The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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OH |
Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
OH... and O... See
also the second word of the title.
OH AGUS OH! OH! Irish, Slow Air (6/8 time). A Major. Standard. One
part. “The blind woman’s lament for the loss of her daughter” [Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 833, pg. 208.
X:1
T:Oh
agus oh! oh! The blind woman’s lament for the loss of her daughter
M:6/8
L:1/8
R:Air
S:Standford/Petrie
(1905), No. 833
Z:AK/Fiddler’s
Companion
K:A
e3 dcd
| e3A3 | cde dcA | A3c3 | e3 dcd | e3A3 | cde dcA | A3c3 | dAc A3 | A3 A3 ||
O! AN IRISHMAN'S HEART. AKA
and see "Kinnegad Slashers," "Land of Sweet
Erin," "Powers of Whiskey," "Paddy Digging for 'Goold',"
"O! Merry Am I."
O, AN YE WERE DEAD, GUIDMAN. AKA ‑
"O Gin ye were dead Gudeman." AKA and see "The White
Cockade [1]," "Watson's Scotch Measure."
Scottish, Country Dance (cut time) or Air. F Major (Athole): G Major (Aird).
Standard. AABB. The tune is "Watson's Scotch Measure" associated with
a song called "O, an ye were dead gudeman" which appears in Gude and Godlie Ballates (1567). Aird (Selections), Vol. II, 1782; No. 132, pg.
49. Stewart-Robertson (The Athole
Collection), 1884; pg. 151.
X:1
T:O Gin Ye Were Dead Gudeman
M:C|
L:1/8
R:Country Dances
B:Stewart-Robertson – The Athole Collection
(1884)
Z:AK/Fiddler’s
Companion
K:F
CD/E/|F2F2c2F2|A2G2 GBAG|F2F2c2F2|A2f2c3f|
fefc ABcA|fdcA G2AG|F2f2 cdBc|A2F2F2:|
|:c/d/e|fefg fgaf|gfga agfd|cdfg fgag|fgfc ABcA|
defc
ABcA|fdcA G2AG|F2f2 cdBc|A2F2F2:|
O ARANMORE, LOVED ARANMORE (O, Arainn-Mor Ionmuin). AKA
and see "Kildroughalt Fair." Irish,
Air (4/4 time). D Minor. Standard. AB. O'Neill (Music of Ireland: 1850 Selections),
1979; No. 278, pg. 48.
X:1
T:O
Aranmore, Loved Aranmore
M:4/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill
– Music of Ireland (1903), No. 278
Z:AK/Fiddler’s Companion
K:D
Minor
A|d>efe
dAA>F|G>GGA c3A|d>ef>e dAA>F|G>FDD D3||
c|c/c/A
F>G A>BAF|c>AF>A c3A|d>ef>e dAAF|G>FDD D3||
O ARE YE SLEEPIN’, MAGGIE. See “Sleepy Maggie.”
O AS I WAS KISS'D YESTREEN [1]. Scottish, Jig. A Minor (most
versions): A Dorian (Bremner). Standard. AABB. Bayard (1981) identifies this as
the signature melody of a group of tunes that belongs to a very large extended
family of tunes, which he likens to a language and its dialects (see note for
"Lan(n)igan's Ball"). Other signature tunes in this family are "Lan(n)igan's
Ball," "Muirland Willie," "Bung Your Eye,"
"Kitty Alone,"
and "Lumps of Pudding."
"O As
I Was Kiss'd Yestreen" variants are close to the
"Bung Your Eye" group and
include "Sae Braley As I Was,"
"House o'
Duncan," "My Love is Lost to Me,"
and others. See also the Irish family of tunes of the “Old Man Dillon” family. John Glen
(1891) finds the earliest appearance of the tune in print in Robert
Bremner's 1757 collection. James Aird's (Selection...), 1778, Vol. 1, No. 200.
Bremner (Scots Reels), 1757; pg. 75
(appears as “O as I was Kiss’d the Streen”). Carlin (The Gow Collection), 1986; No. 476. Gow (Complete Repository), Part 2, 1802; pg. 22. Johnson (Scots Musical Museum, 1787‑1803,
Vol. 4, No. 319). Kerr (Merry Melodies),
Vol. 1; pg. 31). Oswald's Caledonian
Pocket Companion (1780?, Vol. 1, pg. 137). Scottish Country Dance Book (1930‑57, Book 13, No. 6 {pt. 2 of 1st air}).
X:1
T:O as
I was kiss’d yestreen [1]
M:6/8
L:1/8
R:Jig
S:Gow
– 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:A
minor
E|A>BA
ABd|(e/^f/g)B A2c|(BAB) GAG|(BAB) GAB|~cBc dcd|
ede
a2g|edB ABd|e2A A2:|
|:^g|a2A
ABA|a2A A2^f|g2G GAG|BAB GAB|~cBc dcd|
ede
a2g|edB ABd|e2A A2:|
O AS I WAS KISS'D YESTREEN [2]. AKA and see “Absent Minded Man” family of
tunes.
OH AUNT DINAH GET YOUR NIGHTCAP ON. Old‑Time.
Recorded by the W.Va. Tweedy Brothers (Harry, George, and Charles, who played
twin fiddles and piano) for Gennett Records in 1925, but unissued.
O
BESSY BELL. Scottish, Air. The song is claimed by Emmerson (1971)
as Scottish and is parodied in John Gay's Beggar's
Opera (1729). Raven (English Country
Dance Tunes), 1984; pg. 65.
OH! BLAME NOT MY LYRE. Irish, Air (6/8 time). D
Mixolydian. Standard. ABC. O'Neill (1915 ed.), 1987; No. 67, pg. 42.
O BLAME NOT THE BARD. AKA and see "Kitty Tyrrell"
(1st Setting).
OH BROTHER BREAKDOWN. AKA and see "Ralph Page's
Breakdown [2]."
O BUT YE
BE MERRY. Scottish, Reel. A Mixolydian. Standard.
AB (Surenne): ABCDE (McGlashan). McGlashan
(A Collection of Reels), c. 1786; pg.
9. Surenne (Dance Music of Scotland),
1852; pg. 77.
X:1
T:O but ye be
Merry
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:A Mixolydian
B|e/e/e eg f2 df|e2
ed cAAc|e/e/e eg f2 df|B2 cA BGGB|e/e/e eg f2 df|
e2 ed cAAc|d2fd
c2ec|B2gd BGG||B|eAed c2 Ac/d/|eAed cAAc|eAed c2Ac|
Bgdg BGGB|eAed
c2 Ac/d/|eAed cAAc|dfdf cece|Bgdg BGG||
B|A/A/A a2 c/c/c
a2|A/A/A a2 cAAc|A/A/A a2 c/c/c a2|B/B/B g2 BGGB|
A/A/A a2 c/c/c
a2|A/A/a a2 cAAc|dfdf cece|Bgdg BGG||f/g/|a>bae c2 Af/g/|
a>bae
cAAf/g/|a>bae c2 Ac|g>agd BGGg|a>bae cAfg|a>bae cAAc|
dfdf cece|Bgdg
BGG||AaAa BaBa|caca cAAB|AaAa caca|Bgdg BGGB|
AaAa BaBa|caca
cAAc|dfdf cece|Bgdg BGGB|A/a/a A/a/a B/a/a B/a/a|
c/a/a A/a/a
cAAB|A/a/a A/a/a c/a/a c/a/a|B/g/g d/g/g BGGB|
A/a/A/a/
A/a/A/a/ B/a/B/a/ B/a/B/a/|c/a/c/a/ c/a/c/a/ cAAB|
d/f/d/f/ d/f/d/f/ c/f/c/e/
c/e/c/e/|B/g/B/g/ d/g/d/g/ BGG||
O CHARLEY
IS MY DARLING. Scottish, Air (4/4 time). D Minor.
Standard. AB. Howe (1000 Jigs and Reels),
c. 1867; pg. 124.
X:1
T:O Charley is
My Darling
M:4/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D minor
F | D>E
F>G A2 d2 | c2 d>B A2 d>F | D>E F>G A2 d>e | f2 e>d d2 ||
d | ^c>A=B>c d>ef>d | ^c>A
=B>c d2 ze | f>e f>d =c>A FG/A/ | BG A>F E2 ||
O' CHIADAINN AN LO. AKA and see "The Recollection of that Day."
OH COME WITH ME MY IRISH GIRL. AKA and see "The Irish Girl."
O DEAR, I WISH I HAD
NOT COME HERE. American, Dance Tune (2/4 time). G Major. Standard.
AABB. The melody was published around 1805 in Edinburgh, Scotland, by John
Clarkson Jr. in a single-sheet entitled American
Tunes No. 1, Arranged for the Piano Forte.
O DEAR MINNIE/MOTHER (WHAT SHALL I DO)?
Scottish, Air (3/4 time) or Giga (6/8 time). D Major. Standard. AA. The melody
appears in Allan Ramsay's ballad opera "The Gentle Shepherd" (1725),
and in James Oswald's Curious Collection of Scots Tunes (c. 1739) {as
the first air in a sonata, each movement of which is based on a Scots
tradtional tune}, and his Caledonian Pocket Companion, Vols. iii (in
an air‑jig‑reel setting)
and viii (1756). There is some difference of opinion on the origins of this
tune. Gow (Complete Repository, Vol. 1, pg. 20) believes that this tune
was derived from the duple time "Braes of Auchtertyre [1],"
while Johnson‑Stenhouse (2 Vols.‑‑The Scots Musical Museum and Stenhouse's Illustrations of the
Lyric Poetry and Music of Scotland, 1853 {reprint 1962}, pg. 233) asserts
it is the other‑way‑round, and that the 4/4 tune evolved out of the
3/4 one. Bayard (1981) agrees with Stenhouse. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 78, pg. 157.
