% This file contains the collected compostions of Ed Reavy, VERSION 2.0.
% It is for personal use and the music must not be included in any
% books, performances or recordings without the express premission of
% the Ed Reavy Foundation.
% 
% Ed Reavy, Jr., President 
% Ed Reavy Non-Profit Foundation
% 2004 Aspen Circle
% Springfield, PA, USA, 19064
% edjr@reavy.us
% 
% (c) Copyright Ed Reavy Non-Profit Foundation. This file:
% - May be distributed freely (with restrictions below).
% - May not be used for commercial purposes (such as printing a tune book to sell).
% - This copyright notice must be kept, except when e-mailing individual tunes.
% - May be printed on paper for personal use.
% - Questions? E-mail: bil@mckenty.us
% 
% Should you find errors, ommissions or have questions about this file,
% please direct your email to bil@blueskiesink.com.
% 
% Credits: Gerry Strong, John Chambers, Naka Ishii, Kathleen Conery, 
% Philippe Varlet,Bernard Chenery, Paul g. Mulvaney, Irtrad-l and Fiddle-l and to the Reavy Family.
% Additionally, Thanks to rog@vitanuova.com from the fiddle-l list for a great deal of help in the refinements to Version 2.0!
% 
% The Collected Compositions of Ed Reavy
% Introduction by Mick Moloney,
% "Ed Reavy was a tune maker" 
% 
% No composer of traditional dance tunes in the history of Irish music
% has ever had his music adopted and played as widely as Ed. He devoted
% much of his life to the creation of a vast body of compelling, finely
% crafted tunes leaving an indelible imprint on the beautiful old
% tradition that was always his first love.
% 
% Ed Reavy was born in the village of Barnagrove in the County Cavan in
% the year 1897.  He came with his parents to
% 
% Philadelphia in the year 1912, and with the exception of two visits
% home to Ireland - one of nine months in 1922 and the other of three
% weeks in 1969 - lived the rest of his life in Philadelphia until his
% death in 1988.
% 
% By the time he was ten years old he had already developed a great love
% for Irish traditional music.  There was music in the community he came
% from and there was also music in the family.  His mother had cousins
% by the name of Lennon who lived in County Monaghan.  They were seven
% brothers, all stonemasons, and they were great fiddle players.  The
% Reavy's own house was a popular location for sessions.  They owned a
% big barn where the local musicians used to congregate for sprees -
% music and dancing.  He took to America with him vivid recollections of
% these evenings of merrymaking and those memories were always to stay
% with and inspire him.
% 
% Ed served complete apprenticeships first to the machinists' and then
% to the plumbing trade.  He became a Master plumber and conducted his
% own successful business for the rest of his working life.  He married
% and settled in Philadelphia and raised a family of six children.  He
% became an excellent fiddler and made a classic recording for the
% Victor company in Camden New Jersey in 1927 of two reels: 'The Boys of
% the Lough' and 'Tom Clark's Fancy' and two hornpipes: 'The Donegal'
% and 'The Cliff'.  [Victor 21593B (42483)]
% 
% He began composing in the 1930s and continued creating new tunes up to
% the late 1960s.  His sons estimate that he might have composed as many
% as five hundred tunes though only about 130 have been saved for
% publication.  'The Hunters' House', Ed's most popular composition, is
% almost certain to be played in any session of Irish music anywhere in
% the world from Sydney, Australia to Miltown Malbay, Co Clare.
% 
% Ed's tunes came to him in moments of reflection.  He had to be in a
% certain mood before he could even start.  These 'moods' could come on
% anytime, day or night, but they were most likely to occur if he was in
% regular contact with other musicians.  He would ponder frequently on
% Ireland, his own childhood there and the country's problems: "The
% trials and tribulations that the Irish people went through in the past
% 750 years, all that enters into music .  .  .  naturally it shows up
% in places.  That's why in so many of the slow airs there's so much
% sadness and even in jigs and reels there's so much there that reminds
% you of the trials and tribulations we've been through."
% 
% Unlike most composers of the past, Ed's music achieved widespread
% recognition and popularity in his own lifetime; a process facilitated
% by increased travel communication between America and Ireland and the
% expanding technology of sound reproduction.  The recognition began as
% soon as he started to compose when other musicians became captivated
% instantly by his tunes.
% 
% Over the years Ed played his compositions for hundreds of other Irish
% musicians in Philadelphia and New York.  In addition he was President
% of the Irish Musicians' Association of America, an Organization
% founded in 1956.  The Association had annual conventions in cities
% such as St. Louis, Cleveland, Chicago, Philadelphia and New York,
% which enabled Ed to become acquainted with a wide range of Irish
% musicians who lived elsewhere in America.  Many players liked his
% tunes, learned them and subsequently brought them back to their home
% cities and to Ireland, where they caught on as well.
% 
% A prime figure in the dissemination of his tunes was Armaghman Louis
% Quinn from New York.  Louis was a noted fiddle player, a prominent
% figure in Irish music organizations and a close friend of Ed's.  Louis
% would travel to Ireland regularly bringing with him tapes of tunes
% popular among the Irish musicians in America, which he copied for many
% prominent musicians in Ireland and also performed, on Radio Eireann.
% 
% This material included many of Ed's compositions.  Over the years
% several of these tunes were recorded by musicians in Ireland and went
% into aural circulation in traditional music circles.  Many of the
% tunes at that time were unnamed and known by musicians simply as
% "Reavy's tunes."  Frequently they circulated without any given title
% at all.  As one would expect, Ed was extremely pleased to see his
% tunes being played so widely.  "The transmission of tunes" he said,
% "is like telling a story", as far as change and variation from one
% musician to another is concerned.  "Fortunately enough, most of the
% tunes were played much as I would like them played."
% 
% Ed's son Joe was the single biggest force in the popularization of his
% father's music.  Beginning in the 1960s, Joe began painstakingly to
% notate his father's compositions.  Many of them had been stored on
% homemade 78-rpm recordings, which Ed had recorded in his home or in
% the home of his good friend, Roscommon fiddler Tommy Caulfield.
% Others were simply in his head.  Joe transcribed and helped his father
% name many of the tunes, which to that point had remained untitled.
% The first collection of Ed's music "Where the Shannon Rises" was
% printed in a limited edition and became a collector's item in
% double-quick time.  It brought Ed's music to a wide audience and
% facilitated the learning of his tunes.
% 
% Certain stylistic features are characteristic of much of Ed's work,
% for example, his liberal use of "accidentals", his use of the full
% range of the fiddle, and his occasional utilization of keys, such as
% 'G' minor, 'D' minor and 'F' major - keys used comparatively rarely in
% Irish dance music.
% 
% Many of the compositions are what the great Washington fiddler Brendan
% Mulvihill calls "paradise tunes" for fiddlers.  Of course the fact
% that Ed was a fiddler himself made his tunes particularly suited to
% that instrument.
% 
% Ultimately, the success of a composer in Irish traditional music, as
% in other musical idioms, is measured by the extent to which the tune
% maker's compositions are adopted by other traditional musicians.  In
% the final analysis it is musicians who decide what deserves to be
% accommodated and what should be set aside.  And by playing and
% recreating Ed's music they have spoken eloquently of the value
% compositions.  It is the ultimate peer affirmation.
% 
% The great Chicago fiddler Liz Carroll, who selected hornpipe "The Lone
% Bush" for one of her tune selections when she won the Junior All
% Ireland fiddle competition feels that each of Ed's compositions
% represents a complete artistic statement.  "You wouldn't want to add
% anything to the tunes and you wouldn't want to take anything from
% them" she says.  "They are simply perfect."
% 
% The great Baltimore accordion player Billy McComisky feels that all of
% Ed's tunes are quite unique, suggesting his genius didn't follow any
% fixed formula.  "I often heard a tune that I liked and wanted to learn
% and was amazed to find out later that Ed had composed it.  It seemed
% so unlike other tunes of his that I already had heard."
% 
% When winning the Senior All Ireland fiddling title, New York fiddler
% Eileen Ivers choose "Maudabawn Chapel" the tune best suited to
% showcasing her brilliant tech skills and extraordinary inventive
% flair.
% 
% Ed passed away in 1989 at the great age of 90 but his music is still a
% vital part of the lives of those who know and Ioved him.  His funeral
% took place on a bitterly cold January day in Drexel Hill, just west of
% Philadelphia.  Derry fiddler Eugene O'Donnell and myself played for
% the services in the church and the great young musician Seamus Egan,
% who grew nearby Lansdowne was to play the Uilleann pipes at graveside.
% The pipe reeds wouldn't work in the cold so Seamus played the tin
% whistle instead; his hands cover by black gloves with the fingertips
% cut off to enable him to play.  He played a lament for Ed at the
% graveside - one of Ed's own slow airs.  With the steam rising from the
% cold steel of the whistle and the haunting lonesome sound rising into
% the cold grey Pennsylvania sky, the scene embodied in one
% unforgettable moment the continuity of Irish music in America.  Poet
% Michael Doyle captured the spirit of it a poem he wrote dramatizing
% the symbolism of the event.
% 
% HOW COULD REAVY DIE!
% The plumber of the hornpipes is dead.
% The old diviner with the hazel bow,
% That found the Shannon's source
% And made its magic waters flow across the world.
% "NO" she said "he's not dead,
% How could Reavy die!"
% And who are you to say!
% "I am the Wind: The Wind
% That drove the clouds in herds
% Above the Cavan hills and Drexel too
% And whispered to the oats in Barnagrove.
% I am the breeze that kissed O'Carolan's face
% With moisture on my lips
% 'Til notes danced within his mind
% Like flames behind a blind.
% I am the breadth in Reavy's body
% I used to whistle in his mouth
% Merely oxygen upon arrival
% But virgin music coming out.
% He would hold me in the evenings
% And we'd play within his soul
% He tamed me with his reverence
% But I always had to go . . .
% So I bore him sounds of sweetness
% Some were sad and some were glad
% And he composed half a thousand tunes
% About the happy time we had."
% Hush! I whispered. Did you see his fiddle
% On the altar - silent as a stone
% And his body on the grave in Drexel Hill?
% Clamped on the hole in a final salute
% Like an old finger frozen on a flute.
% Did you see the people in a circle
% Standing sadly in the snow,
% When the pipes refused to play in the cold?
% "I was there" she said
% I am the Breath of the earth.
% Every mouth is a wisp of my prayer
% Breathing blessings of incense on the bites of the air
% Because life has the edge on the ice.
% Listen my friend, to the lad with the whistle
% With his finger tips timid and cold.
% See the life that he brings to the old man's tune
% And the leaks that he brings to the eyes.
% See Reavy arise from the holes in the tin . .
% And announce on his grave "I'm alive!"


X: 1
T:Where The Shannon Rises
M:C
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:
N:Where the Shannon Rises. Ed was proud to recall 
N:that the majestic Shannon rose in his county. 
N:For this reason he called his first book
N:of tunes: Where the Shannon Rises.
Z:Joe Reavy
K:D
d|:DEFA defe| (3dcB (3cBA BFFG|AGFE DEFA|dBAF EDCE|
DEFA defe|(3dcB (3cBA BFFG|AGFE DEFA|1 (3Bcd ef fddF:|
[2(3Bcd eg fdde fdde||fgaf dcdf|eBfB fBfe|defg afea|
gfeg fedc|defg afdf|edcd efge|(3f^ga ec dcdA|
(3Bcd AF EDCE||

X: 2
T:Red Tom of the Hills
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:C
L:1/8
Z:Joe Reavy
N:Red Tom of the Hills. Tom came from somewhere 
N:in the Monaghan Hills-no one knew exactly where. 
N:He loved to ceili and "pack it in" 
N:Tom had a "shakey" hand that could have 
N:been a trial to most. But you would never know 
N:it from the way Tom could slap large cuts of butter 
N:on his bread at tea time. Mom Reavy said 
N:Tom's hand was not to be pitied
N:"for it always shook deeper into the butter."
K:G
GF|DG (3GFG DE=FD|GABc defa|gfdc (3Bcd BG|(3ABc AF DE=FD|
G2 dG c=fA^F|GABc defgf|dc B2 (3dcB|cAfA g2:|
Bd|g2 afb gfg bg BFFe|=f a^f gfaf|(3fef af dcBc|
dG (3gfg bf (3gfg|BFBd gdBd|=fefa g^fga|fdcA G2||

X: 3
T:Never Was Piping So Gay
R:reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:2/4
L:1/8
Z:Joe Reavy
N:Never Was Piping So Gay. The concluding line 
N:of O'Driscoll's refrain in Yeats' poem, the 
N:Host of the air. O'Driscoll dreamed that 
N:his wife Bridget was taken by the Host 
N:as he was playing harmlessly at cards with 
N:"the merry old men." When O'Driscoll 
N:awoke from his dream,all that remained of the 
N:dream was the strange unearthly sound of a pipe
N:piping away in the distant air- 
N:"And never was piping so sad, And 
N:never was piping so gay."
K:G
DB,|:G,2 B,D GBdB|cafd cAFA|G2 BG DGBG|AF (3FFF dFcF|
G2 BF DGB,D|Aafd ^cdef|gfgd cBcA |1FGAc BFDB,:|2FGAc BG G2||
f2 gd ^cdBF|FGBd cAFA|GB (3cBA BcdB|cafd ^cdef|
gfgd ^cdBF|FGBd cAFA|BG (3GGG AF (3FFF|BdcA G4 ||
gd ^cdBG|FGBd cAFA|GB (3cBA BcdB|cafd ^cdef|gbaf gd^cd|
BGFG cAFA|BG (3FFF AF (3FFF|BdcA G2||

