Shoppers who started at irishtune.info links directed $166 to irishtune.info.
24 albums and 3 tunebooks purchased.
Current available balance for expanding coverage, after subtracting operating costs: +$21.
How can I show my support for this site?
irishtune.info is an educational project that has bills to pay but has neither funding nor institutional support. Please help!
Go Shopping
Just start your purchase of any CDs or tunebooks by using any of the "Available" links throughout this site. Or simply start any sort of shopping trip right here, and these companies will donate around 5% of the price to irishtune.info, all at no extra cost to you:
By helping you find out where you can get recordings of traditional Irish music, I hope to also be rendering a service not only to the musicians who made the recordings but also to the tradition at large, which can only benefit when more people find out about great music.
Follow the News
Please
Annual Newsletter
Consider subscribing to the free Newsletter. You will receive at most 1 or 2 e-mails per year with updates about irishtune.info.
Give Directly
Physical items:
CDs or tune books of Irish traditional music which are not currently listed as already indexed in the Discography or Bibliography. Used CDs are fine as long as all of the original printed matter is included.
Any of the CDs or tunebooks on my Bandcamp wishlist or Amazon wishlist to the index, so that I can add them to the index. For a short list of other items which I would particularly value for irishtune.info, please see below.
Bands, agents, and labels are welcome to submit promo copies of Irish traditional music recordings. I will place prominent links directly to your CD retail page .
Cash:
One-time amount:
Or you can set up an , also via Paypal.
Fan ($6/year)
Supporter ($24/year)
Patron ($60/year)
You can send items or checks to:
irishtune.info c/o Alan Ng
509 S Prospect Ave .
Madison WI 53711
USA
Please also indicate whether (and in what manner) I may list you among the contributors to irishtune.info (see below). Please make checks payable to "Alan Ng."
Your shopping trips and donations have in recent years covered all of the operating expenses, and have acquired many CDs to fill coverage gaps, and those are legally the property of irishtune.info (which may someday get non-profit tax status). I have filed US tax forms for irishtune.info since tax year 2003 in order to show that I do not personally profit or get paid from income to irishtune.info. If you would like a copy before you make a donation, just let me know. You will see that I operate irishtune.info at a very slight profit (on the order of $10 per year) both to obey US tax law and to not personally benefit tax-wise from any financial loss by irishtune.info.
More ways you can support irishtune.info are listed further below on this page.
irishtune.info is a participant in:
The Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com.
The Amazon EU Associates Programme, an affiliate advertising programme designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.co.uk.
Who has supported this site?
I would like to gratefully acknowledge the following individuals for making donations directly to irishtune.info. Any unexplained codes are albums detailed in the Discography.
2022
Anonymous in Ireland: cash donation
Paul Baxter of Millbrae, California, USA: cash donation
Patrick Brown of Maryland, USA: cash donation
Angela Campbell: cash donation
Simon Chadwick of Armagh, Northern Ireland: cash donation
Making clever, clear YouTube videos demonstrating cool features of my.irishtune.info.
Writing reviews, blog posts, tweeting about irishtune.info qualities and features.
Talking up irishtune.info (and proposing partnership ideas) to relevant organisations such as ITMA, CCE, TunePal, Journal of Irish Music, etc.
Proposing research projects to musicology researchers who would make noble use of irishtune.info data.
Technical expertise, either in the form of funding to hire, or direct contribution of labor, to collaborate with me to apply machine-learning techniques to the problem of audio classification and tune identification.
New or used CD issues of the following now-rare albums:
Music from Sliabh Luachra, RTE CD183, 1995
Paul O'Shaughnessy, Harry Bradley, Born for Sport
DeDannan, Anthem
Paddy O'Brien Tune Collection (CD, not cassette)
A copy of these books:
The Waltz Book III by Bill Matthiesen
Get some company to issue a commercial remastering on CD of Bobby Casey's Casey in the Cowhouse.
Do the organizational and legal work necessary to get irishtune.info registered as (or included under) an IRS-recognized non-profit educational organization.
Help me write a grant application so that I can spend more time working on the Tunography.
If you want to check out my employment situation (or lack thereof), see my LinkedIn profile.
Why do you need to have and keep an original physical CD package?
It's necessary for me to have permanent access to the original physical objects because for every new item I later work on (such as a tune on a CD, or a tune in a tunebook), I compare it against all other items that are already in the database. That's not possible to do - and to absolutely verify - if I no longer have all the objects at hand. This is an established practice in quality bibliographical work generally, called the "autopsy" method.
Another reason is that occasions arise later when I wonder if I made a data-entry error or a tune-identification error, so I need to pull out the original item again to make sure. Also sometimes sharp-eyed visitors such as yourself challenge my work and I need to have the original object at hand so I can reply with confidence, either confirming my work or confirming that the challenger is in fact right on. For a list of the cases when the challenger has been correct, see the next question!
So, in short, I really could not continue doing quality, "mercilessly accurate" work like this if I no longer had all of my original sources at hand.
Who has helped find errors in my data?
Out of the hundreds of thousands of readers of irishtune.info over the years, and out of the hundreds who have written me for various reasons, there have been a handful of alert and careful musicians who have found the following real errors or omissions in my work. I was able to independently confirm their discoveries and then corrected my data accordingly. Here I would like to gratefully acknowledge their assistance:
Edward Lynch of Maine, USA, 8 January 2023: By noticing that #1672 was missing its source in the book MM, he actually alerted me to the fact that my copy of the book MM was missing page 64 entirely. Ed then provided me with a photo of the missing p. 64 so I could then incorporate all 4 of the reels on that page into the index.
Mike T. in Utah, USA, 28 December 2022: Noted the similarity of the "Castle Donovan" sources in the O'Neill books to the jig #404, so I added them as tentative sources.
Daniel Parker of Croton-on-Hudson, New York, USA:
25 October 2022: Proposed that #3637 and #3973 are the same tune. Although I disagreed, he gets credit for noticing the striking similarity.
18 October 2022: Noticed the partial resemblance between #1110 and #6973.
13 September 2022: Suggested that #1791 and #7959 are the same tune. While I disagreed, he was the first to notice the noteworthy similarity and that led me to shift a few of the #1791 sources to the better-fitting #7959.
