The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with your
cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
O... See "Oh..."
O.S.T. SPECIAL. Cajun, Two-Step (4/4 time).
OAK AND ASH (and the Bonny Ivy Tree), THE. See "O the Oak and the Ash
and the Bonny Ivy Tree," "Quodling's
Delight," "Goddesses,"
"I Would I Were in My Own
Country."
OAK STICK [1], THE. Irish, Jig or Air. D Major (Aird, Joyce): G
Major (Goodman). Standard. AB (Joyce): AABB (Aird, Goodman). See also note for
“Toormore Jig.” Source for notated
version: "copied from a MS. lent (to Pigot) by Mrs. Woodroffe (of
X:1
T:Oak
Stick, The [1]
M:6/8
L:1/8
S:Joyce – Old
Irish Folk Music and Song (1909), No. 828
Z:AK/Fiddler’s Companion
K:D
d2d dcB | cBc A3 | d2d
d2f faf | faf fed | c2e ege | ege
edc | d2f faf | faf fed | Bdf edc | B3 A3 ||
X:2
T:Oak Stick. New Way
M:6/8
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
ded dcB | c2A A3 | d2f
|: d2f fdf | fdf fed | c2e ece | ece edc | d2f fdf | fdf fed | fga ecA | B3 A2 :|
OAK STICK [2], THE. English(?), Jig. D Major. Standard. AABB. Aird (Selections),
vol. II, 1782; No. 138, pg. 51.
X:1
T:Oak
Stick, The [2]
M:6/8
L:1/8
S:Aird,
Vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
a/g/ | f2d ded | c2A BdB | efe e2f | g3 a2g | f2d ded | c2A
|: a/g/ | f2d ded | g2a b2g | f2d ded | g3 a3 | b2g gag |
a2f fgf | efe e2f | g3 a2 :|
OAK TREE, THE (An Crann Darach). AKA and see “Mary
Hold the Candle Steady While I Shave the Chicken Lip,” "Na
Saighean," “The Northern Lights [2],”
“The Old Oak Tree,” “Tommy Peoples’ (Reel) [4].”
Irish, Reel.
OAKEN LEAVES [1]. AKA and see ‑ "Touch
and Take." English, Country Dance Tune (6/8 time). A Major. Standard. One
part. Karpeles & Schofield (A
Selection of 100 English Folk Dance Airs), 1951; pg. 16.
OAKEN LEAVES [2]. AKA and see "Milkmaid's Bob."
English, Country Dance Tune (6/8 time). F Major. Standard tuning. One part
(Sharp): AAB (Barnes). The tune was first published (1650) under the title
"Milk Maid's Bob," and appeared only in 1670 as "Oaken
Leaves." Barnes (English Country
Dance Tunes), 1986. Sharp (Country
Dance Tunes), 1909; pg. 41.
X:1
T:
M:C|
L:1/8
R:”Jig”
S:Ryan’s
Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
(3G,A,B, | C2D2 EGzG | ABcd eczG | ABcA
GEzG | FEDC {D}CB,A,G, | C2D2 EGzG |
ABcd ecze | fgaf ec’af | ecdB c2 ::
E2 | (A4 A)Bcd | eAzB cdez | fAz^c defz | eAzB cdez |
dBz2 {A,/B,/}D.B,zd | cAz2
{A,/B,/}C.A,zc | B^Gz2 {^G,/A,/}B,.G,zB | Aaec A2 :|
|: G2 | (c4 c)def | ~g2 ec GEzg |
~a2 fc AF za | ~g2 ec GEzg | ~f2 GB dfag | ~e2 CE Gc fe |
~d2 DG BedB | (cEGe) c2 :|
OAKS ASSEMBLY, THE. English, Country Dance Tune (6/8 time).
England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version:
an MS collection by fiddle Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 55, pg. 42.
OATS AND BEANS. See “Nine-Pins
(Ninepins) [2].”
OATS, PEAS, BEANS [1]. AKA and see "Nine-Pins
(Ninepins) [2]." See also
"Cassino."
OATS, PEAS, BEANS [2]. AKA and see "Baltimore [1]."
OBAIR AN AISTIR. AKA and see “The Job of
Journeywork [1].”
OBAN AND LORNE SOCIETY
MARCH, THE. Scottish, March. A modern
compostion by Aberdeen-born fiddler and composer Bert Murray (b. 1913). Oban,
Argyll and
OBELISK HORNPIPE. AKA and see “Bashful
Bachelor [2],” “Shaw’s Reel,” “Where Did You Find Her? [2]”
"The Wily Old Bachelor."
American, Hornpipe. G Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 114. Ryan’s Mammoth Collection, 1883; pg. 151.
X:1
T:Obelisk
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D/C/ | B,/D/G/A/ B/G/D/B,/ |
C/E/A/B/ c/A/F/D/ | B,/D/G/A/ B/G/c/B/ | (3A/B/A/ (3G/F/E/ (3D/E/D/ (3C/B,/A,/
|
B,/D/G/A/ B/G/D/B,/ | C/E/A/B/
c/A/F/D/ | B,/D/G/B/ A/D/E/F/ | GBG :: g/a/ | b/g/e/g/ d/g/B/g/ |
d/g/B/g/ d/g/B/g/ | b/g/e/g/
d/g/B/g/ | f/g/a/b/ a(g/a/) | b/g/e/g/ d/g/B/g/ | c/B/A/B/ c/d/e/f/ | g/d/B/G/
E/c/A/F/ | GBG :|
O’BRIAN’S. See “O’Brien’s Reel.”
O'BRIEN. American (?), Schottische. E Minor ('A' part) & G Major ('B' part).
Standard tuning. Learned by
O'BRIEN FROM
O'BRIEN OF ARRA. Irish, March (4/4 time). G Major. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 201,
pg. 78.
O'BRIEN'S FANCY. AKA and see “Paddy
Kelly’s (Reel) [2].”
O'BRIEN'S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated
version: fiddler Sean Ryan. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 31.
O’BRIEN’S JIG. Irish, Jig. D Mixolydian. Standard tuning. AABB’. Source for notated
version: accordion player Mary McDonagh Decker, via flute player Mike Rafferty (
X:1
T: O'Brien's
C: Mike Rafferty / Mary McDonagh Decker
Q: 325
R: jig
M: 6/8
L: 1/8
Z:Transcribed by Bill Black
K: Dmix
D | F3 DFA | dAF AFD | E3 CEG | cGE GEC |
F3 DFA | dAF AFD | GFG EFG | AFD D2 :|
e | f2 d d^cd | afd def | e2 c cBc | gec ceg |
|1 f2 d d^cd | afd def | gfg efg | afd d2 :|
|2
agf gfe | fed ^cAF | GFG EFG | AFD D2 ||
O’BRIEN’S
MARCH. Irish, March (6/8 time). G Major.
Standard tuning. AB (O’Neill): AABB (O’Farrell). Source for notated version:
copied from O’Farrell’s Pocket Companion
(c. 1808) [O’Neill]. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 43. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 57.
X:1
T:O'Brien's March
M:6/8
L:1/8
S:O'Farrell's Pocket Companion 1804-1810
Z:Paul Kinder
R:March
K:G
B3 AGA|B2 G g2 e|dBG E2 D|EAA A2 c|
BGG AGG|BGG g2 e|dBG E2 D|EGG G2||
d|gfg agf|gfe dBG|cBA BAG|EAA A2 D|
E/2F/2GA
G2 e|dBG A2 B|DGc B2 A|B>GG G3||
O’BRIEN’S REEL. AKA - “O’Brian’s.” Irish, Reel. D Major. Standard tuning. AABB. Sources
for notated versions: Emmett Hughes (b. 1921, Dromore, Queen’s County, Prince
Edward Island) [Perlman]; transcribed in the early 1970's from the Irish music
sessions at the Regent Hotel, Leeds, England, which still has weekly sessions a
generation later in the late 1990's [Bulmer & Sharpely]. Bulmer and
Sharpley (Music from
X:1
T:O’Brien’s Reel
R:Reel
L:1/8
M:C|
K:D
dB|AF (3FFF G2 FG|ADFD EGFE|D2 FA
dfec|dBAF E2 dB
|AF (3FFF G2 FG|ADFD EGFE|D2 FA
dfec|1 dBAF D2 dB :||2 dBAF D2 de||
f2 fa g2 fg|afdf eB B2|f2 fe
dfec|dBAF E2 fg|
af (3fff bf (3fff | afef dB (3BBB |
f2 fe dfec|1 dBAF D2 fg:||2 |dBAF D2dB||
O’CALLAGHAN’S HORNPIPE (Cornphiopa Uí Cheallachain). Irish, Hornpipe. E Minor. Standard.
AABB (Miller & Perron): AA'BB' (most versions). Named for the uncle of
influential Kerry fiddler
|
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:O’Callaghan’s Hornpipe
R:hornpipe
Z:id:hn-hornpipe-61
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
(3Bcd|efgf eABA|GABd dBGE|DEGA
~B3d|(3efg fg ed (3Bcd|
g2fg ed (3Bcd|geaf gfed|(3BcB GB
(3ABA FA|~G3F G2:|
|:(3efg|afge dega|bBBA G2 (3efg|afge
dega|beed e3g|
f2 (3def gfeg|(3fgf (3def gfeg|fbaf
gfed|(3Bcd ef e2:|
O'CALLAGHAN'S REEL (Ríl Uí Cheallacháin). AKA and see “Callaghan’s (Reel) [3],” “The Concert Reel [4],” “Denis Murphy’s (Reel) [1],” “Now She’s Purring.” Irish, Reel. G Major.
Standard. AB (Breathnach): AABB (Harker/Rafferty). Paul de Grae points out
there are several Sliabh Luachra tunes called (O’)Callaghan’s, all named for a
famous fiddler who taught Padraig O’Keefe, himself an influential fiddler and
teacher in the Sliabh Luachra region. Sources for notated versions: fiddler
Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]; New Jersey
flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Breathnach (CRÉ II), 1976; No. 131,
pg. 71. Breathnach (CRÉ III), 1985;
No. 88 (appears as “Gan Ainm/No title”). Bulmer & Sharpley (Music from Ireland), vol. 4; 3. Harker (300 Tunes from Mike Rafferty), 2005; No.
102, pg. 32. Vallely (Play Fifty Reels
with the Armagh Pipers Club), 1982; 34.
|
See also listing at: Alan Ng’s Irishtune.info |
O’CALLAGHAN’S REEL [2].
AKA and see “The Doon Reel [4].”
Irish, Reel.
