The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

OH

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

OH... and O... See also the second word of the title.


 

OH AGUS OH! OH! Irish, Slow Air (6/8 time). A Major. Standard. One part. “The blind woman’s lament for the loss of her daughter” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 833, pg. 208.

X:1

T:Oh agus oh! oh! The blind woman’s lament for the loss of her daughter

M:6/8

L:1/8

R:Air

S:Standford/Petrie (1905), No. 833

Z:AK/Fiddler’s Companion

K:A

e3 dcd | e3A3 | cde dcA | A3c3 | e3 dcd | e3A3 | cde dcA | A3c3 | dAc A3 | A3 A3 ||

 

O! AN IRISHMAN'S HEART. AKA and see "Kinnegad Slashers," "Land of Sweet Erin," "Powers of Whiskey," "Paddy Digging for 'Goold'," "O! Merry Am I."

 

O, AN YE WERE DEAD, GUIDMAN. AKA ‑ "O Gin ye were dead Gudeman." AKA and see "The White Cockade [1]," "Watson's Scotch Measure." Scottish, Country Dance (cut time) or Air. F Major (Athole): G Major (Aird). Standard. AABB. The tune is "Watson's Scotch Measure" associated with a song called "O, an ye were dead gudeman" which appears in Gude and Godlie Ballates (1567). Aird (Selections), Vol. II, 1782; No. 132, pg. 49. Stewart-Robertson (The Athole Collection), 1884; pg. 151.

X:1

T:O Gin Ye Were Dead Gudeman

M:C|

L:1/8

R:Country Dances

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

CD/E/|F2F2c2F2|A2G2 GBAG|F2F2c2F2|A2f2c3f|

fefc ABcA|fdcA G2AG|F2f2 cdBc|A2F2F2:|

|:c/d/e|fefg fgaf|gfga agfd|cdfg fgag|fgfc ABcA|

defc ABcA|fdcA G2AG|F2f2 cdBc|A2F2F2:|

 

O ARANMORE, LOVED ARANMORE (O, Arainn-Mor Ionmuin). AKA and see "Kildroughalt Fair." Irish, Air (4/4 time). D Minor. Standard. AB. O'Neill (Music of Ireland: 1850 Selections), 1979; No. 278, pg. 48.

X:1

T:O Aranmore, Loved Aranmore

M:4/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 278

Z:AK/Fiddler’s Companion

K:D Minor

A|d>efe dAA>F|G>GGA c3A|d>ef>e dAA>F|G>FDD D3||

c|c/c/A F>G A>BAF|c>AF>A c3A|d>ef>e dAAF|G>FDD D3||

 

O ARE YE SLEEPIN’, MAGGIE. See “Sleepy Maggie.”

 

O AS I WAS KISS'D YESTREEN [1]. Scottish, Jig. A Minor (most versions): A Dorian (Bremner). Standard. AABB. Bayard (1981) identifies this as the signature melody of a group of tunes that belongs to a very large extended family of tunes, which he likens to a language and its dialects (see note for "Lan(n)igan's Ball"). Other signature tunes in this family are "Lan(n)igan's Ball," "Muirland Willie," "Bung Your Eye," "Kitty Alone," and "Lumps of Pudding." "O As  I Was Kiss'd Yestreen" variants are close to the "Bung  Your Eye" group and include "Sae Braley As I Was," "House o' Duncan," "My Love is Lost to Me," and others. See also the Irish family of tunes of the “Old Man Dillon” family. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. James Aird's (Selection...), 1778, Vol. 1, No. 200. Bremner (Scots Reels), 1757; pg. 75 (appears as “O as I was Kiss’d the Streen”). Carlin (The Gow Collection), 1986; No. 476. Gow (Complete Repository), Part 2, 1802; pg. 22. Johnson (Scots Musical Museum, 1787‑1803, Vol. 4, No. 319). Kerr (Merry Melodies), Vol. 1; pg. 31). Oswald's Caledonian Pocket Companion (1780?, Vol. 1, pg. 137). Scottish Country Dance Book (1930‑57, Book 13, No.  6 {pt. 2 of 1st air}).

