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].”
OUR CAT HAS KITTED. English, Old Hornpipe (3/2 time). D Major. Standard
tuning. AABB. The melody, according to Jamie Knowles, is a version of the
English classic “Cheshire Rounds,”
and is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who
lived in Slackcote, Saddleworth, North West England, in the 19th century,
and his manuscript dates from around 1820 onwards. The Joseph Kershaw
Manuscript, 1993; No. 2. Offord (John
of the Greeny Cheshire Way), 1985 (appears as 2nd of 3 “Cheshire
Round” melodies). EFDSSCD13, Rising Sun Band –
“Hardcore English” (2007. Various artists). Folksound FSCD37, Rising Sun Band –
“Setting it Right.” Highpoint HPO 6012, “Waterson-Carthy/The Definitive
Collection” (2005). Topic Records TSCD 536, Waterson/Carthy – “Broken Ground”
(1999).
OUR GOOD WIFE. AKA ‑ "Oor Guid Wife." Scottish,
Reel. C Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 134, pg. 16.
X:1
T:Our
Good Wife
M:C
L:1/8
R:Reel
S:Kerr
– Merry Melodies, vol. 3, No.
134 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
G>c
c/c/c c2 ce|dcde dcAc|G>c c/c/c c2 ce|dcde c/c/c (ce):|
|:gage
gage|fedc Bdde|G>c c/c/c c2 ce|1 dcde c/c/c (ce):|2 dcde c/c/c c2 ||
OUR HIGHLAND COUSINS (Ar Comua Albanac). AKA and see “Devil in the Kitchen [1],” “Gurren’s Castle,” “Miss Drummond of Perth.”
Irish, Reel. G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1400, pg. 260.
X:1
T:Our
Highland Cousins
M:C|
L:1/8
R:Reel
S:O’Neill
– Music of Ireland (1903), No. 1400
Z:AK/Fiddler’s
Companion
K:G
A | G2
dc Bcde } f2 cf Afcf | Gedc Acde | ({g}f)efc “tr”AG G :|
d | g2
dg Bgde | f2 cf Afcf | g2 dg Bgde | fefc AGGd | g2 dg GgAe |
f2 cf Afcf
| gfde fgag | fdcA “tr”AG G ||
OUR HIGHLAND QUEEN. AKA ‑
"Oor Highland Queen." Scottish, "Pastoral Air" or
Strathspey. D Major. Standard tuning. AB. One of the six hundred or so
compositions by the great Scottish fiddler-composer James
Scott Skinner (1843-1927). Composed in honor of Queen Victoria, it
originally appeared in his Miller o’ Hirn
collection. In 1858 Skinner, a fifteen-year-old violinist with the boy-troupe
Dr. Mark’s Little Men, performed before the Queen at Buckingham Palace, and ten
years later was a dancing master to the children of her tenants in Balmoral,
Scotland. He included it a one of the tunes in his 1921 concert set
romantically entitled "Warblings From the Hills." Skinner’s
directions say it should be played with “grandeur and expression.” MacDonald (The Skye Collection), 1887; pg. 156.
Skinner (The Scottish Violinist), 1900; pg. 37. Skinner (Harp and Claymore), 1904; pg. 14.
X:1
T:Our Highland Queen
M:C
L:1/8
R:Strathspey
S:MacDonald – The
Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
{A,/B,/C/}D>AF>A D>AF>A|(3[DAf]ed (3c{e}dB
A3 F/(D/|C>A) G>A F>A D>A|
(3FED (3C{E}DB, A,2 A, (3A,/B,/C/|D>A F>A
D>AF>A|(3[DAf]ed (3c{c}dB A2 G/F/|
(3GBe E>G (3FAd [D>A>][A,G]|(3F>ED
(3C<FE D2D||
{ABc}d>f (3Adf (3afd (3AFD|(3A,DF (3AFd A2
(AB/^c/^d/|e>)g (3Beg (3bge (3BGE|
(3CEG (3CEA [D2F2] [DF] (3A/B/c/|(d>f) (3Adf (3afd
(3AFD|(3A,DF (3AFd A2 A G/F/|
(3GBe E>G (3FAd [D>A>]G|(3F>ED (3C<FE
D2D||
OUR HOUSE AT HOME (Ar dTigh sa Baile). AKA and see “I’m Ready Now,” "Is Trua gan Peata 'n
Mhaoir agam [1]," “Mulvey’s Reel,”
"Peata Beag is a Mhathair,"
"Peata Geal do
Mhathar/Matar," "Your
Mother's Fair Pet." Irish, Reel. D Major (Greir): A Major
(Sutherland): G Major (Treoir). The
tune appears in the late 19th century collection of Alex Sutherland
of County Leitrim under the title “Mulvey’s Reel.” Another County Leitrim
collection from the same era, the Stephen Grier (Abbeylara, Granard, County
Longford) collection of 1883, gives the tune under the “Our House at Home”
title. Grier later came to live at Bohey, Gortlettragh, County Leitrim. Piper
William Mulvey inherited the Grier collection after the latter’s death,
according to modern piper Brian McNamara. Variants of the tune include “Is Trua
gan Peata an Mhaoir agam” (Petrie), “Your Mother’s Fair Pet” (Joyce/Petrie),
and “I’m Ready Now” (O’Neill). Treoir,
vol. 35, No. 2, 2003; pg. 23. Drumlin Records, Brian
McNamara – “A Piper’s Dream” (2000. Learned from the Sutherland collection).
X:1
T:Our
House at Home
M:C
L:1/8
R:Reel
S:Treoir, vol. 35, No. 2
K:G
A |:
BG G2 DG G2 | ABcA dBcA | BGAF DG G2 |1 AdcA G3 :|2
AdcA
G2Bc ||dg g2 bg g2 | dg g2 fdcA | dg g2 bg g2 | dcde fefg |
bgaf
gfef | d eg fdcA | BGAF DG G2 | AdcA G3 ||
OUR LADY’S BUNGALOW.
Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985).
Ryan (Seán Ryan’s Dream), 23.
OUR LAND SHALL BE FREE. AKA and see "O'Donnell Abu," "Proudly the
Note of the Trumpet is Sounding."
OUR
LASSIES. Scottish, Jig. G Major. Standard tuning. AABB. Harding’s All Round Collection, 1905;
No. 149, pg. 47.
X:1
T:Our Lassies
M:6/8
L:1/8
R:Jig
B:Harding’s All Round Collection, No.
149 (1905)
Z:AK/Fiddler’s Companion
K:G
(d/B/)|GBd
gbg|ege dBG|ceg dBG|FAA A2 (d/B/)|GBd gbg|
ege
dBG|cec BdB|cAF G2::(f/g/)|add ded|bgg g2f|
ege
dBG|BAB A2d|gba gdB|cge dBG|cec BdB|cAF G2:|
OUR OWN LITTLE ISLE (Ar n-Oilean Beag Fein). AKA
and see "The Boys From the Lough,"
“Carawith Jig,” “Corovoth Jig,” “Donnybrook Fair [1],” "Joy of My Life," "The Joys of (My) Life," “Oh! Irishmen Never Forget.” Irish,
Double Jig. G Major. Standard tuning. AABB. The melody is the same in the first
part, and only mildly different in the second, to "The Joys of Life."
See also “Charley the
Prayermaster.’ O'Neill (Krassen), 1976; pg. 30. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 832, pg. 155. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 96, pg. 31.
X:1
T:Our
Own Little Isle
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of Ireland: 1001
Gems (1907), No. 96
Z:AK/Fiddler’s
Companion
K:G
G3
AGA|B<ee edc|BAB GBA|G>EE E2D|~G3 AGA|B<ee edc|BAB GBA|AGG G3:|
|:g3
g2 g/f/|edc BAG|g3 g2 g/f/|efg a2g|bag agf|edc BAG|BAB G2 B/A/|G>EE E2D:|
OUR PLEASURE. AKA and see “The Installation.” English, Country Dance
Tune (6/8 time). A Major. Standard tuning. AABB. The tune appears in Charles
and Samuel Thompson’s Twenty Four Country Dances (London, 1780) under
the title “The Installation.” Source for notated version: the manuscript
collection of Captain George Bush (1753-1797), a fiddler and officer in the
Continental Army of the American Revolution [Keller]. Keller (Fiddle Tunes
from the American Revolution), 1782; pg. 21.
OUR POLLY IS A SAD SLUT. AKA and see "(Oh) London is a fine town."
English, Air. The air appears under this title in John Gay's Beggar's Opera, 1729. Kidson (1922) says
this "early and very popular air" also was published in Pills to Purge Melancholy, vol. V, and
on half‑sheet music.
OUR PRESIDENT. AKA and see "(My) Ain Kind Deary (O),"
"Christmas Eve [1],"
"Here's a Health to
Our Leader," "The Fearless Boys."
Irish, March. JIFSS, vol. 17 (1920), pg. 29.
OUR SAILS WERE UNFURLED. Irish, Air (3/4 time). E Flat
Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 517, pg. 131.
X:1
T:Our
sails were unfurled
M:3/4
L:1/8
S:Stanford/Petrie
(1905), No. 517
Z:AK/Fiddler’s
Companion
K:E_
E/F/
GB | c>A FE DF | E3 B/A/ GB | e2 d>e fd | B3 B/A/ GB |
e2 de
fd | e2 d>e cA | F2 GA BG | E3 ||
OUR WEDDING DAY. AKA and see “She Moved Through the Fair.”
OURSELVES, LIKE THE GREAT, TO SECURE A RETREAT. AKA
and see "A cobbler there was,"
"The cobbler's end." English,
Air. The 17th century air appears under this title in John Gay's Beggar's Opera (1728).
OUT ALL NIGHT. AKA and see “The
Buck in the Woods,” "Molly's
Favourite," "An Boc sa gCoill." See also the ‘A’ part of “Humors of Ballingarry.”
OUT AND ABOUT. AKA and see “Cúil
Aodha Jig,” “The Happy ‘A’ Jig,” “Humours of Ballymore,” “Maid that Cut Off the
Chicken’s Lips.”
OUT AND IN THE HARBOUR. AKA and see "Muckle a Skerry in Three."
Shetland, Shetland Reel. Known throughout the Shetlands.
OUT AND IN UPON OCCASION. English, Jig. England,
Northumberland. G Major. Standard tuning. AABB. “Out and In Upon Occasion” was
first published in R. Hinton's periodical The Universal Magazine of
Knowledge and Pleasure (London, 1759). The melody also appears in the 1770
music manuscript copybook of Northumbrian musician William Vickers, about whom
little is known. In America, it was included by Lacaster County, Pa., flute
player John Hoff (1776-1818) in his music copybook. Seattle (William Vickers), 1987, Part 3; No. 452.
Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 35.
X:1
T:Out
and upon occasion [sic]
M:6/8
L:1/8
R:Jig
S:William
Vickers’ music manuscript copybook, pg. 133
(1770)
Z:AK/Fiddler’s Companion
KG
A3D
B2G|d2G g3|ded dcB|ABc BAG|G2D B2G|
d2B
g3|fag fed|Adc d3::d2B d2B|c2A c2A|
Bcd
dcB|AGA A2E|G2D B2G|d2B g3|gfe d2c|BcA G3:||
X:2
T:Out and in
upon occasion
M:6/8
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:G
G2D B2G|d2B
g3|ded dcB|ABc BAG|G2D B2G|d2B g3|fag fed|Ad^c d3:|
|:d2B d2B|c2A c2A|Bcd dcB|AGA A2D|G2D
B2G|d2B (g3|g)fe d2c|BcA G3:||
OUT BEHIND THE SMOKEHOUSE. Old‑Time. The title appears
in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
OUT OF THE MIST. Irish, Jig. A modern composition by Kenmare, County
Kerry, fiddler Gerry Harrington. The title comes from Harrington’s failure to
locate his flock of hens because of the fog which descended from the
Knockmealdown Mountains one morning just past dawn. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De
Grae - “The Smoky Chimney” (1996).
OUT OF THE WILDERNESS. AKA and see "Johnny Stole a Ham," "The White Horse [2]," "The
Old Grey Mare (Came Tearing Out of the Wilderness)." American, Song
and Dance Tune (2/4 or 4/4 time). USA, southwestern Pa. G Major. Standard
tuning. AABB. The tune to the familiar ditty which goes:
***
The old grey mare, she ain't what she used to be,
Ain't what she used to be, ain't what she used to be.
***
Irwin
Silber ("Songs of the Civil War") identifies the composer of this
tune as J. Warner, who originally called it "Down in Alabam" (though
of course he may have adapted a folk tune). Just prior to the Civil War one
parody composed to it was called "Old Abe Lincoln Came Out of the
Wilderness." Sources for notated versions: Hoge MS (Pa., 1944) and Marion
Yoders (fifer and fiddler from Greene County, Pa., 1963) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 271, pg.
228.
OUT OF THE WINDOW. AKA and see “She Moved Through the Fair.”
OUT ON THE OCEAN [1] ("Amac Air An Fairge" or "Amuig Ar An
Fairge"). AKA and see "Banks of Ahasnagh," “Bucks of Ahasnagh,” "Crossing the Bogs," “Mick Mulcahy’s [1],” “Over the Sea [2],” “O’Connell’s Jig on
the Top of Mount Everest,” “The Portroe
[1].” Irish, Double Jig. G Major.
