Details ABC Sheetmusic Comments

The Killeigh

hornpipe

Key signature: Gmajor

Submitted on December 3rd 2006 by ceolachan.

This tune has been added to 20 tunebooks.

Also known as The Belharbour, The Bellharbour, John Brady's.

Recordings of a tune by this name:

A Clare Conscience by Aidan McMahon And Anthony Quigney
A Friend Indeed by Liz Carroll
A Musical Trip To Coleman Country by Various Artists
A Whistle On The Wind by Joanie Madden
At It Again by John Carty
Both Sides by Nua
Bothar Gan Briseadh/Down The Line by Calua
Cliabhán An Dúchais by Brid O'Donohue
Crabs In The Skillet by Old Bay Ceili Band
Do You Know Eddy Kelly? by Elandir
Each Little Thing by Sharon Shannon
Flute Tunes by Peter Woodley
Gavin Whelan by Gavin Whelan
Gentle Breeze by Various Artists
Happy Hour by Donal Murphy
In Good Company by Kevin Crawford
In Your Ear by Seamus Egan
Kiss Me Kate by Liz Carroll And Tommy Maguire
Let Down The Blade by John Regan And Paddy Glackin
Live At The Ulster Folk And Transport Museum by Matt Molloy And John Carty With Arty McGlynn
Live At Trinity Hall by Trinity Hall Session Players
Next Stop by Caladh Nua
Pathway To The Well by Matt Molloy And John Carty With Arty McGlynn
Sceal Eile by Gerry Harrington And Eoghan O'Sullivan
Sets In The City by Tipsy House
Steam by John Williams
Stranger At The Gate by Paddy O'Brien
Strings Attached by Mick Moloney
The Beauties Of Autumn by The Longridge Ceili Band
The Crooked Stair by Cran
The Factory Turn by Damian O'Brien And Oliver Loughlin With Arty McGlynn And Kevin Brehony
The Fertile Rock by Chris Droney
The Fire Aflame by Keane, Molloy, O'Flynn
The Heather Breeze by Heathery Breeze Ceili Band
The View Across The Valley by The Brady Family
The Winding Clock by Enda Seery
Waifs And Strays (Traditional Irish Music From County Clare) by Michael Hynes And Dennis Liddy
Wooden Flute Obsession: Volume 2, Disc 2 by Various Artists

Details ABC Sheetmusic Comments

"John Bardy's" / "The Belharbour" / "The Bellharbour" ~ hornpipe

I've given this tune twice in the only key I ever knew it in, G Major... The reason for giving it twice is that each version represents different sessions, musicians and times. The first is a more recent take on it, but not that recent, and I suspect was under the influence of the Keane, Molloy, O'Flynn recording "The Fire Aflame", at least in parts. The second take is the oldest I have for it, the 70's, and is, with some variations worked, to how we played it in sessions and for dancers in the counties of Dublin and Wicklow back then, under the name "John Brady's"... I am not altogether sure who I learned it from originally...

Here are some more possibilities from different players for just one measure ~ bar 4, either part:

~ | A>A (3GFE D2 (3DEF | ~ or ~ | (3ABA (3GFE A2 E>F | ~

This is also given as a good example of a classic hornpipe, one that is in 'agreement' with itself. This subject was raised recently over a new composition submitted here ~ "Ricky's Hornpipe", by Jakob Robinson:
http://www.thesession.org/tunes/display/6448

That is also in part the reason for giving the two very close versions of the hornpipe...

I was surprised not to find this here, but I may not have used the right combination of notes to search with under 'Advanced'. If so, let me know and I will move the notes to the 'Comments' for any pre-exiting version...

# Posted on December 3rd 2006 by ceolachan

"John Brady's"

That reversal of letters is one of my classic dyslexic screw-ups, which I don't always see until after I've done it... It happens more frequently if I'm not getting enough sleep... The correction is given.

As said, this was the name I knew it by in the 70's and 80's, and was a tune we played in sessions in the 'East', and for dance and dancers...

# Posted on December 3rd 2006 by ceolachan

"John Brady's" ~ in a plain brown wrapper?

R: hornpipe
K: G Major
|: (3DEF |
G2 A>F G>AB>d | g2 e>g d>GB>d | e>GB>d B>AG>B | (3ABA (3GFE D2 (3DEF |
G2 A>F G>AB>d | g2 e>g d>GB>d | e>GB>d B>AG>E | G2 (3AGF G2 :|
|: B |
d>GB>d e>GB>d | g2 b>g d>GB>d | c>ec>A B>dB>G | (3ABA (3GFE D2 B |
d>GB>d e>GB>d | g2 b>g d>GB>d | E>GB>d B>AG>E | G2 (3AGF G2 :|

& the reason for this, basically ~ to emphasis that 'agreement' that helps to clearly outline 2, 4 and 8 measure phrases that guide a dancer through the elements of a dance.

1 measure = two steps or one hornpipe step
phrases within phrases ~ 2 / 4 / 8

The figures or movements in most dances are defined by this timing ~ an 'Advance' is usually 2 bars ~ an 'Advance and Retire' is usually 4 measures ~ a nice average swing is 8 measures in length... Often times, with the best designs in dance, a pronounced change in figure happens from bar 16 to 17, the change from the A-part to the B-part of a 32 bar tune like this. Quite a few couple dances are exactly 16 measures in length, and again, the change from A to B helps with this, gives lift and life to that change...

As a musician, seeing that happen before me is another kind of magic I appreciate and love... Maybe it is the dyslexia, eh? ~ seeing a visual representation of the music... But I like both sides of that physics equation...

Back to this tune ~ 'AGREEMENT'!!!

A-part & B-part: measures 1 & 2 with 5 & 6 ~
~ measures 2, 4, 6, 7 & 8 are the same for both... (e & E aside ;-) )