X: 4
T:The Bog of Allen
R:Reel
C:Ed Reavy
S:The Collected Compostions of Ed Reavy
M:2/4
L:1/8
Z:Joe Reavy
N:The Bog of Allen. Mentioned eloquently in Joyce's 
N:short story, "The Dead" (in Dubliners). This 
N:desolate region reminds us of Yeats' line 
N:"the drifting, indefinite bitterness of life" 
N:Ed has always felt that far too much is made 
N:of Ireland's greenery and not enough said 
N:of her terrible greyness. Ed has lived to 
N:see the whole of Ireland, and he has tried 
N:to get as much of it as he could into his own tunes.
K:G
dc|BF (3AGF G=FDE|=F AF^FDCB,|DG (3AFF GABc|dgfa gfdc|
BG (3GFG G=FDE|[A,2=F2] AF ^FDCB,|DG (3AGF GABc |dged c2:|
Bc|dg (3gfg bfag|dggf dcBc|dg (3gfg ag gfg|defd c2 Bc|
dg (3gfg bgag|dggf dcBA|GABc defa|gefd c2:|

X: 5
T:The Peddlar's Punch
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:2/4
L:1/8
Z:Joe Reavy
N:The Peddlar's Punch. Ed likes a title that 
N:can be taken in more than one way. In this one 
N:you don't know which punch of the peddler 
N:is the most lethal. He might pack quite a 
N:wallop if you cross him, but take just one good sup 
N:of his poteen and you'll be lucky if you 
N:don't take total leave of your senses.
K:G
df|G2 BF DGBF|=F2 f CFAF|G2 GB DGBc|dgfd (3cBA FA|
G2 BF DGBG|=F2 [FA]F CFAF|GABc (3dcB (3cBA |1 GBAF DGGF:|
[2 GBAF DGGA||B2 ge fdcB|A=f (3fef ABCA|G2 ge fd^cd|
gfga gfdc|Bdge fdcB|A=f (3fef ABcA|GABc defa|gbag fdcA:|

X: 6
T:Leddy From Cavan
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Leddy from Cavan. John Leddy and Ed worked 
N:in the plumbing business together and became close 
N:friends over the years. John was proud of 
N:Ed's accomplishments, particularly because both 
N:were Cavanmen. His son John Jr. was a promising 
N:young fiddler who studied with Ed in the fortie
N:John Sr. played the fiddle a bit himself 
N:and had a great love of traditional music.
K:D
DE|:=FEDF EDCE|Dd{e}c defd|[E2C2] {d}cB cAFE|=FEDF EDCE|
DE=FE DA,G,A,|FGAF G2 FG|Ad{e}dc defd|1=cAFE D2 EG:|
[2cAFE DEFA||d2 fd Adfd|c2 ec Gcec|d2 [df]d Adfa |gfge fddc|
defd Adfd|cdef g2 fg|(3agf (3gfe A=cBd|1 ^cAGE DEFA:|
[2 ^cAGE D2 EG||

X: 7
T:The Slaney Bog
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The Slaney Bog. This tune became an 
N:instant favorite with "the
N:New York fellows" back in the forties.
K:D
[F3A3] G FGAB|=cAFA G2 FG|(3AB=c AG FGAg|fdec dfec|
AFAF FGAB|=cAFA G2FG|(3AB=c AF FGAg|fdec dde|f2 gf gfed|
cAAB cdeg | fdfa g2 fg|(3agf (3gfe fddf|(3agf (3gfe fdec|
dfed dAGE|Dddc defg|1(3agf (3gfe dfec|2(3agf (3gfe d4||

X: 8
T:Mairedelia
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Mairedelia. Ed's granddaughter, who is 
N:carrying on the tradition 
N:herself. Maire has won several first 
N:place fiddle medals in local 
N:and New York area feises.
K:D
FG|Addc dcAF|FDA,D FGAB|[Dc]Bcd dAGA|d2 fd ^cAFA|
dcde (3fga ec|dcAF GE=CE|DEFG =cBAF|GE=CE D2:|
fe|defg abaf|e=c (3cBc efge|defg adfa|gece d2 fg|
abaf efge|BecA GE=CE|DEFG dcAF|GE=CE D2:|

X: 9
T:Johnny McGoohan's
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Johnny McGoohan's. Good musicians need 
N:good listeners, and two 
N:of the best listeners where Johnny 
N:and his wife Katey. Johnny would 
N:be waiting on his front porch 
N:hours before "the fellows" were 
N:expected on an evening for a 
N:session of music; and no matter how 
N:long they played, it was never too 
N:late for a few more tunes at 
N:the McGoohans. Tea and skohn did not 
N:mean (as it usually does) that 
N:the fiddling would stop. As Johnny 
N:would put it, "We'll have a bite 
N:to eat and be back at it for a few more 
N:before the night is done." 
N:And Katey would never disagree.
K:G
DF|G2 Bd gdBG|DGBd cAFA|G2 Bd gdBd|cBAG FADF|GABd gfaf|
gedB A2 Bc|(3dcB (3cBA BFAF|1 ACB,A, G,A,B,D|2G2 Ac BFFA|
B2 GA Bdef|gfga gedc|B2 GA B2 eB|dBAF EFFA|B2 GA Bdef|
gfe^c d2 ef|gbag fagf|1 e^cAF G2 GA|2 e^cAF G2||

X: 10
T:The Blessings of Silver
R:Reel
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The Blessings of Silver. Written 
N:for Lou and Mary Quinn's 
N:twenty-fifth wedding anniversary. 
N:Ed loved the connotations of 
N:the title: the blessings of twenty-five 
N:years of marriage, the blessings of a 
N:couple growing old together, and the many rewards 
N:of family life. Ed admired Lou not 
N:only because of his musical talent, but also because he 
N:was a self-made man who set high standards 
N:for other immigrants who followed him to the New World.
K:Bb
g>A|BdBF DGGF|(3d=EF CF DFCF|DFFA Bcdg|{a}g^fdf fdcA|
Bdce dcBA|DGBG ^FDCA,|DFFA Bcdg ^fdcA G3:|g|bfa^f gfdc|
=bcd=e fdcd|bga=e f2 ge|fdcA BG[G,G]g|(3bag (3ag^f gfdc|
=Bcd=e {fg}fefa|gbag ^fag-e|1=fdcA BGG:|2=fdcA BDD||

X: 11
T:The High Hill
M:4/4
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:It's the hill that almost 
N:disappears in the mist, 
N:where the hill people reside. 
N:Stories have been told about it and about
N:those who live there. Their music is 
N:the music of a lost art and their 
N:stories are the tales of a forgotten time. 
Z:Joe Reavy
K:D
FG|:AD (3FED A,DDE|FGAc dcAG|AD (3FED A,EFA|GE=CE G2FG|
AD (3FED A,DDE|FGAB cBce|dcAG FGAF|GE=CE D2 FG:|
Addc d2 cd|ed (3dcd edd=c|AGAB =cBcd|e=c (3cBc ecdc|
Add^c d2 cd | ed (3dcd edd=c|AGAB =cded|1=cAGE DEFG:|
[2=cAGE D2||

X: 12
T:Love At The Endings
M:4/4
L:1/8
C:Ed Reavy
S:The Collected Compostions of Ed Reavy
R:Reel
N:Who can forget the impassioned speech of 
N:O'Killigan in O'Casey's Purple Dust, 
N:especially when he sets out to 
N:woo Avril away from her British lord. 
N:O'Killigan has only the simple 
N:things in his favor. But Avril finally 
N:succumbs to his grand talk as 
N:he urges her "to spit out what's here" 
N:and make a home with him out 
N:in the west of Ireland where they'll 
N:both find "things to say and 
N:things to do, and love at the endings."
Z:Joe Reavy
K:D
FE|:DEFA BcdB|AF (3FDF AFEF|DEFA (3BcB AF|(3GFE (3FED B,DDF|
DEFABcdB|AF (3FEF ABde|fgfe dfec|1 dBAF D3 E:|
[2 dBAF D3 g|fgfe defg|afbf afed|fgfe dfbf|afdf e2 de|
fgfe dcdB|AF (3FEF E2 DE|FABc dfec|1 dBAF d3 g:|2 dBAF D3 E||

X: 13
T:The Gypsy Girl
M:4/4
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:Like Sarah Casey, Synge's "beauty of Ballinacree," 
N:the gypsy girl represents those strange 
N:beauties of the road who have 
N:such devilish wild appeal, unlike any 
N:others we know. And you'll never
N:see the likes of them in any other setting 
N:however far you venture.
Z:Joe Reavy
K:A
ED|CEAc fedc|(3gfe fg aece|(3dcB BA GBEG|Bdgf edcB|
cAED CEAc|dcBc defg|aece dbfg|afec A2:|cd|eaag aece
|dBgB aBgB|Aaag aece|dcBd cAcd|eaag aece|(3dcB Bc defg|
aece dbfg|afec A2:|

X: 14
T:Lane To The Glen
M:4/4
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:This is the lane that led to the glen 
N:fiddler, the same solitary fiddler
N:of Ed's dreams. Ed heard him often in 
N:the New World, particularly in th
N:early morning hours when dreaming reaches 
N:its peak performance. Long after we left Cor
N:own, Ed began to speak more openly of 
N:this "strange fiddler" whose music seem
N:to come to him from all the familiar 
N:shops in the old neighborhood. Whenever 
N:we got a tape of a promising young player 
N:from Ireland, Ed would listen
N: it intently. "He's good," he'd always 
N:remark, "but he's no glen fiddler
Z:Joe Reavy
K:F
DE Fdc=B Aefa|G2 dG BGdG|F2 cF Acde|fedc ABcA|
d^cde f2 ag|fedc AFDE|FEFG AGFG |Add^c d2 DE|
Fdc=B AEFA|G2dB =BGdG|F2 cF Acde|fedc A=BcA|
d^cde f2 ag|fedc AFDE| FEFG (3A=BA DE|FDE^C D2 de|
f2 agfddf|ec (3c=Bc Gcef|f2 ag fede|fdec Adde|
fefg (3agf (3gfe|fedc AFDE|FEFG AGFG|Add^c d2 de|
f2 ag fddf|ec (3c=Bc Gceg|f2 ag fede|fded Adde|
(3fgf df dfdf|(3efe ac cece|(3agf gfe dcAG|FDE^C D2||

X: 15
T:Aughamore
M:4/4
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:Delia's town, just a short distance from 
N:her native village of Aughtaboy.
N:Like so many beautiful Irish places names, 
N:Aughamore could fit nicely in
N:any charming line of verse.  No wonder the 
N:immigrant takes pride in rehearsi
N:the sound of his own native place.  He has 
N:lost much, but certainly not all.
N:No feeling can quite match that stirring 
N:of the heart when an exile 
N:hears his "own place home" spoken on 
N:the lips of those he loves.
Z:Joe Reavy
K:D
FG|ADFA dAFG|ADFA fedc|BEED EFGf|gfed cAAc|
dfdf cece|BcdB AFDF|EFGA B2 (3dcB|1cAGE D2:|
[2cAGE FD D2||fgaf gece|dfed cAAg|fg (3agf bgec|
dfeg fddf|afdf gece|dfed cAGE|FGAB (3ccd ed|
[1 cAGE FD D2:|2 cAGE D2||

X: 16
T:Brian Quinn's
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:Brian is now a very successful physician 
N:in Flemington,New Jersey. He is also a 
N:brilliant piano accordionist and a great lover
N:of traditional music. He is the second of
N: Lou's five boys (two girls), 
N:and they all play music instruments.
Z:Joe Reavy
K:G
GF|DGGB dBGB|A=FFE FGAF|DGGB dBGE|=FGAF DGG^F|
DGGB dBGB|A=FFE FGAF|GABc dgbg|1 fdcA (3Bcd GF:|
[2 fdcA BGGA||(3Bcd gd Bdgd|BABd cA=FA|(3Bcd gd Bdga|
bgfa gfga|(3bag (3agf gfdc|(3Bcd =fd cA=FD|GABc (3dcB (3cBA|
[1BdcA BGGA:|2 BdcA BGGF||

X: 17
T:The Ceilier
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:He would come with his fiddle to "make his ceili." 
N:And he would never come without a new 
N:tune or some new version of an
N:old tune he heard since his last visit. 
N:He could also tell an odd 
N:good story or two.
Z:Joe Reavy
K:G
Bc|d<GBd c=FAc|BGBd gfdc|Bcde =fdeg|^fdBd c=FAc|
BGGF GABc|d<GBd c2 Bc|dgfa gbag|fdcA G2:|
Bc|dggf g2 gf|dgBg dcBc|de=fe f2 fe|d=fcf dcBc|
dggf gfga|(3bag (3agf gfde|=f2 fe fdeg|^fdcA G2:|

X: 18
T:O'Leary's Ireland
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:Yeats wrote about John O'Leary in his poem, 
N:"September 1913." At that time, Ed had just 
N:left Ireland, because his parents saw no 
N:future in the farm and no real opportunities there 
N:for their six children. The poet mourns the 
N:passing of O'Leary in the 
N:1913 poem and the passing, too, 
N:of all the things O'Leary stood for: 
N:"Romantic Ireland's dead and gone, 
N:It's with O'Leary in the grave." 
N:Ed believed in O'Leary-and in Emmet and 
N:Tone. This reel celebrates 
N:their Ireland: O'Leary's Ireland.
Z:Joe Reavy
K:C
GF|EGcG EDEF|GAGE FDDE|FAdA FAde|fedc BGFD|EGcG EGcd|
edcB dcBA|GABc defg|1afdB c2 GF:|2 afdB cde^f|| 
g2 ec gcec|gcec g2 ^fe|de^fg add^c|de^fg adfd|
=cde^f gccB|cde^f g2 fe|1de^fg afdc|BGAB cde^f:|
[2de^fg afdB|cedB cBAG||

