The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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OP - OZ

 

 

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]

 

 

 

OPELOUSAS TWO-STEP. See "Ossun One-Step."

                       

OPELOUSAS WALTZ. AKA and see "Valse de Opelousas." Cajun/Creole, Waltz. Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray Fontenot - “La Musique Creole.”

                       

OPEN THE DOOR. AKA and see "Ouvre la Porte."

                       

OPEN THE DOOR FOR THREE. See "Open the Door to Three."

                       

OPEN THE DOOR MY LOVE, DO. Irish, Air (3/4 time). A Minor. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 333, pg. 84.

                       

OPEN THE DOOR SOFTLY (Fuasgail An Doras). AKA and see "Osgail an Dorus Go Ciuin O," "Swift Fly the Hours." Irish, Air (6/8 time, "tenderly"). D Major/Mixolydian. Standard. One part. The Chieftains version of the tune is characterized by Paddy Moloney as "a soft harp lullaby...as played by the harper Arthur O'Neill." Arthur O'Neill was a blind harper who took several prizes for his playing at the end of the 18th century in Ireland, one of the last trained in the ancient harping tradition. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 334, pg. 58. RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

X:1

T:Open the Door Softly

M:6/8

L:1/8

R:Air

N:”Tenderly”

S:O’Neill - Music of Ireland (1903), No. 334

Z:AK/Fiddler’s Companion

K:D

DDE FAB|=c>dc BDD|DFA ABc|d3F3|dBd cBA|GFG A2B|AFD DEF|

E3 D2d|dBd cBA|GFG ABB|AFD DEF|E3 D3||

                       

OPEN THE DOOR TO THREE [1]. AKA and see “Winifred’s Knot.” English, Country Dance Tune (6/8 time).

 

OPEN THE DOOR TO THREE [2]. Scottish, Country Dance Tune (9/8 time). G Major. Standard. AABB. Dance instructions, but not the melody, for the tune can be found in the Menzies Manuscript, 1749, contained in the Atholl Collection of the Sandeman Library, Perth. John Glen (1891) finds the earliest appearance of the melody in print in Robert Bremner's 1768 2nd collection (pg. 100). The title sounds descriptive of a country dance figure. Carlin (Gow Collection), 1976; No. 456. Gow (Complete Repository), Part 2, 1802; pg. 16.

X:1

T:Open the Door to Three [2]

M:9/8

L:1/8

S:Gow - 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:G

D|G3 B2G cAF|G3 B2G ~c2d|efg dcB AFD|G2c B>AB G2:|

|:e/f/|gfe dcB AFD|[G,3D3B3g3] dBd g2d|efg dcB AFD|G2G BAB G2:|

 

OPEN THE DOOR FOR (TO) THREE [3] (Oscal an Dorus Do Tri). Irish, Slip Jig. G Major. Standard. AB (O’Neill): AABB (Kennedy). A distanced variant of the melody printed by Gow, and still more distanced from the one-strain English version given by Sharp (under the title “Winifred’s Knot”). All three versions are recognizably cognate. Source for notated version: O'Neill later in life obtained this version of the tune from the manuscripts of Timothy Downing, a gentleman farmer of Tralibane, County Cork, who taught O'Neill the rudiments of the flute when the latter was a boy during the 1860's [O'Neill/Irish Folk Music]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 59. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 56, pg. 13. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 449, pg. 88.

X:1

T:Open the Door for Three [3]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 449

Z:AK/Fiddler’s Companion

K:G

D|G2c BGB AFA|G2c BGB c2e|ege dcB AFD|E2c ccA G2D|

G2c BGB AFA|G2c BGB c2d|ege dcB AFD|E2c BcA G2||

d|gdB gdB AFD|gfe def g2d|ege dcB AFD|E2c BcA G2d|

gdB ddB AFD|gfe def g2d|ege dcB AFD|E2c BcA G2||

 

OPEN THE GATE AND WALK ON THROUGH. See note for “Cornstalk Fiddle (and Shoestring Bow).” It is perhaps the same as “Gate to Go Through.”

 

OPEN WINDOW, THE (An Fuinneog Fuasgailte). Irish, Air (2/4 time, "lively"). D Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 322, pg. 56.

X:1

T:Open Window, The

M:2/4

L:1/8

R:Air

N:”Lively”

S:O’Neill - Music of Ireland (1903), No. 322

Z:AK/Fiddler’s Companion

K:D

D/>E/|FF EF|BA FE/D/|AA Bc|d2 zc|BA FA|Bd/F/ ED/B,/|DD EF|D2 D||

A|dc BA|BA FF/G/|AA dF|E3 F/A/|dc BA|BA/F/ E D/E/|FE/D/ EF|D2 D||


 

OPERA DANCE. Scottish, Jig. D Major. Standard tuning. AABBCCDD. Composed by William Nisbet. Carlin (The Gow Collection), 1986; No. 367.

 

OPERA HAT, THE. English, Country Dance Tune (2/4 time). England, Shropshire. D Major. Standard tuning. AABB. Editor Ashman points out the tune is almost identical with "A Russian Dance," also found in Moore's MS. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 13b, pg. 2.

 

OPERA HORNPIPE, THE. English, Hornpipe. England, Shropshire. D Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 63, pg. 25.

 

OPERA POLKA. English, Scottish; Polka. England; Dorset, Yorkshire. D Major ('A' and 'C' parts) & A Major ('B' part) {Trim}: C Major ('A' and 'C' parts) & G Major ('B' part) {Callaghan, Kerr, Merryweather & Seattle}. Standard tuning. AABBCC(Trio)AABB. Sources for notated versions: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; the Thomas Hardy family manuscripts (Dorset, early 19th century) [Trim]. Callaghan (Hardcore English), 2007; pg. 68. Kerr (Merry Melodies), vol. 3; No. 437, pg. 50. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 96, pg. 54. Trim (Thomas Hardy), 1990; No. 54.

X:1

T:Opera Polka

M:2/4

L:1/8

R:Polka

S:Kerr – Merry Melodies, vol. 3, No. 437  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

Gc c/B/c/|dG G/^F/G|dGfG|ag g/f/e|Gc c/B/c|dG G/^F/G|dGfB|dccz:|

|:Bdgb|ba/^g/ a=g|g^f/c/ fe|eddG|Bdgb|ba/e/(ag)|(g/^f/) (^c/d/) (e/d/) (f/d/)|

(^f/g/) (b/a/) g2:|

“Trio”

|:bGba|agge gGfB|dccg|bGba|agge|gfBg|ce/d/ c2:|

 

OPERA REEL [1]. AKA and see “The Duke of Cornwall’s Reel,” “McDonagh’s (Reel) [4].” Old‑Time, Breakdown; American, Reel. USA; Missouri, New York, New Hampshire, New England, southwestern Pennsylvania, Michigan. D Major (most versions): C Major (Howe/Accordeon). Standard or DDae (Bronner) tunings. ABCD (Silberberg): ABCDD (Christeson): AABBC (Ruth): AABBCCDD (Bayard, Brody, Ford, Howe, Kennedy, Linscott, Sweet): AA'BBCCDD (Phillips): ABBCCD (Cole, Miller & Perron): ABBCCDD (Bronner). Bayard (1981) did not find it in any collection older than the early 19th century. According to Linscott (1939) the tune "was fitted for a contra dance performed on the stage." Bronner (1987) thinks there may be stage origins for the tune on the strength of his observation that "besides producing light operas, popular theaters and chautauquas often did vernacular versions or even parodies of opera," though he admits the tune sounds Scottish or Irish. Apparently as another speculation, he also suggests the "operatic" triplet pattern in the third part "probably suggested the name of 'Opera Reel' in its early forms." There is also a rumor floating about the the reel is made up of strains from different French operas, although this appears to be completely erroneous. Tony Parkes and Steve Woodruff (1980) state the tune was an early 19th century American melody likely modelled on the multi‑parted Irish and Scottish reels of the 18th century, and was particularly popular in the 1850's. Indeed, the “Opera Reel” appears in the 1823 music manuscript book of H. Canfield (Hartford, Conn.), entitled A Choice Selection of Flute Melodies.

***

A suggestion has been made that the piece was published in Dublin in 1795 in a gentlemen’s literary journal called Walker’s Hibernian. Anne Loughran and Vic Gammon’s Sussex Tune Book (English Folk Dance and Song Society, 1982), contains what may be a cognate or ancestral melody under the title “The Duke of Cornwall's Reel,” sourced from a manuscript music book compiled by William Aylmore of West Wittering (Sussex, England). Aylemore was a clarinet player whose bood contains dance, military and religious music and is dated 1796 in one place and 1818 in another.

***

In New Hampshire the tune was used for the dance Boston Fancy or Lady Walpole's Reel, as well as the dance also called The Opera Reel. It was cited as having commonly been played {under the title "Opera"} for Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and Bronner (1987) says it a standard of the upstate New York old‑time repertoire. Jim Kimball concurs with Bronner and remarks that in rural New York state “Opera Reel” remained a favorite tune and dance well into the 20th, and that it was still performed at house dances in the central part of the state in the 1930's. The dance was a version of what was known in New England as the Chorus Jig. Kimball states that there exists a 1920's recording (for Edison) of regional musician ‘old’ Jasper Bisbee (b. 1843) playing and calling “Opera Reel,” and records that Bisbee lived in Michigan prior to the Civil War (c. 1858), but was born in the town of Ossian, Livingston Co., New York (which has an area that elderly residents still call Bisbeetown). Paul Gifford states that informants have told him that “Opera Reel” was also played and danced in western Michigan at least until the 1920's. “Opera Reel” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden.

***

Not to be confused with the similarly entitled “Celebrated Opera Reel.” Sources for notated versions: Uncle Jimmy Lewis (Pulaski County, Missouri) [Christeson]; Norman Blake (Georgia) [Brody]; Smith Paine (Wolfeboro, N.H.) [Linscott]: Grant Rogers, 1976 [Bronner]: Wilbur Neal (elderly fiddler from Jefferson County, Pa., 1948) [Bayard]; Grant Lamb & Ruthie Dornfeld [Phillips]; Laurie Andres [Silberberg]. Adam, 1928; No. 63. Bayard (Dance to the Fiddle), 1981; No. 133, pg. 73. Brody (Fiddler’s Fakebook), 1983; pg. 209. R.P. Bronner (Old Tyme Music Makers of New York State), 1987; No. 36, pg. 133. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 56. Cole (1000 Fiddle Tunes), 1940; pg. 31. DeVille, 1905; No. 32. Ford (Traditional Music in America), 1940; pg. 69. Harding Collection (1915) and Harding's Original Collection (1928), No. 70. Howe (Complete Preceptor for the Accordeon), 1843; pg. 35. Howe (Musician’s Omnibus), 1861; pg. 42. Howe (Diamond School for the Violin), 1851; No. or pg. 32. Jarman, Old Time Fiddlin’ Tunes. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 152, pg. 36. Kerr (Merry Melodies), vol. 4; pg. 9. Linscott (Folk Songs of Old New England), 1939; pg. 70. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 93. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 177. Robbins, 1933; No. 41. Ruth (Pioneer Western Folk Tunes), 1948; No. 4, pg. 3. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 113. Sweet (Fifer’s Delight), 1965/1981; pg. 43. Sym, 1930; pg. 12. Wilson (Companion to the Ballroom), 1816 & 1840; pg. 81 (1840 edition). Alcazar Dance Series FR‑203, Rodney Miller ‑ "New England Chestnuts" (1980). Edison 51278 (78 RPM), Jasper Bisbee (Michegan), 1923. F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Fretless 132, "Ron West: Vermont Fiddler." Fretless 136, Arm and Hammer String Band‑ "Stay on the Farm." Green Linnet SIF3040, De Dannan - "Ballroom" (1987). Kanawha 313, Grant Rogers ‑ "Ballads and Fiddle Tunes." Rounder 0122, Norman Blake‑ "Rising Fawn String Ensemble." Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Voyager 312‑S, Grant Lamb‑ "Tunes From Home." Rodney and Randy Miller‑ "New England Chestnuts, vol. I." "Trapezoid."

X:1

T:Opera Reel

M:C|

L:1/8

K:D

A,2|D2 D2 FE FA|DC DF ED B,A,|D2 D2 FE FA|Bd AF ED CE|

D2 D2 FE FA|DC DF ED B,A,|D2 D2 FE FA|(3Bcd AF E2||\

|:(3ABc|dc ec dA FA|Ad cd eg fe|dc ec dA FA|Bd AF E2:||\

|:fg|af af gf ge|fa fe dc BA|af af gf ge|fa ec d2:|\

||(3ABc|de fd ef ge|fa ec dc BA|de fd ef ge|fa ec d2 (3ABc|

de fd ef ge|fa ec dc BA|de fd ef ge|fa ec d2|]

 

OPERA REEL [2]. Old-Time, Breakdown. USA, Indiana. D Major. Standard tuning. AABBCCDD. A variation of version #1. Source for notated version: John Summers (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 177. Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984).


 

OPERA SCHOTTISCHE, THE. English, Schottishce. G Major ('A' part), D Major ('B' part), & C Major ('C' part). Standard tuning. ABACA. Composed by H. Kleber. Trim (Thomas Hardy), 1990; No. 69.

 

OPERATOR'S REEL. Canadian, Reel. D Major. Standard tuning. AABB. Composed by Canadian radio and T.V. fiddler Don Messer, and one of the first sides he and his group the Islanders waxed for Apex Records, in 1942. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 70, pg. 45.

           

L’OPERATRICE. French, Country Dance (6/8 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 7.

X:1

T:L’Operatrice

M:6/8

L:1/8

S:Daubat - Cent Contredanses en Rond (1757), No. 7

Z:AK/Fiddler’s Companion

K:G

GAG G2e | dcB cBA | GAG G2g | {e}dcB cBA | G2g e2g | d2gB2g |

f>ed ^c>Bc | dAF D3 :: A>BA A2B | c>dc c2d | e>fe efg | B3F3 |

GAB EFG | (ABc) (FGA) | (Bcd) (efg) | BcA G3 :|

                       

OPPOSUM UP A GUM-TREE. See "Possum Up a Gum Tree."

                       

OPRY FIDDLER'S BLUES. See "Lee Highway Blues."

                       

OP'RY STAR. AKA and see "Oil City Quickstep [1]," "The Beggar's March." American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Queer (Pa., 1957) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 180D, pgs. 136‑137.

                       

OPTIMIST, THE. Irish, Hornpipe. E Flat Major. Standard tuning. AABB. McGuire & Keegan (Irish Tunes by the 100), 1975; No. 76, pg. 20.

                       

ORA LEE. Old‑Time, Breakdown. G Major. GDad tuning. AABB (Kuntz): AA'BB (Phillips). The tune is played slower than the usual breakdown tempo. Source for notated version: James Bryan (Alabama) with Bob Carlin [Kuntz, Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 97. Rounder 0197, Bob Carlin ‑ "Banging and Sawing" (1985. Source: Edward Winters).

X:1

T:Ora Lee

L:1/8

M:2/4

N:GDad tuning

K:G

G>E|D(G G)A/B/|A/G/E/G/ [DA]>G|FD E/D/F/D/|GA B/A/G/E/|D(G G)A/B/|

A/G/E/G/ A>G|FD/F/ E/D/F| G2G:|

|:B|[GB]>d B/A/G|[G3B3] e/d/|B/A/G/E/ DG|B2 AB|[G2c2] [Gc]>B|

A/G/F/G/ A>G|FD E/D/F|G2 G:|

X:2

T:Ora Lee

M:C|

L:1/8

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

({F/}G3)E|:”G” D2G4 AB|”D”AG E2 ({G/}A3)G|F2D2 EDFD|”G”G3A BAGE|

D (3D/E/F/ G4 AB|”D”AGEG A3G|”D”~F2 D2 ED F2|1 “G”G6 GE:|2 “G”[G4B4]G2A2||

|:“G”[D3B3] d BA G2|[D4(B4]B2) [Gd][Ac]|BAGE D2G2|[G4B4] [Ac][Bd]|

“C”[E4c4]c2B2|”D”A[GA][FA][GA] A3G|~F2D2 ED [FA]|1 [G2B4 G2A2:|2 [(G4B4]G4)||

           

ORACLE [1], THE. English, Reel. England, North‑West. D Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 107.

 

ORACLE [2], THE. Scottish, Strathspey. A Major. Standard tuning. AAB. The tune is attributed to Scots fiddler/composer J. Scott Skinner (1842-1927) by J. Murdoch Henderson, although it does not appear in Skinner’s own published compositions. Source for notated version: Danny O’Donnell (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 192c (appears as untitled strathspey). Henderson (The Scottish Music Maker), 1957.

           

O’RAHILLY’S GRAVE. AKA - “O’Reilly’s Grave.” Irish, Slow Air (4/4 time). A Dorian. Standard tuning. One part. The title undoubtedly refers to the poet Aogán Ó Rathaille (c. 1675 - 1729), whose name is also given as O’Reilly and Egan O’Rahilly, born in Screathan an Mhil (Scrahanaveel), in the Sliabh Luachra region some ten miles east of Killarney. He appears to have received a good formal schooling, being versed in Latin and English as well as in Irish literature and history. The Browne family and the McCarthy’s were both patrons of Ó Rathaille, and his fortunes rose and fell with them. Sir Nicholas Browne (of old Elizabethan planter stock, although Catholic and Jacobite) backed King James, and after the Battle of the Boyne in 1690 in which James was defeated, Browne lost his lands and titles for the remainder of his life. Ó Rathaille, in consequence, had to leave his native district and lived in poor circumstances at Tonn Tóime, at the edge of Castlemaine Harbour, some twelve miles west of Killarney. His poetry, of which it is said that the best of which has a heroic desolation and grandeur, is, in the opinion of some, in many ways a result of his effort to come to terms with the chaos in which he and his people found themselves. Ó Rathaille is buried with the McCarthys in Muckross Abbey, Killarney. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 117, pg. 100. Green Linnett SIF 3041, Matt Molloy - “Stony Steps.” Julia Clifford - “Star Above the Garter.” Joe Burke - “Tailor’s Choice.”

                       

ORAIN A MHAIGDEAN MHARA (Lament of the Mermaid). AKA - “The Mermaid’s Song,” “The Sea-Maidens.” Scottish, Irish. As “The Mermaid’s Song” the tune is sometimes heard played by Scottish dance bands in Gaelic waltz sets.

                       

ORAN AN FHEIDH (Song of the Deer). Scottish. The air is popular in Lochaber and surrounding districts, and was based on an old air called "Cumhad Fhinn" (Ossian's Lament for his Father).

                       

ORAN CHALUIM SGÀIRE (Calum Sgaire’s Song). Scottish, Slow Air (3/4 time). G Major. Standard tuning. AA. The air to a traditional song of unrequited love from Lewis, in the Western Isles of Scotland. The tune was composed by a singer from Lewis in the 1930’s, named Kitty Macleod (“The Lewis Nightingale,” 1914-2000), who was born in the Himalayas while her father was serving with the Seaforth Highlanders. The words to the song, however, were written in the mid-1800’s by Malcolm MacAuley, Calum Sgàire, from Berneray. MacCauley was in love with a girl whose parents had arranged her marriage to an older, wealthier man, a merchant. The night before the wedding they had planned to elope, but a heavy mist descended and they failed to meet. The next day she followed through with the arranged marriage, and young MacAuley emigrated to Quèbec. He never returned, and she died within the year. The Gaelic words, translated, begin:

***

How heavy is my sighing

I am far from my love tonight

I am North in the Vikings land

And she is at Loch an Fhir Mhaoil.

***

Martin (Ceol na Fidhle, vol. 3), 1988; pg. 6. Martin (Traditional Scottish Fiddling), 2002; pg. 61. Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999. 2nd part added by Alasdair Fraser). Mulligan LUN 007, Bothy Band – “Old Hag You Have Killed Me” (1976. Re-released on Green Linnet GLCD 3005). ER 012, Bobby MacLeod and His Band – “Maiden Voyage.”

                       


ORANGE AND BLUE [1]. AKA and see "Brochan Lom." Scottish, Shetlands, English; Highland Schottische or Strathspey; Irish, Fling. A Major (Skinner): D Major (Kennedy, Kerr, Raven, Sweet): C Major (Gow, Hardie, Hunter, Lowe). Standard tuning. AB (Hardie, Kerr, Skinner, Sweet): AA'BB' (Kennedy, Raven). Known throughout the Shetlands as well as Scotland. The Scottish country dance Orange and Blue, of East Lothian, was one of the relatively few either wholly or in part in strathspey tempo (Flett & Flett, 1964). Source for notated version: Bill Hardie (Scotland) [Hunter]; Bill Hardie states, "In its present form it has been handed down from my grand-uncle, Charles Hardie (1849-1893), via my grandfather, and his nephew, the late William Cheyne, to whom I am indebted for impressing it on my memory." See also the Welsh variant “Allt-y-Caethiwed.” Gow (Repository). Hardie (Caledonian Companion), 1986; pg. 34. Hunter (Fiddle Music of Scotland), 1988; No. 354. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 19. Kerr (Merry Melodies), vol. 1; No. 13, pg. 20. Lowe (A Collection of Reels & Strathspeys), 1844. Raven (English Country Dance Tunes), 1984; pg. 177. Skinner (The Scottish Violinist, with 3 variations by Skinner), pg. 20‑21. Sweet (Fifer’s Delight), 1965/1981; pg. 69. “The Caledonian Companion” (1975). “Bob Smith’s Ideal Band, Better than an Orchestra” (1977).

X:1

T:Orange and Blue

M:4/4

L:1/8

K:D

fdd2 Add2|fgaf d2ef|gee2 Bee2|cdec A2ag|\

fdd2 Add2|fgaf dfga|bgaf gfed|cABc d3e:||\

faa2 faa2|fgaf d2ef|gbb2gbb2|gabg efge|\

faa2 faa2|fgaf dfga|bgaf gfed|cABc d3e:||\

 

ORANGE AND BLUE [2]. AKA and see "Blue Bonnets Hornpipe," "The Frolic," "The Queen's Marriage." Scottish, Jig. C Major (Gow, Howe, Skye): D Major (Perlman): A Major (Kerr). Standard tuning. AB (Gow, Howe, Kerr, MacDonald): AA’BB’ (Perlman). A jig version of the schottische melody in version #1, appearing in Mackenzie's National Dance Music of Scotland (1845). Bayard (1981), however, traces the name and tune back to Gow's Complete Repository of 1817. He thinks this tune (similar to version #1) is an Orangeman or Protestant tune, and this is undoubtedly true as orange and blue were the colors of the Dutch House of Orange, one of whose princes, William of Orange, became a king of England and champion of the Protestant cause in the 17th century. He is revered or villified, depending on your point of view, as the conqueror of Ireland in the 1670's. Source for notated version: Stephen Toole (1927-1995, Green Road, Queen’s County, Prince Edward Island) [Perlman]. Gow (Complete Repository), Part 4, 1817; pg. 32. Howe (1000 Jigs and Reels), c.1867; pg. 149. Kerr (Merry Melodies), vol. 2; No. 322, pg. 35. MacDonald (The Skye Collection), 1887; pg. 121. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 134. BM 91, Buddy MacMaster - “Glencoe Hall.”

X:1

T:Orange and Blue [2]

M:6/8

L:1/8

R:Jig

S:MacDonald - Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:C

f|e2c cBc|G2c E2c|e2c ege|c3 c2e|f2d dcd|A2d d2c|B2G BdB|G3 G2f|

e2c ~c3|G2c E2c|e2c ege|c3 c2g|a2f g2e|f2d e2c BdB GAB|c3 c2||

f|e2(g g)ag|e2(g g)ag|e2c ege|c3 c2e|f2(a a)c’a|f2a ac’a|f2d faf|d3 d2f|

e2(g g)ag|e2(g g)ag|e2c ege|c3 c2g|afa geg|fdf ece|BdB GAc|c3 c3||

 

ORANGE AND GREEN [1] (An Glas agus an Bui). Irish, Double Jig. G Major. Standard tuning. AA'BB'. The colors of the flag of Ireland, representative of, among other things, Catholics and Protestants. Source for notated version: fiddler Mrs. Murphy, 1967 (Glencollins, Co. Cork, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 25, pg.

 

ORANGE AND GREEN [2]. Irish, Quadrille. Six Figures.

1)      G Major. AB, Trio.

2) D Major ('A' part) & G Major ('B' part). AB. {The 'B' part of this figure closely resembles "Dandy Jim from/of Caroline [1]", a minstrel tune.}

3) G Major. AB, Trio.

4) G Major. ABCBC.

5) G Major. ABC.

6) D Major. AB.

The colors of the Irish flag and the two main religious factions in the country. Roche Collection, 1982, vol. 2; No. 297, pgs. 41‑43.

 

ORANGE AND GREEN WILL CARRY THE DAY. AKA and see "Protestant Boys," "Bumpers Are Flowing," "Lillibulero."

 


ORANGE BLOSSOM SPECIAL. Bluegrass, Breakdown. USA. A Major. Standard tuning. AAB + vamp. "One of the most popular fiddle tunes in modern history" (C. Wolfe, Devil's Box, Dec. 1982). Composed by Ervin T. Rouse (c. 1938), inspired by the railway train called the Orange Blossom Special's christening and inaugural run (from Miami to New York). Co-authorship is often credited to Florida fiddler Robert Russell "Chubby" Wise (1916-1996), although the copyright is in Rouse’s name, supposedly due to Wise’s assertion that ‘there was no money in fiddle tunes and that Rouse could copyright it himself, for all the good it would do’ (Wise drove a cab at the time). Wise himself maintained that he and Rouse were at the Jacksonville Seaboard Railroad Station when the train came through on its maiden run from Miami. Rouse suggested that they write a tune and Chubby agreed. The two went back to Wise’s house and wrote the piece in forty-five minutes, while his wife cooked them breakfast. The tune was recorded by Ervin and his brother Gordon in New York in June, 1939, but the tune did not become a hit until Bill Monroe’s recording of it in 1942 (with Art Wooten on fiddle). The first recording, however, appears to be that of Tommy Magness’, who recorded "Orange Blossom Special" with Roy Hall's group in 1938. It was unissued at the time, says Jim Nelson, perhaps to avoid legal problems with Rouse and his record company, RCA Victor. He thinks Magness probably learned the tune directly from Rouse, but that he definately taught it to Wooten. Magness is credited with popularizing the melody and introducing the famous double-shuffle into the tune. There are persistent rumours that Wise or Magness lost their rights to “Orange Blossom Special” in a poker game. Source for notated version: Blaine Sprouse (Brody). Brody (Fiddler’s Fakebook), 1983; pg. 210. Rounder 0117, "Blaine Sprouse." RCA Camden CAL‑719, Bill Monroe‑ "The Father of Bluegrass Music." Mercury SRM 1‑1058, Vasser Clements‑ "Superbow." Mercury SRW 16261, The Stanley Brothers‑ "Instrumentals Country Styfle." United Artists 9801, "Will The Circle Be Unbroken" (various artists). Stoneway 104, Chubby Wise‑ "Chubby Wise and His Fiddle." GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, vol. 1” (reissue). GRT Records 9230-1031, “The Best of Ward Allen” (1973). Gusto 104, Scotty Stoneman‑ "30 Fiddler's Greatest Hits." Starday SLP 268, Curly Fox (1963). Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites," c. 1971‑72.