O'CAROLAN'S CONCERTO (Ceolcuirm Uí Cearballain). See also "Carolan's Concerto." Irish,
Planxty (4/4 time, "animated"). D Major. Standard. AABB. Composed by
Turlough O'Carolan, and reportedly his own favorite (Flood, 1905). It shows the
influence of the Italian masters Vivaldi, Geminiani and Corelli on the
composer. There is a persistant story that O'Caroland and Geminiani met, and
indeed, Geminiani visited Ireland, and stayed for a short time in Dublin. They
did not meet, however, according to Flood (1906, who quotes Charles O'Connor of
Belanagare {d. 1790}, a friend of O'Carolan's), they did correspond through the
violinist Elphin. The legend persists, however, that the Italian played
Vivaldi's 5th Concerto for him, whereupon O'Carolan declared he could compose a
similar piece the result being "O'Carolan's Concerto." See note for
“Carolan’s Concerto.” Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 2, No. 63. O'Neill (Krassen), 1976;
pg. 229. O'Neill (1850), 1903/1979; No. 633, pg. 113. Claddagh
Records, Leo Rowsome – “Ri na bPiobaire” (1959). Claddagh Records CC10,
"Cheiftains 3." RCA 5798-2-RC, "James Galway and the Chieftains
in Ireland" (1986).
O'CAROLAN'S DEVOTION
[1] (Subailce Uí
Cearballain).
Irish, Air or Planxty (4/4 time, "with feeling"). D Minor (O’Neill).
Standard. AB. O'Neill (Krassen), 1976; pg. 227. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 630, pg. 112.
X:1
T:O’Carolan’s Devotion [1]
M:4/4
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 630
Z:AK/Fiddler’s Companion
K:D Minor
d3e f2 e<d|d3e c2 B<A|c3A Gz
F<E|D3C C4|D3E Fz F<G|A3F Gz B<A|
d3A {G}F z E<D|D3 E D4||D2 C2
{C}B,2 C2|C/D/z C/B,/z A,/G/,z A,2|
D2 D2 D3E|D/C/z B,/C/z A,4|F2F2
F3G|F/E/z D/E/z C4|c2c2d c3|d3e f2 ed|
d3e f2A2|A2 {B}A>G F/G/z
A/B/z|c2E2E2 FE|DEFG A2D2|D>E {D}CB, A,2A,2|
B,2 A,6|A3B czce|c3e d2d2|e/d/ z
cBAG E2|D3C C6|D3E FzFG|A3F G2 B<A|
D3A {G}F2 E<D|D3E D4||
O'CAROLAN'S DEVOTION
[2] (Subailce Uí
Cearballain).
AKA and see "Miss Fetherston,"
"Carolan's Devotion." G
Minor. Standard. AB. Composed by Turlough O'Carolan (1670-1738); the only air
he set to English words (albeit in bad
English). It was composed in 1719 for a Miss Fe(a)therstone, of Ardagh, County
Longford who was on her way to church at Granard one Sunday of that year when
she chanced to meet the blind harper on the road. O’Neill (1913) records the
conversation:
***
“Your servant, Mr O’Carolan,” she saluted, “I thank you.
Who speaks to me?” he replied.
“It is I, sir, one Miss Featherstone.”
“I’ve heard of you, Madam: a young lady of great beauty
and much wit. The loss of one sense prevents my beholding
your beauty; and I believe it is a happy circumstance for me,
for I am assured it has made many captives. But your wit,
Madam! I dread it.”
“Had I wit, Mr. O’Carolan, this is not the day for its display.
Complying with this duty, you go one way, and I go another--
I wish I could prevail with you to quit your way for mine.”
“Should I go your way, Madam, I dread you yourself
would be the chief object of my devotion.”
***
Miss Featherstone invited the bard
to visit her house and admonished him to pray for her at church, and O’Carolan
said, “Could I withdraw my Devotion from yourself,
I would obey; but I will make the best effort I can. Adieu, adieu.”
The harper did not make it to
church, however, but instead used the time to compose this song for her.
O’Neill calls the music, which compasses almost two octaves, “of a high order.”
***
Turlough O’Carolan. National
Gallery of Ireland. Painted from life, artist unknown.
***
O’Farrell
(Pocket Companion, vol. 1), c. 1805;
pgs. 52-53 (appears as “Carolan’s Devotion”). O’Neill (1913), pg. 74.
X:1
T:Miss Fetherston
T:Carolan’s Devotion
M:3/4
L:1/8
S:Bunting
K:G Dorian
f/g/a|b2 a/g/f f/g/a|gf ed d/e/f|dc
BA GF|F4 GA|B2 Bd cB|c2 df gd|cB AG GA|G4:|
G/F/E|D2G2G2|G>A G>F
EF|D2F2F2|F>G F>E DF|D2 B2B2|Bc AB GA|
F2 f2 fg|f4 f/g/a|b2 ba
ga|b2d2d2|d>c B>c d>e|f2A2A2|B>A G>A B>c|
D2G2 F>GA|GF ED DE|D4 c/d/e|f2f2
f/g/a|gf ed d/e/f|dc BA GF|F4 F/G/A|
B2 Bd cB|c2 df gd|cB AG GA|G4||
O’CAROLAN’S DRAUGHT. See “Carolan’s Draught.”
O’CAROLAN’S
FANCY [1]. Irish, Jig. D Major. Standard
tuning. AABB. Miller attributes the tune to 20th century Irish
musician Joseph Crofts. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 6, pg. 2. Miller (Fiddler’s Throne), 2004; No. 84, pg. 61.
Plain Brown Tune Book, 1997; pg. 5. Blizzard Records 203, Joe Ross & Janet Naylor – “The
Harper’s Reverie” (1999). Claddagh CC-24, Derek Bell – “Music of O’Carolan,
vol. 2, O’Carolan’s Favourite.” Topic/Free Reed 12TFRS501, Alistair Anderson –
“Concertina Workshop” (1974).
T:O’Carolan’s Fancy [1]
M:6/8
R:Jig
K:D
A/G/ | FDF
ABc | dAd fed | B/c/eB AdF | EFD EAG | FDF AFA | Bcd ecA |
GAB AdF |
EDC D2 :: (3A/B/c/ | dec def | gag fed | e/f/ge age | ded cBA | GBd FAd |
Eed
cBA | GAB AdF | EDC D2 :|
O’CAROLAN’S FANCY [2]. AKA and see “Castletown
Conners [2]," “Tommy
Mulhaire’s Jig.” Irish, Jig. This jig was titled “O’Carolan’s Fancy” on
Josephine Marsh’s 1996 Tara Records album, perhaps by mistake. Tara Records 4008,
“Josephine Marsh” (1996. Appears as “O’Carolan’s Fancy”).
O'CAROLAN'S FAREWELL (Ceileabrad Uí Cearballain). AKA and see "Carolan's Farewell." Irish, Air
or Planxty (4/4 time, "with feeling"). G Dorian. Standard tuning. AB.
Composed by blind Irish harper Turlough O'Carolan (1670-1738). O’Neill (1913)
relates that O’Carolan never got over the death of his wife in 1733, and that
when he realized that he too was deteriorating, “he commemorated his final
departure from the hospitable home of his great friend, Robert Maguire of
Tempo, County Fermanagh,” with this melody. The air appears in Mooney’s History of Ireland. O'Neill (Krassen),
1976; pg. 246. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 699, pg. 129. O’Neill (1913), pg. 76.
X:1
T:O’Carolan’s Farewell
M:C
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 699
Z:AK/Fiddler’s Companion
K:G Minor
G^FGA B2 AG|A2 cd f2 dc|fdcA
d>cA>G|G4 D3G|G^FGA BABG|
A2 f<a g3f|d3f c3d|B{c/B/}AG^F
G3||d|g3a g^fga|g^fga g2 d=e|f4 f=efg|
fgfg f2d2|g3a {c’/}bag^f|g^fga g2
d=e|f=efg {b}a2 ^fg|g>gfd fdcA|d>cAG F2D2|
G^FGA BABG|A2 fa g3f|d2 df
c2cd|B{c/B/}AG^F G3z||
O’CAROLAN’S FAREWELL
TO MUSIC (Ceileabrad Uí Cearballain
le Ceol). AKA
and see “Carolan’s Dream.” Irish,
Air or Planxty (4/4 time, "with feeling"). A Minor. Standard tuning.
AAB. The last composition of the ailing, blind, sixty-eight year old Irish harper
Turlough O'Carolan, who died March 25th, 1738, soon after he returned to
Alderford House, Co. Roscommon, seat of the McDermott Roe family and home of
his great patroness Mrs. McDermott Roe. O’Neill (1913) says: “Shortly before
his death he called for his harp, and with feeble fingers wandering among the
strings, he evolved his last composition, the weirdly plaintive wail,
‘O’Carolan’s Farewell to Music.’” Not the "Carolan's Farewell to
Music" printed in the 'Complete
Collection...'. The air appears in Mooney’s History of Ireland. See also the related “Molly MacAlpin.” O'Neill (Krassen),
1976; pg. 246. O'Neill (Music in Ireland:
1850 Melodies), 1903/1979; No. 700, pg. 129. O’Neill (1913), pg. 76. Green Linnet Records SIF 3034, "Triona ne
Dhomhnaill" (1984).
X:1
T:O’Carolan’s Farewell to Music
M:C
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 700
Z:AK/Fiddler’s Companion
K:A Minor
AB|c2 BA G2 AB|c2 BA G2 cd|e2 de c2
BA|A4 G2 de|
f2 fg e2 ef|d^cde a3^g|A=ged
cAB^G|A4 A2:|
||e2|gede g2 ga|gede g2e2|a^gab
a=geg|b4 abag|^f2 fg e2 e=f|
d^cde a3^g|a=ged cAB^G|A4A2||
O’CAROLAN’S LAMENT (Uaill-Cuma Uí Cearballain). Irish, Air (3/4 time,
"mournfull"). D Minor. Standard tuning. AB. Source for notated
version: Chicago Police Sergeant James O'Neill, a fiddler originally from
County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 69, pg. 12.
X:1
T:O’Carolan’s Lament
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 69
Z:AK/Fiddler’s Companion
K:D Minor
A>G|F2 F>E EDDE|FGA^F G2
FG|Ad^cd B2 A>G|F2 ED C2 DE|F2 GA D2 de|
f2 ed c2 AG|^FGFG Adde|=fde>d
d2||zd/e/|f>fed eAAG|FcED C2 DE|
F2 F>G Ade^c|d3 d/e/ f>fec|d2
BA GcED|C2 DE Fddc|A>AGE FDE>D|(D4 D2)||
O'CAROLAN'S RECEIPT
FOR DRINKING (Ol-re Uí
Cearballain). AKA and see
"Carolan's Receipt
(for Drinking)."
O’CAROLAN’S WELCOME. AKA and see "Carolan's
Welcome.” Irish, Planxty.
OCCIDENTAL HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. Like the "Oriental Hornpipe," this tune may
possibly have been named for a
***
In 1864, the Occidental may well have had both music and waiter girls,
who spent at least part of their time performing. The veteran William
Allen
had both a piano and violin at the Occidental. “Taking a look around the
internal arrangements,” wrote the Clipper (ed.-a period entertainment periodical),
“we noticed a piano fixed plumb up against the windows facing the
street—
rather a cold place in the winter time—with a very nice looking girl
seated
thereat; and by her side sat a violinist. While the latter fiddled the
former
played upon the grand pianner.”