8 September 2022: Prodded me to finally cleanly sort out the subtle difference between #1195 and #4610, and identified for me exactly which sources from #1195 better fit with #4610.
26 March 2022: Identified Paddy Killoran's Gan Ainm tune on track 31 of TaisLFid as an unusual setting of #1092, after I had placed it tentatively elsewhere as vaguely similar to something else.
3 March 2022: Found the KlmFcy source of #799 off on its own as a separate tune.
3 March 2022: Discovered I had misplaced the JKn 2 source of #2719 over in the similar tune #962.
3 March 2022: Discovered the FSOD source of #962 off on its own as a separate tune.
27 February 2022: Suggested, correctly, that Doherty tuned his fiddle sharp, not flat, during his performance of #4429, which meant I revised its description as in Bb Major instead of B Major.
25 February 2022: Convinced me that the two Kevin Burke (transmitting Paddy Killoran) sources I had placed under #1252 were distinct enough to merit identification as a separate tune #8156.
13 February 2022: Discovered that the MaRaf and book FaheyMH sources of #1506 were off on their own as a separate tune.
12 January 2022: Discovered that the MaRaf and book MM sources of #1507 were off on their own as a separate tune.
12 January 2022: Found the NaMny source of #1245 off on its own as a separate tune.
Esther Cazin of Paris, France, 17 October 2022: Discovered that I had split the sources of #572 across two different tune records.
Sergio Rampino of Italy, 1 July 2022: Noticed I had labeled #7303 incorrectly as in D Major instead of A Major.
John Wiseman of South Bend, Indiana, USA:
20 June 2022: By observing that an untitled MM transcription matched a certain rare polka in the index, John led me to the bigger discovery - because I had already matched that MM transcription to a different polka #3117 - that that rare polka was actually an unusual ordering of uncommon parts of the tune #3117, so I merged all those sources together as #3117.
13 June 2022: Noticed that untitled CRE 5 transcription matched an unusual tune in the index, which in turn led me to merging that tune and all its sources with #3777, since I had previously linked that same CRE 5 transcription to #3777.
11 June 2022: Discovered the untitled CRE 4 source of #5137.
Ruth L, 10 May 2022: Discovered that 2 of the sources of #2508 were off on their own as a separate tune.
Christoph Zeiler of Vienna, Austria:
13 February 2021: Convinced me to follow through on my long-standing public suggestion that the JMd1 source of jig #3538 could be considered a separate tune, including his discovery of the CRE 5 source that matched JMd 1 very well, so I created #8155 to separate out JMd 1 and CRE 5
Daniel Parker of Croton-on-Hudson, New York, USA:
21 November 2021: Noticed the similarities between #2878 and #6328, and between #1179 and #7961. Also observed that the Fdl 4 source of #1179 is more like #6457.
22 September 2021: Identified the NBoyle source of the song-air #2597. I had respected that album's presumably erroneous title and placed it as a separate melody.
16 June 2021: Identified the CarbQ 1 source of #1842; I had misplaced that source over with the very similar tune #162.
26 May 2021: Pointed out the similarity between #3439 and #5844.
25 May 2021: Found the FullSt 3 and FD 7 sources of #3897 off on their own as a separate tune.
20 May 2021: Identified the PO 1 source of #1669 which I had placed as a distinct tune, thrown off by Paddy's unique key and incipit.
20 May 2021: Found the PO 1 source of #7683 misplaced with a different slip jig, and also noticed I had mischaracterized the mode of #7683 as Major instead of Mixolydian.
16 May 2021: Pointed out that I had the A Major and G Major settings of #375 separated as different tunes, so I merged them.
11 May 2021: Identified the ECahill source of #1491 which I had misplaced with the similar tune #1054.
11 May 2021: Identified the GCttr source of #2599 which I had misplaced with the similar tune #1880.
4 May 2021: Identifed the MMcNmr 1 source of #939 in the unusual key of F Major, which I had as a separate tune.
15 April 2021: Identified the untitled, unusual source of #3774 on CTL 12, which I had as a separate tune.
Christoph Zeiler of Vienna, Austria:
21 September 2021: Noticed the correct description of #4587 is F# Minor, not B Minor as I had it originally.
1 January 2021: Found a music transcription error in the incipit for #3351
Patrick Cavanagh of Pelham, Massachusetts, USA, 11 August 2021: Discovered that I had split the MMcNmr 1 and OMBFMO sources of #4856 as two distinct tunes, so I merged them.
Nicolas Brown of Michigan, USA, 7 April 2021: Identified the EMlny source of #4799, which I had as a separate tune because of Moloney's quite different incipit.
Keith Engle of Pennsylvania, USA, 5 January 2021: Identified the untitled, unusual setting of #3755 on KoKerry, which I had as a separate tune.
Christoph Zeiler of Vienna, Austria:
19 October 2020: Found a music transcription error in the incipit for #1198
19 August 2020: Found a music transcription error in the incipit for #6937.
9 August 2020: Found a music transcription error in the incipit for #1884.
13 July 2020: Noticed a music transcription error for #150.
13 July 2020: Noticed that the Boh 3 source of #150 was misplaced under a different barndance.
Daniel Parker of Croton-on-Hudson, New York, USA:
22 August 2020: Identified the Cms source of #6635 which I had set apart as an unrecognizably different tune. Upon direct comparison I agreed that Comas was just getting very creative with #6635.
13 July 2020: Noticed similarity between #573 and #7771.
5 May 2020: Found the similarity between the first parts of #2798 and #6811.
25 April 2020: Noticed that I had put the JByrne source of #7514 with the similar tune #4691, so I moved the JByrne source to its better match.
6 March 2020: Noticed not only that the HG source of #1577 was actually tuned a half-step sharp (contrary to the detailed album liner notes), and therefore played in C Major, not D, but furthermore that I had, as a consequence, misplaced it as a distinct tune. It took some convincing, but finally I agreed after playing that whole track myself on fiddle.