 

ORANGE BOWER, THE.  English, Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 154, pg. 40.

 

ORANGE FLOWER, THE. Shetland, Shetland Reel. From the island of Whalsay, Shetland.

 

ORANGE IN BLOOM. English, Morris Dance Tune (6/8 time 'A' and 'B' parts, 4/4 time for four measures of 'C' part then back to 6/8 for final four measures). E Minor. Standard tuning. AABBCC (Raven): AABBB (x4), AACCC (x4), AA (Bacon, Mallinson). Collected from the village of Sherborne, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 282. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 7, pg. 10. Raven (English Country Dance Tunes), 1984; pg. 80.

X:1

T:Orange in Bloom

M:3/4

L:1/4

O:Sherborne, England

K:G

P:A

E G E|D G A|B d B|A2 B/2A/2|G E E|D G A|B G G|G3 :|

P:B

B>A B/2c/2|d2 B|A G A|B c d|e d B|A G A|B A G|E2 D|

E G E|D G A|B d B|A2 B/2A/2|G E E|D G A|B G G|G3 ||

 

ORANGE LILY. AKA and see "All Praise." Irish, Jig. Ireland, County Fermanagh. Glassie (Passing the Time in Ballymenone), pg. 837.

 

ORANGE NAN.  English, Jig (3/2 time). F Major. Standard tuning. AABB. “Orange Nan” appears in publisher John Young’s third edition of the second volume of the long-running Dancing Master series (London, 1718), included also in the fourth edtion of the work issued in 1728. The jig was also printed by Walsh in Twenty-Four New Country Dances for the Year 1713 (published in 1712), and in his Second Book of the Compleat Country Dancing Master (London, 1719). Dance leader Graham Christian (writing in CDSS News, issue #192, 2006) explains that the title “Orange Nan” refers to Nan’s occupation—that of a fruit seller, much like the former cigarette girls who hawked their wares on the street. The profession was a low one, but the orange girl became a staple of Restoration theatre—as a concession—with the girls engaging in asides with those on the stage or injecting witticisms. Sometimes the orange girls were characters on stage. One orange girl, informs Graham, was Nell Gwyn, who rose from theatre extra to actress to mistress of the King. In fact, many orange girls were also prostitutes or, if not outright streetwalkers, could be enticed for a fee. Nan Capell (or Ann Capel) was the original Orange Nan, according to author Harold Love (English Clandestine Satire 1660-1702), who was a bawd as well as holding the concession for the sale of oranges in the theatre. She was the Orange Nan who makes an appearance in Act I of The Man of Mode. She is remembered in a much lampooned incident with Francis, Lord Newport (first Comptroller and Treasurer of the Household), a notoriously mean individual and a Whig, the party then out of fashion. They quarrelled publically, some say over the price of whores provided to him, and Newport ended by bahsing his white staff of office over Nan, then used his authority to have her taken away and whipped. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 98. Wildgoose Records WGS 310, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance, vol. 2” (2002).

 

ORANGE ROGUE, THE (An Rogaire Oraisteac). AKA and see "Bunch of Clover." Irish, Set Dance (in either 6/8 {Harker/Rafferty, O'Neill} or 3/4 time {Miller & Perron}) or Jig. E Minor. Standard tuning. One part (Miller & Perron): AABA (Harker/Rafferty): AABB (O'Neill). The first part is the same as that of the slide “The Trooper.” Sources for notated versions: Teddi Scobi (Keene, N.H.) [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 84. Harker (300 Tunes from Mike Rafferty), 2005; No. 292, pg. 95. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 3, No. 72. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 152. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 390, pg. 186. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 837, pg. 156. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 978, pg. 168.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Orange Rogue, The

M:6/8

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 978

Z:AK/Fiddler’s Companion

K:E Minor

d|e/f/ge dBA|GEF G2A|BAB def|g2b agf|

e/f/ge dBA|GEF G2A|BAB dcd|e3e2:|

|:f|g2e a2f|g2B Bcd|g2e agf|g3 B2d|g2e a2f|

g2e fed|BAB def|g2b agf|e/f/ge dBA|GEF G2A|

BAB def|g2b agf|e/f/ge dBA|GEF G2A|BAB dcd|e3 e2:|

 

ORANGEMAN [1], THE. Irish, Air (6/8 time, "Mod.: spirited"). D Minor. Standard tuning. AB. "In the year 1852 when I was busy drawing up from memory, for Dr. Petrie, all the airs I could think of‑‑and for that purpose commonly carried a bit of music paper in my waistcoat pocket‑‑I woke up from the sleep one night whistling this fine air in a dream: an air which I had forgotten for years. Greatly delighted, I started up: a light, a pencil, and bit of paper and there was the first bar securely captured: the bird was, as it were caught and held by the tail. I have never seen this air written elsewhere, except in one Co. Limerick MS., where the setting however is inferior to mine. I give it here from ancient memory.

***

Oh didn't you hear of the glorious news

That happened at Ballyhooly:

Dan Tutty the gauger was caught and thrashed

By Paddy and Timothy Dooly. (Joyce).

***

Joyce (Old Irish Folk Music and Song), 1909; No. 3, pg. 4.

X:1

T:Orangeman, The

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D Minor

f/e/|d2A cAG|F2F F2G|AGA cde|f3 gfe|d2A cAG|F2F F2G|A=Bc dec|d3 d2||

d|d2c def|{e}g2f edc|d2c def|{e}g2e c2c|d2c def|{e}g2f edc|

AGA cde|f3 gfe|d2A cAG|F2F F2G|AGA cde|f3 gfe|d2A cAG|F2F F2G|

A=Bc dec|d3 d2||

 


ORANGEMEN [2]. Irish, Double Jig. G Major. Standard tuning. AABB. No relation to Joyce’s “The Orangeman.” Kerr (Merry Melodies), vol. 4; No. 211, pg. 24.

X:1

T:Orangemen [2]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 211  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

B2D D2D|dcB AGA|B2D D2D|GAG FED|B2D D2D|dcB cde|

dcB AGF|GAG FED::d2B d2B|dcB ABc|d2B d2B|ABA FED|

d2B d2B|dcB ABc|dcB AGF|GAG FED:|

 

ORANGES AND LEMONS. English, Country Dance Tune (2/2 time). D Major. Standard tuning. ABB (Karpeles, Raven, Sharp): AABB (Fleming‑Williams): AA'BB (Barnes). The tune dates to 1665. A period nursery rhyme and song called “Bells of St. Clements,” a play at rhyming upon the names of London churches with bell-towers, contains the lines:

***

Gay go up and gay go down,
To ring the bells of London town.

***
Oranges and lemons,
Say the bells of St. Clements.

***

Barnes (English Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 5. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 11. Raven (English Country Dance Tunes), 1984; pg. 23. Sharp (Country Dance Tunes), 1909/1994; pg. 17.

X:1

T:Oranges and Lemons

M:2/2

L:1/8

S:Sharp - Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:D

.d2.e2 (afed) | (e3d B3) (A | d3) (f afed) | (e3f d4) | .d2.e2 (afed) |

(e3d B3)(A | d3) (f afed) | (e3f d2) ||

|: (ga) | b6 (fg) | a6 (fe| d3) (f afed) | (e3 d B3) (A | d3) (f afed) | (e3 f d2) (ga) |

b6 (fg) | a6 (fe | d3) (f afed) | (e3d B3) (A | d3) (f afed) | (e3f d4) :|

 

ORCADIAN JIG. Canadian (?), Jig. D Major. Standard tuning. AABC. The title is perhaps a corruption of 'Arcadian', but probably refers to origins in Scotland’s Orkney Islands. Sweet (Fifer’s Delight), 1965/1981; pg. 33.

X:1

T:Orcadian Jig

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:D

f/g/ | aba faf | dfd BdB | ABA d2e | faf e2 f/g/ | aba faf | dfd BdB | A2f edc | (d3d2) :|

d/e/ | f2A fed | g2B g2B | ABA d2e | faf e2 d/e/ | f2A fed | g2B g2B | A2f edc | (d3d2) ||

A | dad cac | BgB _BgB | ABA d2e | faf e3 | dad cac | BgB _BgB | A2f edc | (d3d2) ||

                       

ORCADIAN WALTZ. AKA and see “The Rope Waltz.” Scottish, Waltz.

                       

ORCHARD, THE. Irish, Jig. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 53.

                       

ORCHILL HOUSE. Scottish, Reel or Slow Strathspey. A Minor. Standard tuning. AAB. Composed by Nathaniel Gow. Orchill House was a mansion in the Scottish baronial style. The lairds of Orchill were the Graham family. Carlin (The Gow Collection), 1986; No. 201. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 31. MacDonald (The Skye Collection), 1887; pg. 59.

X:1

T:Orchill House

M:C

L:1/8

R:Reel or Slow Strathspey

S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801)

Z:AK/Fiddler’s Companion

K:Amin

(E/^F/)|(G<A,) “tr”E>B, {B.}DG, G,(E/^F/)|(G<A,) “tr”E>A, GA,A,A|G<A, “tr”E>B, DG G(E/^F/)|

(G/^F/E/F/) GB, {B,}A,2 A,:| (e/^g/)|(aA) e>=g dG Ge/^g/|(aA) e^g aA Ae/g/|(aA) e>=g dG Ge/^g/|

a>e {^f}g>B A2 Ae/^g/| (aA) e=g dG G(e/^g/)|(aA) ~e>d egab|(g/a/).b/.a/ (b/a/)g/e/ (g/e/)(d/B/) Gc/B/| (A/B/).d/.e/ (g/e/).d/.B/ A2A||

 

ORCHILL’S DELIGHT. AKA and see “John in the Neither Mains.”

 

ORCHILL’S FAVORITE.  AKA and see “The Cove of Cork,” “The Groves of Blackpool [2],”

 

ORDINATION JIG, THE. Irish, Jig. A Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician Bill Black, dedicated to his friend Father Eddie Stewart. Black (Music’s the Very Best Thing), 1996; No. 117, pg. 61.

X:1

T: The Ordination

C: © B. Black

Q: 300

R: Jig

M: 6/8

L: 1/8

K: A

c | A2 c BAB | eaf efg | afe ABc | BFF F2 c |

A2 c BAB | eaf efg | afd Bed | cAA A2 :|

e | ecA B2 A | c2 A B2 A | ece fga | fBB B2 e |

ecA B2 A | c2 A B2 A | afd Bed | cAA A2 :||

 

ORE BOGGY.  English, Country Dance Tune (cut time). C Major. Standard tuning. AABB. “O’er Bogie”????  Barnes dates the tune to c. 1726. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 98.

 

ORE HILLS ORE MOUNTAINS FANCY FREE. Scottish. The tune appears in the Balcarres "Lute Book" of 1690, from the library of the Earls of Crawford and Balcarres. Williamson says the Crawfords were one of the families who kept a resident harper during the 17th century. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

 

ORECK'S SCOTCH-MEASURE. Scottish. The melody appears in Henry Playford's 1700 collection of Scottish dance music, which contains the first printed references to the form "Scotch Measure."

 

ORE-VALSEN. Swedish, Waltz. Sweden, Dalarna. G Major. Standard tuning. AA'BB'. Composed by Johan Adrian Dahlber. Source for notated version: learned in 1979 by Dave Kaynor (Mass.) from visiting Swedish friends Peter Hedberg and Maud Granberg (Dalarna region, western Sweden) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 42.

 

O'REILLY OF ATHCARNE. Irish, Planxty. G Dorian. Standard tuning. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 138, pg. 97.

 

O’REILLY’S DELIGHT. Irish, Jig. F Minor. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 350, pg. 88.

X:1

T:O’Reilly’s Delight

M:6/8

L:1/8

R:Jig

B:Stanford/Petrie, No. 350  (1905)

Z:AK/Fiddler’s Companion

K:F Minor

FGF c2A|G{c/=d/}eG B2G|FGF c2A|G{c/=d/}eG BG=E|FGF c2A|

G{c/=d/}eG B2f|{e/f/}g2f fec|{c/=d/}e2c BGF||c>Bc/A/ f2c|c>Bc/A/ e2c|

{=d}c>Bc/A/ f2c|{=d/e/}f2c BG=E|F>GF f2c|c2=d e2f|g2f fec|{c/=d/}e2c BGF||

 

O'REILLY'S FANCY (Roga Ui Ragallaig). Irish, Reel. E Minor. Standard tuning. AAB. Source for notated version: O’Reilly [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1414, pg. 263.

X:1

T:O’Reilly’s Favorite

M:C|

L:1/8

R:Reel

S:O’Neill - Music of Ireland (1903), No. 1414

Z:AK/Fiddler’s Companion

K:E Minor

E2 (EF) GFGE | ^DEFG AFDF | “tr”E^DEF GFGA | (3Bcd Ac (BE) E2 :|

BcAc BeeB | cBAc (BE) E2 | BcAc Beef | gef^d e2e2 | BcAc BeeB |

cBAc (BE) E2 | BcAc Beef | (3gab af e2e2 ||

 


O'REILLY'S FAVORITE (Roga Ui Ragallaig). Irish, Double Jig. D Major. Standard. AABB. Source for notated version: O’Reilly [O’Neill]. O'Neill (Krassen), 1976; pg. 63. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1059, pg. 199.

X:1

T:O’Reilly’s Favorite

M:6/8

L:1/8

R:Jig

S:O’Neill - Music of Ireland (1903), No. 1059

Z:AK/Fiddler’s Companion

K:D

A | FDD ADD | def gfe | edd fdd | eEE E2A | FDD ADD |

def {a}g2f | eag fge | fdd d2 :: e | faa fba | faf edd | faa fba |

fdd e2g | faa fba | faf edd | efg fge | fdd d2 :|

 

O'REILLY'S GRAVE. See “O’Rahilly’s Grave.”

 

O'REILLY'S GREYHOUND (Cu Uí Ragallaig). AKA and see “Murphy’s Greyhound,” "Outdoor Relief." Irish, Reel. A Dorian. Standard tuning (fiddle). AB. The tune was first recorded in 1927 by concertina player William Mullay. A setting appears Darley & McCall’s Feis Ceóil Collection of Irish Airs (1914) as an anonymous reel (No. 37), collected from the Feis Ceóil competitions at the turn of the 20th century. Breathnach (1996) thinks it has a much better turn (second part) than does O’Neill’s “Greyhound.” County Clare fiddle player P.J. Hayes called the tune “Murphy’s Greyhound.” Conolly & Martin (Forget Me Not), 2002; pp. 92-93. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 712, p. 125. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1488, p. 275.

X:1

T:O’Reilly’s Greyhound

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 712

Z:AK/Fiddler’s Companion

K:A Minor

gf|edBA G3A|Bdef g2 fg|edBA GABc|d2 ed BA A2|edBA G3A|

Bdef g2 fg|edBA GABc|d2 ed BA A2||ea a2 bgag|eaae g2 fg|ea a2 bgaf|

gedB BA A2|ea a2 bgag|eaaf gfga|bgaf gfed|Bdef g2 fg||

X:2

T:Reel

M:C

L:1/8

B:Darley & McCall - Feis Ceóil Collection of Irish Airs (1914, No. 37)

K:G

gf|edBA G2 GA|Bdef g2 fg|edBA GABc|dedB A2 gf|

edBA G2 GA|Bdef g2 fg|edBA GABd|edBA A2||

ag|eaab a2 gf|eaaf g2 fg|eaga bage|dedB A2 ag|

eaab a2 gf|eaaf g2 bg|afge gfec|Bdef g2||

 

O'REILLY'S JIG. AKA and see “MacGregor Jig,” “Mac’s Fancy,” “March of Donald Lord of the Isles to the Battle of Harlaw,” "The Rover's Return,” “The Victor’s Return." Scottish, Jig. A Mixolydian. Standard tuning. AABBCCDD. Arranged by Peter Milne in Middleton’s. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 38. Middletown Collection. Middleton’s Selection. Ancient Music A & M 79602 2001-2, Ashley MacIsaac - “Hi, How Are You Today?” (1995).

 

O’REILLY’S JIG [2]. See “Jerry O’Reilly’s Jig.”

 

O'REILLY'S LAMENTATION (Uaill-Cuma Ui Ragallaig). Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 272, pg. 47.

X:1

T:O’Reilly’s Lamentation

M:3/4

L:1/8

R:Air

S:O’Neill - Music of Ireland (1903), No. 272

Z:AK/Fiddler’s Companion

K:G

(d>c) | (BG B)(c/d/) (c>A) | (F>A) (G2 G)(3d/e/f/ | g2 (e>g) (f>d) | (ec) (d2d) (3d/e/f/ |

g2 e>g fd | Bd (e2e) (g/>e/) | (dB) .G(B/d/) (cA) | (F>A) (G2G (3d/e/f/ | g2 (e>g) (f>d) |

(Bd) .e(e/f/) (g/f/)(g/e/) | (dB) G(B/d/) cA | (F>A) (G2 G2) ||

 

O'REILLY'S LAMENT. AKA and see "Tuireamh Ui Raghallaigh."

 

O’REILLY’S REEL. Irish, Reel. D Mixolydian. Standard tuning. AABB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 237, pg. 64.

 

ORGAN GRINDER SWING. Melody compares with Bayard's (1944) "Fire on the Mountain [3]."

                       

ORIENTAL HORNPIPE. AKA and see “Boys from the East.” American, Hornpipe. A Major. Standard tuning. AABB. There was a fashion for things oriental in the mid-19th century, based on fascination for the exotic and unknown. Trade with China and Japan was being gradually forced open by the Colonial powers and goods from the orient and home-made products in imitation of such began to appear on American streets. There was a clipper ship called the Oriental, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews, and a distant possibility for the title. However, the name Oriental was also applied to theaters and saloons where music and entertainments were given.  One of the more famous of these establishments was Frank Burns’ Oriental  at 650 Broadway, between Bleecker and Bond, where a piano and violin were featured (see Brooks McNamara, The New York Concert Saloon: The Devil’s Own Nights, 2002, pg. 43). O’Neill prints the hornpipe as “Boys from the East,” perhaps his private joke, a take-off on the ‘Oriental’ title. See also note for the “Occidental Hornpipe.” Cole (1000 Fiddle Tunes), 1940; pg. 94. Ryan’s Mammoth Collection, 1883; pg. 128.

X:1

T:Oriental Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(3E/F/G/ | A/G/A/E/ C/E/A/c/ | e/^d/e/c/ A/c/e/a/ | f/a/e/a/ d/a/c/a/ | B/A/B/c/ d/B/G/E/ | A/G/A/E/ C/E/A/c/ |

e/^d/e/c/ A/c/e/a/ | (3f/4g/4a/4e/d/ c/B/A/G/ | AAA :: E/G/ | B/A/B/G/ E/G/B/c/ | d/c/d/B/ G/B/e/d/ |

c/B/c/A/ E/A/c/d/ | e/^d/e/f/ .e(f/g/) | a/g/a/e/ f/d/B/G/ | A/B/c/d/ e/a/e/c/ | d/f/e/d/ c/B/A/G/ | AAA :|

                       

ORIGIN OF IRELAND. AKA and see "Paddy O'Carrol{‘s Jig} [1]."

                       

ORIGINAL CANADIAN HOEDOWN. Canadian, American; Breakdown. USA, northwestern USA. A Major ('A' part) & E Major ('B' part). Standard tuning. AA'BB'. The 'A' part is the same as the American old‑time tune "Little Billy Wilson." The key change in the 'B' part is a feature of many  Canadian fiddle tunes. Source for notated version: Joe Pancerzewski (northeastern USA), the 'fiddling engineer,' who learned the tune at the Queensland Ballroom, Regina, Saskatchewan, in 1932. Voyager VRLP‑306, Joe Pancerzewski.

                       

ORIGINAL GALLIC AIR, AN.  Scottish, Slow Air (3/4 time). D Major. Standard tuning. AABB. Composed by Colonel David Stewart of Garth (for more on whom see “Lieutenant Colonel David Stewart”). Gow (Fifth Collection of Strathspey Reels), 1809; pg. 24.

X:1

T:Original Gallic Air, An

M:3/4

L:1/8

R:Slow Air

C:David Stewart of Garth

B:Gow – Fifth Collection of Strathpsye Reels (1809)

Z:AK/Fiddler’s Companion

K:D

~D>E|F2F2 A>F|{F}”tr”E2D2 D>E|F2~F2 [E2A2]|{G}F4 ~DE|F2F2F2|D2F2 [D2B2]|A2F2 “tr”E>D|D4:|

|:A>d|f2 ~e>d e2|{c}d2 “tr”B>A Ad|f2 ed e2|d4 Ad|f2 ~e>d e2|{c}d2A2B2|A2F2”tr”E2|

F4 d2|F2F2 AF|{F}”tr”E2D2d|F2F2A2|F4 d2|F2F2F2|(E2F2).B2|A2F2 “tr”E>D|D4:||

 

ORIGINAL HIGHLAND LADDIE. AKA and see "Clashing At Her."

                       

ORIGINAL ONE-HORNED SHEEP, THE. Irish, Jig. G Major. Standard tuning. AABB. O’Neill (1922) remarks: “An Irish song extolling the many good qualities of An sean caora adarcach in supplying drink, food, and clothing , to her owner, was sung to this air. No. 238 in O'Neill's Dance Music of Ireland is a sprightly variant”  (See “Old Horned Sheep”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 120.

X:1

T:Original One-Horned Sheep, The

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:AK/Fiddler’s Companion

K:G

GA | BGG AGG | BGB "tr"c2 A | BGG AGG | BGB "tr"A2 G |

BGG AGG | BGB c2 e | GBd efg | dBG "tr"A2 G :|

|: Bdd dBG | Bdd "tr"d2G | Bdd dBA | GED G2 A |

Bdd dBG | Bdd "tr"e2 d | BcB ABA | GED G2 A :|

                       

ORIGINAL POLKA, THE. English, Polka. D Major ('A' part), A Major ('B' part), & G Major ('C' part). Standard tuning. AABCAA. Trim (Thomas Hardy), 1990; No. 59.

                                               


ORIGINAL SCHOTTISCHE POLKA, THE. AKA and see “Bielbie’s Hornpipe,” “Curlew Hills (Polka).” English, Schottische. G Major ('A', 'B' and 'D' parts) & D Major ('C' part). Standard tuning. AABBCD. Northumbrian musicians play the tune as “Bielbies/Beilby’s Hornpipe,” and in Ireland it is known as “Curlew Hills” and “Glenbeigh Hornpipe.” See also American versions as “Military Schottische,” “National Schottische.” For an extended investigation into this tune family, see my article “A Well Travelled Melody” (Fiddler Magazine, Spring, 2007). Sources for notated versions: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; fiddler Michael Turner’s manuscript copybook (Sussex) [Loughran & Gammon]; musician William Hall Lister (mid-19th c., East Boldon, nar Newcastle, North East, appears as untitled schottische) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 89. Loughran, A. & Gammon, V. (A Sussex Tune Book), 1982. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 102, pg. 57 (appears as "The Schottische").

X:1

T:Original Schottische Polka, The

M:2/4

L:1/8

Q:100

O:England

A:Up and Down the Place

Z:Chris Partington

K:G

“from T. Hardy”Bc|d2b2c2a2|B2g2 gdBG|F2e2 edcA|G2e2 edBc|!

d2b2c2a2|B2g2 gdBG|F2e2 edcA|G2 GF G2:|!

|:z2|G2AB cdef|g2B2d4|e2A2 c2Bc|d2G2 B4|!

G2AB cdef|g2 B2d4|e2A2 c2F2|G2G2G2:|!

|:”alt. B from M. Turner” D2|G2AB cdef|\

g2B2 cBAG|e2A2 BAGA|B2G2G2D2|

G2AB cdef|g2B2 cBAB|e2A2 BAGA|B2G2G2:|!

K:D

|:”C from M. Turner” FG|A2A2 Adfa|g2 B2B4|A2A2 Acea|g2f2f2 FG|!

A2A2 Adfa|g2B2B4|A2A2 Acef|e2d2d2:|]!

|:”alt C from L. Leadley” F2|B2B2 (B^ABc)|\

dcB2 dcB2|c2f2 c2f2|(decd) B2B2|!

d2d2 (dcde)|fed2 fed2|e2a2 e2a2|f2d2 d2:|]

X:2

T:Original Schottische Polka

M:2/4

L:1/8

S:Page from “A Selection of Favourite Polkas,” printed by G. Hudson in Sydney, Australia,

S:dated 1840-1849, piano arrangement credited to Louis Antoine Jullien (1812-1860)

S: National Library of Australia http://nla.gov.au/mus-vn606599-s2

K:D

(3F/G/^G/|.A.f .G.e|F (d>AF/D/)|C (B>AG/E/)|D (B>AF/G/)|.A.f G.e|

F (d>AF/D/)|C (B>AG/E/)|.D.F.D::A/B/|.c(d/c/) .B(c/B/)|.A/.E/.F/.^G/ .A/.B/.c/.d/|

.c(d/c/) .B(c/B/)|({B}A/^G/A/B/) ({B}A/=G/F/G/)|.A.f G.e.|F (d>A^F/D/)|C (B>AG/E/|

D[Fd]D::F|BB ({c}B/>^A/B/>c/)|({e}d/>c/A) ({e}d/>c/A)|.c.fc.f|(d/>e/c/>d/) BB|

dd ({e}d/>c/d/>e/|({g}f/>e/d) ({g}f/>e/d)|.e.a.e.a|1 f/>g/e/>f/ d:|2 f.d/.d/ .d||

                       

ORIGINAL SCOTS HORNPIPE. See "Old Scotch Hornpipe."

