(THE) IRISH WASHERWOMAN
Time signature: 6/8 (played as a JIG )
Tempo: |
Irish Traditional
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UNDER CONSTRUCTION: Notation & keys need to be checked, and tempo added.
Accordion Notation...
Counts per bar = 6
Count symbol = double quote ( " )
Strong beats per bar = 2 (compound time - double jig)
Strong Beat symbol = Semicolon ; (or equivalent, such as " " " )
Pattern of parts (following arrows shown): A A B B etc.
My playing preference for this tune is the inside row. However, the key of G (the outside row on my G-C accordion) is used in the majority of youTube videos below, and, to play along with them, I'm forced to the outside row.
Count symbol = double quote ( " )
Strong beats per bar = 2 (compound time - double jig)
Strong Beat symbol = Semicolon ; (or equivalent, such as " " " )
Pattern of parts (following arrows shown): A A B B etc.
My playing preference for this tune is the inside row. However, the key of G (the outside row on my G-C accordion) is used in the majority of youTube videos below, and, to play along with them, I'm forced to the outside row.
.
Version 1 (high, outside row) Transposition based mainly on
youTube Video #1 below.
Part A: Buttons 5 - 9* Part B: Buttons 6 - 11 plus i10*
(This part of the tune is in common usage, found in many recordings).
> "8 "8* |
> | "7 "6 "6 - "5 "6 "6 | "7 "6 "7 - "8 "8* "7 |
| "8* "7* "7* - "5* "7* "7* | "8* "7 "8* - "9* "8 "8* |
| "7 "6 "6 - "5 "6 "6 | "7 "6 "7 - "8 "8* "7 |
| "8* "7 "8* - "7* "8 "8* |1| "7 "6 "6 - "6 "8 "8* | <
|2| "7 "6 "6 - "6 "7 "8 |
Part B (This is one variant of many for Part B. Note the cross-playing to i10* in line 1 below)
> | "9 "10* "9 - "8 "7 "8 | "9 "10* "9 - "10 "11* "9 |
| "10* "8 "8 - "7* "8 "8 | "10* "8 "10* - "11* "9 "10* |
| "9* "9 "9 - "8 "9 "9 | "8* "9 "9 - "7 "9 "9 |
| "8* "7 "8* - "7* "8 "8* |1| "7 "6 "6 - "6 "7 "8 | <
|2| "7 "6 "6 - "6 "8 "8* | <
|End| "7 "6 "6 - ;6~ | ~; - "r
youTube Video #1 below.
Part A: Buttons 5 - 9* Part B: Buttons 6 - 11 plus i10*
(This part of the tune is in common usage, found in many recordings).
> "8 "8* |
> | "7 "6 "6 - "5 "6 "6 | "7 "6 "7 - "8 "8* "7 |
| "8* "7* "7* - "5* "7* "7* | "8* "7 "8* - "9* "8 "8* |
| "7 "6 "6 - "5 "6 "6 | "7 "6 "7 - "8 "8* "7 |
| "8* "7 "8* - "7* "8 "8* |1| "7 "6 "6 - "6 "8 "8* | <
|2| "7 "6 "6 - "6 "7 "8 |
Part B (This is one variant of many for Part B. Note the cross-playing to i10* in line 1 below)
> | "9 "10* "9 - "8 "7 "8 | "9 "10* "9 - "10 "11* "9 |
| "10* "8 "8 - "7* "8 "8 | "10* "8 "10* - "11* "9 "10* |
| "9* "9 "9 - "8 "9 "9 | "8* "9 "9 - "7 "9 "9 |
| "8* "7 "8* - "7* "8 "8* |1| "7 "6 "6 - "6 "7 "8 | <
|2| "7 "6 "6 - "6 "8 "8* | <
|End| "7 "6 "6 - ;6~ | ~; - "r
Version 1 (Either row, low) Transposition & octave shift based
mainly on youTube Video #1 below.
Part A: Buttons 2 - 5* plus o3* (Most Part A recordings are identical, or nearly so)
> "5 "4* |
> | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "3* "3* - "2 "3* "3* | "4* "3* "4* - "5* "5 "4* |
| "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "4 "4* - "3* "5 "4* |1| "4 "3 "3 - "3 "5 "4* | <
|2| "4 "3 "3 - "3 "4 "5 |
Part B Buttons 3 - 7 (This is one variant of many for Part B.)