Ian Varley of Austin, Texas, USA:
1 August 2020: Suggesting splitting the sources for #801 and #2795, which were together, into two separate tune records based on the consistent difference in the 2nd bar.
18 March 2020: Identified a rhythmic transcription error for #896.
Patrick Cavanagh of Silver Spring, Maryland, USA:
13 July 2020: Noticed that the PACarb source for #6010 was misplaced as as distinct tune, and that I had misplaced the SPMR source of this under the similar tune #5135.
7 July 2020: Discovered that I had the JOL 2 album and JOL book sources of #1767 off on their own as a separate tune.
Esther Cazin of Paris, France, 10 June 2020: Discovered that I had misplaced the Provd 1 source of #6035 as its own distinct tune.
Keith Engle of Pennsylvania, USA:
28 April 2020: Discovered that the G, D, and A Major settings of #3809 were split into two different records, so I merged them.
5 April 2020: Noticed that polkas #3749 and #4789 have significant shared material.
27 March 2020: Identified the TBrwne source of #6709 which I had misplaced as its own identity due to an difference in incipit and key.
25 March 2020: Discovered that the sources of #5661 were mistakenly split into two tune identities.
25 March 2020: Identified the JOL 1 source of #3640 which I had misplaced as its own identity due to an difference in incipit and key.
Daniel Quayle, Isle of Man, 12 January 2020: Identified the ECoyKD source of #655 which I had misplaced as its own identity since ECoyKD reversed the tune parts.
Daniel Parker of Croton-on-Hudson, New York, USA:
18 December 2019: Identified the Yanks 1 source of the Scottish tune #100 which I had misplaced with the similar Scottish tune #5923.
11 December 2019: Identified the similarity between #2670 and #4378.
19 November 2019: Identified the Boys 14 source of #1121, which I had placed as a separate tune due to its unique whistle setting and transposition.
11 November 2019: Identified the BBow 2 source of #1458, which I had placed as a separate tune due to its unusual incipit.
6 November 2019: Discovered the close similarity between #288 and #4602.
1 November 2019: Noticed that I had put the LitN source of #1836 with the wrong (but musically similar) tune #1092.
16 October 2019: Discovered a bit of confusion and a couple misplaced tune sources between the similar tunes #3114, #3433, #2336, and #1184, which I then clarified and adjusted.
15 October 2019: After a couple different tries over the years, Daniel finally convinced me that the NH 1 source of #1813 is not a distinct tune, so I merged it with #1813.
20 June 2019: Discovered that I had placed the PO1 and DCB 1 sources of #111 off on their own as a separate tune.
25 May 2019: Identified that the VCbl and A PG sources of #1154 are the same tune. I had previously categorized them as separate tunes.
23 May 2019: Identified the FisherSt source of #1220, which I had previously categorized as a separate tune.
23 May 2019: Discovered the similarity between #3726 and #7077.
6 May 2019: Discovered that I had scattered the Dorian and Mixolydian settings of #2789 into separate tune entries.
6 May 2019: Noticed that I had put the unique D Mixolydian reel setting of #1925 off on its own.
29 April 2019: Identified that I had misplaced the SRn 1 source of #2599 under the similar tune #1880.
26 March 2019: Discovered the similarities between #1439, #2717, and #2229.
14 April 2019: Discovered the A RS source of #3585 off on its own as a separate E Major tune.
Guy Kaiser of Cincinnati, Ohio, USA, 2 December 2019: Discovered that I had misplaced the Cr tunebook source of #1471 under the similar tune #2082.
John McMahon of Wexford, Ireland, 18 October 2019: Identified the Fisherst source of #6388, which I had mistakenly placed as a distinct tune based on some differences in their incipits.
Christoph Zeiler of Vienna, Austria, 27 July 2019: Found the 1850 book source for #6628.
Patrick Cavanagh of Silver Spring, Maryland, USA, 9 April 2019: Discovered that I had the DShrdn 1 source of #5135 off on its own as a separate tune, and also pointed out the similarity of this tune with #6010.
Christoph Zeiler of Vienna, Austria,
4 May 2019: Discovered a one-digit typographical error in #614 which caused readers to look at an irrelevant tune for comparison.
26 February 2019: Discovered a typographical error in the incipit transcription for #6783.
28 December 2019: Discovered the SBw source of #217 was misplaced off as a separate tune.
Adam Work in Oberlin, Ohio, USA:
30 October 2018: Discovered the Dnú 4 source of #4327, the only source in D Mixolydian instead of D Major, off in its own tune record, which I then merged with #4327.
8 September 2018: Noticed the similarity between #4327 and #839, and that the TnGmMss source, which I had grouped with #839, is more like #4327 - I then discovered that the CRE 2 book source also had the same problem and moved both sources to #4327.
Daniel Parker of Croton-on-Hudson, New York, USA:
21 December 2018: Identified that I had misplaced the A RS source, the lone E Major source, of #190 as its own separate tune.
18 December 2018: Identified that I had misplaced the SailCrvt source of #2599 under the similar tune #1880.
15 December 2018: Discovered I had split the sources of #93 into two different tunes, each in a different key. Also made the convincing case that I had misplaced the VCbl source of #652 under the very similar tune #4580.
21 October 2018: Discovered that I had the OCG and 2TapTrio sources of the Scottish tune #3015 off on their own just because they had used a different title. I used to not bother thoroughly checking the identity of tunes that are explicitly not Irish.
10 October 2018: Discovered that I had the D Mixolydian performances of #217 (normally in A Dorian) off on their own as a separate identity, so I merged the two as #217.
11 September 2018: Discovered, with the help of a certain Kenny from Aberdeen, Scotland, that I had the FlgDub source of #2064 off on its own as its own identity, so I merged them.
22 August 2018: Noted the similarity between #1901 and #1975.
6 August 2018: Noted the similarity between the slow airs #1478 and #5749.
5 August 2018: Identified the CTL 3 source of #2126, which I had previously categorized as a separate tune.
23 July 2018: Discovered I had placed the BC 3 source of #5511 under the wrong "Poll Ha'Penny" tune.
18 July 2018: Found I had misplaced the JV source of #890 off in its own corner as a separate tune, presumably because JV plays it with an unusual first bar.