                                               

ORKNEY [1]. AKA and see "Maoile Nan Crogaichean." Scottish, Reel. D Major. Standard tuning. AABB'. Originally populated by the Picts, the Orkneys were conquered by the Vikings under Ragnald about the year 874 and became a separate earldom, nominally subject to the kings of Norway. They remained under Norwegian sovereignty until 1469, although the earls of Orkney had been Scottish since 1379. MacDonald (The Skye Collection), 1887; pg. 51. Stewart-Robertson (The Athole Collection), 1884; pg. 124.

X:1

T:Orkney

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

A,|DDFE D2DB,|A,2 A,F EDEF|DDFE D2DB,|A,A,A,B, D2D:|

|:B|ddfe d2dB|A2Af edef|1 ddfe d2dB|AFAB d2d:|2 afge fdec| dBAF EDEF||

 

ORKNEY [2]. Scottish, Reel. D Major. Standard tuning. AAB. A variant of version #1, labled by Stewart-Robertson as "a very old set." Stewart-Robertson (The Athole Collection), 1884; pg. 122.

X:1

T:Maoile Nan Crogaichean

T:Orkney

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

N:”Very old set.”

K:D

D>GF>E D2DB,|A,2 A,B, E2E2|D>GF>E D2DB,|A,2 A,B, D2D:|

d>ef>e d2dB|A2AB e2e2|d>ef>e d2dB|A2AB d2d2|dgfe d2dB|

A2AB e2ef|afge dfec|dBAF D2D||

 

ORKNEY [3]. Scottish, Slow Air (3/4 time). E Minor. Standard tuning. One part. Composed by Gordon Gunn. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 26.

 

ORKNEY ISLES HORNPIPE. Scottish, Hornpipe. Scotland, Orkney Islands. B Flat Major. Standard tuning. AABB. Composed by self-taught fiddler James Johnson (1904-1948) of Mirland, Deerness parish, Orkney. It is often paired in a set with Johnson's other compsition "Toe Reid." Source for notated version: Len Wilson (b. 1938, Stromness, Orkney) [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 105.

 

ORKNEY POLKA.  Scottish, Polka. Scotland, Orkney Islands. A Major. Standard tuning. AABB. Source for notated version: from a recording of the playing of Jimmy Garson [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 103.

 

ORLABEAR'S MAGGOT. AKA and see "Short and Sweet." English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB. Barnes (English Country Dance Music), 1986.

 

ORLEANS BAFFLED. English, Country Dance Tune (3/2 time). D Major. Standard tuning. One part. The tune dates to 1728. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 49.

X:1

T:Orleans Baffled

M:3/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:D

d4a4f4|g2 b4 B2c2A2|d2 cd e2 de f2 ef|g2 fg e2 a2 f2d2|A4e4c4|

d2 f4 F2^G2E2|A2 ^GA B2AB c2 Bc|d2 Bc B2 e2 c2A2|

A2d2 d2=c2 B2G2|B2e2 e2 d2 c2 A2|d2 cd e2 A2 f2 A2|g2B2 e2c2 d4||

 

ORMOND HOUSE. English, Country Dance Tune (2/2 time). D Minor. Standard tuning. AABB. The melody appears in the 11th edition of John Playford’s English Dancing Master (1702), named perhaps in honor of James Butler (1665-1745), the last Duke of Ormond. The Butlers were powerful Irish lords and ardent Jacobites, whose cause was lost along with their lands and title early in the18th century. As Protestant nobility the Butlers held Ireland for Charles I and Charles II, but maintained a residence, Ormond House, in London on St. James’s Square. Barnes (English Country Dance Tunes), 1986. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 16. Raven (English Country Dance Tunes), 1984; pg. 33.

X:1

T:Ormond House

M:2/2

L:1/8

K:Dmin

F2A2D2d2|^c2e2A2e2|f2d2a2d2|^c2e2A2e2|f2d2=B2G2|

E2e2c2e2|=B2e2A2B2|^G2 A=B c2A2::A2c2G2 cB|A2c2F2f2|

=B2d2G2g2|^c2e2A2e2|a2f2d2=B2|g2e2^c2e2|A2f2=B2g2|^c2 de f2d2:|

 

ORMOND SOUND. AKA and see “Saving the Hay.” Irish, Reel. A Dorian. Standard tuning. AABB. Composed by the late Paddy O’Brien of Nenagh, Newtown, County Tipperary. Source for notated version: banjo player Tommy Finn (b. 1964, Barlow, Ballymote, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 50a (appears as “Unknown”). The Compositions of Paddy O’Brien (1992). Treoir, vol. 38, No. 3 & 4, 2006; pg. 34. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004. Learned from Vermont piper Benedict Kohler).

X:1

T:Ormond Sound

C:Paddy O'Brien

M:4/4

L:1/8

R:reel

Z:transcribed by Caroline Foty

K:AMix

|: A2ed BedB | A~G3 AGEG | A2ed cdef | g2fa gedg | eA (3AAA BcdB |

AGEF GEAG | EA (3AAA GABd |1 gedB BAAG :|2 gedB BAA2 |

|: efge agfg | eaag edBd | egfa ~g3e | d~g3 dgBd| =cBcA d2cd | efge a2ga |

b~g3 agab |1 gedB A2 ed :|2 gedB A3 G ||

X:2

T:Ormond Sound

R:reel

C:Paddy O’Brien (Nenagh)

S:session

Z:id:hn-reel-456

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Ador

A2ed BedB|AG~G2 AGEG|A2ed (3Bcd ef|(3gag fa gedg|

eA~A2 BedB|AGEF GEDG|EA~A2 GABd|1 gedB AEFG:|2 gedB ABcd||

|:efge agfg|e2ag edBd|(3efg fa ~g3e|d2ge dBGB|

c2cA d2cd|efge a2ga|bg~g2 agab|1 gedB A2 (3Bcd:|2 gedB A2 (3EFG||

 


ORMOND'S LAMENT [1]. AKA and see "Billy Byrne's Lament," “Billy Byrne of Ballymanus,” “The County of Mayo,” “A Lament for Thomas Flavell.” Irish, Air (4/4 time, "Sad"). A Dorian. Standard tuning. One part. "A different tune with this name in Stanford‑Petrie" (Joyce). This is a Jacobite song dating from the year 1715 or the spring of 1716. Grattan Flood (1906) relates that the Duke of Ormonde was particularly attached to King James III, the Old Pretender. In 1715 a reward of 10,000 pounds, an incalculable sum in those days, was offered by the Lords Justices of Ireland for his capture, which offer was repeated in 1719. The tune was later used for "Billy Byrne's Lament,” “Billy Byrne of Ballymanus,” and the songs “A Lament for Thomas Flavell,” and “The County of Mayo.” Joyce obtained the melody from the Pigot Collection. Joyce and O’Farrell’s versions are identical. Joyce (Old Irish Folk Music and Songs), 1909; No. 731, pg. 363. O’Farrell (Pocket Companion for the Union Pipes, vol. IV), c. 1810; pg. 112.

X:1

T:Ormond’s Lament [1]

M:C

L:1/8

R:Air

N:”very Old”

S:O’Farrell – Pocket Companion, vol. IV (c. 1810) 

Z:AK/Fiddler’s Companion

K:Amin

ed | c2 BA A2 (AG) | A>Bc>d e3f | g2 (^fg) a2 e>f | g2 e>d c3B |

A2 AA g2 ^fg | aA AA c3c | d>cde (^f>g)(a>b) | gedc g2 d>e | c2 A>B A2 || 

 

ORMONDE’S LAMENT [2]. Irish, Slow Air or Lament (3/4 time). A Flat Major. Standard tuning. ABC. Petrie (1855) notes: “In Horncastle’s work called “Ormonde’s Lament.” Source for notated version: “From old MS of Mrs. Close” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1027, pg. 261.

X:1

T:Ormonde’s Lament [2]

M:3/4

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 1027  (1905)

Z:AK/Fiddler’s Companion

K:Ab

{A}a2|e>c B>c ef/g/|a4 {a}b>a|g>a g>f {f}e>c|(3Bce {e}f3f|

g>a g>f {f}e>c|(3Bce e3e|f>g (3fec “tr”B2{A}|A4||{A}a2|e>c e>c e>f/2g/4|a4 za|

e>c e>c e>f/2g/4|a3 g/f/e/ c>ef/g/|a3 g/f/e/ c>ef/g/|a3 g/f/e/ c>de/f/|g3 f/e/c/ B(3c/e/f/|

g3 f/e/c/ AB/c/e/|f3 e/d/c/ AB/c/e/|{e}”tr”(f2 f3)f|g>a {a}g>f {f}e>c|Bce e3e|f>g fec “tr”B2|A4||

e>f/2g/4|
”The Phillelew”

a/4a/4a/4a/4/a4/a/4/a4/a/4 a/4a/4a/4a/4/a4/a/4/a4/a/4 a/4a/4a/4a/4/a4/a/4/a4/a/4|a3 g/f/e/d/ c3 d/e/f/g/|

a/4a/4a/4a/4/a4/a/4/a4/a/4 a/4a/4a/4a/4/a4/a/4/a4/a/4 a/4a/4a/4a/4/a4/a/4/a4/a/4|
a3 g/f/e/d c3B/2c/4d/4e/4f/4|g/4g/4g/4g/4g/4g/4g/4g/4 g/4g/4g/4g/4g/4g/4g/4g/4 g/4g/4g/4g/4g/4g/4g/4g/4|

g3 f/e/d/ B3c/d/e/f/| g/4g/4g/4g/4g/4g/4g/4g/4 g/4g/4g/4g/4g/4g/4g/4g/4 g/4g/4g/4g/4g/4g/4g/4g/4|

g3f/e/d/c/ A3 A/B/c/d/e/|f/4f/4f/4f/4f/4f/4f/4f/4 f/4f/4f/4f/4f/4f/4f/4f/4 f/4f/4f/4f/4f/4f/4f/4f/4|

f3e/d/c/B/A/ B3 c/d/e/| f/4f/4f/4f/4f/4f/4f/4f/4 f/4f/4f/4f/4f/4f/4f/4f/4 f/4f/4f/4f/4f/4f/4f/4f/4|

f2 z2 zf|g>a g>f {f}e>c|Bce {e}f3f|g>a g>f {f}e>c|Bce e3e|f>g fec “tr”B2|A4||

 

ORO A DTIUCFAIDH TU. AKA and see "Oro, Will You Come?"

 

ÓRÓ, A THAIDHG, A GHRÁ (Oro, Tim, my love). AKA and see "Late Home at Night," "The Peeler Jig," "Barney's Goat," "Skin the Peeler(s)." Irish, Slip Jig. E Minor. Standard tuning. AABB. See also "The Butterfly [3]." The title in the Goodman Manuscripts in the library of Trinity College, Dublin, is “Skin the Peeler.” Breathnach says “Late Home at Night” is another name for the tune from County Kerry, and gives a song to it from Connemara (collected from Máire Áine Ní Dhonnchadha of Knock):

***

‘s óró, a Thaidhg, a ghrá,

‘s óró a Thaidhg, a chumainnín,

‘s óró a Thaidhg, a Thaidhg,

‘s óró a Thaidhg, a chumainnín,

D’éirigh Tadhg aréir;

Chuaigh sé ag fiach na ngirríacha;

D’éirigh Máire ina dhéigh,

‘s lean sí é sna bonnachaí.

(And oro, Tim, my love

and oro, Tim, my little darling,

and oro, Tim, Tim,

and oro, Tim, my little darling.

Tim got up last night;

he went hunting the hares;

Mary got up after him,

And she followed in his footsteps.)    (Trans.: Paul de Grae)

***

Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 65, pg. 28. Ryan’s Mammoth Collection, 1883; pgs. 100 & 103.

 

ÓRÓ, MO BHÁIDIN (My Wee Boat).  Irish, Air (4/4 time). D Major. Standard tuning. AABB. A song about a currach, the traditional small fishing boat of the western Irish coast. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 146. Tradition TLP-1024, Mary O’Hara – “Songs of Ireland” (1958).

 

ÓRÓ, 'SÉ DO BHEATHA A BHAILE. AKA and see "Oro, Welcome Home."

 

ÓRÓ, WELCOME HOME!  AKA ‑ "Óró, 'Sé Do Bheatha a Bhaile." Irish, Air (2/4 time, "with great spirit"). E Minor. Standard tuning. AABB. "A hauling home song. The 'hauling home' was bringing home the bride to her husband's house after marriage. It was usually a month or so after the wedding, and was celebrated as an occasion next only in importance to the wedding itself. The bridegroom brought home his bride at the head of a triumphal procession‑‑all on cars or on horseback. I well remember one where the bride rode on a pillion behind her husband. As they enter the house the bridegroom is supposed to speak or sing:‑‑

***

Oro, se do bheatha a bhaile, is fearr liom tu na cead bo bainne:

Oro, se do bheatha a bhaile, tha tu maith le ratha.

(Oro, welcome home, I would rather have you than a hundred milch cows:

Oro, welcome home, 'tis you are happy with prosperity [in store for you]).

***

Here is Mr. Hogan's note on this air:‑‑'This song used to be played at the 'Hauling Home', or the bringing home of a wife. The piper, seated outside the house at the arrival of the party, playing 'hard' (i.e. with great spirit): nearly all who were at the wedding a month previous being in the procession. Oh, for the good old times!' This tune is called in Stanford‑Petrie an 'ancient clan march': and it is set in the Major, with many accidentals, but another setting is given in the Minor. I give it here as Mr. Hogan wrote it, in its proper Minor form. In several particulars this setting differs from Dr. Petrie's two versions. It was a march tune, as he calls it: but the March was home to the husband's house. Dr. Petrie does not state where he procured his two versions" (Joyce). See Bayard's (1944) extensive note for "Bonaparte Crossing the Alps" for more on this tune family. Bayard maintains that the tune was used for a number of purposes, and not only the ones that Joyce identified. Words by Padraic Pearse (see below) refer to a welcome home to Irish exiles who might take part in the 1916 uprising, according to John Loesberg.

***

'Se do bheatha, 'bhean  ba leanmhar!

Ba e ar greach tu bheith I ngei-bheann,

Do dhuiche bhrea I seilibh meirleach,

Stu diolta leis na Galla.

***

Oro, se do bheatha 'bhaile

B'fhear liom tu na cead bo bhainne,

 Oro, se do bheatha 'bhaile,

 'Nois ar threacht an tsamhraidh  (Loesberg, Folksongs & Ballads Popular in Ireland, 1979).

***

See also "Bringing Home the Bride." Joyce (Old Irish Folk Music and Song) 1909; No. 275, pgs. 130‑131.

X:1

T:Oro, Welcome Home

T:Oro, ‘se do bheatha a bhaile

L:1/8

M:2/4
N:”With great spirit”

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

Z:AK/Fiddler’s Companion

K:Emin

e2 ed/e/|fedB|AFdF|AFFE|e2 ed/e/|fedB|AFdF|E2E2:|

|:G>FGE|F/E/D/E/ FA|BAdF|A/G/F/E/ DB,|G>FGA|

B/A/B/c/ dB|AFdF|E2E2:|

 

ORO WILL YOU COME? (Oro a Dtiufaidh Tu). Irish, Air (4/4 time). F Major. Standard tuning. AB. Source for notated tune: "Paddy Conneely, the Galway piper," via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 476, pg. 264.

X:1

T:Oro, Will You Come (Oro a dtiucfaidh tu)

M:2/4

L:1/8

R:Air

N:”With feeling”

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

Z:AK/Fiddler’s Companion

K:F

(3c/d/e/ | f>gfe dc A>A | f>efg a>d dG | Addc d>efe | d>A A>G A>F (DD/) ||

C/ | D>EFG Affe | dAAG AFEC | D>EFG Affe | dAAG A>FF ||

 

OROTABA WALTZ. Australian, Waltz.

X:1

T:Orotaba Waltz

M:3/4

L:1/8

S:Charlie Batchelor (1897-1984), collected by Chris Sullivan and Mark Rumm

S:y

H:Charlie learnt this tune from the playing of Jack Smith and Queenie McLe

H:an

R:Waltz

A:Bingara, New England district of New South Wales, Australia

Z:Transcribed into ABC by John Furlonger

K:G

dc|B2 D2 D2|G4 B2|A2 E2 E2|A4 G2|F2 A2 c2| f4 ef|e2 d2 d2|d4 dc|!

B2 D2 D2|G4 B2|A2 E2 E2|A4 de|f2 e2 d2|c2 F3 G|G3 A G2|G4 BA|!

G2 B2 c2|d2 g3 g|f2 A2 B2|c4 fg|f2 A2 B2|c4 ef|e2 d2 d2|d4 BA|!

G2 B2 c2|d2 g3 g|f2 A2 B2|c4 de|f2 e2 d2|c2 F3 G|G3 A G2|G4:|

 

O'ROURKE'S. AKA and see “The Wild Irishman [7].” Irish, Reel. A Mixolydian/D Major. Standard tuning. AB(Moylan): AAB (Flaherty, Mallinson, Mulvihill). The tonality appears to vary between the two keys. The tune has an odd history. When County Sligo fiddler Michael Coleman famously recorded the tune in New York for a Decca 78 RPM in 1934 the lable was issued as “O’Rourke’s/Wild Irishman” which was actually the reverse of the tunes on the record. Since then the tune has been misnamed “O’Rourke’s” in the modern tradition even though it does resemble northern Irish versions of the “Irishman” tune. See also the related “Push About the Jorum,” “Sligo Chorus,” and “Westport Chorus.” Anthony Buffery notes similarities with “Captain Byng,” “Brosna Polka No. 3,” “Mrs. Ryan’s,” “The Stool of Repentance” (slide), “The Templeglantine Reel [1]/Pope’s Toe,” “Maids of Mitchelstown,” “My Love is in the House [1],” and “The Silver Slipper.” “They are all different settings but recognizably derived from the same root tune,” states Anthony. Sources for notated versions: fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]; Michael Coleman (1891-1945, Co. Sligo/New York) [Mulvihill]. Bulmer & Sharpley (Music from Ireland), vol. 1, No. 5. Flaherty (Trip to Sligo), 1990; pg. 90. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 49. Mallinson (Enduring), 1995; No. 14, pg. 6. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 3, No. 48. Moylan (Johnny O’Leary), 1994; No. 156, pg. 90. Mulvihill (1st Collection), 1986; No. 107, pg. 28. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996. Appears as “Wild Irishman”). Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from the Coleman 78 RPM). Intrepid Records, Michael Coleman. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988). “Michael Coleman 1891-1945.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:O’Rourke’s

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:D

ed | c(Ae)A f(Ae)A | (c/B/A)e(c d)fed | cA3~ fd3~ | f(ag)e d2 ed |

c(Ae)A fAeA | cAec dfed | cA3~ fd3~ | fage d2 || ef | ~g2 fg e2 ef |

gfed ea3~ | gefd edBd | fage d2 ef | g2 fg e2 ef | gfed ea3~ |

bgaf gfed | eaag aged ||

X:2

T:O’Rourke’s

M:C|

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:Amix

ed |: (3cBA eA fAeA | (3cBA ec dfed | cA (3AAA f~d3 |1 fa{g/a/}ge dfed :|2

fa{g/a/}ge d2 || ef | g2 fg e^def | {a}gfed e~a3 | (3gfe fd e~d3 |

fa{{g/a/}ge d2 ef | (3gag fg e^def | {a}gfed e~a3 | (3agf {a}gf gfed | ea{b}a^g a2 ||

 


O'ROURKE'S (NOBLE) FEAST, THE (Pléaráca na Ruarcach). AKA and see "Planxty O'Rourke [2]." Irish, Air (6/8 time). G Major. Standard tuning. AB. The music for this bacchanalian song (whose title also can be translated as “O’Rourke’s Revel Rout”) was composed by blind harper Turlough O'Carolan (who was said to have liked his whiskey) with lyrics by his friend Aodh Mac Gabhrain (MacGauran) of Leitring. O’Sullivan (1958) finds the earliest printing of the tune in John and William Neale’s Collection of the Most Celebrated Irish Tunes (Dublin c. 1726, pg. 6) with the title “Plea Rarkeh na Rourkough or Ye Irish Weding” ‘improved’ with a bass and chorus by an Italian music master named Sigr. Lorenzo Bocchi, who probably resided in Dublin in Carolan’s time.  The song “The O’Rourkes Feast” is the only known case in which Carolan composed the air for words of another poet. Walker (Historical Memoirs of the Irish Bards, Dublin, 1786) states that the writer of the words to the song was an old friend of Carolan named Hugh MacGauran, “a gentleman of the county of Leitrim, who had a happy poetical talent, and excelled particularly in the ludicrous species of poetry.” The words were translated into English from Gaelic by Dean Swift (author of Gulliver’s Travels) in 1720, and begin:

***

Pléaráca na Ruarcach i gcuimhne gach uile dhuine
Dá dtiocfaidh, dá dtáinic, 's dá maireann go fóill

(The revels of O'Rourke are in the memory of every person
who will come, who has come, and who lives yet)

***

The poem is based on the Christmas festivities held in the Great Hall of the castle as Dromahaire, County Leitrim, by the Irish chieftain Brian na Murtha O Ruairc, Prince of Breffni, and the ancestor of several of Carolan’s friends, according to O’Sullivan. These festivities are referred to in the Calendar of State Papers, Ireland, of April 6th, 1589: “How naughtily O’Rourke hath always carried himself…He caused a picture of Her Majesty [Queen Elizabeth I] to be drawn at a horse tail and kept his Christmas according the the Pope’s computation’ (i.e. the Gregorian Calendar). O’Rourke certainly had no love for the English! O’Sullivan (using Bagwell’s Ireland Under the Tudors, vol. III 216-217 as a source) writes:

***

O’Rourke gave shelter and arms to many of the Spaniards stranded on the west coast after

the wreck of the Armada (1588). He waged practically incessant warfare against the forces

of Elizabeth, and in February, 1590—1 he crossed over to Scotland to seek aid from King

James VI. But James delivered him to the English—it is said for money—and he was imprisoned

in the Tower of London till the following November, when his trial took place in Westminster

Hall. O’Rourke, whom Sidney described as the proudest man he had ever dealt with, understood

no English and refused to recognize the court. He was indicted on a charge of treason for refusing

to surrender the Spaniards, and he was told that the indictment was sufficient if he refused to

plead. “If it must be so,” he said, “let it be so”, and he ws accordingly condemned and hanged

at Tyburn, with all the usual barbarities” 

***

Complete Collection of Carolan's Irish Tunes, 1984; No. 199, pg. 135. Cranitch (Irish Fiddle Book), 1996; No. 100, pg. 167. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 12. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 199. Shay Black – “Christmas in an Irish Castle.”

X:1

T:O’Rourkes’ Feast, The

M:6/8

L:1/8

R:Air

S:O’Sullivan – Carolan (1958)

K:G

D|GG/A/B/c/ dBG|ccc c/d/ec|dBd e/f/ge|f/g/af g2d|

gab abg|fge dcB|cAd BGd|eee f2d/d/|g>gg gBd|Gfg afd|

eee e/f/ge|dBG G2||D|DGG GzD|GG/A/B/c/ dBG|EAA AzE|

AA/B/c/d/ ecA|ddd dec|B>BB BB>A|G>GG G2A|GFE DDD|

DEF GB,D|GFG AFD|d2c B/c/dG|F/G/AD G2||

 

ORPHAN [1], THE (An Dilleachdan). Scottish, Slow Air. C Minor. Standard tuning. AAB. "The Gaelic song usually associated with this melody, was composed to a lady of the family of ‑‑‑ MacKenzie, Bart, of Gairloch, in Ross‑pshire. The words sung by the editor's father referred to a youth going abroad. Mr. Campbell, in his 'Albyn's Anthology,' gives the name of this air to no less than two of the few Highland melodies contained in it" (Fraser). The air has many similarities to, and is possibly the ancestor of, "Lord Balgo(w)nie's Favorite." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 11, pg. 4.

X:1

T:Orphan, The [1]

T:An Dilleachdan

M:C

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Cmin

G|~c>d e>d c>B G2|e>e f>^f g>GG>=B|~c>de>d c>BG>a|g>f ed/2>=B/2 cCC:|

D|E>FG>=A B>_AG>=B|c>de>^f gGG z/g/2=F/2E/2D/2|E>FG>=A B>_AG z/a/|

g>f ed/>=B/ cCC z/D/|E>FG>=A B>_AG>=B|c>de>^f gGG z/ E/2D/2E/2=F/2|

GEDC e>db>_a|g>f ed/>=B/ cCC||

 

ORPHAN [2], THE. Irish, Jig. E Minor. Standard tuning. AABB. Ciaran Carson (Last Night’s Fun, 1996) points out the tune is a jig version of “The Star of the County Down.” A similar tune is "Miss Casey [1]" in O'Neill's Music of Ireland, No 1094, as is Margaret Barry and Michael Gorman’s “Strayaway Child.” Caoimhin Mac Aoidh informs that the tune is associated with Seamus Connoly, who recorded it as a ‘separator’ (the musical interlude between segments of a radio broadcast). It was heavily used by the influential Monday night RTE program “The Long Note” in the 1970’s and became a popular part of traditional musicians’ repertoire throughout Ireland soon after. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 56. Green Linnet SIF 1052, Kevin Burke – “Up Close.”  Shanachie 34010, Kathleen Collins – “Traditional Music of Ireland.” Shanachie 79028, Silly Wizard – “Wild and Beautiful.” Eileen Ivers – “Cherish the Ladies.”

X:1

T:The Orphan [2]

M:6/8

L:1/8

R:Jig

S:Kevin Burke

K:Emin

GF | E3 EDB, | GFG A3 | B3 ABA | GEF EDB, |

A,3 EDB, | GFG A3 | B3 ABA |1 GED EGF:|2 GED E3|

|e3 dBA|GAB dBd|efe dBA|GEF EDB,|

A,G,A, EDB, | GFG AGA | B3 ABA | GED E3:|

X: 2

T: Orphan (The)

S: Kathleen Collins

Z: transcribed by Jean Stewart

M: 6/8

L: 1/8

R:Jig

K: Em

B | EFE EDB, | GFG AGA | BGB AFA | GEF EDB, |

A,3 EDB, | GFG AGA |1 BGB AFA | GEE E2 :|2 BdB AdF | EFE E2 ||

d | ege dBA | GAB d2 g | edB AGA | BGE DB,A, |

B,EE EDB, | G3 AGA |1 BGB AFA | GEE E2 :|2 BdB AdF | EFE E2 ||

d | e/f/ge ded | cBA B2 A | GAB dBA | B3 B2 A |

EGF EDB, | GFG AGA |1 BGB AFA | GEE E2 :|2 BcB ABA | GEE E3 ||

 

ORPHAN GIRL, THE. Old‑Time, Song Tune (3/4, slow). USA, Oklahoma. E Major. AEac# tuning. One Part. Thede prints words associated with the melody. Sources for notated version: W.S., Louise Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 59.

