The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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OH |
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
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
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 (
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|
|:^g|a2A
ABA|a2A A2^f|g2G GAG|BAB GAB|~cBc dcd|
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
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
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).
***
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
I've danced today, and I'll dance no more...
***
Paul
Gifford reports a northern
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.
O DEAR MOTHER MY TOES ARE SORE [3].
American, Jig.
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 –
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
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
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
"
***
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.
|
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
M:6/8
L:1/8
R:Air
S:O’Neill
– Music of
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
***
Oh
And dwells in oblivion in
***
Source
for notated version: Mr. J. Snowe,
OH
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
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.
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
"
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).
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
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,
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
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'
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||