X: 19
T:Eleanor Kanes's
M:4/4
L:1/8
C:Ed Reavy
R:reel
N:Eleanor Kane's. Eleanor lives in 
N:Chicago with her husband Jim (Neary).
N:Both are long time friends of Ed. 
N:Eleanor is one of the few pianists in
N:the tradition who play melody as well 
N:as chords. This reel is considered
N:one of Ed's top tunes.
Z:Joseph Reavy
K:G
GFGA B2 GA|Bgfg edBA|GFGA B2 EF|(3GFE (3FED EB,B,D|
GFGA (3BcB GA|Bgfg efga|(3bag (3agf gafg|ecAF GFGA|
BGFG EFGA|Bgfg edBA|GFGA B2 EF(3GFE (3GED EB,B,D|
GFGA B2 GA|Bgfg efga|(3bag (3agf gafg|ecAF GFGA||
Bdef gfga|(3bag af gfed|BGEF GFGA|Bdd^c d2 ef|
(3gfg af gedc|(3BcB Ac BGEF|GABG FGAc|(3BcB AF GFGA:|

X: 20
T:Reilly Of The White Hill
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:Reilly had a wild look and a fondness for 
N:cheating at cards. Before the night was 
N:finished you could bet your
N:last skin of a potato that Reilly would 
N:be stirring up trouble. No one 
N:knew his first name. He was one 
N:of the "White Hill people" from a 
N:region beyond the northern borders 
N:of Ed's farmland.
Z:Joe Reavy
K:D
FG|:Agfe dcdA|B2 (3dcB AFDF|GFGB AFDF|EA,CE DEFG|
Agfe dcdA|B2 (3dcB AFDF|GFGB AFDF|1 EA,CE DEFG:|
[2EDCE D2 g||fdAd fgaf|bged cdeg|fdAd fgaf|
bgeg fdde|fgfe dfaf|gfed cdef|dcdA (3Bcd AF|
[1EDCE D3 g:|2 EDCE DEFG||

X: 21
T:In Memory of Coleman
M:4/4
L:1/8
C:Ed Reavy
R:reel
N:No tune can adequately commemorate this 
N:great fiddler. Ed felt that he 
N:was the last of the great players, 
N:and the only one he ever heard who 
N:had that strange wildness in 
N:his playing that only the great 
N:ones possess. Ed wrote the tune as 
N:if Mike were to play it. Perhaps he 
N:alone had the tools to do 
N:it complete justice.
Z:Joe Reavy
K:Bb
F|DFBd cBGF|DF (3F=EF GFDF|GABc d^fga|(3bag (3ag^f dgga|
(3bag (3ag^f g=fdc|(3=Bcd BG FDCD|FGBd c2 =Bc|c=BcA  _BG G:|
A|B2 fB gagf|=ec (3cBc AFFA|B2 a/2g/2f/2=e/2 fdcA|FGAc BGGA|
B2 fB DBfB|DBfB AF (3F=EF|GABc dbag |d (3cBA BG G:|

X: 22
T:The Glen Fiddler
M:4/4/
L:1/8
C:Ed Reavy
R:Reel
N:Ed was told there lived near the edge of the
N:glen a fiddler unlike any he had ever heard. 
N:To this day he wonders 
N:about that solitary fiddler and the strange 
N:tunes he played beside a 
N:distant glen in Cavan. Although he never saw 
N:him play, Ed has heard 
N:some of those same strange tunes in his 
N:dreams. And they have become 
N:his finest compositions.
Z:Joe Reavy
K:G
DF|G2 dG BGdG|=F2 cF AFcF|G2 dG Bcd=f|ec (3cBc BGFA|
G2 dG BGdG|=F2 cF AFcF|GABc (3dcB (3cBA|1 GBA=F DGG^F:|
[2 GBA=F DGG^f|| g2 dg Bgde|=f2 a^f gfaf|g2 dg Bgdg|
fd (3cBA BGGf|g2 dg Bgde|=f a^f gfaf|gbag fagf|defd cAFA||

X: 23
T:The Highest Hill In Sligo
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:From this county came some of the greatest 
N:fiddlers in the tradition: Coleman, 
N:Morrison, Scanlon, O'Beirne, and 
N:others before them. It is their Sligo, 
N:the Sligo of Ballymote, Gurteen,
N:and Collooney. And it is also the 
N:Sligo of Ben Bulben, that most famous
N:hill immortalized in the verses of 
N:Ireland's Nobel Prize winning poet 
N:William Butler Yeats.
Z:Joe Reavy
K:D
AF|:FdAF G2 EG|FEFD CDEG|FDFA efaf|gece dBAG|
FdAF G2 EG|FEFD GFEG|FAdf ecdB|1 AFGE FDDE:|
[2 AFGE FD D2||fgaf defa|gfga bgeg|fgaf defa|
gbeg ed d2|fg (3agf bagf|(3agf ec dcAG|FAdf ecdB|
[1AFGE FD D2:|2AFGE FDDE||

X: 24
T:KnockBride
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:The Reavys lived half way 
N:between Knockbride and Maudabawn 
N:chapels. They had the luxury of 
N:attending either. And they did.
Z:Joe Reavy
K:D
c|d2 cd fdAB|cBcd dAGA|d^cAB [E2=c2] AG|FGAB cAGA|
d^cde =fdec|dcAF GE=CE|DEFG (3ABA GE|=FDEC D3:|
c|defg ad (3ddd|adfd adfB|=cdef gc (3ccc|g=cec gcec|
defg (3agf (3gfe|fdec dcAG|FGAB cBAF|GECE D3:|

X: 25
T:Shanvaghera
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:The name of Brigid's school in County 
N:Mayo. Like so many other place names in 
N:Ireland it has the sound of the tradition in it.
N:The school no longer stands, but Ed's 
N:tune, we trust, will live on to honor
N:the memory of Delia's little schoolhouse 
N:in the far west of Ireland.
Z:Joe Reavy
K:D
FG | Addc d2 AB|=cAG=F ECCE|DA,DE FEFG|(3ABA G_B Adde|
=fedf ed^ce|d^cA^F GE=CE |DEFG Ad=cA|GE=CE D2:|
A2|defg afdB|[E2=c2] Gc EcGc|defg afdf|e=c (3cBc Addf|
afdf edce|dcAF GE=CE|AEFG Ae=cA|GE=CE D2:|

X: 26
T:Hughie's Cap
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:A favorite story of Ed's tells of 
N:Hughie, an easygoing sort who had a fierce 
N:look when he wore a certain cap. Friends would
N:take Hughie along whenever a fight was 
N:anticipated. One look from Hughie and
N:his cap would silence the most 
N:quarrelsome bullies. One night, as it
N:would happen, Hughie's friends found 
N:themselves in the worst sort of mix and quickly 
N:looked for Hughie's help. But Hughie, 
N:alas, had ventured out this time without 
N:his menacing capeen. "Oh God," one 
N:exclaimed, "somebody go fetch Hughie's cap, 
N:or there'll be hell to pay for all 
N:of us this night!"
Z:Joe Reavy
K:F
FG|A2 de fedc|AF (3FEF DGGB|A2 de f2 df|ec (3c=Bc agfe|
A2 de fedc|AGFE FDEC|A,DDE FGAd|1cAGE F2:|2 cAGE FGA=B||
c2 AF A=BcA|d2 =BG =Bcdf|ec (3cBc agfe|fagf dcA=B|c2 AF A=BcA|
d2 =BG =Bcdf|ec (3c=Bc agfe|1 fdcA FGA=B:|2 fdcA F2||

X: 27
T:Maudabawn Chapel
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:The local chapel in Ed's parish 
N:where he first 
N:learned the simple ways of faith.
Z:Joe Reavy
K:D
EF|(3GFE (3GED ECDB,|G,A,B,D ECEB,|G,A,B,D GABd|gabg eaaf|
gabg efge|dfed Bc d2|(3efg fa gbec|dBA=c BEEF|
(3GFE (3FED ECDB,|G,A,B,D ECDB,|G,A,B,D GABd|
gabg eaaf|gfga (3bag (3agf|gfed efge|dfe=c BcdB|
A=cBA GEED|:E2 BE eEBE|GABG AFDF|EDEF GFGB|A2 (3FED A,DFD|
E2 BE eEBE|BAFA B^cde|f2 (3agf gfec|1dBA=c BEED:|2dBA=c BEED||

X: 28
T:The Time We Had In Bansha
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:The tune commemorates the day the local 
N:fife and drum corps went to Bansha.
N:It happened over seventy years ago,
N:but Ed remembers it as yesterday.
Z:Joe Reavy
K:D
A,|:D2 FA =cBA=F|ED^CD EFGE|D2 (3FED FAdB|cege fdde|
fgaf dfed|=cAG=F EC (3CB,C|DEFG AB=cA|1 G=FEG FDDA,:|
[2 G=FEG FDDg:|fgag fddB|=c2 gc acgc|fgaf gfge|cdeg fddf |
a^gaf gfge|cded cAGE|D2 (3FED FGAB|1 =cAGE =FDDg:|2=cAGE D3||

X: 29
T:The Wild Swans at Coole
M:4/4
L:1/8
C:Ed Reavy
R:reel
N:Ed wanted one of his tunes to commemorate 
N:this favorite poem of his. He didn't know 
N:much Yeats, but what he knew
N:he appreciated-particularly 
N:the last verse of "the Swans"
N:But now they drift on the still water, 
N:Mysterious, beautiful; 
N:Among what rushes will they build, 
N:By what lake's edge or pool, 
N:Delight men's eyes when I awake someday, 
N:To find they have flown away.
Z:Joe Reavy
K:D
dc|:Ad (3edc d2 AB|cBcG E=FGE|DA, (3A,G,A, =CA, (3A,G,A,|
=FEDB, =CA,G,_B,|A,2 =FE FED=C|A,B,=CD =FGAB|=cd^fg agfa|
[1 ge^ce d3 c:|2 ge^ce d2 Ac||d2 Ad fgaf|e=c cBc efge|d2 Ad fgaf|
gfag eddc|defg abag|e=c (3cBc efge|a^ga=g (3efg ed|
[1=cAGE D3 c:|2=cAGE D3 E||

X: 30
T:Brefni O'Reilly
M:4/4
L:1/8
C:Ed Reavy
R:Reel
N:Is one of the landed names of 
N:Cavan and of old Brefni before it. The 
N:O'Reillys have spread far and wide to wherever the
N:immigrant has ventured in his many meanderings. 
N:This title could well be our
N:proud county's battlecry, or the triumphant 
N:chant of a Cavan footballer
N:scoring a winning goal at Croake Park.
Z:Joe Reavy
K:G
DF|:G2 dG FDCD|GAcd fgaf|gd (3dcd cAGA|dcAG FDCD|G2 dG FDCD|
GAcd fgaf|gbaf fagf|1dcAF DGGF:|2dcAF DGGA||B2 ga fagf|
dcBc A=F (3FEF|GABc defg|agfa gfga|(3bag (3agf gfdc|
BGdG A=F (3FEF|GABc dgbg|1 gdcA BGGA:|2fdcA BGGF:|

X: 31
T:Ann From Monaghan
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed's favorite aunt on his mother's side. She was a 
N:lively story teller who could capture 
N:the hearts of the children who heard
N:her speak. And she knew everyone who lived 
N:in her region. Ed never quite
N:finishes talking about this fascinating 
N:woman of the tradition. Much of
N:his musical inspiration has been kindled 
N:by recollections of what Aunt 
N:Ann said many years ago.
K:D
c|:d2 fa gece|dged dAA=c|BGGB AFFA|GFED CDEF|D2 FA E2 GB|
ABce defg|afge fded|cAGE FD D:||:g|faa^g afdc|dfa=g fdd=f|
egg^f ge=cB|=ceg=f ecce|d2 eg ^f2 af|g2 bg ecAf|
(3agf (3gfe (3fde fded|cAGE FD D:|

X: 32
T:The Lad From Balinrobe
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Written to honor the memory of Steve Murphy, 
N:Joe's father-in-law, who was born outside 
N:Balinrobe in the Neale in the early nineteen hundreds.
N:Steve was a spirited man and a true friend.
K:D
D2 (3FED FGAB|=cdeg fd^ce|dcAG FGAc|dcAF GECE|D2 (3FED FGAB|
cBcd cAGA|dcdB =cBcA|1GE=cE D^CA,C:|2GE=cE D2|:(3ABc|defg addc|
Addc defd|=cdef gccB|=cdef gfeg|f2 ec dcAG|FGAB =cdeg|
(3fgf e^c dcAF|GECE D2:|fe|:defg abae|cdef gage|defg abaf|
gece d2 fg|abag efge|defd AB=cA|FGAB =cBAF|1GE=cE D2 z:|
[2GE=cE D^CA,C||

X: 33
T:The Hunter's House
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:It would be furnished with every evidence 
N:of the prize game he caught. 
N:It would be a place where the best men 
N:would choose to gather and listen 
N:to Ireland's finest players. This is the 
N:setting Ed provides for this 
N:most popular of his tunes.
K:G
A|:Bd (3dcd =cAFA|G2 BG dGBG|Bd (3d^cd =cAFA|GBAG FDCA,|
DGBG cAFA|BGAF GABc|defg agfd|cAFA G2 GA:|B2 gB aBgB|
(3BBB gf edcB|A2 ad bdbd|(3ddd af gfed|B2 gB aBgB|
(3BBB gf edcB|cBAg fdBd|cAFA BGGA|B2 gB aBgB|
(3BBB gf edcB|A2 ad bdad|(3ddd af gfed|B2 gB aBgB|
(3BBB gf edcB|cBAg fgaf|gdBd cAFA:|