17 July 2018: Found I had misplaced the ItS source of #1278 off in its own corner as a separate tune.
5 July 2018: Noted the similarity between polka #2686 and reel #1732.
24 June 2018: Identified the PS 3 source of #1494, which I had mistakenly categorized as a separate tune due to its unusual incipit.
6 June 2018: Noted the similarity or even identity between #42 and #1399.
6 June 2018: Discovered I had referenced the wrong "Peacock's Feather" in my tune-comparison
link between #3400 and #4377.
6 June 2018: Identified the IDM 1 source of #1849, which I had mistakenly categorized as a separate tune due to its unusual incipit.
27 April 2018: Identified the HB 4 source of #288, which I had misidentified as #1203 due to HB 4's reversal of the parts.
25 April 2018: Identified the JV source of #285, which I had missed and made its own separate tune mistakenly, because JV uses the 2nd part as an intro.
14 April 2018: Identified the FidDel source of #2408.
26 March 2018: Identified that I had missed calling out the comparison between #2519 and #4688.
2 March 2018: Called out the similarity between #4344 and #1813, as well as leading me to place the MM 2 source of #1813 there, as a better match than where I had it with #4344.
1 February 2018: Discovered the similarity between #5358 and #5144.
4 January 2018: Noticed that I had misidentified the McGrCool source of #1695 as a separate identity, presumably because that source does use a quite unusual incipit, so now I placed that source more appropriately within #1695.
2 and 4 January 2018: Despite initial resistance on my part, Daniel perservered and after some months pause now finally convinced me that:
The POK source of #1478 was played on a fiddle tuned a full step flat, and therefore was played in A Dorian, not G Dorian.
Track 8 of the IFM album was played tuned a half-step sharp and in conventional fiddle tuning, not a half-step flat and AEAE tuning, which in turn caused necessary revisions to my data for tunes #1581 and #5358.
Jeff Lindqvist of Sweden, 6 August 2018: Suggested that #1578, for which I had so far only found the untitled SS 1 source, has the title "Girls of Martinfield," which in term led me to discover that in fact the HN "book" actually does have a source for #1578 under the title "Girls at Martinfield," so I could then document a title for #1578 for the first time.
Bea of Northern Ireland, 24 July 2018: Suggested adding the JCtBRn source
of #2696, which I had actually placed as a separate tune with the WFO 2 since both sources reverse the parts. So then I merged the two tunes as #2696.
Michel Sikiotakis of France, 14 June 2018: Identified the untitled, unusual-key MOC 1 source of #3033 which I had previously placed as its own tune .
Christoph Zeiler of Vienna, Austria, 28 March 2018: Proposed that my grouping of many sources of "Pinch of Snuff," which I had lumped together as one tune with the disclaimer, "various numbers and orders of parts", could and should be divided into two different tunes, along a 3-part Donegal vs. a 2-part non-Donegal line. He also identified that I had the MMR 2 source of the 2-part tune off in its own tune record, which I agreed needed to be grouped here. Prompted by his perspective, I undertook a careful analysis and decided that I now had enough data (unlike when I first lumped together most "Pinch of Snuff" sources some 20 years earlier) to clarify that actually three different tunes can be perceived in this group of tune sources: the 3-part Donegal #1290, the 2-part "non-Donegal" #3242, and the rare Vincent Campbell tune #7627.
Craig Pitman of USA, 21 March 2018: Identified the untitled tune on CTL 7, which I had standing alone as its own tune, as being #2271, so I then merged those tune records.
Thomas Burdick of France, 13 March 2018: Identified that the BB 4 source of #3520 is the same song as the sources I had collected as a separate tune identity, due to BB 4 using an unusual title for the song, so now they are all under #3520.
Chris Corbett of London, UK:
12 February 2018: Discovered that the Whr source of #1717 was hiding in a separate tune record under a different title, so I merged the duplicate records as #1717.
3 February 2018: Discovered that I had mistakenly placed (back in the 1990s, it turns out) the JDJO source of #7601 within #142, which shares a title but no musical similarity.
Patrick Cavanagh of Silver Spring, Maryland, USA, 9 December 2017: Discovered the "strong similarity" between #3667 and #4368.
Daniel Parker of Croton-on-Hudson, New York, USA:
19 December 2017: Observed that my description of #243 as in Minor mode – a decision I had made back in the 1990s – is not as good a fit as Dorian, a point I agreed with.
18 October 2017: Observed the similarity between #781 and #3268, which in turn led me to discover and fix a musical transcription error I had made for #3268.
20 July 2017: Pointed out that #3993 is better described as in Mixolydian mode.
Gary Martin of Massachusetts, USA, 1 September 2017: Discovered that I had two separate entries for #2719 due to the fact that musicians often play this tune with reversed parts.
Christoph Zeiler of Vienna, Austria, 27 August 2017: Discovered that I had two separate entries for #1285 because one source played it with reversed parts.
Erich Marschner of Ellicott City, Maryland, USA, 7 August 2017: Discovered some oddities in his comparison of tunes #1511 and #3897 which in turn led me to discover that I had made two errors some years ago: 1) The audio incipit my software prepared for track 6 of the CTL 6 album was from the wrong bits of that track. 2) I had assigned the KOS and SA sources of #3897 to tune #1511 incorrectly.
Chris Corbett, 31 July 2017: Noticed that I had left the MMR 3 source of #3220 as its own tune identity, so now I placed it properly within #3220.
Lesl Harker, 27 May 2017: Suggested an alternate title for #3774 which led me to discover a close musical similarity to #1600.
Nicolas Brown of Michigan, USA, 18 May 2018: Pointed out the similarity between slide #3886 and reel #6012.
Alan Snyder, 14 May 2017: Identified that I had mistakenly trusted the title given by the SE 1 source of #5897 and had therefore misplaced it under slow air #741. (I generally do not thoroughly investigate the identity of slow airs.)
Patrick Cavanagh of Silver Spring, Maryland, USA, 17 April 2017: Noted that when I created tune identity #7542 as distinct from #113, I had failed to shift the matching FONC source over to #7542.