O DEAR MOTHER MY TOES ARE SORE [1]. AKA
and see "Evening
Pleasures Schottische,” "Jinny O Jinny My Toes Are Sore,"
"Oh Mother It Hurts Me So,"
"O Mother My Toes Are Sore," "Rustic
Reel [1]," "Rustic
Dance—Scottische [3]," “Sandy Floor.”
American, Jig or March (6/8 time). USA; southwestern Pa., northern Michigan. A
Dorian or Mixolydian: D Dorian. Standard. AABB. Bayard (1981) is certain the
tune is British Isles in origin even though it has the marks of considerable
folk‑processing in American tradition, yet he cannot trace it adequately
to old country repertory. Speculating, he suggests the tune is a derivative of
the "Welcome Home" or "Boyne
Water [1]" families, or perhaps a crossing ot the two. He says all
three forms of the title tune in Pennsylvania have in common the following
rhyme associated with them:
***
Dear oh, mother, my toes are sore,
Dancin' over your sandy floor. (or
"...on this sandstone floor")
Its yesterday or the day before
I've just come home from Baltimore.
I've danced today, and I'll dance no more...
***
Paul
Gifford reports a northern Michigan title for the melody is “Sandy Floor,”
taken from the 2nd line of the above rhyme. Sources for notated versions: Irvin
Yaugher Jr. (Mt. Independence, Pa., 1943; learned from his great‑uncle)
[Bayard, 1944]: 9 southwestern Pa. fiddlers and fifers [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 6. Bayard
(Dance to the Fiddle), 1981; No. 452A‑I,
pgs. 434.
O DEAR MOTHER MY TOES ARE SORE [2]. AKA
and see "Monongahela March"
(Pa.), "Clicksticks" (Pa.), "Jinny O Jinny My Toes Are Sore"
(Pa.), "The White Cockade" (Pa. floating title). American, Jig or
March. USA, southwestern Pa. D Major. Standard. AB. Bayard (1981) groups
several variants because of the common first strain, which he believes is
"rather old," while the second strains are often distantly or not at
all related. Other tunes sharing this first strain are: "Rustic Reel [1]," "Virginia Reel [3]," "Libby Prison Quickstep,"
"First Western Change,"
and "City Guards." Sources for
notated versions: 11 southwestern Pa. fiddlers and fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 453A‑K,
pgs. 435‑438.
O DEAR MOTHER MY TOES ARE SORE [3].
American, Jig.
O DEAR MOTHER/MINNIE WHAT SHALL I DO? Scottish, Slow Air (3/4 time). D Major.
Standard tuning. AABB. The melody may be found in the collections of Oswald and
McGibbon (Scots Tunes, Book 1, 1746,
pg. 11). Sir Walter Scott's song "March, March, Ettrick and
Teviotdale" was, according to J. Farquhar Graham, taken from this song.
Bayard (1981) dates the tune to "at least" the first decade of the
18th century. From this tune derived (c. 1740's) "Blue Bonnets Over the
Border [1]," a jig, and later in the century, "The Braes of Auchtertyre [1]."
From this later tune the American "Billy/Billie in the
Lowground [1]" developed. In his article “A Miscellany of Tune Notes”
(Studies in Folklore, pgs. 166-168),
Samuel Bayard, discusses the melody and its history of derivatives. He cites
Oswald’s Pocket Companion (c.
1740’s?), vol. III, for its printing of “Oh dear mother what shall I do” with
variations, the last of which Bayard identifies as ‘essentially’ the jig-time
“Blue Bonnets” tune. He credits Oswald
with recomposing the older air and giving it new life as a brisk 6/8 time tune.
A variant of Oswald’s recomposed tune was printed by the Gows in 1818 in Beauties of Niel Gow (Part First, pg.
12) with the title “Blue Bonnets Over the Border,” although the tempo specified
was again slowed down (it is marked “Slow with exprn.”). R.A. Smith (The Scottish Minstrel, 1820-24, V, 10)
printed another close variant of the Oswald tune, again under the “Blue Bonnet”
title (as the vehicle for Scott’s song “March, March, Ettrick and Teviotdale”),
marked to be played “With spirit” and which Graham called the ‘modern
air’. Bayard concludes that the ‘folk
process’ was at work, with Oswald’s quick-time re-composition of an older air
becoming itself traditional. The original title was lost, to be replaced by a
familiar floating title (which goes to at least two other melodies).
***
Another branch
of the old “Oh dear mother” tune, according to Bayard, stems from another Gow
printing, this time of a reel entitled “Braes of Auchtertyre” in Complete Repository of Original Scots Slow
Strathspey and Dances, vol. 1 (1799). See note for that tune. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 96.
X:1
T:Oh Dear Mother
What Shall I Do?
M:6/8
L:1/8
S:Oswald – Pocket Companion (vol. III, pg. 10)
K:D
D2D FAB | def
d2A | dBB B2b | baf “tr”e2d | D2D DAB |
def d2A |
B3 AFA | B/c/dF
“tr”E2C :: f/g/aa a2d | baf “tr”e2d | fbb b2d’ |
baf “tr”e2d |
f/g/ad afd | baf efd | “tr”B3 AFA | B/c/dF “tr”E2D :|
X:2
T:Oh Dear Mother
What Shall I Do?
M:3/4
L:1/8
R:Air
S:Johnson –
K:D
D3ED2 | F2A2B2 |
d2f2e2 | d2B2A2 | d2B2d2 | B4b2 |
b2a2g2 | f2e2d2
| F2E2D2 | F2A2B2 | d2f2e2 | d2B2A2 |
B2d2B2 | A2F2A2
| B2d2F2 | E4C2 ||d2a2a2 | a3fa2 |
b2a2f2 | e4d2 | f2b2b2
| b4a2 | a2g2f2 | e4d2 | d2a2a2 |
a2f2a2 | b2a2f2
| e4d2 | B2d2B2 | A2F2A2 | B2d2F2 | E4D2 ||
X:3
T:Untitled
M:6/8
L:1/8
S:Bayard“A
Miscellany of Tune Notes,” Studies in
Folklore (pg. 169)
N:Collected in
K:D
A, |: D2F A2c | def
d2A | dcB A^GA | baf {g}fed | D2FA2c | def d2A |
dcB A^GA |
{c}BAF E2F :: D2a a^ga | baf {g}fef | dfa a2c | def e2f |
dfa a^ga | baf
OH DEAR! WHAT CAN THE MATTER BE (Oc On Cad E Do Tarlad). AKA –
“Johnny’s so long at the fair.” English, Irish, Scottish; Air (6/8 time), Jig
or Morris Dance Tune (6/8 time). G Major (most versions): E Flat Major (Scott):
C Major (Howe). Standard tuning (fiddle). One part (Scott): AB (Bacon,
Hardings, Mattson & Walz, O'Neill): AABB (Howe): AA'BB (Kerr): AA’BB’
(Sumner/Gibbons): AABBCCDDEE’ (Cranford/Holland). The first published record of
this song is in the British Lyre, or
Muses’ Repository for 1792, later appearing in the James Evan’s Ladies
Memorandum for the Year 1794. It had been sung as a famous duet between Samuel
Harrison and his wife, the soprano Miss Cantelo, at "
***
Oh Dear! What can the matter be?
Johnny's so long at the Fair.
He promised he'd bring me a basket of posies,
A garland of lilies, a garland of roses,
That tie up my bonny brown hair.
***
The
melody has also been popular with flute and fife players, and shows up in such
publications as Sameul Holyoke’s Instrumental Assistant (Exeter, N.H.,
1800) and Daniel Steele’s New and Complete Preceptor for the German Flute
(Albany, N.Y., 1815).
***
Variation
sets on the tune were printed in Köhler’s
Violin Repository and have been
elaborated on and developed by generations of Cape Breton fiddlers. Bill
Lamey (1914-1987) learned the variations he played from Alex Gillis, another
***
Source
for notated version: the 1823-26 music mss of papermaker and musician Joshua
Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
Bacon (The Morris Ring), 1974; p.
308. Cranford (Jerry Holland: The Second Collection), 2000; No. 297, p. 106. Hardings All‑Round Collection,
1905; No. 157, p. 50. Howe (Complete
Preceptor for the Accordeon), 1843; p. 18. Kerr (Merry Melodies), c. 1880’s, vol. 2; No. 254, p. 28. Mattson &
Walz (Old Fort Snelling... Fife),
1974; p. 74. O'Neill (Music of Ireland:
1850 Melodies), 1903; No. 620, pg. 109. Scott (English Song Book), 1926; p. 43. Sumner (
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music
Index: An Index to Recorded Sources
|
X:1
M:6/8
L:1/8
R:Air
S:O’Neill
– Music of
Z:AK/Fiddler’s Companion
K:G
d|dBc dBc|dBg
dBG|cAB cAB|cAB cBA|dBc dBc|dBg dBG|DGc BcA|G3 z2||
B|d3d3|dBg dBG|c3 ccc|cAB cBA|d3 ddd|dBg dBG|DGc
BcA|G3 z2||
O DEM GOLDEN SLIPPERS. See "Golden Slippers."
O DO(E) NOT, DOE NOT KILL
ME YET. AKA
and see "When Phoebus Addrest."
The air appears under this title in Friesche
Lust‑Hof (Boertigheden) (1634).
OH
***
Oh
And dwells in oblivion in
***
Source
for notated version: Mr. J. Snowe,
OH
OH FAIR JOHN MY LOVE. Irish, Air (2/4 time). E Minor.
Standard tuning (fiddle). AB. See “The
Enchanted Valley [1]” for a variant. Source for notated version: collected
O FAITH THEN I WILL, SAYS THE FIDDLER (M’anam go nDéanfad,
arsa an Fidléir). Irish, Slip Jig.
D Major. Standard tuning (fiddle). AABB. Source for notated version: fiddler
and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his
manuscripts in the 1880's [Breathnach]. Breathnach (CRE IV), 1996; No. 42, p. 22.
OH, FIE, JOHN THOMPSON, RUN. English.