***
Cole (1000 Fiddle Tunes), 1940; pg. 102. Ryan’s Mammoth Collection, 1883; pg. 138.
X:1
T:Occidental Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
D | G/F/G/A/ G/D/B,/D/ | G/g/d/B/
G/A/B/G/ | c/A/e/d/ c/B/A/G/ | F/d/c/F/ D/F/A/F/ |
G/F/G/A/ G/D/B,/D/ | G/g/d/B/
G/A/B/G/ | c/A/e/c/ B/A/G/F/ | GGG :: d | .g.g f/d/^c/d/ |
a(a/g/) f/d/^c/d/ | c’/a/f/d/
c/A/B/G/ | F/d/A/F/ .D(3D/E/F/ | .G.G E/C/B,/C/ |
.A(A/G/) F/D/^C/D/ | g/d/c/B/
A/d/F/A/ | GGG :|
OCEAN WAVES. AKA and see "Life
on the Ocean Wave.”
OCH A CHAILLAIN. See "Old Time
Wedding Reel [2]" and "Hamish
the Carpenter.”
OCH A’S OCHAN MO
CHARADH.
AKA and see "Waes Me For Charlie.”
OCH! MAR THA MI (How sad am I).
Scottish, Air (3/4 time). F Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1),
No. 7, pg. 3.
X:1
T:Och! mar tha mi
T:How sad am I
M:3/4
L:1/8
R:Air
N:”Slowly”
S:Morison – Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:F
C>D F2F2 | (GA) d2c2 | FG A2 cA |
GF {F}D2F2 | FC D2F2 | GA c2 cc | df d2 Ac | A>G F2F2 ||
OCH OCH ONE, SAID THE
YELLOW TANNER. AKA and see “Uc! Oc on! Apr an tannaipe buide.”
OCH-O-RO-N. Scottish, Air (3/4 time). A Minor. Standard tuning. One part. An
ancient harp tune. Walker (1924) calls it a “fine half-barbaric North Highland
tune,” one of the ones which wanders “on in more of less vague rhythm from one
phrase to the next.” Neil (The Scots
Fiddle), 1991; No. 119, pg. 158. Walker (History of Music in England), 1924; No. 123, pg. 331.
X:1
T:Och-o-ro-n
L:1/8
M:3/4
S:Walker – History of Music in England (1924)
Z:AK/Fiddler’s Companion
K:A Minor
A3A
B/A/B/A/|A4 zG|{G}A3 G A/G/E|{E}G2 G4|
e2 de
gc/A/|A6|c2 c4|c2 GA c2|c4 {c}dc/A/|c2 c3 d/e/|
g>c c2
c/d/e/g/|{g} a>c c3 d|{e}gc/A/ A4|c6|
A3G A/G/E|G2 G4|e3 d/e/ gc/A/|A6||
OCHAL REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of
Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best
Highland Reels written by David Young, W.M. & Accomptant."
OCHONE. Irish, Air (4/4 time). F Major. Standard. One part. An air was by this
title was published in 1680 in Luke Wadding's (who was the Bishop of Fern) A Pious Garland of Godly Songs for the
Solace of his Friends and Neighbours in their Afflictions. Joyce (1873)
published an air called “Och-ochone” (No. 11) which was a lament, but not a
death song. Howe (1000 Jigs and Reels), c. 1867; pg. 25. Joyce (Ancient Irish Music), 1873/1890; No. 11.
X:1
T:Och-Ochone
M:C
L:1/8
S:Joyce – Ancient Irish Music (1873)
Z:AK/Fiddler’s Companion
K:F
A2G2F3G |
Ac c2d2 cA | AG G2G2 GG | Ac c2d2c2 | B2 AB c2 de | f>e fd e2 c>B|
A2G2F3G | {A}f2g2f2 c>B | A2G2 F4
||
OCHTAR DEIRFIUR IS
DAICHEAD. AKA and see "Eight and Forty Sisters."
O’COGHLAN HAS A GLEN. Irish, Air (3/4 time). E Major/Mixolydian. Standard. AB. Source for
notated version: “Set from Mary O’Donohoe, Arran-More, Sept. 9th, 1857"
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 332, pg. 84.
O'CONNELL IN CLARE. AKA and see "The Barrow Castle,"
"Belles of Tipperary [2],"
"The Blea‑berry Blossom,"
"Connacht Lasses,"
"The Connacht Star,"
"The Dandy Girl/Lass/Lasses,"
"The Four Courts of Dublin,"
"Green Fields to America,"
"The Kerry Star," "Lamont's Reel,” "Jackson's Welcome to Cork [1],"
"Johnny Shooting in
the Glen," “Kerry Star,” “Mel Roddy’s Tune” (northeast Kings
County, PEI), “Miss
Mona(g)han(‘s Reel),” “New Policeman [1],”
“Shannon’s Shores,” "Stormy Weather [1]," "The White‑haired Piper.”
O’CONNELL’S FAREWELL TO DUBLIN [1] (Slán Uí Chonaill le Baile
Átha Cliath).
Irish, Reel. A Dorian. Standard tuning. AABBCC. The title honors Daniel
O’Connell (1775-1847), a Catholic barrister who in 1823 founded the Catholic
Association to champion the cause of emancipation for the island’s Catholic
population. His campaign became a
popular movement, gained momentum and key support in England, and resulted in
Westminster passing the Catholic Emancipation Act in 1829. At the height of his
power O’Connell was the most famous man in Ireland, routinely vilified in Punch but called “The Liberator” to the
common folk of Ireland.
***
A portrait of Daniel O’Connell graces the Irish
£20 note, based on a mezzotint by John Gubbins.
***
Source for
notated version: the late fiddler Martin “Junior” Crehan,
1959 (Miltown Malbay,
O’CONNELL’S FAREWELL TO DUBLIN [2]. Irish, Slide and Set Dance. A Dorian. Standard
tuning. AA’BB’. Treoir.
X: 1
T: O'Connell's Farewell to Dublin [2]
S: "Treoir"
M: 12/8
L: 1/8
R: slide (set dance)
K: Ador
AB |: c2 B c2 B c2 d e2 f | gfe agf gfe dBA |
G2 B d3 edB dBA | G2 B dBd edB d2 B |
c2 B c2 B c2 d e2 f | gfe agf gfe d2 d |
eaa a2 b a2 g e2 d |1 c3 B3 A3 :|2 c3 B3 A2 ||
AB | cBc A2 B cBc A>dc | BAB Gdc BAB G3 |
c2 B c2 B c2 d e2 f | gfe agf gfe d2 B |
cBc A2 B cBc A>dc | BAB G3 BAB G3 |
eaa
a2 b a2 g e2 d |1 c3 B3 A2 :|2 c3 B3 A3 :|
O’CONNELL’S JIG ON THE TOP OF MOUNT EVEREST. AKA and see "Banks of Ahasnagh," "Crossing the Bogs," “Mick Mulcahy’s [1],” “Over the Sea [2],” “The Portroe [1].” Irish,
Jig. The tune was widely played around Woodford, County Galway, where it was
learned by the Coen brothers when younger. Where
the name came from is unknown. Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch
Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack and Charlie Coen –
“The Branch Line” (1977).
O’CONNELL’S
LAMENTATION (Golgair Ui Connaill). Irish, Air (6/6 time). A Dorian.
Standard tuning. ABC. O’Neill (1922) says: “Comparing very favorably
with compositions of this class, O'Connell's
Lamentation is presented as the production of two members of the once
famous Irish Music Club of Chicago which flourished in the early years of the
twentieth century. The first and second parts were outlined by John McFadden
(County Mayo), an untutored fiddler of fertile fancy and dexterous execution.
The third part as well as the whole arrangement is the work of Sergt. James
O'Neill (County Down), the club's worthy scribe.” Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised
2000); pg. 12. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 28, pg. 5. O’Neill (Waifs
and Strays of Gaelic Melody), 1922. June Appal
Records, Malcolm Dalglish & Grey Larsen – “Banish Misfortune” (1978).
X:1
T:O'Connell's Lamentation
M:6/6
L:1/8
S:Sergt. James O'Neill
Z:Paul Kinder
R:Air
K:C
"Andante"E|A2 d/2c/2 AGE|Gcd ea^f|gec dcA|GE^F G2 E|
Adc AGE|c3/2d/2e/2^f/2 gea|gec dcA|A3-A2||
e/2^f/2|g3/2^f/2a/2f/2 g3/2b/2a/2g/2|f/2e/2d/2e/2f/2d/2 e2 A|
c/2B/2c/2d/2e/2^f/2 ge/2c/2A/2| GEc/2A/2 GEG|
AA/2B/2c/2A/2 BB/2c/2d/2B/2|cc/2d/2e/2^f/2 gea| gec dcA|A3-A2||
A/2B/2|cE^F G2 A/2B/2|c/2B/2c/2d/2e/2^f/2 gea|
g/2f/2e/2g/2f/2e/2 d/2f/2e/2d/2c/2B/2|cE^F G2 A/2B/2|
cE^F G2 A/2B/2|c/2B/2c/2d/2e/2^f/2 gea| gec dcA|A3-A2||
O’CONNELL’S MARCH. Irish, March. Green Linnett GLCD 1155, Martin
Hayes - “Under the Moon” (1995).
O’CONNELL’S REEL [1]. AKA and see "An Colamo(i)r
Sugach,” "The Connacht
Rangers,” "Father
Henebry's Reel,” "The Frieze
Kneebreeches,” "Fuiseog an
tSleibhe,” "The Gauger,” "Lady O'Brien's Reel,” "The Mountain Lark [4],” "The Steampacket.”
O’CONNELL’S REEL [2] (Ríl Uí Chonaill). AKA and see “Charlie Harris’ [2].” Irish, Reel.
D Major. Standard tuning. AB. The tune was printed in Treoir (vol. 6, no. 5) as “John P. Blessing’s Favourite.”
As “The Night of the Fun [4]”
Breathnach finds that it appears in the Journal
of the County Louth Archaeological Society (vol. II, No. 2, 1909). Source
for notated version: the mid-20th century collection of schoolmaster and
fiddler Michael ‘Master’ McDermott (Carrickmore, southern County Tyrone), who
learned his tunes from local musicians [Breathnach]. Breathnach (CRÉ IV), 1996; No. 174, pg. 81.
O’CONNELL’S
REEL [3]. Irish, Reel. A Dorian. Standard tuning. AABB. O’Brien
(Irish Folk Dance Music).