Rolf Gidlow of East Burke, Vermont, USA, 30 March 2017: Discovered that the WC entry was missing in the Bibliography section of #1185, apparently because I had accidentally skipped over transcription #116 during my indexing work on the tunebook WC originally.
Patrick Cavanagh of Silver Spring, Maryland, USA, 23 March 2017: Noticed the similarity between #235 and #4973.
Patrick Cavanagh of Silver Spring, Maryland, USA, 7 March 2017: Noticed the similarity between #1606 and #2396.
Frederic Pouille of Denver, Colorado, USA, 28 February 2017: Correctly identified the Drv 1 source of #369, which I had mistakenly indexed as an independent tune, probably because I had made some minor transcription errors for the Drv 1 incipit.
Christoph Zeiler of Vienna, Austria:
4 October 2016: Correctly identified that #1407 should be described as in A Major, not A Mixolydian.
22 September 2016: Discovered that I had mistakenly classified the E Minor sources of #4496 (on VK 1 and in book JKg 3) as a distinct tune, so I then eliminated that separate tune and incorporated those two sources into #4496, which previously only included D Minor sources.
Erich Marschner of Ellicott City, Maryland, USA, 14 September 2016: helped refine the nature of the noted relationship between #2057 and #6055, specifically pointing out that their similarity particularly appears after offsetting #2057 as if were missing its first two bars.
Christoph Zeiler of Vienna, Austria:
5 October 2016: Identified the DCB 1 source of #4241 which I had mistakenly set up as a separate tune, and also linked it to the 1001 source of #4241, which in turn led me to more clearly separate the identities (and therefore also some sources) of #1018 and #4241.
31 March 2016: Identified the JMcK source of #3883, which I had mistakenly indexed as its own distinct tune because that fiddler changed the first bar his first time through.
26 March 2016: Found a transcription error of mine, correcting two notes of #1681.
9 March 2016: Noticed that I had split the various sources of #2534 into two different tune records. I had done that (accidentally) because there are two different ways to start this tune, but the two variants are compatible enough that I then merged them.
Patrick Cavanagh of Silver Spring, Maryland, USA:
18 April 2016: Noticed the similarity of #7114 and #645, and pointed out - correctly - that I had possibly misplaced the RskaHll source of #7114 as belonging to #645.
12 March 2016: Noticed the sources of #2434 as two separate tune identities, which accurately reflected two different ways it is played. I had, however, not originally noticed this relationship and now merged them as #2434, consistent with the tune-identity principles throughout the database.
9 March 2016: Found the Drv 4 source of #6266 off on its own as a redundant, separate tune identity, so I moved it to where it belonged.
8 March 2016: Found the LKPD source of #5966 off on its own as a redundant, separate tune identity, so I moved it to where it belonged. Likewise for the NFBolg source of #5997.
7 March 2016: Discovered an anomaly that led me to realize my original indexing work (dating back to the 1990s) on the Tri II source of #1223 had mistaken the band's creative variation on the end of the preceding tune as the beginning of a new tune, which in turn caused me to create a whole separate tune identity for that source which I could now permanently abandon.
6 March 2016: Discovered that I had misidentified the SN 3 and MM book sources of #1678 as its own independent tune, so I merged those records as #1678.
3 March 2016: Discovered that I had misidentified the untitled source of #2481 from MotS 3 as its own independent tune, so I merged those records as #2481.
2 March 2016: Noted that I had failed to move the PS 6 and JLavelle sources of #5769 to their proper identity at the time I originally created that tune record. Apparently I had mistakenly left them as belonging to #348 with my own remark still standing to the effect that I acknowledged that their first part didn't really fit with #348.
Marko Packard of Massachusetts, USA, 4 January 2016: Sent photographic evidence of the LP Leader Lea2005 which proved that my secondary sources had incorrectly led me to repeat their claim that that LP was the originally published source of ST BST, so I removed that claim.
Colm Nestor, 30 December 2015: Pointed out that the "Kitty Linnanes" tune on MSCB, which I had failed to match to anything else, is actually just a setting of #888.
Rev. John Quinn of Gortletteragh, Mohill, Co. Leitrim, 15 September 2015: Wrote to say that a tune from the Grier mss. called "Miss Dunbar" was like #1036. That led me to discover that when I had originally worked through the album McNamFam I had instead identified their recording of "Miss Dunbarr" as #3546, which is indeed equally close (as #1036 is) in the 1st part - but not as close as #1036 in the 2nd part. So I changed the identification of the McNamFam source to #1036 and added the discovery of the similarity between #1036 and #3546.
Pat Wilcox of Delaware, Ohio, 25 July 2015: Noticed that I had cataloged the several sources of #1611 that are titled "Hennessey's" as a different tune, so I then merged the tunes under #1611.
Lesl Harker, 4 July 2015: Correctly pointed out that the unique Padraig O'Keefe / Denis Murphy / Julia Clifford setting of #1770, which I had identified as more like #1409 on four recordings, really are more like #1770. So I moved those four recordings from #1409 to #1770.
Christoph Zeiler of Vienna, Austria:
25 May 2015: Suggested that #659 should be described as in D Mixolydian, not D Major. I agreed and made the change.
2 April 2015: Noticed that my original transcription of "Ceathru Cavan" on track 11 of JJK was off by one beat, which had caused me to not match it with its correct identity #294.
23 February 2015: Noticed that my transcription of #6882 was missing an eighth note.
31 January 2015: Recognized the "Jim McBride's" jig on WaMoDub as #1638, so I abandoned "Jim McBride's" as a separate tune.
30 January 2015: Discovered that the separate entry I had for the tune known widely as "Reavey's No. 9" was actually the same tune as Reavey's composition "Fisherman's Island" which I had indexed separately as #636, which is where I then merged all of those sources.
Pat Wilcox of Delaware, Ohio, USA, 6 December 2014: Discovered I had made a typo about 15 years ago in the name of Felix Doran the piper in his tracks on the album GP.