O! FOR ONE AND TWENTY (O Ma M-Bideann Aon's
Ficio!). AKA ‑ "O for ane‑and‑twenty
Tam." Irish, Scottish; Air (6/8 time, "gaily"). D Minor/Dorian.
Standard tuning (fiddle). AB. The tune is called "The Moudiewart" (The Mole) to which
Robert Burns set his lyric "O for ane‑and‑twenty Tam."
The tune, at least as published in the "
X:1
T:O!
For One and Twenty
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903),
No. 240
Z:AK/Fiddler’s Companion
K:Dmin
f|cAF
GAc|d2G G2f|cAF GA^c|d2D D2f|cAF GAc|dcB AGF|BAG A=B^c|d2 D D2||
e|f>gf
fed|g>ag gfe|f>ed g>fe|a2d d2e|f>gf fed|gag gfe|f>ed A=B^c|d2D
D2||
O! FRIENDSHIP WILL SMILE. AKA and see "Garryowen."
OH, GANG WITH ME TO YON TOWN. AKA and see “I’ll gang nae mair to
you toun,” “The Pope’s Toe.”
Scottish, Reel. A Major. Standard tuning (fiddle). ABC (end on 'B' part).
X:1
T:Oh,
Gang with Me to Yon Town
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/
| (a/g/).a/.e/ cAAB | (3c/B/A/.e/.c/ dBBg | (a/g/).a/.e/ cAAc | d/f/e/d/
c/e/f/g/ |
(a/g/).a/.e/
c/A/A/B/ | (3c/B/A/.e/.c/ d/B/B/g/ | (a/g/).b/.g/ a/f/e/c/ | d/f/e/d/ c/A/A/d/
||
(3c/B/A/.e/.A/
f/A/e/A/ | (3c/B/A/.e/.c/ d/B/B/d/ | (3c/B/A/.e/A/ f/A/e/a/ | d/f/e/d/ c/A/A/d/
|
(3c/B/A/.e/.A/
f/A/e/A/ | (3c/A/B/c/.e/.c/ d/B/B/d/ | c/A/B/c/ d/e/f/g/ | (a/g/).b/.g/ a ||
(3e/f/g/
| (a/g/).a/.e/ c/A/A/B/ | (3c/B/A/.e/.c/ d/B/B/g/ | (a/g/).a/.e/ c/A/A/c/ |
d/f/e/d/ c/e/f/g/ |
(a/g/).a/.e/
c/A/A/B/ | (3c/B/A/.e/.c/ d/B/B/g/ | (a/g/).b/.g/ a/f/e/c/ | d/f/e/d/ c/A/A/d/
||
OH'
GEE'. French-Canadian (Irish?), Reel. G Major. Standard
tuning (fiddle). AA'BB'A"A"'B"B"'. This reel was recorded
on a 78 RPM by
O GIN I HAD SUCH A LADDY AS THIS. AKA and see "The Lass of the Brass."
O GIN I WERE A BARON'S HEIR. Scottish, Guaracha Waltz. D Major.
Standard tuning (fiddle). AB. Kerr (Merry
Melodies), vol. 1; No. 6, p. 25.
O GIN YE WERE DEAD GUDEMAN. See "O, an ye were dead, Guidman."
OH GIRL OF THE GOLDEN TRESSES. Irish, Air (4/4 time). G Dorian.
Standard tuning. AB. Source for notated version: “Set from P. Mullin,
Arran-More,
X:1
T:Oh,
girl of the golden tresses
M:C
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie
(1905)
Z:AK/Fiddler’s
Companion
K:G
Dorian
D |
DGA^F G2 AF | GAcd f2 ge | fedc
GA
cd/e/ f3g | fedc Ac A>G | (G4 G3) || d | d^cde f2 fg | fdcA c3 d/e/ | fe dc
Ac AG |
F4 D3C
| DGA^F G2 AF | GAcd f3g | fedc A<c A>G | (G4 G3) ||
OH GIVE ME YOUR HAND (Tabhair dham do lámh). AKA ‑
"Da Mihi Manum." Irish, Air (3/4 time). G Mixolydian. Standard
tuning. One part. Composed by Irish harper Rory dall O'Cahan in 1603. Rory dall
spent most of his life in King James'
X:1
T:O,
Give Me Your Hand
T:Tabhair
dham do lámh
M:3/4
L:1/8
R:Air
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
Mixolydian
fe|d2
cAAG|{G}f2 e2 dc|A2G2G2|G4 ef|g2 agfe|d2 cAcd|e2 fedc|d4 ef|g2 agfe|
d2
cAcd|e2c2d2|{d}g4 ag|fe d2 cA|{G}f2 e2 dc|A2 G2G2|G4||
O, GOOD ALE, THOU ART MY DARLING. English, Air (4/4 time). E Minor.
Standard tuning. AB. Chappel records the song appears on broadside ballads and
in The Banquet of Thalia,
***
With his high cock’d hat and his powder’d wig;
Methinks he looks both fair and fat,
But he may thank you and me for that.
For ‘tis O, good ale, thou art my darling;
Andt my joy, both night and morning.
***
Chappell
(Popular Music of the Olden Time),
vol. 2, 1859; pg. 179.
X:1
T:O,
Good Ale, Thou Art My Darling
L:1/8
M:C
S:Chappell
– Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:E
Minor
B,2|E2
EF G2 FE|A2A2A2 GF|E2 EF G2FE|B2B2B2||B2|B2 Bc d2d2|
B2 Bc
d2^d2|e2B2c2 BA|B2 AG A2GF|E3F G3A|BcBA G2E2|
e3B c2
BA|G2F2G2E2||
OH GRAIN AIR NA BRIOGAISEAN. AKA and see "Deil tak' the Breeks."
O HAD I A ROCK AND A WEE PICKLE TOW. AKA
and see "A Rock and the/a
Wee Pickle Tow." Northumbrian. Title appears in Henry Robson's list of
popular Northumbrian song and dance tunes ("The Northern Minstrel's
Budget"), which he published c. 1800.
OH! HAG YOU HAVE KILLED ME [1] (A Caillig Do Marbuigis Mé). AKA
and see “Old Hag, You
Have Killed Me.” Irish, Double Jig. D Major. Standard tuning. AABB. See
also the related “Sheep on the
Mountains.” O'Neill (Dance Music of
X:1
T:Oh!
Hag You Have Killed Me [1]
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of
Z:AK/Fiddler’s Companion
K:D
D2d
cAG | F3 GEA | DGE EFD | D2d cAc | dcA GEA | DED DED | DED DED :|
|:
OH! HAG YOU HAVE KILLED ME [2] (Chailleach, do Mhairís Mé). AKA
and see “The Stolen Purse [1],” “Tiocfaidh tú abhaile liom [1].”
Irish, Double Jig. D Mixolydian. Standard tuning. AA’BB’. See also a related
tune in Breathnach’s Ceol Rince na
hÉireann IV (1996), No. 56, an untitled slide from the manuscript of David
Collins, Abbeyfeale,
OH HAPPY MAY I SEE THEE. AKA and see "Mo Slan A Chi Mi
Mo Chailin Dileas Donn" or "Well May I See Thee My Dark Haired
Girl."
OH HASTE TO THE WEDDING. AKA and see "Haste to the Wedding [1]."
OH HEY, JOHNNY LAD. AKA and see “Hoch Hey Johnny Lad.”
OH, HOW THEY FRISK IT. AKA and see "Leather Apron," "Under the Greenwood Tree."
English, Air (6/8 time). G Major. Standard tuning. One part. The melody appears
in Playford's Dancing Master of 1686
and later editions in two versions, one in duple and one in triple time, and
also appears in Pills to Purge Melancholy
as well as many ballad operas, according to Chappell (1859). That writer also
speculates that the "air in its original form may belong to the reign of
Elizabeth I," on the strength of lyrics printed by Ashmole around 1634.
The tune is sometimes called "Caper and firk it" and "Caper and
jerk it" and is so cited in the Bagford Colletion, and appears as the tune
to a Christmas carol in A Cabinet of
Choice Jewels; or, The Christian's Joy and Gladness: set forth in sundry
pleasant new Christmas Carols (1688). Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 53‑54.
OH! HUSH THE SOFT SIGH. AKA and see "Coolun/Coolin," "In This Calm Sheltered Villa,"
"Oh! The Hours I Have Passed,"
"Though the Last
Glimpse of Erin," "Had You Seen My Sweet Coolin."
O I HAE SEEN THE ROSES BLAW. English, Scottish; Song Tune (6/8
time) and Jig. G Mixolydian (Stokoe & Bruce): G Major (Raven). Standard
tuning. AB (Stokoe & Bruce): AABB (Raven). Bayard (1981) finds this tune to
be the ancestor of his Pennsylvania‑collected "Oho, Oho, I've Found
You Out."
***
O! I hae seen the roses blaw,
The heather boomn the broom and a',
The lily spring as white as snaw,
With all their native splendour.
Yet Mary's sweeter on the green,
As fresh and fair as Flora's queen,
Mair stately than the branching bean,
Or like the ivy slender. (Bruce & Stokoe).
***
Bruce
& Stokoe (Northumbrian Minstrelsy),
1882; pg.s 84‑85. Raven (English
Country Dance Tunes), 1984; pg. 114.
X:1
T:O I Hae Seen the Roses Blaw
L:1/8
M:6/8
S:Bruce & Stokoe – Northumbrian Minstrelsy
Z:AK/Fiddler’s
Companion
K:G
D|G2G ABA|c2A F2D|G>AG B2c|d2g d2c|B2c
d2e|
=f2d B2G|d>ed cBA|G3 G2||d|g2d B2G|c2A
F2D|
g2d B2c|e2g d2c|B2c d2e|=f2d B2G|d>ed
cBA|G3G2||
O IF I HAD SUCH A LASSIE AS THIS. Scottish. The melody appears in the
Gillespie Manuscript of Perth (1768).
OH! IF I KNEW BUT HER NAME.