 

ORVETTA WALTZ. Old‑Time, Waltz. USA, Mo. G Major. Standard tuning. AA’BB’. A waltz by this name was composed by E.B. Spencer and published in Boston by Oliver Ditson Company, Washington Street, in 1892, however, when Drew Beisswenger (2008) researched the tune (a copy is on the Library of Congress American Memory website) he could find very little musical similarity. Charlie Walden says Johnson told him she learned the melody as a girl in Chillicothe, Livingston County, Mo., but had not title for it. Later she heard a pianist friend play it from sheet music that had the title “Orvetta Waltz,” which is what she called it thereafter. Source for notated version: Vesta Johnson (b. 1922, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 72. Marimac 9017, Vesta Johnson ‑ "Down Home Rag."

 

OSCAL AN DORUS DO TRI. AKA and see "Open the Door For (To) Three [3]."

           

OSCAR AND MALVINA. English, Slow Air (4/4 time). G Major. Standard tuning. AABBCCDDEEFF. O’Farrell directs “very slow” and says his tune is “set for the pipes,” indicating it perhaps was originally written in another key and was transposed to ‘G’ major to better fit the uilleann pipes.  Although little is known about O’Farrell, it is ascertained that he was a piper who performed in the London production of the pantomime Oscar and Malvina (1791) at the end of the 18th century, as advertising playbills confirm. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 134-135.

                       

OSCAR WOODS’ JIG.  AKA – “Oscar’s Jig.” English, Jig. G Major. Standard tuning. AABB. Source for notated version: from Suffolk melodeon player Oscar Woods, recorded by Tony Engle in 1973, via John Kirkpatrick’s recording  from English Choice [Callaghan]. Callaghan (Hardcore English), 2007; pg. 62. John Kirkpatrick – “Orlando’s Return” (2003). Nick Barber – “Bonny Kate” (2002).

X:1

T:Oscar Woods’ Jig

M:6/8

L:1/8

R:Jig

S:Suffolk melodeon player Oscar Woods

K:G

BAG BAG|BcB ded|GAG BAG|A3 A3|BAG BAG|

BcB ded|d2g dBG|ABA G3::B2d dcB|c2e edc|

B2d dBG|A3 A3|B2d dcB|c2e edc|d2g deBG|ABA G3:|

 

OSCAR WOODS’ MARCH.  English, March (4/4 time). D Major. Standard tuning. ABC. Source for notated version: Suffolk melodeon player Oscar Woods (Benhall, near Saxmundham) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 45.

 

OSCAR WOODS POLKA. English, Polka. England, East Anglia. Oscar Woods was an older melodeon player from East Anglia who taught members of the Old Hat Band several tunes. Old Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party."

 

OSCAR'S REEL. New England, Reel. A Major. Standard tuning. AABB. Welling (Welling’s Hartford Tune Book), 1976; pg. 11. County 725, "The Riendeau Family: Old Time Fiddling From Old New England."

           

OSGAIL AN DORUS GO CIUIN O. AKA ‑ "She is Far From the Land," "Open the Door Softly." Irish, Air (3/8 time). D Major. Standard tuning. One part. Roche Collection, 1982, vol. 3; No. 23, pg. 7.

           

O'SHANNAHAN'S RAMBLES. AKA and see "How Are You Kitty?"

           

O’SHAUGHNESSY’S. AKA and see “The Cat in the Corner [1],” “Felix the Wrestler,” “Lady Charlotte Murray” [1], “O’Mahoney’s Frolics,” “Puss in the Corner.” Irish, Jig. D Mixolydian/Major. Standard tuning. AABB’. The melody was originally recorded by the Tulla Céili Band, of which Jack O’Shaughnessy was a member. Source for notated versions: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Black, Harker]. Black (Music’s the Very Best Thing), 1996; No. 340, pg. 181. Harker (300 Tunes from Mike Rafferty), 2005; No. 230, pg. 71. Kells Music 9509, Mike & Mary Rafferty – “The Dangerous Reel” (1995).

X:1                                                                    

T: O'Shaughnessy's

S: Mike/Mary Rafferty

Q: 325

R: jig

M: 6/8

L: 1/8

Z:Transcribed by Bill Black

K: Dmix

E | FEF DFA | dAF AFD | EDE CEG | cGE CEG |

FEF 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’SHAUGHNESSY’S REEL (Ríl Uí Sheachnasaigh). Irish, Reel. G Major. Standard tuning. AB. Source for notated version: the mid-20th century collection of Seán Reid (County Clare) who had the tune from Mrs. O’Loughlin (1885-1958), a neighbor on the Gort Road in Ennis in County Clare, whose primary instruments were the fiddle and concertina [Breathnach]. Breathnach (CRÉ IV), 1996; No. 148, pg. 72.

 

OSLO WALTZ.  Norwegian (?), Waltz. The tune was recorded around the year 1929 by Scottish accordion player William Hannah (Parlophone A3289, preceded by “Wag of the Kilt”). Barnes (A Little Couple Dancemusic). Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008. Learned from accordion player John Nolan).

           

OSSIAN. Scottish, Slow Air (4/4 time). F Sharp Minor. Standard. AAB. From Skinner’s Harp and Claymore collection (1904), composed by J. Scott Skinner himself and included in his section of “Pastoral Melodies and Heroic Airs.” Ossian was a Celtic bard believed to have lived around the 3rd century A.D.  Poetry austensibly written by him was published in the early 1760's by James Macpherson (1736‑1796) of Kingussie, Inverness‑shire, who claimed to have copied the poems from original manuscripts, which he declined to produce. Hardie (Caledonian Companion), 1992; pg. 104. Skinner (Harp and Claymore Collection), 1904; pg. 7 (arranged for violin and piano by Gavin Greig). Skinner, The Scottish Violinist, pg. 36.

X:1

T:Ossian

M:C

L:1/8

R:Air

N:”Elegy” – “Slowly”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

|: F | (AFA).C FGAB | (cAe).E ABc^e | (f>c) (d>c) (c/B/)z/ (B/A/)z/ Gc |

.F/.G/.A/.F/ (G^E) (F2F) :| c | (a>g f).c (e>d c).A | .d.c.B.A .G(Fc) c |

(a>g f)c (e>d c)A/G/ | .F/.G/.A/.F/ (G^E) (F2F) ~c | (a>g f)c (e>dc)A |

.d.c.B.A .G.F^E z/C/ | (F/4G/4A/4B/4c/4B/4A/4G/4) (A/4B/4c/4^d/4e/4=d/4c/4B/4)

(c/4^e/4f/4g/4a/4g/4/f4e/4) (f/4g/4a/4b/4)c’ c | (a/f/c/A/) (B/G/c/^E/) (F2F) F |

F2”tr”^E2 {^D/E/}(F2F) ||.

           

OSSIAN ALONE, THE LAST OF THE FINGALIANS (Oisean an deigh na Fèinne). Scottish, Slow Air (3/4 time). G Mixolydian. Standard tuning (fiddle). One part. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 7 p. 4

X:1

T:Ossian alone, the last of the Fingalians

T:Oisean an deigh na Fèinne

M:3/4

L:1/8

R:Air

N:”Slow”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 7 (c. 1882)

Z:AK/Fiddler’s Companion

K:Gmix

G4E2 | E2A2A2 | A6 | {c}B2A2B2 | A2G2G2 | G6 |

c4c2 | e2d2c2 | B4A2 | G2d2c2 | {B/c/}B2A2A2 | A6 || 

 

OSSIAN(IC) AIR. AKA ‑ "Dan Oisein." Scottish, Strathspey or Slow Air (4/4 or 6/8 time). F Major (Fraser, Gow): G Major (O'Sullivan/Bunting). Standard tuning. AB (O'Sullivan/Bunting): AABB (Fraser, Gow). This hexatonic air was "communicated by Sir John Sinclair (, Bart.)" note Fraser and Gow. "Sir John Sinclair was so kind as transmit a copy of this Fingalian air to the editor, when first brought forward. In a work avowedly compiling the Celtic melodies, for the purpose of being associated with poetry, it will scarcely be deemed presumption to have inserted it" (Fraser). Sir John must have though much of the air, for he also wrote to the Irish collector Edward Bunting in 1808, sending a copy of the melody and explaining it was "recently transmitted to me by the Rev. Mr. Cameron, Minister of Halkirk, in the county of Caithness, North Britain, who learned it many years ago from a very old man, a farmer on my estate, who was accustomed to sing some of Ossian's poems to that air with infinate delight and enthusiasm." The dotted duple rhythm of the Scottish versions translates easily to the 6/8 version printed by Bunting in his supplement to his 1840 collection. Phrases of the tune are reminiscent of "Green Grow the Rushes O."  Carlin (Gow Collection), 1986; No. 202 (Strathspey) and No. 553 (Air). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 27, pg. 9. O'Sullivan/Bunting, 1983; No. 154, pgs. 211-212. RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

X:1

T:Ossianic Air

T:Dàn Oisein

M:2/4

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Dmin

FF F>G|AG F2|GG d>^c|dc/B/ B2|BB d>c|cA A2|FF G>A|F>E D2:|

|:Add>^c|Ac d2|FF d>c|B>c/2B/2 A2|FF d>c|cA A2|FF G>A|F>E D2:|

           

OSSIAN'S HALL (Mùr Ossian). Scottish, Reel or Country Dance Tune. A Mixolydian. Standard tuning. AB (Surenne): AAB (Gow, MacDonald, Stewart-Robertson). Composed by Daniel Dow (d. 1783) of Kirkmichael, Perthshire, and first published in his c. 1775 collection (pg. 10), though a notice appears in the November and December numbers of the Edinburgh Magazine and Review for 1773 which contains the tune along with "Athol House," with a footnote appended saying, "Inscribed to Sir James Clerk of Pennycuick 'Ossian's Hall' a new country dance composed by Mr. Dow. This piece and the former by the same composer are inserted at his desire." Dow was a contemporary of fiddler-composer Niel Gow (1727-1807) in whose Fourth Collection (1800) the melody appears without composer credit. Carlin (The Gow Collection), 1986; No. 310. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 17. MacDonald (The Skye Collection), 1887; pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 25. Surenne (Dance Music of Scotland), 1852; pg. 134.

X:1

T:Ossian’s Hall

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

e|cAec fdec|B=G Bc/d/ =g2 Be|cAec fded|c>A c/d/e a2 e:|

g|aecA ce=gd|B=G Bc/d/ =g2 B^g|aecA ceae|cAec a2 ea|

ceae fdec|dB=Gd d=gBd|cedf ecdB|cA c/d/e a2 e||

X:2

T:Ossian’s Hall

M:C|

L:1/8

R:Reel

B:Gow – Fourth Colleciton of Strathspey Dances (1800)

Z:AK/Fiddler’s Companion

K:A

e|c<Ae>c f>de=c|B>=G .B/=.c/.d “tr”g2 Be|c<Ae>c f>ded|”tr”c>A .c/.d/.e a2e:||

f/^g/|aecA ce=gd|B=G B/=c/d “tr”g2 B^g|aecA ceae|cAec ~a2 (ea)|

ceae fdec|dB=GB dgBd|cedf ecdB|”tr”c>A .c/.d/.e ~a2 e||

           


OSSIAN'S LAMENT. Scottish, Slow Air (3/4 time). G Mixolydian. Standard tuning. AB. O’Neill (1913), remarking on a melody by this title, is of the opinion that this ancient lament “makes no appeal to modern ears” and points out that old laments as a genre display much diversity in composition. Lerwick (The Kilted Fiddler), 1985; pg. 79. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 132, pg. 23.

X:1

T:Ossian’s Lament

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 132

Z:AK/Fiddler’s Companion

K:G

G>A|B3A BA/G/|A2G2 G>A|B3A BA/G/|G4 G>A|B3A BA/G/|

A2G2 G>A|B2 dB A>G|G4||d2|e>d d2 B>d|e>d d2 B>d|g>e e2 d>B|

A>B e4|g>e e2 d2|DB A2 GE|G>A B2 dB|A>G G2||

           

OSSIAN'S LAMENT FOR HIS FATHER. AKA and see "Cumhadh Fhinn."

           

OSSON TWO-STEP. AKA and see "Ossun Two‑Step."

           

OSSUN ONE-STEP. AKA and see "Ossun/Osson Two-Step."

           

OSSUN TWO-STEP. AKA - "Ossun One‑Step." Cajun, Two‑Step. USA, Louisiana. D Major. Standard tuning. BBAA (in this tune the 'B' part, or turn, is played first). Ossun was once a small country village north of Scott, Louisiana, nearby the location of the only two dance halls between Lafayette and Carencro. Lawrence Walker also recorded an early version of this melody. A related song is "Opelousas Two-Step," according to Raymond Francois (1990). Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 239. Cajun Classics Records CC-1001, Aldus Roger. Columbia 40506 (78 RPM), Joseph Falcon (accord.) & Cleoma Breaux, 1929. Old Timey Records OT-100, Joseph Falcon.

           

OSTEND. Scottish?, Country Dance Tune (4/4 time). D Minor. Standard tuning. The tune appears in the Skene Manuscript of c. 1615 and commemorates the siege of Ostend in 1604. This siege, in which some 70,000 died on each side, occurred during a conflict between the Dutch and Spanish. Robin Williamson reports that the Spanish Governante of the Netherlands, Isabella Eugenia, vowed not to change her undergarments as long as the conflict lasted. When the Dutch held out for three years and three months, "the other ladies of the court had to dye their own undergarments to keep pace with their royal mistress." Samuel Bayard (in his article “A Miscellany of Tune Notes”) finds the melody to be the precursor to the English country dance tune “Parson’s Farewell,” printed by Playford. He maintains the air can be traced back to the Continent, probably Holland, as one might conclude from the English title, and cites its appearance in Adriaen Valerius Nederlandtsche Gedenck-Clanck (1626), the Starter’s Friesche Lust-Hof (1621), and the Thysius Lute book (c. 1600). The first two works refer to the tune as a bourrée. However, on the Thysius Lute book appears to predate the Skene. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, Vol. 2."

X:1

T:Ostend

M:C

L:1/8

B:Skene Manuscript c. 1615

K:D Minor

ag|f2e2d2 ef|gfed c2e2|d2 a2 gfed|e3A A4||

dcde defd|edcd efge|d2 a2 gfed|e3A A2||ag|

f2F2 f2 ag|f2F2 f4|fg a2 fg a2|g2e2c2e2|ef g2 ef g2|f3d d2a2|

d2 ef e2d2|^c3 A A2||

           

OSTINELLA HORNPIPE. AKA and see "Ostinelli's Reel."

           

OSTINELLI'S REEL. AKA – “Austin’s,” "Ostinella Hornpipe/Reel." American, Reel or Hornpipe. A Major. Standard tuning. AABB. This melody is named for a popular late 19th century stage violinist named Louis/Lewis Ostinelli, an Italian who arrived in Boston in the year 1818. Michael Broyles references the musician in his book Music of the Highest Class: Elitism and Populism in Antebellum Boston:

***

He was keenly aware of the reputation the violin had as a

vernacular instrument in new England. According to several

anecdotes, he was furious when his violin was referred to as

a fiddle or when he was requested to play dance music. Once

when asked by a lady if he was to play for a dance following

a concert, he deliberately cut his violin strings and said 'Veree

story, veree story, madam, you see I can no play.'

***

It is thus somewhat ironic that his lasting musicial fame appears to be in this reel and “Souvenier de Venice Hornpipe,” printed in Ryan’s Mammoth Collection/Cole’s 1000, for many years the primary texts for those “venacular” fiddlers in the United States. “Ostinelli’s Reel” has some currency among modern Texas-style players after being included in the repertoire of influential fiddler Benny Thomasson, among others. John Hartford finds that a melodic fragment appears as a part in the tune "Grey Eagle." Parts of the melody shift into third postition on the violin. As an example of how tune titles can become garbled in oral transmission, it appears on a recording by Timmy Cronin under the title “Austin’s.” Sources for notated versions: “Recollections of a Busy Life”, a 1938 typewritten manuscript by New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.). Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity” [Miller]. Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]; New Hampshire Fiddlers' Union [Phillips]; New York fiddler John McGrath (d. 1955) [O’Malley]; Tyler Hagood [Silberberg]. Cole (1000 Fiddle Tunes), 1940; pg. 41. Howe (1000 Jigs and Reels), c. 1867; pg. 59. Miller (Fiddler’s Throne), 2004; No. 226, pg. 138. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 214. Ryan’s Mammoth Collection, 1883; pg. 67. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 34. White’s Unique Collection, 1896; No. 143, pg. 25. Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.” New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X: 1

T: Ostenelli's

M: 4/4

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Hornpipe

K: A

cd | eAfA eAaA | c'AaA eAfA | eagf edcd | (3efe ce BcdB |

eAfA eAaA | c'AaA eAfA | eagf (3efe (3EFG | Aaec A2 :|

ED | CAEc Aeca | ee'c'a ec'ac' | d'c'ba c'aec | dcBA GFED |

CAEc Aeca | ee'c'a ec'af | eagf (3efe (3EFG | Aaec A2 :|

                       

O’SULLIVAN’S FANCY. AKA and see “Jer O’Connell’s,” “Lucy Farr’s (Polka) [2]." Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. A version of “Jer O’Connell’s.” Source for notated versin: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Mallinson (100 Polkas), 1997; No. 78, pg. 29. Moylan (Johnny O’Leary), 1994; No. 96, pg. 55. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

           

O’SULLIVAN’S FROLIC.  AKA and see “Bímíd ag Ól ia ag Pógadh na mBan.” Irish, Jig. G Major. Standard tuning. AB. The melody appears under this title in the mid-19th century music manuscripts of Church of Ireland cleric James Goodman (1828-1896). Goodman was an Irish speaker and an uilleann piper who collected from tradition in Cork and elsewhere in Munster, although he obtained tunes from manuscripts and printed sources as well. Paul de Grae thinks the “O’Sullvan’s Frolic” may be sourced to a song written by Eoghan Rua Ó Súilleabháin c. 1780 under the alternate title, listed above. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 367, pg. 146.

X:1

T:O’Sullivan’s Frolic

M:6/8

L:1/8

R:Jig

S:James Goodman manuscripts (mid 19th century)

K:G

def gag|fdd fef|def gfg|afd d3|def gag|fdd f2g|

gba/g/ f2d|cAF G2||G|DGG B2B|cBc d3|

DGG B2B|cAF G3|DGG B2B|cBc f2g|gba/g/ f2d|cAF G2||

           

O’SULLIVAN’S INFERNAL HORNPIPE. Irish, Hornpipe. A Major. Standard tuning. AABB. Composed by Yonkers, New York, uilleann piper Jerry O’Sullivan. Black (Music’s the Very Best Thing), 1996; No. 120, pg. 62.

X:1

T: O'Sullivan's Infernal Hornpipe

C: J. O'Sullivan

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: A

e2 | ec (3AcA EFAe | feae fecA | ec (3AcA EFAe | BAcA B2 af |

ec (3AcA EFAe | feae fecA | (3eae ce (3dfd Bd | (3cBA (3BAG A2 :|

e2 | Acef a3 b | (3cba (3bag afec | Acec fAeA | B3 A BdcB |

Acef a3 b|(3cba (3bag afec |(3Ace (3aec (3GBd (3gdB|(3Ace (3aec A2 :|

                                   

O'SULLIVAN'S MARCH. AKA and see "O'Sullivan Mor(e’s March) [1]."

                                   

O'SULLIVAN MOR(E'S MARCH) [1]. AKA and see “I Won’t be a Nun,” "I'll Marry and I Won't Be a Nun," "The Highlander's March," "The Rebel's March," "Rock and the/a Wee Pickle Tow," "Captain Collins" (Pa.), "The Onehorned Cow [2]," "The Retreat," "The Pretender's March," "Green Goose Fair [1]," "Glengariff," "Gogaí ó gog," "Painseach/Pairneach/Páinneach na nUbh [1]" (The Basket of Eggs), "Montrose's March," "Scottish March," "Bob Ridley" (Pa.), "The Bell Cow [1]" (Pa.), "The Belling Tune" (Pa.), "Fifer's March" (Pa.). Irish, March (3/4 and 6/8 time). A Major (Roche): G Major (Tubridy). Standard tuning. AABB (Tubridy): AABBCCDDEEFF'GG' (Roche). The tune, note the Chieftains, is nowadays played more often as a jig, but is said to have been the march of the Kerry based O'Sullivan Clan. Tubridy’s 6/8 version corresponds to the last parts of the Roche printing. A recording of “O’Sullivan’s March” by Matt Molloy used as theme for the 1995 film Rob Roy, starring Liam Neeson. O’Neill (1922) notes: “The above is an involved variant of a much simpler jig tune of identical name printed in Lynch's Melodies of Ireland (1845); and in O'Neill's Dance Music of Ireland (1907). The strain is ancient. Following is a quatrain of a folk song sung to it in the editor's boyhood days:

***

There was an old woman tossed up in a blanket

Seventeen times as high as the moon;

What she was doing there I cannot imagine

But in her hand she carried a broom.

***

All of which is reminiscent of the days of witchcraft.” The song “I’ll Marry and I Won’t be a Nun” (sometimes “I Won’t be a Nun”) is set to this tune. See note for “Páinneach na nUbh [1]" for notes on the tune-family. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O’Neill]. Roche Collection, 1982; vol. 2, No. 315, pg. 51. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 78. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 6. Walsh (Session Tunes), vol. 2. Claddagh CC24, “The Chieftains 7” (1977). Columbia 35612, "The Chieftains" (1977). Columbia Legacy CK 48693, "The Best of the Chieftains" (1986).

X:1

T:O’Sullivan Mor

M:6/8

L:1/8

K:G
D | GBA ABd | edB A2G|GBA B2A|AGG G2D|GBA ABd|edB A2G|GBA B2A|AGG G2:|

|:g|e2g e2g|ege edB | ded dBd|d<gB BAG|cBc dcd|e<gB A2G|GBA B2A|AGG G2:|

X:2

T:O'Sullivan's March [1]

M:6/8

L:1/16

S:Rice - Walsh manuscript

Z:Paul Kinder

R:March

K:G

D2|G2B2A2 B2d2d2|egfedB AcBAGE|G2GBAc B2BAGE|A2G2G2 GEDCA,B,|

D2B2A2 B2d2d2|egfedB AcBAGE|GDGBAc B2BAGE|A2G2G2 G4:|

|:de|fedefd fedefd|fedefd e2d2c2|BAGABc d2e2f2|gfefge d2B2G2|

gbagfe fagfed|egfedB AcBAGE|GDGBAc B2BAGE|A2G2G2 G4:|

 

O'SULLIVAN'S MARCH [2] (Triallta Ui Suilleabain). Irish, Double Jig. D Major. Standard tuning. AABB. Some similarities to the 6/8 part of the tune printed in Roche’s collection, however, Brendan Breathnach (CRE II, 1976) states that this is not the version usually played. O’Neill (Irish Folk Music) says: “This name had been met with in my studies, but nothing purporting to be the air in question was ever discovered until recently, when it was found printed in Lynch’s Melodies of Ireland, published in 1845.” O’Neill sees similarities with this tune and the folksong beginning “Old Woman tossed up in a blanket, seventeen times as high as the moon.” Source for notated version: elderly fiddler Edward Cronin, originally from Limerick Junction, County Tipperary [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 51, pg. 25.

X:1

T:O'Sullivan's March [2]

B:Dance Music of Ireland, O'Neill, no. 51

N:transposed from key of D

M:6/8

L:1/8

K:G

g|dBB GBB|dcB c2 e|dBB GBG|AGG Gge|

dBB GBc|dcB c2 e|dBd gdB|AGG G2:|

|:g|edg edg|e/f/gf edB|dBg dBg|dBg def|

g3 bge|dcB c2 e|dBd gdB|AGG G2:|

                       


O’SULLIVAN’S (POLKA). AKA – “The Moving Bog [4].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry Border. D Major. Standard tuning. AABB. The tune is played slower than a standard polka. Source for notated version: Thaldo Sullivan via accordion player Johnny O’Leary (Sliabh Luachra), the latter recorded by Breadan Breathnach in Kerry, November, 1970 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 8, pg. 6. Gael-Linn CEF 092, Julia and Billy Clifford - “Ceol as Sliabh Luachra.” RTE DC174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.” Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996. Learned from a recording made by Seamus Ennis for Radio Eireann of the playing of Sliabh Luachra fiddle master Padraig O’Keeffe). Sliabh Notes.

X:1

T:O’Sullivan’s Polka

M:4/4

L:1/4

S:from Mary Rafferty

Z:David Marcus

R:Polka

K:G

D | G>GGD | G>GGe| dBAG | E3 D | G>GGD | G>GG  e| dBAB | d3 B |  de/f/ge

|dBA>G | ABAG | E3 D | G>GGD | G>GGe| dBAB | G2 d>c ||: BdGd | BdGd |

Bded | {d}BAA>d | BdGd | BdGd | Bdef |1 ag g>d :|2 ag gD ||

                       

OSWALD'S BASS MINUET. Scottish, Minuet. The title refers perhaps to the Scottish composer James Oswald. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

OSWESTRY SQUARE. AKA and see "Offa's Dyke." Oswestry, Shropshire, traditionally derives its name from “Oswald’s Tree,” a reference to Oswald of Northumbria who was defeated here by Penda of Mercia in 642, and who had the misfortune to be crucified on a tree. His family could not retrieve his remains for a year. A border town, Oswestry suffered from depredations by both the Welsh and English.

                       

OSWESTRY WAKE. English, Jig. G Major. Standard tuning. AABBCC. The tune was published in John Young’s edition of Playford’s Dancing Master of 1718 and 1728, and John Young’s Second Book of the Compleat Country Dancing Master (London, 1719). There is a Welsh dance to the tune called Dawns Croesoswallt, published in Eddie Jones’ Dawnsie Twmpath. Callaghan (Hardcore English), 2007; pg. 74.

                       

OTHER SIDE OF JORDON. AKA and see "Jordan is a Hard Road to Travel," "T'Other Side of Jordan."

