This one is another I learned from the 1964 tape of accordionist John Bowe. I was also influenced by Michael Coleman’s setting of it on one of his 78 rpm recordings. The name suggests the finishing touches that might satisfy the finesse of a well-paid tailor. It’s also a reel that seems to demand similar attention as a means of parading its musical expression.

 B3 A | GF GB AG FD | G2 Bd cA BA | GF GB AG FD |
 de fd ^cA F/G/A | GF GB AG Ac | BA Bd cD AD | GF GB AG FD |
 de fd ^cA FA || dg eg dg eg | de dB cA FA | dg eg dg eg |
{/e} defd ^c{/B} AFA | d3 e dB GB | dedB cABc | dg eg dg eg |
 de fd ^cA Bd || gf ga bg af | ggab c'baf | ggbg fgaf |
 de fd ^cA Bd | gf ga bgaf | gd ad c'd ad | gg bg fg af |
 de fd ^cAFA || BG dG BG{/c} GA | BG Bd cA FA | BG dG B/A/G Bc |
 de fd ^cA FA | BG dG B/A/G GA | BG Bd cAFA | BG{/c} GG cAAA |
 de fd ^cA FA || GG-GB ADFA | GB dB{/c} GAFA | GGBG AGFD |
 de fd ^cA FA | G/B/G BG AA-Ac | BABd cAFA | GGBG AGFD |
 de fd ^cA FA || dg eg dg eg | de dB cA FA | dg eg dg eg |
 de fd ^cAFA | d d2 e dB GB | de dB cA Bc | dg eg dg eg |
 de fd ^cABd || gf ga bg af | g2 ab c'b af | ggbg fgaf |
 de fd ^cA Bd | gf ga bg ag | g2 ab c'b af | gg bg fg af |
 de fd ^cA FA || BG dG B/A/G GA | BG Bd cA FA | B/A/G dG BG Bc |
 de fd ^cA FA | BGdG B/A/G GA | BG Bd cAFA | BG G/c/G cAA^A |
 d3 B cAFA || GFGB ADFA | GB dB cA BA | Gd BG AG FD |
 de fd ^cA FA | G/B/G BG A A2 c | BA Bd eAFA | G/B/G BG AG FD |
 de fd ^cA FA || dg eg dgeg | de dB cA FA | dg eg dg eg |
 de fd ^cA FA | d3 e dB{/c} GB | de dB cA Bc | dg eg dg eg |
 de fd ^cA Bd || gf ga bg ag/f/ | g2 ab c'baf | gg bg fg af |
 de fd ^cABd | gf ga bg ag | g2 ab c'baf | gg bg fg af |
 de fd ^cA/^G/ FA || BGdG BGGA | BG Bd cAFA | BGdG BGBc |
 =fg ed ^cA FA | BG dG BGGA | BG Bd cA FA | BGGB cA A/B/A |
 de fd ^cA FA | sG8 |