> | "6 "6* "6 - "5 "4 "5 | " 6 "6* "6 - "7 "7* "6 |
| "6* "5 "5 - "3* "5 "5 | "6* "5 "6* - "7* "6 "6* |
| "5* "6 "6 - "5 "6 "6 | "4* "6 "6 - "4 "6 "6 |
| "4* "4 "4* - "3* "5 "4* |1| "4 "3 "3 - "3 "4 "5 | <
|2| "4 "3 "3 - "3 "5 "4* | <
|End| "4 "3 "3 - ;3~ | ~; - "r
mainly on youTube Video #1 below.
Part A: Buttons 2 - 5* plus o3* (Most Part A recordings are identical, or nearly so)
> "5 "4* |
> | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "3* "3* - "2 "3* "3* | "4* "3* "4* - "5* "5 "4* |
| "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "4 "4* - "3* "5 "4* |1| "4 "3 "3 - "3 "5 "4* | <
|2| "4 "3 "3 - "3 "4 "5 |
Part B Buttons 3 - 7 (This is one variant of many for Part B.)
> | "6 "6* "6 - "5 "4 "5 | " 6 "6* "6 - "7 "7* "6 |
| "6* "5 "5 - "3* "5 "5 | "6* "5 "6* - "7* "6 "6* |
| "5* "6 "6 - "5 "6 "6 | "4* "6 "6 - "4 "6 "6 |
| "4* "4 "4* - "3* "5 "4* |1| "4 "3 "3 - "3 "4 "5 | <
|2| "4 "3 "3 - "3 "5 "4* | <
|End| "4 "3 "3 - ;3~ | ~; - "r
Version 2 ...for Outside Row (high) (Assembled from multiple sources)
Part A Buttons 5 - 9* (This part of the tune is in common usage, found in many recordings).
> > '8 '8* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "8 "8* "7 |
| "8* "7* "7* "5* "7* "7* | "8* "7 "8* "9* "8 "8* |
| "7 "6 "6 "5 "6 "6 | "7 "6 "7 "8 "8* "7 |
| "8* "7 "8* "7* "8 "8* | "7 "6 "6 .6 <
Part B Buttons 7 - 11 (This is one variant of many for Part B.
Note the cross-playing to i9 in line 2 below)
> '9 '11* | "10 "9 "9 - "8 "9 "9 | "10 "9 "10 - "10 "11* "9 |
| "11* "10* "10* - "8 "10* "10* | "11* "10* "11* - "i9 "9 "10* |
| "9* "9 "9 - "8 "9 "9 | "8* "9 "9 - "7 "9 "9 |
| "8* "7 "8* - "7* "8 "8* | "7 "6 "6 - .6 < <
Part A Buttons 5 - 9* (This part of the tune is in common usage, found in many recordings).
> > '8 '8* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "8 "8* "7 |
| "8* "7* "7* "5* "7* "7* | "8* "7 "8* "9* "8 "8* |
| "7 "6 "6 "5 "6 "6 | "7 "6 "7 "8 "8* "7 |
| "8* "7 "8* "7* "8 "8* | "7 "6 "6 .6 <
Part B Buttons 7 - 11 (This is one variant of many for Part B.