Standard tuning. AAB (Silberberg): AABB (Mallinson, Martin & Hughes,
O’Neill): AABB’ (Tubridy): AA’BB’ (Harker/Rafferty, Songer). The melody was
collected by Irish collector George Petrie in the mid-19th century
under the title “Bucks of Ahasnagh.” Jack Campin (jc@purr.demon.co.uk) identifies “Out on the Ocean” as one of
many variants of the Lowland Scots tune "The Rock and the/a Wee Pickle Tow,”
originally a women's spinning song. Sources for notated versions: flute player
and piper Charlie Lavin (b. 1940, Cloonshanville, near Frenchpark, County
Roscommon) [Flaherty]; Francis O'Neill learned the tune from an accomplished
West Clare flute player (and Chicago police patrolman) named Patrick "Big
Pat" O'Mahony, a man of prodigious physique of whom he said: "…the 'swing'
of his execution was perfect, but instead of 'beating time' with his foot on
the floor like most musicians he was never so much at ease as when seated in a
chair tilted back against a wall, while both feet swung rhythmically like a
double pendulum" [O'Neill, Irish Folk
Music]. Sources for notated versions: New Jersey flute player Mike
Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; from a recording
by Chris Droney [O’Malley]. Flaherty (Trip
to Windsor), 1990; pg. 154. Harker (300
Tunes from Mike Rafferty), 2005; No. 178, pg. 55. Mallinson (Essential), 1995; No. 84, pg. 37. Martin
& Hughes (Ho-ro-gheallaidh),
1990; pg. 47. Mulvihill (1st
Collection), 1986; No. 89, pg. 73 (learned from a recording by Clare
musicians Canny and Hayes). O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 91, pg. 46
(miss-titled as “The Blooming Meadows”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 795, pg. 148.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 68, pg. 27. Peoples (Fifty Irish Fiddle Tunes), 1986; No. 38. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 113. Songer (Portland Collection), 1997; pg. 153. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 33. Shanachie 79044, Tommy Peoples - “Iron Man” (1985).
Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999). Tara 3005, Planxty -
“The Woman I Loved So Well.” Wild Asparagus WA 003, Wild Asparagus - "Tone
Roads" (1990). Smithsonian Folkways SFW CD 40126, Lamprey River Band –
“Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire”
(1999).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Out
on the Ocean [1]
M:6/8
L:1/8
K:G
G|~B3
BAG|BdB A2B|GED G2A|BAB AGE|~B3 BAG|BdB A2B|GED G2A|BGF G2:|
||d|ege
edB|ege edB|ded dBA|ded dBA|G2A B2d|ege dBA|GED G2A|BGF GBd|
ege
edB|ege edB|ded def|gfe dBA|G2A B2d|ege dBA|GED G2A|BGF G2||
OUT ON THE OCEAN [2]. AKA and see “The Big Ship come over the Bay,”
“The Bouchaleen Buidhe,” “Kitty’s Wedding [2],” “The Maidens of Tir Eoghain,” “McArdle’s Fancy,” “Off to Donnybrook,” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].”
Irish, Double Jig. A Major.
OUT ON THE ROAD [1]. American, Double Jig. D Major. Standard
tuning. AA'BC. Composed in 1988 by Celtic‑style fiddler Liz Carroll
(Chicago), who says of the title:
***
It's a pretty awful title, actually. My
husband's parents had a dog named Julie,
and Julie was killed by a car. So you could
say she was 'out', as in 'dead', on the
road. But the title kind of works because
people could say, 'Let's play 'Out On the
Road' and it would just be a bit of fun.
***
Frets Magazine, August 1988;
pg. 22.
OUT ON THE ROAD [2].
Irish, Reel. Composed by County Armagh fiddler and pianist Josephine
Keegan. Green Linnet GLCD 1211, Kevin Crawford – “In Good Company” (2001. Learned from
fiddler Conor Tully). Declan Masterson – “End of the Harvest.”
OUT WITH THE BOYS [1] (Amac Leis Na Buacaillib).
Irish, Jig. G Major ('A' part) & E Minor ('B' part). Standard tuning. AB.
Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler
originally from County Down and Francis O’Neill’s collaborator [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 760, pg. 142.
X:1
T:Out
With the Boys [1]
M:6/8
L:1/8
R:Jig
S:O’Neill
– Music of Ireland (1903), No. 760
Z:AK/Fiddler’s
Companion
K:G
B | G3
g2e | dBG AFD | G3 g2e | dBG GAB | cde dcB | cAF G2 || B |
eBe
gbg | eBe gbg | eBe g2a | bag agf | eBe gbg | eBe g2a | bag agf | e3 d2 ||
OUT WITH THE BOYS [2] (Amac Leis Na Buacaillib). AKA
and see "Irish Whiskey [1]."
Irish, Double Jig. G Major ('A' and 'C' parts) & E Minor ('B' part).
Standard tuning. AABCC. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 761, pg. 142. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 45, pg. 24.
X:1
T:Out
with the Boys [2]
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 45
Z:AK/Fiddler’s
Companion
K:G
(3D/E/F/|G3
g2e|dBG AGE|DEG BAG|BAA A2 B/A/|
G3
g2e|dBG AGE|DEG BAG|AGF G2:|
|:d|e^de
gfg|e^de gfg|e^de gfg|fdB B2d|e^de gfg|agf gfe|BcB AGA|BGE E2:|
|:(3D/E/F/|G2g gdB|G2g gdB|DFA cBA|BFA
GFE|D2g gdB|G2g gdB|BcB AGA|BGE E2:|
OUTCAST DAUGHTER, THE. Irish, Air (4/4 time). F Major. Standard tuning. AB.
Source for notated version: Patrick MacDowell, "the distinguished
sculptor, born in Belfast in 1799, died in 1870," via Forde (Joyce). Joyce
(Old Irish Folk Music and Songs),
1909; No. 513, pg. 279.
OUTDOOR RELIEF, THE. AKA and see "O'Reilly's
Greyhound." Irish, Reel. A Dorian. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 161,
pg. 63.
OUTLACKEN LASSES, THE. Irish, Jig. D Major. Standard tuning. AABB. A modern
composition by Angela Savage. Keegan (The
Keegan Tunes), 2002; pg. 100.
OUTLAW OF THE HILLS, THE (An Dibeartac Na Cnuicib).
Irish, Slow Air (4/4 time). G Major. Standard tuning. AB. Source for notated
version: Hartnett [O’Neill]. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 197, pg. 34.
X:1
T:Outlaw
of the Hills, The
M:4/4
L:1/8
R:Air
S:O’Neill
– Music of Ireland (1903), No. 197
Z:AK/Fiddler’s
Companion
K:G
c | B2
A>G G2 G>A | (B<c) d>e (d<B) A>G | (B<e) e>f e2 (d>B)
| d2 e>f g3f |
g>a
b>a g2 f>g | e<g f>g (d<B) zA | (B<e) e>f e2 (d<B) |
(e<a) a>f g>e (d<c) ||
B2
A>G G2 G>A | Bd e>{g}f (e<d) B>G | A2 A>A (c<B) zG | A2
G>G G2 z ||
OUTS AND INNS. English,
Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is
unique to Charles and Samuel Thompson’s third country dance collection (London,
1773). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 57.
X:1
T:Outs and Inn’s
M:2/4
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:G
GBdg|BdBG|Acea|cecA|GBdg|BdBG|A/B/c/B/
(3AGF|G2g2:|
|:gbge|fafd|egdB|cecA|gbge|fafd|eg (f/g/a/f/)|g2 G2:||
OUVRE LA PORTE (Open the Door). Cajun, Two-Step (4/4 time). USA,
southwestern Louisiana. D Major. Standard tuning. One part. A related song is
"Lay That Pistol Down." Source for notated version: Adam Hebert (La.)
[Francois]. Francois (Yé Yaille, Chère!),
1990; pgs. 438-440. Swallow Records SW-LP6005, Adam
Hebert.
O'ER BOGIE (WI' MY LOVE). Scottish, English; Reel. England,
Northumberland. C Major (most versions): D Major (O’Farrell). Standard tuning.
AB (Kerr, Little, Plain Brown): AAB (Gow): ABB (Cranford/Holland): AABB
(Bremner, O’Farrell). The Bogie is a tributary of the River Deveron, which it
joins near Huntly in Aberdeenshire, and the surrounding area is called
Strathbogie (also the setting for the song “Bogie’s Bonnie Belle”). The melody
appears in the Drummond Castle Manuscript
(in the possession of the Earl of Ancaster at Drummond Castle), inscribed
"A Colleciton of Country Dances written for the use of his Grace the Duke
of Perth by Dav. Young, 1734," and is also contained in Robert Bremner's 1757 collection and Neil Stewart's 1761 collection (pg. 16).
“O’er Bogie” is dated to c. 1710 in The Plain Brown Tune Book, with the
suggestion that it was composed in London in response to and imitation of the
then-current vogue for Scottish and North Country tunes, later being absorbed
into tradition in northern Britain. John Glen, in his Early Scottish
Melodies (1900), dates the air to 1709 when it appeared in “Mrs. Crockat’s
Music Book.” Scots poet Allan Ramsay gave famous lyrics set to the melody which
appear in his Tea Table Miscellany
(1724) {the tune appears in Music for
Allan Ramsey’s Collection, 1728}, and Glen credits him with the
song—although Stenhouse maintained the lyrics predated Ramsay. They tell of an
elopement, with “O’er Bogie” referring to the leaving of the area for marriage
and the world beyond. Ramsey’s chorus goes:
***
I will awa' wi' my love,
I will awa' wi' her,
Tho' a' my kin had sworn and said
I'll o'er Bogie wi' her.
***
Reel
versions of the tune “have long been played,” states Glen. As with many
Scottish songs, the title appears in Henry Robson's list of popular
Northumbrian song and dance tunes ("The Northern Minstrel's Budget"),
which he published c. 1800. The melody is also known throughout the Shetlands
as "Ower Bogie." Bremner (Scots
Reels), c. 1757; pg. 90. Carlin (Gow
Collection), 1986; No. 473. Cranford (Jerry Holland: The Second
Collection), 2000; No. 78, pg. 31 (learned from Cape Breton pianist Mary
Jessie Gillis). Gow (Complete Repository),
Part 2, 1802; pg. 21. Gow (The Vocal Melodies of Scotland). Kerr (Merry Melodies), vol. 2; No. 83, pg. 11.
Little (Scottish and Cape Breton Fiddle
Music in New Hampshire), 1984; pg. 3. O’Farrell (Pocket Companion, vol.
III), c. 1808; pg. 62. Plain
Brown Tune Book, 1997; pg.
4. MacDonald (Athole Collection),
1884. Green Linnet SIF‑1094, Capercaillie ‑
"Sidewaulk" (1989). Wildcat Records WILDCD 101, Ronan Martin –
“Ronan Martin” (2008. Learned from Amy Geddes).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music
Index: An Index to Recorded Sources
|
X:1
T:O’er Bogie
M:C|
L:1/8
R:Reel
B:MacDonald – The Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:C
A|c2cA cGGA|cdcA
G2Gc|Addc dega|gedc A2GA|c2cA cGGA|
cdcA GAcG|Addc
dega|gedc A2GA||c2ge c2ge|cdcA GAcG|
Addc dega|gedc A2GA|cgeg cgeg|cdcA
GAcG|Addc dega|gedc A2G||
X:2
T:O’er Bogie
M:C
L:1/8
R:Reel
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:D
(AB) | d>ddB
dAAB | d>edB {B}A3A | Beed e>fgb | a>fed B2 :|
|: (A/>B/) | dd fa dd (f/g/)a | dedB
A3A | Beed e>fgb | afed B2 :|
X:1
M:C
L:1/8
R:Reel
B:Bremner – Scots Reels (c. 1757) pg. 90
Z:AK/Fiddler’s Companion
K:C
cdcA cGGA | cdcA
GAcG | A(dd)c dega | gedc “tr”A2 GA :|
|: c2 (g/f/e) cg
(e/f/g/e/) | cdcA GAcG | A(dd)c dega | “tr”(ge)dc “tr”A2 GA :|
O'ER BOGIE, KIRK WAD LET ME BE. Scottish. The tune was used by
Allan Ramsay in his ballad opera The
Gentle Shepherd (1725).
OVER BY THE ISLANDS TO AMERICA WE GO (‘Null air na h’ eileanan dh’America
gun teid sinn). Scottish, Slow Air (4/4 time). G Major. Standard
tuning. AABB. Morison (Highland Airs and
Quicksteps, vol. 2), c. 1882; No. 20, pg. 10.
X:1
T:Over
by the Islands to America we go
T:’Nill
air na h’ eileanan dh’America gun teid sinn
M:C
L:1/8
R:Air
N:”Slow,
or ad lib.”
S:Morison
– Highland Airs and Quicksteps, vol.
2, No. 20 (c. 1882)
Z:AK/Fiddler’s Companion
K:G
B3
A/G/ {B}AD DE | AD DE A2A2 | {D}B3 A/G/ AD DG | EC CE G2G2 |
{D/c/}B3A/G/
{B}AD DE | AD DE A2A2 | {D}B3A/G/ AD DG | EC CE G2G :|
|: c |
B>d A>G A>D Dc | B<d A>G A2 A>c | Bd AG AD DG | EC CE G2 Gc |
B>d
AG A>D Dc | Bd AG A2A2 | {B/c/}dB cA {c}BG Ac | EC CE G3 :|
O’ER HIGH, HIGH HILLS AND LOFTY MOUNTAINS.
Irish, Air (6/8 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 836, pg.
209.
X:1
T:O’er
high, high hills and lofty mountains
M:6/8
L:1/8
R:Air
S:Standford/Petrie
(1905), No. 836
Z:AK/Fiddler’s
Companion
K:G
G |
c2c B2A | G2A E2G | D2E G>AB | A2G G2 A/B/ | c2c B2 A/G/ |
A2B
E2G | D2E G>AB | A2G G2 || G | G2B d2d | c2d B2G | c2c B2A |
G2E D3
| d2e B2A | G2A E2G | D2E GAB| A2G G2 ||
OVER LAND AND SEA. American, Jig. E Minor ('A' part) & D Mixolydian
('B' part). Standard tuning. AABB. Composition credited to one J. Hand in
Ryan’s Mammoth Collection. New York City writer, researcher and musician Don
Meade believes this refers to one of two fiddler brothers, James and Johnny
Hand, active in the Massachusetts area in the mid-19th century, to
whom several tunes in the collection are attributed. Awkward. Cole (1000 Fiddle Tunes), 1940; pg. 68. Ryan’s Mammoth Collection, 1883; pg. 98.