X: 1
T: O'Connell's
S: J. O'Brien: "Irish Folk Dance
Music"
M: 4/4
L: 1/8
Q: 350
R: reel
K: Ador
dc | BGGG DGGG | Bdef gedc | BGGG DGGG | BedB
Aedc |
BGGG DGGG | Bdef gfga | bgaf gfed | (3efe dB A2
:|
Bd | e^def e=dBG | (3B^cd ef gedc | BGGG DGGG |
BedB A2 Bd |
e^def
e=dBG | (3B^cd ef gfga | bgaf gfed | (3efe dB A2 :|
O'CONNELL'S TRIP TO
PARLIAMENT [1] (Turas Uí Chonaill go
dtí an Pharlaimint). AKA and see "Bonnie Sally,"
"The New Married Couple [3],"
"The Sporting Days of Easter
[1]," “Willow Tree [5].” AKA
– “The Trip to Parliament.” Irish, Reel. D Major. Standard tuning. AB
(Tubridy): AABB (Breathnach, Harker/Rafferty). The title comes from Owen Kelly.
A version of the tune is “The Sporting Days of Easter.” Sources for notated
versions: fiddler Aggie White {Mrs. Sean Ryan}, 1967 (Ballinakill, Graigue, Co.
Galway, Ireland) and fiddler Owen Kelly (Co. Tyrone, Ireland) [Breathnach]; New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Breathnach (CRÉ II), 1976;
No. 217, pg. 113 (two versions). Harker (300
Tunes from Mike Rafferty), 2005; No. 123, pg. 37. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 18. Kells Music 9509, Mike and Mary Rafferty –
“The Dangerous Reel” (1995).
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:O’Connell’s Trip to Parliament [1]
M:C|
L:1/8
R:Reel
K:D
dcAF G2 FG|Adde fdec|dcAF G2 FG|ABGE
FD D2|dcAF G2 FG|
Adde fdec|dcAF G2 FG|ABGE FD D2||f3a
gfed|B/c/d ef g2 fe|
defg a2 ge|a2 ge fdde|f3a gfed|B/c/d
ef g2 fe|defg a2 ge|a2 ge fd d2||
O'CONNELL'S TRIP TO
PARLIAMENT [2]. AKA and see "Big Pat's (Dandy) Reel,"
"The Clady Reel," "Jimmy the Creelmaker," "Salamanca [3]," "The Pigeon House," "The Dandy Reel," "The Hills of Clady," "Tie the Ribbons [1]," "Trim the Bonnet."
O'CONNELL'S WELCOME TO
CLARE. AKA and see "The Teetotaler's Fancy," "Teetotaler('s Reel)." Irish, Jig. C
Major. Standard. AABB. Composed in 1828 by the famous Galway piper Paddy
Coneely (d. 1850), who was the source of many of the tunes of the Irish
collectors Joyce and Petrie. O’Neill (1913), pg. 215.
O'CONNELL'S WELCOME TO DUBLIN (Failte riomh O Conaill go
Baile Atha Cliath). AKA and see “Ballinamere Jig,”
“Castle Jig [2],” "Father Morrison's Delight,” “Molloy’s Favorite (Jig),” “Molloy’s Jig,” “Moss Martin’s,” “Sean Ryan’s Jig [1],” “Tongs by the Fire [2] .” Irish, Double Jig. E Dorian. Standard.
Source for notated version: whistle player Tom Gaffey, 1969 (Co. Galway,
Ireland) [Breathnach]. Breathnach (CRÉ II),
1976; No. 35, pg. 21.
O'CONNELL'S
WELCOME {TO PARLIAMENT} [1]. AKA and see "Billy Patterson('s Favorite),"
"The Blackthorn Stick [1],"
"Boys of Bockhill/Rockhill,"
"The Humours of Bantry,"
"The Catholic Boys [3],"
"The Coachroad to Sligo [1],"
“Daniel
O’Connell’s Welcome to Parliament,” "The
Eagle's Nest," "Fire
on the Mountain(s) [2]," "The Fire/Hare on the Mountain,"
"Fire in the Valley," “Maid(en) on the Green,” "Night
of the Fun [1]," "The
Rose on the Mountain," "Welcome Home, Royal Charlie."
Irish, Jig; American, Jig or March. G Major (most versions): D Major (Bayard). Standard.
AABB. Bayard (1981) regards this piece as a major form of the Irish tune
"Slan agus Beannacht le Buaidhreamh an tSaoghail" (Farewell to the
Troubles of the World), usually played in the Dorian or Mixolydian mode. Also
derived from the original tune, he thinks, is the jig "The Maid(en) on the
Green." Howe (c. 1867) includes the tune in a section from the playing of
Jimmy Norton, the “Boss Jig Player,” who was a mid-19th stage
fiddler and entertainer, treading the footlights from an early age. The tune
that usually goes by the “O’Connell” title in modern sessions is the second
version, below, a different melody. Source for notated version: Hiram Horner
(fifer from Westmoreland and Fayette Counties, Pa., 1944, 1960; who plays it
"as always heard from fifers and bagpipers") [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 623, pg.
548. Cole (1000 Fiddle Tunes), 1940;
pg. 68. Howe (Diamond School for the
Violin), 1861; pg. 66. Howe (1000 Jigs and Reels), c. 1867; pg. 32
(appears as “Daniel O’Connell’s Welcome to Parliament). Ryan’s Mammoth Collection, 1883; pg. 99. Jonathan Edwards Memorial Foundation JEMF‑105, L.O.
Weeks ‑ "New England Traditional Fiddling" (1978).
X:1
T:O’Connell’s Welcome to Parliament
[1]
M:6/8
L:1/8
R:Jig
R:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
gfg edc | Bc^c dBG | BAB dcB | BAA
A2z | gfg edc | Bc^c dBG |
BAB dcA | AGG G2z :: E | FAB cAA |
BGG cAG | FAB cBc |
Adc d2D | FAB cBc | Ade fed | ecA
GFE | FDD D2 :|
O'CONNELL'S
WELCOME TO PARLIAMENT [2] (Fáilte
roimh Ó Conaill sa bParlaimint). Irish, Double Jig. E Minor. Standard. AABB.
Sources for notated versions: fiddler Mrs. Murphy, 1967 (Glencollins, Co. Cork,
Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, in the
1980’s [Taylor]. Breathnach (CRÉ II),
1976; No. 62, pg. 36. Taylor (Music for
the Sets: Yellow Book), 1995; pg. 12.
O’CONNOR DONN’S [1], THE. AKA and see “Connor Dunn’s.” Irish, Reel. G Major.
Standard. AABB. The O'Connors were Kings of Connaught, and the name O’Connor
Donn is in the style of a clan chief, the Prince of Connaught, and is a
hereditary title. The O’Connor Donn’s house is where the reputed harp of
O’Carolan is on exhibit, along with various early manuscripts of the harper’s
music. Source for notated version: reconstructed by Cathal McConnell from an
old and worn cylinder recording about 1901 by piper Martin O'Reilly (Galway,
Ireland). O'Reilly competed in the Dublin Feis the year of the recording but
died in a poorhouse early in the 20th century, "ignored by the dilettantes
who only a few years before had 'rediscovered' him" [Boys of the Lough]. Boys of the Lough, 1977; pg. 2. Green Linnet GLCD 1127, “Martin Hayes” (1993. Appears as
“Connor Dunne’s”). Philo 1042, Boys of the Lough ‑ "The Piper's
Broken Finger" (1976). Transatlantic TRA 311, Boys of the Lough ‑
"The Piper's Broken Finger” (1976). Tara Records, Lewis Family - “Weeds in
the Garden” (1978). Danny Meehan – “Naavy on the Shore” (appears as “Cathal
McConnell’s”).
X:1
T:O'Connor Donn's
C:Traditional
S:Martin O'Reilly, Galway (pipes)
M:C
L:1/8
R:Reel
B:Boys of the Lough Tunebook
Z:Gordon Turnbull
K:G
B2 AG dGBG | GABG A2 AG | FADF ADag
| gdcA GFGA |
B2 AG dGBA | GABG A2 AG | FADF ADag
| gdcA G2 G2 :||
faaf dafa | afdf af d2 | faaf dffd |
egfa g2 ag |
fada fada | faaf af d2 | faab c'bag
| [1 fgaf g2 gd :|| [2 fgaf g2 g2 |]
O’CONNOR DONN’S [2]. AKA and see “(An) Comhra Donn.”
Irish, Hornpipe.
O'CONNOR'S FANCY (Roga Uí Concobair). Irish, Hornpipe. D Major. Standard tuning.
AABB. O'Neill (Krassen), 1976; pg. 186. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1656, pg. 308.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 876, pg. 151.
X:1
T:O’Connor’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 876
Z:AK/Fiddler’s Companion
K:D
A>G|F>AD>D
D>FE>D|C>EF>G G2 G>E|F>AB>c d>AB>G|F2E2E2 A>G|
F>AD>D
D>FE>D|C>DE>F G2 F>E|F>AB>c e>AB>G|F2D2D2:|
|:c2|d>AF>A
d>fe>d|e>dc>d e>fg>e|f>de>c d>fe>d|c2A2A2 d>c|
B>AG>A
d>fe>d|e>dc>A B>AG>F|G>AB>c d>AB>G|F2D2D2:|
O'CONNOR'S FAVORITE (Roga Uí Concobair). Irish, Hornpipe. D Major. Standard tuning.
AABB. See also the related “Woods of
Kilkenny.” O'Neill (Krassen), 1976; pg. 201. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1715, pg. 319.
O'Neill (Dance Music of Ireland: 1001
Gems), 1986; No. 904, pg. 155.
X:1
T:O’Connor’s Favorite
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 904
Z:AK/Fiddler’s Companion
K:D
(3ABc|dAFA dfaf|gfef d2A2|BdAd
GdFd|FEED E2 (3ABc|
dAFA dfaf|gfef dcBA|BcdB
AGFE|D2D2D2:|
|:FG|AFdA fdAF|GABG E3f|gfed cdef|edcB
A3A|(3ded Ad (3fgf df|
(3aba fd A2f2|gfed cABc|d2d2d2:|
O'CONNOR'S FROLICS. Irish, Jig. F Major. Standard. AABBCC. Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down; many were from the playing of his father [O’Neill].O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 166.
X:1
T:O'Connor's Frolics
M:6/8
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
K:F
D/4E/4F/4G/4|:AFF AFF|BGG BGG|AFF AFF|GFG EFG|
AFF AFF|BGG BGG|B/2c/2dB cAG|FDD D2 z:|
|:Add dcd|efe dcB|Add dfa|gee e2 A|
Add dcd|efd cBA|B/2c/2dB cAG|FDD D2 z:|
|:DFF AFF|dFF AFF|DFF AFF|GEE E3|
DFF AFF|dFF AFF|BAB cAG|FDD D2 z:|
|:Add dcd|cBA AFA|Add dcd|ecA Acd|
fdd
ecc|dcB AFA|BAB cAG|FDD D2z:||
O’CONNOR’S (POLKA). AKA and see “The Hayden Fancy,”
“Johnny Box,” “Mary Ann.” Irish, Polka. D Major. Standard
tuning. AABB. Mallinson (101 Polkas),
1997; No. 7, pg. 3. Ossian OSS 79, Boys of the Lough –
“Regrouped” (1980).
