The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
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
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.
***
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
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:
***
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].”