X:1
T:Over
Land and Sea
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E
Minor
d |
EDE FDE | FDd BAF | B>EE E>FA | BEE E2F | E>DE FDF |
ABc
dAF | A>DD D>ED | A>DD D2 :: A | def edB | AFA d2c |
Bee
BAF | Bee e2A | def edB | dAG FGE | DFA deg | fdd d2 :|
OVER THE BOG ROAD. AKA and see
"Captain Kelly('s)/Kelley
Reel [1]," “Father
Kelly’s (Reel) [3],” “The
Hurricane’s Victory.” Irish, Reel. G Major. Standard tuning. AABB. Source
for notated version: fiddler Fred Finn (1919-1986, Kiltycreen, Killavil, County
Sligo) [Flaherty]. Flaherty (Trip to
Sligo), 1990; pgn 81 (appears as “Unknown”). Shanachie
Records, De Dannan - “Jigs, Reels and Songs.”
X:1
T:Over
the Bog Road
R:Reel
M:4/4
L:1/8
K:G
GEDE
~G3A|B2gd BGG2|AGEG ~A3B|d2gd B2AB|!
GEDE
~G3A|B2gd BGG2|degd e2ge|dBAc BGG2:|!
gede
~g3a|bgaf ged2|ageg ~a3b|c'abg agef|!
gede
~g3a|bgaf ged2|efgd e2ge|dBAc BGG2:|!
OVER THE BORDER [1]. AKA and see "(All the) Blue Bonnets
Over the Border [1]," "Blue
Bonnets [2]." Scottish, Jig. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1, c. 1880’s; No.
17, pg. 32.
X:1
T:Over
the Border [1]
M:6/8
L:1/8
R:Jig
S:Kerr
– Merry Melodies, vol. 1, No. 17 (c.
1880’s)
Z:AK/Fiddler’s Companion
K:G
G3G3|GBA
GED|G>EE E2D|edB A2B|G3G3|GBA GED|c>de (d<g)G|GAB {B}A2G:|
|:GBd
dBG|edB BAG|GBd efg|GAB BAG|GBd dBG|edB BAG|EGE DEF|GAB ABA:|
OVER THE BORDER [2]. English, Slip Jig. England, Northumberland. G Major.
Standard tuning. AABBCC. Bruce & Stokoe (Northumbrian Misntrelsy), 1882; pg. 183.
X:1
T:Over the
Border
L:1/8
M:9/8
S:Bruce &
Stokoe – Northumbrian Minstrelsy
(1882)
Z:AK/Fiddler’s Companion
K:G
B2G B/A/B/c/d/e/
gdB | dgf dgB de/f/g | B2G B/A/B/c/d/e/ gdB | c>dc gec e2g :|
|: gdB de/f/g/f/
g/f/e/d/f | dgf dgB de/f/g | fdB de/f/g/f/ g/f/e/d/B | c>dc g/f/e/d/c e2g :|
|: G>AB/c/
dgf dgB | dgf dgB de/f/g | G>AB/c/ dgf dgB | c>dc g/f/e/d/c e2g :|
|: f2d dB/c/d d2B/c/d | gB/c/d gB/c/d fdg
| f2d dB/c/d gdB | c>dc g/f/e/d/c e2g :|
OVER THE BORDER [3].
See “Scotsman Over the Border.”
OVER THE BORDER--MEXICAN WAR. American, March (2/4 time). USA,
southwestern Pa. A Mixolydian. Standard tuning. AABB. Bayard (1981) identifies
this as a version of a quickstep march in Aird (Selections), 1778, vol. 1, No. 166. It is not related to the
Scottish melody "(Blue Bonnets) Over the Border," except by
similarity of title. Source for notated version: Hoge MS., No. 65 (a fife MS
from southwestern Pa.) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 222, pgs. 178‑179.
OVER THE BRIDGE TO
BEETA. AKA and see “Limerick Lasses [2]."
OVER THE BRIDGE TO BETTY. AKA and see “Limerick Lasses [2]."
OVER THE BRIDGE TO PEGGY [1]. Irish, Reel. D Mixolydian. Standard
tuning. AAB (Roche). A tune was by this title was published by Padraig Mac Aodh
O’Neill in his Songs of Uladh,
collected by him in 1903 in Donegal from the playing of an elderly Fanad,
Kilmacrennan, Donegal, farmer and schoolmaster named Proinseas Mac Suibhne.
Similar to “Kitty in the Lane [1].” Roche Collection, 1982, vol. 3; No. 82,
pg. 25. Providence (1st recording).
OVER THE BRIDGE TO PEGGY [2] (Tarsna/Treasna an Droiciod Go Mairgreadin). Irish,
Reel. D Major. Standard tuning. AB. See also Cathal McConnell’s “John/Johnny Loughran’s.” Source for
notated version: Chicago
police patrolman, piper and flute player John Ennis, originally from County
Kildare [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1234, pg. 232. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 508, pg. 96.
X:1
T:Over
the Bridge to Peggy [2]
M:C|
L:1/8
R:Reel
S:O’Neill
– Dance Music of Ireland: 1001
Gems (1907), No. 508
Z:AK/Fiddler’s Companion
K:D
dB|AFdB
AFDF|AFdB A2 dB|AFdB ABde|fedf e2 dB|
AFdB
AFDF|AFdB A2de|faaf gece|dBAF D2z2||defg abaf|
gage
abaf|defg abaf|bgaf e2d2|defg a2 af|bagb a2 af|gfeg f2 dc|egfd efdB||
OVER THE BRINY OCEAN. Canadian, Jig. Canada, Prince
Edward Island. G Major. Standard tuning. AA’BB’. Source for notated version: Stephen Toole (1927-1995, Green
River, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 150.
OVER THE BROKEN BRIDGE. AKA and see “Crossing the Fence,” “McGlinchey’s (Hornpipe),” “Over the Fence.” Irish, Hornpipe. The tune appears
under this title on the Folan/Davey CD.
OVER THE CABOT TRAIL JIG. Canadian, Jig. Canada, Cape Breton.
A Major. Standard tuning. AABB. Composed by Mabou Coal Mines, Cape Breton, Nova
Scotia, fiddler Donald Angus Beaton (b. 1912), an exemplar of the Mabou Coal
Mines style of fiddling (Shears). The Cabot Trail is a spectacularly scenic
route through Nova Scotia and Cape Breton Island, named for the explorer John
Cabot (who, while he explored for the English was in fact a Portugeuse named
Cabato). Shears (Gathering of the Clans Collection, vol. 1),
1986; pg. 75. Rounder 7011, "The Beatons of Mabou:
Scottish Violin Music from Cape Breton" (1978).
OVER THE CALLOWS. AKA and see “Buttermilk
Mary [3],” “Coleman’s Favourite,”
“Fond of the Ladies,” “The Frolicksome Dame,” “A Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,”
“Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche),
“Sweet Biddy Daly,” “To the Ladies.”
OVER THE DYKE AND AT HER [1]. English, Reel. England,
Northumberland. F Major. Standard tuning. AABBCC. "This has some phrases
in common with 'O'er the Dyke' in Peacock's Tunes (c. 1800, reprinted 1980).
Peacock's note values are double those of Vickers‑‑but it is a
fairly distant relative. The first strain is especially unusual in its
ambiguity between F Major and D Minor" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 440.
O'ER THE DYKE (AND AT HER, LADDIE) [2].
English, Reel. England, Northumberland. G Major. Standard tuning. AABBCC. The
title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
Peacock (Peacock’s Tunes), c.
1805/1980; No. 45, pg. 20.
OVER THE FENCE. AKA and see “Crossing
the Fence,” “McGlinchey’s
(Hornpipe),” “Over the Broken Bridge.”
Irish, Hornpipe.
OVER THE GARDEN WALL. American, Jig. G Major. Standard
tuning. AB. Source for notated version: Harvey Taylor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 374.
OVER THE HILL (Thar an gCnoc). AKA and see "Up against the Boughalauns,"
"The Early Breakfast," "Larry Redigans/Redican’s
(Reel) [1]," "Miss
Lyon’s Fancy." Ireland, Reel. D Major. Standard. AABB. Source for
notated version: piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland)
[Breathnach]. Breathnach (CRÉ I),
1963; No. 158, pg. 62. Green Linnet SIF‑1084,
Eugene O'Donnell ‑ "The Foggy Dew" (1988). Rounder 0175, James
Bryan ‑ "Lookout Blues" (1983).
OVER THE HILL TO TIPPERARY. AKA and see "Tipperary Hills."
OVER THE HILLS. AKA and see “Man
in the Moon [3],” “Old as the
Hills [2].” Irish, Jig. E Minor. Standard tuning. AABB'. Allan's Irish Fiddler, No. 30, pg. 8.
X:1
T:Over
the Hills
M:6/8
L:1/8
R:Jig
S:Allan’s Irish Fiddler, No. 30
Z:AK/Fiddler’s Companion
K:E
Minor
(d/^c/)|BGE
{G}EDE|BAB d^cB|AFD DED|AFA d^cd|BGE {G}EDE|
BAB
d^cd|edB AFD|EFE E2::(3B/c/d/|e)fee dB|ede gfe|ded dAF|
EFA
d^cd|efe edB|1 ede gfe|d^cB AFD|EFE E2:|2 gbg faf|edB AFD|EFE E2||
OVER THE HILLS AND AWAY. American, Jig. D Major. Standard tuning. AABB. The melody appears to be
a variant of the Scottish tune “Drummond
Castle,” and is quite similar in the ‘A’ part.
X:1
T:Over the Hills and Away
M:6/8
L:1/8
R:Jig
S:William Sidney Mount (1807-1868) manuscripts
N:Mount notes on his manuscript page “As played by W.
S. M.”, and apparently he is
N:claiming this as his own version. Handwritten at the
bottom of the page is “Newburgh
N:(New York) Sept. 9, 1843.”
Z:Transcribed by Andrew Kuntz
K:A Mixolydian
E | ABA a>ef | g>fe dBG| ABA a2e | c’ba efg |
(ab/a/g/f/) ga/g/f/e/ | dge dBG | ABA aef | edB A2 :|
|: e |
cea cea | Bdg dBG| cea Bdg | cea efg |
(ab/a/g/f/) (ga/g/f/e/) | dge dBG | ABA a2e | f2e dBA :|
O'ER THE HILLS AND FAR AWAY [1]. Scottish. Robin Williamson says his
version is the ancient tune, which King James IV took with him when he gained
the English throne, and printed at the time as the tune to the ballad "The
Elphin Knight" (see Child). Flying Fish, Robin
Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."
OVER THE HILLS AND FAR AWAY [2]. AKA and see "The wind has blawn my plaid
away." English, Scottish, American; March, Air and Country Dance Tune
(2/4 time). England, Northumberland. USA, New England. G Major (Aird, Johnson):
D Major (most versions). Standard tuning. AB (Johnson, Plain Brown):
AABB (most versions): AABBCCDD (Aird). The melody has recognizably been in use
in the 20th century for the nursery rhyme "Tom, Tom, the Piper's
Son," and was probably written in England around 1700 according to one
source. Kidson (1922), however, identifies the tune as Scottish and says one
early version is called "The wind has blawn my plaid away." As a song
air it was popular enough to have been parodied in air 16 of John Gay's Beggar's Opera (1729, where it appears
under the title "Were I laid on Greenland's coast", Air XVI), and had
been earlier included by D'Urfey in Pills
to Purge Melacholy (1709) and in the play The Recruiting Officer (1706). In fact, it was included, sometimes
under different titles, in several ballad operas in the 18th century (Pulver,
1923), as it later was in Andrew Barton's ballad opera The Disappointment (New York, 1767) as the melody for air 8. The
melody was printed as a country dance in The
Dancing Master, volume II, 2nd edition (London: Printed by W..., Church,
1714) and again in Walsh's Country
Dancing Mater, book II (1719). It was commonly played by the English during
the French Wars of 1793‑1815, "especially as loth‑to‑depart,
one of the tunes traditionally used when a regiment left its cantonments"
(Winstock, 1970; pg. 38).
***
“Over
the Hills and Far Away” enjoyed widespread popularity throughout Britain. It
appears in many musicians’ manuscripts, including those of J.S.J. Jackson
(Wyresdale, Lancashire, 1823), Wolsnoume (Lancashire, 1798), John Moore
(Tynesdale, 1841), and James Winder (Wyresdale, Lancashire, 1835). In
Northumberland it is listed, although one of the "missing tunes," in
William Vickers' 1770 manuscript The
Great Northern Tunebook. The title appears in Henry Robson's list of
popular Northumbrian song and dance tunes ("The Northern Minstrel's
Budget"), which he published about 1800.
***
As
with many popular English airs, it was transported to Colonial America where it
shows up in several musicians’ copybooks. Clement Weeks' (Greenland, New
Hampshire) copied it into his manuscript collection of country dances in 1783,
the figures of which reappear in the English publication Twenty-Four Country Dances for the Year 1795 (London, T. Dodd,
1795). American musician Henry Beck similarly included it in his German flute
MS of 1786, and it appears in the music copybook of Henry Livingston, Jr. The latter purchased the estate of Locust
Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major
in the 3rd New York Regiment, which participated in Montgomery’s
invasion of Canada in a failed attempt to wrest Montreal from British control.
An important land-owner in the Hudson Valley, and a member of the powerful
Livingston family, Henry was also a surveyor and real estate speculator, an
illustrator and map-maker, and a Justice of the Peace for Dutchess County. He
was also a poet and musician, and presumably a dancer, as he was elected a
Manager for the New York Assembly’s dancing season of 1774-1775, along with his
3rd cousin, John Jay, later U.S. Chief Justice of Governor of New
York. O’Neill prints it in Waifs and Strays (1922), along with the words:
***
Gay
Robin was a piper young,
and many an air he played and sung
But sweetest far the love fraught lay
'Over the hills and far away'
***
Aird (Selections), vol. II, 1782; No. 29, pg.