Irish, Air (3/4 time). F Major. Standard tuning. One part. O'Neill (1915 ed.),
1987; No. 69, pg. 43.
OH! IRISHMEN NEVER FORGET. AKA and see "The Boys From the Lough," “Corovoth Jig,” “Donnybrook Fair [1],” "Joy(s) of My Life," "The Joys of (My) Life," “Our Own Little Isle.”
O JENNY, O JENNY, WHERE HAST THOU BEEN. AKA
and see "May Fair." English, Air
(3/4 time). The air appears in John Gay's Beggar's
Opera (1729) as "Oh, Polly, you might have toyed and kissed," but
the title above comes from a song by Thomas D'Urfey called "The Willoughby
Whim." It was published in D’Urfy’s Pills
to Purge Melancholy, Vol. 1, and appears as "May Fair" in Chappell
(1859). In more modern times it was known as a children's tune called
"Golden slumbers kiss your eyes." Raven (English Country Dance Tunes), 1984; pg. 52.
OH, JOE! THE BOAT IS GOING OVER. English. D Major. According to
English fiddler Chris Bartram this tune is almost universally known amongst
older traditional fiddle and squeezebox players. The melody was a vehicle for
morris/molly dancing in the Clee Hill community of south
O JOHN, MY COUSIN (A Sheádhain, a Bhráthair Ghaoil). Irish, Air (6/8
time). G Major. Standard tuning. One part. "Also called 'Cuilfhionn
Mhuinte Sheimh': The Gentle Refined Fair‑Haired Girl" (Joyce).
Source for notated version: "From the whistling of Joe Martin of Kilfinana
Co. Limerick, a rambling working man with a great knowledge of Irish airs and
songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 186, pg. 92.
X:1
T:O
John, My Cousin
T:A
Sheádhain, a Bhráthair Ghaoil
M:6/8
L:1/8
R:Air
N:”Moderate
time: tenderly”
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
G/A/|B2G
AGE|(D3 D2) D/E/|G2G ABA|(B3 B2) (3G/A/B/|c2c c2A|
B2B
B2G|A2A A2G|(E3 E2) d/c/|B2G AGE|(D3 D2) D/E/|G2G AGA|
(B3
B2) (3G/B/d/|efg f>ed/B/|c2d e2 d/c/|B2G A2G|(G3 G2)||
OH JOHNNY DEAREST JOHNNY, WHAT DYED YOUR HANDS AND
CLOATHS? HE ANSWERED HIM AS HE THOUGHT FIT ‘BY A BLEEDING AT THE NOSE’. Irish,
Air (4/4 time). D Major. Standard tuning. AB. From the title it appears to be a
version of “Edward” (Child., vol. 1, No. 13). A variant is “Dawning of the Day [4]."
Stanford/Petrie (Complete Collection),
1905 No. 693, pg. 174.
X:1
T:Oh,
Johnny dearest Johnny, what dyed your hands and cloaths?
T:He
answered him as he thought fit “by a bleeding at the nose.”
M:C
L:1/8
R:Air
S:Stanford/Petrie
(1905), No. 693
Z:AK/Fiddler’s
Companion
K:D
DE | F2F2F2
ED | A2F2A2B2 | A2A2A2 FD | E6 DE | F2F2F2 EF |
A3F
A2B2 | AFEF D2D2 | D6 || AB | d2e2d2A2 | B3A B2d2 |
B3A
A2FD | E6 DE | F2F2F2 EF | A2F2A2B2 | AFEF D2D2 | D6 ||
OH KILLARNEY,
O LA MY DEAR.
West Indian, Air (2/4 time). D Major. Standard tuning. AABA. Aird (Selections
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 161, pg.
59.
X:1
T:O La My Dear
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s
Companion
K:D
f | e3c | A2f2 | g2 ec | d3f | e3c | A2f2 | g2 ec | d3
:|
|| z | a2 af | g2 ge | f2 fd | e4 | a2af | g3b | agfe
| d4 |
a/a/af
| ggge | fffd | e2 fg | aaaf | g3b | agfe | d2 cd ||
O LANDLADY DEAR, COME CHEER YOUR HEART.
Irish, Air (6/8 time).
X:1
T:O
landlady dear, come cheer your heart
M:6/8
L:1/8
N:”A
Cavan air.”
N:”Allegretto”
S:Standford/Petrie
(1905), No. 824
Z:AK/Fiddler’s
Companion
K:G
d |
cAG F2D | F2F F2D | (DG)G G2A | (B2c) A2d | (cA)G FED |
F2F
F2D | {D}G2G G2A | (B2c) A2 F/G/ | A>BA (f>e)f | gag fed |
cAG
F2G | A2A A2 (F/G/) |
OH! LASSIE, ART THOU
SLEEPING YET. AKA and see "Lassie Art Thou Sleeping Yet,"
"The Stone Barn" (Pa.), "The Scotch Lassie," "The Muckin'
o' Geordie's Byre." Scottish, Air and Jig. C Major
(Hardings, Howe): D Major (Bayard, Kerr, Sweet). Standard tuning. AABB. Bayard
(1981) states the tune dates from the 18th century (around 1760 or earlier),
and has been a favorite of fiddler and especially fifers (becoming a
"standard tune of martial bands" in the
T:Oh Lassie Art
Thou Sleeping Yet
R:Air and Jig
M:6/8
L:1/8
S:Howe – Complete Preceptor for the Accordeon
(1843) pg. 11
Z:AK/Fiddler’s Companion
K:C
c | G2G GEG |
c2c cde | f2d e2c | dec A2c | G2G GAB | c2c cde |
gec d2e | c3 c2
:: e | f2f fga | e2e efg | d2d dcd | e2c A2c |
O LAY ME IN KILLARNEY. Irish, Slow Air (4/4 time). G
Major. Standard. AABB. Source for notated version: Mrs. J.H. O'Brien,
O LET ME IN THIS AE (ONE) NIGHT. Scottish, Slow Air. G Minor. Standard.
AAB. “Old,” says Gow (1806). Carlin (Gow
Collection), 1986; No. 552. Gow (Complete
Repository), Part 3, 1806; pg. 14.
X:1
T:O
Let me in this ae Night
M:C
L:1/8
S:Gow
– 3rd Repository
Z:AK/Fiddler’s Companion
K:G
Minor
d|~B>A(Gd)|g2
gd|f2 fB ~cd/e/ dc|B>A Gd g>a b>g|(f<d) c>B (c2d):|
c|B>A
GA B>c dB|~c>d ec f>e(dc)|B>A GA B>cdB|b>g fd c2 d>c|
B>A
GA B>c dB|c>d ec (f>e)(dc)|B>A Gd g>a a>g|(f<d) c>B
(c2d)||
O LITTLE GIRL WHAT MAKES YOU LOOK SO CLEVER. AKA
and see "The Girl That Looks So Clever O,"
"Susan Lick
the Ladle," "Darkey Under the Woodpile."
American, Schottische? (4/4 time).
(OH)
***
Southwark Fair. William Hogarth (1697-1764)
O LORD GALS ONE FRIDAY. Old‑Time.
O! LOVE IS THE SOUL OF A NEAT IRISH MAN. AKA
and see "A Sprig of Shillelagh [1]."
OH LOVE IT IS A KILLING THING. Irish, Air (4/4 time). E Minor
(Joyce): A Minor (Stanford/Petrie). Standard tuning. AB. "I give the words
of this song from memory as I learned them in boyhood. Words and air are now
published for the first time (except that the air is printed in Stanford‑Petrie
with my name: for I gave it to Dr. Petrie half a century ago). The air was
universal in
X:1
T:Oh
love it is a killing thing
M:C
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie
(1905), No. 469
Z:AK/Fiddler’s
Companion
K:Amin
E2 |
A2 AB cA GA | c2d2e2e2 | d2 cA
c2d2e2ce
| d2c2A2A2 | A4 z2 || ef | g2 ed c2d2 | e2 ag b2 ag | e2 dc A2 GE |
G6 E2
| A2 AB cAGA | c2d2 e2 ce | d3c A2A2 | A6 ||
O LOVE LIE BESIDE ME. Irish, Air. Bulmer & Sharpley (Music from
OH LOVE, ‘TIS A COLD
FROSTY NIGHT, AND I AM
COVERED WITH SNOW. Irish, Air (4/4 time). F Major. Standard tuning. One part.
Source for notated version: “From R. Fitzgerald” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 628, pg. 158.
X:1
T:Oh,
Love, ‘tis a cold frosty night, and I am covered with snow
M:C
L:1/8
S:Stanford/Petrie
(1905), No. 628
Z:AK/Fiddler’s
Companion
K:F
F>G
| A2 AB AGFE | D6 D2 | Ddde f2 ed | d6 A2 | Adde f2 ed | dd AG F2 FG |
A=Bcd
AGFE | D>EGA A2 FG | A=Bcd AGFE | F6 ||
O’
LUAIDH. Scottish, Air (3/4 time). F Major. Standard tuning.
One Part. Martin (Ceol na Fidhle, vol.
3), 1988; pg. 19.
O MAIRE DHILIS. AKA and see "O Molly My Dear."
O MAEB GLEIGEAL. AKA and see "O White Maive."
O MARY ASTHORE. Irish, Air (4/4 time). E Flat Mixolydian. Standard
tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 636, pg. 159.
X:1
T:O
Mary Asthore
M:C
L:1/8
N:”Allegretto”
S:Stanford/Petrie
(1905), No. 636
Z:AK/Fiddler’s
Companion
K:E_
c2 | B2
AG A2 GA | B2 AG _d2 c/B/c/=d/ | e2E2G2 F/E/F/G/ | F2 E>F E2 :|
B2 |
e2B2e2 ef/g/ | a2g2f2 fg/a/ | g2f2e2 de | fe dc B2 _dc | B2AG A2 GA |
B2 AG
_d2 c/B/c/=d/ | e2E2G2 F/E/F/G/ | F2 E>F E2 ||
O MARY, MY DARLING [1] (A Mháire, ‘s A Mhúirnín). AKA –
“Mary My Sweetheart.” Irish, Air (3/4 time, "plaintive"). D Minor
(Joyce): D Major (Shields). Standard tuning. AB. "There are two settings
of this in Stanford‑Petrie, different from each other, and both different
from mine. both are in the major scale; but the tune should be in the minor: so
I took it down from James Buckley, and so I heard all others play and sing it.