X:1
T:O’Connor’s
T:Hayden Fancy
T:Mary Ann
R:Polka
C:Traditional
S:Maurice O'Keeffe
M:2/4
L:1/16
Q:146
K:G
D3E G2B2 | D3E G2B2 | A2E2 E2DE |
G2E2 E2GE |
D3E G2B2 | D3E G2B2 | A2E2 E2DE |
A2G2 G2 B2 :||
d2B2 B2AB | d2B2 B3A | G2E2 E2DE |
G2E2 E2D2 |
d2B2 B2AB | d2B2 B2A2 | G2E2 E2DE |
A2G2 G2B2 :||
O'CONNOR'S (SLIDE). Irish, Slide (12/8 time). E Dorian. Standard tuning. AABB. Gael Linn CEF176, Jackie Daly - "Many's a Wild
Night" (learned from the playing of Ned and Dan O'Connor, two great
musicians from the Scartaglin, Kerry, area who play the fiddle and were pupils
of the great Sliabh Luachra fiddle master Pádraig O'Keeffe).
X:1
T:O'Connor's
D:Jackie Daly, "Many's a Wild
Night", track 6(b)
M:12/8
L:1/8
R:slide
Z:Paul de Grae
K:Edor
"Em" B2 e e2 f e2 d B2 A |
"Bm" B2 d dBA B2 d dBA |
"Em" B2 e e2 f e2 d B2 A |
1 "D" def a2 f "A" e3 e2 d :||
2 "D" def a2 f
"A" e3 efa ||
||: "Em" b3 "Bm"
b2 a "Em" b2 a "A" f2 e | "D" def a2 f d2 f afa |
"G" b3 b2 a b2 a
"D" f2 e | 1 def a2 f "A" e3 efa :|| 2 def a2 f
"A" e3 e3 ||
**
Em / / / | Bm / / / | Em / / / | D /
A / :||
||: Em Bm Em A | D / / / | G / / D
(bass F#) | D (bass D) / A / :||
O’CORSE. Scottish, Reel. D Major/Mixolydian. Standard. AABB’. A ‘double-tonic’
tune. Cranford (Jerry Holland’s),
1995; No. 82, pg. 24. Fiddlesticks cass., Jerry
Holland - “A Session with Jerry Holland” (1990). Green Linnett, Jerry Holland -
“The Fiddlesticks Collection” (1995).
O'CROWLEY'S DREAM (Aisling Padraig Ua Cruadlaoic). Irish, Air (3/4 time). D Major.
Standard. AB. Composed by John Roche, father of Frank Roche, editor of the Roche Collection. John was a dance
master and classically trained violinist. Roche
Collection, 1982, vol. 1; No. 66, pg. 31.
OCTAGON, THE. English, Jig. England, North‑West. D
Major ('A' part) & A Major ('B' part). Standard. AABB. Knowles (Northern Frisk), 1988; No. 43.
[COMMENT1][COMMENT2][COMMENT3][COMMENT4]
OCTHAR DEIRFIÚR IS
DAICHEAD. AKA and see “Eight and forty sisters.”
OCTOBER WINDS. AKA and see “Castle of Dromore.”
ODE TO ELI BAIN. Scottish, Reel. D Major (‘A’ and ‘C’ parts), A Major (‘B’ part) & B
Minor (‘D’ part). Standard. AA’BB’CDD’. Composed by Neil Campbell, probably in
honor of Shetland fiddler Ali Bain. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 19.
[COMMENT5][COMMENT6][COMMENT7][COMMENT8]
ODE TO WHISKEY. Irish, Air (6/8 time). D Major. Standard. AB. The tune is attributed to
blind Irish harper Turlough O'Carolan (1670-1738), although Donal O’Sullivan,
in his definitive work on the bard, could find no incontrovertible evidence of
its origin. Complete Collection of
Carolan's Irish Tunes, 1984; No. 197, pg. 134. Columbia
35612, "The Chieftains" (1978).
O’DEA’S. Irish, Jig. Composed by Maurice Lennon, fiddler for the band Stockton’s
Wing. Hemisphere 7243 8 31216 25, Stockton’s Wing -
“Celtic Graces” (1994). Tara Music, Stockton’s Wing - “The Crooked Rose”
(1992).
ODIHAM RACES. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript. It does appear
in Thompson’s Compleat Collection of 200
Favourite Country Dances, vol. 3, printed by Charles and Samuel Thompson c.
1772. Odiham is a village in north Hampshire, about 45 miles west of London,
near which was located the site of a race course that existed from 1760-1875.
O'DONNELL ABU. AKA - “O'Donal Abhu/Aboo.” AKA and see "Our Land Shall Be Free,"
"Proudly
the Note of the Trumpet is Sounding." Irish, March (4/4 or 2/4 time).
G Major (Miller & Perron, O'Neill, Sweet): D Major (Mulvihill, Roche).
Standard. AB (Miller & Perron, Mulvihill, O'Neill): AA'B (Sweet): AABB
(Roche). This Irish march is at least as old as the late 16th century. It
probably commemorates the O'Donnell who was one of the leaders of the Irish forces
in the wars with the English at that time. The tune is commonly played in New
England for the dance "British Sorrow." Clearly an ancient tune,
O’Neill inexplicably gives credit for the version in his Music of Ireland to fiddler and collaborator James O’Neill, however, in his Irish Minstrels and Musicians (1913)
he lists it as one of the “splendid martial airs” of Irish traditional music.
Miller & Perron (New England Fiddlers
Repertoire), 1983; No. 59. Mulvihill (1st
Collection), 1986; No. 10, pg. 105. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 105, pg. 59. Roche Collection, 1982, Vol. 2; No. 331,
pg. 57. Sweet (Fifer’s Delight),
1965/1981; pg. 74. Alcazar Dance Series FR 204, Rodney
Miller ‑ "New England Chestnuts 2" (1981).
X:1
T:O’Donnell Abhu
M:2/4
L:1/8
R:March
K:G
||G2 Bc|d2Bd|b2 ge|d2 cB|A2 A>B|c2 BA|G2 Bc|dc BA|G2 Bc|d2 Bd|b2 ge|d2 cB|A2 a>g|fd ef|g2 g>a|g3 a|]/
a2
b>a|ge d2|g2 g>e|dB Ga/b/|c2 ec|B2 dB|A2 d>e|dc BA|B2 Bc|d2 Bd|b2
ge|d2 cB|Aa a>g|fd ef|g2 g>a|g2 g2|]
O'DONNELL'S HORNPIPE (Crannciuil Ui Domnaill). AKA and see “Maguire’s Fiddle.” Irish, Hornpipe. G
Major. Standard. AABB. New York/County Sligo fiddler Paddy Killoran recorded the
tune on a 1936 78 RPM in a medley with “Maguire’s Fiddle,” although some
confusion exists because the tune names were reversed on the label. Paul de
Grae thinks the tune sounds like a shortened Irish version of the English clog
dance “Flee as a Bird.” O'Neill
(O’Neill’s Irish Music), 1915; No.
323, pg. 160. O'Neill (Krassen), 1976; pg. 194. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1687, pg. 314.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 889, pg. 153.
X:1
T:O'Donnell's Hornpipe
R:Hornpipe
S:Seamus McGuire & John Lee,
"The Missing Reel"
Z:Jeff Myers
M:C|
L:1/8
Q:90
K:G
Bc|dg (3gfe Bded|BGdB A2AG|FGAB
cdef|(3gba (3gfe d2Bc
|dg (3gfe|Bded BGdB|A2AG FGAB cdef|
gbaf g2:|
|:ef|gbag fagf|egfe fdB2|gbag
fagf|egfe fdBd|c2Ac B2GB|A2FA GFED|DEFG ABcA|(3GBd (3gdB G2:
O’DONNELL’S LAMENT. AKA and see “Caoineadh
Uí Dhomhnaill.”
O'DONNELL'S MARCH [1] (Mairseal Ní Dhomhnaill). Irish, March (4/4 time). G Major.
Standard tuning. AB. Source for notated version: blind fiddler Michael Daffy
(Co. Clare, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of
Traditional Irish Music), 1914; No. 13, pg.
O'DONNELL'S MARCH [2] (Mairseal Ní Dhomhnaill). Irish, March (3/8 time). B Flat
Major. Standard tuning. One part. No relation to version #1. Source for notated
version: the Irish collector Edward Bunting noted the melody from Richard
Stanton, Westport, in 1803. O’Sullivan/Bunting, 1983; No. 80, pg. 123.
X:1
T:O’Donnell’s March [2]
L:1/8
M:3/8
S:Edward Bunting
K:B_
BBF|BBF|BB/c/d/e/|f2
z|g_ag/f/|gfe|dBc/d/|c2z|Acc|cde|dcB|def|fed|dcB|cB/c/d|F2z|
ec/d/e/c/|dcB|ec/d/e/c/|dcB|dff|Fed|cc/B/c/d/|B2z||
O'DONOGHUE OF THE
GLENS. Irish, "War March" (6/8
time). Ireland, County Kerry. A Minor/G Mixolydian. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 320,
pg. 54.
O’DONOGHUE’S WHISTLE. Irish. A martial melody (perhaps “O’Donaghue of the Glens”) mentioned
as having “wild energy and fire” by Mrs. S.C. Hall in a c. 1830's account of a
performance by James Gandsey, the King of the Kerry pipers (O’Neill,
1913).
O'DONOVAN'S HORNPIPE (Crannciuil Ui Donnobain). Irish, Hornpipe. D Major. Standard
tuning. AABB. O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 332, pg. 164. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 893, pg. 153.
X:1
T:O’Donovan’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 893
Z:AK/Fiddler’s Companion
K:D
(3DEF|GFGB AFDc|dcdf ecAf|gfeg (3faf
df|(3efe (3dcB (3ABA (3GFE|
GFGB AFDc|dcdf ecAg|(3faf df (3gbg
ec|df (3edc d2:|
|:(3ABc|dcdf afdf|afbf afdf|(3gbg eg (3faf df|(3efe
(3dcB (3ABA (3GFE|
GFGB AFDc|dcdf ecAg|(3faf df (3gbg
ec|df (3edc d2:|
O'DONOVAN'S MARCH (Hy Fedhgheinte). AKA and see "The Eagle's Whistle [2]." Irish,
March. Ireland, "West of River Maig, County Limerick" (Roche). G Major.
Standard tuning. AABB. Roche Collection,
1982, vol. 2; No. 321, pg. 54.
O'DONOVAN'S REEL. Irish, Reel. F Major. Standard tuning. AABB. Source for notated
version: piper Denis Delany (Ballinasloe, Co. Galway, Ireland) [Darley &
McCall]. Darley & McCall (Darley
& McCall Collection of Traditional Irish Music), 1914; No. 28, pg. 11.