11. Callaghan (Hardcore English),
2005; pg. 45. Johnson (The Kitchen
Musician No. 14: Songs, Airs and Dances of the 18th Century),
1997; pg. 13. Kerr (Merry Melodies),
vol. 1; No. 9, pg. 26. Kerr (Merry
Melodies), vol. 3; No. 420, pg. 47. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 55. Plain Brown
Tune Book, 1997; pg. 33. Raven (English
Country Dance Tunes), 1984; pg. 55.
X:1
T:Over the Hills
and Far Away [2]
M:4/4
L:1/8
S:Capt. F.
O'Neill
Z:Paul Kinder
R:March
K:D
AB|d3 e defe|d2 B2
B2 AB|d3 e defd|f2 e2 e2 AB|
d3 e defe|d2 B2
B2 d2|ABAG ABde|f2 e2 e2||
fg|a3 b afef|d2
B2 B2 fg|a3 g f2 ed|f2 e2 e2 fg|
a3 b afef|d2 B2
g3 B|A2 AB ABde|f2 e2 e2||
X:2
T:Over the Hills
and Far Away [2]
M:4/4
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:G
DE | G3A
B>ABA | G2E2E2 DE | G3A GABG | B2A2A2 DE |
G3A GABA | G2E2
c4 | E2D2 (DE)(GA) | B2 A2 A2 :|
|: Bc | d3e dcBA
| G2 E2E2 Bc | d3e dBAG | B2A2 A2 Bc |
d3e dcBA | G2E2
c4 | E2D2 DEGA B2A2 A2 :|
|: DE | GABA
GABA | G2E2E2 DE | GABA GABG | B2 A2A2 DE |
GABA GABG | AGFE
c4 | E2D2 DEGA | B2A2A2 :|
|: Bc | dgfe
dBAB | G2E2E2 Bc | dbfe dBAG | B2A2A2 Bc |
dgfe dcBA | G2
E2 c4 | E2D2 DEGA | B2A2A2 :|
OVER THE HILLS AND FAR AWAY [3]. AKA and see "Green Grow the Rushes O."
American, March. G Major. Standard tuning. AB. The title in this case is a
floating title in southwestern Pennsylvania fife tradition for the tune
"Green Grow the Rushes O." Sources for notated versions: five southwestern
Pa. fifers [Bayard]. Aird (1782-1785). Bayard (Dance to the Fiddle), 1981; No. 206H‑M, pgs. 160‑162.
X:1
T:Over
the Hills and Far Away
Z:Dan
Mozell
M:C
L:1/8
K:G
Major
DE |
G3 A G>ABA | G2 E2 E2 DE | G3 A GABG | B2 A2 A2 DE | G3 A GABA |
G2 E2 c4
| E2 D2 DEGA | B2 A2 A2 :||: Bc | d3 e dcBA | G2 E2 E2 Bc |
d3 e
dBAG | B2 A2 A2 Bc | d3 e dcBA | G2 E2 c4 | E2 D2 DEGA | B2 A2 A2 :||:
DE |
GABA GABA | G2 E2 E2 DE | GABA GABG | B2 A2 A2 DE | GABA GABG | AGFE c4 |
E2 D2
DEGA | B2 A2 A2 :||: Bc | dgfe dBAB | G2 E2 E2 Bc | dgfe dBAG |
B2 A2
A2 Bc | dgfe dcBA | G2 E2 c4 | E2 D2 DEGA | B2 A2 A2 :||
OVER THE HILLS AND FAR AWAY [4] (De Bharr na gCnoc is in Imigéin). AKA
and see “Wee Geordie has Lost his Plinker.” Irish, Polka. G Major. Standard
tuning. AB. Although the tune was untitled in the original manuscript,
Breathnach recognized it as a version of “Over the Hills” and said the
following words were sometimes sung for children to it by Anna Lyons in Dublin:
***
When I was young I had no sense,
I bought me a fiddle for eighteen pence;
And the only tune that it would play
Was ‘Over the Hills and Far Away’.
***
In
Northumbria, states Breathnach, the chorus of another song set to it is “Wee
Geordie has Lost his Plinker,” where the word plinker refers to a marble. Source for notated version: a
manuscript written by or in the possession of David Collins (Abbeyfeale, County
Limerick) [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 82, pg. 43.
OVER THE HILLS TO GLORY. AKA and see "Lass o' Gowrie [1]," "Loch Erroch Side," “Loch Ericht Side,” "I'm O'er Young to Marry Yet
[3]," "Lakes of Sligo,"
“Niel Gow's Second Wife [1],”
"Rocky Road to Dublin [4]"
(Pa.), “Tom Billy’s (Polka) [2].”
English, Schottische. D Major (Kennedy, Raven): G Major (Carlin). Standard
tuning. AABB. The melody is popular in England, Scotland and Ireland, and is
rendered variously as a polka, schottische, fling etc., and sometimes even set
as a jig. The title “Over the Hills to
Glory” is English. It may be a variant of “Old Mrs. Cuddledee.” “Over the hills
to glory” is a phrase associated with an incident in southern England. In 1873
sixteen women from Ascott-under-Wychwood were imprisoned for a short time for
their part in forming an agricultural workers union, in helping to prevent
“scabs” from replacing their men on the farm. Known as the ‘Ascott Martyrs’ the
women garned much public sympathy and quite a bit of press, before hastily
being pardoned by Queen Victoria. A placard on the village green reads: “This
seat was erected to celebrate the centenary of the Ascott Martyrs, the 16 women
who were sent to prison in 1873 for the part they played in the founding of the
Agricultural Workers Union when they were sent ‘over the hills to glory’.”
Source for notated version: a 1946 recording of Anglo-German concertina player
and morris dance musician William Kimber (Headington Quarry) [Callaghan].
Callaghan (Hardcore English), 2007;
pg. 89. Carlin (Master Collection),
1984; No. 43, pg. 35. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No.
45; pg. 23. Raven (English Country Dance
Tunes), 1984; pg. 188. Sharp (Country
Dance Tunes), 1911‑1922, Set 1, pg. 14. Topic
Records TSCD 659, Voice of the People 09, “Rig-a-jig-jig: Dance Music of the
South of England” (various artists). Topic 12TS249, “The Art of William
Kimber.” Wildgoose Records WGS296CD, Tim Laycock – “Fine Colours.”
OVER THE ISLES TO AMERICA. See "Null Thar nan Eileanun, etc."
OVER THE MOONLIGHT SEA. Scottish, Waltz. D Major. Standard
tuning. AABB. Kerr (Merry Melodies),
vol. 3; No. 434, pg. 49.
X:1
T:Over
the Moonlight Sea
M:3/4
L:1/8
R:Waltz
S:Kerr
– Merry Melodies, vol. 3, No.
434 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A2(A3d)
| (dc) c4 | G2(G3B) | (BA) A4 | F2 (B3A) | (A^G)=G4 | G2(F3E) | B2A4 :|
|:f2e2d2
| dBe4 | e2d2B2 |^Gad4 | (fd)(dA)(AF) | (Ge)e4 | e2B2c2|e2d4 :|
OVER THE MOOR. English, Waltz. D Major. Standard tuning. AABB.
Kennedy (Fiddler’s Tune Book), vol.
2, 1954; pg. 32. Raven (English Country
Dance Tunes), 1984; pg. 139.
OVER THE MOOR AMONG THE HEATHER. AKA ‑ "O'er the Muir
Amang the Heather." AKA and see "Aldivalloch,"
“Aldavaloch.” Scottish; Air, Country Dance Tune, Reel or Strathspey: English,
Reel. England, Northumberland. G Major. Standard tuning. AAB (Gow): AABB
(Bremner, Honeyman, Kerr, O’Farrell, Vickers): AABB' (Johnson). The melody
appears in the Bodleian Manuscript
(in the Bodleian Library, Oxford), inscribed "A Collection of the Newest
Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M.,
1740." It also appears in Robert
Bremner's 1757 collection and in the Gillespie
Manuscript of Perth (1768). Apparently song (air) versions of the tune were
earliest. However, it was current as a reel in the early 18th
century, Johnson (1984) tells us, while the strathspey version he gives appears
to have been fashioned c. 1760. The air form probably had risqué or bawdy words
attached to it, he believes. Cazden (et al, 1982) identifies the melody as
probably derived from "The Boyne
Water [1]" family of tunes, on the strength of the identifying motif
of the 'B' phrase opening its second section. Slow versions of the tune go by
the name “Aldavaloch.” The present version of the air/strathspey, with words by
Jean Glover, is difficult to sing because of the wide range, notes Cape
Breton’s Paul Stewart Cranford, who suggests it is best suited to the violin.
“O’er the Moor Among the Heather” was a great favorite of Cape Breton fiddler
Bill Lamey’s, notes Mark Wilson (2005). Source for notated version: Stewart, Reels (c. 1761‑65). Bremner (Scots Reels), 1757; pg. 77. Carlin (The Gow Collection), 1986; No. 382. Gow
(Complete Repository), Part 3, 1806;
pg. 15. Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; pg. 13. Johnson (Scottish
Fiddle Music in the 18th Century), 1984; No. 78, pg. 226. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2.
Kerr (Merry Melodies), vol. 2; No.
109, pg. 14. O’Farrell (Pocket Companion, vol. III), c. 1808;
pg. 33. Ryan’s Mammoth Collection, 1883;
pg. 169. Seattle (William
Vickers), 1987, Part 2; No. 287. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and
Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977”
(2000). Rounder
Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle
Music in the Classic Inverness County Style” (2005). Rounder Records 7057,
Jerry Holland – “Parlor Music” (2005).
X:1
T:O’er
the Moor Amang the Heather
M:C|
L:1/8
S:Gow
– 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:G
D<(GG)A
G>AGD|E(AA>)B A>BAG|GABc de/f/ gd|(e/f/g) B>g A>BAG:|
G(gg>)a
g>agd|e(aa>)b a>bag|bagf (de/f/ gd|(e/f/)g Bg A>BAG|G(gg>)a
g>agd|
e(aa>)b
a>bag|(b/a/g) (a/g/f) de/f/ gd|(e/f/g) dB A>BAG||
X:2
T:O'er the Muir
amang the heather. a Reel.
R:reel
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones
[Ed.]
K:G
(B/c/) |
d<GB>G FAA(B/c) | d<GB<G d>Gc>e | dGBG FAA(B/c/) | dGB>A
G2 G :||: d | g>db<g f<aa>b | g<db<g e<gd<B |
c<aB<g
A>Bc>e | d<GB>A G2 (Gd) | g>db>g (f<aa>b) |
g<db<g e<gd<B | c<aB<g A>Bc>e | d<gaf g2 g |]
OVER THE MOOR TO BETTY. English, Reel. England,
Northumberland. D Major. Standard tuning. AABB. "This has some similarity
with 'O'er the Muir to Ketty' (in one of Gow's collections), but Gow's version,
a Scotch Measure, has Vickers' note values expanded so that one bar in Vickers
is equivalent to two in Gow's" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 410.
O'ER THE MUIR TO KETTY. Scottish, Scots Measure. D Major.
Standard tuning. AABB. Carlin (The Gow
Collection), 1986; No. 199. Gow (Complete
Repository), Part 3, 1806; pg. 3. McGlashan (Collection of Scots Measures), 178?; pg. 14.
X:1
T:O’er
the Muir to Ketty
M:C|
L:1/8
R:Scots
Measure
B:McGlashan
– Collection of Scots Measures (178?)
Z:AK/Fiddler’s Companion
K:D
FE|D3F
A>BAF|A2d2d3A|Bcde f2 ed|e2E4 FE|D3F A>BAF|A2 de d3A|
BcdB
edce|d2 D4 FE|D3F A>BAF|A2 de c3A|Bcde f2 ed|e2 (E2 E)GFE|
D3F
A>BAF|A2 de c3A|BcdB edce|d2D4||de|fedc BAGF|B2d2d3F|G3A BAGF|
E2 e4
ag|fedf edce|dcBA BAGF|EFGE AGFE|D2 d4 de|fedc BAGF|B2de d3F|
GFGA
BAGF|E2e4 ag|fedf edce|dcBA BAGF|E/D/E/F/ GB AGFE|D2 d4||
OVER THE MOOR TO MAGGIE [1]. Irish, Hornpipe. D Major. Standard
tuning. AABB. Roche Collection, 1982,
vol. 2; No. 230, pg. 17.
X:1
T:Over
the Moor to Maggie [1]
M:C|
L:1/8
R:Hornpipe
S:Roche
(II, 230)
Z:AK/Fiddler’s
Companion
K:D
F/E/ |
DD/E/ FE/D/ | Ee ed/e/ | f/e/d/B/ A/F/E/F/ | D/E/F/A/ d/B/A/F/ |
DD/E/
FE/D/ | Ee ed/e/ | f/e/d/B/ A/F/E/F/ | Dd d :: z |
dg
f/g/a/f/ | d/e/f/g/ ag/f/ | e/f/g/a/ b/a/g/f/ | e/f/g/a/ ba |
g/f/g/a/
b/a/g/f/ | g/f/e/d/ B/c/d/B/ | A/F/d/B/ A/F/E/F/ | Dd d :||
OVER THE MOOR TO MAGGIE [2] (Treasna an Riasc Go
Mairgreadin). AKA and see “The
Green Meadow(s) [1],” “Kittie’s
Wedding,” “Peggy’s Wedding [2],”
“Waynesburgh,” “The Willow Tree [5].” Irish, Reel. G
Major. Standard tuning. AAB (Mitchell): ABC (O’Neill): AABBCC (Mallinson,
Taylor): AA’BB’CC (Taylor/Tweed). Not Breathnach's "Over the Moor to
Peggy." The melody is associated with Clare uilleann piper Willie Clancy,
who recorded it in 1967. So influential was he that the third part of the tune
(although clearly predating him in O’Neill) is sometimes attributed to him
(although Pat Mitchell’s transcription of Clancy’s version of the tune has but
two parts). P.W. Joyce printed a close variant of the tune as “Peggy’s Wedding”
in 1909. Reports are that an ancestral tune appears in County Fermanagh’s Gunn
manuscripts, dating from 1865, under the title “Rakes of Abeyfale” (Abbeyfeale
is a town in extreme west County Limerick). “Waynesboro” and “Ladies in the
Ballroom” are American cognate tunes. Sources for notated versions: piper
Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance
music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; New Hampshire
fiddler Rodney Miller [Taylor/Tweed]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 72. Giblin (Collection of Traditional Irish Dance Music),
1928; 8. Mallinson (Essential), 1995;
No. 56, pg. 25. Mitchell (Dance Music of
Willie Clancy), 1993; No. 120, pg. 99. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 786, pg. 136. Ruth (Pioneer
Western Folk Tunes), 1948; No. 88, pg. 32. Taylor (Traditional
Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 22. Taylor (Music for the Sets: Blue Book), 1995;
pg. 24. Laurie Andres - “Fantastic Hornpipe: Fiddle
Tunes on Accordion and Piano” (1991). “Music at Matt Molloy’s.”
