The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
_______________________________
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OA - OG |
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). USA, southwestern Louisiana. D Major ('A'
part) & A Mixolydian/Major ('B' part). Standard tuning. AABB. The initials
in the title stand for US Highway 90, the Old Spanish Trial, which horizontally
bisects southern Louisiana. It is also, according to Raymond Francois (1990),
the name of a nightclub in Rayne, Louisiana. A related song is "Cajun Special." Source for notated
version: Aldus Roger & Phillip Alleman (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 430-431. Swallow Records SW-LP6007, Aldus Roger.
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 RIDGE STOMP. Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AB.
Howard Marshall reveals that the title refers to the white oak woods in Linn
County, Missouri. Irish laborers cut and fashioned railroad ties from trees in
the woods in the later 19th century. Source for notated version:
Nile Wilson [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 108. Voyager VRCD 344, Howard Marshall &
John Williams – “Fiddling Missouri” (1999. Learned from Nile Wilson).
OAK STICK [1], THE. Irish, Jig or Air. D Major (Aird, Joyce): G
Major (Goodman). Standard tuning. 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
Cork?)" {Joyce}. Aird (Selections
of Scotch, English, Irish and Foreign Airs), vol. 2, 1785; No. 177, pg. 65
(appears as “Oak Stick, New Way”). Joyce (Old
Irish Folk Music and Song), 1909; No. 828, pg. 401. Shields/Goodman (Tunes of the Munster Pipers), 1998; No.
336, pg. 137.
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 ede | f3 g3 |
d2d dcB | cBc A3 | d2f edc | B3 A3 ||
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 (1785)
Z:AK/Fiddler’s Companion
K:D
ded dcB | c2A A3 | d2f ede | f3 a3 | dfd cec | B3 A2g | faf ecA | B3 A2 :|
|: 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 tuning.
AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II,
1785; No. 138, pg. 51.
X:1
T:Oak
Stick, The [2]
M:6/8
L:1/8
S:Aird,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
a/g/ | f2d ded | c2A BdB | efe e2f | g3 a2g | f2d ded | c2A ABA | Bcd edc | d3 d2 :|
|: 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. Ireland, County Donegal. D Major ('A' and 'C' parts), B Dorian
('B' part). Standard tuning. AABBCC (Brody): ABBC (Breathnach). A popular reel
in County Donegal. Caoimhin Mac Aoidh (1994) lists this as one of the Donegal
tunes played with long bowed double stops, reminiscent of piping. A close
County Tyrone variation is “The
Grand Turk’s March,” while the Scots reel “Miss Montgomery” is quite similar
to the version played by Donegal fiddler John Doherty. Sources for
notated versions: Boys of the Lough (Ireland/Shetland) [Brody]: fiddler Tommy
Peoples, 1968 (Co. Donnegal and Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 193, pgs. 100‑101.
Brody (Fiddler’s Fakebook), 1983; pg.
204. Bulmer & Sharpley (Music from
Ireland), vol. 1, No. 50. CCE CL13, Tommy Peoples.
Philo 1026, Boys of the Lough‑ "Live." Shanachie 29003, Tommy
Peoples and Paul Brady‑ "The High Part of the Road." Green
Linnet SIF 3051, Frankie Gavin - “Frankie Goes to Town.”
OAKEN LEAVES [1]. AKA and see ‑ "Touch
and Take." English, Country Dance Tune (6/8 time). A Major. Standard
tuning. 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.
OAKLAND GARDEN. American, "Clog Dance". C Major ('A' and 'C' parts) & A
Minor ('B' part). Standard tuning. AABBCC. Composed by minstrel Edwin Christie according to Ryan's Mammoth/Cole's 1000. See note for “Lotta’s Favorite” for more on E.P.
Christy. The title refers to Boston’s Oakland Garden theatre, a minor venue
that had a brief life, managed by Isaac B. Rich in the mid-1880’s. Cole (1000 Fiddle Tunes), 1940; pg. 82. Kerr (Merry Melodies), vol. 2; No. 421, pg.
47. Ryan’s Mammoth Collection, 1883;
pg. 115.
X:1
T:Oakland Garden
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 Bute, located on the west coast of Scotland, is the location of the
distillery of a famous single-malt scotch. The town is a port and
embarkation-place for Scotland’s western isles, while Lorne is the area
surrounding. In fact, Craig Cockburn remarks that the Gaelic name for Oban is
“An t‑Oban Latharnach,” or ‘the bay of Lorne’, usually shortened to “An
t-Oban” (‘the bay’). Although the modern town only emerged in the 19th
century, the area has a considerable and ancient history, starting with Loarn,
the brother of Fergus, who settled there about the year 498 and established a
fort at Dunollie, which remained the ancestral home of the Lorne family for
generations.
