' found in the atholle collection, and no doubt others. there are far more runs of triplets in this version and a few different notes, but they are undoubtebly linked
# Posted on March 15th 2002 by laura nesbit
Roche Collection
The title "Frank Roche's" was attached when this tune was published in the Roche's Collection, which was edited by (you guessed it) Frank Roche. It is, as weescottishfiddler notes above, a setting of William Marshall's "Lady Ann Hope" but (sorry mairtin) strathspeys and flings really are different! In Ireland, flings imported from Scotland were played for two-hand social dancing and occasionally the figure of a set. The Scottish fling is a solo dance in competitions, I believe. The strathspey is still a solo dance in Cape Breton, as it once was in Scotland. To turn a strathspey into a fling, you generally have to simplify it a bit and play it with the right rhythmic pulse, which is approximately "get OFF me, get OFF me," etc.
# Posted on October 26th 2006 by blarneystar
This tune was actually composed by John Pringle, first appearing in 1800 in a collection of Pringle's own tunes.
# Posted on October 27th 2007 by niall_kenny
Why notated in common time?
I recently got into Irish tunes, and "studied" some of Molloy's tunes on "stony steps".
Before I looked up the sheetmusic on here, I notated the tune in 12/8. Because listening to this tune, I don't hear it in Common Time (metre 2/2) as Molloy plays all quavers uneven ( they would sound odd considering all the triplets in this tune).
Another thing which puzzles me: Molloy performs the triplets like triplets, not like it is often done: 2 semiquavers + 1 quaver.
Hence my 2 questions:
1. is there a difference in the execution of triplets between Irish and Scottish music
2. is it common practice to change 2 quavers into one crotchet and one quaver, in a tune with lots of triplets? (thus giving the tune a "swinging" character).
# Posted on October 19th 2008 by Bart De Mylle
A strathspey will never be transcribed in 12/8. I don't know exactly why: a Scottish dancer would know. But, anyway, why do you bother notating the tune or looking at the sheet music? Just trust your ears.
# Posted on October 19th 2008 by slainte
...triplets ...
Bart, if you listen carefully, you'll find that those triplets of Molloy's on this tune (same for other players too) are *not* even. To a classical listener, I guess they would sound 'rushed'. Yet, somehow, they never force the beat ahead of itself, as it were. But seriously, they're not even. They're really not like a classical player would play the three, evenly spaced in the time of two quavers.
Also, the long-short rhythm of this, and other flings and strathspeys is *not* the same rhythm as a crotchet and two quavers in 12/8 time. Listen to Molloy - they vary quite a bit, and quite often they will be more like a dotted quaver/semiquaver, to use classical terminology.
As slainte implies, you have to listen to get it.
# Posted on October 19th 2008 by ethical blend
I thought bout notating it in 12/8, because of the long-short rhythm of this, but I realize that they vary quite often.
Is ita common practice to play the quavers in that manner?
# Posted on October 20th 2008 by Bart De Mylle
It's common practice in this sort of tune to play the 'long-short' type of rhythm. But I wouldn't describe it as a crotchet followed by a quaver. Which, I think, is why they're not generally notated that way.
# Posted on October 20th 2008 by ethical blend
Okay, thanks for the replies. Once again it proofs that notation is but a relative thing.
# Posted on October 20th 2008 by Bart De Mylle
As played by Mairi Rankin:
X: 1
T: Lady Ann Hope
M: 4/4
L: 1/8
K: G
D<GG>B A>GE2|E<cc>e d>cB<g|B2B>G c>AB>G|[1E>A G/F/E/D/ G2 G>E:|[2E>A G/F/E/D/ G2 e>f|
|:g2d>g B<gd>e|g>ab<g e2e>f|(3gab (3agf (3efg (3dcB|[1(3cde (3def (3gdc (3BcA:|[2(3cde (3def g>dg<b||
# Posted on October 19th 2009 by DonaldK
a light refreshment this, but not quite like an Easter hail shower.
# Posted on April 3rd 2010 by birlibirdie