% THIS SHEET MUSIC COMES FROM JOHN WALSH'S COLLECTION
% SEE HIS COMMENTS BELOW:
% 								2/4/94
% ********************* INTRODUCTION ***********************************
% 
%      This file contains a number of well-known Irish jigs, reels,
% hornpipes, and polkas, written out in Chris Walshaw's abc notation. To
% print them out, first process the file with the program abc2mtex,
% which will convert it to a Music TeX file, and then run that file
% through Music TeX. See the abc2mtex documentation for an explanation
% of the notation. Both abc2mtex and Music TeX are available for anonymous
% ftp on the archive celtic.stanford.edu. 
% 
%      Like any folk music, these tunes change with time. There may be
% quite different versions of some of them floating around. I have tried
% to give settings which are close to what I hear played. A few tunes
% are transcribed from particular performances, one or two others are
% taken from books--both of these are indicated on the tune notes--but the
% majority are set about as I have heard them played. 
% 
%      Quite a lot is left to the player. The settings are basic: the only
% decorations indicated explicitly are rolls, triplets and quadruplets;
% first and second endings are only written out when they are
% substantially different. Apart from the fact that most players don't
% need to be told when and where to put in a grace note, a lot of gracings
% are done differently on different instruments: carefully-written-out
% fiddle decorations can be a distraction to someone playing the tune on a
% flute. Since the decorations are only indicated generically, not in
% detail, the tunes should be playable on any of the usual instruments.
% (Well..I have only checked them out on the whistle and pipes.) If some
% of the details of the settings turn out to be awkward on a particular
% instrument, just adapt the tune to fit--most players automatically
% modify a tune slightly in order to make it fit the fingers, or to take
% advantage of some particular effect on their instrument. (There are a
% couple of obvious cases, where, for instance, the range is beyond the
% range of the pipes, whistle, and flute. It is up to the individual to
% modify the setting--i.e. to fake it--if they want to play it.) 
% 
%      One thing bears noting: I have written the hornpipes out in
% straight eighth notes, but they are usually played with alternating
% dotted and cut notes: i.e. what I have written as "eighth, eighth,
% eighth, eighth" is often played more like "dotted eighth, sixteenth,
% dotted eighth, sixteenth." The amount of emphasis is a matter of
% style, so some books write out the dotted notes, others don't. I opted
% for the easiest path, and wrote them out in straight eighths. 
%  
% 
% 	Thanks to Dan Beimborn and Seamus Keleher for suggesting
% many of these tunes. (Cryptic notations such as Z:Boston just indicate
% that the tune is commonly played in sessions there.  But in fact, most of
% these tunes will be played in sessions all over.)
% 
%      I make apologies in advance for the typos which have surely
% escaped my proof-reading. Please let me know about any obvious errors,
% or any settings which seem too much at variance with what is played in
% your own area. 
% 
%      When I knew the composer of a tune, I indicated it, but I only knew
% the composers of a couple of the tunes. If any others have known
% composers, I would appreciate hearing about it. As far as I know, the
% remainder of the tunes are public domain. The copyright below does not
% cover the tunes themselves, just the arrangements and the code in this
% file. 
% 	
%      Tune 35 is from Bulmer and Sharpley' book; tune 15 from Ceol
% Rince na hEireann, tune 49 from Leo Rowsome's tutor, tune 4 from
% O'Neill's. The remainder of this file is copyright by John B. Walsh,
% January, 1994. It may be freely used, copied and distributed, as long as
% this notice is included with the copy. It may not be sold, or used to
% make hard copies for sale, without express permission of the author. 


\version "2.12.3"

\paper {
	top-margin = 2 \cm
	bottom-margin = 2 \cm
}

\header {
title = "Whelan’s Fancy"
meter = "Jig"
subtitle = "A rolling version of Morrison’s"
arranger = "Typeset / Arr.: John Walsh"
instrument = "Viola"
composer = "Irish trad."
 tagline = \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-column {
	 \small \line { \hspace #5 Une partition du site \with-url #"http://www.breizh-partitions.fr" { \teeny www. \hspace #-1.0 Breizh-Partitions \hspace #-1.0 \teeny .fr gravée à l’aide de  \with-url #"http://www.LilyPond.org" { \teeny www. \hspace #-1.0 LilyPond \hspace #-1.0 \teeny .org } \hspace #5 }}		 
	 \line { \small \line \italic { Sheet music from \with-url #"http://www.celticscores.com" { \teeny www. \hspace #-1.0 CelticScores \hspace #-1.0 \teeny .com engraved using \with-url #"http://www.LilyPond.org" { \teeny www. \hspace #-1.0 LilyPond \hspace #-1.0 \teeny .org }} }}
	 \line { \teeny \line { Creative Commons Attribution-NonCommercial-ShareAlike 3.0 • \hspace #-0.5 \with-url #"http://creativecommons.org/licenses/by-nc-sa/3.0" http://creativecommons.org/licenses/by-nc-sa/3.0 }
	} } }
}

main = {
	\tempo 4. = 130
	\once \override Score.MetronomeMark #'transparent = ##t

	
	e4. \turn b8 a8 fis8
	| 
	fis8 e b a fis d
	|
	e4. \turn b4. \turn 
	|
	d'8 cis'8 b a fis d
	|

	e4. \turn b8 a8 fis8
	| 
	fis8 e b a fis a
	|
	b8 d' b b a b
	|
	d'8 a g fis e d
	\bar ":|:"
	
	b4. \turn e'4. \turn
	|
	fis'8 e' d' e' fis'8 e'
	|
	b4. \turn g'4 e'8
	|
	fis'8 e' d' b a fis
	|
	
	b4. \turn e'4 g'8
	|
	fis'8 e' d' e'4 fis'8
	|
	g'8 b' g' fis' a' fis'
	|
	e'8 d' b a fis d
	\bar ":|"

}



\score  {
\new Staff  <<
    \time 6/8  
    \clef alto
    \key d \major
    \set Staff.midiInstrument = "viola"
	\transpose a a{
    \main
}
>>

\layout  { }
\midi  { }
}