X:1

T:O as I was kiss’d yestreen [1]

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:A minor

E|A>BA ABd|(e/^f/g)B A2c|(BAB) GAG|(BAB) GAB|~cBc dcd|

ede a2g|edB ABd|e2A A2:|

|:^g|a2A ABA|a2A A2^f|g2G GAG|BAB GAB|~cBc dcd|

ede a2g|edB ABd|e2A A2:|

 

O AS I WAS KISS'D YESTREEN [2]. AKA and see “Absent Minded Man” family of tunes.

 

OH AUNT DINAH GET YOUR NIGHTCAP ON. Old‑Time. Recorded by the W.Va. Tweedy Brothers (Harry, George, and Charles, who played twin fiddles and piano) for Gennett Records in 1925, but unissued.

 

O BESSY BELL. Scottish, Air. The song is claimed by Emmerson (1971) as Scottish and is parodied in John Gay's Beggar's Opera (1729). Raven (English Country Dance Tunes), 1984; pg. 65.

 


OH! BLAME NOT MY LYRE. Irish, Air (6/8 time). D Mixolydian. Standard. ABC. O'Neill (1915 ed.), 1987; No. 67, pg. 42.

 

O BLAME NOT THE BARD. AKA and see "Kitty Tyrrell" (1st Setting).

 

OH BROTHER BREAKDOWN. AKA and see "Ralph Page's Breakdown [2]."

 

O BUT YE BE MERRY. Scottish, Reel. A Mixolydian. Standard. AB (Surenne): ABCDE (McGlashan). McGlashan (A Collection of Reels), c. 1786; pg. 9. Surenne (Dance Music of Scotland), 1852; pg. 77.

X:1

T:O but ye be Merry

M:C|

L:1/8

R:Reel

S:McGlashan – Reels  (c. 1786)

Z:AK/Fiddler’s Companion

K:A Mixolydian

B|e/e/e eg f2 df|e2 ed cAAc|e/e/e eg f2 df|B2 cA BGGB|e/e/e eg f2 df|

e2 ed cAAc|d2fd c2ec|B2gd BGG||B|eAed c2 Ac/d/|eAed cAAc|eAed c2Ac|

Bgdg BGGB|eAed c2 Ac/d/|eAed cAAc|dfdf cece|Bgdg BGG||

B|A/A/A a2 c/c/c a2|A/A/A a2 cAAc|A/A/A a2 c/c/c a2|B/B/B g2 BGGB|

A/A/A a2 c/c/c a2|A/A/a a2 cAAc|dfdf cece|Bgdg BGG||f/g/|a>bae c2 Af/g/|

a>bae cAAf/g/|a>bae c2 Ac|g>agd BGGg|a>bae cAfg|a>bae cAAc|

dfdf cece|Bgdg BGG||AaAa BaBa|caca cAAB|AaAa caca|Bgdg BGGB|

AaAa BaBa|caca cAAc|dfdf cece|Bgdg BGGB|A/a/a A/a/a B/a/a B/a/a|

c/a/a A/a/a cAAB|A/a/a A/a/a c/a/a c/a/a|B/g/g d/g/g BGGB|

A/a/A/a/ A/a/A/a/ B/a/B/a/ B/a/B/a/|c/a/c/a/ c/a/c/a/ cAAB|

d/f/d/f/ d/f/d/f/ c/f/c/e/ c/e/c/e/|B/g/B/g/ d/g/d/g/ BGG||

           

O CHARLEY IS MY DARLING. Scottish, Air (4/4 time). D Minor. Standard. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 124.

X:1

T:O Charley is My Darling

M:4/4

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D minor

F | D>E F>G A2 d2 | c2 d>B A2 d>F | D>E F>G A2 d>e | f2 e>d d2 ||

d | ^c>A=B>c d>ef>d | ^c>A =B>c d2 ze | f>e f>d =c>A FG/A/ | BG A>F E2 ||

                                   

O' CHIADAINN AN LO. AKA and see "The Recollection of that Day."

                       

OH COME WITH ME MY IRISH GIRL. AKA and see "The Irish Girl."

                       

O DEAR, I WISH I HAD NOT COME HERE. American, Dance Tune (2/4 time). G Major. Standard. AABB. The melody was published around 1805 in Edinburgh, Scotland, by John Clarkson Jr. in a single-sheet entitled American Tunes No. 1, Arranged for the Piano Forte.