                       

OTTAWA VALLEY, THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 240, pg. 69.

                       

OTTAWA VALLEY REEL [1], THE. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Named for a region in Ontario Province. Perlman (1996) states this is one of the most widely played tunes on Prince Edward Island. It is often attributed to New Brunswick fiddler Earl Mitton, though Perlman says his widow denies he wrote it; Perlman still thinks the tune may have originated in the Maritimes. It has also been attributed to Don Messer. Source for notated version: Edward P. Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 53. Rounder CD7014, Eddy Arsenault – “Fiddlers of Western Prince Edward Island” (1997).

 

OTTAWA VALLEY REEL [2]. Canadian, Reel. Canada, New Brunswick. A different tune that “Ottawa Valley Reel [1]." Composed by New Brunswick fiddler Ned Landry.

           

OTTER’S DEN, THE. AKA and see “The Otter’s Holt.”

           

OTTER’S HOLT, THE (Poll an Madra Uisce). AKA and see “The Aughdarra,” “The Otter’s Den,” “The Otter’s Hole,” “The Water Dog’s Hole,” “The Water Hole,” “The Windy Lane.” Irish, Reel. B Minor (Black, Harker/Rafferty, Mallinson, Mulvihill, Sullivan): A Dorian (Breathnach). Standard tuning. AABB. Composed by the late Clare fiddler Martin 'Junior' Crehan (1908-1998).  In a 1980’s interview with Crehan, Finbar Boyle asked him about the origins of the tune Crehan related that he and friends used to play by a stream associated with an otter den, and that cattle would come by and (according to Junior) be soothed by the music. The word ‘holt’ is an archaic form (a phoentic variant of hold, generally from the English mid-lands), but is usually taken to mean a place of refuge or abode; an animal’s den. There is an interesting connection with Paddy Killoran’s “Old Dudeen,” which shares some melodic material with Crehan’s melody (see note). Andy Stewart’s song “Take Her in Your Arms” (on Green Linnet SIF 1083, “Dublin Lady”) is set to this tune. Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; the Bothy Band [Sullivan]; flute player Matt Molloy (Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].. Black (Music’s the Very Best Thing), 1996; No. 159, pg. 84. Breathnach (CRÉ III), 1985; No. 185, pg. 84. Bulmer & Sharpley (Music from Ireland), vol. 4;12. Harker (300 Tunes from Mike Rafferty), 2005; No. 158, pg. 48. Mallinson (Enduring), 1995; No. 5, pg. 3. Mulvihill (1st Collection), 1986; No. 77, pg. 20 (appears as “The Water Hole”). O’Brien (Paddy O’Brien Collection), No. 275 (appears as “Otter’s Den”). Sullivan (Session Tunes), Vol. 3; No. 60, pg. 25 (appears as “The Water Dog’s Hole”). Taylor (Music for the Sets: Blue Book), 1995; pg. 32. ANR 003, Todd Denman & Dale Russ – “Reeds & Rosin.” Green Linnet SIF 3005, Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue of the 1976 Mulligan LP). Mulligan Records LUN 004, "Matt Molloy" (1976). Shanachie 78001, Lawrence Nugent – “Traditional Irish Music on Flute & Tin Whistle” (appears as “Otter’s Lair”). Paul McGrattan & Paul O’Shaughnessy – “Within a Mile of Dublin.” “Music at Matt Molloy’s.” Barry Kerr – “The Three Sisters.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Water Dog's Hole, The

T:Otter's Holt, The

C:Junior Crehan

M:4/4

L:1/8

K:D

de|:fBBA FEFB|~A2FB ABde|1 fBBA FEFA|BdcA B2de:|2 fbaf egfe|dBAF B2||

(3ABc|d2fd adfa|bfaf efdB|d2fd adfa|bfaf e2 (3ABc|

d2fd adfa|bfaf efde|fBBA FEFA|BdcA B2||

X:2

T: Otter's Hole

C: Junior Crehan

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

de | fBBA F2 FB | A2 FB ABde | fBBA FEFA | BdcA B2 de |

fBBA F2 FB | A2 FB ABde | faaf e3 f | dBAF B2 :|

Bc | d2 fd adfa | b2 af efdA | d2 fd adfa | b2 af e2 Bc |

d2 fd adfa | b2 af efde | fBBA FEFA | BdcA B2 :|

           


O'TUOMY'S CAROUSAL. AKA and see "Get Up Old Woman and Shake Yourself."

           

O'TUOMY'S DRINKING SONG. AKA and see "Get Up Old Woman and Shake Yourself," "Captain Thornton's Delight," "Conor O'Sullivan's Vision," "Growling Old Woman," "Irish Whim," "Last Night Amid Dreams."

           

OUIR THE DEK DAVIE. Scottish, Air (4/4 and 6/8 time). C Major. Standard tuning. AB. Appears in the Rowallan lute MS. of c. 1620. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 4, pg. 18.

           

OULD DART, THE. Irish, Jig. D Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 81, pg. 25.

X:1

T:Ould Dart, The

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection (1905), No. 81

Z:AK/Fiddler’s Companion

K:D

ded fga|ABA ABc|d2b afd|e3 efe|ded fga|ABA A2b|

agf ede|d2z d2::d|cde efe|(A3 A2)e|cde ef^g|(a3 a2)=g|

ffe dBc|d2e f2^a|bfe dec|(B3 B2)A|ded f>ga|(d3 d2)A|

ddb afd|(e3 e2)e|ffe def|gab a2A|agf efe|d2z d2:|

           

OULD MIKE. Irish, Reel. A Minor. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 184, pg. 21.

X:1

T:Ould Mike

M:

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 184   (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

ABcd e^dea | fagf e=dcB | ABcd e^dea |1 e=dcB A2E2 :|2 e=dcB A2B2 ||

|: cdef gece | dBGB dBGB | cdef gece |1 dBGB c2G2 :|2 eaa^g a2e2 ||

           

OUR BOYS [1]. AKA and see “The Monaghan Switch.” Irish, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 3. Ryan’s Mammoth Collection, 1883; pg.

X:1

T:Our Boys [1]

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(3e/f/g/ | ae/d/ c/A/d/B/ | c/A/d/c/ B(3e/f/g/ | ae/d/ c/A/d/B/ | c/A/B/G/ A :|

|: g | a/e/(3f/g/a/ g/e/d/B/ | g/e/ (3f/g/a/ b>b | g/e/ (3f/g/a/ g/e/d/c/ | c/A/B/G/ A :|

 

OUR BOYS [2]. American (?), Jig. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 71. Ryan’s Mammoth Collection, 1883; pg. 102.

X:1

T:Our Boys [2]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | GBB ({c}B)AB | GBd def | g(fg) (ed)B | ({c}B)AA A2D | GA(B {c}B)AB |

(GB)d def | gfe dAc | ({c}B)GG G2 :: B | def gfg | age edB | g(fg) (ed)G |
(BA)A A2B | (GB)(B {c}B)AB | (GB)d def | .g(fg) (ed)B | ({B}A)GG G2 :|

           

OUR BRIDE IS NO MAID [1]. AKA and see “The Grinder(s).” English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript book of Northumbrian musician William Vickers. Unfortunately, nothing is known about him. Seattle (William Vickers), 1987, Part 2; No. 205.

X:1

T:Our Bride is No Maid [1]

M:9/8

L:1/8

R:Jig

S:William Vickers’ Northumbrian music manuscript, pg. 49  (1770)

Z:AK/Fiddler’s Companion

K:G

g2g edc BAG|g2g ecA f2d|g2g edc BGB|A2g fag f2d:|

|:ecA GAB gdB|A2g ege f2d|ecA GAB gdB|g2g ege f2d:|

 

OUR BRIDE IS NO MAID [2]. Scottish. From the MacFarlane manuscript (Edinburgh, 1740). A different tune than “Our Bride is No Maid [1].”

           

OUR CAT HAS KITTED. English, Old Hornpipe (3/2 time). D Major. Standard tuning. AABB. The melody, according to Jamie Knowles, is a version of the English classic “Cheshire Rounds,” and is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 2. Offord (John of the Greeny Cheshire Way), 1985 (appears as 2nd of 3 “Cheshire Round” melodies). EFDSSCD13, Rising Sun Band – “Hardcore English” (2007. Various artists). Folksound FSCD37, Rising Sun Band – “Setting it Right.” Highpoint HPO 6012, “Waterson-Carthy/The Definitive Collection” (2005). Topic Records TSCD 536, Waterson/Carthy – “Broken Ground” (1999).

                       

OUR GOOD WIFE. AKA ‑ "Oor Guid Wife." Scottish, Reel. C Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 134, pg. 16.

X:1

T:Our Good Wife

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 134  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

G>c c/c/c c2 ce|dcde dcAc|G>c c/c/c c2 ce|dcde c/c/c (ce):|

|:gage gage|fedc Bdde|G>c c/c/c c2 ce|1 dcde c/c/c (ce):|2 dcde c/c/c c2 ||

           

OUR HIGHLAND COUSINS (Ar Comua Albanac). AKA and see “Devil in the Kitchen [1],” “Gurren’s Castle,” “Miss Drummond of Perth.” Irish, Reel. G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1400, pg. 260.

X:1

T:Our Highland Cousins

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1400

Z:AK/Fiddler’s Companion

K:G

A | G2 dc Bcde } f2 cf Afcf | Gedc Acde | ({g}f)efc “tr”AG G :|

d | g2 dg Bgde | f2 cf Afcf | g2 dg Bgde | fefc AGGd | g2 dg GgAe |

f2 cf Afcf | gfde fgag | fdcA “tr”AG G ||

           

OUR HIGHLAND QUEEN. AKA ‑ "Oor Highland Queen." Scottish, "Pastoral Air" or Strathspey. D Major. Standard tuning. AB. One of the six hundred or so compositions by the great Scottish fiddler-composer James Scott Skinner (1843-1927). Composed in honor of Queen Victoria, it originally appeared in his Miller o’ Hirn collection. In 1858 Skinner, a fifteen-year-old violinist with the boy-troupe Dr. Mark’s Little Men, performed before the Queen at Buckingham Palace, and ten years later was a dancing master to the children of her tenants in Balmoral, Scotland. He included it a one of the tunes in his 1921 concert set romantically entitled "Warblings From the Hills." Skinner’s directions say it should be played with “grandeur and expression.” MacDonald (The Skye Collection), 1887; pg. 156. Skinner (The Scottish Violinist), 1900; pg. 37. Skinner (Harp and Claymore), 1904; pg. 14.

X:1

T:Our Highland Queen

M:C

L:1/8

R:Strathspey

S:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

{A,/B,/C/}D>AF>A D>AF>A|(3[DAf]ed (3c{e}dB A3 F/(D/|C>A) G>A F>A D>A|

(3FED (3C{E}DB, A,2 A, (3A,/B,/C/|D>A F>A D>AF>A|(3[DAf]ed (3c{c}dB A2 G/F/|

(3GBe E>G (3FAd [D>A>][A,G]|(3F>ED (3C<FE D2D||

{ABc}d>f (3Adf (3afd (3AFD|(3A,DF (3AFd A2 (AB/^c/^d/|e>)g (3Beg (3bge (3BGE|

(3CEG (3CEA [D2F2] [DF] (3A/B/c/|(d>f) (3Adf (3afd (3AFD|(3A,DF (3AFd A2 A G/F/|

(3GBe E>G (3FAd [D>A>]G|(3F>ED (3C<FE D2D||

           

OUR HOUSE AT HOME (Ar dTigh sa Baile). AKA and see “I’m Ready Now,” "Is Trua gan Peata 'n Mhaoir agam [1]," “Mulvey’s Reel,” "Peata Beag is a Mhathair," "Peata Geal do Mhathar/Matar," "Your Mother's Fair Pet." Irish, Reel. D Major (Greir): A Major (Sutherland): G Major (Treoir). The tune appears in the late 19th century collection of Alex Sutherland of County Leitrim under the title “Mulvey’s Reel.” Another County Leitrim collection from the same era, the Stephen Grier (Abbeylara, Granard, County Longford) collection of 1883, gives the tune under the “Our House at Home” title. Grier later came to live at Bohey, Gortlettragh, County Leitrim. Piper William Mulvey inherited the Grier collection after the latter’s death, according to modern piper Brian McNamara. Variants of the tune include “Is Trua gan Peata an Mhaoir agam” (Petrie), “Your Mother’s Fair Pet” (Joyce/Petrie), and “I’m Ready Now” (O’Neill). Treoir, vol. 35, No. 2, 2003; pg. 23. Drumlin Records, Brian McNamara – “A Piper’s Dream” (2000. Learned from the Sutherland collection).

X:1

T:Our House at Home

M:C

L:1/8

R:Reel

S:Treoir, vol. 35, No. 2

K:G

A |: BG G2 DG G2 | ABcA dBcA | BGAF DG G2 |1 AdcA G3 :|2

AdcA G2Bc ||dg g2 bg g2 | dg g2 fdcA | dg g2 bg g2 | dcde fefg |

bgaf gfef | d eg fdcA | BGAF DG G2 | AdcA G3 ||

           

OUR LADY’S BUNGALOW.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 23.

 

OUR LAND SHALL BE FREE. AKA and see "O'Donnell Abu," "Proudly the Note of the Trumpet is Sounding."

                       

OUR LASSIES. Scottish, Jig. G Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 149, pg. 47.

X:1

T:Our Lassies

M:6/8

L:1/8

R:Jig

B:Harding’s All Round Collection, No. 149  (1905)

Z:AK/Fiddler’s Companion

K:G

(d/B/)|GBd gbg|ege dBG|ceg dBG|FAA A2 (d/B/)|GBd gbg|

ege dBG|cec BdB|cAF G2::(f/g/)|add ded|bgg g2f|

ege dBG|BAB A2d|gba gdB|cge dBG|cec BdB|cAF G2:|

           


OUR OWN LITTLE ISLE (Ar n-Oilean Beag Fein). AKA and see "The Boys From the Lough," “Carawith Jig,” “Corovoth Jig,” “Donnybrook Fair [1],” "Joy of My Life," "The Joys of (My) Life," “Oh! Irishmen Never Forget.” Irish, Double Jig. G Major. Standard tuning. AABB. The melody is the same in the first part, and only mildly different in the second, to "The Joys of Life." See also “Charley the Prayermaster.’ O'Neill (Krassen), 1976; pg. 30. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 832, pg. 155. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 96, pg. 31.

X:1

T:Our Own Little Isle

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 96

Z:AK/Fiddler’s Companion

K:G

G3 AGA|B<ee edc|BAB GBA|G>EE E2D|~G3 AGA|B<ee edc|BAB GBA|AGG G3:|

|:g3 g2 g/f/|edc BAG|g3 g2 g/f/|efg a2g|bag agf|edc BAG|BAB G2 B/A/|G>EE E2D:|

           

OUR PLEASURE. AKA and see “The Installation.” English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. The tune appears in Charles and Samuel Thompson’s Twenty Four Country Dances (London, 1780) under the title “The Installation.” Source for notated version: the manuscript collection of Captain George Bush (1753-1797), a fiddler and officer in the Continental Army of the American Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution), 1782; pg. 21.

                       

OUR POLLY IS A SAD SLUT. AKA and see "(Oh) London is a fine town." English, Air. The air appears under this title in John Gay's Beggar's Opera, 1729. Kidson (1922) says this "early and very popular air" also was published in Pills to Purge Melancholy, vol. V, and on half‑sheet music.

           

OUR PRESIDENT. AKA and see "(My) Ain Kind Deary (O)," "Christmas Eve [1]," "Here's a Health to Our Leader," "The Fearless Boys." Irish, March. JIFSS, vol. 17 (1920), pg. 29.

           

OUR SAILS WERE UNFURLED. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 517, pg. 131.

X:1

T:Our sails were unfurled

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 517

Z:AK/Fiddler’s Companion

K:E_

E/F/ GB | c>A FE DF | E3 B/A/ GB | e2 d>e fd | B3 B/A/ GB |

e2 de fd | e2 d>e cA | F2 GA BG | E3 ||

           

OUR WEDDING DAY. AKA and see “She Moved Through the Fair.”

           

OURSELVES, LIKE THE GREAT, TO SECURE A RETREAT. AKA and see "A cobbler there was," "The cobbler's end." English, Air. The 17th century air appears under this title in John Gay's Beggar's Opera (1728).

           

OUT ALL NIGHT. AKA and see “The Buck in the Woods,” "Molly's Favourite," "An Boc sa gCoill." See also the ‘A’ part of “Humors of Ballingarry.”

           

OUT AND ABOUT. AKA and see “Cúil Aodha Jig,” “The Happy ‘A’ Jig,” “Humours of Ballymore,” “Maid that Cut Off the Chicken’s Lips.”

           

OUT AND IN THE HARBOUR. AKA and see "Muckle a Skerry in Three." Shetland, Shetland Reel. Known throughout the Shetlands.

           

OUT AND IN UPON OCCASION. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. “Out and In Upon Occasion” was first published in R. Hinton's periodical The Universal Magazine of Knowledge and Pleasure (London, 1759). The melody also appears in the 1770 music manuscript copybook of Northumbrian musician William Vickers, about whom little is known. In America, it was included by Lacaster County, Pa., flute player John Hoff (1776-1818) in his music copybook. Seattle (William Vickers), 1987, Part 3; No. 452. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 35.

X:1

T:Out and upon occasion [sic]

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pg. 133  (1770)

Z:AK/Fiddler’s Companion

KG

A3D B2G|d2G g3|ded dcB|ABc BAG|G2D B2G|

d2B g3|fag fed|Adc d3::d2B d2B|c2A c2A|

Bcd dcB|AGA A2E|G2D B2G|d2B g3|gfe d2c|BcA G3:||

X:2

T:Out and in upon occasion

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G2D B2G|d2B g3|ded dcB|ABc BAG|G2D B2G|d2B g3|fag fed|Ad^c d3:|

|:d2B d2B|c2A c2A|Bcd dcB|AGA A2D|G2D B2G|d2B (g3|g)fe d2c|BcA G3:||

           

OUT BEHIND THE SMOKEHOUSE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

OUT OF THE MIST. Irish, Jig. A modern composition by Kenmare, County Kerry, fiddler Gerry Harrington. The title comes from Harrington’s failure to locate his flock of hens because of the fog which descended from the Knockmealdown Mountains one morning just past dawn. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).

                       


OUT OF THE WILDERNESS. AKA and see "Johnny Stole a Ham," "The White Horse [2]," "The Old Grey Mare (Came Tearing Out of the Wilderness)." American, Song and Dance Tune (2/4 or 4/4 time). USA, southwestern Pa. G Major. Standard tuning. AABB. The tune to the familiar ditty which goes:

***

The old grey mare, she ain't what she used to be,

Ain't what she used to be, ain't what she used to be.

***

Irwin Silber ("Songs of the Civil War") identifies the composer of this tune as J. Warner, who originally called it "Down in Alabam" (though of course he may have adapted a folk tune). Just prior to the Civil War one parody composed to it was called "Old Abe Lincoln Came Out of the Wilderness." Sources for notated versions: Hoge MS (Pa., 1944) and Marion Yoders (fifer and fiddler from Greene County, Pa., 1963) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 271, pg. 228.

           

OUT OF THE WINDOW. AKA and see “She Moved Through the Fair.”

           

OUT ON THE OCEAN [1] ("Amac Air An Fairge" or "Amuig Ar An Fairge"). AKA and see "Banks of Ahasnagh," “Bucks of Ahasnagh,” "Crossing the Bogs," “Mick Mulcahy’s [1],” “Over the Sea [2],” “O’Connell’s Jig on the Top of Mount Everest,” “The Portroe [1].”  Irish, Double Jig. G Major. Standard tuning. AAB (Silberberg): AABB (Mallinson, Martin & Hughes, O’Neill): AABB’ (Tubridy): AA’BB’ (Harker/Rafferty, Songer). The melody was collected by Irish collector George Petrie in the mid-19th century under the title “Bucks of Ahasnagh.” Jack Campin (jc@purr.demon.co.uk) identifies “Out on the Ocean” as one of many variants of the Lowland Scots tune "The Rock and the/a Wee Pickle Tow,” originally a women's spinning song. Sources for notated versions: flute player and piper Charlie Lavin (b. 1940, Cloonshanville, near Frenchpark, County Roscommon) [Flaherty]; Francis O'Neill learned the tune from an accomplished West Clare flute player (and Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of prodigious physique of whom he said: "…the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]. Sources for notated versions: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; from a recording by Chris Droney [O’Malley]. Flaherty (Trip to Windsor), 1990; pg. 154. Harker (300 Tunes from Mike Rafferty), 2005; No. 178, pg. 55. Mallinson (Essential), 1995; No. 84, pg. 37. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 47. Mulvihill (1st Collection), 1986; No. 89, pg. 73 (learned from a recording by Clare musicians Canny and Hayes). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 91, pg. 46 (miss-titled as “The Blooming Meadows”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 795, pg. 148. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 68, pg. 27. Peoples (Fifty Irish Fiddle Tunes), 1986; No. 38. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 113. Songer (Portland Collection), 1997; pg. 153. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 33. Shanachie 79044, Tommy Peoples - “Iron Man” (1985). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999). Tara 3005, Planxty - “The Woman I Loved So Well.” Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990). Smithsonian Folkways SFW CD 40126, Lamprey River Band – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Out on the Ocean [1]

M:6/8

L:1/8

K:G

G|~B3 BAG|BdB A2B|GED G2A|BAB AGE|~B3 BAG|BdB A2B|GED G2A|BGF G2:|

||d|ege edB|ege edB|ded dBA|ded dBA|G2A B2d|ege dBA|GED G2A|BGF GBd|

ege edB|ege edB|ded def|gfe dBA|G2A B2d|ege dBA|GED G2A|BGF G2||

 

OUT ON THE OCEAN [2]. 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,” “Off to Donnybrook,” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].” Irish, Double Jig. A Major.

           

OUT ON THE ROAD [1]. American, Double Jig. D Major. Standard tuning. AA'BC. Composed in 1988 by Celtic‑style fiddler Liz Carroll (Chicago), who says of the title:

***

It's a pretty awful title, actually. My

husband's parents had a dog named Julie,

and Julie was killed by a car. So you could

say she was 'out', as in 'dead', on the

road. But the title kind of works because

people could say, 'Let's play 'Out On the

Road' and it would just be a bit of fun.

***

Frets Magazine, August 1988; pg. 22.

 

OUT ON THE ROAD [2].  Irish, Reel. Composed by County Armagh fiddler and pianist Josephine Keegan. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from fiddler Conor Tully). Declan Masterson – “End of the Harvest.”

           

OUT WITH THE BOYS [1] (Amac Leis Na Buacaillib). Irish, Jig. G Major ('A' part) & E Minor ('B' part). 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. 760, pg. 142.

X:1

T:Out With the Boys [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 760

Z:AK/Fiddler’s Companion

K:G

B | G3 g2e | dBG AFD | G3 g2e | dBG GAB | cde dcB | cAF G2 || B |

eBe gbg | eBe gbg | eBe g2a | bag agf | eBe gbg | eBe g2a | bag agf | e3 d2 ||

 

OUT WITH THE BOYS [2] (Amac Leis Na Buacaillib). AKA and see "Irish Whiskey [1]." Irish, Double Jig. G Major ('A' and 'C' parts) & E Minor ('B' part). Standard tuning. AABCC. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 761, pg. 142. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 45, pg. 24.

X:1

T:Out with the Boys [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 45

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/|G3 g2e|dBG AGE|DEG BAG|BAA A2 B/A/|

G3 g2e|dBG AGE|DEG BAG|AGF G2:|

|:d|e^de gfg|e^de gfg|e^de gfg|fdB B2d|e^de gfg|agf gfe|BcB AGA|BGE E2:|

|:(3D/E/F/|G2g gdB|G2g gdB|DFA cBA|BFA GFE|D2g gdB|G2g gdB|BcB AGA|BGE E2:|

           

OUTCAST DAUGHTER, THE. Irish, Air (4/4 time). F Major. Standard tuning. AB. Source for notated version: Patrick MacDowell, "the distinguished sculptor, born in Belfast in 1799, died in 1870," via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 513, pg. 279.

           

OUTDOOR RELIEF, THE. AKA and see "O'Reilly's Greyhound." Irish, Reel. A Dorian. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 161, pg. 63.

           

OUTLACKEN LASSES, THE. Irish, Jig. D Major. Standard tuning. AABB. A modern composition by Angela Savage. Keegan (The Keegan Tunes), 2002; pg. 100.

                       

OUTLAW OF THE HILLS, THE (An Dibeartac Na Cnuicib). Irish, Slow Air (4/4 time). G Major. Standard tuning. AB. Source for notated version: Hartnett [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 197, pg. 34.

X:1

T:Outlaw of the Hills, The

M:4/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 197

Z:AK/Fiddler’s Companion

K:G

c | B2 A>G G2 G>A | (B<c) d>e (d<B) A>G | (B<e) e>f e2 (d>B) | d2 e>f g3f |

g>a b>a g2 f>g | e<g f>g (d<B) zA | (B<e) e>f e2 (d<B) | (e<a) a>f g>e (d<c) ||

B2 A>G G2 G>A | Bd e>{g}f (e<d) B>G | A2 A>A (c<B) zG | A2 G>G G2 z ||

           

OUTS AND INNS.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 57.

X:1

T:Outs and Inn’s

M:2/4

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:G

GBdg|BdBG|Acea|cecA|GBdg|BdBG|A/B/c/B/ (3AGF|G2g2:|
|:gbge|fafd|egdB|cecA|gbge|fafd|eg (f/g/a/f/)|g2 G2:||

 

OUVRE LA PORTE (Open the Door). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. One part. A related song is "Lay That Pistol Down." Source for notated version: Adam Hebert (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 438-440. Swallow Records SW-LP6005, Adam Hebert.