X: 34
T:The Letterkenny Blacksmith
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Written to commemorate a legendary 
N:smithy with the strength of 
N:"the Hair O'Brady," who could toss a 
N:stubborn six hundred pound 
N:jackass clear across a stream. 
N:Neil Dougherty was the
N:first to tell Ed of this hulk of a 
N:man who handled horses as if they were
N:just a simple sack of meal.
K:G
DF|:G2 BG AGFD|GABG EA,A,F|G2 BG A2 (3B^cd|ed=cA FDEF|
G2 BG AGFD|GABG EA,A,2|G,A,B,D EFGA|1(3BcB Ac BGGF:|
[2(3BcB Ac BGGA|:(3Bcd gd Bdgd|^ceae ce a2|B=cd gd Bdge|
fdcA BGGA|(3Bcd gd Bdgd|^ceae ce a2|(3efg fa gbag|
[1fdcA BGGA:|2fdfd cAFA||

X: 35
T:The Way to Shercock
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:When Ed returned with us to 
N:Ireland for a visit in 1969, 
N:we were amazed at his recall of 
N:the old roads in his native region.
N:He knew which ones stood and 
N:which were changed. He never lost his 
N:childhood sense of direction. To 
N:this day, he could still show us the 
N:way to Shercock.
K:G
c|:d2 Ad fdAB|[E2=c2] Gc EcGc|d=cAG FGAF|G2 E=C EFGB|
A2 FA FGAB|[E2=c2] Bd cAGB|Addc defd|cAGE D3:|
c|:defg afdB|=cdef gedA|defg adfa|ge^ce d2 fg|
adfa g=ceg|fedc dcAG|1FGAB cded|cAGE D3:|
[2FGAB (3ccd ed|cAGE D3||

X: 36
T:The Whistler of Rosslea
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed was to a fair once in Rosslea and heard 
N:this whistler. He had a 
N:whistling range that could 
N:easily match the register 
N:of a fiddle or flute. And he had 
N:all the embellishments of a great 
N:traditional player, too. He sold fish 
N:in the market places and charmed 
N:his customers with choice 
N:tunes-many of his own making.
K:D
GABc (3dcB cBA|=fdcA BGGE|=FGAB c2 Bc|(3dcB (3cBA BGAF|
GBAc Bdce|dgfa gfdc|(3Bcd =fd c2 A^F|1 G2 AF DGGF:|
[2G2 AF DG G2|:g2 dg Bgdg|gbag fdde|=f2 cf Afcf|
=fedc AG=FA|Gggf gfdc|Bcde fdcd|gfde =fdcA|
[1GBAF DG G2:|2GBAF DGGF||

X: 37
T:The Shoemaker's Daughter
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed wrote the tune in the fifties, 
N:but it did not become popular in Ireland 
N:until the seventies, when it 
N:was record by Seamus Connelly, 
N:the well-known Galway fiddler.
K:G
DF|:G2 DG BcdB|G=FDE FDCD|G2 DG Bcde|=fdBd c2 Bc|
dg (3gfg dc (3cBc|Bcde =fdcd|g^fdc BcdB|FGAF G2:|
ef|:g2 dg bgdg|gfdg fdcd|g2 dg Bgdg|f2 (3cBA BGGf|
g2 dc BGGE|^FGAB c2 Bc|dg (3gfg de=fd|cA^FA G2:|

X: 38
T:The Fisherman's Island
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed believes that fishermen long 
N:to have their own island so 
N:they can live surrounded by the sea they love. 
N:This reel celebrates their quest for 
N:that elusive island home. It is 
N:one of Ed's most popular compositions.
K:D
B,|:A,DFA d2 cd|BA^GB AFDF|(3GFD (3FED CDEF|GBed cBAg|
fd (3dcd edAc|dcdB AGFD|EFGA cded|1cAGE FDEC:|
[2cAGE FD E2|:fd (3ddd AF (3FEF|DFAd fdAf|gece bece|
dfed cAGE|DF (3FEF Adfd|Bg (3gfg edcB|Adfa gbed|
[1cAGE FD D2:|2cAGE FDEC||

X: 39
T:The Cuilcagh Mountains
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The origin of the majestic Shannon 
N:is in this small remote mountain 
N:range in Cavan. Ed took pride in this 
N:and for that reason called his 
N:first book of tunes: Where the Shannon Rises.
K:G
DF|:G2 AG FDCD|G2 Ac defg|agfa gfdc|(3ABc AG FGAF|
G2 dG FDCF|G2 Ac defg|agfa gfdc|1AGFA G3 F:|
[2AGFA G3 f||g2 ag fdcd =fefg ^fdcd|fgag fdcA|
GBAF DG G2|gfag fdcd|cdfa g2 fg|agfa gbag|=fefg ^fdcA||

X: 40
T:The House of Hamill
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed's mother was a Hamill and 
N:they came from Monaghan. They had
N:a fondness for music and the 
N:traditional way of life.
N:Ed learned many tunes from Mom, who 
N:as an old-time "lyddler." She played
N: no instrument, but she could hold a 
N:tune with the best in her region.
K:D
D|:EBBA BFAF|EBBc dAFD|EBBA (3Bcd ef|gfec dAFD|
EBBA BFAF|EBBc dAFD|EBBA (3Bcd ef|gfec dAFA||
BE (3EEE dE (3EEE|BE (3EEE dAFA|BE (3EEE (3Bcd ef|
gfec dAFD|BE (3EEE dE (3DEE dAFA|BAGF GBef|gfec dAfA||
B2 ^GB eBGB|BA^GB ADFA|B2 ^GB eBGB|=gfec dAfA|
B2 ^GB eBGB|BA^GB ADFA|BA=GF GBbf|gfec dAFD:|

X: 41
T:The Day We Went To Kells
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed was quite young when it happened, 
N:but he remembers vividly the festivity of 
N:the occasion-music of course, and young 
N:and old together to celebrate the trip 
N:to some far off place they had only dreamed of going.
K:G
GA|:BG (3GFG AGFD|BGBG cAFA|BG (3GFG A2 Bc|dfed cAFA|
BG (3GFG AGFD|BGBG cAFA|BG (3GFG A2 Bc|dfed dAFA||
(3Bcd gf afgB|(3ABc eg fdcA|(3Bcd gf afge|fdcA BG G2|
(3Bcd gf afgB|(3ABc eg f2 fg (3agf ge fdeg|fdcA BG G2:|

X: 42
T:The Flight Of The Wild Geese
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:It could be a title that recalls the flight of those 
N:Ulster patriots or just a celebration of 
N:one of nature's recurring themes: the 
N:departure of a wild flock to some distant 
N:shore. The tune is superbly built and 
N:fitting to honor both occasions.
K:D
FG|A2 FA gfec|dBAF E2 FG|(3ABA FA BGBc|dBcA G2 FG|
AF (3FEF EFGA|BGFG E2 ef|gece bged|1cdfe d2:|
[2cdfe defg||a2 fd DFAG|FAdf afdf|g2 e=c Gceg|
fagf eAce|a^gab afdf|gfga gece|(3fga fd bged|
[1cdfe defg:|2cdfe d2||

X: 43
T:Pat Clark's
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed learned some of the basics of 
N:fiddle playing from this 
N:old Cavan friend who died in 1969 
N:(just a short time after our visit there). 
N:It was also through Pat that Ed 
N:(and his brother George) joined the local 
N:fife and drum corps in Cootehill. The tunes 
N:he learned stimulated an interest 
N:in the old marches. Pat also taught 
N:him a few traditional tunes that he 
N:himself had mastered on the fiddle.
K:D
D2 (3FED FAAc|defd  gbeg|fedf ecAF|GBAG EDCE|
D2 (3FED FAAc|defd gbeg|fedf edce|1dBAF DA,G,A,:|
[2dBAF D3 g||fedf ecAF|GBAF GEEF|DFAF EGBG|
FAdf e2 fg|afbf gfec|defd AGFA|(3GGG BG (3FFF AF|
[1EDCE D3 g:|2EDCE DA,G,A,||

X: 44
T:The Ireland We Knew
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Much has come and gone in 
N:Ireland since the early 
N:days of this century. Nothing remains 
N:the same in a world that has long 
N:since entered its most advanced technological 
N:age. But poets dream their 
N:dreams, and the heart of every Irishman 
N:longs for the Ireland he once knew.
K:G
dc|BdcA BGG_B|A=F (3FEF ABcA|BdcA G2 A=F|DCB,C DE (3=FGA|
BdcA BGG_B|A=F (3FEF CF (3FEF|GABc (3dcB (3cBA|BdcA BGGA:|
Bggf gd^cd|A=F (3FEF DEFD|Bggf gdBd|cBdc BG=FD|Ggfg agfg|
ecBc A=F (3FEF|GABc dcBc|dg (3gfg fdcA:|

X: 45
T:Chapel Gate
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The Chapel Gate is Knockbride's, 
N:the family parish. Many a good wedding 
N:party started there featuring the wedding 
N:fiddler and his charming selection 
N:of nuptial tunes.
K:A
A2 EA cdef|gfga gede a^ged cdeg|aged cA=GD|E=GAB =cBAG|
E=GGF G2 AB|^cde^g aged|cA=GB A2 z:|cd|eaag a2 ag|
ea (3aga bgag|edBd =gfgf|(3ef=g dg edcd|eaag a2 ag |
(3ba^g (3a=gf gfed|cdef gfec|dB=GB A2 z:|

X: 46
T:The Light in Dennis Munion's Window
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Dennis lived along the "starry" lane. 
N:His place was near Aunt Ann's home. 
N:As children, Ed and his brother George 
N:would often walk Ann home when night 
N:came on. Ann had keen eyesight and was 
N:able to see Dennis' place long before 
N:the boys could. She said she could 
N:always tell the time of night it was by 
N:"the light in Dennis Munion's window."
K:G
AG|FGAF BDB,D|GBAc BGGA|B^cdf eB=cA|E2 AG FDB,D|
(3GGG BG AGBG|GABc defg|(3agf ge defd|cAFA G2:|
GA|B2 ef gfed|(3BcB GB ABGA|B2 ef gfga|(3bag (3agf gfed|
B2 ef gfed|eBBA B^cdf|(3efg fa gbaf|gedB G2:|

X: 47
T:The Donegal Doughertys
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:In memory of the many talented Dougherty 
N:families. First, of course there 
N:was Neil and his son John, who were 
N:from the Glenties. Neil, a very close friend 
N:of Ed's and a gifted fiddler, was 
N:a special talent. Ed praised Neil as 
N:"a little known master of his trade." 
N:The tune also comemorates Charlie 
N:Dougherty and his wife Mary ("dear people"), 
N:no relation to Neil. And finally 
N:the tune recalls John, the tinker, 
N:and his musical family from the same region of 
N:the Glenties.
K:D
D2 FA dfaf|gece dcAG|FEFG A^GAB|cBcG ED^CE|
DEFD G2 FG|ABcA dcde|fgaf cded|1 cAGE EDCE:|
[2cAGE EDDc||d2 fd fafd|cAGF EFGE|d2 fd fafd|
cdeg fddf|(3agf (3gfe fdec|dcAG FEFG|(3AAG AB cBcd|
[1faeg fddc:|2(3efg ed cAGE||

X: 48
T:The Village Of Cong
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:This is the village of the Quiet Man, where 
N:Sean Thornton (John Wayne) squares of against 
N:Squire Danaher (Victor McLaglen) in one of 
N:Hollywood's legendary donnybrooks. Ed loved the 
N:quaintness of this village and the people he met there.
K:G
A|GFDE FEFD|G2 dG eGdG|=FEDC B,CDE|F2 cF dFcF|
G^FGA GFDA|GABc defg|(3agf (3gfe d^cde|=fd=cA G3:|
f|gfgd BGGe|=fefc AFF^f|gfga (3_bag ag|fgaf dfga|
(3_bag (3agf gfde|=fage fdcA|G2 (3ABc dBcB|GE=FE DEFE||

X: 49
T:The Loughs of Cavan
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Cavan, "the place of caves," is 
N:also a region spotted with lovely lakes 
N:like Lough Sheelin. Ed likes to refer 
N:to his Cavan birthplace as "my old lake country home."
K:G
GFGB AF (3FEF|dBcA BGAF|GBAF DEFA|dBcA BGAF|
GFGB AF (3FEF|dBcA BGAF|GBAF DEFA|dBcA BGGf|
g2 ag fddf|eccB cdef|gbag fafd|cBAc BGGf|
g2 ag fddf|eccB cdef|gbag fafd|cedc (3Bcd cA||

X: 50
T:The Exile
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The sad gaiety of this tune celebrates 
N:the longing of the exile for his native 
N:home. No one quite understands the 
N:irony of a happy farewell as well as the poet 
N:in Frank O'Connor's translation from the Irish: 
N:What happier fortune can one find, 
N:Than with the girl who pleases one's mind; 
N:To leave one's home and friends behind 
N:And sail on the first favoring wind.
K:G
FE|DGBd cAFA|DGBd g2 fg|afdf gfed|^cdBG FGAF|
DGBG B,DFA|GABd c2 Bc|(3dcB (3cBA fdBd|cAFA G:|
ef|g2 bg fgaf|^cdeg fddf|eccB cde^c|defd =cAFA|
g2 dg bgdg|fed^c defg|(3agf (3gfe BABd|cAFA G:|


X: 51
T:The Passing Fancy
R:Reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Only the great tunes survive. But in 
N:our time we also welcome the charming 
N:lift of a passing fancy. The first fresh 
N:strains of a well-wrought tune make 
N:us all a little bit better for the hearing of it.
K:G
DF|G2 Bd cAFA|GBAG FDB,D|G2 Bd (3cBA FA|defd cAFA|
G2 Bd (3cBA FA|GBAG FEFA|GBAc (3B^cd eg|1fdcA BGGF:|
[2fdcA BGGf||gfeg fedf|gfga bgef|gfeg fedf|ecAG FGAf|
g2 eg fedf|gfga bgeg|(3bag (3agf agfg|1ecAc BGGf:|
[2ecAF G2||