Moreover, the ornamented setting given below, copied from Mr. Pigot, is also in
the minor. There is a bad (major)_ setting in O'Daly's Poets and Poetry of Munster, 2nd ser., p. 224, where will also be
found the pleasing Irish peasant song of which this is the air. I give the tune
here, partly to restore it to its proper minor form, and partly because it
gives me an opportunity to record a good specimen of the variations and
ornamentations which Munster fidders and pipers were fond of introducing into
this and many other slow airs; such as 'Rois geal dubh,' 'An rabhais ag an g‑carraig,'
'Seadhan O'Duibhidhir an Ghleanna,' etc. The musicians always played the simple
unadorned melody first; after which came the ornamented form, or
'Variations'" (Joyce). Despite Joyce’s protestations that the tune should
be rendered in a minor key, Goodman (like O’Daly) gives it in major. Source for
notated version: a manuscript collection dated 1861 of Rev. James Goodman, an
Anglican cleric who collected primarily in
X:1
T:O
Mary, my darling [1]
L:1/8
M:3/4
N:”Plaintive”
S:Joyce
– Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:D
Minor
Ac|d>e
fe dc|A2A2 d>e|f2 gf e/d/c/e/|d2d2 fe|d>cAG F/G/A/=B/|
cAd>cAG|F2
GEF>D|D2D2||d>B|c2 dcAG|A2A2 d>e|f2 gfe>c|
d2d2
fe|d>cAGA=B|cAd>cAG|F2 GEF>D|D2D2||
O MARY, MY DARLING [2] (A Mháire, 'S A Mhúirnín).
Irish, Air (3/4 time). D Minor. Standard tuning. AABB. Highly ornamented
version. "With the variations and ornamentations of the
X:1
T:A
Mháire, ‘s a Mhúirnín
T:O
Mary, My Darling
M:3/4
L:1/8
S:Joyce
– Old Irish Folk Music and Song (148)
Z:AK/Fiddler’s
Companion
K:Dmin
A=B/c/
| d2 de f/4d/4e/4d/4c/4A/4G/4c/4 | A4 D/4E/4F/4G/4A/4=B/4c/4d/4e/4f/4g/4 |
f3 e
f/4a/4g/4f/4e/4g/4f/4e/4d/4f/4e/4d/4c/4e/4 | {c/} d4 fe |
d>cB>A
{G} F/4E/4D/4E/4F/4G/4A/4=B/4 | {B/}c4 Ac |
d3e
f/4g/4e/4f/4d/4f/4e/4d/4c/4A/4G/4F/4 | {E/}F4 D>F |
G3A
(3B/4A/4G/4(3A/4G/4F/4 (3G/4F/4E/4 F/4D/4C/4D/4 | {E/} D4 :|
|:
D/4E/4F/4G/4A/4 | B3A B/4d/4c/4B/4A/4c/4B/4A/4G/4B/4A/4G/4F/4D/4C/4F/4 |
{E/}D4
D/4E/4F/4G/4A/4=B/4c/4d/4e/4f/4g/4 | f3g f/4e/4d/4c/4A/4G/4F/4G/4A/4c/4 |
{e}d4
f>e | dcBA G/4F/4E/4D/4E/4F/4G/4A/4=B/4 | {B}c4 Ac |
d3e
f/4g/4e/4f/4d/4f/4e/4d/4c/4A/4G/4E/4 | {E}F4 DF |
G3A
(3B/4A/4G/4(3A/4G/4F/4(3G/4F/4D/4 F/4D/4C/4F/4 | {E/}D4 :|
OH! MARY TAKE MY ADVICE. AKA and see
"Drops of
Brandy [1]."
O MAUREEN, MY DARLING. Irish, Air (3/4 time). C Major.
Standard tuning. One part. Source for notated version: Patrick MacDowell,
"the distinguished sculptor: born in
O! MERRY AM
O MISTRESS MINE. English, Air (3/4 time). D Major. Standard tuning.
One part. The tune was arranged by the English composer William Byrd for Queen Elizabeth's Virginal Book (1611).
Shakespeare has the clown sing this song in Twelfth
Night (act II, scene 3). Kines (Songs
From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964;
pg. 9.
O MOLLY MY DEAR (O Maire Dhlis). Irish, Air (9/8 time). E Flat
Major. Standard tuning. One part. Thomas Moore used this melody for his song
"At the mid-hour of night."
***
O Molly my dear, I hear you're getting a man.
It would make my heart ache to see your wedding go on.
For fear of a fall, recall your senses in time,
For in spite of them all, sweet charming Molly, you're
mine!
(O'Sullivan/Bunting)
***
Source
for notated version: the index to the Irish collector Edward Bunting's 1840
collection states the tune was noted from "Patrick Quin, harper,
1800," though his MS copy (titled "If you were shaved you would make
a handsome young man") gives the date "28th October 1807."
O'Sullivan/Bunting, 1983; No. 118, pgs. 167-168.
OH! MOTHER A HOOP. English, Air (6/8 time) and Country Dance Tune. A
Minor. Standard tuning. One part. The melody appears under the same name in
Wright's Country Dances. It was used
in Cibber's Love in a Riddle (1729)
and in several other ballad operas.
***
What a fine thing I have seen to-day,
Oh! Mother a hoop!
I must have one, you cannot say nay,
For husbands are gotten this way, to be sure,
Men's eyes and men's hearts they so neatly allure,
Oh! Mother a hoop!
***
Scott
(English Song Book), 1926; pg. 46.
OH MOTHER IT HURTS ME SO. AKA and see "O Dear Mother
My Toes Are Sore [1]." Old‑Time.
O MOTHER MY TOES ARE SORE. AKA and see "O Dear Mother
My Toes Are Sore [1]," "Jinny O Jinny
My Toes Are Sore."
O MY DEAR FATHER, PITY YOUR DAUGHTER. AKA
and see "O My Dear Judy."
O MY DEAR JUDY. AKA and see "O My Dear Father, Pity Your Daughter,"
"The Bottle of
Brandy," "Bully for You," "The Western Jig,"
"The Bonny
Highlander," "The Buck(e)y Highlander,"
"Petticoat
Loose [1]," "The Leg of (a) Duck,"
"She is/She’s
the Girl that can do it," "Nelly's Jig,"
"Teddy you
Gander," "Thady you Gander," "Sonny Dan,"
"Daniel of the
Sun [1]," "From the Court to the Cottage,"
"Girls of the
West," "I gave to my Nelly,"
"'Tis sweet to think,"
"Donall/Domhnall na Greine,"
"The Grumbling
Rustic." Irish, Air (6/8 time, "with
spirit"). F Major (Joyce): G Major (O’Farrell). Standard tuning. AB
(Joyce): AAB (O’Farrell). "Gille
na Drobhair" may be related to this air, a member of a large tune
family. Joyce had the tune from the Pigot Collection. Joyce (Old Irish Folk Music and Song), 1909;
No. 696, pg. 349. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 20.
X:1
T:Oh,
My Dear Judy
M:6/8
L:1/8
S:Joyce
– Old Irish Folk Music and Songs (1909), No. 696
Z:AK/Fiddler’s
Companion
K:F
F>GA
f2d | e/4f/4g>e fed | cAA A2G | cAA A2G | F>GA f2d | e/4f/4g>e fed |
cAG
G2G | cAG G2A || F>GA/B/ cAA | d/4e/4f>d cAG | FAA A2G | cAA A2G |
F>GA/B/
cAA | d/4e/4f>d cAF | DGG G2A | cAG G2A ||
X:2
M:6/8
L:1/8
R:Air or Jig
S:O’Farrell – Pocket
Companion, vol. III (c. 1808)
Z:AK/Fiddler’s
Companion
K:G
D | GAB g2e | (f/g/)af
g(fe) | dBB B2A | dBB B2A | (GAB) g2e | (f/g/)af (gf)e |
dBA A2B | dBA
A2B :| GA(B/c/) dBB | (e/f/)ge dBA | GBB B2A | dBB B2A |
GAB/c/ dBB |
(e/f/)ge dBG | EAA A2B | dBA A2B | GAG dBB | (e/f/)ge dBA |
GBB B2A | dBB B2 f/g/ | (aba) (gfe) | fdB
g2e | dBA A2B | dBA A2 ||
OH
MY FOOT. AKA and see "The Peeler's Jacket [3],"
“Rocky Road to Denver,” "Where's My
Other Foot," "The Temperance Reel,"
"The
Teetotaler('s Reel)." American, Reel.
OH
MY LAWD. Old‑Time. Recorded by
OH MY LITTLE DARLING. AKA and see "My Little Dony." A Major. Standard
tuning. AA’BB’.
X:1
T:Oh
My Little Darling
M:C
L:1/8
R:Reel
S:Brad
Leftwich
N:From a transcription by John Lamancusa,
by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
E2[A,2A2]
[B(e][c2e2)]c|d2[e2(e2]e2) (e2|e)cef (=ge)c2|[d3f3] [d(=g][d3f3)] [A(e]|
[A2f2)]
(Af) [A3f3] =g|f2[(A2e2][A2)e2] (e2|e)fec B2G2|1 A3(B A2)(E2:|2 A3 (BA2)(a2||
|:a)ba(f
e2) ef|(=ge)fg e2(a2|a)baf e2c2|[d3f3] [d(=g][d2f2)](a2|a)(ba)f e2 ef|
(=ge)fg
e2 (ce|e)fec B(G B2)|1 A3 [(A,A]A2)(a2:|2 A3 [(A,A]A2 A2)||
OH MY LOVE SHE WAS BORN IN THE NORTH COUNTRY WIDE.