                       

O DEAR MINNIE/MOTHER (WHAT SHALL I DO)? Scottish, Air (3/4 time) or Giga (6/8 time). D Major. Standard. AA. The melody appears in Allan Ramsay's ballad opera "The Gentle Shepherd" (1725), and in James Oswald's Curious Collection of Scots Tunes (c. 1739) {as the first air in a sonata, each movement of which is based on a Scots tradtional tune}, and his Caledonian Pocket Companion, Vols. iii (in an  air‑jig‑reel setting) and viii (1756). There is some difference of opinion on the origins of this tune. Gow (Complete Repository, Vol. 1, pg. 20) believes that this tune was derived from the duple time "Braes of Auchtertyre [1]," while Johnson‑Stenhouse (2 Vols.‑‑The Scots Musical Museum and Stenhouse's Illustrations of the Lyric Poetry and Music of Scotland, 1853 {reprint 1962}, pg. 233) asserts it is the other‑way‑round, and that the 4/4 tune evolved out of the 3/4 one. Bayard (1981) agrees with Stenhouse. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 78, pg. 157.

                       

O DEAR MOTHER MY TOES ARE SORE [1]. AKA and see "Evening Pleasures Schottische,” "Jinny O Jinny My Toes Are Sore," "Oh Mother It Hurts Me So," "O Mother My Toes Are Sore," "Rustic Reel [1]," "Rustic Dance—Scottische [3]," “Sandy Floor.” American, Jig or March (6/8 time). USA; southwestern Pa., northern Michigan. A Dorian or Mixolydian: D Dorian. Standard. AABB. Bayard (1981) is certain the tune is British Isles in origin even though it has the marks of considerable folk‑processing in American tradition, yet he cannot trace it adequately to old country repertory. Speculating, he suggests the tune is a derivative of the "Welcome Home" or "Boyne Water [1]" families, or perhaps a crossing ot the two. He says all three forms of the title tune in Pennsylvania have in common the following rhyme associated with them:

***

Dear oh, mother, my toes are sore,

Dancin' over your sandy floor. (or "...on this sandstone floor")

Its yesterday or the day before

I've just come home from Baltimore.

I've danced today, and I'll dance no more...

***

Paul Gifford reports a northern Michigan title for the melody is “Sandy Floor,” taken from the 2nd line of the above rhyme. Sources for notated versions: Irvin Yaugher Jr. (Mt. Independence, Pa., 1943; learned from his great‑uncle) [Bayard, 1944]: 9 southwestern Pa. fiddlers and fifers [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 6. Bayard (Dance to the Fiddle), 1981; No. 452A‑I, pgs. 434.

 

O DEAR MOTHER MY TOES ARE SORE [2]. AKA and see "Monongahela March" (Pa.), "Clicksticks" (Pa.), "Jinny O Jinny My Toes Are Sore" (Pa.), "The White Cockade" (Pa. floating title). American, Jig or March. USA, southwestern Pa. D Major. Standard. AB. Bayard (1981) groups several variants because of the common first strain, which he believes is "rather old," while the second strains are often distantly or not at all related. Other tunes sharing this first strain are: "Rustic Reel [1]," "Virginia Reel [3]," "Libby Prison Quickstep," "First Western Change," and "City Guards." Sources for notated versions: 11 southwestern Pa. fiddlers and fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 453A‑K, pgs. 435‑438.

 

O DEAR MOTHER MY TOES ARE SORE [3]. American, Jig. USA, southwestern Pa. G Major. Standard. ABB. The first part appears to be a triple time form of "Buffalo Gals." Source for notated version: Thomas Patterson (fiddler from Elizabeth, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 454, pgs. 438‑439.

 