OBELISK, THE. AKA –
“The Obelist.” English, Country Dance Tune (cut time). F Major. Standard
tuning. AABB. The tune is titled “The Obelist” in the Samuel, Ann and Peter
Thompson’s c. 1790 reissue of the original 1773 third volume, published by
Charles and Samuel Thompson; probably a misprint. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 18.
X:1
T:Obelisk, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:F
AB|cAGF
dBAG|cbge faAB|cAGF G=Bdf|ecd=B c2:|
|:AB|cegb ceac|Bdgf fedc|dBAc|Begb|agfe f2:||
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 Arizona fiddler Kenner C. Kartchner from an old
Edison record in Holbrook, 1903.
O'BRIEN FROM NEWTOWN. Irish, Jig. Green Linnet SIF 1098, Seamus Connolly – “Here and There.”
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
(New Jersey) [Black]. Black (Music’s the
Very Best Thing), 1996; No. 348, pg. 185.
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 Ireland), vol.
1, No. 9. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 78.
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||
OBSESSIVE ISLAND. English. Composed by fiddler Clare Mann, of Newcastle, an All-Ireland
fiddle champion. Tartan Tapes CDTT1004, Clare Mann
& Aiden O’Rourke – “Heat the Hoose” (1998).
O’CALLAGHAN’S HORNPIPE (Cornphiopa Uí Cheallachain). Irish, Hornpipe. E Minor. Standard
tuning. AABB (Miller & Perron): AA'BB' (most versions). Named for the uncle
of influential Kerry fiddler Pádraig O’Keeffe, Cal O’Callaghan. Sources for
notated versions: fiddler Denis Murphy, 1966 (Co. Kerry, Ireland) [Breathnach];
fiddler Seán Keane (Dublin), with the Chieftains [Miller & Perron].
Breathnach (CRÉ II), 1976; No. 308,
pg. 157. Bulmer & SHarpley (Music
from Ireland), vol. 1, 73. Cranitch (Irish
Fiddle Book), 1996; pg. 109. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 14 (appears as
untitled hornpipe). Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 120. Moylan (Johnny O’Leary), 1994; pg. 61. Vallely (Play Tin Whistle with the Armagh Pipers Club,
vol. 2), 19. Comhaltas Ceoltoiri Éireann CL13,
"Tommy Peoples" (1976).
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 tuning. 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 tuning. 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 tuning. 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 tuning. 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:Dmin
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 New York City concert saloon. Brooks McNamara,
in his book The New York Concert Saloon:
The Devil’s Own Nights (2002, pg. 43), records:
***
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 tuning. 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 tuning. 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, County Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 231, pg. 120. Claddagh Records CC17, Sean Keane ‑ "Gusty's
Frolics" (1975. Learned from fiddler Patrick Kelly of Cree, County Clare).
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 tuning. 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
tuning. 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 “Daniel O’Connell’s
Welcome to Parliament.” Irish, Jig; American, Jig or March. G Major (most
versions): D Major (Bayard). Standard tuning. 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. The
first strain shows some melodic contour similarities with the family of tunes
represented by "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],"
"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."
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, p. 548. Cole (1000 Fiddle Tunes), 1940; p. 68. Howe (Diamond School for the Violin), 1861; p. 66.
Howe (1000 Jigs and Reels), c.
1867; p. 32 (appears as “Daniel O’Connell’s Welcome to Parliament). Ryan’s Mammoth Collection, 1883; p. 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). AKA and
see “Tommy Mulhaire’s Jig.” Irish, Double Jig. E Minor. Standard tuning. 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 tuning. 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 LAMENT, THE.
Irish, Slow Air. Composed by concertina player Chris Droney (Bell
Harbour, County Clare), named for the ruins of an abbey not far from his home town.
Droney is the veteran of several influential céilí bands, including the Aughrim
Slopes, Kilfenora, and, latterly, the Four Courts.
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 tuning. 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 tuning. 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 tuning. 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 tuning. 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.”
ODDITY, THE.
English, Country Dance Tune (whole time). A Major. Standard tuning.
AABB. The melody was originally published in Charles and Samuel Thompson’s
Compleat Collection, vol. 3 (London, 1773). It also was entered into the 1788 music
manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.),
as were numerous tunes from the Thompson’s 1773 collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 104.
