Key signature: Gmajor
Submitted on by Dow.
This tune has been added to 9 tunebooks.
Also known as The Lass And The Money Is All My Own, Port Patrick.
Recordings of a tune by this name:
X: 1
T: Portpatrick
M: 6/8
L: 1/8
R: jig
K: Gmaj
|:e|dBG GAB|(3cdc B A2e|dBG GAB|A2B (3cdc e|
dBG GAB|(3cdc B A2D|BdB AcA|BGF G2:|
|:d|ece dBd|ece ~d3|efg dBG|A2B (3cdc e|
def {a}gfe|dcB A2D|BdB AcA|BGF G2:|
Good old-fashioned name eh?! I reckoned it should have been "The Lass And The Money Are..." but there you go. This is a traditional Northumbrian jig, although I think its style is virtually the same as Irish. I like this tune a lot so I thought I'd let you know of its existence.
# Posted on December 12th 2002 by Dow
The Lass and the money is all my own
On paper, this jig does look as though it could be Irish and I have beenn thinking about what makes its Northumbrian. Of course, its the way itis played. Northumbrian playing (on all instruments)is heavily influenced by the staccatto closed-fingered sound of the Northumbrian Smallpipes. Northumbrian playing is very articulated whien compared with other British & Irish traditions and there is space between all the notes.This makes the grace notes very important and they often bring a rater simple tune to life.
Noel Jackson
Angels of the North
# Posted on December 15th 2002 by noelbats
I agree. Also Northumbrian and Scottish jigs are sometimes played a bit like 6/8 pipes marches with lots of dotted rhythms, although I prefer to play this one w/o.
# Posted on December 15th 2002 by Dow
The Lass And The Money Is All My Own
I've always suspected that this might be originally Scottish, and it looks as though that might be the case. Apparently it appears in highland pipes anthologies, and in one of the earliest Scottish collections it is entitled "Portpatrick". It also appears in Aird's Airs and Melodies Vol.1 under the title "Port Patrick"; you can find this G major setting at JC's tunefinder.
If it did originate in Scotland, it came to the northeast of England and entered the Northumbrian tradition fairly early on, and it appears in Vickers (1770) in the key of A. The abc for that setting is below:
K:A
|:f|ecA ABc|d2c B2A|ecA ABc|B2c d2f|
ecA ABc|dcB B2A|cec BdB|A2A A2:|
|:e|fdf ece|fdf ece|fga ecA|B2c d2f|
efg agf|edc B2A|cec BdB|A2A A2:|
This is presumably the setting that was transposed into G and used for the minstrelsy a century later.
I quite like the setting that appears in Abraham Mackintosh's tunebook from the early 19th century:
K:A
|:f|ecA ABc|d2c B2A|ecA ecA|B2c d2f|
ecA ABc|d2c B2A|c/d/ec dBe|cAA A2:|
|:e|fdf ece|fdf ece|fga edc|B2c d2f|
efg agf|edc B2A|c/d/ec dBe|cAA A2:|
Apparently this tune is or was known under a number of titles, and I'd be interested if anyone here knows it by another name.
# Posted on August 16th 2004 by Dow
Hmmm, when I entered "Port Patrick" in the alternative names section, a recording suddenly appeared. How satisfying. So it seems that this tune isn't as obscure as I thought...
# Posted on August 16th 2004 by Dow
Portpatrick
I was surprised to find this in O'Neill's in the key of G under it's original title.
# Posted on May 19th 2005 by Dow