O’DOWD’S FAVOURITE. AKA – “O’Dowd’s Reel.” AKA and see “Dowd’s Favorite.” Irish, Reel. G Dorian.
Standard tuning. AABBCC. The melody was famously recorded under this title by
County Sligo fiddler Michael Coleman in 1922 in New York (where he had
emigrated in 1914). The tune was paired with “Star
on Munster” and both were played in G dorian. The O’Dowd of the title was
John O’Dowd (or Dowd), an older man and a fiddler player from the same district
of County Sligo as Coleman was from. He was a member of a musical family from
Gurteen which includes fiddler Joe O’Dowd (1914-1987) and his son Séamus, a
fiddler and guitarist with the group Dervish. Reg Hall (1995) says Dowd is
reputed to have been the composer of the melody, and that he was one of
Coleman’s models, if not one of his teachers. Hall (1995) elsewhere says New
York fiddler Lad O’Beirne, son of Philip O’Beirne from Bunninadan, County
Sligo, attributed Michael Coleman’s variation sets of “Bonnie Kate” to John
Dowd. See also the related reels “Tee Ree Reel,”
“The Rover [4],” “Murtough Molloy,” “The Flowers in May,” “The Ladies Pantaloons,” “The Scotch Hunt” and “Dublin Lasses [2]." Bulmer &
Sharpley (Music from Ireland), vol.
2; 5. Cranitch (Irish Fiddle Book),
1996; No. 75, pg. 154. Vallely (Play Fifty
Reels with the Armagh Pipers Club), 1982; 15. Gael-Linn/Viva
Voce, CEFCD 161, “Michael Coleman 1891-1945.” Topic TSCD602, Michale Coleman –
“Irish Dance Music” (1995. A reissue of the 1922 original).
O’DOWD’S (JIG). AKA and see “The Nightingale [6],”
“Pat Lyons’,” “Sean Ryan’s Jig.” Irish, Jig.
O'DOWD'S NO. 9. AKA and see "Dowd's No. 9,"
"Jackson's No. 9," "Summer in Ireland," "The Cow with the Crooked Horn,"
"Summer in Ireland." Irish,
Reel. Breathnach (CRÉ II), 1976; No.
165. Bulmer & Sharpley (Music from
Ireland), vol. 4; 16. Peoples (Fifty
Irish Fiddle Tunes), 1986; 23.
O’DOWD’S
REEL [1].
AKA and see “O’Dowd’s Favourite.”
Irish, Reel.
O’DOWD’S
REEL [2].
AKA and see “The
Shoemaker’s Daughter [2].” Irish, Reel.
O'DRISCOLL'S FAVOURITE. Irish, Reel. A Major. Standard. AABB. McNulty (Dance Music of Ireland), 1965; pg. 12.
O'DWYER'S {REEL} (Seisd/Cor Ui Duibidir). Irish, Reel. D Mixolydian.
Standard. AB (O'Neill/1850 & 1001): AA'B (O'Neill/1915 & Krassen).
Reminisent of "Devil's Dream [1]."
The 'A' part reappears as the 'A' part in Bayard's Pennsylvania‑collected
"Cheat River." O'Neill (1915
ed.), 1987; No. 337, pg. 166. O'Neill (Krassen), 1976; pg. 112. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1287, pg. 242. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 552, pg. 102.
X:1
T:O’Dwyer’s Reel
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 552
Z:AK/Fiddler’s Companion
K:D
G|FADA FADA|FAAB A2 GF|GBEB
GBEB|GBBc B2 AG|
FADA FADA|FAAB A2 GF|EFGB ABcA|d2 AG
FDD||AGAB c2 AB|
cBAG FD D2|Addc d2 Ac|d2 AG FD
D2|AGAB c2 AB|cBAG FDDC|
DEFG ABcA|d2 AG FDD||
O'DWYER'S HORNPIPE [1] (Crannciuil Ui Dubuidir). AKA and see “Dwyer’s Hornpipe [2],” “Durroch’s Hornpipe,” “McConnell’s,” "Rock's Hornpipe," “O’Keeffe’s Hornpipe [1],”
"Prime's Hornpipe, “Prine’s Hornpipe,” “Waterford Hornpipe [1]."
Irish, Hornpipe. G Major. Standard tuning. AABBCC (Levey): AA’BB’CC’
(Harker/Rafferty, Moylan): AABBCCDD (O’Neill). In
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:O’Dwyer’s Hornpipe [1]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 842
Z:AK/Fiddler’s Companion
K:G
dc|B<dG>G G2 AG|F<AD>D
D2 dc|B<DG>G G2 Bd|e<gf<a gedc|
B<dG<G G2 AG|F<AD>D D2
dc|BdBG (3ABc AF|G2 G>G G2:|
|:ga|b2 bg afdf|gabg agfd|egfa
gbag|f2 d>d d2 ga|babg afdf|gabg agfd|
(3efg fa gedc|B2 G>G G2:|
|:dc|BcAB G2 AG|FGEF D2 dc|GcAB G2
Bd|egfa gedc|BcAB G2 AG|
FGEF D2 dc|BdBG (3ABc AF|G2 G>G
G2:|
|:Bc|d>B (3BBB G>B
(3BBB|d>B (3BBB G>B (3BBB|
c>A (3AAA F>A (3AAA|c>A
(3AAA FAdc|BGBd eceg|
fdfa gfga|bgfa gedc|B2 G>G G2:|
X:2
T:O’Dwyer’s Hornpipe [1]
M:C
L:1/8
R:Hornpipe
S:Levey - Dance Music of Ireland, 2nd Collection (1873)
N:Appears
as untitled hornpipe in Levey
Z:AK/Fiddler's Companion
K:G
(dc) | B2G2G2 (AG) | F2D2D2 (dc) | B2G2G2 Bd | egfa gedc |
B2G2G2 AG | F2D2D2 (dc) | Bd BG Ac AF | G2G2G2 :: ga |
b2 bb afdf | b2 bb afdf | eg fa gb ag | f2d2d2 (ga) | b2bb afdf |
b2 bb afdf | eg fa ge dc | B2G2G2 :: Bc | (dB) B2 (GB) B2 |
d2 BB (GB) B2 | (cA) A2 (FA) A2 | c2 AA (FA) A2 |
(dB) B2 (ec)c2 | ed ef g2 (ga) | bg af ge dc | B2G2G2 :|
O'DWYER'S HORNPIPE [2]. AKA and see "Fisher's
Hornpipe," "The
Blacksmith's Hornpipe," "Sailor's Hornpipe [2],"
"The First of May [2],"
"Wigs on the Green"
(these are mostly floating titles"). Irish, Hornpipe. C Major. Standard
tuning. AABB. The title appears in a list of tunes in his repertoire brought by
Philip Goodman, the last professional and traditional piper in Farney, Louth,
to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Source for notated
version: piper Denis Delany (Ballinasloe, Co. Galway, Ireland) [Darley &
McCall]. Darley & McCall (The Darley
& McCall Collection of Traditional Irish Music), 1914; No. 29, pg. 12.
O'ER... See "Over..." and
"Ower...".
OF A
NOBLE RACE WAS SHENKIN. AKA and see “Love Neglected,” “Nowill Hills.” English, Air. The air appears in
John Gay's Beggar's Opera (1729) as
"Is then his fate decreed, sir?" however, the song of the title comes
from D'Urfey's stage comedy The Richmond
Heiress (1693). It was sung by Bowman in broken English, put into the mouth
of a comic Welshman, Rice ap Shenkin. It was also published in several editions
of Pills to Purge Melancholy, along
with another song to the same air, and appears on period half-sheets. Playford
gives a version in his Thesaurus Musicus,
book I, 1693, and in various editions of the Dancing Master.
***
The tune is
sometimes claimed as Welsh, states Kidson (1922), but since the music to
D'Urfey's play was by Henry Purcell and John Eccles it was probably written by
one or the other, although it could have been based on a Welsh air. It does appear in Welsh publications that
date from after its English popularity, the first from 1794 when it was
included in Jones’s collection of Welsh airs in which it was labelled “The
Camp.” Curiously, it appears under the title “Danish Air” in the Welsh
publication of John Parry (Bardd Alaw) called Two Thousand Melodies (1841, No. 1980). Kidson (Groves) finds that Parry had previously
published it in his first Welsh collection of 1809, then stating he was unable
to trace its origin. Raven (English
Country Dance Tunes), 1984; pg. 59 (a facsimile copy of Gay’s 1729
publication).
X:1
T:Of Noble
Race was Shenkin
M:C|
L:1/8
S:Playford
– Dancing Master (1703)
K:D Minor
e2|f2ed ^cdec|d2 D4 e2|f2 ed ^cdec|d6||e2|f2f2 c2c2|f2 f6|F4 E4|D4 ^C2e2|
f2f2 e3e|d2d2^c3A|B2G2 A2^c2|d2 d4:|
OF
ALL THE AIRTS (THE WIN' CAN BLAW). See "Miss Admiral
Gordon's Strathspey." Scottish, Air (4/4 time) or Strathspey. A Major.
Standard. AB. The song is Robert Burns' adaptation of William Marshall's
strathspey "Miss Admiral Gordon's Strathspey." It was written by the
poet while he was at Ellisland awaiting the arrival of his bride‑to‑be,
Jean Armour, from Mauchline in Ayrshire, where he first met her.
***
|
O a' the airts the wind can blaw, I dearly lo'e the west, For there the bonnie lassie lives, The lass that I lo'e best. Tho' wild woods grow an' rivers row, Wi' mony a hill between, Baith day and nicht, my fancy's flicht, Is ever wi' my Jean. |
Robert Burns (1759-1796) |
***
The melody has been used for other
songs, including a Canadian folksong, “The Scarborough Settlers’ Lament” and a Scottish
song “The Scottish Settlers’ Lament” (see Stan Rogers’ album “For the Family”
and the Tannahill Weavers’ album “Land of Light,”, respectively. Cole (1000 Fiddle Tunes), 1940; pg 124. Neil (The Scots Fiddle), 1991; No. 63, pg. 87.
X:1
T:Of A' the Airts the Wind Can Blaw
T:Miss Admiral Gordon's Strathspey
N:adapted to 2/4 time for comparison
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
D|G>G G>G|G>D Ge|d>B AG|E3 D/E/|
G>G G>G|G>D Ge|d>e gB|d3 e|
d>e gB|d>B AG|A/ A B/ c/B/A/G/|E3 D/E|
G>GG>G|G>D Ge|d<B A>B|G3 |]
D/C/|B,>D G>D|E>D GA|Bd c/B/A/G/|E3 D/C/|
B,>D G>D|E>D GA|B>c d/e/f/g/|d3 e/f/|
g>f ed|e>d cB|A>B c/B/A/G/|E3 D/E/|
G>GG>G|G>D
Ge|d<B A>B|G3 |]
OF ALL THE BIRDS. English, Air (6/8 time). C Major. Standard tuning. One part. In The Knight of the Burning Pestle
Merrythought sings three snatches of song from Pammelia and this song, from Deuteromelia.