X:1
T:Oddity, The
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
Acea aecA|BfdB AGFE|FAdc defg|aecA AGFE|Acea agfe|
^defb agfe|bgeb af^da|gfe^d {d}e4::eBGE Ace=g|fedc dAFD|
f^dBd
fgaf|gfe^d eBGE|FAdc defg|afdB AGFE|FAdc dfed|cBAG {G}A4:||
ODE TO ELI BAIN. Scottish, Reel. D Major (‘A’ and ‘C’ parts), A Major (‘B’ part) & B
Minor (‘D’ part). Standard tuning. 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 tuning. 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, Country Dance Tune (cut time). A Major. Standard tuning. AABB.
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 in London c. 1772. As with numerous other melodies
from the Thompson’s 1773 collection, it was entered into the 1788 music
manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.).
Odiham is a village in north Hampshire, about 45 miles west of London, near
which is located the site of a racecourse that existed from 1760-1875. Horse
races were run on a heath in the month of June. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 120.
X:1
T:Odiham Races
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
E|AGAB AecA|BABc BfdB|cecA BdBG|A4 A,3:|
|:e|aecA fgaf|ecBA GBGE|aecA fgaf|edcB A3:||
O'DONNELL ABU. AKA - “O'Donal Abhu/Aboo.” AKA and see “O’Donnell’s March,” "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 tuning (fiddle). 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, p. 105. O'Neill (O’Neill’s Irish Music), 1915; No. 105, p. 59. Roche Collection, 1913, vol. 2; No. 331, p. 57. Sweet (Fifer’s Delight), 1965/1981; p. 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 tuning (fiddle). 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, p. 160. O'Neill (Krassen), 1976; p. 194. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1687, p. 314. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 889, p. 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 (fiddle). AB. A version of the old marching air “O’Donnell
Abu.’ 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, p. 6.
O'DONNELL'S MARCH [2] (Mairseal Ní Dhomhnaill). Irish, March (3/8 time). B Flat
Major. Standard tuning (fiddle). 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, p. 123.
X:1
T:O’Donnell’s March [2]
L:1/8
M:3/8
S:Edward Bunting
K:Bb
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 tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 12.
O'DWYER'S {REEL} (Seisd/Cor Ui Duibidir). Irish, Reel. D Mixolydian. Standard
tuning. 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 County Donegal the hornpipe
is known as “An Gasur Mor” (The Big Young
Lad), from the playing of fiddler John Doherty. The melody appears first
in print in O’Farrell’s Collection of National Irish Music for the
Union Pipes & Pocket Companion for the Irish or Union
Pipes (1797‑1800) under the title “Waterford Hornpipe.” Seamus Ennis recorded this hornpipe.
The fourth part of the tune (acutally part 3 in O’Neill’s version) was added by
Captain O’Neill in Music of Ireland
(1903). Sources for notated versions: accordion player Johnny O’Leary (Sliabh
Luachra region of the Cork-Kerry border) [Moylan]; New Jersey flute player Mike
Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No.
271, pg. 84. Levey (Dance Music of
Ireland, 2nd Collection), 1873; No. 33, pg. 14 (appears as
untitled hornpipe). Moylan (Johnny
O’Leary), 1994; No. 105, pg. 61. O'Neill (Krassen), 1976; pg. 173. O'Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 1597, pg. 296. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 842, pg. 145.
O’Neill (O’Neill’s Irish Music),
1915; No. 337, pg. 166. Gael-Linn CEF132, Johnny
O’Leary - “An Calmfhear/The Trooper” (1989. Appears as first tune “O’Keeffe’s
Hornpipes,” named for fiddler Padraig O’Keeffe from whom O’Leary had the tune).
Spring Records SCD1037, Néillidh Mulligan – “The Leitrim Thrush”
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,” "St. Vincent's Hornpipe" or “Vincent’s Hornpipe” the
hornpipe appears in several 19th century publications and
manuscripts. The tune appears under this title in Thompson’s Twenty Four Country Dances for the Year 1799
(pg. 33). It also appears under this title in the mid-19th century
music manuscript papers of Long Island painter and musician William Sydney
Mount. Shropshire musician John Moore included it in his 1837-1840 music
manuscript as “St. Vincent’s Hornpipe,” dropping the ‘Lord’ from the title.