Irish, Air (4/4 time). F Dorian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 516, pg.
131.
X:1
T:Oh
my love she was born in the
M:C
L:1/8
S:Stanford/Petrie
(1905), No. 516
Z:AK/Fiddler’s
Companion
K:F
Minor
c/>B/
| A2 AA GF =EF | G>A FF F3F | FGAB c2 BA | Bcde c3F |
FGAB
c2 c=e | f_e =dB e2 fc | A2 AA GF=EF | G>A FF F3 ||
OH
MY NANNY. AKA and see "Hey My Nanny."
O
X:1
T:O
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
E
AG|F2 EF AG|F2 E>D CE|Fd cB AG|A3E AG|F2 EF AG|
F2
E>D CE|Fd cB AG|A3||A/B/ cd|e>f ed cA|F2 Ec/d/ ec|A2 GA F>F|
E3
c/d/ ec|dB c/d/ e/>d/ cA|F2 E>D CE|Fd c>B AG|A3||
OH
NANNY. AKA – “Oh
Nanny wilt though gang with me.” English, Air (4/4 time). G Major. Standard
tuning. One part. “Oh Nanny wilt thou fly with me” is the name of an18th
century song with music by Thomas Carter (1735-1804), who published it in his
first collection of Vauxhall songs in 1773, in which year it was sung there by
Mr. Vernon. Carter was born in
***
O, Nanny, wilt thou gang wi’ me,
Nor sigh to leave the flaunting town?
Can silent glens have charms for thee,
The lowly cot and russet gown?
Nae langer drest in silken sheen,
Nae langer decked wi’ jewels rare,
Say, canst thou quit each courtly scene,
Where thou wert fairest of the fair?
***
The
melody appears in a number of British and American publications of the late 18th
and early 19th centuries, including the Eben Irving (Middletown, New
York) music manuscript of 1796, and the1823-26 music manscript of papermaker
and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen,
Lincolnshire Wolds). John Burk’s manuscript version (1821) is unique in its
setting for two violins. Source for notated version: the 1823-26 music mss of
papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market
Rasen, Lincolnshire Wolds) [Sumner]. Sumner (
O NATIVE MUSIC. Irish, Air (3/4 time). A Major. Standard tuning. AB.
"Composed by (Samuel) Lover" (Roche). Roche Collection, 1982, vol. 3; No. 58, pg. 16.
OH NO! WE
NEVER MENTION HER. English, Air. C Major. Standard tuning.
AABB. A sentimental song by Thomas Haynes Bayly (1797-1839), an English poet
and playwright who also penned “Long, Long Ago.” From the appearance of the
published American cover, it was performed on the minstrel stage. The title is
taken from the lines:
***
Oh no! we never mention her,
Her name is never heard;
My lips are now forbid to speak
That once familiar word. Oh no! we never mention her.
***
Howe (Complete
Preceptor for the Accordeon), 1843; pg. 24.
X:1
T:Oh No! We Never Mention Her
M:2/4
L:1/8
R:Air
S:Howe – Complete
Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s
Companion
K:C
|: gBBd | dc cz | Gcce | e2 dG | c>Bcd
| efge | dagB | c3 :|
OH ONOCHIE
O.
Scottish, Air. Maggie’s Music MMCD222, Bonnie Rideout
– “Scottish Fire” (2000).
O PLEASANT WAS THE MOON. AKA and see "The Black Rogue."
OH PLEASANT WERE THE DAYS. Irish, Air (2/4). C Major/D Dorian.
Standard. One part. Roche Collection,
1982, vol. 3; No. 14, pg. 4.
OH POLLY, YOU MIGHT HAVE TOYED AND KISSED. AKA
and see "The
Willoughby Whim," "May Fair," "Oh Jenny, oh
Jenny, where hast thou been?" English, Air. The tune
appears under this title in Gay's Beggar's
Opera, 1729.
OH PONDER WELL, BE NOT SECURE. AKA and see "Now ponder well, ye parents dear,"
"The Children
in the Wood." English, Air. The tune appears under
this title in Gay's Beggar's Opera,
1729.
O SAD AND SORRY I’M THIS DAY. Irish, Air (4/4 time).
X:1
T:O
sad and sorry I’m this day
M:C
L:1/8
R:Air
N:”A
S:Stanford/Petrie
(1905), No. 841
Z:AK/Fiddler’s
Companion
K:D
F/E/ |
D3E F2G2 | AGFG A2Bc | d2 AB =cBAG | F2 “tr”E2 D3 :|
A |
d3e f2e2 | d3c A2G2 | c3A G2A2 | c3G E2D2 | d3c d2e2 |
f3 d
e2c2 | A3G E2c2 | A3G E2D2 | D3E F2G2 | AGFG A2 Bc |
d2 AB =cBAG
| F2 “tr”E2 {D/E/} D3 ||
O SAW YE BONNIE LESLEY. AKA and see "The Collier's
bon(n)ie lassie." Scottish, Air (2/4 time). F Major.
Standard. AA. The poet Robert Burns set words to the tune "The Collier's
bonie lassie" in honor of Miss Lesley Baillie (later Mrs. Cumming of
Logie, Ayrshire), who had visited Burns with her father and sister. He must have been taken with her, for after
entertaining them he accompanied them on horseback some 14 or 15 miles on their
journey south. Neil (1991) remarks that the lyrics are a parody on the old
ballad "My bonie Lizie Baillie, I'll rowe thee in my plaidie." Neil (The Scots Fiddle), 1991; No. 178, pg.
232.
OH SAY BONNY LASS. English, Waltz.
OH SAY OLD MAN CAN YOU PLAY THE FIDDLE? AKA‑ "Ladies Fancy [1],” "Say Old Man
Can You Play the Fiddle? [1]" Old‑Time,
Breakdown.
O
OH '
OH SHEELA MY LOVE (A Sigile Mo Grad). AKA – “Sheila Ní Guira,” “Sheela
O’Gara.” Irish, Air (6/8 time, "gaily"). E Minor (O’Neill): A Dorian (Kennedy).
Standard tuning. AB (O’Neill): AABB (Kennedy). The tonality shifts between E
minor and A dorian. Source for notated version: Hartnett [O’Neill]. Kennedy (Traditional Dance Music of
Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No.
168, pg. 40 (appears as “Sheila Ní Guira”). O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 571, pg. 100.
X:1
T:Oh
Sheela My Love
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill
– Music of
Z:AK/Fiddler’s Companion
K:Emin
D|DEG A2A|BAG
GAB|c>dc B2A|AGE E2G|DEG A2A|BAG GAB|
c>de
B2A|AGE E2||c/d/|e>fe d2 c|BGE GAB|Bee d2c|BGB c2d|
e>fe
{e}d2c|{c}BGE GAB|c>dc B2A|AGE E2||
X:2
T:Sheela O’Gara [3]
T: Sheila Ní Guira
M:6/8
L:1/8
R:Jig
K:Ador
A|EAA
AGA|BGG GAB|cdc BGE|AGE E2:|…
O SHE'S COMICAL. Scottish, Reel. A Mixolydian. Standard tuning. AB
(Gow, Skye): ABB' (Athole, Kerr). "Very old" (Gow, Skye). Carlin (The Gow Collection), 1986; No. 404. Gow
(Complete Repository), Part 3, 1806;
pg. 22. Kerr (Merry Melodies), vol.
2; No. 6, pg. 4. MacDonald (The Skye
Collection), 1887; pg. 22. Stewart-Robertson (The Athole Collection), 1884; pg. 8.
X:1
T:O She’s
Comical
M:C|
L:1/8
S:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
A|e/e/e ea f2fa|e/e/e
(ed cAAc|e/e/e (ef =g2gd|B2(BA B=GGB|
e/e/e (ea
f2fa|e/e/e (ed cAAc|d2(fd c2(ec|B2(BA B=GG:|
|:B|efed c2
(Ac|efed cAAc|efed c2(Ac|B2(BA B=GGB|efed c2(Ac|
efae cAAc|1 d2(fd c2(ec|B2(BA B=GG:|2
d/d/d (fd c/c/c (ec|B/B/B (cA B=GG|]
OH SHRIVE ME, FATHER. Irish, Air (3/4 time). E Flat
Major. Standard tuning. AB. An Irish version of the air known in
X:1
T:Oh
Shrive Me, Father
M:3/4
L:1/8
R:Air
N:”Andantino”
S:Stanford/Petrie
(1905), No. 632
Z:AK/Fiddler’s
Companion
K:E_
G FE |
E2 GB cd | e2 ec B>G | F2 EG FE | C3G FE | E2 GB cd | e2 ec B>G |
F2 EG
F>E | E3 || BB>G | e3 dc>B | c>B G2 B>G | e3 dc=B | c3 Bcd |
e>f
ed c=B | cd e c B>G| F2 EG F>E | E3 ||
O SOUTHERN BREEZE. AKA an see "A ghaoith on nDeas."
OH SUSANNA(H). American
(originally); Song Tune. English, Morris Dance Tune (6/8 time). G Major.
Standard tuning. AB. The original version was composed by Stephen Foster and
became a popular song tune. It was cited as commonly played for
O! SWEET ADARE (O! At‑Dara Aoibinn).
Irish, Slow Air (3/4 time). D Dorian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 190, pg. 33.
X:1
T:O!
Sweet Adare
M:3/4
L:1/8
R:Air
S:O’Neill
– Music of
Z:AK/Fiddler’s Companion
K:D
Minor
A
de|f2 ed d>c|A3G ^FG|A>G ^FA G>=F|D3 A de|f2 ed cA|a3g fe|
d>f
ed ^ce|d3||a ag|f>g af gf|e>f ge fe|d>f ed d^c|A3 G ^FG|A=B cA d^c|
d>e
a>g fe|d>f ed ^ce|d3||
O TABHAIR DHAM DO LAMH. AKA and see "O, Give Me Your Hand."