X:1
T:Over
the Moor to Maggie [2]
M:C
L:1/8
K:G
BA|G3
A BA (3Bcd|efge dBAG|EAAG ABAG|EAAG AcBA|G3A BA (3Bcd|
efge
dBAG|EG G2 BGAG|EGGFG::ga|bg g2 agef|g2 fg edBd|
eaag
abag|eaag a2 ga|bg g2 agef|g2 fg edBd|eg g2 bgag|eggf g2:|
|:(3Bcd|efge dedB|cdcA B2 AG|EAAG
ABAG|EAAG A2 (3Bcd|
efge dedB|cdcA B2 AG|EG G2 BGAG|EGGF
G2:||
OVER THE MOOR TO MAGGIE [3]. Scottish, Country Dance Tune (cut time). D
Major. Standard tuning. AABB. A melody by this name is contained in the 1768 Gillespie Manuscript of Perth. Aird (Selections of Scotch, English,
Irish and Foreign Airs), vol. II, 1785; No. 192, pg. 72.
X:1
T:O’er the Muir
to Maggy [3]
M:C|
L:1/8
S:Aird, vol. II
(1785), No. 192, pg. 72
Z:AK/Fiddler’s Companion
K:D
f>e |
d2B2g2B2 | A2a4 fe | d2B2G2B2 | d2g2d3B | c2e2B2g2 | agfe (f>gaf) |
gage dBGB | d2
g2 g2 :: “tr”f>e | dBdB G3B | A2 a4 fe | dBgB GABc |
dgfe dedB | cfdA BdBG | Aaga
“tr”(f>ga)f | gage dBGB | d2g2g2 :|
OVER THE MOOR TO PEGGY (Trasna an Mhóinteáin go Peige). AKA
and see “Arboe [2],” "Come West Along the Road,"
"Bog Siar an Bóthar (Come West Along the Road),” “The Monasteraden Fancy." Irish,
Reel. G Major. Standard tuning. AB (Breathnach). A different tune than the
Northumbrian "Over the Moor to Betty" and the Irish "Over the
Moor to Maggie." O’Neill prints a version called “Come West Along the
Road,” albeit with a different second part. The tune was played by the great flutist John McKenna (b. 1880, Tents,
Tarmon, County Leitrim), who recorded it accompanied by banjo player Michael
Gaffney (b. 1896, Mullaun, Co. Roscommon). Despite being from different
counties, they were in fact neighbors in Ireland, points out Reg Hall (1995),
and only lived a mile from each other. Both emigrated to New York (in 1911 and
1915, respectively), where they paired to produce a number of successful
recordings and to entertain in the Irish dance halls of the 1920’s and 1930’s.
“Over the Moor to Peggy” is related in the first part to the family of tunes
that includes “The Ballina Lass,”
"Gearrchailiu Chontae
Mhuigheo," “The Hag’s Reel,” “Johnny When You Die [1],” “The Mayo Lasses,” “The Old Maid(s) of Galway,” “Paddy’s Gone to France,” and the
Cape Breton variant “West Mabou Reel.”
Source for notated version: flute player Tommy Hunt, 1966 (Ballymote, Co.
Sligo, Ireland) [Breathnach]. Breathnach (CRÉ
II), 1976; No. 206, pg. 107. Green Linnett
SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter"
(1981. A similar setting to the one given in Breathnach, learned from "a
rare tape" of New York fiddler Lad O'Beirne). James Kelly – “Capel
Street.” Topic TSCD602, John McKenna & Michael Gaffney – “Irish Dance
Music” (1995. A reissue of the 1925 original).
X:1
T:Over the Moor to Peggy
R:reel
Z:id:hn-reel-710
Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
d2BG DG~G2|DGBG ABce|d2BG DGBd|cBAB
c2Bc:|
|: dg~g2 egdB|dg~g2 ABcA|dg~g2 defd|cBAB c2Bc:||
OVER THE MOUNTAIN [1]. Irish, Air (3/4 time). F
Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 788, pg. 197.
X:1
T:Over
the mountain [1]
M:3/4
R:Air
L:1/8
N:”Andante”
S:Stanford/Petrie
(1905), No. 788
Z:AK/Fiddler’s Companion
K:F
c/B/
AG | A2 F c/B/ GF | G2 F B/d/ _ec | d2 cB/A/ GA/B/ | {d}c3 ||
c/B/
c_e| (d2 c)d/c/ BA | GA/B/ cd/c/ BA | G3 A/F/ c/B/G>A | F3 ||
O’ER THE MOUNTAINS [2]. Irish, Air (4/4 time). G Major.
Standard tuning. One part. O’Farrell
(Pocket Companion, vol. III), c.
1808; pg. 70.
X:1
T:O’er the Mountains [2]
M:C
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s
Companion
K:G
G/A/B/
| cBAG E2 DD | EGGG G4 | (GABc) d2 de | (cB)AG B4 |
GA(Bc)
d2 (eg) | e/d/c/B/ AG Bd g/f/e/d/ | (cBAG) E2 DD | EGGG G4 :|
..........................
OVER THE OCEAN WAVES. AKA and see "Life On the Ocean Wave."
OVER THE RIVER TO CHARLIE [1]. Irish, Scottish, English, American,
Jig or Song Tune. USA, West Virginia. G Major. Standard. AAB. The tune, states
Bayard (1981), has been extremely popular as a vocal and instrumental air since
the second half of the 18th century. Sometimes the order of the parts is
reversed, or, in vocal sets, only the second half is used. Bayard's source learned
the tune as a boy in West Virginia and related that people used to dance a
"sword dance" to it, substituting crossed broomsticks for swords.
Vocal versions of the tune (in either 6/8, 2/4 or 4/4 time) include "Billy
O'Rourke the Bouchal" (Pa.), "Mr. Grumble" (Pa.), "The
Battle of Harlaw,” "The Baffled Knight" (The Shepherd's Son),
"Sir Hugh,” and "The Earl of Errol.” Instrumental variants are
usually in 6/8 time, he says, and appear as "Miss/Mrs./Mistress/Madam Casey/Cassey,”
"Is It Silk
That's in Your Bag, My Boy" (An Sioda Ata id' Bhalluit, a Bhuachaill),
"The Brown Wallet.” Source for notated
version: James Taylor (Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 555, pg.
493.
OVER THE RIVER TO CHARLIE
[2]. AKA ‑ "Over the Water To
Charlie." AKA and see "We
Prefer Our Own King," "Wha'll (Who’ll) Be King
But Charlie," "Royal Charlie,"
"Fy Buckle Your Belt,"
"More Power to Ye,"
"Behind the Bush
in the Garden [1]." Scottish (originally), Irish, American; Jig or
March. USA: southwestern Pa.; Wetzel County, W.Va. A Mixolydian. Standard
tuning. AB. Bayard (1981) feels this tune has more claim to its title than
other of the "River" or "Water" tunes, as it had Jacobite
associations prior to its first printing. The earliest version found by him is
in Capt. Simon Fraser's collection and appears as "Se'n Righ atha aguin is
fear linn" (We Prefer Our Own King), and Fraser's notes indicate that it
was known in Ireland as well as Scotland. By 1745, the high tide of the Jacobite
rebellion, the tune was disseminated enough to be called "one of the
incentives of rebellion" (Fraser) and soon became associated with the
anonymous lyrics "Wha'll Be King But Charlie?" by which title
instrumental versions are often known. Sources for notated versions: Emery
Martin (Dunbar, Pa., 1946) and Scott Phillips (Wetzel County, W.Va., 1930's)
[Bayard]. Bayard (Dance to the Fiddle),
1981; 557A‑B, pg. 496.
OVER THE RIVER TO CHARLEY'S. AKA and see "Chapel Hill March," "The New Rigged Ship [1]." Old‑Time,
Breakdown. USA; Missouri, Arkansas?. The tune is known in England as "The
New-Rigged Ship," while Galax, Va., fiddler Emmett Lundy called it
"Chapel Hill March."
***
Over the river to feed my sheep,
And over the river to Charley;
Over the river to feed my sheep,
On the buckwheat cakes and barley.
***
Lyrics
quoted in "Sketches and Eccentricities of Colonel David Crockett of West
Tennessee," by J.S. French, 1833 (Charles Wolfe, The Devil's Box, Sept. 1982). Rounder
0157, Art Galbraith (Springfield, Mo.) ‑ "Simple Pleasures."
OVER THE ROAD. American, March (2/4 time). USA, southwestern Pa. D
Major. Standard tuning. AABB. The tune sounds Scottish to Bayard (1981), who
thinks is could be a development of a once‑popular tune called "You're Welcome Charlie Stewart"
or perhaps a descendent from "Roy's Wife of Aldivalloch."
Source for notated version: Hoge MS. No. 15 (a fife MS. from southwestern Pa.,
1944) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 236, pg. 195.
OVER THE ROAD TO MAYSVILLE [1]. Old-Time, Breakdown. According to
John Hartford the road to Maysville, Kentucky, was travelled because it was the
nearest tobacco warehouse since there wasn’t one in Morehead. The tune was
played fast at first to denote the anticipation of hauling the weed to market,
and then slow, as when payment was made and spent getting drunk on a spree and
returning home the worse for wear. It was mentioned in a citation around 1915
by G.R. McMahon from Sevierville, Tennessee. Rounder
0351, J.P. Fraley (learned from his father). Rounder 0392, John Hartford -
“Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)”
{1996. Learned from J.P. Fraley, who had it from his father who said Ed Haley played
it}.
OVER THE ROAD TO MAYSVILLE [2]. Old-Time, Breakdown. A different
tune than “Over the Road to Maysville” [1], and related to “Old Dubuque.” Steven Green thinks the
title refers to the old Lexington-Maysville turnpike. The tune was played by
The Gully Jumpers on The Grand Old Opry, according to Sanke Chapman. Rounder 0378, Snake Chapman - “Up in Chapman’s Hollow.”
OVER THE SEA [1]. Phil Reeve and the Ga. Yellow Hammers version of
"Over the Waves"?
OVER THE SEA [2]. AKA and see "Banks of Ahasnagh," "Crossing the Bogs," “Mick Mulcahy’s [1],” “Out on the Ocean [1],” “O’Connell’s Jig on
the Top of Mount Everest,” “The Portroe
[1].”
OVER THE STONE. English, Jig. A Minor. Standard tuning. AAB. Raven (English Country Dance Tunes), 1984; pg.
120.
OVER THE STUMP AND BACK AGAIN. American, Breakdown or Reel. D
Major. Standard tuning. AABB. "The story Mrs. Armstrong tells concerning
this tune illustrates the extremely casual was in which a country dance tune
can acquire a new name. On one occasion, when the player was a small girl, her
uncle Laney Gray was sitting in their home playing this tune on his fiddle.
Someone came into the house with the news that old Dan Riffle (a local
character still well remembered by many people in the Derry neighborhood) was
trying to drive a team back and forth across a stump. The team was reluctant,
and Dan was yelling and swearing at the animals in a great passion. When Laney
heard this, he at once exclaimed, 'There's a name for my tune‑‑'Over
the Stump and Back Again!' Mrs.
Armstrong did not state that her uncle had composed this air; in all likelihood
he was merely casting about for some suitable name to give to it, and this
little incident inspired him!" (Bayard, 1944). Source for notated version:
Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No.
66.
OVER THE WATER [1]. Irish, Double Jig. G
Major/Mixolydian. Standard tuning. AB. Attributed by George Petrie (1855) to
Walter “Piper” Jackson, a famous 18th century Limerick musician.
Stanford/Petrie (Complete Collection),
1905; No. 798, pg. 199.
X:1
T:Over
the Water [1]
M:6/8
L:1/8
R:Jig
S:Stanford/Petrie
(1905), No. 798
Z:AK/Fiddler’s
Companion
K:G
A/G/ |
FDD FDD | GAG GFG | ABA AGF | G>AG GFG | ABA AGF |
cAc de=f
| cAA AGF | G3 G2 || g | fd”tr”d gd”tr”d | fd”tr”d ded | fdd gdd |
fdd
d2g | fdd aba/g/ | fdd de=f | cAA AGF | G3 G2 ||
OVER THE WATER [2].
AKA and see “Over the Water to
Charlie.” English, Jig. F Major. Standard tuning. AABB. The melody first
appears in print under this title in John Walsh’s Compleat Country Dancing
Master, volume the Third (London, 1749). It also appears in David
Rutherford’s Compleat Collection of 200 of the Most Celebrated Country
Dances (London, 1756), and in a few publications by Charles and Samuel
Thompson, including their 1757 country dance collection, and a tutor for the
hautboy (oboe) printed in 1758 and again in 1770. Cheapside, London, musician
Walter Rainstorp included it in his music manuscript copybook, begun in 1747,
as did London flute player John Simpson (1750). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 192.
X:1
T:Over the Water
[2]
M:6/8
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:F
c2c c2d|ABG FAB|cdc cAc|d3 f3|F2F FGA|B2A
G2F|fed cAc|d3 f3:|
|:f2g a2b|gaf gec|f2g aba|g3 c3|f2g aba|gaf gec|(d/e/f)d cAc|d3 f3:||
OVER THE WATER TO BESSIE. Irish. Caoimhn Mac Aoid believes
“Over the Water To Bessie” was probably obtained by Dundalk fiddler Gerry
o'Connor from Rev. Luke Donnelan’s manuscripts, published in the Louth Archaeological
Journal in the early part of the 20th century. The Reverend was a parish priest
in the south Armagh/north Louth area who collected material. The tune is
perhaps a variant of “Over the Moor to
Maggie.”
