Miss McLoud's Tune tin whistle sheet music

Another tune, Leaving Lismore is also included along with an mp3.

Below is a list of the most popular Traditional Irish Tunes for tin whistle which comes free when you
buy the tin whistle ebook .

Below is a list of over 170 traditional tunes with mandolin / guitar chords in an ebook.
It cost €6.50

Cherish The Ladies
One of the most fascinating developments in the varied history of Irish traditional music in America has been the extraordinary rise in the number of girls and young women performing this music in the 1970's and '80's, particularly in the Eastern United States. Before 1970, Irish traditional music was almost exclusively a male domain. There were, of course, some notable exceptions. In Ireland, when the louder and more durable melodeon became favored as a dance music instrument over the more delicate concertina, the latter became a "woman's instrument" in many parts of the country. Until fairly recently, in fact, the concertina tradition was kept alive by outstanding women musicians like Mrs. Crotty from Kilrush in West Clare, who provided inspiration to the current generation of young concertina players. There were other great women musicians as well, such as fiddlers Aggie White, Kathleen Harrington, Julia Clifford, and Josephine Keegan. But they were very much in the minority.

In America one can go through Irish Minstrels and Musicians, the massive compilation of biographies of Irish musicians published by Captain Francis O'Neill in Chicago in 1917, and find only a handful of references to female Irish musicians. From O'Neill's time until 1970, only a few women were in- volved in a major way in the Irish music scene, notably Eleanor Neary (plano) from Chicago and Kathleen Brennan Grant (fiddle) from New York. New York-born fiddler Kathleen Collins was one of the first of the new breed of women musicians to emerge. She won the All Ireland Senior Fiddle title in 1967, the first American-born musician to accomplish this feat. Chicago-born Liz Carroll won the Junior All Ireland Fiddle title in 1974 and the Senior title the following year. Since then, scores of American-born women musicians. have competed and won in Ireland, to the point where their success has become almost commonplace.
How did so many young women suddenly become involved in Irish music in America? One could cite as a background social reason the success of the women's movement in the society as a whole in opening male-dominated areas of life to women.

Another reason, no doubt, was the fact that the massive revival of Irish traditional music in the 1960's in Ireland, and later in America, made traditional music a socially acceptable vehicle for the expression of ethnic identity for a significant population of Irish immigrants. Irish step dancing had been a popular vehicle for this kind of identity expression for many years, and now parents, particularly first-generation immigrants, felt that Irish music as well as dancing could help preserve their children's link with Irish culture. Young girls have always constituted about 80% to 90% of the pupils studying Irish dance. The same pattern quickly asserted itself in the music. Many of the boys would drop out at adolescence, often due to negative peer pressure and ridicule. The girls, on the other hand, would usually find positive peer reaction and continue learning and playing.
On this record, we can admire and enjoy the full flowering of the exceptional talents of some of the most gifted young Irish women musicians in America. They come from all parts of the country. Most have a direct living ancestral link with Ireland. A few (only three, in fact) do not; yet the music and the culture out of which it emerges form a central part of their lives and provide the bond that links them to their Irish American friends and fellow-musicians. There are many different styles and approaches to the music represented here as well. The three solo fiddle tracks, for example, could hardly be more different, ranging from the highly distinctive individualized styles of Liz Carroll and Eileen Ivers, to the quintessentially regional Sligo style of Rose Conway. The wind instrument solos and the duet trio and group performances all show a similar blend of innovation and tradition.
Track List
SIDE A
Miss McLeod's/Wissahickon Drive/Fermoy Lassies/Morse Avenue (reels)
Liz Carroll - Fiddle/Mick Moloney - Guitar The Tempest/Smash the Windows/Lad O'Beirne's (reels)
Joan Madden - Flute/Kathy McGinty - Fiddle/ Mary McDonagh Accordion/Lori Cole - Piano Johnny Doherty's/The Cock and The Hen/The Humours of Whiskey (jig/slip jigs)
Laura MacKenzie - Flute/Patty Bronson - Flute/ Daithi Sproule - Guitar
Tá ná Páipéir dhá Saighnéail (The Papers Are Being Signed) (song)
Bridget Fitzgerald
Jig Away the Donkey/Josie McDermott's (reels) Paulette Gershen: Tin Whistle/Gerry O'Beirne:Guitar Dear Lisa/The Maid of Ardagh (slide/polka) Maureen Glynn School Of Irish Music: Sheila McGuire - Fiddle/Karen Foynes Fiddle/Deirdre McDermott Fiddle/Rosemary Clarke Fiddle/ Kathleen McQuillan Fiddle/Patricia Sullivan- Whistle/Flute/Cara Early-Whistle/Flute/Bridget Harte- Whistle/Flute/Mary Foynes- Flute/Deirdre Connolly Flute/Ann-Marie Doherty Accordion/Ed McDonagh - Accordion/Eileen Callaghan - Accordion/Michael Fee- Bodhran
The Orphan/Paul Montague's (jig/reel)
Eileen Ivers - Fiddle/Mark Simos - Guitar
SIDE B
The Galtee Rangers/Gan Ainm (reels)
Eileen Clohessey Tin Whistle/Maureen Doherty - Tin Whistle
Cherish The Ladies (jig)
Patricia Conway - Accordion/Mary McDonagh - Accordion/Joan Madden -Flute/Pauline O'Neill-Flute/ Maureen Doherty Flute/Mary Rafferty - Flute/Rose Conway Fiddle/Kathy McGinty - Fiddle/Eileen Clohessey-Tin Whistle/Lori Cole- Piano
The Lads of Laois/The First Month of Summer (reels) Rose Conway - Fiddle/Mick Moloney - Guitar
Sagart na Cúile Báine (The Fair Haired Priest) (song) Treasa Ui Cearúll
The Burren/Kilty Town (reels)
Joan Madden- Tin Whistle/Mary Coogan - Guitar
The Shaskeen/Gan Ainm (jigs)

Pauline O'Neill - Flute/Lori Cole - Piano
Toss The Feathers/The Pride of Rockchapel (reels) Maureen Glynn School Of Irish Music:
Sheila McGuire - Fiddle/Karen Foynes - Fiddle/Deirdre McDermott-Fiddle/Rosemary Clarke-Fiddle/Kathleen McQuillan - Fiddle/Patricia Sullivan - Whistle/Flute/ Cara Early-Whistle/Flute/Bridget Harte - Whistle/Flute/ Mary Foynes-Flute/Deirdre Connolly-Flute/Ann-Marie Doherty Accordion/Ed McDonagh Accordion/Eileen Callaghan Accordion/Michael Fee Drums.