Note the cross-playing to i9 in line 2 below)
> '9 '11* | "10 "9 "9 - "8 "9 "9 | "10 "9 "10 - "10 "11* "9 |
| "11* "10* "10* - "8 "10* "10* | "11* "10* "11* - "i9 "9 "10* |
| "9* "9 "9 - "8 "9 "9 | "8* "9 "9 - "7 "9 "9 |
| "8* "7 "8* - "7* "8 "8* | "7 "6 "6 - .6 < <
Version 2 ... for Either Row (low) (Assembled from multiple sources)
Part A Buttons 2 - 5* (This part of the tune is in common usage, found in many recordings)
> > '5 '4* | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "3* "3* - "2 "3* "3* | "4* "4 "4* - "5* "5 "4* |
| "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "4 "4* "3* "5 "4* | "4 "3 "3 .3 <
Part B Buttons 4* - 7 (This is one variant of many for Part B of this tune)
> '6 '7* | "7 "6 "6 - "5 "6 "6 | "7 "6 "7 - "7 "7* "6 |
| "7* "6* "6* - "5 "6* "6* | "7* "6* "7* - "8* "7 "7* |
| "5* "6 "6 - "5 "6 "6 | "4* "6 "6 - "4 "6 "6 |
| "4* "4 "4* - "3* "5 "4* | "4 "3 "3 - .3 < <
Part A Buttons 2 - 5* (This part of the tune is in common usage, found in many recordings)
> > '5 '4* | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "3* "3* - "2 "3* "3* | "4* "4 "4* - "5* "5 "4* |
| "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4* "4 |
| "4* "4 "4* "3* "5 "4* | "4 "3 "3 .3 <
Part B Buttons 4* - 7 (This is one variant of many for Part B of this tune)
> '6 '7* | "7 "6 "6 - "5 "6 "6 | "7 "6 "7 - "7 "7* "6 |
| "7* "6* "6* - "5 "6* "6* | "7* "6* "7* - "8* "7 "7* |
| "5* "6 "6 - "5 "6 "6 | "4* "6 "6 - "4 "6 "6 |
| "4* "4 "4* - "3* "5 "4* | "4 "3 "3 - .3 < <
Three (of many) Alternate variants for Part B
(Based, in part, on Hal Leonard's "300 Fiddle Tunes", copyright 1998)
> '6 '7* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "7 "7* "6 |
| "7* "6* "6* "5 "6* "6* | "6* "5 "6* "7* "6 "6* |
| "5* "6 "6 "5 "6 "6 | "4* "6 "6 "4 "6 "6 |
| "5 "4* "4 "3* "5 "4* | "4 "3 "3 .3 <
(Based, in part, on 2nd half of Tune Project version - an excellent "fiddle-tutorial-pay" site)
> '6 '7* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "7 "7* "6 |
| "7* "6* "6* "5 "6* "6* | "7* "6* "7* "7* "6 "6* |
| "5* "6 "6 "5 "6 "6 | "4* "6 "6 "4 "6 "6 |
| "4* "4 "4* "3* "5 "4* | "4 "3 "3 .3 <
(Based, in part, on a musicnotes.com version - an excellent "notation-pay" site)
> '6 '7* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "8 "8* "7 |
"7* "6* "6* "5 "6* "6* | "7* "6* "7* "8* "7 "7* |
"5* "6 "6 "5 "6 "6 | "4* "6 "6 "4 "6 "6 |
"4* "4 "4* "3* "5 "4* | "4 "3 "3 .3 <
For those of you who don't like any of the Part B notations above, you can play Part A in a lower octave (& repeat), and then play it, as Part B, in the higher octave (& repeat).
(Based, in part, on Hal Leonard's "300 Fiddle Tunes", copyright 1998)
> '6 '7* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "7 "7* "6 |
| "7* "6* "6* "5 "6* "6* | "6* "5 "6* "7* "6 "6* |
| "5* "6 "6 "5 "6 "6 | "4* "6 "6 "4 "6 "6 |
| "5 "4* "4 "3* "5 "4* | "4 "3 "3 .3 <
(Based, in part, on 2nd half of Tune Project version - an excellent "fiddle-tutorial-pay" site)
> '6 '7* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "7 "7* "6 |
| "7* "6* "6* "5 "6* "6* | "7* "6* "7* "7* "6 "6* |
| "5* "6 "6 "5 "6 "6 | "4* "6 "6 "4 "6 "6 |
| "4* "4 "4* "3* "5 "4* | "4 "3 "3 .3 <
(Based, in part, on a musicnotes.com version - an excellent "notation-pay" site)
> '6 '7* | "7 "6 "6 "5 "6 "6 | "7 "6 "7 "8 "8* "7 |
"7* "6* "6* "5 "6* "6* | "7* "6* "7* "8* "7 "7* |
"5* "6 "6 "5 "6 "6 | "4* "6 "6 "4 "6 "6 |
"4* "4 "4* "3* "5 "4* | "4 "3 "3 .3 <
For those of you who don't like any of the Part B notations above, you can play Part A in a lower octave (& repeat), and then play it, as Part B, in the higher octave (& repeat).