X:1
T:Over
The Water To Bessie
S:Altan
M:4/4
L:1/8
K:D
dB||A2fA
BAfA|~A2fd edef|a2fA BAfB|ABAF D3A|
A2fA
BAfA|~A2fd edef|a2fA BAfB|ABAF D3g:|
~f3d
g3e|~f3d ~e3c|defg a2ab|afed Bdde|
~f3d
~g3e|~f3d ~e3c|defg a2ab|afed BddB:|
OVER THE WATER TO CHARLIE. AKA
‑ "Charley Over the Water," "Over the River to
Charlie," "Over the Water [2]."
AKA and see "Ligrum Cush,"
"Lacrum Cosh," "The Marquis/Marquess of Granby,"
"Pot Stick," "Sean Buidhe/Bui" (Yellow John [1]) "The Shambuy/Shambuie," "Wishaw's Delight." Scottish
(originally), English, American; Air, Jig and Morris Dance Tune (6/8 time, with
an irregular measure in the 'B' part). A Major (Raven): G Major (Alewine,
Kennedy, Kerr, Mallinson): D Major (Aird, Bremner, Gibbons). Standard tuning.
AABB (x4). A Jacobite (i.e. Highland supporters of Bonnie Prince Charlie) tune
that was "improbably" introduced into British Guards regiments by
1764 (Winstock, 1970). That Winstock finds this improbable seems to be because
the last Jacobite attempt to capture the throne of England was defeated at the
Battle of Culloden in 1745, a mere nineteen years prior to the British Guards
introduction. However, memories of the rising appeared to have healed even more
quickly in the general populace of England, as evidenced by this excerpt from a
letter written by Ralph Bigland in 1749 of an entertainment on the London stage
(quoted by Emmerson, 1972):
***
I
have since I came here [London] been lately two or three
times
at the play and what invited me most was to see a
new
dance called the Scots Dance consisting of about 20
lads
and lasses dress'd after the Highland fashion. The
scene
represents a very romantic, rocky, or mountainous
country
seemingly, at the most distant view you behold a
glorious
pair (which far surpass all the other actors) sitting
among
the rocks, while the rest are dancing below among
groves
of trees. Some are also representing with their
wheels
a spinning; all the while the music plays either
Prince
Charlie's minuet or the Auld Stewarts Back Again.
At
last descends from the mountains the glorious pair
which
to appearance is a prince and princess. Then all the
actors
retire on each side while the royal youth and his
favourite
dance so fine, in a word that the whole audience
clap
their hands for joy. Then in a moment the spinning
wheels
are thrown aside and every lad and lass join in the
dance
and jerk it away as quick as possible while the
music
briskly plays--Over the Water to Charlie, a bagpipe
being
in the band. In short it was so ravishing seemingly
to
the whole audience that the people to express their joy
clap
their hands in a most extraordinary manner indeed.
***
Though the title stems from the Jacobite
era, the tune is older and has had many names (given above as alternates--see
notes for "Pot Stick" and
"Sean Buide")—Kate Van Winkler Keller (1992) identifies “Charlie” as
having been based on a 1740’s dance tune called “Potstick.” However, by the
1750's it appears in published collections with the "Over the Water"
title. Samuel Bayard (1981) maintains that at some point the tune was altered
and a new group of variations formed using the second half of the
"Charlie" tune as the first strain and adding a different second
strain. This second group is usually known as "Blow the Wind
Southerly" (after song lyrics) or "Kinloch (of Kinloch)" {a title
which first appeared in 1798 in John Watlen's Second Collection of Circus Tunes}. Early printings of the tune can
be found in Oswald’s Caledonian Pocket
Companion (book 4, pg. 7, c. 1752), the Gillespie
Manusript of Perth (1768), Jonathan Fentum’s Compleat Tutor for the
German Flute (London, 1766), and Robert Bremner's 1757 collection (pg. 16).
A three-verse version exists in the Scots
Musical Museum (1788) and it appears in Hogg’s Jacobite Relics (early 1800's). Other’s find Bayard’s argument
spurious and see little to suspect a supposed relation between “Over the Water
to Charlie” and “Kinloch/Blow the Wind Southerly” groups of tunes except a
brief bit of similar melodic material in the beginning measures.
***
"Over the Water to Charlie" was
employed variously as an accompaniment to dancing in the British Isles and was
imported as a dance tune to America. A morris dance version was collected in
the village of Bledington, Gloucestershire, in England's Cotswolds, while
country dance instructions, but not the melody, appear in the Scottish Menzies Manuscript, 1749 (contained in
the Atholl Collection of the Sandeman Library, Perth). The title appears in
Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800, and in the music
manuscript collections of Joseph Kershaw and Joshua Gibbons (see below). In
America, the tune appears in Giles Gibbs' MS collection made in 1777 in East
Windsor, Connecticut, and in the music copybook of Henry
Livingston, Jr. Livingston purchased
the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23.
In 1775 he was a Major in the 3rd New York Regiment, which
participated in Montgomery’s invasion of Canada in a failed attempt to wrest
Montreal from British control. An important land-owner in the Hudson Valley,
and a member of the powerful Livingston family, Henry was also a surveyor and
real estate speculator, an illustrator and map-maker, and a Justice of the
Peace for Dutchess County. He was also a poet and musician, and presumably a
dancer, as he was elected a Manager for the New York Assembly’s dancing season
of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York.
***
Words to the melody can be found in several
collections. The following are from the Scots national poet, Robert Burns:
***
Come
boat me o'er, come row me o'er,
Come
boat me o'er to Cherlie:
I'll
gie John Ross anither bawbee
To
boat me o'er to Charlie. ‑‑
***
Chorus:
We'll
o'er the water, we'll o'er the sea,
We'll
o'er the water to Charlie;
Come
weal, come woe, we'll gather and go,
And
live or die wi' Charlie. ‑‑
***
I
lo'e weel my Charlie's name,
Tho'
some there be abhor him:
But
O, to see auld Nick gaun hame,
And
Charlie's faes before him!
***
I
swear and vow by moon and stars,
And
sun that shines so early!
If
I had twenty thousand lives,
I'd
die as aft for Charlie.
***
And these from the Ettick Shepherd, James
Hogg (Jacobite Relics):
***
Come
boat me o'er, come ferry me o'er,
Come
boat me o'er tae Charlie
I'd
hear the call once, but never again,
Tae
carry me over tae Charlie.
***
Chorus:
We'll
over the water, we'll over the sea,
We'll
over the water tae Charlie.
Come
weel, come woe, we'll gather and go
And
live or die with Charlie.
***
I
swear by moon and stars sae bright,
And
sun that shines sae Dearly,
I
would give twenty‑thousand lives
I'd
given them all for Charlie.
***
Once
I had sons, but now I've gat nane,
I've
treated them all sae sairly.
But
I would bear them all again,
And
lose them all for Charlie
***
In old Britain it was customary to drink
to the monarch at all convivial gatherings, a custom known as the ‘loyal
toast’. Those with Jacobite sympathies
managed to make this a palatable experience by surreptitiously “holding their
glasses over the water-bottle, thereby signifying to those in the secret that
they drank to ‘The King over the Water’—to the exiled Stuart, not to the
usurping Hanoverian” (Hawkwook, 1909).
***
Sources for notated versions: John White
(Greene County, Pa., 1930's) and Thomas Patterson (Elizabeth, Pa., 1930's)
[Bayard]; the manuscript of Captain George Bush (1753?-1797), a fiddler and
officer in the Continental Army during the American Revolution [Keller]; contained
in the Joseph Kershaw manuscript—Kershaw was a fiddler who lived in Slackcote,
Saddleworth, North West England, in the 19th century, and his
manuscript dates from around 1820 onwards; the 1823-26 music mss of papermaker
and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen,
Lincolnshire Wolds) [Sumner]. Aird
(Selection of Scotch, English, Irish, and
Foreign Airs), vol. II, 1782; No. 31, pg. 12. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 28. Bacon (The Morris Ring), 1974; pg. 81. Bayard (Dance to the Fiddle), 1981; No. 556A‑B,
pgs. 494‑495. Bremner (A Collection of Scots Reels), 1757; pg. 16.
Gow (Third Collection of Niel Gow’s Reels),
1792; pg. 12 (3rd ed., appears as “Original Set of O’er the Water to
Charlie”). Hall & Stafford (Charlton
Memorial Tune Book), 1974; pg. 18. Keller (Fiddle Tunes from the
American Revolution), 1992; pg. 20. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 38. Kerr (Merry Melodies), vol. 1; No. 6, pg. 31. The
Joseph Kershaw Manuscript, 1993; No. 13 (appears as “Water & Charley”). Mallinson (Mally’s Cotswold Morris Book), 1988; No. 16, pg. 14. Raven (English Country Dance Tunes), 1984; pg.
78 (morris version). Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 20. Folk‑Legacy Records FSI‑42,
The New Golden Ring - "Five Days Singing, vol II.”
See also listings at: Jane Keefer’s Folk Music
Index: An Index to Recorded Sources
Alan Ng’s Irishtune.info |
X:1
T:Over the Water
to Charlie
M:6/8
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:D
A2A A>BG |
FGE D>FG | A>BA AFA | B3d3 | D2D DEF |
GAF E2D | dcB
AFA | B3d3 :: d2e fgf | efd ecA | d2e fgf | e3 A3 |
d2e fgf | efd
ecA | (B/c/dB) AFA | B3 d3 :: AFD AFD | BGE BGE |
AFD EFA | B3d3 |
AFD dAF | GAF E2D | fed AFA | B3d3 :: dfd dfd |
ecA acA | dfd dfd | e3A3 | dfd afd |
(c/d/e)c ecA | (B/c/d)B AFA | B3d3 :|
X:2
T:Over the Water
to Charlie
M:6/8
L:1/8
R:Jig
S:Bremner – Scots Reels (1757) pg.16
Z:AK/Fiddler’s Companion
K:D
A>BA A2G |
(“tr”F>EF) D3 | ABA AFA | B3 d3 | D>ED DEF | G2F “tr”E2D |
dcB AFA | B3
{B/c/}d3 :: d2e f2f | e2d (“tr”cBA) | d2e fdg |
“tr”e3A3 | dcd
efg | fed (“tr”c>BA) | (B/c/d)B AFA | B3d3 :|
X:3
T:Over the Water to Charlie
M:6/8
L:1/8
S:From Ann Winnington’s music
manuscript book, from the early 19th century.
N:Winnington was an American, probably a pianist, who
resided in England.
K:D
D2A AFA | B/c/dF E2D | D2A AFA | B3d3 |
D2A AFA | B/c/dF E2D | dfd ecA | d3 {B/c/}d3 :|
|: dfd ecA | (B/c/)dF E2D | dfd ecA |
B3d3 | dfd ecA | dcB AFA | D2A AFA | (B3 {B/c/}d3) :|
X:4
T:Original Set of O’er the Water to
Charlie
M:6/8
L:1/8
R:Jig
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 12 (orig. 1792)
Z:AK/Fiddler’s
Companion
K:D
D|A2A (AB).G|(FG).E D/A,/B,/C/
D/4E/4F/4G/4|A>BA AFA|B3 “tr”d3|D2D DEF|
{A}G2F {F}E2D|({B/c/}d>)cB A<FA|B2”tr”c {e}d2:||:A|”tr”d2e f2d|(ef).d
{d}cBA|
~d2e (fgf)|{f}e3 ABc|”tr”d>cd
efg|({f/g/}.a/>).g.f .e.d.c.|({B/c}d>)cB A<FA|B2”tr”c {e}d2:|
OVER THE WATERFALL. AKA and see "The Fellow/Feller That Looks
Like Me," "Punkin Head."
Old‑Time, Breakdown. USA, Virginia. D Major. Standard tuning. AB
(Silberberg): AABB (most versions). Originally from fiddler Henry Reed of Glen
Lyn, Virginia, it was learned from directly from Reed and popularized in modern
times by folklorist and fiddler Alan Jabbour. Reed himself may have learned it
from hearing it emanating from a steam-driven calliope. "Over the
Waterfall" is a melody that is fairly wide-spead throughout the British
Isles and North America, explains Jabbour, and was used both for a well-known
British-American song sometimes called "Eggs and Marrowbones" (AKA
“Old Woman from Wexford,” “Old Woman in Dover,” “Wily Auld Carle” etc.) and as
an instrumental tune. Comparison with “The Dark Girl Dressed in Blue
[2]” in O’Neill’s Music of Ireland
(1903) reveals a striking similarity between the two, and it is possible “Over
the Waterfall” was adapted from an Irish source. Others have suggested that it
may originally have been a composed piece from the turn of the century that was
spread by travelling‑circus and riverboat musicians.
***
The earliest recorded version was by Al Hopkins and the Bucklebusters in
the very last years of the 1920’s, who recorded it on a 78 RPM as “The Fellow
that Looks Like Me” (Brunswick 184).
“The Fellow that Looks Like Me” that was in the repertoire of Virginia
fiddler Stuart Lundy (son of Galax fiddler Emmett Lundy) under that
title, as well as the aforementioned Bucklebusters. Lundy died in the late
1970’s. The Hopkins family (Al is referenced above) was also originally from
Galax. The Reed version of “Over the Waterfall” has become very common among
old‑time fiddlers (indeed, it has become hackneyed), though is now
usually regarded as a beginner's tune. Kentucky fiddler J.P. Fraley plays the
tune, learned from the fiddling of his father, a somewhat more melodically
complicated version. Source for notated version: Fennigs All Stars (N.Y.)