           

O'ER BOGIE (WI' MY LOVE). Scottish, English; Reel. England, Northumberland. C Major (most versions): D Major (O’Farrell). Standard tuning. AB (Kerr, Little, Plain Brown): AAB (Gow): ABB (Cranford/Holland): AABB (Bremner, O’Farrell). The Bogie is a tributary of the River Deveron, which it joins near Huntly in Aberdeenshire, and the surrounding area is called Strathbogie (also the setting for the song “Bogie’s Bonnie Belle”). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Colleciton of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and is also contained in Robert Bremner's 1757 collection and Neil Stewart's 1761 collection (pg. 16). “O’er Bogie” is dated to c. 1710 in The Plain Brown Tune Book, with the suggestion that it was composed in London in response to and imitation of the then-current vogue for Scottish and North Country tunes, later being absorbed into tradition in northern Britain. John Glen, in his Early Scottish Melodies (1900), dates the air to 1709 when it appeared in “Mrs. Crockat’s Music Book.” Scots poet Allan Ramsay gave famous lyrics set to the melody which appear in his Tea Table Miscellany (1724) {the tune appears in Music for Allan Ramsey’s Collection, 1728}, and Glen credits him with the song—although Stenhouse maintained the lyrics predated Ramsay. They tell of an elopement, with “O’er Bogie” referring to the leaving of the area for marriage and the world beyond. Ramsey’s chorus goes:

***
I will awa' wi' my love,

I will awa' wi' her,

Tho' a' my kin had sworn and said

I'll o'er Bogie wi' her.

***

Reel versions of the tune “have long been played,” states Glen. As with many Scottish songs, the title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The melody is also known throughout the Shetlands as "Ower Bogie." Bremner (Scots Reels), c. 1757; pg. 90. Carlin (Gow Collection), 1986; No. 473. Cranford (Jerry Holland: The Second Collection), 2000; No. 78, pg. 31 (learned from Cape Breton pianist Mary Jessie Gillis). Gow (Complete Repository), Part 2, 1802; pg. 21. Gow (The Vocal Melodies of Scotland). Kerr (Merry Melodies), vol. 2; No. 83, pg. 11. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 3. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 62. Plain Brown Tune Book, 1997; pg. 4. MacDonald (Athole Collection), 1884. Green Linnet SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008. Learned from Amy Geddes).

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:O’er Bogie

M:C|

L:1/8

R:Reel

B:MacDonald – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:C

A|c2cA cGGA|cdcA G2Gc|Addc dega|gedc A2GA|c2cA cGGA|

cdcA GAcG|Addc dega|gedc A2GA||c2ge c2ge|cdcA GAcG|

Addc dega|gedc A2GA|cgeg cgeg|cdcA GAcG|Addc dega|gedc A2G||

X:2

T:O’er Bogie

M:C
L:1/8

R:Reel

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:D

(AB) | d>ddB dAAB | d>edB {B}A3A | Beed e>fgb | a>fed B2 :|

|: (A/>B/) | dd fa dd (f/g/)a | dedB A3A | Beed e>fgb | afed B2 :|

X:1

T:O’er Boggie [sic]

M:C

L:1/8

R:Reel

B:Bremner – Scots Reels  (c. 1757)  pg. 90

Z:AK/Fiddler’s Companion

K:C

cdcA cGGA | cdcA GAcG | A(dd)c dega | gedc “tr”A2 GA :|

|: c2 (g/f/e) cg (e/f/g/e/) | cdcA GAcG | A(dd)c dega | “tr”(ge)dc “tr”A2 GA :|

           

O'ER BOGIE, KIRK WAD LET ME BE. Scottish. The tune was used by Allan Ramsay in his ballad opera The Gentle Shepherd (1725).


           

OVER BY THE ISLANDS TO AMERICA WE GO (‘Null air na h’ eileanan dh’America gun teid sinn). Scottish, Slow Air (4/4 time). G Major. Standard tuning. AABB. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 20, pg. 10.

X:1

T:Over by the Islands to America we go

T:’Nill air na h’ eileanan dh’America gun teid sinn

M:C

L:1/8

R:Air

N:”Slow, or ad lib.”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 20 (c. 1882)

Z:AK/Fiddler’s Companion

K:G

B3 A/G/ {B}AD DE | AD DE A2A2 | {D}B3 A/G/ AD DG | EC CE G2G2 |

{D/c/}B3A/G/ {B}AD DE | AD DE A2A2 | {D}B3A/G/ AD DG | EC CE G2G :|

|: c | B>d A>G A>D Dc | B<d A>G A2 A>c | Bd AG AD DG | EC CE G2 Gc |

B>d AG A>D Dc | Bd AG A2A2 | {B/c/}dB cA {c}BG Ac | EC CE G3 :|

 

O’ER HIGH, HIGH HILLS AND LOFTY MOUNTAINS. Irish, Air (6/8 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 836, pg. 209.

X:1

T:O’er high, high hills and lofty mountains

M:6/8

L:1/8

R:Air

S:Standford/Petrie (1905), No. 836

Z:AK/Fiddler’s Companion

K:G

G | c2c B2A | G2A E2G | D2E G>AB | A2G G2 A/B/ | c2c B2 A/G/ |

A2B E2G | D2E G>AB | A2G G2 || G | G2B d2d | c2d B2G | c2c B2A |

G2E D3 | d2e B2A | G2A E2G | D2E GAB| A2G G2 ||

           

OVER LAND AND SEA. American, Jig. E Minor ('A' part) & D Mixolydian ('B' part). Standard tuning. AABB. Composition credited to one J. Hand in Ryan’s Mammoth Collection. New York City writer, researcher and musician Don Meade believes this refers to one of two fiddler brothers, James and Johnny Hand, active in the Massachusetts area in the mid-19th century, to whom several tunes in the collection are attributed. Awkward. Cole (1000 Fiddle Tunes), 1940; pg. 68. Ryan’s Mammoth Collection, 1883; pg. 98.

X:1

T:Over Land and Sea

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E Minor

d | EDE FDE | FDd BAF | B>EE E>FA | BEE E2F | E>DE FDF |

ABc dAF | A>DD D>ED | A>DD D2 :: A | def edB | AFA d2c |

Bee BAF | Bee e2A | def edB | dAG FGE | DFA deg | fdd d2 :|

           

OVER THE BOG ROAD.  AKA and see "Captain Kelly('s)/Kelley Reel [1]," “Father Kelly’s (Reel) [3],” “The Hurricane’s Victory.” Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: fiddler Fred Finn (1919-1986, Kiltycreen, Killavil, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pgn 81 (appears as “Unknown”). Shanachie Records, De Dannan - “Jigs, Reels and Songs.”

X:1

T:Over the Bog Road

R:Reel

M:4/4

L:1/8

K:G

GEDE ~G3A|B2gd BGG2|AGEG ~A3B|d2gd B2AB|!

GEDE ~G3A|B2gd BGG2|degd e2ge|dBAc BGG2:|!

gede ~g3a|bgaf ged2|ageg ~a3b|c'abg agef|!

gede ~g3a|bgaf ged2|efgd e2ge|dBAc BGG2:|!

           

OVER THE BORDER [1]. AKA and see "(All the) Blue Bonnets Over the Border [1]," "Blue Bonnets [2]." Scottish, Jig. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1, c. 1880’s; No. 17, pg. 32.

X:1

T:Over the Border [1]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 1, No. 17 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G3G3|GBA GED|G>EE E2D|edB A2B|G3G3|GBA GED|c>de (d<g)G|GAB {B}A2G:|

|:GBd dBG|edB BAG|GBd efg|GAB BAG|GBd dBG|edB BAG|EGE DEF|GAB ABA:|

 

OVER THE BORDER [2]. English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABBCC. Bruce & Stokoe (Northumbrian Misntrelsy), 1882; pg. 183.

X:1

T:Over the Border

L:1/8

M:9/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

B2G B/A/B/c/d/e/ gdB | dgf dgB de/f/g | B2G B/A/B/c/d/e/ gdB | c>dc gec e2g :|

|: gdB de/f/g/f/ g/f/e/d/f | dgf dgB de/f/g | fdB de/f/g/f/ g/f/e/d/B | c>dc g/f/e/d/c e2g :|

|: G>AB/c/ dgf dgB | dgf dgB de/f/g | G>AB/c/ dgf dgB | c>dc g/f/e/d/c e2g :|

|: f2d dB/c/d d2B/c/d | gB/c/d gB/c/d fdg | f2d dB/c/d gdB | c>dc g/f/e/d/c e2g :|

 

OVER THE BORDER [3].  See “Scotsman Over the Border.”

 

OVER THE BORDER--MEXICAN WAR. American, March (2/4 time). USA, southwestern Pa. A Mixolydian. Standard tuning. AABB. Bayard (1981) identifies this as a version of a quickstep march in Aird (Selections), 1778, vol. 1, No. 166. It is not related to the Scottish melody "(Blue Bonnets) Over the Border," except by similarity of title. Source for notated version: Hoge MS., No. 65 (a fife MS from southwestern Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 222, pgs. 178‑179.

           

OVER THE BRIDGE TO BEETA. AKA and see “Limerick Lasses [2]."

           

OVER THE BRIDGE TO BETTY. AKA and see “Limerick Lasses [2]."

           

OVER THE BRIDGE TO PEGGY [1]. Irish, Reel. D Mixolydian. Standard tuning. AAB (Roche). A tune was by this title was published by Padraig Mac Aodh O’Neill in his Songs of Uladh, collected by him in 1903 in Donegal from the playing of an elderly Fanad, Kilmacrennan, Donegal, farmer and schoolmaster named Proinseas Mac Suibhne. Similar to “Kitty in the Lane [1].” Roche Collection, 1982, vol. 3; No. 82, pg. 25. Providence (1st recording).

 

OVER THE BRIDGE TO PEGGY [2] (Tarsna/Treasna an Droiciod Go Mairgreadin). Irish, Reel. D Major. Standard tuning. AB. See also Cathal McConnell’s “John/Johnny Loughran’s.” Source for notated version: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1234, pg. 232. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 508, pg. 96.

X:1

T:Over the Bridge to Peggy [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 508

Z:AK/Fiddler’s Companion

K:D

dB|AFdB AFDF|AFdB A2 dB|AFdB ABde|fedf e2 dB|

AFdB AFDF|AFdB A2de|faaf gece|dBAF D2z2||defg abaf|

gage abaf|defg abaf|bgaf e2d2|defg a2 af|bagb a2 af|gfeg f2 dc|egfd efdB||

           

OVER THE BRINY OCEAN. Canadian, Jig. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’.  Source for notated version: Stephen Toole (1927-1995, Green River, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 150.

           

OVER THE BROKEN BRIDGE. AKA and see “Crossing the Fence,” “McGlinchey’s (Hornpipe),” “Over the Fence.” Irish, Hornpipe. The tune appears under this title on the Folan/Davey CD.

                       

OVER THE CABOT TRAIL JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by Mabou Coal Mines, Cape Breton, Nova Scotia, fiddler Donald Angus Beaton (b. 1912), an exemplar of the Mabou Coal Mines style of fiddling (Shears). The Cabot Trail is a spectacularly scenic route through Nova Scotia and Cape Breton Island, named for the explorer John Cabot (who, while he explored for the English was in fact a Portugeuse named Cabato). Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 75. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

           


OVER THE CALLOWS. AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “Fond of the Ladies,” “The Frolicksome Dame,” “A Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche), “Sweet Biddy Daly,” “To the Ladies.”

 

OVER THE DYKE AND AT HER [1]. English, Reel. England, Northumberland. F Major. Standard tuning. AABBCC. "This has some phrases in common with 'O'er the Dyke' in Peacock's Tunes (c. 1800, reprinted 1980). Peacock's note values are double those of Vickers‑‑but it is a fairly distant relative. The first strain is especially unusual in its ambiguity between F Major and D Minor" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 440.

 

O'ER THE DYKE (AND AT HER, LADDIE) [2]. English, Reel. England, Northumberland. G Major. Standard tuning. AABBCC. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Peacock (Peacock’s Tunes), c. 1805/1980; No. 45, pg. 20.

                                   

OVER THE FENCE. AKA and see “Crossing the Fence,” “McGlinchey’s (Hornpipe),” “Over the Broken Bridge.” Irish, Hornpipe.

                                   

OVER THE GARDEN WALL. American, Jig. G Major. Standard tuning. AB. Source for notated version: Harvey Taylor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 374.

                                   

OVER THE HILL (Thar an gCnoc). AKA and see "Up against the Boughalauns," "The Early Breakfast," "Larry Redigans/Redican’s (Reel) [1]," "Miss Lyon’s Fancy." Ireland, Reel. D Major. Standard. AABB. Source for notated version: piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 158, pg. 62. Green Linnet SIF‑1084, Eugene O'Donnell ‑ "The Foggy Dew" (1988). Rounder 0175, James Bryan ‑ "Lookout Blues" (1983).

                                                           

OVER THE HILL TO TIPPERARY. AKA and see "Tipperary Hills."

                       

OVER THE HILLS. AKA and see “Man in the Moon [3],” “Old as the Hills [2].” Irish, Jig. E Minor. Standard tuning. AABB'. Allan's Irish Fiddler, No. 30, pg. 8.

X:1

T:Over the Hills

M:6/8

L:1/8

R:Jig

S:Allan’s Irish Fiddler, No. 30

Z:AK/Fiddler’s Companion

K:E Minor

(d/^c/)|BGE {G}EDE|BAB d^cB|AFD DED|AFA d^cd|BGE {G}EDE|

BAB d^cd|edB AFD|EFE E2::(3B/c/d/|e)fee dB|ede gfe|ded dAF|

EFA d^cd|efe edB|1 ede gfe|d^cB AFD|EFE E2:|2 gbg faf|edB AFD|EFE E2||

                       

OVER THE HILLS AND AWAY. American, Jig. D Major. Standard tuning. AABB. The melody appears to be a variant of the Scottish tune “Drummond Castle,” and is quite similar in the ‘A’ part. 

X:1

T:Over the Hills and Away

M:6/8

L:1/8

R:Jig

S:William Sidney Mount (1807-1868) manuscripts

N:Mount notes on his manuscript page “As played by W. S. M.”,  and apparently he is

N:claiming this as his own version. Handwritten at the bottom of the page is “Newburgh

N:(New York) Sept. 9, 1843.”

Z:Transcribed by Andrew Kuntz

K:A Mixolydian

E | ABA a>ef | g>fe dBG| ABA a2e | c’ba efg |

(ab/a/g/f/) ga/g/f/e/ | dge dBG | ABA aef | edB A2 :|

|: e | cea cea | Bdg dBG| cea Bdg | cea efg |
(ab/a/g/f/) (ga/g/f/e/) | dge dBG | ABA a2e | f2e dBA :|

                       

O'ER THE HILLS AND FAR AWAY [1]. Scottish. Robin Williamson says his version is the ancient tune, which King James IV took with him when he gained the English throne, and printed at the time as the tune to the ballad "The Elphin Knight" (see Child). Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

 


OVER THE HILLS AND FAR AWAY [2]. AKA and see "The wind has blawn my plaid away." English, Scottish, American; March, Air and Country Dance Tune (2/4 time). England, Northumberland. USA, New England. G Major (Aird, Johnson): D Major (most versions). Standard tuning. AB (Johnson, Plain Brown): AABB (most versions): AABBCCDD (Aird). The melody has recognizably been in use in the 20th century for the nursery rhyme "Tom, Tom, the Piper's Son," and was probably written in England around 1700 according to one source. Kidson (1922), however, identifies the tune as Scottish and says one early version is called "The wind has blawn my plaid away." As a song air it was popular enough to have been parodied in air 16 of John Gay's Beggar's Opera (1729, where it appears under the title "Were I laid on Greenland's coast", Air XVI), and had been earlier included by D'Urfey in Pills to Purge Melacholy (1709) and in the play The Recruiting Officer (1706). In fact, it was included, sometimes under different titles, in several ballad operas in the 18th century (Pulver, 1923), as it later was in Andrew Barton's ballad opera The Disappointment (New York, 1767) as the melody for air 8. The melody was printed as a country dance in The Dancing Master, volume II, 2nd edition (London: Printed by W..., Church, 1714) and again in Walsh's Country Dancing Mater, book II (1719). It was commonly played by the English during the French Wars of 1793‑1815, "especially as loth‑to‑depart, one of the tunes traditionally used when a regiment left its cantonments" (Winstock, 1970; pg. 38).

***

“Over the Hills and Far Away” enjoyed widespread popularity throughout Britain. It appears in many musicians’ manuscripts, including those of J.S.J. Jackson (Wyresdale, Lancashire, 1823), Wolsnoume (Lancashire, 1798), John Moore (Tynesdale, 1841), and James Winder (Wyresdale, Lancashire, 1835). In Northumberland it is listed, although one of the "missing tunes," in William Vickers' 1770 manuscript The Great Northern Tunebook. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published about 1800.

***

As with many popular English airs, it was transported to Colonial America where it shows up in several musicians’ copybooks. Clement Weeks' (Greenland, New Hampshire) copied it into his manuscript collection of country dances in 1783, the figures of which reappear in the English publication Twenty-Four Country Dances for the Year 1795 (London, T. Dodd, 1795). American musician Henry Beck similarly included it in his German flute MS of 1786, and it appears in the music copybook of Henry Livingston, Jr.  The latter purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. O’Neill prints it in Waifs and Strays (1922), along with the words:

***

Gay Robin was a piper young,

and many an air he played and sung

But sweetest far the love fraught lay

'Over the hills and far away'

***

Aird (Selections), vol. II, 1782; No. 29, pg. 11. Callaghan (Hardcore English), 2005; pg. 45. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 13. Kerr (Merry Melodies), vol. 1; No. 9, pg. 26. Kerr (Merry Melodies), vol. 3; No. 420, pg. 47. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 55. Plain Brown Tune Book, 1997; pg. 33. Raven (English Country Dance Tunes), 1984; pg. 55.

X:1

T:Over the Hills and Far Away [2]

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:D

AB|d3 e defe|d2 B2 B2 AB|d3 e defd|f2 e2 e2 AB|

d3 e defe|d2 B2 B2 d2|ABAG ABde|f2 e2 e2||

fg|a3 b afef|d2 B2 B2 fg|a3 g f2 ed|f2 e2 e2 fg|

a3 b afef|d2 B2 g3 B|A2 AB ABde|f2 e2 e2||

X:2

T:Over the Hills and Far Away [2]

M:4/4

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

DE | G3A B>ABA | G2E2E2 DE | G3A GABG | B2A2A2 DE |

G3A GABA | G2E2 c4 | E2D2 (DE)(GA) | B2 A2 A2 :|

|: Bc | d3e dcBA | G2 E2E2 Bc | d3e dBAG | B2A2 A2 Bc |

d3e dcBA | G2E2 c4 | E2D2 DEGA B2A2 A2 :|

|: DE | GABA GABA | G2E2E2 DE | GABA GABG | B2 A2A2 DE |

GABA GABG | AGFE c4 | E2D2 DEGA | B2A2A2 :|

|: Bc | dgfe dBAB | G2E2E2 Bc | dbfe dBAG | B2A2A2 Bc |

dgfe dcBA | G2 E2 c4 | E2D2 DEGA | B2A2A2 :|

 

OVER THE HILLS AND FAR AWAY [3]. AKA and see "Green Grow the Rushes O." American, March. G Major. Standard tuning. AB. The title in this case is a floating title in southwestern Pennsylvania fife tradition for the tune "Green Grow the Rushes O." Sources for notated versions: five southwestern Pa. fifers [Bayard]. Aird (1782-1785). Bayard (Dance to the Fiddle), 1981; No. 206H‑M, pgs. 160‑162.

X:1

T:Over the Hills and Far Away

Z:Dan Mozell

M:C

L:1/8

K:G Major

DE | G3 A G>ABA | G2 E2 E2 DE | G3 A GABG | B2 A2 A2 DE | G3 A GABA |

G2 E2 c4 | E2 D2 DEGA | B2 A2 A2 :||: Bc | d3 e dcBA | G2 E2 E2 Bc |

d3 e dBAG | B2 A2 A2 Bc | d3 e dcBA | G2 E2 c4 | E2 D2 DEGA | B2 A2 A2 :||:

DE | GABA GABA | G2 E2 E2 DE | GABA GABG | B2 A2 A2 DE | GABA GABG | AGFE c4 |

E2 D2 DEGA | B2 A2 A2 :||: Bc | dgfe dBAB | G2 E2 E2 Bc | dgfe dBAG |

B2 A2 A2 Bc | dgfe dcBA | G2 E2 c4 | E2 D2 DEGA | B2 A2 A2 :||

 


OVER THE HILLS AND FAR AWAY [4] (De Bharr na gCnoc is in Imigéin). AKA and see “Wee Geordie has Lost his Plinker.” Irish, Polka. G Major. Standard tuning. AB. Although the tune was untitled in the original manuscript, Breathnach recognized it as a version of “Over the Hills” and said the following words were sometimes sung for children to it by Anna Lyons in Dublin:

***

When I was young I had no sense,

I bought me a fiddle for eighteen pence;

And the only tune that it would play

Was ‘Over the Hills and Far Away’.

***

In Northumbria, states Breathnach, the chorus of another song set to it is “Wee Geordie has Lost his Plinker,” where the word plinker refers to a marble. Source for notated version: a manuscript written by or in the possession of David Collins (Abbeyfeale, County Limerick) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 82, pg. 43.

 

OVER THE HILLS TO GLORY. AKA and see "Lass o' Gowrie [1]," "Loch Erroch  Side," “Loch Ericht Side,” "I'm O'er Young to Marry Yet [3]," "Lakes of Sligo," “Niel Gow's Second Wife [1],” "Rocky Road to Dublin [4]" (Pa.), “Tom Billy’s (Polka) [2].” English, Schottische. D Major (Kennedy, Raven): G Major (Carlin). Standard tuning. AABB. The melody is popular in England, Scotland and Ireland, and is rendered variously as a polka, schottische, fling etc., and sometimes even set as a jig.  The title “Over the Hills to Glory” is English. It may be a variant of “Old Mrs. Cuddledee.” “Over the hills to glory” is a phrase associated with an incident in southern England. In 1873 sixteen women from Ascott-under-Wychwood were imprisoned for a short time for their part in forming an agricultural workers union, in helping to prevent “scabs” from replacing their men on the farm. Known as the ‘Ascott Martyrs’ the women garned much public sympathy and quite a bit of press, before hastily being pardoned by Queen Victoria. A placard on the village green reads: “This seat was erected to celebrate the centenary of the Ascott Martyrs, the 16 women who were sent to prison in 1873 for the part they played in the founding of the Agricultural Workers Union when they were sent ‘over the hills to glory’.” Source for notated version: a 1946 recording of Anglo-German concertina player and morris dance musician William Kimber (Headington Quarry) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 89. Carlin (Master Collection), 1984; No. 43,  pg. 35. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 45; pg. 23. Raven (English Country Dance Tunes), 1984; pg. 188. Sharp (Country Dance Tunes), 1911‑1922, Set 1, pg. 14. Topic Records TSCD 659, Voice of the People 09, “Rig-a-jig-jig: Dance Music of the South of England” (various artists). Topic 12TS249, “The Art of William Kimber.” Wildgoose Records WGS296CD, Tim Laycock – “Fine Colours.”

 

OVER THE ISLES TO AMERICA. See "Null Thar nan Eileanun, etc."

 

OVER THE MOONLIGHT SEA. Scottish, Waltz. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 434, pg. 49.

X:1

T:Over the Moonlight Sea

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 3, No. 434  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2(A3d) | (dc) c4 | G2(G3B) | (BA) A4 | F2 (B3A) | (A^G)=G4 | G2(F3E) | B2A4 :|

|:f2e2d2 | dBe4 | e2d2B2 |^Gad4 | (fd)(dA)(AF) | (Ge)e4 | e2B2c2|e2d4 :|

 

OVER THE MOOR. English, Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 32. Raven (English Country Dance Tunes), 1984; pg. 139.

 

OVER THE MOOR AMONG THE HEATHER. AKA ‑ "O'er the Muir Amang the Heather." AKA and see "Aldivalloch," “Aldavaloch.” Scottish; Air, Country Dance Tune, Reel or Strathspey: English, Reel. England, Northumberland. G Major. Standard tuning. AAB (Gow): AABB (Bremner, Honeyman, Kerr, O’Farrell, Vickers): AABB' (Johnson). The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M., 1740." It also appears in Robert Bremner's 1757 collection and in the Gillespie Manuscript of Perth (1768). Apparently song (air) versions of the tune were earliest. However, it was current as a reel in the early 18th century, Johnson (1984) tells us, while the strathspey version he gives appears to have been fashioned c. 1760. The air form probably had risqué or bawdy words attached to it, he believes. Cazden (et al, 1982) identifies the melody as probably derived from "The Boyne Water [1]" family of tunes, on the strength of the identifying motif of the 'B' phrase opening its second section. Slow versions of the tune go by the name “Aldavaloch.” The present version of the air/strathspey, with words by Jean Glover, is difficult to sing because of the wide range, notes Cape Breton’s Paul Stewart Cranford, who suggests it is best suited to the violin. “O’er the Moor Among the Heather” was a great favorite of Cape Breton fiddler Bill Lamey’s, notes Mark Wilson (2005). Source for notated version: Stewart, Reels (c. 1761‑65). Bremner (Scots Reels), 1757; pg. 77. Carlin (The Gow Collection), 1986; No. 382. Gow (Complete Repository), Part 3, 1806; pg. 15. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 13. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 78, pg. 226. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2. Kerr (Merry Melodies), vol. 2; No. 109, pg. 14. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 33. Ryan’s Mammoth Collection, 1883; pg. 169. Seattle (William Vickers), 1987, Part 2; No. 287. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

X:1

T:O’er the Moor Amang the Heather

M:C|

L:1/8

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:G

D<(GG)A G>AGD|E(AA>)B A>BAG|GABc de/f/ gd|(e/f/g) B>g A>BAG:|

G(gg>)a g>agd|e(aa>)b a>bag|bagf (de/f/ gd|(e/f/)g Bg A>BAG|G(gg>)a g>agd|

e(aa>)b a>bag|(b/a/g) (a/g/f) de/f/ gd|(e/f/g) dB A>BAG||

X:2

T:O'er the Muir amang the heather. a Reel.

R:reel

M:C

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:G

(B/c/) | d<GB>G FAA(B/c) | d<GB<G d>Gc>e | dGBG FAA(B/c/) | dGB>A G2 G :||: d | g>db<g f<aa>b | g<db<g e<gd<B |

c<aB<g A>Bc>e | d<GB>A G2 (Gd) | g>db>g (f<aa>b) | g<db<g e<gd<B | c<aB<g A>Bc>e | d<gaf g2 g |]

                       


OVER THE MOOR TO BETTY. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. "This has some similarity with 'O'er the Muir to Ketty' (in one of Gow's collections), but Gow's version, a Scotch Measure, has Vickers' note values expanded so that one bar in Vickers is equivalent to two in Gow's" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 410.