O DEAR MOTHER/MINNIE WHAT SHALL I DO?  Scottish, Slow Air (3/4 time). The melody may be found in the collections of Oswald and McGibbon (Scots Tunes, Book 1, 1746, pg. 11). Sir Walter Scott's song "March, March, Ettrick and Teviotdale" was, according to J. Farquhar Graham, taken from this song. Bayard (1981) dates the tune to "at least" the first decade of the 18th century. From this tune derived (c. 1740's) "Blue Bonnets Over the Border [1]," a jig, and later in the century, "The Braes of Auchtertyre [1]." From this later tune the American "Billy/Billie in the Lowground [1]" developed. In his article “A Miscellany of Tune Notes” (Studies in Folklore, pgs. 166-168), Samuel Bayard, discusses the melody and its history of derivatives. He cites Oswald’s Pocket Companion (c. 1740’s?), vol. III, for its printing of “Oh dear mother what shall I do” with variations, the last of which Bayard identifies as ‘essentially’ the jig-time “Blue Bonnets” tune.  He credits Oswald with recomposing the older air and giving it new life as a brisk 6/8 time tune. A variant of Oswald’s recomposed tune was printed by the Gows in 1818 in Beauties of Niel Gow (Part First, pg. 12) with the title “Blue Bonnets Over the Border,” although the tempo specified was again slowed down (it is marked “Slow with exprn.”). R.A. Smith (The Scottish Minstrel, 1820-24, V, 10) printed another close variant of the Oswald tune, again under the “Blue Bonnet” title (as the vehicle for Scott’s song “March, March, Ettrick and Teviotdale”), marked to be played “With spirit” and which Graham called the ‘modern air’.  Bayard concludes that the ‘folk process’ was at work, with Oswald’s quick-time re-composition of an older air becoming itself traditional. The original title was lost, to be replaced by a familiar floating title (which goes to at least two other melodies).

***

Another branch of the old “Oh dear mother” tune, according to Bayard, stems from another Gow printing, this time of a reel entitled “Braes of Auchtertyre” in Complete Repository of Original Scots Slow Strathspey and Dances, vol. 1 (1799). See note for that tune.

X:1

T:Oh Dear Mother What Shall I Do?

M:6/8

L:1/8

S:Oswald – Pocket Companion (vol. III, pg. 10)

K:D

D2D FAB | def d2A | dBB B2b  | baf “tr”e2d | D2D DAB | def d2A |

B3 AFA | B/c/dF “tr”E2C :: f/g/aa a2d | baf “tr”e2d | fbb b2d’ |

baf “tr”e2d | f/g/ad afd | baf efd | “tr”B3 AFA | B/c/dF “tr”E2D :|

X:2

T:Oh Dear Mother What Shall I Do?

M:3/4

L:1/8

R:Air

S:Johnson – Scots Musical Museum (No. 236)

K:D

D3ED2 | F2A2B2 | d2f2e2 | d2B2A2 | d2B2d2 | B4b2 |

b2a2g2 | f2e2d2 | F2E2D2 | F2A2B2 | d2f2e2 | d2B2A2 |

B2d2B2 | A2F2A2 | B2d2F2 | E4C2 ||d2a2a2 | a3fa2 |

b2a2f2 | e4d2 | f2b2b2 | b4a2 | a2g2f2 | e4d2 | d2a2a2 |

a2f2a2 | b2a2f2 | e4d2 | B2d2B2 | A2F2A2 | B2d2F2 | E4D2 ||

X:3

T:Untitled

M:6/8

L:1/8

S:Bayard“A Miscellany of Tune Notes,” Studies in Folklore (pg. 169)

N:Collected in Pennsylvania in 1930’s

K:D

A, |: D2F A2c | def d2A | dcB A^GA | baf {g}fed | D2FA2c | def d2A |

dcB A^GA | {c}BAF E2F :: D2a a^ga | baf {g}fef | dfa a2c | def e2f |

dfa a^ga | baf ede | dcB A^GA | BAF E2F :|

 

OH DEAR! WHAT CAN THE MATTER BE (Oc On Cad E Do Tarlad). AKA – “Johnny’s so long at the fair.” English, Irish, Scottish; Air (6/8 time), Jig or Morris Dance Tune (6/8 time). G Major (Bacon, Harding, Kerr, O'Neill, Summer/Gibbons): E Flat Major (Scott): C Major (Howe). Standard. One part (Scott): AB (Bacon, Hardings, O'Neill): AABB (Howe): AA'BB (Kerr): AA’BB’ (Sumner/Gibbons). The first published record of this song is in the British Lyre for 1792. It was sung as a famous duet between Samuel Harrison and his wife, the soprano Miss Cantelo, at "Harrison's Concerts," periodic events which he began in 1776. The tune was used for a morris dance in the village of Wheatley, Oxfordshire, England. It also appears in the music manuscript copybook of fiddler Joshua Gibbons (1778-1871) of Tealby, Lincolnshire.

***

Oh Dear! What can the matter be?