[Brody]. Brody (Fiddler’s Fakebook),
1983; pg. 211. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 177. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 114. Sing Out,
198‑; pg. 76. Welling (Welling’s
Hartford Tunebook), 1976; pg. 4. CCF2, Cape
Cod Fiddlers – “Concert Collection II” (1999). Document 8041, Al Hopkins and
His Bucklebusters (reissue). Front Hall 01, Fennigs All Stars‑ "The
Hammered Dulcimer." Kicking Mule 202, John Burke‑ "Fancy
Pickin' and Plain Singing." Rounder 0122, Norman Blake‑ "Rising
Fawn String Ensemble."
X:1
T:Over the Waterfall
M:C|
L:1/8
S:Jay Ungar
Z:AK/Fiddler’s Companion
K:D
de|f2a2 (gf) e2|(de)dB A2 de|f2a2 (gf) e2|d3 (e d2)de|
f2a2 (gf) e2|(de)dB A2 AB|=c2 c2 B A3| G3 (A G2:|
|:FG|A2A2 B2B2|(AB)AG F2 FG|A2d2 (cd) e2|d3 e d2 FG|
AFAd BGBd|(AB)AG F2 FG|A2F2 (GF)E2|D3D
D3:|
OVER THE WAVES [1]. Old‑Time, Waltz. USA; Ala.,
Ga., Ky., Pa., Mo., S.D., La., Arizona. C Major: G Major (Guntharp): G Major
('A' part) & C Major ('B' part). Standard tuning. AABB (Guntharp): ABC
(Phillips). One modern source maintained the tune was popular in Spain in the 15th
century, while others attribute it to Strauss (The Waltz King), however,
Charles Wolfe has determined it was written by Mexican composer Juventino Rosas
(1868‑1894). He was a pure‑blooded Otomi Indian and a fiddler and
violinist so accomplished that at age 15 he obtained a job as first violinist
in a touring opera company. After a stint in the Mexican army, he wrote the
tune in 1884 as a set of waltz's called "Sobre las Olas" (Over the
Waves), which he and his band played to much
popular acclaim at the worlds fair (the “World Cotton Centennial”) in New
Orleans that same year. The melody quickly entered old time tradition and was
common in many parts of the country {Charles Wolfe, The Devil's Box, vol. 10, No. 3, September 1976}; in fact,
musicologist Charles Wolfe calls it one of the most popular fiddle tunes in
modern history" (Devil's Box,
Dec. 1982). The available literature supports this: for example, Arizona
fiddler Kenner C. Kartchner said: "(Hearing the melody was) One of my
first memories about 1893" (Shumway). Rosas performed again at the Chicago
World’s Fair in 1893 as well, and by that time his most famous composition,
“Sobre las Olas,” was famous world-wide. He died the next year in Cuba while on
tour, but is remembered in Mexico as the ‘Waltz King’, where there is a town
named after him. Originally Rosas’ tune had five parts, sometimes with an added
introduction and extended coda, however, in traditional repertory it is almost
always played as a two or three-part tune. It was also composed in the key of
‘G’, requiring position playing at the end of the first part (a key change to
‘D’ by fiddlers allows for first position playing). The tune was recorded for
the Library of Congress by musicologist/folklorist Vance Randolph from the
playing of Ozark Mountain fiddlers in the early 1940's. It appears in a list of
the repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry
Ford's champion fiddler in the late 1920's), and was heard commonly in Georgia
in the early 1920's. African-American fiddler Cuje Bertram of the Cumberland
Plateau region of Kentucky recorded the tune on a 1970 home recording, made for
his family. See also Narmour and Smith’s unusual version of the tune recorded
as “Winona Echoes.” Sources for notated
versions: Harry Daddario (Buffalo Valley region, Pa.) [Guntharp]; Kenny Baker
and Jehile Kirkhuff (Pa.) [Phillips]. Guntharp (Learning the Fiddlers Ways), 1980; pg. 106. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pgs. 290-291. Conqueror 8078, Doc Roberts
(Ky.), 1931. County 719, Kenny Baker - "Portrait of a Bluegrass
Fiddler" (1968). County 733, "The Legend of Clark Kessinger."
Decca 5041 (78 RPM), Stripling Brothers (Ala.) {1934}. Marimac 9017, Vesta
Johnson (Mo.) ‑ "Down Home Rag." Missouri State Old Time
Fiddlers' Association, Pete McMahon - "Kansas City Rag." Missouri
State Old Time Fiddlers' Association, Vee Latty (1910-1956) - "Fever in
the South." Opera 108 (78 RPM), Floyd LeBlanc, 1948 (Cajun recording). Rural
Records RRCF 251, Curly Fox (1970). Voyager VRCD 344, Howard Marshall &
John Williams – “Fiddling Missouri” (1999. Learned from his grandparents in the
1940’s and 50’s and from fiddler Taylor McBaine). Versions also recorded by
Jimmy Wilson's Catfish Band (Texas, 1925; band influenced Bob Wills), Humphrey
Brothers (OKeh Records), Perry Brothers (Decca Records), Bob Wills (Texas),
Hugh Ashley (Arkansas), and the Mitchell (S.D.) Old Time Orchestra (Library of
Congress recording). In the repertoire of African-American Ky. fiddler Cuje
Bertram. Reed Island Rounders – “Goin’ Home” (2002).
OVER THE WAVES [2]. AKA and see “Good Morning to Your
Nightcap [1],” “Roll Her
in the Rushes [2].” Irish, Reel. A Minor. Standard tuning. AB. See also a
variant—an untitled reel—in the mid-19th century James Goodman
manuscripts (no. 386). O'Neill (O’Neill’s
Irish Music), 1915; No. 286, pg. 145. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 386, pg. 153.
X:1
T:Over
the Waves [2]
M:C
L:1/8
R:Reel
S:O’Neill
– O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:Amin
A2 Ac
BGGB | cBcd ed d2 | A2 Ac BGGB | cABG AGEG | A2 Ac BGGB |
cBcd
ed d2 | efge d2 ed | cABG EA A2 || e2 ec d2 dB | cBcd ed d2 |
e2 ec
d2 dB | cABG ED D2 | e2 ec d2 dB | cBcd ed d2 | efge dfed | cABG EA A2 ||
OVER WINDY HILL. American, Song Tune? (4/4 time). USA, southwestern Pa.
G Major. Standard tuning. AA. Source for notated version: Harry Waugh (elderly
fiddler from Jefferson County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 171, pg.
124.
OVER YOUNG TO MARRY. See "I'm Over/Ower Young to
Marry Yet,” “Were You at the
Fair."
OVERLAND (WALTZ), THE. English(?),
Waltz. G Major. Standard tuning. AABBC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 155, pg. 40.
OWEN
COIR. AKA and see "Gentle
Maiden."
OWEN
MALONE (Eogan Ua Maoileoin). Irish, Double Jig. G Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 45. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 951, pg. 176.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 176, pg. 43.
X:1
T:Owen
Malone
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 176
Z:AK/Fiddler’s Companion
K:G
B/c/|dBG
Gge|dBG Gge|dcB dcB|ABA ABc|dBG Gge|dBG Gge|def gdB|G>AG G2:|
|:Bdd
Add|gag f2d|Bdd Add|ge^c de=c|Bdd Add|gag f2e|def gdB|G>AG G2:|
OWEN O'NEILL'S MARCH. AKA and see "Owen Roe O'Neill."
OWEN O'ROURKE. Irish, Planxty (3/4 time). D Major/A Mixolydian.
Standard tuning. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 142, pg.
99.
OWEN ROE O'NEILL. AKA ‑ "Owen O'Neill's March." Irish,
March (2/4 time). F Major. Standard tuning. AABB. "This was the great Owen
Roe O'Neill, who defeated the Scottish army under Munroe at the battle of
Benburb: 1646" (Joyce). Source for notated version: William Elliot Hudson,
"a well known Irish patriot and scholar of the last century" (Joyce).
Joyce (Old Irish Folk Music and Songs),
1909; No. 773, pg. 378.
X:1
T:Owen
Roe O’Neill
T:Owen
O’Neill’s March
M:2/4
L:1/8
R:March
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s
Companion
K:F
Ff ef
| c/d/c/A/ GF | Ff ef | c/d/c/A/ GF :: F/A/G/A/ G/F/G/A/ | G/F/G/A/ GF |
F/A/G/A/ G/F/G/A/ | _e/d/e/B/ GF :|
OWEN
THOMAS’. Irish, Reel. E Minor. Standard tuning. AABB. Composed
by Falmouth, Massachusetts, musician and writer Bill Black, dedicated to
Donegal fiddler Owen Thomas. Black (Music’s
the Very Best Thing), 1996; No. 226, pg. 121.
X:1
T: Owen Thomas'
Reel
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Edor
EBBA GEFD | EB, B,2
EGFD | EBBc dBAd | Bdeg fagf |
eBBA GFGA | Bded
BGAF | EB, B,2 =CDEG | FGAF E4 :|
Bdeg Bdeg | fdfa
bagf | edBd gfed | BGAF GABd |
Be e2 gfed | eg g2 bagf | gfeg fgaf |
edBd e4 :|
OWENMORE
[1], THE. Irish, Air (3/4 time). F Major (Joyce) Standard tuning.
AAB. The Owenmore is a river in Co. Mayo. "From Mr. N. Kelly of
Ballinamore, Co. Leitrim" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 507, pg. 276.
X:1
T:Owenmore,
The [1]
M:3/4
L:1/8
K:F
FG|A2
fedc|d2 cBAF|G2 DFGA|G2F2F2|F4:||ce|dcAcde|
f2
fagf|e2 dfed|d2c2c2|{d}c4 ce|d2 Acde|f3 agf|e2 dfec|
d2c2c2|{d}c4
Ac|d2 dfec|d2 cAGF|G2 DFGA|G2F2F2|F4||
OWENMORE [2], THE. Irish, Jig. G
Major. Standard tuning. AABB. Source for notated version: accordinon player
Danny O’Mahony via Brendan Taaffe [Fiddler Magazine]. Fiddler
Magazine, Spring 2007, vol. 14, No. 1; pg. 47.
X:1
T:Owenmore,
The [2]
M:6/8
L:1/8
R:Jig
K:G
BAB
GBd|ecc Bce|dBG dBG|FGA AGA|BAB GBd|
ecc
Gce|dBG FGA|AGF G2A::(3BdBd gdB|c2e gec|
B2d gdB|A2g
fed|(3BdBd gdB|c2e gec|BAB DFA|AGF G3:||
OWEN’S
REEL. American,
Reel. A Major. Standard tuning. AABB. Composed by Alstead, New Hampshire,
fiddler and composer Randy Miller. Miller (Fiddler’s
Throne), 2004; No. 227, pg. 139. RM-1C, Randy
Miller – “Lore of the Fingerboard” (1990). Voyager Records VRDC 352, Erin
Shrader – “Salmonberry: New England Contra Dance Music” (2001).
OWENSBERG. Old-Time, Breakdown. G Major (‘A’ part) & C Major
(‘B’ part). Standard tuning. AB. Source for notated version: Carthy Sisco
[Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
114.
OWER
BOGIE. AKA and see "Over Bogie."
Shetland, Scottish. Known throughout the Shetlands.
OWER DA HILLS TAE AMERICA. Shetland, Shetland Reel. May be the
same tune as "Ower the Highland Hills."
OWER THE BORDER. English, Slip Jig. England, Northumberland. G Major.
Standard tuning. AABBCCDD. Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 184.
OWER THE HIGHLAND HILLS. Shetland, Shetland Reel. From the
island of Whalsay, Shetland.
OWL,
THE. AKA and see
"Miss MacKenzie of Gairloch."
OWL, THE. See "Caillach
Oidche."
OWL
CREEK. AKA and see "The
American Dwarf," "The
Frost is All Over [1]," "The
Frost is All Gone," “The
Praties are Dug, and the Frost is all Over,” "Praties in the Bag," "The Masque." American, Jig. D Major.
Standard tuning. AABB. “Owl Creek Quickstep” was adapted from the Irish jig
“Frost is All Over” by minstrel Dan Emmett and named for one of Knox County, Ohio’s,
earliest settlements (Emmett’s home town was Mt. Vernon, Ohio, in Knox County).
Bruce & Emmett (The Drummer’s and Fifer’s Guide: or Self-Instructor),
1862. The Company of Fifers and Drummers,
'76, 1974; pg. 33.
X:1
T:Owl Creek
B:Bruce &
Emmett
M:6/8
L:1/8
Q:1/8=300
K:D
|: (3A/B/c/|def
edB|{ABc}d2 F E2 F|DFA {B}A^GA|B<e^d e=dB|
{ABc}def
edB|{ABc}d2 F E2 F|DFA {B}A^GA|B<ec d2 :|
|: e|fdf afd|gfg
bag|fdf afd|cde e2 A|fdf afd|gfg bag|faf ede|fdd d2 :|
OWL HOOT. Similar to Jim Booker’s “Midnight [3].”
OWN KIND DEARY O. AKA and see "Ain
Kind Dearie O," "The Lea
Rig(ges)." English, Reel. England, Northumberland. G Major. Standard
tuning. AABB. "(Vickers' version is) A fairly simple setting of a tune
found in various guises...Johnson supplies the opening words of the song which
links the different titles: 'I'll Lay Thee O'er the lea rig/My ain kind dearie
O'" (Seattle). Hall & Stafford (Charlton
Memorial Tune Book), 1956; pg. 62. Johnson (Scottish Fiddle Music in the 18th Century), 1984; Nos. 37 & 67.
Northumbrian Pipers' Tune Book, 1970;
pg. 1. Seattle (William Vickers),
1987, Part 2; No. 294.
OWNIE DAVIS' REEL. AKA and see “Davy’s Reel.” Irish, Reel. Green Linnett GLCD 1087, Seamus Connolly - "Notes From
My Mind" (1988. Learned from fiddler John McGreevy of Chicago).
OWNYS'
BEST. American (?), Jig. E Major. Standard tuning. AABB. In
the repertoire of Cape Breton fiddler Winston “Scotty” Fitzgerald. Cole (1000 Fiddle Tunes), 1940; pg. 66.