Hans Dechant of Germany, 19 November 2014: Pointed out a problem that led me to discover that I had selected the wrong section of track 10 on the SC album as the audio preview for #1705.
Christoph Zeiler of Vienna, Austria, 17 November 2014: Found two clear errors of mine (possibly simply data-entry errors) related to identifying the NFBolg source of #4115 and the WFO 3 source of #2463.
Mike McGinty of Connecticut, USA, 7 November 2014: Correctly identified the untitled 1st tune on track 2 of JRSLCB 2 as #1081
Christoph Zeiler of Vienna, Austria, 24 October 2014: Observed that two entries identified as Killanan's Fancy and Turnpike Gate, respectively, were actually the same tune, just in two different keys. I then merged those as #1030.
John McMahon of Co. Wexford, 24 April 2014: Discovered that I had mistakenly identified Eileen Ivers's G-major, somewhat creative setting of #2889 (played by everyone else in A) as an entirely separate tune, so then I was able to merge those records as #2889.
John McMahon of Co. Wexford, 23 April 2014: Suggested that an untitled tune I had indexed in G Major was just a transposition from D Major of a different tune. I then found an A and D Major setting already in the index as #1940, so I merged all those sources as #1940.
Lesl Harker, 13 April 2014: Pointed out the similarity between two of the settings of #2381 that I had defined as two distinct tunes, and that led me eventually to combine all the various settings of #2381 under that identity, since I could find no clear way to prove that any one of the settings, despite their signicant differences, had become established as distinct from the other settings, given how much overlap there was between all of them.
Christoph Zeiler, 1 March 2014: Pointed out that the two different Martin Hayes recordings of a jig called "John Naughton's" in G Dorian, which I had cataloged back in the 1990s as a distinct tune, were actually the same tune as the A Dorian "Old Man Dillon" #1005.
Earl Cameron of Wisconsin, USA, 6 February 2014: Correctly identified the untitled tune on track 11 of PRynne 1 as #752.
Christoph Zeiler, 23 December 2013: Helpfully identified my data-entry error crediting Andy instead of Tony for performing one of the tunes on TOCAM.
Bob Pfeffer of New Jersey, USA, 5 October 2013: Noticed a data-entry error which had switched the mode of #648 to Mixolydian instead of Major
Patrick Cavanagh of Silver Spring, Maryland, 11 July 2013: Identified the untitled tune on track 11 of KLO as #3403.
Lesl Harker 15 May 2013: Was simply complimenting my work in identifying the Gan Ainm tune on JOS 1 as tune #1076, and mentioned that it was the same tune as "Denis Igoe's" from her book of Mike Rafferty's tunes. That led me to discover that I had separately identified "Denis Igoe's" as a different tune record, just in a different key and a slightly different setting (centered on the Northern one from A RC). I then merged all those sources as #1076.
Kevin Fontaine, of Massachusetts, 10 April 2013: Noticed that in my initial work on the album SailCrvt two years earlier, I had accidentally skipped the 2nd tune on track 16. Kevin also correctly identified it as #2908.
Robert Alfredsson of Sweden, 12 February 2013: Noticed that in my work on album Ch W back in March 2000, I had made the mistake of trusting the Chieftain's liner notes for tracks 10 and 12. In track 10 they actually play one more tune than they actually list titles for (I had omitted their unmentioned 3rd tune), and in track 12 I had failed to take note of the final tune they play.
Also, regarding my even older work on the album Ch 4, he correctly noted that I had (tentatively, at least) misidentified the 2nd tune on track 1, Paddy Moloney's florid solo, and that it is actually #593. Furthermore, he identified the untitled air on track 5 of that album as #3873, which I had apparently entirely skipped in my original work.
Kevin Fontaine of Massachusetts, 9 December 2012: Noticed that I had described #532 as an AABB structure tune when in fact it has an AABBCC structure.
Lesl Harker 6-9 December 2012: Noticed that I had misidentified the "O'Brien's" hornpipe on track 15 of MMR 1 (a mistake dating back to my early work in the 1990s), which led me to reanalyze it and recognize it as a somewhat unique setting of #2955.
Stanton of Indiana, USA, 31 July 2012: Recognized that I had miscategorized the Lu 3 source of #1542 as a separate tune.
Mark Anderson of Sydney, Australia, 30 June 2012: Shared his opinions about the identity of a number of tunes on Seamus Tansey's Easter Snow. He definitely gets credit for identifying Tansey's "Mick Flatley's Delight" as #1363. In other cases I can't go as far as calling Mark's identifications as "the same tune." Instead I'm giving Mark credit here for noticing the following similarities between tunes, such as between Tansey's #3446 with the more common tune #68. Likewise, prompted by Mark's suggestions, I linked Tansey's tune #3447 with #3469, matched the start of Tansey's #3462 with the start of the common tune #203, and matched part of Tansey's tune #3463 with a part of the classic tune #669 as well as its entire general outline with #937.
Christoph Zeiler, 27 June 2012: Found the O'Neill's source for #5131.
Christoph Zeiler, 1 June 2012: Noticed that I had split the sources of #2698 across two different tune entries. I was presumably misled because the emphasized first note differed in these settings. So I combined them all as #2698.
Christoph Zeiler, 29 April 2012: Let me know that Mick O'Brien's pipes are a B set, not a (rather unlikely) A set on track 5 of MOB.
Grey Larsen, 2 January 2012: Noticed that I had accidentally transcribed #4452 in E Major instead of A Major.
Christoph Zeiler, 11 December 2011: Pointed out that I had been maintaining two separate records for #115: as a slide and as a jig. I then merged those records.
Conor Caldwell of Belfast, Ireland, 17 November 2011: Observed some confusion among my sources for #1429 and #1430, which I then cleared up.
Shannon Heaton of Boston, Massachusetts, 16 November 2011: Pointed out the close similarity between #89 and #2329.
Michel Sikiotakis of Paris, France, 23 September 2011: Noticed that I had misidentified the first tune on track 19 of BFair.
Edward G. Lynch, 19 September 2011: Discovered that sources for tune #2964 were split across two different tune records, which I then combined as #2964.