Oh Dear! What can the matter be?

Oh Dear! What can the matter be?

Johnny's so long at the Fair.

He promised he'd bring me a basket of posies,

A garland of lilies, a garland of roses,

A little straw hat to set off the blue ribbons

That tie up my bonny brown hair.

***

Jig-time variations on the tune were printed in Köhler’s Violin Repository. Cape Breton fiddler Bill Lamey (1914-1987) learned the variations he played from Alex Gillis, another Cape Breton fiddler who, like Lamey, had emigrated to Boston. Lamey said that Gillis had composed them himself. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Bacon (The Morris Ring), 1974; pg. 308. Hardings All‑Round Collection, 1905; No. 157, pg. 50. Howe (Complete Preceptor for the Accordeon), 1843; pg. 18. Kerr (Merry Melodies), vol. 2; No. 254, pg. 28. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 620, pg. 109. Scott (English Song Book), 1926; pg. 43. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 20. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

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:Oh, Dear, What Can the Matter Be?

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland No. 620 (1903)

Z:AK/Fiddler’s Companion

K:G

d|dBc dBc|dBg dBG|cAB cAB|cAB cBA|dBc dBc|dBg dBG|DGc BcA|G3 z2||

B|d3d3|dBg dBG|c3 ccc|cAB cBA|d3 ddd|dBg dBG|DGc BcA|G3 z2||


 

O DEM GOLDEN SLIPPERS. See "Golden Slippers."

 

O DO(E) NOT, DOE NOT KILL ME YET. AKA and see "When Phoebus Addrest." The air appears under this title in Friesche Lust‑Hof (Boertigheden) (1634).

 

OH ERIN, MY COUNTRY [1]. AKA and see "Erin My Country." Irish, Slow Air (6/8 time). G Dorian. Standard tuning. AB. "This air seems to have been sung with the words of the old song:‑‑

***

Oh Erin, my country, although thy harp slumbers,

And dwells in oblivion in Tara's old hall.” (Joyce).

***

Source for notated version: Mr. J. Snowe, Cork [Joyce]. Joyce (Old Irish Folk Music and Song), 1909; No. 664, pg. 333.

 

OH ERIN, MY COUNTRY [2]. AKA and see "St. Patrick's Day."

 

OH FAIR JOHN MY LOVE. Irish, Air (2/4 time). E Minor. Standard tuning. AB. See “The Enchanted Valley [1]” for a variant. Source for notated version: collected September 10th, 1857, from Mary O’Flaherty, alias Delane (Arran) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 322, pg. 81.

 

O FAITH THEN I WILL, SAYS THE FIDDLER (M’anam go nDéanfad, arsa an Fidléir). Irish, Slip Jig. D Major. Standard tuning. AABB. Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the 1880's [Breathnach]. Breathnach (CRE IV), 1996; No. 42, pg. 22.

 

OH, FIE, JOHN THOMPSON, RUN. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

O! FOR ONE AND TWENTY (O Ma M-Bideann Aon's Ficio!). AKA ‑ "O for ane‑and‑twenty Tam." Irish, Scottish; Air (6/8 time, "gaily"). D Minor/Dorian. Standard. AB. The tune is called "The Moudiewart" (The Mole) to which Robert Burns set his lyric "O for ane‑and‑twenty Tam." The tune, at least as published in the "Scots Musical Museum," was not quite the to Burns's liking and he recommended to Thomson to publish the song in strathspey rhythm (Emmerson, 1971). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 240, pg. 41.

X:1

T:O! For One and Twenty

M:6/8

L:1/8

R:Air

N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 240
Z:AK/Fiddler’s Companion

K:D Minor

f|cAF GAc|d2G G2f|cAF GA^c|d2D D2f|cAF GAc|dcB AGF|BAG A=B^c|d2 D D2||

e|f>gf fed|g>ag gfe|f>ed g>fe|a2d d2e|f>gf fed|gag gfe|f>ed A=B^c|d2D D2||

 

O! FRIENDSHIP WILL SMILE. AKA and see "Garryowen."

 

OH, GANG WITH ME TO YON TOWN. AKA and see “I’ll gang nae mair to you toun,” “The Pope’s Toe.” Scottish, Reel. A Major. Standard. ABC (end on 'B' part). New York musician, writer and researcher Don Meade identifies this tune as “Lucky in Love,” as recorded by John McKenna in the 78RPM era. Cole (1000 Fiddle Tunes), 1940; pg. 12. Ryan’s Mammoth Collection, 1883; pg. 34.