O THAT I HAD NE'ER BEEN MARRIED. AKA and see "Crowdie,"
"Three Times Crowdie in One Day,"
"The Wayward
Wife," "Bide Ye Yet [2].”
O THE ALE WIFE WITH HER BARREL MAKES ME STILL UNEASY.
English.
O THE BONNY FISHER LAD. English, Air (4/4 time).
***
O the bonny fisher lad,
That brings the fishes frae the sea,
O the bonny fisher lad,
The fisher lad gat had o' me.
(Stokoe)
***
Bruce
& Stokoe (Northumbrian Minstrelsy),
1882; pgs. 100‑101.
X:1
T:O the bonny fisher lad
M:C
L:1/8
R:Air
S:Bruce & Stokoe – Northumbrian
Minstelsy (1882)
Z:AK/Fiddler’s
Companion
K:B Minor
z|AF dB AF GE|AF dB AF B2|AF dB AF GE|FE
DE F^A B||B|
ce df FA GE|ce df F^A BB|ce df FA GE|AF
DE F^A B||
O THE BREECHES FULL OF STITCHES. See "The Britches
Full of Stitches."
O
THE BROOM. AKA and see "Broom of the Cowdenknows,"
"Broom, the Bonny, Bonny Broom"
& variants, "An thou were my ain thing."
The air appears in John Gay's The
Beggar's Opera (1729) as "Oh what pain it is to part." It also
was published in Orpheus Caledonius
(1725‑6). Raven (English Country
Dance Tunes), 1984; pg. 55.
OH, THE CRUEL WARS. Irish, Air (3/4 time). E Minor.
Standard tuning. AB. Source for notated version: from a manuscript book lent to
Joyce by Surgeon-Major-General King of
X:1
T:Oh,
the Cruel Wars
L:1/8
M:3/4
S:Joyce
– Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:E
Minor
ed|c2B2A2|B2E2E2|c2B2A2|B3
BA|G2B2d2|cBABcA|GA G2F2|E4||EF|
G3A
BG|E4 FG|ABAGFE|D4 GA|B2G2 G/A/B/d/|e2B2 BA|GA G2F2|E4||
OH! THE HOURS I HAVE PASSED. AKA and see "Coolin,"
"Though the Last Glimpse of Erin,"
"Oh! Hush the
Soft Sigh," "Had You Seen My Sweet Coolin,"
"In This Calm Sheltered Villa."
OH! THE MARRIAGE. AKA and see
"Swaggering
Jig [1]."
OH, THE MONKEY MARRY TO THE BABOON SISTER.
American. A plantation fiddle tune from the antebellum South, according to E.
Southern (1983, pg. 186).
O THE OAK AND THE ASH AND THE BONNY IVY TREE. AKA
and see "Goddesses,"
"Quodling's Delight.” English, Air
(4/4 time).
A North‑countrie
lass up to London did pass,
Although with
her nature it did not agree
Which made
her repent, and so often lament,
still wishing
again in the North for to be.
O! the oak
and the ash, and the bonny ivy tree,
Do flourish
at home in my ain countrie. (Bruce &
Stokoe)
Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pgs. 86‑87.
T:O the Oak and
the Ash and the Bonny Ivy Tree
L:1/8
R:Air
S:Bruce &
Stokoe – Northumbrian Minstrelsy
(1882)
D2|G2G AB2 AG|A2A
B c2 BA|G2GA B2AG|^F2 d>^c d2 de|
=f2 dc B2AB|c2AG
F2 GA|B2AG ^FG AA|G2 d>^c d2 de|
=f2dc B2AB|cB AG F2
GA|B2 AG ^FG AA|G2 G^F G2||
O! THE SHAMROCK (O! An T-Seamrog). AKA and see "Allie Croker," "Through Erin's Isle." Irish, Air (4/4 time). G Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 398, pg. 69.
X:1
T:O!
The Shamrock
M:4/4
L:1/8
R:Air
S:O’Neill
– Music of
Z:AK/Fiddler’s Companion
K:G
d|B>GGG
G>GGG|AGFG A>Bcd|BGGG GGGG|AGFG A>B c||c|
B>ddd
dddd|edcB A>Bcc|ccc>c cccc|dcBA G>A Bz|G3G F F2F|
E>EEE
D2D2|cccc BBBA|BGcA F2G2||
O! THE WEARY WATERS OF
X:1
T:O!
The Weary Waters of
M:6/8
L:1/8
S:Frank
Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s
Companion
K:G
Mixolydian
G2B
c2e|dBG B2A|G2B c2e|dBG A3|G2B c2e|dBG g3|
fed
edB|gdB A2::GAB gag|fed g3|GAB gag|
gdB A3|GAB gag|fed g3|fed edB|gdB A3:|
O THIS IS NO MY AIN LASSIE. Scottish, Country Dance Tune (2/4
time). D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 367, pg. 41.
X:1
T:O
This is no My Ain Lassie
M:2/4
L:1/8
S:Kerr
– Merry Melodies, vol. 3, No.
367 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(A/G/)|FAAa|gfed|B/c/d/c/
B/A/G/F/|BEE(A/G/)|FAAa|gfed|B/c/d/B/ A/B/A/G/|FDD:|
|:(A/G/)|FAAd|BdA>F|GBAF|BEE(A/G/)|FAAd|BdA>F|G/F/G/B/
A/B/A/G/|FDD:|
OH THOSE BRITCHES FULL OF STICHES!
AKA and see “The Breeches On,”
“The Irish Lad('s a Jolly Boy),”
"Leather Breeches/Britches,”
“Lord MacDonald(’s Reel)
[4]” and related family of tunes. Irish, Polka or Single Jig. A Major
(Sullivan): G Major (Roche, Tubridy). Standard tuning. AABB. Roche Collection, 1982; vol. II, pg. 20
#240. Sullivan (Session Tunes), vol.
2; No. 18, pg. 8. Tubridy (Irish Traditional
Music, vol. 1), 1999; pg. 7.
OH! 'TIS LOVE. English?, Jig or
Country Dance. F Major. Standard tuning. ABB'C. Hardings All Round Collection, 1905; No. 146, pg. 46.
X:1
T:Oh!
‘Tis Love!
M:6/8
L:1/8
R:Country
Dance
S:Harding’s All Round Collection (1905)
Z:AK/Fiddler’s Companion
K:F
C2c
C2c | c2c c2c | f2f fef | ^f3 g2z | c2c c2c | c2c c2c | g2g gag | f2z cde |:
f2f
fgf | f2e ef^f | g2g gag |1 f2z cde :|2 f2z [A2f2] || g | b3 gab | (a3 a2)f |
e2e
O TOMMY COME TICKLE ME. AKA and see "The Campbells Are Coming [1],"
"Hob or/a Knob." American,
Jig.
***
O Tommy come tickle me, I'll tell you where:
Just under my navel there's a big bunch of hair.
***
Source
for notated version: Hiram White (Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 539C,
pg. 479.
O TREASURE OF MY HEART. AKA and see “Astoreen Machree.”
O WALY, WALY. Scottish, Air (3/4 time). F Major (Howe): D Major/Mixolydian
(Neil). Standard tuning. One part (Howe): AABB (Neil). This very old tune can
be found in William McGibbon's collection of 1762 among others, although the
first printed version appeared in 1725. Neil (1991) remarks that the origins of
the ballad are obscure, but probably relate to some amorous incident in the
life of Mary, Queen of Scots, or one of her courtiers. The song references Lady Barbara
Erskine, daughter of the 9th Earl of Mar, who married James, second
Marquis of Douglas, in 1670 and tells of her ruin after being falsely accused
of adultery.
***
O waly, waly, up the bank,
And way, waly, down the brae,
And waly, waly, yon burnside,
Where I and my love want to go!
I lean'd my back into an aik,
I thocht it was a trusty tree,
But first it bow'd and syne it brak
And sae did my true love to me.
***
The
melody was transformed in
X:1
T:O
Waly, Waly
M:3/4
L:1/8
R:Air
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
F |
A>B c2f2 | g>a g3G | A>B c2g2 | a>g f3F | A>B c2f2 | g>a g3G
| A>Bc2g2 | a>g f2z_e |
d>c
B3c | dc _e3 (d/c/) | df c2a | g>f f2zf | d>c A3f | cA G3_e | dc f3A |
G>F F2 z ||
O WELCOME TO MY DEARIE O. Scottish, Reel. G Major. Standard
tuning. AB. Composed by James Stewart-Robertson, editor of The Athole Collection. Stewart-Robertson
(The Athole Collection), 1884; pg. 178.
X:1
T:O Welcome to
My Dearie O
L:1/8
M:C|
C:James
Stewart-Robertson
R:Reel
B:The Athole Collection
Z:AK/Fiddler’s Companion
K:G
D|G2Bd g2gf|edBg
AGEA|G/G/G Bd g2 ga|bage dBBg|G2Bd g2gf|
edeg edBg|bgaf
gedB|egdB BAA||B|G/G/G dB gBdg|G/G/G dB eAAB|
G/G/G dB
gBdB|egdB BAAB|G/G/G dB gBdg|G/G/G dB eAAf|
gaba gedB|egdB BAAB||
OH WERE I KING OF
***
But, be it so, or be it not,
Or be it but a chance,
The very first time I saw my love.
She struck me in a trance.
***
Source
for notated version: “From Mrs. Close” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 535, pg.
135.
X:1
T:Oh
were I king of
L:1/8
S:Stanford/Petrie
(1905), No. 535
Z:AK/Fiddler’s
Companion
K:A
E |
A>G FE FA EC | EE FG | A3E | A>B cd | e>f ed | cB AB/c/ | B3E |
A>B
cd | e>f e>d | cB AB/c/ | B3c | dB e>c | A(B/>c/) EC/>C/ | EE FG
| A3 ||
OH! WHAT A ROW. Irish?, Reel. C Major. Standard tuning. AB. Hardings All Round Collection, 1905; No.