RWW Taylor, 3 May 2011: Another report in his series of research notes to me (see below):
Saw that O'Neill's transcriptions under the title "Barney O'Neill" are the same tune as #681.
Saw that O'Neill's transcriptions under the title "The Girl with the Laughing Eyes" are the same tune as #1858.
Discovered that I had categorized the D Major version of #1020 as a separate tune, which I've now merged together.
Recognized that two different tune records actually concerned the same tune, now merged as #1032.
Saw that O'Neill's transcription "The Bouncing Boy" is quite similar to #1112.
Noticed similarity of 1st parts of #1708 and #3739.
Observed that the slide and jig settings of #880, which I had previously identified as two separate tunes, could be considered the same tune, which I agreed with at this point, so I merged these sources together.
Found the transcriptions of #543 and #5496 that are in the book JKg 3. The fact that my tune-identification method should have previously found these, but didn't, led me to discover an error in my database which had prevented me - for several years - from scanning through reels in the JKg 3 book when I was searching for matches in my entire database. This discovery in turn led me to fix the problem and then successfully identify a number of the remaining unidentified reels in the JKg 3 book.
Noticed the similarity of the "Kilcogy Reel" transcription in book JKg 3 with #466, and likewise found the transcription of #5253 in book B&S. Again, as above, the peculiar fact that I hadn't already caught both of these myself led me to discover bugs in my tune-identification system related to natural signs appearing on strong beats of a tune, which I've now fixed.
Found the transcription of #1904 in book JKg 3 even though Keegan transposed the order of this tune's parts.
Found the B&S and DM 3 transcriptions of #4958 despite the reversal of this tune's parts in those books.
Discovered that I had cataloged as a separate tune a D-Mixolydian setting of #1409, so I then merged the associated sources.
Discovered the relationship (or perhaps imitation) between #1941 and #908.
Discovered the relationship between #1242 and #2102.
Found the transcription of #5497 in the book JKg 3.
Kenny Hadden, 30 March 2011: Identified the untitled 2nd tune on track 10 of FG 2 as #2373.
Christoph Zeiler, 28 November 2010: Noticed a rhythmic error in my transcription of Seamus Ennis's performance of #563.
Padraig McCluskey: 12 September 2010: Noticed that there are in fact 3 tunes, labeled only as 2 tunes, at the end of track 3 on OMcA.
Pat Wilcox, 26 May 2010: Identified the first untitled tune on track B.6 of Boys 8.
Robert Alfredsson, 13 November 2009: Identified the 4th and 6th untitled O'Carolan pieces on track 8 of Ch 5.
Naka Ishii, 7 September 2009: Noticed that I had missed recognizing the transcription in book ER as belonging with #989.
Philippe Varlet, 25 June 2009: Pointed out on IRTRAD-L that an A-Dorian setting of #3018 is in Bulmer & Sharpley.
Steve Abel, 9 Feb. 2009: He innocently wrote me to say he knew a particular jig under a different title, which led me to discover several problems with my work on my records for no less than four separate jigs, all vaguely similar to each other, which eventually led me to a much tidier and more accurate sorting of all those sources, especially jigs #679 and #1887.
RWW Taylor, 1 Sept. 2008: Another report in his series of tunebook-related notes to me (see below), this one focused mainly on airs, songs, and the like:
Kevin Fontaine, 26 April 2008: Noticed that the two Paddy Fahy hornpipes I had as #1502 and #1503 were actually the same tune. I had seen them as separate tunes because one is a flute-compatible variation on this fiddle tune, but on second thought I combined these sources under #1502.
RWW Taylor, 15 April 2008: Another report in his series of tunebook-related notes to me (see below):
All three O'Neill sources for #1176 and #4586, and for the "Stagger the Buck" settings of #882.
Notation errors in my transcriptions of #384 and #719.
The fact that the tune for song #4195 has a transcription as a slow air in the book JKgn.
The 1850 and Krsn sources for #1486, and for the "Funny Mistake" setting of #3980.
Suggested that 1850 #779 and its twin 1001 #56 belong to tune #306, which isn't correct, but his suggestion led me to realize that those two do belong, in at least a general way, to tune #4798.
The Roche vol. 2 #253 source (albeit only a relation of similarity) for #3736.
Christoph Zeiler, 1 April 2008: Pointed out something which let me discover that back in 2005, when I divided the many, somewhat similar "Rakes of Kildare" sources as two distinct jigs (#1638 and #4273), I had forgotten to move the 1001 #108 source over to tune #4273 together with when I moved its identical twin, 1850 #847.
Anonymous, 20 March 2008: Suggested that #1580, a Cape Breton reel, was actually the Irish hornpipe "The Flowing Tide" (which, by the way, is #653). Thanks to this anonymous prompt, I gave #1580 tune a back-to-back comparison against #653 and added a note that at least their 2nd parts are alike.
RWW Taylor, 3 March 2008: Submitted another report in his series of notes (see below), drawing on his tunebook database:
The 1850 #193 source for another song-air setting of #701, as well as the Krsn source for Hawk's Hornpipe, which I include here only as a partially-relevant transcription.
All three O'Neill-edition sources for tunes #1314 and #2245.
The similarity between the O'Neill's sources for #1862 and #5081.
The somewhat similar source at 1850 #970 for #409.
Christoph Zeiler, 10 January 2008: Pointed out that book 1001 actually does have a transcription of tune #863. Thanks!
RWW Taylor, 31 December 2007: Submitted a third report (see 8 December and 11 November below) of issues and questions he had collected while working on his own tune database. He earned credit for the following discoveries:
My mistake in including transcription #54 from the book Allan's Irish Fiddler in my bibliography for tune #172. Although it does bear some distant resemblances to #172 (and its cousins) in parts, in fact it did not musically correspond to any tune in the Index to date.
The fact that IBPS transcription #29 is vaguely similar to tune #3976.
A typographical error ('5' instead of '3') in my list of titles for #942.
Christoph Zeiler, 12 December 2007: Pointed out that book 1001 actually does have a transcription of tune #2417. Thanks!