Kines, 1964; pgs. 88‑89.
OF ALL THE GIRLS THAT
ARE SO SMART. AKA and see "Sally in Our Alley." The air
appears under this title in John Gay's Beggar's
Opera (1729), but was Carey's tune to his "Sally in our Alley."
Raven (English Country Dance Tunes),
1984; pg. 68.
OF ALL THE SIMPLE
THINGS WE DO. AKA and see "Marriage, or the Mouse Trap,”
"Old Hob, or the Mouse Trap."
English, Air. The tune appears in John Gay's Beggar's Opera (1729) as "A maid is like the golden ore.”
It also appears om the second volume of Playford's Dancing Master (as "Old Hob, or the Mouse Trap"), 1719,
and vol. 1 of Pills to Purge Melancholy,
1719. Raven (English Country Dance Tunes), 1984; pg. 51 (a facsimile copy of Gay’s
1729 publication).
OF AW THE AIRTS THE
WINDS CAN BLOW. See "Of all the airts."
OF MY LOVE I WAS
THINKING (Air Mo Grad Do Bios
Ag Smuainim).
Irish, Air (6/8 time, "cheerful"). G Major. Standard tuning. AB.
Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler
originally from County Down and Francis O’Neill’s collaborator [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 125, pg. 22.
X:1
T:Of My Love I was Thinking
M:6/8
L:1/8
R:Air
N:”Cheerful”
S:O’Neill – Music of Ireland (1903), No. 125
Z:AK/Fiddler’s Companion
K:G
B/c/|d>ed dBG|gba g2d|e>fg
dBG|(A3 A2) B/c/|d>ed dBG|gba g2 g/e/|dBG FGA|(G3 G2)||
B|Beg {a}gfe|f^cd (B2B)|bc’b af{a}g|(e3
e2) g/a/|bab aef|gba g2 g/e/|dBG FGA|(G3 G2)||
OF NOBLE RACE WAS
SHINKIN. See “Of a Noble Race was Shenkin.”
O’FARRELL’S HORNPIPE.
Irish, Hornpipe. D Major. Standard tuning. AABBCC. Jerry Sullivan and Brian
McCandless (2005) are of the opinion this is a composition of piper O’Farrell,
“…a beautiful melody that uses close to the full range of the uilleann pipe
chanter.” O’Farrell (Collection of
National Irish Music for the Union Pipes), 1804; pg. 39. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).
X:1
T:O’Farrell’s Hornpipe
M:C
L:1/8
R:Hornpipe
S:O’Farrell – National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s Companion
K:D
AG | FA d2 dfed | EGBG BGFE | FA d2 dfaf | edcB ABAG |
FA d2 dfed | EGBc B2 ga | bagf gedc | d2 AF D2 :: g | fdA>d F>A df |
gfga gbag | fdA>d F>Adf | edcB A2A2 | fdAd FAdf | gfga gbag |
gdfa bgfe | d2 de d2 :: A2 | df/g/ af dfaf | dg/a/ bg dgbg | df/g/ af dfaf |
edcB
A2A2 | df/g/ af dfaf | dg/a/ bg dgba | bgaf gedc | d2 de d2 :|
O’FARRELL’S WELCOME TO LIMERICK. AKA and see “The Boy in the Bush,” “The Choice Wife,” “An Phis Fhliuch.” Irish, Jig. D Mixolydian. Standard tuning. AABBCCDDEE. The composition is one by O’Farrell, according to Francis O’Neill, presumably due to its inclusion in his National Irish Music (1804). O’Farrell (whose first name is not known) was an uilleann piper who published four important collections of Irish music between 1797 and 1810, and the first to publish a tutor for the improved Irish instrument. Though little seems to be known about him (including his first name) he seems to have spent a good deal of time in London where he performed on stage in such productions as the pantomime of Oscar and Malvina. A coarser Irish Gaelic title for the tune is “An Phis Fhliuch,” of which a polite translation would be “The Choice Wife.” The tune was first published in O’Farrell’s Collection of National Irish Music for the Union Pipes (c. 1804). O’Farrell (Collection of National Irish Music for the Union Pipes), 1804; pg. 39. O'Shaughnessy and McGrattan - “Within a Mile of Dublin.” Maggie’s Music MM220, Hesperus – “Celtic Roots.”
X:1
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s Companion
K:D
G | FGA AFA =c3 | B2G A2F GED | FGA AFA d3 | dfe d2B AFD :|
|: d2d f/g/af d2 =c | d2d f/g/af ge=c | faf ged =c2A | BAG FAF GED :|
|: FGA AFd AFd | AFd AFd GED | FGA AFA =c3 | B2G A2F GED :|
|: DFD DFD =c3 | =c3 c2A GED | DFD DFD d3 | dfe d2B AFD :|
|: d2d ege =c2A | d2d f/g/af gec | aba ged =c2A | BAG FAF GED :|
|: FGA AFD dFD | AFD dFD GED | FGA AFA =c3 | BdB c2A GED :|
O’FENLON’S HORNPIPE (Crannciuil Ui Finnallain). AKA and see "The Silver Box," "Vincent's Hornpipe," "Vinton's Hornpipe." Irish, Hornpipe. B
Flat Major. Standard tuning. AABB. A very popular hornpipe found in many
printed an manuscript collections under a variety of titles, including
“Vinton’s Hornpipe,” “Lord St. Vincent(‘s Hornpipe),” “St Vincent’s Hornpipe,”
“The Silver Box” and “O’Fenlon’s Hornpipe.” Professor Samuel Bayard thinks the "Silver Box Hornpipe,"
dated c. 1770 (in Alfred Moffat and Frank Kidson’s Dances of the Olden Time,
1912; pg. 31), is a simple, perhaps early, version of the tune. As “Lord St.
Vincent’s,” "
X:1
T:O’Fenlon’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:B_
fe|d2B2 BcdB|cBAG F2 FE|DFBF dedB|cBAG
F2 fe|
d2B2B2 gf|e2c2c2 cB|Acfa
gbg=e|f2f2f2:|
|:fe|dBAB dBAB|GEDE GEDE|cdec
BcdB|ABcA F2 fg|
fBAB GBAB|aBAB bBAB|FGAB
cdcA|B2B2B2:|
OFF
IN THE MORNING.
AKA and see “Speed the
Plough [1].” Irish, Reel.
OFF SHE GOES [1] (Ta Si Ag Imteacd). AKA and see "Off She Goes for Butter and
Cheese" (Pa.), "Up She
Got and Off She Went" (Pa.), "Peel the Willow" (Pa.), "La Danse des Sutins" (French‑Canadian),
"Lancer's Quadrille," "The Launch,"
"Rustic Reel [2]," "Rustic Dance [2]." English, Irish, Scottish, American; Single
Jig (6/8 time), Slide (12/8 time) and Country Dance Tune.
***
“Off She
Goes” was popular throughout the
***
Accordion player Jim Coogan
(Neuburgh, N.Y.), himself a repository for Irish accordion lore, related this
bit, in a discussion about the relative abilities of musicians to talk and play
at the same time, not an easy thing to do for most:
***
Joe Mills (rip), the original accordion player with the Aughrim Slopes
Ceili
Band when they started in 1932, used to tell the story about when they
were
playing on R2N—which radio station later became Radio Erinn and now is
RTE—that they were playing a set of jigs and coming up on the turn which
was to be "Off she goes" when Paddy Kelly, the fiddler looked
over at Joe
to find out what tune - Joe got excited and forgot the name and could
only
shout "feck off" - and they all immediately turned the tune
and it went very
well—except they forgot they were on live radio...
***
The title is among those mentioned
in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas
of which goes:
***
Murtagh Murphy’s barn was full to the door when the eve
grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls -
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.
***
Murtagh and his vanithee had their chairs brought in to
see
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright -
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.
***
“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and
“Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,”
-
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”
***
Sources for notated versions: 8
southwestern
|
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Off She Goes [1]
M:6/8
L:1/8
S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th century)
Z:AK/Fiddler’s Companion
K:D
F2A G2B|ABc d3|F2A G2B|AGF E3|F2A G2B|ABc d3|gaf g2f|edc d3:|
|:faf d2f|gbg e2g|faf d2f|gec d3|faf d2f|ege c2A|B2c d2B|gec d3:|
X:2
T:Off She Goes [1]
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D Major
A|F2A G2B|ABc d3|F2A G2B|AFD E3|F2A G2B|ABc d2e|f2d g2f|edc d2:|
|:g|f/g/af d2f|g/a/bg e2g|f/g/af d2f|ecA A2g|f/g/af d2f|g/a/bg e2g|f2d g2f|edc d2:|
X: 3
T:Off Shew Goyes
M:6/8
L:1/8
B:The Calvert Collection (1799) - Page 15
Z: AK/Fiddler’s Companion
K:D
F2A G2B|ABA [F3d3]|F2A G2B|AGF ~E3|F2A G2B|
(f/g/a)f d2f|edc [F3d3]|(f/g/a)f d2f|(e/f/g)e c2e|d2g {f/g/}a2f|gec [F3d3]||
X:4
T:Off She Goes
M:6/8
L:1/8
R:Jig
K:D
A|F2A G2B|ABc d3|F2A G2B|AFD E3|F2A G2B|ABc d2e|f2d g2f|edc d2:|
M:9/8
f2a f2d e2f |\
M:6/8
gbg efg | f2a f2d | ecA A3 |\
M:9/8
f2a f2d e2f |\
M:6/8
gbg efg | fed g2f | edc d3 :|
X:5
T:Off She Goes
M:6/8
L:1/8
R:Jig
S:Walter
Bulwer (1959), of Shipdham,
N:The odd-measured second part seems idiosyncratic with Bulwer
Z:AK/Fiddler’s Companion
K:G
B2d c2e|def g2d|B2d c2e|dcB A3|B2d c2e|def g3|B2G c2B|AGF G3:|
M:9/8
L:1/8
|:(B2d) B2G A2B|
M:6/8
L:1/8
c2e c2A|B2d B2G|A2F D3|
M:9/8
L:1/8
(B2d) B2G A2B|
M:6/8
L:1/8
c2e c2A|B2d B2g|A3 G3:|
OFF SHE GOES [2]. Old-Time, Breakdown. C Major. Standard tuning. AAB. Source for notated
version: James Bryan (
OFF SHE GOES [3]. American, Jig.
OFF SHE GOES [4]. Irish, Polka. D Major. Standard tuning. AABB. GN1,
Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare.”
OFF SHE GOES FOR BUTTER AND CHEESE. See "Off She Goes" [1].
OFF SHE GOES TO
MIRAMICHI. Canadian, Jig.