John Burks’ music manuscript, dated 1821, has a similar version (as “Vincent’s
Hornpipe”) to Moore’s, including being set in the key of B Flat. All of these
titles probably honor Admiral Jarvis, Lord St. Vincent, a contemporary of the
celebrated Lord Horatio Nelson’s and himself a hero of the Napoleonic Wars and
the victor of the Battle of Cape St. Vincent. The title “Vinton’s”, by which
the tune appears in the Boston, Massachusetts, publisher Elias Howe’s various
editions (from the mid-19th century on) is a probably a corruption of the
original title honouring Jarvis. The piece is in the repertoire of Missouri
fiddler Kelly Jones (b. 1947) who, having the ability to read music, learned
the melody from Cole’s 1000 Fiddle Tunes,
as previous generations of sight-reading mid-western fiddlers had learned this
and similar tunes from both Cole’s 1000
and its predecessor, Ryan's Mammoth
Collection (1883), both Howe
publications which included instructions for a contra-dance to
the tune. Indeed, the tune seems common to many of Howe’s publications, notes
Paul Tyler, and first appears in the 1844 edition of his Musician’s
Companion (pg. 61) {containing 18 setts of cotillions arranged with
figures, and a large number of popular marches, quick-steps, waltzes,
hornpipes, contra dances, songs, &c.&c.}. O’Neill prints the tune as
“O’Fenlon’s Hornpipe.” O'Neill
(Krassen), 1976; pg. 178. O'Niell (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1618, pg. 300. Phillips (Fiddlecase Tunebook), 1989; pg. 38.
X:1
T:O’Fenlon’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903),
No. 1618
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. England; Dorset,
Sussex. Ireland, West Kerry. USA; New England, southwestern Pa. D Major (most
versions): C Major (Cazden, Howe). Standard tuning. AB (Kerr, Moylan): AABB
(most versions). The British musicologist Chappell, writing in the 19th
century, seemed to imply that Englishman George Macfarren composed this very
popular tune; which is impossible, according to Bayard (1981), since it
appeared in print in the Irish Murphy MS. when Macferren was age 2 (1790). The
Irish uilleann piper 'Piper' Jackson has also been credited with the tune (by
Moffat) which he supposedly wrote c. 1760, but Bayard again thinks it unlikely
due to stylistic reasons (it does not sound like Jackson's other tunes, or even
particularly Irish). He concludes the composer and date of composition are
still unknown, though he doubts it is older than the 1780's. An early printing
occurs in the Calvert Collection (1799), assembled by musician Thomas Calvert
of Kelso, Scotland. A note with his collection states that Calvert
supplied “a variety of music and instruments, instruments lent out, tun’d and
repaired.”
***
“Off She
Goes” was popular throughout the British Isles and North America. One unnamed
source gives that in the days of sail it was a tradition for the fiddle player
to sit on the deck of the ship playing “Off She Goes” as the ship departed
harbor. In French-Canadian usage the melody is known as “La Danse des Sutins”
although Gaspésie fiddle Yvon Mimeault (b. 1928) called his version “Gigue du
Bonhomme” (‘my old man’s tune’) since his it was a favorite of his fiddling
father, Odilon. The author of English
Folk-Song and Dance found the melody in the repertoire of fiddler William
Tilbury (who lived at Pitch Place, midway between Churt and Thursley in
Surrey), who, in his younger days, played the fiddle at village dances. Tilbury
learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and
who was the village musician before him. The conclusion was that “Off She Goes”
and similar type country dance tunes survived in English tradition (at least in
southwest Surrey) well into the second half of the 19th century. “Off She Goes”
is contained in several 19th century musicians’ manuscripts, such as
the Joshua Gibbons, John Clare, Joseph Kershaw and the Hardy family
manuscripts. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North
West England, in the 19th century, and his manuscript dates from
around 1820 onwards. Clare (1793-1864) was a poet and rural labourer from
Helpstone, near Stamford, in the East Midlands. Gibbons was from
Lincolnshire—his setting, originally appearing in the mss. in the key of ‘C’
major, has a somewhat divergent second part, as does the Kershaw setting. [“Off
she goes” in H.S.J. Jackson’s (Wyresdale, Lancashire) manuscript book of 1823
is a different—but interesting—tune altogether—see http://www.leeds.ac.uk/music/Info/RRTuneBk/gettune/000005bf.html
]. See also the version in Ann Winnington’s music
manuscript book (No. 16), c. 1810, wherein the frontispiece indicates she
resided in New York. The melody appears in England in Thomas Wilson’s Companion to the Ballroom (1816) and in
America in Riley’s Flute Melodies
(1814).