                       

O'ER THE MUIR TO KETTY. Scottish, Scots Measure. D Major. Standard tuning. AABB. Carlin (The Gow Collection), 1986; No. 199. Gow (Complete Repository), Part 3, 1806; pg. 3. McGlashan (Collection of Scots Measures), 178?; pg. 14.

X:1

T:O’er the Muir to Ketty

M:C|

L:1/8

R:Scots Measure

B:McGlashan – Collection of Scots Measures  (178?)

Z:AK/Fiddler’s Companion

K:D

FE|D3F A>BAF|A2d2d3A|Bcde f2 ed|e2E4 FE|D3F A>BAF|A2 de d3A|

BcdB edce|d2 D4 FE|D3F A>BAF|A2 de c3A|Bcde f2 ed|e2 (E2 E)GFE|

D3F A>BAF|A2 de c3A|BcdB edce|d2D4||de|fedc BAGF|B2d2d3F|G3A BAGF|

E2 e4 ag|fedf edce|dcBA BAGF|EFGE AGFE|D2 d4 de|fedc BAGF|B2de d3F|

GFGA BAGF|E2e4 ag|fedf edce|dcBA BAGF|E/D/E/F/ GB AGFE|D2 d4||

                       

OVER THE MOOR TO MAGGIE [1]. Irish, Hornpipe. D Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 230, pg. 17.

X:1

T:Over the Moor to Maggie [1]

M:C|

L:1/8

R:Hornpipe

S:Roche (II, 230)

Z:AK/Fiddler’s Companion

K:D

F/E/ | DD/E/ FE/D/ | Ee ed/e/ | f/e/d/B/ A/F/E/F/ | D/E/F/A/ d/B/A/F/ |

DD/E/ FE/D/ | Ee ed/e/ | f/e/d/B/ A/F/E/F/ | Dd d :: z |

dg f/g/a/f/ | d/e/f/g/ ag/f/ | e/f/g/a/ b/a/g/f/ | e/f/g/a/ ba |

g/f/g/a/ b/a/g/f/ | g/f/e/d/ B/c/d/B/ | A/F/d/B/ A/F/E/F/ | Dd d :||

 

OVER THE MOOR TO MAGGIE [2] (Treasna an Riasc Go Mairgreadin). AKA and see “The Green Meadow(s) [1],” “Kittie’s Wedding,” “Peggy’s Wedding [2],” “Waynesburgh,” “The Willow Tree [5].” Irish, Reel. G Major. Standard tuning. AAB (Mitchell): ABC (O’Neill): AABBCC (Mallinson, Taylor): AA’BB’CC (Taylor/Tweed). Not Breathnach's "Over the Moor to Peggy." The melody is associated with Clare uilleann piper Willie Clancy, who recorded it in 1967. So influential was he that the third part of the tune (although clearly predating him in O’Neill) is sometimes attributed to him (although Pat Mitchell’s transcription of Clancy’s version of the tune has but two parts). P.W. Joyce printed a close variant of the tune as “Peggy’s Wedding” in 1909. Reports are that an ancestral tune appears in County Fermanagh’s Gunn manuscripts, dating from 1865, under the title “Rakes of Abeyfale” (Abbeyfeale is a town in extreme west County Limerick). “Waynesboro” and “Ladies in the Ballroom” are American cognate tunes. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; New Hampshire fiddler Rodney Miller [Taylor/Tweed]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 72. Giblin (Collection of Traditional Irish Dance Music), 1928; 8. Mallinson (Essential), 1995; No. 56, pg. 25. Mitchell (Dance Music of Willie Clancy), 1993; No. 120, pg. 99. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 786, pg. 136. Ruth (Pioneer Western Folk Tunes), 1948; No. 88, pg. 32. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 22. Taylor (Music for the Sets: Blue Book), 1995; pg. 24. Laurie Andres - “Fantastic Hornpipe: Fiddle Tunes on Accordion and Piano” (1991). “Music at Matt Molloy’s.”

X:1

T:Over the Moor to Maggie [2]

M:C

L:1/8

K:G

BA|G3 A BA (3Bcd|efge dBAG|EAAG ABAG|EAAG AcBA|G3A BA (3Bcd|

efge dBAG|EG G2 BGAG|EGGFG::ga|bg g2 agef|g2 fg edBd|

eaag abag|eaag a2 ga|bg g2 agef|g2 fg edBd|eg g2 bgag|eggf g2:|

|:(3Bcd|efge dedB|cdcA B2 AG|EAAG ABAG|EAAG A2 (3Bcd|

efge dedB|cdcA B2 AG|EG G2 BGAG|EGGF G2:||

 

OVER THE MOOR TO MAGGIE [3]. Scottish, Country Dance Tune (cut time). D Major. Standard tuning. AABB. A melody by this name is contained in the 1768 Gillespie Manuscript of Perth.  Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 192, pg. 72.

X:1

T:O’er the Muir to Maggy [3]

M:C|

L:1/8

S:Aird, vol. II (1785), No. 192, pg. 72

Z:AK/Fiddler’s Companion

K:D

f>e | d2B2g2B2 | A2a4 fe | d2B2G2B2 | d2g2d3B | c2e2B2g2 | agfe (f>gaf) |

gage dBGB | d2 g2 g2 :: “tr”f>e | dBdB G3B | A2 a4 fe | dBgB GABc |

dgfe dedB | cfdA BdBG | Aaga “tr”(f>ga)f | gage dBGB | d2g2g2 :|

                       

OVER THE MOOR TO PEGGY (Trasna an Mhóinteáin go Peige). AKA and see “Arboe [2],” "Come West Along the Road," "Bog Siar an Bóthar (Come West Along the Road),” “The Monasteraden Fancy." Irish, Reel. G Major. Standard tuning. AB (Breathnach). A different tune than the Northumbrian "Over the Moor to Betty" and the Irish "Over the Moor to Maggie." O’Neill prints a version called “Come West Along the Road,” albeit with a different second part. The tune was played by the great flutist John McKenna (b. 1880, Tents, Tarmon, County Leitrim), who recorded it accompanied by banjo player Michael Gaffney (b. 1896, Mullaun, Co. Roscommon). Despite being from different counties, they were in fact neighbors in Ireland, points out Reg Hall (1995), and only lived a mile from each other. Both emigrated to New York (in 1911 and 1915, respectively), where they paired to produce a number of successful recordings and to entertain in the Irish dance halls of the 1920’s and 1930’s. “Over the Moor to Peggy” is related in the first part to the family of tunes that includes The Ballina Lass,” "Gearrchailiu Chontae Mhuigheo," “The Hag’s Reel,” “Johnny When You Die [1],” “The Mayo Lasses,” “The Old Maid(s) of Galway,” “Paddy’s Gone to France,” and the Cape Breton variant “West Mabou Reel.” Source for notated version: flute player Tommy Hunt, 1966 (Ballymote, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 206, pg. 107. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. A similar setting to the one given in Breathnach, learned from "a rare tape" of New York fiddler Lad O'Beirne). James Kelly – “Capel Street.” Topic TSCD602, John McKenna & Michael Gaffney – “Irish Dance Music” (1995. A reissue of the 1925 original).

X:1
T:Over the Moor to Peggy
R:reel
Z:id:hn-reel-710

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|

L:1/8
K:G

d2BG DG~G2|DGBG ABce|d2BG DGBd|cBAB c2Bc:|
|: dg~g2 egdB|dg~g2 ABcA|dg~g2 defd|cBAB c2Bc:||

                       

OVER THE MOUNTAIN [1]. Irish, Air (3/4 time). F Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 788, pg. 197.

X:1

T:Over the mountain [1]

M:3/4

R:Air
L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 788

Z:AK/Fiddler’s Companion

K:F

c/B/ AG | A2 F c/B/ GF | G2 F B/d/ _ec | d2 cB/A/ GA/B/ | {d}c3 ||

c/B/ c_e| (d2 c)d/c/ BA | GA/B/ cd/c/ BA | G3 A/F/ c/B/G>A | F3 ||

 

O’ER THE MOUNTAINS [2]. Irish, Air (4/4 time). G Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 70.

X:1

T:O’er the Mountains [2]

M:C

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

G/A/B/ | cBAG E2 DD | EGGG G4 | (GABc) d2 de | (cB)AG B4 |

GA(Bc) d2 (eg) | e/d/c/B/ AG Bd g/f/e/d/ | (cBAG) E2 DD | EGGG G4 :|

..........................            

OVER THE OCEAN WAVES. AKA and see "Life On the Ocean Wave."

                       


OVER THE RIVER TO CHARLIE [1]. Irish, Scottish, English, American, Jig or Song Tune. USA, West Virginia. G Major. Standard. AAB. The tune, states Bayard (1981), has been extremely popular as a vocal and instrumental air since the second half of the 18th century. Sometimes the order of the parts is reversed, or, in vocal sets, only the second half is used. Bayard's source learned the tune as a boy in West Virginia and related that people used to dance a "sword dance" to it, substituting crossed broomsticks for swords. Vocal versions of the tune (in either 6/8, 2/4 or 4/4 time) include "Billy O'Rourke the Bouchal" (Pa.), "Mr. Grumble" (Pa.), "The Battle of Harlaw,” "The Baffled Knight" (The Shepherd's Son), "Sir Hugh,” and "The Earl of Errol.” Instrumental variants are usually in 6/8 time, he says, and appear as "Miss/Mrs./Mistress/Madam Casey/Cassey,” "Is It Silk That's in Your Bag, My Boy" (An Sioda Ata id' Bhalluit, a Bhuachaill), "The Brown Wallet.” Source for notated version: James Taylor (Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 555, pg. 493.

 

OVER THE RIVER TO CHARLIE [2]. AKA ‑ "Over the Water To Charlie." AKA and see "We Prefer Our Own King," "Wha'll (Who’ll) Be King But Charlie," "Royal Charlie," "Fy Buckle Your Belt," "More Power to Ye," "Behind the Bush in the Garden [1]." Scottish (originally), Irish, American; Jig or March. USA: southwestern Pa.; Wetzel County, W.Va. A Mixolydian. Standard tuning. AB. Bayard (1981) feels this tune has more claim to its title than other of the "River" or "Water" tunes, as it had Jacobite associations prior to its first printing. The earliest version found by him is in Capt. Simon Fraser's collection and appears as "Se'n Righ atha aguin is fear linn" (We Prefer Our Own King), and Fraser's notes indicate that it was known in Ireland as well as Scotland. By 1745, the high tide of the Jacobite rebellion, the tune was disseminated enough to be called "one of the incentives of rebellion" (Fraser) and soon became associated with the anonymous lyrics "Wha'll Be King But Charlie?" by which title instrumental versions are often known. Sources for notated versions: Emery Martin (Dunbar, Pa., 1946) and Scott Phillips (Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; 557A‑B, pg. 496.

 

OVER THE RIVER TO CHARLEY'S. AKA and see "Chapel Hill March," "The New Rigged Ship [1]." Old‑Time, Breakdown. USA; Missouri, Arkansas?. The tune is known in England as "The New-Rigged Ship," while Galax, Va., fiddler Emmett Lundy called it "Chapel Hill March."

***

Over the river to feed my sheep,

And over the river to Charley;

Over the river to feed my sheep,

On the buckwheat cakes and barley.

***

Lyrics quoted in "Sketches and Eccentricities of Colonel David Crockett of West Tennessee," by J.S. French, 1833 (Charles Wolfe, The Devil's Box, Sept. 1982). Rounder 0157, Art Galbraith (Springfield, Mo.) ‑ "Simple Pleasures."

 


OVER THE ROAD. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AABB. The tune sounds Scottish to Bayard (1981), who thinks is could be a development of a once‑popular tune called "You're Welcome Charlie Stewart" or perhaps a descendent from "Roy's Wife of Aldivalloch." Source for notated version: Hoge MS. No. 15 (a fife MS. from southwestern Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 236, pg. 195.

 

OVER THE ROAD TO MAYSVILLE [1]. Old-Time, Breakdown. According to John Hartford the road to Maysville, Kentucky, was travelled because it was the nearest tobacco warehouse since there wasn’t one in Morehead. The tune was played fast at first to denote the anticipation of hauling the weed to market, and then slow, as when payment was made and spent getting drunk on a spree and returning home the worse for wear. It was mentioned in a citation around 1915 by G.R. McMahon from Sevierville, Tennessee. Rounder 0351, J.P. Fraley (learned from his father). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)” {1996. Learned from J.P. Fraley, who had it from his father who said Ed Haley played it}.

 

OVER THE ROAD TO MAYSVILLE [2]. Old-Time, Breakdown. A different tune than “Over the Road to Maysville” [1], and related to “Old Dubuque.” Steven Green thinks the title refers to the old Lexington-Maysville turnpike. The tune was played by The Gully Jumpers on The Grand Old Opry, according to Sanke Chapman. Rounder 0378, Snake Chapman - “Up in Chapman’s Hollow.”

 

OVER THE SEA [1]. Phil Reeve and the Ga. Yellow Hammers version of "Over the Waves"?

 

OVER THE SEA [2]. AKA and see "Banks of Ahasnagh," "Crossing the Bogs," “Mick Mulcahy’s [1],” “Out on the Ocean [1],”  O’Connell’s Jig on the Top of Mount Everest,” “The Portroe [1].”

 

OVER THE STONE. English, Jig. A Minor. Standard tuning. AAB. Raven (English Country Dance Tunes), 1984; pg. 120.

 

OVER THE STUMP AND BACK AGAIN. American, Breakdown or Reel. D Major. Standard tuning. AABB. "The story Mrs. Armstrong tells concerning this tune illustrates the extremely casual was in which a country dance tune can acquire a new name. On one occasion, when the player was a small girl, her uncle Laney Gray was sitting in their home playing this tune on his fiddle. Someone came into the house with the news that old Dan Riffle (a local character still well remembered by many people in the Derry neighborhood) was trying to drive a team back and forth across a stump. The team was reluctant, and Dan was yelling and swearing at the animals in a great passion. When Laney heard this, he at once exclaimed, 'There's a name for my tune‑‑'Over the Stump and Back Again!'  Mrs. Armstrong did not state that her uncle had composed this air; in all likelihood he was merely casting about for some suitable name to give to it, and this little incident inspired him!" (Bayard, 1944). Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 66.

 


OVER THE WATER [1]. Irish, Double Jig. G Major/Mixolydian. Standard tuning. AB. Attributed by George Petrie (1855) to Walter “Piper” Jackson, a famous 18th century Limerick musician. Stanford/Petrie (Complete Collection), 1905; No. 798, pg. 199.

X:1

T:Over the Water  [1]

M:6/8
L:1/8

R:Jig

S:Stanford/Petrie (1905), No. 798

Z:AK/Fiddler’s Companion

K:G

A/G/ | FDD FDD | GAG GFG | ABA AGF | G>AG GFG | ABA AGF |

cAc de=f | cAA AGF | G3 G2 || g | fd”tr”d gd”tr”d | fd”tr”d ded | fdd gdd |

fdd d2g | fdd aba/g/ | fdd de=f | cAA AGF | G3 G2 ||

 

OVER THE WATER [2].  AKA and see “Over the Water to Charlie.” English, Jig. F Major. Standard tuning. AABB. The melody first appears in print under this title in John Walsh’s Compleat Country Dancing Master, volume the Third (London, 1749). It also appears in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756), and in a few publications by Charles and Samuel Thompson, including their 1757 country dance collection, and a tutor for the hautboy (oboe) printed in 1758 and again in 1770. Cheapside, London, musician Walter Rainstorp included it in his music manuscript copybook, begun in 1747, as did London flute player John Simpson (1750). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 192.

X:1

T:Over the Water [2]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:F

c2c c2d|ABG FAB|cdc cAc|d3 f3|F2F FGA|B2A G2F|fed cAc|d3 f3:|
|:f2g a2b|gaf gec|f2g aba|g3 c3|f2g aba|gaf gec|(d/e/f)d cAc|d3 f3:||

 

OVER THE WATER TO BESSIE. Irish. Caoimhn Mac Aoid believes “Over the Water To Bessie” was probably obtained by Dundalk fiddler Gerry o'Connor from Rev. Luke Donnelan’s manuscripts, published in the Louth Archaeological Journal in the early part of the 20th century. The Reverend was a parish priest in the south Armagh/north Louth area who collected material. The tune is perhaps a variant of  “Over the Moor to Maggie.”

X:1

T:Over The Water To Bessie

S:Altan

M:4/4

L:1/8

K:D

dB||A2fA BAfA|~A2fd edef|a2fA BAfB|ABAF D3A|

A2fA BAfA|~A2fd edef|a2fA BAfB|ABAF D3g:|

~f3d g3e|~f3d ~e3c|defg a2ab|afed Bdde|

~f3d ~g3e|~f3d ~e3c|defg a2ab|afed BddB:|

 

OVER THE WATER TO CHARLIE. AKA ‑ "Charley Over the Water," "Over the River to Charlie," "Over the Water [2]." AKA and see "Ligrum Cush," "Lacrum Cosh," "The Marquis/Marquess of Granby," "Pot Stick," "Sean Buidhe/Bui" (Yellow John [1]) "The Shambuy/Shambuie," "Wishaw's Delight." Scottish (originally), English, American; Air, Jig and Morris Dance Tune (6/8 time, with an irregular measure in the 'B' part). A Major (Raven): G Major (Alewine, Kennedy, Kerr, Mallinson): D Major (Aird, Bremner, Gibbons). Standard tuning. AABB (x4). A Jacobite (i.e. Highland supporters of Bonnie Prince Charlie) tune that was "improbably" introduced into British Guards regiments by 1764 (Winstock, 1970). That Winstock finds this improbable seems to be because the last Jacobite attempt to capture the throne of England was defeated at the Battle of Culloden in 1745, a mere nineteen years prior to the British Guards introduction. However, memories of the rising appeared to have healed even more quickly in the general populace of England, as evidenced by this excerpt from a letter written by Ralph Bigland in 1749 of an entertainment on the London stage (quoted by Emmerson, 1972):

***

I have since I came here [London] been lately two or three

times at the play and what invited me most was to see a

new dance called the Scots Dance consisting of about 20

lads and lasses dress'd after the Highland fashion. The

scene represents a very romantic, rocky, or mountainous

country seemingly, at the most distant view you behold a

glorious pair (which far surpass all the other actors) sitting

among the rocks, while the rest are dancing below among

groves of trees. Some are also representing with their

wheels a spinning; all the while the music plays either

Prince Charlie's minuet or the Auld Stewarts Back Again.

At last descends from the mountains the glorious pair

which to appearance is a prince and princess. Then all the

actors retire on each side while the royal youth and his

favourite dance so fine, in a word that the whole audience

clap their hands for joy. Then in a moment the spinning

wheels are thrown aside and every lad and lass join in the

dance and jerk it away as quick as possible while the

music briskly plays--Over the Water to Charlie, a bagpipe

being in the band. In short it was so ravishing seemingly

to the whole audience that the people to express their joy

clap their hands in a most extraordinary manner indeed.

***

Though the title stems from the Jacobite era, the tune is older and has had many names (given above as alternates--see notes for "Pot Stick" and "Sean Buide")—Kate Van Winkler Keller (1992) identifies “Charlie” as having been based on a 1740’s dance tune called “Potstick.” However, by the 1750's it appears in published collections with the "Over the Water" title. Samuel Bayard (1981) maintains that at some point the tune was altered and a new group of variations formed using the second half of the "Charlie" tune as the first strain and adding a different second strain. This second group is usually known as "Blow the Wind Southerly" (after song lyrics) or "Kinloch (of Kinloch)" {a title which first appeared in 1798 in John Watlen's Second Collection of Circus Tunes}. Early printings of the tune can be found in Oswald’s Caledonian Pocket Companion (book 4, pg. 7, c. 1752), the Gillespie Manusript of Perth (1768), Jonathan Fentum’s Compleat Tutor for the German Flute (London, 1766), and Robert Bremner's 1757 collection (pg. 16). A three-verse version exists in the Scots Musical Museum (1788) and it appears in Hogg’s Jacobite Relics (early 1800's). Other’s find Bayard’s argument spurious and see little to suspect a supposed relation between “Over the Water to Charlie” and “Kinloch/Blow the Wind Southerly” groups of tunes except a brief bit of similar melodic material in the beginning measures.

***

"Over the Water to Charlie" was employed variously as an accompaniment to dancing in the British Isles and was imported as a dance tune to America. A morris dance version was collected in the village of Bledington, Gloucestershire, in England's Cotswolds, while country dance instructions, but not the melody, appear in the Scottish Menzies Manuscript, 1749 (contained in the Atholl Collection of the Sandeman Library, Perth). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, and in the music manuscript collections of Joseph Kershaw and Joshua Gibbons (see below). In America, the tune appears in Giles Gibbs' MS collection made in 1777 in East Windsor, Connecticut, and in the music copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

Words to the melody can be found in several collections. The following are from the Scots national poet, Robert Burns:

***

Come boat me o'er, come row me o'er,

Come boat me o'er to Cherlie:

I'll gie John Ross anither bawbee

To boat me o'er to Charlie. ‑‑

***

Chorus:

We'll o'er the water, we'll o'er the sea,

We'll o'er the water to Charlie;

Come weal, come woe, we'll gather and go,

And live or die wi' Charlie. ‑‑

***

I lo'e weel my Charlie's name,

Tho' some there be abhor him:

But O, to see auld Nick gaun hame,

And Charlie's faes before him!

***

I swear and vow by moon and stars,

And sun that shines so early!

If I had twenty thousand lives,

I'd die as aft for Charlie.

***

And these from the Ettick Shepherd, James Hogg (Jacobite Relics):

***

Come boat me o'er, come ferry me o'er,

Come boat me o'er tae Charlie

I'd hear the call once, but never again,

Tae carry me over tae Charlie.

***

Chorus:

We'll over the water, we'll over the sea,

We'll over the water tae Charlie.

Come weel, come woe, we'll gather and go

And live or die with Charlie.

***

I swear by moon and stars sae bright,

And sun that shines sae Dearly,

I would give twenty‑thousand lives

I'd given them all for Charlie.

***

Once I had sons, but now I've gat nane,

I've treated them all sae sairly.

But I would bear them all again,

And lose them all for Charlie

***

In old Britain it was customary to drink to the monarch at all convivial gatherings, a custom known as the ‘loyal toast’.  Those with Jacobite sympathies managed to make this a palatable experience by surreptitiously “holding their glasses over the water-bottle, thereby signifying to those in the secret that they drank to ‘The King over the Water’—to the exiled Stuart, not to the usurping Hanoverian” (Hawkwook, 1909).

***

Sources for notated versions: John White (Greene County, Pa., 1930's) and Thomas Patterson (Elizabeth, Pa., 1930's) [Bayard]; the manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]; contained in the Joseph Kershaw manuscript—Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].  Aird (Selection of Scotch, English, Irish, and Foreign Airs), vol. II, 1782; No. 31, pg. 12. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 28. Bacon (The Morris Ring), 1974; pg. 81. Bayard (Dance to the Fiddle), 1981; No. 556A‑B, pgs. 494‑495. Bremner (A Collection of Scots Reels), 1757; pg. 16. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 12 (3rd ed., appears as “Original Set of O’er the Water to Charlie”). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 18. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 20. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 38. Kerr (Merry Melodies), vol. 1; No. 6, pg. 31. The Joseph Kershaw Manuscript, 1993; No. 13 (appears as “Water & Charley”). Mallinson (Mally’s Cotswold Morris Book), 1988; No. 16, pg. 14. Raven (English Country Dance Tunes), 1984; pg. 78 (morris version). Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 20. Folk‑Legacy Records FSI‑42, The New Golden Ring - "Five Days Singing, vol II.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Over the Water to Charlie

M:6/8

L:1/8

S:Aird, vol. II (1782)         

Z:AK/Fiddler’s Companion

K:D

A2A A>BG | FGE D>FG | A>BA AFA | B3d3 | D2D DEF |

GAF E2D | dcB AFA | B3d3 :: d2e fgf | efd ecA | d2e fgf | e3 A3 |

d2e fgf | efd ecA | (B/c/dB) AFA | B3 d3 :: AFD AFD | BGE BGE |

AFD EFA | B3d3 | AFD dAF | GAF E2D | fed AFA | B3d3 :: dfd dfd |

ecA acA | dfd dfd | e3A3 | dfd afd | (c/d/e)c ecA | (B/c/d)B AFA | B3d3 :|

X:2

T:Over the Water to Charlie

M:6/8

L:1/8

R:Jig

S:Bremner – Scots Reels (1757)  pg.16

Z:AK/Fiddler’s Companion

K:D

A>BA A2G | (“tr”F>EF) D3 | ABA AFA | B3 d3 | D>ED DEF | G2F “tr”E2D |

dcB AFA | B3 {B/c/}d3 :: d2e f2f | e2d (“tr”cBA) | d2e fdg |

“tr”e3A3 | dcd efg | fed (“tr”c>BA) | (B/c/d)B AFA | B3d3 :|

X:3

T:Over the Water to Charlie

M:6/8

L:1/8

S:From Ann Winnington’s music manuscript book, from the early 19th century.

N:Winnington was an American, probably a pianist, who resided in England.

K:D

D2A AFA | B/c/dF E2D | D2A AFA | B3d3 | D2A AFA | B/c/dF E2D | dfd ecA | d3 {B/c/}d3 :|

|: dfd ecA | (B/c/)dF E2D | dfd ecA | B3d3 | dfd ecA | dcB AFA | D2A AFA | (B3 {B/c/}d3) :|

X:4

T:Original Set of O’er the Water to Charlie

M:6/8

L:1/8

R:Jig

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 12  (orig. 1792)

Z:AK/Fiddler’s Companion

K:D

D|A2A (AB).G|(FG).E D/A,/B,/C/ D/4E/4F/4G/4|A>BA AFA|B3 “tr”d3|D2D DEF|
{A}G2F {F}E2D|({B/c/}d>)cB A<FA|B2”tr”c {e}d2:||:A|”tr”d2e f2d|(ef).d {d}cBA|

~d2e (fgf)|{f}e3 ABc|”tr”d>cd efg|({f/g/}.a/>).g.f .e.d.c.|({B/c}d>)cB A<FA|B2”tr”c {e}d2:|

                       

OVER THE WATERFALL. AKA and see "The Fellow/Feller That Looks Like Me," "Punkin Head." Old‑Time, Breakdown. USA, Virginia. D Major. Standard tuning. AB (Silberberg): AABB (most versions). Originally from fiddler Henry Reed of Glen Lyn, Virginia, it was learned from directly from Reed and popularized in modern times by folklorist and fiddler Alan Jabbour. Reed himself may have learned it from hearing it emanating from a steam-driven calliope. "Over the Waterfall" is a melody that is fairly wide-spead throughout the British Isles and North America, explains Jabbour, and was used both for a well-known British-American song sometimes called "Eggs and Marrowbones" (AKA “Old Woman from Wexford,” “Old Woman in Dover,” “Wily Auld Carle” etc.) and as an instrumental tune. Comparison with “The Dark Girl Dressed in Blue [2]” in O’Neill’s Music of Ireland (1903) reveals a striking similarity between the two, and it is possible “Over the Waterfall” was adapted from an Irish source. Others have suggested that it may originally have been a composed piece from the turn of the century that was spread by travelling‑circus and riverboat musicians.