Cranford (Jerry Holland’s), 1995; No.
245, pg. 71. Ryan’s Mammoth Collection,
1883; pg. 96.
X:1
T:Owny’s
Best
M:6/8
L:1/8
R:Jig
S:Ryan’s
Mammoth Collection (c. 1885)
Z:AK/Fiddler’s
Companion
K:E
(e/f/)
| gec BAF | Eee efg | fcc cag | fcc cgf | gec BAF | Eee efg | fef efg | fee e2
:|
|: (g/a/)
| bge BGE | bge bag | aff fge | dBB Bcd | ege BGE | cfa aba | gfe ecB | Bcd e2
:|
OXBØL
POLKA. Danish, Polka. G Major. Standard tuning. AABB.
Composed by Hans Tinus Nielsen (Denmark) and published in the collection of
Carl Erik Jensen. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West
Kerry), pg. 9.
OXFORD CASTLE. Irish, Jig. G Major. Standard tuning. AA’BB’. Source
for notated version: copied from James Aird’s
Selections of Scotch, English, Irish and
Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 121.
X:1
T:Oxford Castle
(#121)
M:6/8
L:1/8
S:Aird's
Selections 1782-97
Z:AK/Fiddler’s Companion
K:G
g|GBd dBd|geg
dBd|ece dBG|FAA A2 A|
GBd dBd|gag
gdB|1dgb c'af|dgg g2:|2dgb afd|dgg g2|
c'|bgb
afd|g/2a/2bg dBG|ece dBg|FAA A2 c'|
bgb afd|ege dBG|1B/2c/2dA AFD|DGG
G2:|2B/2c/2dg edc|BGG G2||
OXFORD MINUET [1]. Old‑Time,
Dance Tune (March & Two-step). USA; Arizona, New Mexico, Texas. G Major.
Standard tuning. AB, each part played at a different tempo. Source for notated
version: Forrest Delk (Grant County, New Mexico) [Christeson]. R.P. Christeson
(Old Time Fiddlers Repertory, Vol. 2),
1984; pg. 121. Ruth (Pioneer Western Folk
Tunes), 1948; No. 62, pg. 23.
X:1
T:Oxford Minuet [1]
L:1/8
M:4/4
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s
Companion
K:G
((3A/B/c/|d>)BA>B G2D2|E>GF>A
G4|E>GF>A G2B2|A>EF>G A3 (3A/B/c/|
d>BA>B G2D2|E>GF>A G4|c>cB>A
d>BG>A|B2A2 G3 ((3D/E/F/||
L:1/8
M:2/4
K:G
G)ABd|ed d/d/B/c/|dc c/c/A/A/|ed
d>((3D/E/F/|G)ABd|ed d2|1
[d>(f>]e) [d>(f>]e)|dd d>(3D/E/F/:|2
[d>(f>]e) d(e/f/)|[Bg][Bg] [Bg]||
OXFORD MINUET [2]. Old‑Time,
Piece. USA; Nebraska. Substantially different than the version above. B Flat
Major. Standard tuning. AAB ('B' part shifts to 3/4 time). Source for notated
version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; pg. 166.
OXFORD STREET. Scottish, Hornpipe. D Major. Standard tuning. AA’BB’.
Kerr (Merry Melodies), vol. 4; No.
283, pg. 30.
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:Kerr
– Merry Melodies, vol. 4, No.
283 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
Adcd
fdcd|Be^de gede|ca^ga =gece|1 dfed cBA^G:|2 d2f2d2||
|:
(ed)|cAce gbag|fgaf dfed|cAce gbag|fgaf d2 (cB)|Adcd fdcd|
Be^de
gede|ca^ga =gece|1 d2f2d2:|2 d2f2d2z2||
OXFORD
WALTZ. See "Waltz Oxford."
OXFORDSHIRE TRAGEDY, THE. AKA and see
"The Miller and His Sons."
English, Air (3/4 time). C Major. Standard tuning. AB. The song appears in The Cobblers' Opera (1729) and The Village Opera (1729).
***
Near Woodstock town, in Oxfordshire,
As I walk’d forth to take the air;
To view the fields and meadows round,
Methought I heard a dreadful sound.
***
Chappell
(Popular Music of the Olden Time),
Vol. 2, 1859; pg. 153.
X:1
T:Oxfordshire
Tragedy, The
M:3/4
L:1/8
S:Chappell
– Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:C
GBG|c2E2
FD|C3 c BA|d2G2 A^F|G3||Gcd|e2d2 cE|G3 E FG|A2G2 FD|C3||
OYSTER.
Shetland, Shetland Reel. From the island of Whalsay, Shetland. Title may be a
corruption of the Shetland dialect phrase "Da Oye Stuir."
OYSTER GIRL [1]. English, Jig and Morris Dance Tune. England;
Northumberland, North‑West. G Major. Standard tuning. AABB (Hall &
Stafford, Sweet): AABBC (Kennedy, Raven, Wade). Tune used for a single step dance
in the North‑West (England) morris dance tradition. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg.
14. Kennedy (Fiddlers Tune Book),
vol. 1, 1951; No. 78, pg. 38. Raven (English
Country Dance Tunes), 1984; pg. 124. Sweet (Fifer’s Delight), 1965/1981; pg. 35. Wade (Mally’s North West Morris Book), 1988; pg. 23. Topic TSCD 669, Arthur Marshall (et al) – “Ranting and
Reeling: Dance Music of the north of England” (1998. North Yorkshire accordion
player Marshall was born in 1896).
X:1
T:Oyster
Girl
R:jig
Z:From
Josephine Marsh in Kilfenora, 1996
Z:Transcribed
by Thom Pratt
M:6/8
L:1/8
K:G
ded B2
G|A2 F D2 F|GFG BAB|d2 c A2 d|ded Bdg|f2 e c2e|\
d2 B c
BA|GAG G2 d:|Bcd Bcd|e2 c e2c|ABc ABc|d2 B d2 B|\
ded
Bdg|f2 e c2 e|d2 B cBA|GAG G2 d:||\
OYSTER GIRL [2]. English, Jig. D Major. Standard tuning. AA'BB'.
Carlin (Master Collection), 1984; No.
17, pg. 23.
OYSTER GIRL [3]. Old‑Time, Breakdown. May be very distantly
related to version # 1. USA, Nebraska. D Major. Standard tuning. AABB. Source for
notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 1), 1973; No. 80, pg. 59.
OYSTER RIVER HORNPIPE. AKA ‑ "Oyster
River." AKA and see “Church
Street (Polka) [1]," “Gurteen Cross,”
“St. Mary’s.” American, Hornpipe or Reel. G
Major (Cole, Phillips, Songer): G Major {'A' and 'B' parts} & D Major {'C'
part} (Ford, Sweet). Standard tuning. AABB (Cole, Phillips, Songer, Sweet):
AABCC (Ford). The title is an American one, perhaps referring to Oyster River,
New Hampshire (based on its inclusion earliest in Ryan’s Mammoth Collection, which contains many northern New England
placenames). The hamlet of Oyster River Plantation was the scene of a
devastating massacre during King William’s War in 1694. Abenaki Indians,
incensed at abuses from the English population and encouraged by the French,
killed and captured nearly 100 settlers, one third of the population. Cole (1000 Fiddle Tunes), 1940; pg. 105. Ford
(Traditional Music in America), 1940;
pg. 76 (appears as "Oyster River"). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 214. Ryan’s Mammoth Collection, 1883; pg.
142. Songer (Portland Collection),
1997; pg. 154. Sweet (Fifer’s Delight),
1965/1981; pg. 51. White’s Unique
Collection, 1896; No. 129, pg. 23. Marimac 9012,
Fish Family Dance Band - “Fluke Hits” (1987).
T:Oyster
River Hornpipe
L:1/8
R:Hornpipe
S:White’s Unique Collection (1896), No.
129
Z:AK/Fiddler’s Companion
K:G
D | GB
B/A/G/A/ | Be e/f/g/e/ dB A(G/A/) | B/c/B/A/ G/F/E/D/ | GB B/A/G/A/ |
Be
e/f/g/e/ | dB A(G/A/) | BGG :: (e/f/) | g>a g/f/e/d/ | gg a(g/a/) | bb
a(g/a/) |
b(b/a/)
g/f/e/d/ | e/f/g/a/ g/f/e/d/ | gg a(g/a/) | bb a(g/a/) | bg [G,DBg] :|
OYSTER RIVER QUADRILLE. Old‑Time, Quadrille (6/8
time). USA, Nebraska. A Major. Standard tuning. AABB. Source for notated
version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; No. 168, pg. 121.
OYSTER RIVER (REEL), THE. AKA and see “Church Street (Polka) [1],”
“Flanagan’s (Polka),” “Gurteen Cross,” “St.
Mary’s.” Irish, Reel. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; pg. 41. North Star Records NS0038, "The Village Green: Dance
Music of Old Sturbridge Village."
OYSTER WIFE'S/WIVES' RANT. AKA - "The Oysterwives'
Rant." AKA and see “Muileann Dubh.”
Scottish, English; Reel. England, Northumberland. A Dorian. Standard tuning.
AABB. Bayard (1981) identifies the melody as belonging to the same tune group
as "Welcome Home [3],"
"The Haughs o’ Cromdale,"
"(Fare Thee Well) Sweet Killaloe,"
"The Hillside [2]," and "Wate You How the Play Began."
The members of this very old family, which he calls the "Welcome Home" group, appear in
major, modal, duple‑time, tiple time, vocal and instrumental forms. John
Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. The
title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800,
and is one of the "missing tunes" from William Vickers' 1770
Northumbrian dance tune manuscript. Bremner
(Scots Reels), 1757; pg. 80. Hardings All Round Collection,
1905; No. 32, pg. 10. Kerr (Merry
Melodies), vol. 2; No. 65, pg. 10. Peacock's
Tunes (c. 1800), 1980; No. 31. MacDonald (The Skye Collection), 1887; pg. 110. Stewart-Robertson (The Athole Collection), 1884; pg. 53.
X:1
T:Oyster Wives’
Rant, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
B|e2 ed
eAAB|dedB GABd|e2 ed e^fge|dBgB A/A/A A:|
|:B|edef g2 ^fe|dedB dedB|edef
g>age|dBgB A/A/A A:|
OZARK MOON. Old-Time,
Waltz. D Major. Standard tuning. AABA. Drew Beisswenger (2008) points out this
waltz was in the repertorie of several Ozark region fiddlers, including Lonnie
Robertson, Bob Holt and Glenn Rickman, but also finds it was played by
Washington State fiddlers such as Joe Panzerzewski and Gil Diesecker (the
latter citing Monte Stephens as his source, learned at the annual contest at
Weiser, Idaho). A number of Ozark region fiddlers either moved to the Northwest
or lived there for long periods of time, although how this tune was transmitted
is a mystery. Sources for notated versions: Cecil Snow (1918-1991,
Oklahoma/Arkansas) [Beisswenger & McCann]; Joe Pancerzewski (Washington
State) [Devils’s Box]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 132. The Devil’s Box, vol. 31, No. 2, Summer 1997; pg. 36. Cecil Snow – “The Country Boys, Sounds from the Ozarks” (c.
1989. Privately issued cassette).
See also listing at: Jane Keefer’s Folk Music
Index: An Index to Recorded Sources |
OZARK MOUNTAIN WALTZ [1]. Old‑Time, Waltz. USA, Mo. F
Major ('A' part) & B Flat Major ('B' part). Standard tuning. The tune,
which is attributed to Missouri fiddler Pete McMahan (1918-2000), contains
segments of other melodies. Missouri State Old Time
Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain
Waltz." Voyager VRCD 353, Leroy Canaday – “Old Dan Tucker was a Fine Old
Man.”
OZARK MOUNTAN WALTZ [2].
Old-Time, Waltz. USA, Missouri. C Major. Standard tuning. ABC. A
different tune than McMahan’s “Ozark Mountain Waltz [1], composed by Missouri
fiddler Lonnie Robertson (1908-1981) in the 1960’s. Source for notated version:
Lonnie Robertson (Springfield, Mo.) [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 124. Caney Mountain
Records CEP 102 (privately issued extended play LP), Lonnie Robertson (north
Missouri), c. 1965‑66. Rounder Records CD 0375, Lonnie Robertson –
“Lonnie’s Breakdown” (1996. Originally recorded 1978).
OZARK
RAG. Old‑Time, Country Rag. USA, Texas. F Major. Standard
tuning. AABBCAADD (Brody): AA'BB'CC' (Phillips). Source for notated version:
Daniel Williams with the East Texas Serenaders (Texas) [Brody, Phillips]. Brody
(Fiddler’s Fakebook), 1983; pg. 212.
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 98. County 410, East
Texas Serenaders‑ "1927‑1936" (1977). RBF 18, Charlie
Turner‑ "Ragtime 2."
OZARK
WALTZ. Old-time,
Waltz. USA, Arkansas. F Major. Standard tuning. AA’BB’. “Ozark Waltz” was
originally recorded in June, 1930, by the Morrison Twin Brothers String Band of
Searcy County, Arkansas, featuring the twin fiddles of Abbie (1876-1965) and
Absie (1876-1964, sometimes “Apsie”) Morrison, who were themselves twins.
Guthrie Meade believes the tune might have been adapted from an air of a popular
song from around the turn of the 20th century, and identifies an
early recording by Earl & Joe (1930) in addition to the Morrison’s. Drew
Beisswenger (2008) notes that it is not played much in the Ozarks in modern
times. Source for notated version: The Morrison Brothers [Beisswenger &
McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 104. County CD-3506, The Morrison Brothers – “Echoes of the
Ozarks, vol. 1” (1995. Various artists, reissue recordings). 5 String
Productions 5SP05002, The Hoover Uprights – “Known for their Reputation” (2006.
The Morrison brothers’ version). Victor Vi V-40323 (78 RPM), The Morrison Twin
Brothers String Band (1930).
See also listing at: Jane Keefer’s Folk Music
Index: An Index to Recorded Sources |
____________________________________
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