X: 52
T:Charlie Mulvihill's
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Named for a very popular musician who was 
N:born in the Bronx of Irish parents. 
N:He probably knew more tunes than any musician 
N:in Ed's memory. He had a great love 
N:for the tradition and this was reflected 
N:in his sensitive renditions of the countless tunes he knew.
K:D
A2 FA DAFA|G2 E=C EFGB|(3ABA FA DAFA|defd ^cAGE|
A2 FA DAFA|(3GGF E=C EFGB|AB^Cd fded|cAGE DEFG:|
d2 fd fafd|e=c (3cBc efge|d2 fd fafd|cAGE EDDc|
d2 fd fafd|e=c (3cBc efge|defg abag|eaag eddc:|

X: 53
T:Molly on the Shore
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Fritz Kreisler once recorded a setting 
N:of this popular tune. Ed re-wrote the first 
N:two parts and added an original third 
N:part. That third part is one of his 
N:finest compositions.
K:G
GF|DGGB d2 cA|d2 cA FGAF|DGGB d^cde|=fd=cd AGG^F|
DGGB d2 cA|d2 cA FGAF|DGGB d^cde|=fd=cd AGGA|
dg (3gfg afgf|dfcf dfcf|dg (3gfg afgf|d=fcd AGGA|
dg (3gfg afgf|dfcf dfcf|(3bag (3agf gfde|=fdcA G2 G^F|
DGGB dcAG|D=FCF DFCF|DGGB d^cde|=fdcd AGG^F|
DGGB dcAG|D=FCF DFCF|DGGB d^cde|=fdcA AGGA|
g3 a fe^fa|gfga fdcf|gfga fgag|^fdcd AGGA|
g3 a fe^fa|gfga =f2 ga|(3_bag (3agf gfde|=fdcA G2||

X: 54
T:Killour House
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The home of Matty and Bridie Murphy 
N:in the Neale (County Mayo). Ed visited there 
N:in '69 with Joe and his wife Mary Jo, 
N:(niece of the Murphys). The house was 
N:traditionally Irish: no hot water, 
N:no "fancy plumbing," only a full 
N:measure of love and genuine 
N:Irish hospitality. The Murphys follow the 
N:simple life and this left us 
N:with fond memories long 
N:after we returned to the States. 
N:May Killour House live 
N:on in this traditional tune 
N:dedicated to them by Ed.
K:G
dc|BGFG Bdgd|BGFG cAFA|B^cdf e=ceg|fafd =cAFA|
(3B^cd AF GDB,D|G,B,DG Bdeg|(3fga fd cAFA|GBAF G2:|
ga|bagf gdBd|cBcA FGAF|GBdB ceag|fgfd ^cdef|
gbaf gdBd|cBcA FGAF|GABd cAfA|GBAF G2 ga||
bagf fdBd|cBcA FGAc|BcdB ceag|(3fga e^c d2 ef|
(3gfg bg dBGB|cBcA FGAF|GABc (3dcB (3cBA|GBAF G2||

X: 55
T:Whitecross
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:A title Ed picked for Lou Quinn, 
N:a lifetime close friend who comes from 
N:a place near Whitecross in County Armagh. 
N:It was mainly through Lou's encouragement 
N:and support that Ed continued to 
N:write traditional tunes for the 
N:last sixty years.
K:G
B,C|DG (3GFG G,A,B,C|DEFD (3GFG GA|BGdG Bcde|=fdBd Af (3FEF|
GABc de=fd|g^fdB c2 Bc|dg (3gfg dcBd|1cA=FA G2:|
[2cA=FA G2 GA||\
K:Bb
B2 df =egcA|B2 dB AcFA|B2 df =egcA|
(3Bcd cA BGGA|B2 FB DBFB|DBFB AF (3F=EF|GABc d2 CA|
BdcA BGGA|B2 df =egcA|B2 dB AcFA|B2 df =egcA|
(3Bcd cA BGGA|B2 FB DBFB|DBFB AF (3F=EF|
GABc (3dcB (3cbA|BdcA BGG=F||

X: 56
T:The Tinker Cart
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:This is Ed's setting of an old tune 
N:that is seldom heard today. It's one of those 
N:lovely slow reels that has the right 
N:touch in the most important spots. Ed's "fixing" 
N:of it in this setting makes it atruly superb fiddle tune.
K:G
D|GABd cAFG|AGGF GABc|(3dcB AG FGAc|BGAF GFED|
GABd cAFB AGGF GBdg|fdcA FDEF|1AGGF GDEF:|2AGGF G2 Bd|
gage fgfd|(3cBA Bc dcdf|gage fgfd|(3cBA dB c2 ef|
gage fgfa|gfed ^cdfg|(3bag fd cAFG|AGGF G2 Bd||
gage fgfd|(3cBA Bc dcdf|gage fgfd|(3cBA dB c2 ef|
gage fgfa|gfed ^cdfg|(3bag fd cAFG|1AGGF GDEF||

X: 57
T:Pat Boyle of Glencolumkill
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed met many fiddlers through the years, 
N:but Pat was special. He came to Corktown 
N:early in the century and encouraged 
N:young Irish musicians who settled there. Some of 
N:Ed's best compositions were 
N:inspired by the playing of Pat Boyle.
K:D
DEFG A=cBd|=cAG=F EC (3CBC|DE^FG A=cBd|=cAGE (3DED D^C|
DEFG A=cBd|=cAG=F EC (3CB,C|DE^FG A=cBd|=cAGE (3DED DA|
def^g (3aga fd|cdef g2 ec|def^g (3aga fd|cA=GE FDDc|
def^g (3aga fd|cdef g2 Bc|dfe=g fdcA|GBAG (3FGF (3EFE||

X: 58
T:The Glen Reel
M:4/4
L:1/8
C:Ed Reavy
R:reel
Z:Joe Reavy
N:Glens are not always pictures of springtime 
N:greenery. Ed remembers them much as 
N:Nora did in Syngeis Shadow of the Glen- 
N:"and seeing nothing but the mists rolling 
N:down the bog, and the mists again, 
N:and they rolling up the bog, and hearing nothing 
N:but the wind crying out in the bits of 
N:broken trees left from the great storm, and 
N:the streams roaring with the rain." 
N:Ireland is the terrible beauty of the dark glen 
N:in the depth of its wild wind and storm.
K:Bb
GF|:DGGA B2 AG|Agfd cAGF|DGGA B2 AG|AdcA AGGF|
DGGA (3BcB AG|Agfd cAGF|DGGA B2 AG|1AdcA AGGF:|
[2AdcA AGG^f||gbag fdd=e|(3ff=e fd cAGA|gbag fdd^c|
dg^fa gfga|(3bag (3ag^f gfd_e|(3=ff=e fd cAGF|
DGGA B2 AG|1AdcA AGG^f|2AdcA AGGF||

X: 59
T:John Roarty's
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:John had a taproom in West Philadelphia 
N:in the thirties. Ed on occasion 
N:played there for John and his friends. 
N:John himself played the fiddle at the Philadelphia 
N:dance halls (29th and Market Sts.) back in the twenties.
K:C
AG|EGAB cGAG|EGAB c2 AG|EGAB cGAc|d2 ed d^cAG|
EGAB cGAG|EGAB c2 AG|EGAB cGAc|d2 ed ^cde^f|
g2 ec Ace^f|gece abag|ecgc abag|ed^ce d=ca^f|
g2 ec Ace^f|gece abag|ecgc abag|ed^ce d=cAG||

X: 60
T:The Market Day
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Always a special day in the old tradition.
K:D
A||dcAG FDDE|FEFG AB (3=cBA|dcAG FDDg|fdec dfec|dcAG FDDE|
FEFG AB (3=cBA|d^cAG FDDg|fdec d2 (3ABc|d2 fd adfd|
cdeg fdec|d2 fd adfd|cdeg fddc|defg bged|
cdef g2 fg|(3agf (3gfe fded|cdeg fddc||

X: 61
T:The Starry Lane to Monaghan
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Barnagrove is near the Monaghan border. 
N:On a starry night, so the story goes, one 
N:could look down this lane and see clear through 
N:to the neighboring county. Ed's mother came 
N:from Monaghan. To this day, he has a special 
N:fondness for Monaghan people.
K:G
EF|GEBE eEBE|GFGB AFDF|GEB,E GABd|(3efg fg ed^cd|
BEEF GEB,E|GFGB AFEF|GABG FGAF|1EFGA BEEF:|
[2EFGA BEEf||gbef gbeg|fdd^c defa|gbef g2 fe|
defd Beef|geBA ^GABd|^cdeg fddf|(3gab eg fe^ce|
[1dBAF E2 ef:|2dBAF E2||

X: 62
T:Lisnathara
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed says it was a legendary place in Ulster 
N:where musicians gathered once a year 
N:"to revel and make grand music. 
N:"This reel is the fulfillment of a young boy's dream.
K:Bb
GA|BdBF DGGA|(3Bcd BF D=EFA|G^FGA BABc|dg^fa gfdc|
=Bcd=e fdeg|^fd=Bd cAFA|(3=Bcd BF D=EFE|1=FGAc =BGGA:|
[2=FGAc =BGGg||(3bba gf gfdc|Bcde =fdcd|gabg ^fgaf|
dggf gfga|(3bag (3agf gfdc|_BABd cAFA|(3=Bcd B=F DCB,C|
[1=FGAc BGGg|2=FGAc BGGA||

X: 63
T:The Old Players
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The tune commemorates the great fiddlers of 
N:the past: Michael Coleman, Kipeen Scanlon, 
N:and a host of unheralded ones who went to the 
N:clay unrecognized. The history of Ireland is 
N:a fiddle. It alone can convey the sounds and 
N:feelings of sad gaiety that characterize the 
N:plight of that long-troubled land.
K:C
BG|EAAB ^cded|^cdec dBGD|EAAB ^cde^f|ge^fa gefd|
^cde^f gfge|a^ge^c d2 cd|ede^f gfge|dBGB A2:|
e^g|a2 ^gb aged|^cdef gfef|g2 ^fa gfef|g^fgd BGG^g|
a2 ^gb aged|^cde^f gfge|(3aa^g a^f =gfge|dBGB A2:|

X: 64
T:The Last Tune
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:It may not be the last one, but it certainly 
N:will do as a fine conclusion to a story that began 
N:almost a century ago on a country farm near the 
N:town of Cootehill in County Cavan.
K:C
AB|c2 GF ECCD|B,CDE FDB,D|G,A,B,C DE^FG|AB (3ccd edcB|
c2 Bd cGEG|FEDC B,CDF|(3EED EG ^FGAc|1Bcdf eccB:|
[2Bcdf ecc^f||g2 ^fa gece|=fedc BGGB|AFFE FGAc|
(3Bcd eg ^fdBd|g2 ^fa gece|=faaf dBGB|AFFE FGAc|
[1Bcdf ecc^f:|2 BcdB cGAB||

X: 65
T:The Mountain Home
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:There is a mountain road that leads to this secluded home 
N:in the Irish hills. The hill people that live there cherish 
N:the old values. The exile secretly weeps for what is gone 
N:forever: his long lost mountain home.
K:G
GA|BcdB GFGB|A=FcF dFcF|BcdB GFGB|AGFG AGGA|
BcdB GFGB|A=FcF dFcF|BcdB GFGB|AGFA G2:|
Bc|dggf gbag|fd^cd fd=cA|dggf gbag|fdcA G2 AF|
Gggf gbag|fdcd =f2 fg|ag^fa gbag|fdcA G2:|

X: 66
T:Charlie McDevitt's
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Named for a keen observer of the music. He was one 
N:of the many Donegal fiddler friends of Ed, who came 
N:often to exchange tunes and old stories. Charlie had 
N:a great head for the music, but not the hands to match. 
N:Trying to finger a difficult passage he was often heard 
N:to exclaim, "They won't go down." But this did not deter 
N:Charlie from becoming an important influence in the 
N:tradition at that time. He affectionately called Ed, 
N:"the Doctor".
K:D
ed|cAAG FDEF|GDEF G2 AB|cBAG EDEG|Addc dfed|
cAAG FDEF|GDB,D G2 AB|cBAG EDEG|Addc d2:|
ed|cdef gfge|a^gaf =gfge|cdef gfge|fage d2 ed|
cdef gfge|a^gaf =gfed|(3Bcd ef gfge|fage d2:|

X: 67
T:Crossmaglen
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:I'm told that the road from Carrickmacross to Crossmaglen 
N:is lined with your worst sort of rogues. The verse 
N:perhaps comes from some old cantankerous Irishman 
N:who probably never himself walked this road. If he had, 
N:he would surely have been charmed with the likes of what he 
N:saw and heard. (Another tune to delight Ed's close friend 
N:from Armagh: Lou Quinn).
K:F
de|fedc ADDE|FDAD FDDF|Ec=Bc ECCE|Ddd^c d2 de|
fgdf edce|(3ddc AF EDCE|DE^FG AdcA|GECE D2:|
de|fefg afdf|ec (3cBc Gceg|fefg afdf|ed^ce d2 fg|
afdf ed^ce|(3ddc AF EDCE|DE^FG AdcA|GECE D2:|

X: 68
T:The Drover's Journey Home
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The drover was a part of the tradition that Ed felt 
N:should be remembered. He drove his herds across the cold, 
N:dark fields of that ancient land much as his father did 
N:before him. A part of that story is told beautifully 
N:in Padraic Colum's poem "The Drover."
K:D
D (3gfd dfed|cAGA cdec|dcAG FGAE|FEDB, CA,G,B,|
A,2 DE =FD=CD|=FEFG A^cde|(3fga gf dcAF|1GE=cG EDCE:|
[2GE=cG EDD^c||d2 ad bdad|(3ddd ag efge|d2 ad bdad|
=cAGA cdec|d2 ad bdad|(3ddd ag efge|abag efge|
dB=cG EDD^c||d2 ad bdad|(3ddd ag efge|d2 ad bdad|
=cAGA cdec|d2 ad Adad|(3ddd ag efge|abag efge|
dB=cG EDCE||

