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III c. Standard tuning fiddle. There are conflicting assertions about the both the provenance and antiquity of "The Girl I Left Behind Me," a popular traditional melody claimed vociferously by both the English and Irish. It does appear to date to the 18th century, but that general date is almost all that can be said for certainty at this time. Irish claims revolve around the melodies appearance under the title "The S p ailpin Fanach" or "The Rambling Laborer , words and music printed in Dublin in , although Bunting asserts it was known much earlier.
Bunting himself collected the tune from an elderly Irish harper, Arthur O'Neill, in the year Alfred Moffat, in his Minstrelsy of Ireland , p. Moffat thought it was also true that the British knew the melody as " Brighton Camp ," dating from the — encampments of Admirals Rodney and Hawke, but that the original Irish provenance still held, citing its "Irish flavour" as well as the "Rose Tree" resemblance. In Moffat's view, the version of the air that Bunting printed was "a mere parody on the genuine Irish air," an opinion that early 20th century English musicologist Frank Kidson writing in Groves , agreed with.
Bunting instructs the tune be played as an air, "with tender expression," a much different styling than the original British march. Bunting's version, stated Kidson, along with the version of the melody employed by Moore, "quite destroy the strongly marked rhythm of the simple marching form. For example, Linscott Folk Songs of Old New England , , maintained that was derived from an old British marching song, and that "in Queen Elizabeth's time it was very popular and was played when a man-of-war weighed anchor or when a regiment moved in or out of town.
Although "The Girl I Left Behind Me's" employment as a military leave-taking is a persistent and repeated assertion, there is little actual evidence that it was employed for that purpose, at least before the American Civil War.