***
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 Pa. fifers and fiddlers [Bayard]; Everett Douglas [Phillips];
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border) [Moylan]; the 1823-26 music mss of papermaker and musician Joshua
Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner];
melodeon player Walter Bulwer [Callaghan]. American
Veteran Fifer, 1927; No. 66. Bayard (Dance
to the Fiddle), 1981; No. 544A‑H, pgs. 485‑487. Brody (Fiddler’s Fakebook), 1983; pg. 204.
Callaghan (Hardcore English), 2007;
pg. 62. Cazden, 1955; pg. 13. Cole (1001
Fiddle Tunes), 1940; pg. 58. DeVille (The
Violin Player's Pastime), pg. 13. Ford (Traditional
Music in America), 1940; pg. 53 (appears as part of "Rustic
Dance"). Gallagher (Irish Songs and
Airs), No.. 11 (appears as "Off They Go"). Harding's Original Collection (1928) and Harding Collection (1915), No. 43. Hardings All‑Round Collection, 1905; No. 190, pg. 60 (appears
as "Old Virginia Reel"). Holden (A
Collection of Old Established Irish Slow and Quick Tunes), pg. 35. Howe
(Complete Preceptor for the Accordeon),
c. 1843; pg. 5. Howe (Musician's Omnibus), No. 2, pg. 107.
Huntington (William Litten's), 1977;
pg. 30. Jarman (Old Time Fiddlin' Tunes),
No. or pg. 18. S. Johnson (The Kitchen
Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 2. The Joseph
Kershaw Manuscript, 1993; No. 23. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 89, pg. 44. Kerr (Merry Melodies), vol. 1; No. 14, pg. 29.
Levey (The Dance Music of Ireland),
No. 89. Mac Amhlaoibh & Durham (An
Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No.
57, pg. 37 (appears as “Port Dalaig” [7]). MacDonald (The Skye Collection), 1887; pg. 175. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 35. Moylan (Johnny O’Leary),
1994; No. 98, pg. 56. O'Malley, 1919; pg. 39. O'Neill (Krassen), 1976; pg. 41.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 914, pg. 170. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 385, pg. 78. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 373. Raven (English Country
Dance Tunes), 1984; pg. 101. Robbins, 1933; No. 98, pg. 31. Ryan’s Mammoth Collection, 1883; pg. 86.
Saar, 1932; No. 49. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 108. Stewart-Robertson
(The Athole Collection), 1884; pg.
137. Sumner (Lincolnshire Collections,
vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 18. Sweet (Fifer’s Delight), 1965/1981; pg. 28.
Trim (Thomas Hardy), 1990; No. 5.
Tubridy (Irish Traditional Music, Book
Two), 1999; pg. 28. White's Excelsior
Collection, 1907; pg. 3. Wilson (Companion
to the Ballroom), 1840, pg. 121. Antilles (Island)
7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master"
(1973). Folkways 8826, Per's Four‑‑"Jigs and Reels."
Folkways FG 3575, Barry, Gorman, Ennis, and Heaney‑ "Irish Music in
London Pubs." Front Hall 010, Fennigs All Stars‑ "Saturday
Night in the Provinces." John Edwards Memorial Foundation JEMF‑105,
Everett Dwyer ‑ "New England Traditional Fiddling" (1978).
Maggies Music MM-220, Hesperus – “Celtic Roots.” Topic TSCD607, Billy Cooper,
Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded
1962). Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).
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|
ABA [F2d2]e|f2d g2f|edc [F3d3]||(f/g/a)f d2f|(e/f/g)e c2e|
(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, Norfolk
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 (Alabama) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 166. Rounder 0175, James Bryan ‑ "Lookout Blues"
(1983. Learned from Mentone, Alabama, fiddler Mack Blalock).
OFF SHE GOES [3]. American, Jig. USA, southwestern Pa. G Major ('A' part) & D Major
('B' part). Standard tuning. AB. The source said he thought the tune "a
fife six‑eight," and the name a "blunder." It shows no
relation to version #1, and is quite ordinary. Source for notated version:
Marion Yoders (fiddler and fifer from Greene County, Pa., 1962) [Bayard].
Bayard (Dance to the Fiddle), 1981;
No. 545, pg. 488.
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. Canada; Maritimes. D
Major. Standard tuning. AABB. The New Brunswick town of Miramichi is pronounced
“mi-ra-meh-SHEE”. Source for notated version: Jimmy O’Connor (b. c. 1935,
Murray River, South Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 137.