X: 69
T:Monaghan Hills
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:One of his tunes had to pay tribute to these hills; 
N:not the Fork Hill region that Paddy Kavanaugh celebrated, 
N:but the same nearby hills of Monaghan that Ed's mother 
N:and his Aunt Ann spoke of in childhood stories. Ed's 
N:mother played no musical instrument, 
N:but she could "lyddle" all the great 
N:tunes of her region. This love of the tradition she 
N:passed on to Ed.
K:G
DG (3GFG BGAB|cABc dfeg|(3fga fd ^cdec|AB=cA FGAF|
G2 Bd cAFA|GABd cABc|(3dcB (3cBA fdBd|1cAFA G3 F:|
[2cAFA G3 f||g2 bg BcdB|cbag fdde|f2 af ABcB|
cbag fddf|g2 dg Bgdg|cBAG FGAB|(3dcB (3cBA BGAG|
[1FGAc BGGf:|FGAc BGGF||

X: 70
T:Captain Tom Connolly's
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:For an old New York friend of Ed's and a fine fiddle 
N:player himself. This fulfills a promise to Tom made 
N:several years ago.
K:G
Bc|dBgB cAFA|DGBG FGAF|DGBd gdBd|cBAG FGAF|
DGBG B,DFA|GABd cABc|dg (3gfg defd|cAFA G2:|
ef|g2 dg Bgdg|Bcde fdde|fgaf defa|gfge fddf|
gbag fagf|d^cde fefg|(3agf (3gfe defd|cAFA G2:|

X: 71
T:Tales Of Barnagrove
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:What we feel in Paddy Kavanaugh's verses we can also 
N:hear in Ed's tunes: the simplicity of country people, 
N:their old roads and villages, and the nearby rising 
N:Monaghan hills. Tales of Barnagrove tells how Ed 
N:felt about his early native experiences in that 
N:region of Ireland.
K:A
cd|eA (3cBA EAcd|eAce aecd|eA (3cBA agec|dB=GB d2 cd|
eA (3cBA EDCD|EAcd ef=gd|ea (3aga =gece|dB=GB A2:|
cd|ea (3aga bgag|ea (3aga edcd|eg (3gfg agfg|(3ef=g fg gdBG|
ea (3aga bgag|edcB cdef|gfge a^gec|dBGB A2:|

X: 72
T:The Side Of The Road
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The talented, wayward travelling people made it their home. 
N:We weep to tell the sad loss of talent among those wild 
N:wanderers of the road. Some of the best fiddle players in 
N:Ireland came from their ranks.
K:G
ef|gfed BEEF|(3GFE B,E G,EB,E|GFGA BABd|(3efg fd e^def|
gfeg fedf|edBG FDB,D|EDEF GFGA|(3B^cd AF E2:|
ef|gfga bgeg|fd (3d^cd Adfa|geBA ^GABg|fe^df e2 g2|
bagf agfg|ed^cd BGEF|GFGA BABd|(3efg fd e2:|

X: 73
T:Fiddlers Mountain
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Fiddlers need to be heard, so why not a place apart, a mountain 
N:just for them. And where is this spot to be where the great tunes 
N:of Ireland are commemorated? If it is only in the mind of man, 
N:it is place enough for those of us who seek it.
K:C
AB|cGAG EGGB|cGAB cded|cGAG EGGB|cedB (3AGA AB|
cGAG EGGB|CGAB cded|cGAG EGAB|cedB (3ABA AB|
cde^f gfge|dBGB dedB|cde^f gfge|a2 (3ba^g a=ged|
^cde^f gfge|dBGB dedB|^cde^f gfge|1(3a^ga (3bag a=ged:|
[2a2 (3ba^g a2||

X: 74
T:The Old Camerionian
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed's setting of a very old tune. Just how much he altered the reel 
N:over the years is hard to say now. Some of his later compositions are 
N:traceable to the fine strains of this old tune.
K:F
A=B|cF (3FFF cFAF|cF (3FFF cFAc|=BGG^F GABc|dG (3GGG dcA=B|
cF (3FFF cFAF|cF (3FFF cFAc|=BGG^F GABc|dG (3GGG dcAG|
Ffeg fdcA|Ffeg fdcA|Gg^fa gbag|=fage fedc|Ffeg fdcA|
Ffeg fdcf|egcg ^fade|1=f2 ag fed=B:|2=f2 ag f2||

X: 75
T:The Hills Of Old
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ireland has no mountains, only high hills. And these 
N:hills are older than the centuries of man, and 
N:older too than the many tunes he fondly fashions.
K:F
de|fagf dcAF|G2 AG FDCD|FEFG AGFG|cAGc Adde|
fagb agfe|1dfec dcAG|FGA=B cdeg|fdec Adde:|
[2dfec dcAE|FGA=B c2 AF|G=BAG FDDe||f2 af Afaf|
Afaf gece|f2 af Afaf|gece fdde|f2 de (3efe ce|
defd cAGA|FEDE FGAc|fdec Adde:|2FEDE FGA=B|cAGE D2||

X: 76
T:Green Island Home
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Many a green island rests along the rim of the far oceans; 
N:but for those Irishmen that cherish the memory of their own 
N:dear land, there is only one Green Island Home.
K:D
AB|=cBcA G2 fg|Addc AddB|=cBcA GBAG|FD=CG, A,DDB|
=cBcA G2 FG|AB=cA d^cde|f2 df edce|1dcAG FDDB:|
[2dcAG FDDe||fgaf dcdf|e=ccB cdeg|fgaf d^cdB|
^cAGF Addf|abaf gage|fedc defg|(3agf (3gfe fded|
[1cAGE D2 de:|2cAGE D2||

X: 77
T:The Creel Of Turf
R:reel
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed got the "strains" of this tune 
N:many years ago from Jimmy McElroy, 
N:a County Monaghan flute player. The title 
N:comes from Synge's verse 
N:about Patch Shaneen and Maurya 
N:Prendergast. Shaneen grieves 
N:the passing of Maurya, his wife, 
N:who travelled the roads with 
N:him "west in Carnareagh"- 
N:"She'd pick her bag of carrageen 
N:Or perries through the surf, 
N:Or loan an ass of Foxy Jim
N:To fetch her creel of turf." 
N:The poor couple had little, but they loved 
N:much. The poem and tune make a 
N:good match for anyone seeking 
N:a glimpse of the old Ireland.
K:D
dc|AD (3DDD AGAG|E=CCD EDEG|AD (3DDD AGAG|EDCE DcBc|
AD (3DDD AGAG|E=CCD EDEG|AGAB cBcA|1GE=CE D2:|
[2GECE D3 F||GAcd efed|cAGA cAAF|GAcd efed|
cAGA c2 [E2c2]|GAcd efed|cAGA cBcd|edec dedc|
aG (3ABc dedc||

X: 78
T:The Crossroads Dance
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:It was a popular place for holding 
N:dances in the old tradition. Ed was not 
N:much of a dancer, but he went along 
N:just the same in hopes that an 
N:"odd good player might be manning the fiddle."
K:G
e/2f/2|gfe dcB|A2 E E2 F|GFG DEF|G2 D D2 f|
gfe dcB|A2 E E2 F|GFG DEF|G3 G2 f||gfe dcB|
e2 E E2 F|GFG DEF|G2 D D2 f|gfe dcB|e2 E E2 F|
GFG DEF|G3 G2 A|:B^cd efg|dcB A2 B|cBA a2 g|
fdf gdB|GBd gfg|dcB A2 B|cBA a2 g|1fdf g2 A:|
[2fdf g2 f:|

X: 79
T:Both Meat and Dhrink
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:"Old Pat Kane" was a Wexford 
N:man who worked on a rich man's 
N:estate in the Philadelphia suburbs. 
N:Ed visited Pat and his wife 
N:in the early seventies, a year 
N:or so after his visit to Ireland. 
N:Pat worked the farm much as he did 
N:in the Old Country and he had 
N:great flavor in his language. He 
N:liked his bottle of "Porther," 
N:whenever he could get it. He 
N:often exclaimed that man needed 
N:nothing else to sustain himself 
N:in this life. "It is more 
N:than a drink," he was heard to 
N:say-"it's both meat and dhrink."
K:G
DGB d^cd|edB cAF|GBd gfg|bag fga|geg fdf|
edB cde|fdf agf|1gdB cAF:|2cAF G2 g||
gfg gfg|dBG FGA|=fef fef|ag^f agf|gfg bag|
fga gfd|cAF DEF|AGF G3:|

X: 80
T:The Women of Monaghan
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:For the Hamill women and the 
N:other lovely people that Ed 
N:knew as a child in neighboring Monaghan.
K:G
B/2A/2|GEF GAB|g2 B f2 B|efg fdf|e^ce dBA|
GEF GAB|g2 B f2 B|edc BcA|1G3 GBA:|2G3 G2 f||
gfe fga|f2 d def|gfe fga|b2 e e2 f|gfe def|
agf g2 f|edB cBA|G3 G2 f||gfe fga|f2 d def|
gfe fga|b2 e e2 f|gfe def|agf gfe|dcB cBA|G3 GBA:|

X: 81
T:The Castleblaney Piper
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed said that this was a great place for pipers 
N:in his day. Ed is not a great lover of the pipes, 
N:but he had a special feeling for these great pipers 
N:of his childhood days when he visited the Hamills 
N:and family friends in County Monaghan.
K:D
A/2G/2|FDF ABc|dfd AGF|GBG EFG|FDF GFE|FDF ABc|
dfd cde|faf gec|edc d2:|e||fed gfe|fed cAF|
GBG FGA|BGE E3|f2 d g2 e|fed cde|faf gec|edc d2 e||
fed gfe|fed cAF|GBG FGA|BGE EFG|FDF ABc|dfd cde|
faf gec|edc d2|| 

X: 82
T:Swans Among The Rushes
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed loved to watch their flight and see them 
N:"paddle in the cold companionable streams or 
N:climb the air." He watched them, too, when 
N:they laid their eggs among the rushes in the lake 
N:waters near the family farm in Barnagrove.
K:G
f|gfg agf|gdB e2 d|cBc EFG|AGE D2 B,|DGB BAB|dcB cBc|
fed cAF|GBA G3:|Bcd efg|fdf ecA|GBd eag|fdf g3|Bcd efg|
fdf ece|fef agf|gba g2:|

X: 83
T:Two Sisters
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:For two of Ed's grandaughters,
N:Sheila and Eileen Steskey.
K:G
D/2F/2|G2 B F2 A|GBd gdB|G2 B F2 A|cAG FDB,|d2 B F2 A|
GBd gdB|cec BdB|AFA dBA:|Bd^c d2 e|dBd gdc|Bd^c d2 B|
AFA cBA|Bd^c d2 e|dBd gdB|cec BdB|AFA cBA:|

X: 84
T:The Bearded Fiddler
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Farley was a great tramp fiddler who roamed 
N:through Monaghan and Cavan on fair days. His 
N:daughter sold the family wares as he played 
N:to the delight of their customers. Ed recalled 
N:one day that Farley played so beautifully that 
N:the daughter threw her arms around him in a 
N:burst of spontaneous joy. Ed never forgot the 
N:wholesome feelings expressed there, nor did 
N:he fail to recognize the life-warming 
N:secrets shared by those who love the 
N:music of Ireland.
K:D
A/2G/2|FAd fAF|GBd gAG|FAd fAF|GEF GFE|FAd fAF|
GBd gag|fed edc|d3 d2:|f/2/g/2|afd Adf|gec Afg|
afd AGF|G3 GAG|FAd fAF|GBd gag|fed edc|d3 d2:|

X: 85
T:The Town Of Coothill
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed's own town in Cavan, just a short distance from his 
N:native village, Barnagrove. He was amazed at how little 
N:the town had changed when he visited there in '69 - 
N:"Only the lane where the fish was sold has 
N:changed," he remarked. "It's still the same old Cootehill."
K:F
FAc faf|ece gfe|bgf ece|gfe fcA|FEF Acf|
eGA BAG Adc BGE|FGF F3:|Acf Acf|dBB B2 A|
GBd GBd|ecc cde|faf ebg|ece gfe|fcA BGE|FGF F3:|

X: 86
T:Packy's Place
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Owned by Ed's favorite neighbors, the Clerkins. 
N:Their son Packy was running the farm when we made 
N:our visit there in '69.
K:G
f|gdB GFG|ABG FED|gdB GFG|Ad^c def|gdB agf|
bag faf|gdB cAF|GAG G2:|A|B^cd def|gfe d=cB|
BGB dBG|cBc ABc|BGB def|gdB ecA|fdB cAF|GAG G2:|

X: 87
T:Aughtaboy
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:The village the Morleys came from Delia (Brigid), 
N:Ed's wife, was born there February 18, 1902. The old 
N:house still stands after these many years, though no 
N:one now lives there. Four of the eight children are 
N:still living: Delia and Margaret here in the States, 
N:and Jim and Eileen in England.
K:G
D|GAG BGB|d^cd gdB|GFG BAG|FDF AGF|GDB, G,B,D|
DAF FEF|BdB cAF|AGF G2:|A|Bdg fdf|ece dBG|Bdg fdf|
agf g2 A|Bdg fdf|ece dBG|c/2c/2AG FEF|AGF G2 A||
Bdg fdf|ece dBG|Bdg fdf|agf g2 a|bag faf|gdc BAF|
GBB FAA|cAF G2||

X: 88
T:Gene O'Donnell's
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Written for Eugene O'Donnell, the talented 
N:dancer and fiddler from Derry. Gene has been a close 
N:friend of Ed's since the fifties.
K:G
E/2F/2|GFG AGA|Bef gfe|BFE EFG|FDF AGF|EB,E GFG|
BAB efg|ed^c dAF|1GEE E2:|2 GEE E f|eBe gfg|
bge efg|fdd d^cd|fdf agf|eBe gfg|bge efg|
ed^c dAF|GEE E2 f|eBe gfg|bfe efg|fdA FAd|
fdf agf|gbg faf|gfe Bcd|ed^c dAF|GEE E2||