RWW Taylor, 8 December 2007: Submitted another long report (after his 11 November one, see below) of tunebook sources he had found missing during his own database work, and some other types of problems:
Asked me whether the unusual version of polka #3745 which I had found on LAC is in fact the same tune as the more conventional setting of the polka which I had previously identified as an unrelated tune, found on the Beg 1 album and in book HN. His suspicion turned out to be right, so I then combined all those sources under #3745. Thanks, RWW!
Noted the similarity between the polka #2885 and the song #2327.
Noted that I mistakenly typed the page number instead of the transcription number in my reference to the 1850 source for #1602.
Found a typographical error of mine, where I typed page number 124 instead of 134 for Krassen's transcription of "Molly What Ails You?", at tune #1021.
The fact that the transcription "Old Horned Sheep" found in all three O'Neill-edition sources is partially similar to #1570.
O'Neill's additional transcription (the setting titled "Boys of Galway") in all three O'Neill editions, for #2993.
The 1850 and Krsn sources for tunes #55 and #2727.
An additional source in 1850 (O'Neill's #1006) for #908.
In 1850, yet another (a third transcription, at O'Neill's #897, to add to the two I had already found) for #2485, as well as the corresponding transcription in Krassen's edition.
The 1001 source for #788, #5026, and an additional 1001 source for #2059 (O'Neill's #358).
The fact that Allan's transcription #93 is partly like #139, as well as the the fact that Krassen, on his p. 207, mistakenly omitted his intended transcription of #139 and instead included a second, duplicate transcription of #1861.
Bob Pfeffer, 4 December 2007: Recognized that the new jig I had identified on KitRec track 11 was in fact the same jig as #2600, even though on KitRec, the musicians chose to put the last part of the jig first, which had thrown me off the track. So I combined those records under #2600. Thanks, Bob.
RWW Taylor, 11 November 2007: Submitted a lengthy report of issues he collected over a long period of time while working on his own tune database, one apparently more focused on tunebooks. Put concisely, he found for me:
All three O'Neill-edition book sources for both tune #1671 and for tune #1910.
A typographical error in my bibliography for tune #1697, where I had typed the page number instead of the tune number for the 1850 book source.
A typographical error in my musical transcription of tune #4292.
Bill Harker, 21 September 2007: Noticed that the "Gan Ainm" tune on track 8 of Jerry O'Sullivan's Invasion is in fact the same tune as #2021. Now fixed!
Joe Bowbeer, 11 September 2007: Noticed that I accidentally used a wrong tune ID number in my comment about the similarity between Scatter the Mud #1728 and Maid of Tramore #1028. Thanks!
Anonymous, 13 February 2007: Noticed that I missed that Queen of the Fair #1623 actually does have a transcription in O'Neill's 1001 tunebook. Thanks!
Jerome Colburn, 30 January 2007: Pointed out on IRTRAD-L that my bar count for Arthur Darley's unusual-meter jig #2907 was wrong. Upon reexamination I decided that it was in fact not objectively countable at all (at least as played in the Irish tradition), so I removed my bar count.
Thomas Young, 25 and 28 January 2007: Noticed two more errors of mine regarding two tunes on Frankie Gavin's FG 3 album, even though Laurent had found a different error back in March 2005 (see below). Thomas first noticed that I had not accounted for the unlabeled 3rd tune on track 9, which of course is The Steeplechase #1834. A few days later, he also noticed that I had failed to recognize that the untitled tune that starts track 15 is, of course, Mullingar Races #1367. As I explained to Thomas, my records show that I originally worked on this Frankie Gavin album during the final throes of writing my PhD thesis in early 2002, and that was clearly a bad time for me to try do any careful tune identifying!
Michael Gregory, 30 November 2006: Noticed that polka #3635, recorded by Johnny O'Leary and Donncha Lynch, is actually the same tune (but in a different key, and with a somewhat different opening) as the polka #877. So I combined those sources under #877 and abandoned #3635.
Anonymous, 10 October 2006: Noticed that I listed the track number of tune #3335 as recorded on Ch AIE as 2 instead of 3.
Kevin Krell, 23 August 2006: Noticed that I didn't include the alternate spelling "McGlinchey" from the WFO 2 source for Brendan McGlinchey's last name in the composer credit for tune #419. (Until WFO 2, all of my sources for that tune had spelled his last name only as "McGlinchy.")
Kevin Krell, 26 July 2006: Noticed that I entered 1993 (the reissue year) instead of 1981 (the original publication date) as the date for track 18 (disc 2) on the album WFO 1.
Philip Smith, 14 March 2006: Noticed that the polka #3490 is actually just the polka tune #1450, but in a different key. So I then rewrote the #1450 info in light of the additional tune sources which I moved there from #3490. Then I abandoned #3490.
Laurent (from Brittany, France), 7 March 2005: Noticed that the untitled 3rd tune which I had not yet identified on track 3 of the album FG 3 was actually Maudabawn Chapel, tune #1236. So I abandoned tune #2900.
Lia Zito, 11 June 2004: Noticed that I had two different tunes set up to describe one jig, #961, since some sources were in D Major and some were in G Major, and other very minor differences. So I made some minor adjustments in light of this insight, and at some later date I decided to abandon tune #2932 since more data was making it clear that these were all one tune in the Irish tradition. Lia was right in the end.
Lia Zito, 8 June 2004: Noticed that the reel recorded as "Sonny's Return" on the KH album is actually the same tune as Paddy Lynn's Delight, tune #1513. So I abandoned tune #1796.
Anonymous, 23 April 2004: Noticed that a tune unhelpfully titled as "Jim Coleman's" on the Drv album is actually the Controversial Reel, tune #386, although in D Major instead of the usual G Major. So I abandoned tune #2682.
Paul de Grae, 14 December 2003: Noticed that a couple of my sources for the similar-sounding hornpipes Bee's Wing, tune #3437, and The Wonder, tune #3439, were assigned to the wrong one of those tunes. All fixed, thanks to Paul. Later I started playing Bee's Wing myself, which means that error definitely won't happen again!
John McGann, 18 November 2002: Noticed that I mistakenly categorized his composition The Nightlight, tune #3502, as a reel instead of as a hornpipe.
