Cucanandy

slip jig

Key signature: Gmajor

Submitted on January 25th 2003 by gian marco.

This tune has been added to 64 tunebooks.

Also known as As Pat Came Over The Hill, Barefoot, Cacanandy, Dance To Your Daddy, My Mind Will Ne'er Be Easy, My Mind Will Never Be Easy, Pat Came Over The Hill Barefoot, Time Of Day, The Time Of Day, The Whistling Thief.

Recordings of a tune by this name:

An Aill Bain The White Rock by Sean Ac Donnca
Ancient Rite by Eoin Duignan
Aris by Le Cheile
Barefoot On The Altar by Chulrua
Between The Dark And Light by Nancy Kerr And James Fagan
Born On St Patrick's Day by Kathleen O'Sullivan
Crossing by Any Old Time
Dulaman by Clannad
Happy To Meet Sorry To Part by Horslips
He Didn't Dance by Cucanandy
High Up - Low Down by Gerry O'Connor
In The Morning Early by Tulca Mor
Live At Johnny Fox's by Dervish
Morning Rory by Michael McGoldrick
Mountain Air by Brendyn Montgomery And Mike Considine
Northumberland Forever by High Level Ranters
Playing With Fire by Dervish
Sweeney's Men by Sweeney's Men
The Crooked Stair by Cran
The Leitrim Thrush by Neil Mulligan
The Mirthical Reel by Steve Mulhern And Ian Laws
The Trip Over The Mountain by Michael Queally And Cyril O'Donoghue
The Wynd You Know by Ronan Browne
Whistle Stop by Brian Hughes

Details ABC Sheetmusic Comments

Cucanandy

Source : Brian Hughes
Transcription : Gian Marco Pietrasanta ( craniota )

Play it slow.

# Posted on January 25th 2003 by gian marco

Perhaps the key should be E minor?

# Posted on January 25th 2003 by lazyhound

I don't think so.
The melody goes to Emin, but starts in G. ( for my ears )

# Posted on January 26th 2003 by gian marco

I think this is one of those tonally ambivalent tunes that people can argue about for ever! There are plenty of them in ITM.
I base my argument for Emin mainly on the fact that every fourth bar, which includes the last bars in the A and B parts, ends in Emin, so it can be said that the tonal trend is clearly towards Emin.
Regarding the 1st, 3rd and 5th bars which give an impression of Gmaj, I think the way in which they start with a strong B3 foreshadows the change to Emin later on in the tune; B, being the 5th of the key of Emin, is the second strongest tonal point in that key, but is not the second strongest tonal point in G. If the tune had G3 instead of B3 in bars 1, 3 and 5 there would have been a stronger impression of Gmaj and I think the transition to Emin would have sounded more abrupt.
Perhaps the easy way to settle this sort of thing would be to define the key of the tune solely by the number of sharps or flats, leaving the player and listener to decide whether it is major, minor or modal. But then we wouldn't be having these interesting discussions - or would we?

# Posted on January 26th 2003 by lazyhound

This tune is also known as My Mind Will Never Be Easy and was posted as such at http://www.thesession.org/tunes/display.php/191

Slainte included his setting in Gmaj/Em in the comments section there.

# Posted on January 26th 2003 by Miss Lonelyhearts

Um...who posted "The Kerry Polka" as an alternate title? That's highly unlikely, since this is a slip jig..... Let's not muck up the database, eh? Of course, perhaps everything here should be fed into the post for My Mind Will Never Be Easy (except that I feel guilty even suggesting that, since I was the one who posted the tune under that name... *sheepish grin*).

# Posted on January 26th 2003 by Miss Lonelyhearts

This reminds me of Dervish's version of that Emin slip jig "The Emigrant's" was it? Surely they must be related...

# Posted on January 26th 2003 by Dow

Trevor - this is one of those tunes which shows up Western musical theory for what it is.

# Posted on January 27th 2003 by OrganicPeatCreature

David - yes, I agree. Western musical theory finds it difficult to cope effectively with musical concepts outside its remit. I put forward an argument for Emin; I have no doubt someone else could put forward one for Gmaj, or even Bphryg for that matter, but all that's really being argued is how the tune should be classified for a database.

# Posted on January 27th 2003 by lazyhound

Cucanandy

the eponymous band does a neat mouth music version of this. I haven't had the time to figure out the guitar part, but I'll let you know...

# Posted on December 8th 2003 by JHowley

Jig Type

I am maybe splitting hairs here but this seems to be a good example of a HOP JIG. The difference between a hop and slip has been discussed a few times on this and other sites.

# Posted on September 28th 2004 by Donough

Cucanandy

A well-known guitarist, banjoist and teacher in the NYC Irish scene teaches this tune in 3/4 as a hop jig -- which is DIFFERENT than any other kind of jig and is not done anymore -- he knows about 11 more tunes called hop jigs - they are NOT slip jigs although the bounce of SOME slip jigs can be the same as the hop jig. Somewhere along the line it looks like people haved melded the hop jig into the slip jig simply because they had no info on the hop jig

# Posted on August 12th 2005 by fionuala

This tune has been used for the 3/2 song Dance To Your Daddy. Here is a version from Nancy Kerr and James Fagan, learnt from Peggy Seeger and collected by Cecil Sharp in Berkshire:

X: 1
T: Dance To Your Daddy
M: 3/2
L: 1/8
R: three-two
K: Amin
E4 E2D2 C2E2|G4 G2F2 E2c2|E4 E2D2 C2B,2|A2,A2 A2G2 A4:|
A2B2 c2A2 B2G2|E2G2 G2^F2 G4|A2B2 c2A2 B2G2|E2AA- A2G2 A4|
A2B2 c2A2 B2G2|E2G2 G2^F2 G4|E4 E2D2 C2B,2|A2,A2 A2G2 A4||

Transposed into the standard key, that becomes:

X: 1
T: Dance To Your Daddy
M: 3/2
L: 1/8
R: three-two
K: Emin
B4 B2A2 G2B2|d4 d2c2 B2g2|B4 B2A2 G2F2|E2e2 e2d2 e4:|
e2f2 g2e2 f2d2|B2d2 d2^c2 d4|e2f2 g2e2 f2d2|B2ee- e2d2 e4|
e2f2 g2e2 f2d2|B2d2 d2^c2 d4|B4 B2A2 G2F2|E2e2 e2d2 e4||

# Posted on May 15th 2007 by Dow

"The Time Of Day" ~ in another key

Key signature: b minor
Submitted on October 9th 2007 by ceolachan.
http://www.thesession.org/tunes/display/7841

# Posted on November 29th 2007 by ceolachan