X: 89
T:The Swallow's Nest
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed could not explain why certain tunes became 
N:jigs and not reels or hornpipes. His simple 
N:retort was: 
N:"I guess a jig was just meant to be a jig."
K:D
A/2c/2|dcd gdc|dAG FED|FAd cAF|E=cE GFE|DFA dAF|
EGB efg|f/2f/2df gec|edc d2:|f/2g/2|a<ba fdf|
gag ecA|fef gfg|ecA GFE|DFA dAF|EGB efg|
[1f/2f/2df geA|edc d2:|2f2 f gec|edc d2||


X: 90
T:The Irish Washerwoman
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:JoeReavy
N:The original setting of this all-too-familiar tune
N:has been thoroughly played out. Ed's 
N:setting elevates the strains of the old tune and 
N:gives it more dignified footing. There is no Kiss 
N:Me, I'm Irish in Ed's version of this popular 
N:St. Patrick's Day tune.
K:G
d/2c/2|B<GB DGB|DGB dcB|cAG FGA|fef gdc|BGB DGB|
DGB dcB|cAG FGA|BGF G2:|f|gdB GFG|gfg bag|faf d^cd|
fdf agf|efg dBd|gfe fdB|cBc Adc|BGF G2 f||
gdB GFG|gfg bag|faf d^cd|fdf agf|g2 g efg|agf gdB|
[1cBc def|gag fdc:|2CBC Adc|BGF G2||


X: 91
T:The Neale
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Dedicated to the people of this quaint region 
N:of Mayo. Ed was the guest of his daugher-in-law's 
N:family (the Murphys) when he visited the Neale in 1969. 
N:He was charmed by the simplicity of their life 
N:and the realization that many of his own 
N:childhood values still remained there. 
N:If his plan had been to return to Ireland, 
N:the Neale, he felt, would have been a fitting 
N:place to settle. But the exile seldom returns in 
N:the end, and so the Neale too becomes 
N:another part of his ultimate dream.
K:A
g|aec aec|fga ecA|aec aec|B2 c dcB|aec aec|
fga Bcd|gfe dBG|AGA A2:|d|c2 a ecA|cBc ecA|
c2 d e2 f|gfe dB^G|A2 a ecA|cBc efg|aec dBG|
ABA  A2:|

X: 92
T:The Girl From Killencare
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed has long cherished a love for the 
N:written and spoken word. He might have 
N:been a poet if his educational opportunities 
N:had taken a different route. One of his earlier 
N:verses talks of this lassie from Killencare: 
N:Though frost may come and the winter's snow, 
N:And bitter winds down the mountains blow, 
N:I'll see you here again, my dear, 
N:When spring comes 'round to Killencare.
K:G
A/2G/2|FDF ABc|dAF BGE|FDF ABc|dfd cAG|FAF A,DE|
DFA cBA|ged CAC|edc d2:|f/2g/2|afd dcd|Bcd efg|
fdf ged|cEF GFE|DFA dAF|EGB efg|fdf gec|edc d2:|

X: 93
T:The Traditional Jig
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed took one of his favorite reels (McKenna's) 
N:and changed it into his extraordinary little jig. 
N:Any musician who has tried this feat knows how 
N:frustrating it can be. I'm reminded of a story 
N:once of one who tried to change a tune and failed. 
N:All too quick to take credit for his own 
N:latest "improvement" of an old tune, our would-be 
N:composer waited anxiously for the praise he 
N:so confidently expected. A crafty old judge of 
N:tunes himself was only too happy to deliver the 
N:final judgment: 
N:Son, if you left out what you put in 
N:and put back in what you left out, 
N:it'd be a good tune.
K:G
B/2c/2|dBG GFG|Bcd =fdB|cA=F FEF|CFA cBc|dBG GFG|
Bcd ^fga|gfd cAF|GAG G2:|B/2c/2|dgg gfg|bag agf|
cde fef|agf agf|dgg gfg|Bcd ^fga|gfd cAF|GAG G2:|

X: 94
T:Tubber Fair
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Synge told us of the things of this world the 
N:world of "Red Dan Sally's ditch and drinking 
N:in Tubber Fair." Being a fiddler of sorts himself, 
N:John would have relished this little jig in G. 
N:He would have thought it a fitting tune to 
N:be played at Tubber Fair.
K:G
G/2A/2|BGA B2 f|gef gfe|BdB AGA|BGE EFG|BGA B2 f|
gef gfe|BdB AGA|BGF G2 A||BGA B2 f|gef gfe|BdB AGA|
BGE E2 F|GEG FEF|EFG B^cd|edB AGA|BGF G2 e/2f/2||
gba gfe|Bd^c def|g2 f gfe|Be^d e2 f|gbg faf|gfe def|
gfe BcA|BGF G2 e/2f/2|gba gfe|Bd^c def|gbg afd|
Be^d e2 f|gbg faf|gfe def|gfe BcA|BGF G2||

X: 95
T:Beyond Ballybay
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:As a boy, Ed was fascinated with the thought 
N:of going to Ballybay "and beyond." He remembered 
N:it as a lovely town, "full of grand music 
N:on a market day."
K:D
A,|DFA dcd|fed cAF|DFA CBC|=cBA GEC|DFA dcd|
DFA cBc|d=cB cGE|1DED D2 A:|2DED D2 f/2/g/2||
afd dcd|Bcd efg|bge efd|ced cBA|1afd dcd|
Bcd efg|fed gec|edc d2 f/2g/2:|2fed gfe|
agf bag|fed cAG|FDD D2||

X: 96
T:Lad O'Beirne's
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Dedicated to Ed's friend Lad, who recently passed on. 
N:He was one of the most talented people to come from 
N:Ireland.
K:G
Bc|(3dcB gd BdcB|Agfa gfge|dfec BdcA|
FBAG (3fed (3CB,A,|G,B,DG BGDB,|
CEAB cedc|BGBd cAFA|1(3GFG BA G2:|
[2Ggfa gfga||bgdg bgdf|afdf afdf|
gafg efdA|FBAG (3FED (3CB,A,|G,B,DG BGDB,|
CEAB cedc|BGBd cAFA|Ggfa gfga|bgdg bgdf|
afdf afdf|(3gag (3fgf (3efe dB|
(3cBA (3BAG (3FED (3CB,A,|G,B,DG BGDB,|CEAB cedc|
[1BGBd cAFA|(3GFG BA G2:|2BABd cBAG|
(3FED (3CB,A, G,2 z||

X: 97
T:Brigid Of Knock
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Named for Ed's wife, who came from Knock. 
N:She was part of everything he did. To me, 
N:she represents the warmth, beauty, and love 
N:that inspires each of us to value what 
N:we are and what we came from.
K:G
(3DEF|GFGA Bdgf|agfc ed^cd|BGDG cAFG|
ABcB AG (3FED|G,B,D=F ECEG|FDFA GBAc|
Bgfd cAFA|G2 GF G2:|fg|afdg bgfa|
gfge dcBd|ceAc BcdA|FAcA FD (3CB,A,|
G,B,D=f ECEG|FDFA GBAc|Bgfd cAFA|
G2 GF G2:|

X: 98
T:Muster Grass
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The other half of Connemara Skies (cf. 99 ).
K:G
B,A,|G,B,DG B2 cB|cAFA G2 FG|A^GAB cBA=G|
FGAF D2 Bc|dBGD G,B,DG|cAFA c2 dc|
(3BdB GB ADFG|AGGF G2:|Bc|dggf gedc|
BGBD gdcB|Aaa^g aba=g|fbaf gefd|bagf gdBG|
FGAB cbag|fedB cAFG|AGGF G2:|

X: 99
T:Connemara Skies
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:It is one of Ed's many exquisite hornpipes. 
N:Nice to pair it with Munster Grass. Both titles come from a 
N:line in Yeats: "full of Munster grass and Connemara skies."
K:D
FE|DA,G,A, FA,G,A,|GFGB ADFA|dAFA Bdgf|
(3edc (3dcB (3AGF (3GFE|DA,G,A, FA,G,A,|
GFGB AdcB|Adfa gece|dfaf d2:|cd|edcd fage|
fd (3dcd bagf|edcd efgf|(3edc (3dcB AGFG|
fdcd fage|fd (3dcd bagf|edcB Acec|dfaf d2:|

X: 100
T:Tara Hill
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:A little-known hornpipe of Ed's that could 
N:in time become one of his most popular compositions.
K:G
(3def|gd^cd BGDC|B,DGB edcB|cAFD ^CDFA|
(3cBc ed cAFA|BGDC B,G,B,D|GABd cAFA|
fed^c =cAFA|GDB,D G2:|(3def|gdcd edcd|
eaa^g a2 ef|gfge fdcA|Gggf gedc|BGDC B,G,B,D|
GABd cAFA|fed^c =cAFA|GDB,D G2:|


X: 101
T:Killala Bay
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:For the great bay in the west, where so many 
N:of Ed's friends came from.
K:G
DG|BGBG AGFD|GABG B^cdf|eBcA FGAF|GBAG (3FED (3CB,A,|
G,B,DG BGFG|EA^GA cABc|dfeg fdcA|1GBAF G2:|
[2GBAF GFGg||bgdB GFGf|afcA FEFA|B^cdf egfa|
gbag (3fed (3cBA|GFGA BGBG|ABcA B^cdf|
(3efg fd cAFA|1GBAF GFGg:|2GBAF G2||

X: 102
T:Cavan's Own
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed is truly Cavan's own, as is this 
N:delightful dancing hornpipe.
K:A
ED|CEA,C EAce|dcBa gece|(3fga ec dcdf|edcd BGED|
CEA,C EAce|dcBc defg|aece dBGB|(3ABA GB A2:|
cd|eAce aece|fd (3dcd bagf|eAce aecA|BE (3EDE BEGB|
cAce aece|fdcd bagf|eAce dBGB|(3ABA GB A2:|

X: 103
T:Quinn of Armagh
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:For Ed's longtime friend Lou Quinn, who resides in 
N:Flushing, New York. He has been Ed greatest supporter 
N:through the years. Lou helped to publish Ed's first book 
N:of tunes in 1971.
K:D
d2|DFA<d EAce|dfeg fdBd|ceA=c BGEG|(3GED A,D GECE|
DFA<d EAce|dfeg fdBd|cbaf gece|(3ddd f2 d2:|
fg|afdf Adfa|gfge cdec|dfba gfed|(3cdc (3BcB AGFE|
DFA<d EAce|dfdg fdBd|cbaf gece|(3ddd f2 d2:|

X: 104
T:Jim Erwin's
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:To Ed's friend, Jim Erwin, a \
N:talented dancer and dance instructor 
N:from New York. This is one of 
N:Ed's most popular hornpipes.
K:G
Bc|dBGB dgfg|ecAG FGAB|cBAG BGFG|(3ABA (3GFE ECB,C|
DB,G,B, DGFG|ECA,C EGAB|cAFA DAFA|G2 FA G2:|
Bc|d^cdf gdcd|eA^ce agfe|dgBd ceAc|BdGB ADFA|d^cdf gdcd|
eA^ce agfg|bgdB Afag|fecA G2:|

X: 105
T:The Gypsy's Return
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:He roams the land and drinks 
N:his fill-and still returns 
N:in triumph to the one who waits 
N:patiently to share his love. 
N:Gypsy fiddlers died young, but 
N:not before they 
N:tasted the fullness of life.
K:A
g|aecA EAce|fdBA GABd|cAEC DfBc|dfba gfed|
ceag agce|d2 ba gfed|cAEc dBG|(3ABA GB A3:|
d|cAEc dBGB|ecAc fdBa|gece dcBA|GABc dBGB|
cAEc dBGB|ecAc fdBg|aece dBGB|(3AGA GB A3:|

X: 106
T:The Lone Bush
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:There was a bush that bloomed 
N:alone outside Ed's farmhouse. 
N:Many times he has wondered about 
N:that bush and why it survived 
N:when all around it perished. 
N:It has meant many things to 
N:him and has always been 
N:a life-sustaining thought".
K:G
DF|GcBd (3CBC dB|GABd c2 Bc|dgfa gfdc|BABG FDCD|
GcBd (3cBc dB|GABd c2 Bc|dgfd cAfA|G2 AFG2:|
Bd|gdBd =fcAc|gdBd f2 (3de^f|gb=fa g^fde|
(3fga ge fdcA|GcBd (3cBc dB|GABd c2 Bc|dgfd cAFA|
[1G2 AF G2:|2G2 g2 G2||

X: 107
T:Sean Quinn's
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Lou's oldest son, a very talented musician who plays 
N:professionally in the New York area. He also helped us 
N:produce Ed's first volume of tunes in 1971.
K:G
dc|BGBd (3gag fg|eBcA FEDC|B,DGB cBAG|FGAB A2 dc|
BGBd (3gag fg|agfa gdBd|cAFA cAFA|G2 B2 G2:|
AB|cAfd agfa|gfga gdBd|cBAG FEFG|(3ABA (3GFE DCB,A,|
G,B,DG Bdgd|bgdB cAFA|(3Bcd FA DAFA|G2 F2 G2:|

X: 108
T:The Man From Barnagrove
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The child is the father of man. And this same child is 
N:the man from Barnagrove.
K:G
EF|GFGA BABd|e^def gfga|(3bag af gfed|(3Bcd BG FDB,D|
EDEF GFGA|BAGB d2 ef|gbaf gfed|B2 e^d e2:|
ga|bged Bdga|bge^c d2 ga|(3bag (3agf gfed|
BAFB [F2A2] BA|GBEF GFGA|(3Bcd ef gfga|
bagf gfed|B2 e^d e2:|