***

The earliest recorded version was by Al Hopkins and the Bucklebusters in the very last years of the 1920’s, who recorded it on a 78 RPM as “The Fellow that Looks Like Me” (Brunswick 184).  “The Fellow that Looks Like Me” that was in the repertoire of Virginia fiddler Stuart Lundy (son of Galax fiddler Emmett Lundy) under that title, as well as the aforementioned Bucklebusters. Lundy died in the late 1970’s. The Hopkins family (Al is referenced above) was also originally from Galax. The Reed version of “Over the Waterfall” has become very common among old‑time fiddlers (indeed, it has become hackneyed), though is now usually regarded as a beginner's tune. Kentucky fiddler J.P. Fraley plays the tune, learned from the fiddling of his father, a somewhat more melodically complicated version. Source for notated version: Fennigs All Stars (N.Y.) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 211. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 177. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 114. Sing Out, 198‑; pg. 76. Welling (Welling’s Hartford Tunebook), 1976; pg. 4. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Document 8041, Al Hopkins and His Bucklebusters (reissue). Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Kicking Mule 202, John Burke‑ "Fancy Pickin' and Plain Singing." Rounder 0122, Norman Blake‑ "Rising Fawn String Ensemble."

X:1

T:Over the Waterfall

M:C|

L:1/8

S:Jay Ungar

Z:AK/Fiddler’s Companion

K:D

de|f2a2 (gf) e2|(de)dB A2 de|f2a2 (gf) e2|d3 (e d2)de|

f2a2 (gf) e2|(de)dB A2 AB|=c2 c2 B A3| G3 (A G2:|

|:FG|A2A2 B2B2|(AB)AG F2 FG|A2d2 (cd) e2|d3 e d2 FG|

AFAd BGBd|(AB)AG F2 FG|A2F2 (GF)E2|D3D D3:|

                                               

OVER THE WAVES [1]. Old‑Time, Waltz. USA; Ala., Ga., Ky., Pa., Mo., S.D., La., Arizona. C Major: G Major (Guntharp): G Major ('A' part) & C Major ('B' part). Standard tuning. AABB (Guntharp): ABC (Phillips). One modern source maintained the tune was popular in Spain in the 15th century, while others attribute it to Strauss (The Waltz King), however, Charles Wolfe has determined it was written by Mexican composer Juventino Rosas (1868‑1894). He was a pure‑blooded Otomi Indian and a fiddler and violinist so accomplished that at age 15 he obtained a job as first violinist in a touring opera company. After a stint in the Mexican army, he wrote the tune in 1884 as a set of waltz's called "Sobre las Olas" (Over the Waves), which he and his band played to much popular acclaim at the worlds fair (the “World Cotton Centennial”) in New Orleans that same year. The melody quickly entered old time tradition and was common in many parts of the country {Charles Wolfe, The Devil's Box, vol. 10, No. 3, September 1976}; in fact, musicologist Charles Wolfe calls it one of the most popular fiddle tunes in modern history" (Devil's Box, Dec. 1982). The available literature supports this: for example, Arizona fiddler Kenner C. Kartchner said: "(Hearing the melody was) One of my first memories about 1893" (Shumway). Rosas performed again at the Chicago World’s Fair in 1893 as well, and by that time his most famous composition, “Sobre las Olas,” was famous world-wide. He died the next year in Cuba while on tour, but is remembered in Mexico as the ‘Waltz King’, where there is a town named after him. Originally Rosas’ tune had five parts, sometimes with an added introduction and extended coda, however, in traditional repertory it is almost always played as a two or three-part tune. It was also composed in the key of ‘G’, requiring position playing at the end of the first part (a key change to ‘D’ by fiddlers allows for first position playing). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's. It appears in a list of the repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's), and was heard commonly in Georgia in the early 1920's. African-American fiddler Cuje Bertram of the Cumberland Plateau region of Kentucky recorded the tune on a 1970 home recording, made for his family. See also Narmour and Smith’s unusual version of the tune recorded as “Winona Echoes.” Sources for notated versions: Harry Daddario (Buffalo Valley region, Pa.) [Guntharp]; Kenny Baker and Jehile Kirkhuff (Pa.) [Phillips]. Guntharp (Learning the Fiddlers Ways), 1980; pg. 106. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 290-291. Conqueror 8078, Doc Roberts (Ky.), 1931. County 719, Kenny Baker - "Portrait of a Bluegrass Fiddler" (1968). County 733, "The Legend of Clark Kessinger." Decca 5041 (78 RPM), Stripling Brothers (Ala.) {1934}. Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." Missouri State Old Time Fiddlers' Association, Pete McMahon - "Kansas City Rag." Missouri State Old Time Fiddlers' Association, Vee Latty (1910-1956) - "Fever in the South." Opera 108 (78 RPM), Floyd LeBlanc, 1948 (Cajun recording). Rural Records RRCF 251, Curly Fox (1970). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from his grandparents in the 1940’s and 50’s and from fiddler Taylor McBaine). Versions also recorded by Jimmy Wilson's Catfish Band (Texas, 1925; band influenced Bob Wills), Humphrey Brothers (OKeh Records), Perry Brothers (Decca Records), Bob Wills (Texas), Hugh Ashley (Arkansas), and the Mitchell (S.D.) Old Time Orchestra (Library of Congress recording). In the repertoire of African-American Ky. fiddler Cuje Bertram. Reed Island Rounders – “Goin’ Home” (2002).

 


OVER THE WAVES [2]. AKA and see “Good Morning to Your Nightcap [1],” “Roll Her in the Rushes [2].” Irish, Reel. A Minor. Standard tuning. AB. See also a variant—an untitled reel—in the mid-19th century James Goodman manuscripts (no. 386). O'Neill (O’Neill’s Irish Music), 1915; No. 286, pg. 145. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 386, pg. 153.

X:1

T:Over the Waves [2]
M:C

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Amin

A2 Ac BGGB | cBcd ed d2 | A2 Ac BGGB | cABG AGEG | A2 Ac BGGB |

cBcd ed d2 | efge d2 ed | cABG EA A2 || e2 ec d2 dB | cBcd ed d2 |

e2 ec d2 dB | cABG ED D2 | e2 ec d2 dB | cBcd ed d2 | efge dfed | cABG EA A2 ||

                       

OVER WINDY HILL. American, Song Tune? (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AA. Source for notated version: Harry Waugh (elderly fiddler from Jefferson County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 171, pg. 124.

                       

OVER YOUNG TO MARRY. See "I'm Over/Ower Young to Marry Yet,” “Were You at the Fair."

                       

OVERLAND (WALTZ), THE.  English(?), Waltz. G Major. Standard tuning. AABBC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 155, pg. 40.

 

OWEN COIR. AKA and see "Gentle Maiden."

                       

OWEN MALONE (Eogan Ua Maoileoin). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 45. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 951, pg. 176. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 176, pg. 43.

X:1

T:Owen Malone

M:6/8

L:1/8
R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 176

Z:AK/Fiddler’s Companion

K:G

B/c/|dBG Gge|dBG Gge|dcB dcB|ABA ABc|dBG Gge|dBG Gge|def gdB|G>AG G2:|

|:Bdd Add|gag f2d|Bdd Add|ge^c de=c|Bdd Add|gag f2e|def gdB|G>AG G2:|

                       

OWEN O'NEILL'S MARCH. AKA and see "Owen Roe O'Neill."

                       

OWEN O'ROURKE. Irish, Planxty (3/4 time). D Major/A Mixolydian. Standard tuning. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 142, pg. 99.

           

OWEN ROE O'NEILL. AKA ‑ "Owen O'Neill's March." Irish, March (2/4 time). F Major. Standard tuning. AABB. "This was the great Owen Roe O'Neill, who defeated the Scottish army under Munroe at the battle of Benburb: 1646" (Joyce). Source for notated version: William Elliot Hudson, "a well known Irish patriot and scholar of the last century" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 773, pg. 378.

X:1

T:Owen Roe O’Neill

T:Owen O’Neill’s March

M:2/4

L:1/8

R:March

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

Z:AK/Fiddler’s Companion

K:F

Ff ef | c/d/c/A/ GF | Ff ef | c/d/c/A/ GF :: F/A/G/A/ G/F/G/A/ | G/F/G/A/ GF | F/A/G/A/ G/F/G/A/ | _e/d/e/B/ GF :|

           

OWEN THOMAS’. Irish, Reel. E Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, dedicated to Donegal fiddler Owen Thomas. Black (Music’s the Very Best Thing), 1996; No. 226, pg. 121.

X:1

T: Owen Thomas' Reel

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Edor

EBBA GEFD | EB, B,2 EGFD | EBBc dBAd | Bdeg fagf |

eBBA GFGA | Bded BGAF | EB, B,2 =CDEG | FGAF E4 :|

Bdeg Bdeg | fdfa bagf | edBd gfed | BGAF GABd |

Be e2 gfed | eg g2 bagf | gfeg fgaf | edBd e4 :|

                       

OWENMORE [1], THE. Irish, Air (3/4 time). F Major (Joyce) Standard tuning. AAB. The Owenmore is a river in Co. Mayo. "From Mr. N. Kelly of Ballinamore, Co. Leitrim" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 507, pg. 276.

X:1

T:Owenmore, The [1]

M:3/4

L:1/8

K:F

FG|A2 fedc|d2 cBAF|G2 DFGA|G2F2F2|F4:||ce|dcAcde|

f2 fagf|e2 dfed|d2c2c2|{d}c4 ce|d2 Acde|f3 agf|e2 dfec|

d2c2c2|{d}c4 Ac|d2 dfec|d2 cAGF|G2 DFGA|G2F2F2|F4||

 

OWENMORE [2], THE.  Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: accordinon player Danny O’Mahony via Brendan Taaffe [Fiddler Magazine]. Fiddler Magazine, Spring 2007, vol. 14, No. 1; pg. 47.

X:1

T:Owenmore, The [2]

M:6/8

L:1/8

R:Jig

K:G

BAB GBd|ecc Bce|dBG dBG|FGA AGA|BAB GBd|

ecc Gce|dBG FGA|AGF G2A::(3BdBd gdB|c2e gec|

B2d gdB|A2g fed|(3BdBd gdB|c2e gec|BAB DFA|AGF G3:||

           

OWEN’S REEL.  American, Reel. A Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler and composer Randy Miller. Miller (Fiddler’s Throne), 2004; No. 227, pg. 139. RM-1C, Randy Miller – “Lore of the Fingerboard” (1990). Voyager Records VRDC 352, Erin Shrader – “Salmonberry: New England Contra Dance Music” (2001).

           

OWENSBERG. Old-Time, Breakdown. G Major (‘A’ part) & C Major (‘B’ part). Standard tuning. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 114.

                       

OWER BOGIE. AKA and see "Over Bogie." Shetland, Scottish. Known throughout the Shetlands.

                       

OWER DA HILLS TAE AMERICA. Shetland, Shetland Reel. May be the same tune as "Ower the Highland Hills."

                                   

OWER THE BORDER. English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABBCCDD. Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 184.


                                   

OWER THE HIGHLAND HILLS. Shetland, Shetland Reel. From the island of Whalsay, Shetland.

 

OWL, THE. AKA and see "Miss MacKenzie of Gairloch."

                       

OWL, THE. See "Caillach Oidche."

                       

OWL CREEK. AKA and see "The American Dwarf," "The Frost is All Over [1]," "The Frost is All Gone," “The Praties are Dug, and the Frost is all Over,” "Praties in the Bag," "The Masque." American, Jig. D Major. Standard tuning. AABB. “Owl Creek Quickstep” was adapted from the Irish jig “Frost is All Over” by minstrel Dan Emmett and named for one of Knox County, Ohio’s, earliest settlements (Emmett’s home town was Mt. Vernon, Ohio, in Knox County). Bruce & Emmett (The Drummer’s and Fifer’s Guide: or Self-Instructor), 1862. The Company of Fifers and Drummers, '76, 1974; pg. 33.

X:1

T:Owl Creek

B:Bruce & Emmett

M:6/8

L:1/8

Q:1/8=300

K:D

|: (3A/B/c/|def edB|{ABc}d2 F E2 F|DFA {B}A^GA|B<e^d e=dB|

{ABc}def edB|{ABc}d2 F E2 F|DFA {B}A^GA|B<ec d2 :|

|: e|fdf afd|gfg bag|fdf afd|cde e2 A|fdf afd|gfg bag|faf ede|fdd d2 :|

           

OWL HOOT. Similar to Jim Booker’s “Midnight [3].”

                                   

OWN KIND DEARY O. AKA and see "Ain Kind Dearie O," "The Lea Rig(ges)." English, Reel. England, Northumberland. G Major. Standard tuning. AABB. "(Vickers' version is) A fairly simple setting of a tune found in various guises...Johnson supplies the opening words of the song which links the different titles: 'I'll Lay Thee O'er the lea rig/My ain kind dearie O'" (Seattle). Hall & Stafford (Charlton Memorial Tune Book), 1956; pg. 62. Johnson (Scottish Fiddle Music in the 18th Century), 1984; Nos. 37 & 67. Northumbrian Pipers' Tune Book, 1970; pg. 1. Seattle (William Vickers), 1987, Part 2; No. 294.

                       

OWNIE DAVIS' REEL. AKA and see “Davy’s Reel.” Irish, Reel. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988. Learned from fiddler John McGreevy of Chicago).

                       

OWNYS' BEST. American (?), Jig. E Major. Standard tuning. AABB. In the repertoire of Cape Breton fiddler Winston “Scotty” Fitzgerald. Cole (1000 Fiddle Tunes), 1940; pg. 66. Cranford (Jerry Holland’s), 1995; No. 245, pg. 71. Ryan’s Mammoth Collection, 1883; pg. 96.

X:1

T:Owny’s Best

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (c. 1885)

Z:AK/Fiddler’s Companion

K:E

(e/f/) | gec BAF | Eee efg | fcc cag | fcc cgf | gec BAF | Eee efg | fef efg | fee e2 :|

|: (g/a/) | bge BGE | bge bag | aff fge | dBB Bcd | ege BGE | cfa aba | gfe ecB | Bcd e2 :|

                       

OXBØL POLKA. Danish, Polka. G Major. Standard tuning. AABB. Composed by Hans Tinus Nielsen (Denmark) and published in the collection of Carl Erik Jensen. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), pg. 9.

                                               

OXFORD CASTLE. Irish, Jig. G Major. Standard tuning. AA’BB’. Source for notated version: copied from James Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 121.

X:1

T:Oxford Castle (#121)

M:6/8

L:1/8

S:Aird's Selections 1782-97

Z:AK/Fiddler’s Companion

K:G

g|GBd dBd|geg dBd|ece dBG|FAA A2 A|

GBd dBd|gag gdB|1dgb c'af|dgg g2:|2dgb afd|dgg g2|

c'|bgb afd|g/2a/2bg dBG|ece dBg|FAA A2 c'|

bgb afd|ege dBG|1B/2c/2dA AFD|DGG G2:|2B/2c/2dg edc|BGG G2||

                       

OXFORD MINUET [1]. Old‑Time, Dance Tune (March & Two-step). USA; Arizona, New Mexico, Texas. G Major. Standard tuning. AB, each part played at a different tempo. Source for notated version: Forrest Delk (Grant County, New Mexico) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 121. Ruth (Pioneer Western Folk Tunes), 1948; No. 62, pg. 23.

X:1

T:Oxford Minuet [1]

L:1/8

M:4/4

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:G

((3A/B/c/|d>)BA>B G2D2|E>GF>A G4|E>GF>A G2B2|A>EF>G A3 (3A/B/c/|

d>BA>B G2D2|E>GF>A G4|c>cB>A d>BG>A|B2A2 G3 ((3D/E/F/||

L:1/8

M:2/4

K:G

G)ABd|ed d/d/B/c/|dc c/c/A/A/|ed d>((3D/E/F/|G)ABd|ed d2|1

[d>(f>]e) [d>(f>]e)|dd d>(3D/E/F/:|2 [d>(f>]e) d(e/f/)|[Bg][Bg] [Bg]||

 

OXFORD MINUET [2]. Old‑Time, Piece. USA; Nebraska. Substantially different than the version above. B Flat Major. Standard tuning. AAB ('B' part shifts to 3/4 time). Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 166.


                       

OXFORD STREET. Scottish, Hornpipe. D Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 283, pg. 30.

X:1

T:Oxford Street

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 283  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

Adcd fdcd|Be^de gede|ca^ga =gece|1 dfed cBA^G:|2 d2f2d2||

|: (ed)|cAce gbag|fgaf dfed|cAce gbag|fgaf d2 (cB)|Adcd fdcd|

Be^de gede|ca^ga =gece|1 d2f2d2:|2 d2f2d2z2||

                       

OXFORD WALTZ. See "Waltz Oxford."

                       

OXFORDSHIRE TRAGEDY, THE. AKA and see "The Miller and His Sons." English, Air (3/4 time). C Major. Standard tuning. AB. The song appears in The Cobblers' Opera (1729) and The Village Opera (1729).

***

Near Woodstock town, in Oxfordshire,

As I walk’d forth to take the air;

To view the fields and meadows round,

Methought I heard a dreadful sound.

***

Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 153.

X:1

T:Oxfordshire Tragedy, The

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:C

GBG|c2E2 FD|C3 c BA|d2G2 A^F|G3||Gcd|e2d2 cE|G3 E FG|A2G2 FD|C3||

                       

OYSTER. Shetland, Shetland Reel. From the island of Whalsay, Shetland. Title may be a corruption of the Shetland dialect phrase "Da Oye Stuir."

                       

OYSTER GIRL [1]. English, Jig and Morris Dance Tune. England; Northumberland, North‑West. G Major. Standard tuning. AABB (Hall & Stafford, Sweet): AABBC (Kennedy, Raven, Wade). Tune used for a single step dance in the North‑West (England) morris dance tradition. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 14. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 78, pg. 38. Raven (English Country Dance Tunes), 1984; pg. 124. Sweet (Fifer’s Delight), 1965/1981; pg. 35. Wade (Mally’s North West Morris Book), 1988; pg. 23. Topic TSCD 669, Arthur Marshall (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. North Yorkshire accordion player Marshall was born in 1896).

X:1

T:Oyster Girl

R:jig

Z:From Josephine Marsh in Kilfenora, 1996

Z:Transcribed by Thom Pratt

M:6/8

L:1/8

K:G

ded B2 G|A2 F D2 F|GFG BAB|d2 c A2 d|ded Bdg|f2 e c2e|\

d2 B c BA|GAG G2 d:|Bcd Bcd|e2 c e2c|ABc ABc|d2 B d2 B|\

ded Bdg|f2 e c2 e|d2 B cBA|GAG G2 d:||\

 

OYSTER GIRL [2]. English, Jig. D Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 17, pg. 23.

 

OYSTER GIRL [3]. Old‑Time, Breakdown. May be very distantly related to version # 1. USA, Nebraska. D Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 80, pg. 59.

 

OYSTER RIVER HORNPIPE. AKA ‑ "Oyster River." AKA and see “Church Street (Polka) [1]," “Gurteen Cross,” “St. Mary’s.” American, Hornpipe or Reel. G Major (Cole, Phillips, Songer): G Major {'A' and 'B' parts} & D Major {'C' part} (Ford, Sweet). Standard tuning. AABB (Cole, Phillips, Songer, Sweet): AABCC (Ford). The title is an American one, perhaps referring to Oyster River, New Hampshire (based on its inclusion earliest in Ryan’s Mammoth Collection, which contains many northern New England placenames). The hamlet of Oyster River Plantation was the scene of a devastating massacre during King William’s War in 1694. Abenaki Indians, incensed at abuses from the English population and encouraged by the French, killed and captured nearly 100 settlers, one third of the population. Cole (1000 Fiddle Tunes), 1940; pg. 105. Ford (Traditional Music in America), 1940; pg. 76 (appears as "Oyster River"). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 214. Ryan’s Mammoth Collection, 1883; pg. 142. Songer (Portland Collection), 1997; pg. 154. Sweet (Fifer’s Delight), 1965/1981; pg. 51. White’s Unique Collection, 1896; No. 129, pg. 23. Marimac 9012, Fish Family Dance Band - “Fluke Hits” (1987).

X:1

T:Oyster River Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 129

Z:AK/Fiddler’s Companion

K:G

D | GB B/A/G/A/ | Be e/f/g/e/ dB A(G/A/) | B/c/B/A/ G/F/E/D/ | GB B/A/G/A/ |

Be e/f/g/e/ | dB A(G/A/) | BGG :: (e/f/) | g>a g/f/e/d/ | gg a(g/a/) | bb a(g/a/) |

b(b/a/) g/f/e/d/ | e/f/g/a/ g/f/e/d/ | gg a(g/a/) | bb a(g/a/) | bg [G,DBg] :|

                       


OYSTER RIVER QUADRILLE. Old‑Time, Quadrille (6/8 time). USA, Nebraska. A Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 168, pg. 121.

                       

OYSTER RIVER (REEL), THE. AKA and see “Church Street (Polka) [1],” “Flanagan’s (Polka),” “Gurteen Cross,” “St. Mary’s.” Irish, Reel. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; pg. 41. North Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge Village."

                       


OYSTER WIFE'S/WIVES' RANT. AKA - "The Oysterwives' Rant." AKA and see “Muileann Dubh.” Scottish, English; Reel. England, Northumberland. A Dorian. Standard tuning. AABB. Bayard (1981) identifies the melody as belonging to the same tune group as "Welcome Home [3]," "The Haughs o’ Cromdale," "(Fare Thee Well) Sweet Killaloe," "The Hillside [2]," and "Wate You How the Play Began." The members of this very old family, which he calls the "Welcome Home" group, appear in major, modal, duple‑time, tiple time, vocal and instrumental forms. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, and is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Bremner (Scots Reels), 1757; pg. 80. Hardings All Round Collection, 1905; No. 32, pg. 10. Kerr (Merry Melodies), vol. 2; No. 65, pg. 10. Peacock's Tunes (c. 1800), 1980; No. 31. MacDonald (The Skye Collection), 1887; pg. 110. Stewart-Robertson (The Athole Collection), 1884; pg. 53.

X:1

T:Oyster Wives’ Rant, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Amin

B|e2 ed eAAB|dedB GABd|e2 ed e^fge|dBgB A/A/A A:|

|:B|edef g2 ^fe|dedB dedB|edef g>age|dBgB A/A/A A:|

 

OZARK MOON.  Old-Time, Waltz. D Major. Standard tuning. AABA. Drew Beisswenger (2008) points out this waltz was in the repertorie of several Ozark region fiddlers, including Lonnie Robertson, Bob Holt and Glenn Rickman, but also finds it was played by Washington State fiddlers such as Joe Panzerzewski and Gil Diesecker (the latter citing Monte Stephens as his source, learned at the annual contest at Weiser, Idaho). A number of Ozark region fiddlers either moved to the Northwest or lived there for long periods of time, although how this tune was transmitted is a mystery. Sources for notated versions: Cecil Snow (1918-1991, Oklahoma/Arkansas) [Beisswenger & McCann]; Joe Pancerzewski (Washington State) [Devils’s Box]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 132. The Devil’s Box, vol. 31, No. 2, Summer 1997; pg. 36. Cecil Snow – “The Country Boys, Sounds from the Ozarks” (c. 1989. Privately issued cassette).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

 

OZARK MOUNTAIN WALTZ [1]. Old‑Time, Waltz. USA, Mo. F Major ('A' part) & B Flat Major ('B' part). Standard tuning. The tune, which is attributed to Missouri fiddler Pete McMahan (1918-2000), contains segments of other melodies. Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain Waltz." Voyager VRCD 353, Leroy Canaday – “Old Dan Tucker was a Fine Old Man.”

 

OZARK MOUNTAN WALTZ [2].  Old-Time, Waltz. USA, Missouri. C Major. Standard tuning. ABC. A different tune than McMahan’s “Ozark Mountain Waltz [1], composed by Missouri fiddler Lonnie Robertson (1908-1981) in the 1960’s. Source for notated version: Lonnie Robertson (Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 124.  Caney Mountain Records CEP 102 (privately issued extended play LP), Lonnie Robertson (north Missouri), c. 1965‑66. Rounder Records CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1978).

 

OZARK RAG. Old‑Time, Country Rag. USA, Texas. F Major. Standard tuning. AABBCAADD (Brody): AA'BB'CC' (Phillips). Source for notated version: Daniel Williams with the East Texas Serenaders (Texas) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 212. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 98. County 410, East Texas Serenaders‑ "1927‑1936" (1977). RBF 18, Charlie Turner‑ "Ragtime 2."

 

OZARK WALTZ.  Old-time, Waltz. USA, Arkansas. F Major. Standard tuning. AA’BB’. “Ozark Waltz” was originally recorded in June, 1930, by the Morrison Twin Brothers String Band of Searcy County, Arkansas, featuring the twin fiddles of Abbie (1876-1965) and Absie (1876-1964, sometimes “Apsie”) Morrison, who were themselves twins. Guthrie Meade believes the tune might have been adapted from an air of a popular song from around the turn of the 20th century, and identifies an early recording by Earl & Joe (1930) in addition to the Morrison’s. Drew Beisswenger (2008) notes that it is not played much in the Ozarks in modern times. Source for notated version: The Morrison Brothers [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 104. County CD-3506, The Morrison Brothers – “Echoes of the Ozarks, vol. 1” (1995. Various artists, reissue recordings). 5 String Productions 5SP05002, The Hoover Uprights – “Known for their Reputation” (2006. The Morrison brothers’ version). Victor Vi V-40323 (78 RPM), The Morrison Twin Brothers String Band (1930).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

 

 

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