Embedded youTube VIDEO
Fifteen videos in keys of: C=3 G=12
Many of these performances are quite fast, so at first you may want to play the videos at reduced speed, and then return to normal speed when you are ready. (If you don't know how, check the "Introduction to youTube" under the drop-down "Info" menu at the top of this page).
Also, please note that some performances do not follow any of the above accordion notations, though most are quite close for Part A.
If you are a beginner, you may want to focus mainly on, and master, Part A, before moving on to learn Part B.
Many of these performances are quite fast, so at first you may want to play the videos at reduced speed, and then return to normal speed when you are ready. (If you don't know how, check the "Introduction to youTube" under the drop-down "Info" menu at the top of this page).
Also, please note that some performances do not follow any of the above accordion notations, though most are quite close for Part A.
If you are a beginner, you may want to focus mainly on, and master, Part A, before moving on to learn Part B.
Video #1
Key: G Posted by: fiddle castro
Key: G Posted by: fiddle castro
Key: G
Artists: The Fiddler's Way Posted by: The Fiddler's Way |
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Key: G
Arranger: Jeff Lisenby Album: Premier-PT085 World Beat 8 Celtic America Group: TNTPD ? Posted by: Joseph Tauscher |
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Key: G
Arranger: Jeff Lisenby Album: Premier-PT085 World Beat 8 Celtic America Posted by: Statley Steps Filmed by Andrew Wong in Belleville, IL Dance called by Jeremy Suermann |
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Key: G
Tempo: Accordion: Florian Silbereisen Violin: Andre Rieu Posted by: fritz5108 |
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Key: C
Tempo: Group: Fogo Island Accordion Group Posted by: james h |
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Key: G time 0 to 1:04
followed by a second tune. Tempo: Accordion player: ? Posted by: Gratteeboutons87 |
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Key: G
Tempo: Accordion player: ? Posted by: diatovendee |
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Key: G
Tempo: 130 bpm Players: Hope Grietzer & Dannielle Spindler Swart Posted by: kgs113 |
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Key: G
Tempo: Accordion player: ? Posted by: diatocz |
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Key: C
Tempo: Accordions played by: Aaron Brown & Melanie Penton (from the Fogo Island Accordion Group) Posted by: Aaron Brown |
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Key: G
Tempo: Fiddler: John Sheahan Guitarist: Eamonn Campbell Posted by: Lemurie |
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Key: C
Tempo: Performer: Hiram Keeping Posted by: sta66ord One of NL's great button-accordion players. |
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Key: G
Tempo: Performers: Celtic Bagpipes Posted by: lildarkrose13 from album Celtic Traditions. |
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Key: G
Tempo: Performer: Jonathan Feffery Posted by: Jonathan Jeffery The tune really begins at time t = 0:24 An excellent video. |
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Key: G
Tempo: Accordion played by: ? Posted by: arekb66 |
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Background Materials & Info
Background
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Wikipedia points out that
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Part A lyrics for those of you who enjoy "dark" humour:
"5 "4* | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4*
Oh! Mc - ta-vish is dead and his broth-er don't know it.
"4 | "4* "3* "3* - "2 "3* "3* | "4* "3* "4* - "5* "5
His broth-er is dead and Mc - Ta - vish don't know it.
"4* | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5
They're both of them dead; And they're in the same bed,
"4* "4 | "4* "4 "4* - "3* "5 "4* | "4 "3 "3~ - ~"3
And neith- er one knows that the oth - er is dead_____
"5 "4* | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5 "4*
Oh! Mc - ta-vish is dead and his broth-er don't know it.
"4 | "4* "3* "3* - "2 "3* "3* | "4* "3* "4* - "5* "5
His broth-er is dead and Mc - Ta - vish don't know it.
"4* | "4 "3 "3 - "2 "3 "3 | "4 "3 "4 - "5
They're both of them dead; And they're in the same bed,
"4* "4 | "4* "4 "4* - "3* "5 "4* | "4 "3 "3~ - ~"3
And neith- er one knows that the oth - er is dead_____