X:1

T:Oh, Gang with Me to Yon Town

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(3e/f/g/ | (a/g/).a/.e/ cAAB | (3c/B/A/.e/.c/ dBBg | (a/g/).a/.e/ cAAc | d/f/e/d/ c/e/f/g/ |

(a/g/).a/.e/ c/A/A/B/ | (3c/B/A/.e/.c/ d/B/B/g/ | (a/g/).b/.g/ a/f/e/c/ | d/f/e/d/ c/A/A/d/ ||

(3c/B/A/.e/.A/ f/A/e/A/ | (3c/B/A/.e/.c/ d/B/B/d/ | (3c/B/A/.e/A/ f/A/e/a/ | d/f/e/d/ c/A/A/d/ |

(3c/B/A/.e/.A/ f/A/e/A/ | (3c/A/B/c/.e/.c/ d/B/B/d/ | c/A/B/c/ d/e/f/g/ | (a/g/).b/.g/ a ||

(3e/f/g/ | (a/g/).a/.e/ c/A/A/B/ | (3c/B/A/.e/.c/ d/B/B/g/ | (a/g/).a/.e/ c/A/A/c/ | d/f/e/d/ c/e/f/g/ |

(a/g/).a/.e/ c/A/A/B/ | (3c/B/A/.e/.c/ d/B/B/g/ | (a/g/).b/.g/ a/f/e/c/ | d/f/e/d/ c/A/A/d/ ||

 


OH' GEE'. French-Canadian (Irish?), Reel. G Major. Standard. AA'BB'A"A"'B"B"'. This reel was recorded on a 78 RPM by Brooklyn, New York, accordion player John J. "Dutch" Kimmel, noted for his playing of Irish tunes. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 42, pg. 64.

 

O GIN I HAD SUCH A LADDY AS THIS. AKA and see "The Lass of the Brass."

 

O GIN I WERE A BARON'S HEIR. Scottish, Guaracha Waltz. D Major. Standard. AB. Kerr (Merry Melodies), vol. 1; No. 6, pg. 25.

 

O GIN YE WERE DEAD GUDEMAN. See "O, an ye were dead, Guidman."

 

OH GIRL OF THE GOLDEN TRESSES. Irish, Air (4/4 time). G Dorian. Standard. AB. Source for notated version: “Set from P. Mullin, Arran-More, 10th Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 371, pg. 94.

X:1

T:Oh, girl of the golden tresses

M:C

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905)

Z:AK/Fiddler’s Companion

K:G Dorian

D | DGA^F G2 AF | GAcd f2 ge | fedc Ac GA | F4 D2 (D2C2) | DGA^F G2 AF |

GA cd/e/ f3g | fedc Ac A>G | (G4 G3) || d | d^cde f2 fg | fdcA c3 d/e/ | fe dc Ac AG |

F4 D3C | DGA^F G2 AF | GAcd f3g | fedc A<c A>G | (G4 G3) ||

 

OH GIVE ME YOUR HAND (Tabhair dham do lámh). AKA ‑ "Da Mihi Manum." Irish, Air (3/4 time). G Mixolydian. Standard. One part. Composed by Irish harper Rory dall O'Cahan in 1603. Rory dall spent most of his life in King James' Scotland, and this air was composed to signal the harper's reconciliation with Lady Eglinton; so popular did it become, states Flood (1905), that the King sent for the composer to play it for the Scottish court. Rory dall was a close relative of Donal O'Cahan, chief of his clan, whose stronghold was in Coleraine. In was printed by Wright (1727) and Bunting (1816?). Source for notated version: "From the singing of Norry Dwane of Glenoshen: 1857" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 38, pg. 22.

X:1

T:O, Give Me Your Hand

T:Tabhair dham do lámh

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G Mixolydian

fe|d2 cAAG|{G}f2 e2 dc|A2G2G2|G4 ef|g2 agfe|d2 cAcd|e2 fedc|d4 ef|g2 agfe|

d2 cAcd|e2c2d2|{d}g4 ag|fe d2 cA|{G}f2 e2 dc|A2 G2G2|G4||