OFF/GOING TO
X:1
T:Off to
L:1/8
M:4/4
R:Hornpipe
K:G
D/E/F|GFGB AGED|GBdg e2 d/e/f|gfgd
edBG|ABAG E2 D/E/F|
GFGB AGED|GBdg e2 d/e/f|gfgd
edBG|AGEF G2:|
|:Bd|gfeg fedf|edef edBd|gfgd
edBG|ABAG E2 D/E/F|
GFGB AGED|GBdg e2 d/e/f|gfgd
edBG|AGEF G2:|
OFF TO
X:1
T:Off to
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D | G/>F/G/>B/
A/>G/E/>F/ | G/>F/G/>B ed/>d/ | e/>d/B/>d/
c/>A/E/>F/ | G/>B/A/>G/ ED |
G/>F/G/>B/ A/>G/E/>F/ |
G/>/F/G/>B/ ed/>d/ | e/>d/B/>d/ c/>A/E/>F/ | GB G :: d |
e/>^d/e/>f/ g/>f/g/>B/ |
G/>B/A/>G/ ED |
G/>F/G/>B/ e/>d/B/>G/ | A/>^G/A/>B/ Ad | e/>^d/e/>f/
g/>f/g/>B |
G/>B/A/>G/ ED |
G/>F/G/>B/ e/>d/B/>G/ | AF G :|
OFF TO
OFF TO
1) Limerick Races (Pantalon)‑
6/8 time, F Major, AB.
Johnny Sands ‑ 6/8 time, B
Flat Major, A.
2) The Irish Emigrant (L'Ete)‑
2/4 time, C Major, ABABA.
3) Twas On a Sunday Morning (La
Poule)‑ 6/8 time, G Major, AB.
Sally Come Up ‑ 6/8 time, C
Major, C.
4) I'm Leaving Thee in Sorrow, Annie
(Trenise {La Trenis}) ‑ 2/4 time, C Major, ABABA.
5) I'm Off to
Trim (Thomas Hardy), 1990; No. 74.
OFF TO DONNYBROOK. AKA and see “The Big
Ship come over the Bay,” “The
Bouchaleen Buidhe,” “Kitty’s
Wedding [2],” “The Maidens of Tir
Eoghain,” “McArdle’s Fancy,” “Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].”
Irish, Jig. G Major. Standard. AABB'. Cole (1000
Fiddle Tunes), 1940; pg. 78.
OFF TO (THE) SKELLIGS. Irish, Quadrille. Five Figures:
1) D Major. AB, Trio. {The 'B' part
is the 'A' strain of Bayard's "Down
On the Big Sandy".}
2) G Major ('A', 'B', and 'C' parts)
& C Major ('E' and 'F' parts). ABCDE.
3) C Major ('A' and 'B' parts) &
G Major (Trio). AB, Trio.
4) D Major ('A', 'B' and 'C' parts)
& A Major ('D' part). ABCDBCD.
5) A Major. AABCBC. {Parts of this figure
show up as the 'A' and 'B' part of the Pennsylvania‑collected "Ben Walker's Walk-Around>"}
Roche Collection, 1982, Vol. 2; No. 296, pg. 39.
OFF TO THE HUNT (Ag Imteacd Go Di An Seilg). Irish, Double Jig. A Dorian.
Standard. AABB. A variant of the "Bung
Your Eye" tune group (that includes the “Antrim Lasses,” “As I Was Kissed Yestreen,” “Yesterday’s Kisses,” etc.). Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. 32, pg. 13 (appears
as untitled jig). O'Neill (Krassen), 1976; pg. 72. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 712, pg. 133. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 14, pg. 19.
X:1
T:Off to the Hunt
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 14
Z:AK/Fiddler’s Companion
K:A Minor
E|ABA ABd|ege dBG|G^FG BAG|dBG
BAG|A>BA ABd|e^de gba|edc Bcd|ecA A2:|
|:^g|a^ga ABA|a^ga A2^f|g2G GAG|BAB
GAB|cBc d^cd|e^de gba|edc Bcd|ecA A2:|
X:2
T:Off to
the Hunt
M:6/8
L:1/8
R:Jig
S:Levey – Dance Music of Ireland, 2nd
Collection (1873)
Z:AK/Fiddler’s Companion
K:A Minor
E | A2E Acd
| ede A>BA | G2D G>Bc | d>cd G2A | A2E ABc |
e2^f gfg |
edc Bcd | e2A A2 :: a | a^ga A2a | a^ga A2=g | g^fg G2g |
g^fg G2B | c2c d2d | e2^f gfg | edc
Bcd | e2A A2 :|
OFF
TO THE RACES (Ag Dul chuig na
Rásaí). Irish,
Double Jig. G Major. Standard. AABB. See also an untitled jig in Breathnach,
vol. 3, 1985; No. 10, whose first part is the same, though the second parts are
different. Sources for notated versions: fiddler Patrick Spellman, 1967
(Bunanadden, Co. Sligo, Ireland) [Breathnach]; John Henry (b. 1922, Cloonlairn,
Doocastle, County Sligo) [Flaherty]. Breathnach (CRÉ II), 1976; No. 20, pg. 13. Flaherty (Trip to Sligo), 1990; pg. 147 (appears as “Unknown”).
OFF WITH YOUR JACKET.
AKA and see “Pigtown Fling.” American, Reel. F Major. Standard. AABB. The tune
is a variant of the popular and widely known tune family that includes “Buffalo Breakdown,” "Hop Along Sally,” "Kelton’s Reel," "Old Dad," "Old Mother Goodwin" (Pa.),
"Ston(e)y Point [1]",
"Stony Point Reel" (Pa. title, 1866), “Warm Stuff,” "Wild Horse," "Wild Horses at Stony Point."
Source for notated version: “Off with Your Jacket” comes from the c.
1840’s/50’s music manuscripts of painter William Sidney Mount (1807-1868), of
Setauket, Long Island.
X:1
T:Off with Your Jacket
M:2/4
L:1/8
R:Reel
S:William Sidney Mount manuscripts, c. 1840-1850’s.
Z:AK/Fiddler’s Companion
K:F
|: G | Ff/d/ cd/c/ | Af/d/ c/A/G/A/ | Ff/d/ cd/c/ | A/c/G/B/ AF/F/ :|
|:
A | d2d2 | e/f/e/d/ ^c/d/c/A/ | d2 d/d/d/d | e/f/g/e/ f2 :|
OFFALLY [sic] FAVORITE. Irish, Barndance. The tune is very similar to the East Texas
Serenaders’ “Acorn Stomp,” recorded in
1928. See also note for "Darkey's/Darkie's
Dream." Avoca Records, Jackie Roche &
Timmy Cronin – “Irish Fiddle & Accordion” (1957)
OFFA'S DYKE. AKA and see "Oswestry Square,”
“Sawdl Y Fuwch." English, Country
Dance Tune (6/8 time). D Major. Standard. AABBCC. Constructed in the 780’s,
Offa’s Dyke is the rather formidable earthwork which stretches along the Welsh
border from Dee down to Tidenham; some 170 miles. It is named after Offa, king
of Mercia. Barnes (English Country Dance
Tunes), 1986.
OFFICER ON (OF THE) GUARD, THE. AKA and see "Governor Taylor's March,"
"I Won't Be a Nun," "Napoleon Crossing the Alps [1],"
"Den(n)is Murphy's
Hornpipe." Irish, March (4/4 time). G Major. Standard. AABB. Roche Collection, 1982, vol. 2; No. 341,
pg. 60.
O'FLAHERTY'S GAMBLE. Irish, Reel. F Major. Standard. AAB. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 54, pg. 142. Roche Collection, 1982, vol. 3; No. 76,
pg. 23.
O'FLINN. AKA and see "Planxty
O'Flynn."
O'FLYNN. AKA and see "Planxty
O'Flynn."
O'FLYNN'S FANCY (Rogha Uí Fhloinn). AKA and see “Donny Brook [1],” “I’m Ow’re Young to Marry
Yet [1],” “Over Young to Marry,”
“The Pretty Lass, “Were You at the Fair?” Irish, Reel.
G Major. Standard. AA'B. The Scots “I’m Ow’re Young to Marry” seems to be the
ancestral tune, at least for the first part. Source for notated version: tin
whistle player Jimmie McGettrick, 1968 (Bunanadden, Co. Sligo, Ireland)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 198, pg. 103. Smithsonian Folkways SFW CD
40481, Brian Conway – “First Through the Gate” (2002).
OFT
IN THE STILLY NIGHT (Is Minic Annsa
N-Oidce Ciuin).
AKA and see "."
O'GALLAGHER'S
FROLICS (Cleasa Ui
Galcobair). AKA
- "Gollaher's Frolics.” AKA and see “Gallagher’s Frolic [3],” "Golliher's Frolic." Irish, Jig.
E Minor (O'Neill/Krassen): D Minor (O'Neill/1850 & 1001). Standard. AABB.
O’Neill (Irish Folk Music) says this
tune bears “a close resemblance” to the jig “Frieze Breeches” and the
song “I Buried My Wife and Danced on Top of Her.” O'Neill (Krassen), 1976; pg.
53. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1008, pg. 188. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 222, pg. 51. Ryan’s Mammoth Collection, 1883; pg. 86.
X:1
T:O’Gallagher’s Frolics
M:6/8
L:1/8
R:Jig
K:Em
D | EDE GFE | BAB dBA | ~B3 BAB |
GBG AFD |
EDE GFE | BAB dBA | BAG FAF | GEE E2
:|
|: d | e2f gfe | gga bge | ded fed |faf fed |
e2f gfe | dfe dBA | BAG FAF | GEE E2
:|
O'GALLAGHER'S HORNPIPE (Crannciuil Ui Galcobair). Irish, Hornpipe. G Major. Standard
tuning. AABB. Source for notated version: O’Gallagher [O’Neill]. O'Neill
(Krassen), 1976; pg. 177. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1617, pg. 300.
X:1
T:O’Gallagher’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
Bc|d^ced =cBAG|BAGF GABc|dgfg
edcB|AGFE D2 Bc|
d^ced =cBAG|BAGF GABc|dgfg ecAF|G2G2G2:|
|:Bc|dgfg edBd|e^def g2 fg|edcB
cBAG|AGFE D2 EF|
GFGB A^GAc|B^ABd efge|BdBG
AcAF|G2G2G2:|
OGANAIG IARINIDE. AKA and see "The Bucks of
Westmeath."
OGANAIGH AN CHUIL
DUALAIGH. AKA and see "The Youth of the Curly Locks."
OG-BEAN CUTAIL, AN. AKA and see "The Bashful Maid."
OG-MNA NA TULCA. AKA and see "The Maids of Tulla."
O’GORMAN’S REEL. AKA and see “Gorman’s Reel [3],” “The Long Strand [2],” “Sporting Nell [1].” Irish, Reel. D Major.
Standard tuning. AAB. Source for notated version: Paddy Cronin, “from an old 78
RPM” [Mulvihill]. Mulvihill (1st
Collection), 1986; No. 213, pg. 57.
_______________________________________
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