X: 109
T:The Doctor's Cross
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:I'm sure he had many a cross 
N:to bear, but this title really 
N:commemorates the crossroads located 
N:near the old country doctor's 
N:place outside Cootehill. 
N:Ed tried to find these crossroads 
N:during his '69 visit, but to 
N:no avail. The road had been changed 
N:some years back, and the doctor 
N:had long since gone from the old 
N:place that Ed knew as a child.
K:D
FG|ADFA d2 eg|(3fgf ec dAFA|GEB,E G,EB,E|FEDF E2 FG|
ADFA d2 eg|(3fgf ec dAFA|fdAf gece|1d2 dc d2:|
[2d2 dc d3 e||fefa gfge|fefd ecAg|(3fgf df gfed|
c2 A^G A3 g|fefa gfga|bgec dAFA|fdAf gece|
[1d2 dc d3 e|2d2 dc d2||

X: 110
T:The Blackrock Shore
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Aunt Ann used to sing the 
N:Maid of the Blackrock Shore, and 
N:she never missed a verse. Ed recalls part 
N:of the song, but these lines stuck in him memory: 
N:For seven long years
N:I waited on the maid 
N:from the Blackrock Shore. 
N:Ed loved the old songs that were sung by the people of his region.
K:D
g|fedc dAFA|GFGF EDCE|DFAF EGBG|FAdf gfed|
fefd gfec|defd AGFA|GFEG FEDF|1EDCE D3 z:|
[2EDCE D2 EF||GFED CEA,C|DFAc d2 cd|edef gfga|
bgec dAFA|dfaf bgec|defd AGFA|GFEG FEDF|
[1EDCE D2 EF:|2EDCE D3||

X: 111
T:Big Willie's Wedding
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Willie was a sight to behold and his wedding was 
N:not in the grand tradition. But everyone 
N:in Barnagrove loved Big Willie.
K:D
FE|DAFA DAFA|BGEd cAFA|fdAf gece|dfed (3cBA (3GFE|
DAFA DAFD|A,CEF GECE|DFAc Bdce|d2 dc d2:|
ed|cdeg fdcd|fgaf bged|cBAB cdef|gbed (3cBA (3GFE|
DFAc BGEd|cAFA fdAf|gecA ^GAce|d2 dc d2:|

X: 112
T:The Street Player
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Dedicated to Tom and Jim McCafferty, the great 
N:street players who played in towns of Cavan 
N:and nearby Monaghan in the early years of 
N:this century.
K:D
FE|DFAd (3fgf ec|dcde fdAF|GFED CDEF|GBAF EA,CE|
FDA,D FGA=c|BGBG ^cdeg|fagf edcd|(3efe d2 d2:|
eg|(3faf dc dfaf|gbed cdeg|fg (3agf gfed|
(3cBA (3BA^G A=GFE|FDFA dAFA|GFGB edcB|Adfa gecd|
(3efe d2 d2:|

X: 113
T:The Fair Grounds
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:For the many fairs held in the old days. 
N:The land still feels special on the grounds 
N:where those grand old festivals were held. 
N:(A tune Ed dedicated to his old friend Tom Caulfield.)
K:A
E2|AcBd c<EGB|Aceg aece|dfBd ceAc|dBcA GEDG|
AcBd c<EGB|Aceg aece|dfBd ceAc|B<EGB A2:|
ce|agab aece|dcdf ecAc|defd cdec|BcdB GEDG|AcBd cedf|
efge aged|ceAc (3BcB GB|Aaec A2:|

X: 114
T:Reavy's Grand Hornpipe
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:As excellent as the other tunes are, some feel 
N:that Ed's reputation will stand because of the high 
N:quality of his hornpipes. If this dance form were 
N:more fashionable today among the musicians, Ed would 
N:certainly be much more widely acclaimed. No one has 
N:written so many exquisite hornpipes, and the 
N:Grand Hornpipe surely is a fitting example of 
N:Ed's talent for this rhythmical dance form.
K:D
AG|FGAB =cAFA|G2 GF G2 EF|GEcd edcB|Adfa gece|
fedc dAFD|EFGE CDEG|FAce gece|d2 dc d2:|
fg|a^gba fdAf|gfge cdec|dfaf efge|cdef gece|
(3a^ga ba fdAf|gecA ^GABd|cdef gece|1d2 dc d2:|
[2(3dcd AF D2 DE||

X: 115
T:The Road To Drum
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed took this road once when he was young. 
N:The boys were on holiday to attend a session of music 
N:in Drum. It was the first time Ed heard flutes 
N:and fiddles playing tunes like Trim the Velvet, 
N:Rakish Paddy. It was an early awakening to the 
N:music for him that he never forgot.
K:D
D2 FA dAFd|c2 Ad cdeg|(3fgf ec dcAF|GECE A,ECE|
D2 FA dAFd|c2 Ad cAFG|(3AAA ce gece|1d2 dc dBAF:|
[2d2 dc def^g||a2 ^gb afdf|(3aaa ^gb afdf|g2 fa gece|
Aece Aec^g|a2 ^gb afdf|(3aaa ^gb afdf|gece bece|
[1d2 dc def^g:|2d2 dc dBAF||

X: 116
T:Kipeen Scanlon's Hornpipe
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Reputed to be one of the fiddlers who influenced 
N:Michael Coleman. Mike once told Ed that Kipeen was the 
N:best player in Ireland. A sad thing it is that none 
N:of his playing was ever recorded for the younger 
N:generation of players.
K:G
dc|(3BdB GB (3ABc FA|GBDC B,DGF|EGcB Acfg|(3agf (3gfe fdcA|
(3Bcd (3Bcd cAFA|GDB,D GDB,D|EcBc DAFA|G2 B2 G2:|
Bc|(3ded Bd bgdB|(3cdc Ac agfe|(3dgd Bd (3cdc Ac|
(3BdB GB ADFA|(3Bcd (3Bcd cAFA|GDB,D GDB,D|
EcBc DAFA|G2 B2 G2:|

X: 117
T:Cavan Town
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:One of Ed's favorite towns. He wanted to celebrate
N:its memory before he had completed life's work. 
N:May Cavan Town live on wherever this hornpipe is played.
K:D
e|fece dAFA|EFGE CDEG|FDFA ^GABD|cdef gece|dfAd FADF|
EFGE CDEG|FAce gece||d2 dc d3 e|fece dAFA|EFGE CDEG|
FDFA ^GABd|cdef gece|dgAd FADF|EFGE CDEG|FAce gece|
d2 dc d2||fg|afdA FAdf|gecA EAce|fgaf efge|cdef gece|
(3fga dc dfaf|(3efg cA EAce|ba^ge cABc|1d2 dc d2:|
[2d2 dc d3||

X: 118
T:Neil Of The Glenties
R:Highland
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed's close friend, who died some time ago. 
N:He was a true traditional player who knew how 
N:to "brighten" tunes in the right places. 
N:Ed called him "a little known master of his trade." 
N:He was a superb player of highlands and a great 
N:Donegal fiddler.
K:D
df (3edc dFFA|GEEG FDD<c|df (3edc dFFA|GEAG FDD<c|
df (3edc dFFA|GEE^G AFD<c|df (3edc dFFA|GECE D2 D2|
fgaf defd|cdef gece|fgaf defd|AFGE FD D2|fgaf defd|
cdef gece|(3fga ec defd|AFGE FD D2:|

X: 119
T:Lovely Lough Sheelin
R:Highland
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The lake near Ed's home in County Cavan.
K:D
D2 FA dAFD|E2 CD A,ECE|D2 FA dAFA|fdec dBAF|
D2 FA dAFD|E2 FA dAFD|E2 CE A,ECE|D2 FA dAFA|
fdec d2 dg|f2 af defa|gbed dAAg|f2 af defa|
gbec d2 dg|f2 af defa|gbed cAAg|(3fga ec defg|
(3agf ge fd d2:|

X: 120
T:The Fiddler's Wife
R:Highland
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:She deserves to be recognized-if only for 
N:the many long patient hours she waited 
N:when tea was held for "just one more tune."
K:D
A|FABc (3dcd AF|GEFD EA,CE|DFAc dfed|cAGE D2 DA|
FABc (3dcd AF|GEFD EA,CE|DFAc dfed|(3cBA (3GFE D2 Dg|
fece dAFA|f2 gf edce|fdec dfed|cAGE D2 Dg|
fece dAFA|f2 gf edce|fdec dfed|(3cBA (3GFE D3||

X: 121
T:Castle Bray
R:Highland
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed didn't write many highlands, 
N:but the ones he wrote are
N:superb compositions.  And this 
N:is the best of those highlands
K:A
A2 (3Bcd edcA|A,B,=CE DB,=G,B,|A,2 (3B,=CD ED^CD|
EAce dB=GB|A2 (3Bcd edcA|A,B,=CE DB,=G,B,|
A,B,=CD EA^ce|dB=GB A2 Ad|ceac dcBA|GABa gedB|
ceac dcBA|GABd cAAB|ceac dcBA|GABc d2 fg|
(3aba (3gag (3fgf ec|dfec Aaga:|

X: 122
T:Lovely Bannion
R:Highland
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:A very quaint modal highland.  
N:Ed says it is not his tune,
N:but he has been wrong before.  
N:It has the earmarks of a Reavy tune:
N:surprising accidentals, unusual 
N:cadences, and a brilliant
N:matching of the two parts.  
N:I have never heard anyone
N:but Ed play it.
K:G
FG|ABAG F<DDG|ABAG A<dd^c|ABAG FGAB|cAFA G2 FG|
ABAG F<DDG|ABAG A<dd^c|A2 BG FGAB|cAFA G2 FG|
Adde fde^c|Adde f2 e^c|Adde fed^c|AB=cA G2 FG|
Adde fde^c|Adde f2 fg|(3agf (3gfe fde^c|AB=cA G2||

X: 123
T:The Merry Wives
R:Highland
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:They are surely not from Windsor; 
N:and they are merry
N:because their mena are off 
N:"flutherin' with some old tunes,"
N:while they have the kitchen 
N:to themselves.  They have some
N:work of their own to do, 
N:and no one will escape them
N:in the end.  When the gossiping 
N:wives make merry, there's hell
N:to pay in every quarter.
K:C
cA|GEcE GcEc|GcEc d2 cA|GEcE GcEc|(3efe d^c d2 =cA|
GEcE GcEc|GcEc d2 cA|GEcE GcEc|(3efe d^c d2 ec:|
cdef gfge|abaf g2 ed|cdef (3ggf ge|a^gec d2 ed
|cdef gfge|abaf g2 ge|cdef g2 bg|(3agf ge d2:|

X: 124
T:The Dances At Kinvara
R:Barn Dance
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Ed heard of them from a friend, 
N:but never visited Kinvara himself.  
N:He has long cherished this
N:unfulfilled wish.
K:G
(3DEF|G2 B2 BdBG|c2 D2 [F3A3] G|FGAB cdef|gfaf gd^cd|
B2 G2 DBcB|A2 D2 [F3A3] G|FGAB cAFA|G2 B2 G2:|
GA|B2 dB c2 e2|d2 b2 b3 f|agfe dcBA|G2 g2 g2 (3def|
g2 dB e2 cA|d2 BG [E2C2] AF|FGAB cAFA
|G2 B2 G2:|

X: 125
T:Silent The Lonely Glen
R:Air
C:Ed Reavy
M:2/4
L:1/8
Z:Joe Reavy
N:The tune laments the passing of the old ways and
N:the tradition as Ed remembers it: the old Ireland
N:he once knew.
K:G
g/2f/2|ed/2B/2 AG/2A/2|B/2d^c/2 dg/2f/2|ed/2B/2 AG/2A/2|
B/2>A/2G/2/F/2 eg/2f/2|ed/2B/2 ba/2g/2|g/2f/2e/2^d/2|
eg/2B/2 AF/2A/2|BG/2E/2 Ee/2f/2|ge/2g/2 ba/2g/2|
fd/2f/2 ag/2f/2|ge/2g/2 ba/2g/2|fd/2f/2 ag/2f/2|
ge/2g/2 ba/2g/f/2ed/2ee/2f/2ge/2g/2 fd/2f/2|
ed/2B/2 Bgf|ed/2B/2 AG/2A/2|bG/2E/2E||

X: 126
T:Cara's Song
R:Air
C:Ed Reavy
M:2/4
L:1/16
Z:Joe Reavy
N:An air Ed wrote for his granddaughter 
N:Cara.  Cara is autistic, but has a 
N:special fondness for music.  
N:Maybe someday his music will touch her, too.
K:G
D2EF G2FG|A2FD B2GE|c2AG F2A,B,|C2B,A, B,2B,C|
D2B,D G2FG| A2FD B2GE|c2AG F2EF|G>G G2Bc||
d2ed B>G|Ec cBAG (3F2D2F2|G2FG A2FD(3c2B2A2 B2Bc|
d2^cded B2G2|EccB AG (3F2D2B,2|C2B,C F2EF|G/2>G/2 G6 z||

X: 127
T:The Corncrake
R:Air
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:The mournful cry of this 
N:creature can still be heard
N:in the remote country 
N:places of Ireland.  This
N:strange air of Ed's takes 
N:us back to an earlier age
N:when one could wander 
N:through the night fields of
N:Ireland and hear the dark 
N:sigh of the solitary corncrake.
K:G
d>c|B G3 (3GFG BB|c2 (3cBc d g3|\
M:2/4
g>f d3|
M:4/4
cB G F3 d>c|B G3 (3GFG BB|c2 (3cBc d g3|\
M:2/4
gf d2|\
M:4/4
cB G2 G4||
M:3/4
e=f f2 c3c2 de/2f/2 g2|gf d2 c2|BG/2D/2 =F d>c|\
M:4/4
B G3 (3GFG BB|c2 (3cBc d g3|
M:2/4
gf d2|\
M:4/4
cB G2 G2||