OFF/GOING TO CALIFORNIA [1] (Imtigte Go California). AKA and see "Going to California," "Humours of California"
and "Far From Home," "The
Whiskey Hornpipe," "Whiskey
You're the Devil," "Whiskey
in the Jar [1]," “Portsmouth
Hornpipe,’ "Possum Up
a Gum Stump [1]," "Old Towser,"
"Lexington," “Miss Johnson’s Hornpipe,”
"Gypsy Hornpipe [4],"
"Buttermilk and Cider"
(Pa.), "Fireman's Reel."
Irish, English, American; Hornpipe. USA; New England, southwestern Pa. G Major
(most versions). Standard tuning (fiddle). AB (Plain Brown, Silberberg):
AABB (most versions). Irish in origin, although the melody has been adopted by
several genres. The first part combines with other parts for "Fireman's
Reel," "I'm Waiting for
You [2]," "Silver Cluster,"
and "Five Miles Out of
Town." A version from the North of England appears as “A Clog Dance”
in the Plain Brown Tune Book,
the c. 1847 manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire.
Seattle fiddler, producer and folklorist Vivian Williams found a version of
“Off to California” in a hand-written music manuscript book dating from the
1860’s and 1870’s from western Oregon, where the melody is titled only as “Jig
Cotillion.” Like many such manuscripts, it belonged to a musical family, and
tunes were entered in different hands and probably different generations.
Francis O’Neill also collected the tune in California in the mid-19th
century. Allan's Irish Fiddler, No.
100, pg. 25 (appears as "Humours of California"). See also the
related “Hillside Cottage” and the
reel “You Bet.” Source for notated version:
Capt. Francis O'Neill learned this tune in the San Joaquin Valley of California
when he was aged 19--presumably the title appealed to him in his circumstances,
having left County Cork in his mid-teens [O'Neill/Irish Folk Music]. Brody (Fiddler’s
Fakebook), 1983; p. 205. Cotter (Traditional
Irish Tin Whistle Tutor), 1989; 83. Kennedy (Fiddlers Tune Book), vol. 2, 1954; p. 3. Kerr (Merry Melodies), vol. 1, p. 45 (appears as “Clog Dance”). Kerr (Collection of Reels and Strathspeys), p.
35. O'Neill (Krassen), 1976; p. 180. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1628, p. 302. O'Neill (Dance Music of Ireland: 1001 Gems),
1907; No. 859, p. 148. Plain Brown Tune Book, 1997; p. 5. Raven (English Country Dance Tunes), 1984; p.
165. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 108.
Spandaro (10 Cents a Dance), 1980; p.
30. Tubridy (Irish Traditional Music,
vol. 1), 1999; p. 13. Williamson (English,
Welsh, Scottish and Irish Fiddle Tunes), 1976; p. 90. Front Hall 010, Fennigs All Stars‑ "Saturday
Night in the Provinces." Kicking Mule 209, Hank Sapoznik‑
"Melodic Clawhammer Banjo.” Rounder
CD 1087, Peter Guinan – “From Galway to Dublin” (1992. Reissue of 1937
original). Topic TSCD 602, Michael J. Grogan – “Irish Dance Music” (1995. A
reissue of the 1931 original).
X:1
T:Off to California
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 CALIFORNIA [2]
(Imtigte Go California). Irish, Hornpipe. G Major. Standard tuning. AABB. Substantially similar
to version #1, omitting the dominant chord near the beginning of the 'B' part.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1629, pg. 302.
X:1
T:Off to California [2]
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1629
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 CHARLESTOWN. Amercian. A variant of "The Carrolltown Breakdown [2],"
which Bayard (1981) considers a derivative of "Buffalo Gals [1]." American Veteran Fifer, 1927; No. 118.
OFF TO CHARLESTOWN
QUADRILLE. English, Quardrille. England,
Dorset. "The Quadrille was a popular 19th Century square dance, with five
figures which retained their names even when different music was used for the
dance. Groves gives the names of the figures as: La pantalon, L'ete, La poule, La
pastourelle (often replaced by La Trenis as here) land Finale. The musical
selections would have been designed for trained rather than traditional
musicians, and frequently use a higher range than would be comfortable for the
average fidder‑‑in the MS there are passages written in parallel
octaves (e.g. the Finale of this selection) where only the lower octave is
given here" (Trim).
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 Charlestown (Finale)‑
2/4 time, F Major, ABA.
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 Ireland (1903), No. 1617
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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