3, pg. 1.
X:1
T:Oh!
What a Row
M:2/4
L:1/8
R:Reel
S:Harding’s All-Round Collection, No. 3
(1905)
Z:AK/Fiddler’s Companion
K:C
cG/E/
cG/E/|c/e/d/c/ c/B/A/G/|A/c/B/A/ A/G/F/E/|FG
cG|cG/E/ cG/E/|c/e/d/c/ c/B/A/G/|
A/c/B/A/
A/G/F/E/|FG cz||e/e/e/c/ e/e/e/c/|e/g/g/e/ d/B/G|d/d/d/B/ d/d/d/B/|
G/A/G/F/
E/D/C|e.g/.g/ .g/.g/.g/z/|g/g/c’/b/ a/g/f/e/|f/g/a/f/ g/e/d/c/|B/a/g/f/
e/d/c/B/||
OH WHAT PAIN IT IS TO PART. AKA and see "Gin thou wert mine awn thing,"
"An thou were my ain thing."
English, Air. The tune appears under this title in Gay's Beggar's Opera (1729).
OH WHAT SHALL I DO MY LOVE IS GOING TO BE WED.
Irish, Air (3/4 time). F Mixolydian. Standard tuning. ABB. Source for notated
version: “From Mr. Pigot’s MS” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 762, pg. 191.
X:1
T:Oh
what shall I do, my love is going to be wed
M:3/4
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie
(1905), No. 762
Z:AK/Fiddler’s
Companion
K:Fmix
BG |
F2 B2 AF | G2F2 GB | c2G2F2 | G2e2 dB | c4 BG | F2B2 AB |
G2F2
(3GAB | c2d2 cA | G2F2F2 | F4 |: e2 | dc Bcde | {d}f4 ed |
c2G2F2
| G2e2 dB | c4 BG | F2B2 AB | G2 F>GAB | c2d2 cA | G2F2F2 | F4 :|
OH WHAT SHALL I DO WITH THIS SILLY OLD MAN.
Irish, Air (6/8 time). D Minor. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 530, pg.
134.
X:1
T:Oh what
shall I do with this silly old man
M:6/8
L:1/8
S:Stanford/Petrie
(1905), No. 530
Z:AK/Fiddler’s
Companion
K:Dmin
A |
Add ded | cAA A2A | Aff efg | fdd d2 || f | cAA AGA | FAA AGA |
EAA
AGA | FDD D2f | cAA AGA | FAA AGA | EAA A>GA | FDD D2 ||
OH WHERE ARE YOU GOING LORD LOVEL, SAID SHE.
Irish, Air (6/8 time). F Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 752, pg.
188.
X:1
T:Oh
where are you going Lord Lovel, said she
M:6/8
L:1/8
S:Stanford/Petrie
(1905), No. 752
Z:AK/Fiddler’s
Companion
K:F
F |
FGA c2A | GFG F2A | cde f2d | c3 A2c | cde f2d | cdB A2c | dcA G2F | F3 F2 ||
O WHERE ARE YOU GOING, MY PRETTY FAIR MAID? Irish, Air (6/8 time, "lively"). F
Major. Standard tuning. One part. "This...(is) from Donegal" (Joyce).
***
"O, where are you going, my pretty fair maid,
So early? come
tell to me now."
"I'll tell you the truth, kind sir," she
said,
"I've lost my grey spotted cow."
(Joyce)
***
Joyce
(Old Irish Folk Music and Song),
1909; No. 152, pg. 77.
X:1
T:O,
where are you going, my pretty fair maid?
M:6/8
L:1/8
R:Air
S:Joyce
– Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
N:”Lively”
K:F
C|FGA
DEF|GEC C2F|FAc cBA|A3 G2A|Bcd c2c|cAF B2G|FDC CDE|(F3 F2)||
OH WHERE DID YOU COME FROM. AKA and see "Black-Eyed Daisy." American, Reel.
The tune was printed under this title in George P. Knauff's Virginia Reels, volume III (
OH WHERE, OH WHERE, IS MY DARLING TONIGHT? See
"Teabag Blues."
OH WHISKEY, HEART OF SOULS [1] (A h-Uiscidhe Chroidhe na n-Anmann).
Irish, Air (6/8 time, "with spirit"). "The Irish song with the
above opening will be found in Hardiman's Irish
Minstrelsy,
X:1
T:Oh,
whiskey, heart of souls
T:A
h-Uiscidhe Chroidhe na N-Anmann
L:1/8
M:6/8
N:”With
Spirit”
K:Amix
E|A2A B2G|A2B
c2e|e2c d2B|A2G E2G|A2A B2G|A2B c2d|e2Bd2B A3A2||
c|e2d
e2f|g2g f2f|e2d B2A|A2G E2G|A2A B2G|A2B c2d|e2B d2B|A3 A2||
OH WHISKEY, HEART OF SOULS [2]. Irish, Air (4/4 time, "with
spirit"). G Mixolydian. Standard tuning. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 274, pg. 130.
X:1
T:Oh,
whiskey, heart of souls
M:C
L:1/8
R:Air
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Gmix
Bc|d3d
dc AG|F2G2 A3c|d3d dc AB|c4 {A}A2 de|fedc dc AG|
F2G2
A3 B/c/|dedB c2A2|G4G2||G2|A2 AB cB Ac|d2d2 f3e|
e3d d2
cA|G2A2F2 fe|d3d dc AG|F2G2 A3 c/d/|e3d c2A2|G4G2||
O WHISTLE AND I'LL
COME TO YOU/YE MY LOVE/LAD. AKA and see “Days of ‘Lang Syne',” “Tod(d)lin’ Hame.” Scottish, Jig and Air.
D Major. Standard tuning. AAB. The title comes from Robert Burns's (1759-1796)
lyric to an air by fiddler John Bruce (1720-1785), the 'red‑wed
Highlander', originally from Braemar, later settling in
***
Aye vow and protest that ye care na for me,
And whiles ye may lightly my beauty a-wee;
But court na anither, tho' jokin ye be,
For fear that she wile your fancy frae me,
For fear that she wile your fancy frae me.
O whistle an' I'll come to ye, my lad,
O whistle an' I'll come to ye, my lad,
Tho' father an' mother an' a' should gae mad,
O whistle an' I'll come to ye, my lad
***
Howe (1000 Jigs and Reels), c. 1867; pg. 125. Kerr (Merry Melodies), vol. 1; No. 30, pg. 33.
X:1
T:O Whistle and I’ll Come to Ye, My Lad
M:6/8
L:1/8
R:Air
S:Howe – 1000
Jigs and Reels (c. 1867)
Z:AK/Fiddler’s
Companion
(B/c/) | (d<BG) (FED) | (Ccc) c2 (B/c/) | d<BG
FDF | (GBB) B2 B/c/ | dBG (F>ED) |
Ced cf>e | (dBG) (FDF) | GBB B2 || B/c/ | Bdf Bdf |
Bdf (f2 d/c/) | Bdf Bdf |
(gc)c c2 d/c/ | Bdf Bdf | BBg (g2 f/e/) | (dBG) (FED)
| Ccc cf>e | dBG (FDF) | (GBB) B2 ||
O WHITE MAIVE ("O Maeb Gleigeal" or "Maebh Gheal").
Irish, "Very Slow" Air (3/4 time). G Minor (O'Neill): G Dorian
(Bunting). Standard tuning. One part. The melody given in O'Neill appears to be
taken from Bunting's 1840 collection. O'Sullivan (1983) points out that Bunting
altered this version in several ways from the one he collected in his MS from
his source (which appears in O'Sullivan's 1983 edition of Bunting): he added
passing notes, changed the key signature by adding a flat, and changed the form
of the piece to make it more symmetrical. Source for notated version: Bunting
noted the tune from "Kitty Doo, at
O WHY LEFT I MY HAME?
AKA and see "The Exile's Song."
Scottish, Air (2/4 time). G Major. Standard tuning. One part. The title comes from
the lyric by Robert Gilfillan, but the tune is one of the "Lowlands of Holland [2]"
versions published in the Scots Musical
Museum. Gilfillan was born in
O WILTU, WILTU DO'T AGAIN!
Scottish, Song Air. The song was one of two attributed to the old Scots
fiddler Patie Birnie (d. 1721) by Allan Ramsay in the mid‑18th century.
It has apparently been lost to the ages.
O WIND FROM THE SOUTH. AKA and see "Ghaoith on nDeas."
O WOMAN OF THE HOUSE (A Bhean-a-Tighe). Irish, Air (4/4
time). G Major. Standard tuning. AB. "I found this so incorrectly phrased
and barred in the MS. as to be all but unintelligible. I have restored it to
what I believe is the correct form" (Joyce). Source for notated version:
"Copied from a Munster MS. lent me by the late John O'Daly, the Irish
publisher of
X:1
T:O
Woman of the House
T:A
Bhean-a-Tighe
M:C
L:1/8
R:Air
N:”Moderate:
time well marked”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
E2|G2 GE
GABG|A2G2G2 EG|A2 AB ABcd|edcB AGAB|cBcd efge|edcB cBAG|
BAGE
GABG|A2E2E2||(3def|g3a gede|gage d2 eg|a2 ab a2 ga|bage dega|
b2bg
a2 ae|gage degf|edBA GABG|A2E2E2||
OH WOMAN OF THE HOUSE, ISN’T THAT NEAT?
Irish, March (6/8 time). F Major/Mixolydian. Standard tuning. One part. Petrie
(1855) gives the title in his index as “O woman of the house is not that
pleasant?” and says it is “a white-boy march.”
OH YES, MAMMY, LOOK AT SAM. Old‑Time,
Breakdown.
O’HANLON’S BRIDGE. Irish, Jig. A Dorian. Standard tuning. AABB.
Composed by fiddler and piano player Josephine Keegan (b. 1935), of
Mullaghbawn, south
O’HARA’S
CUP. See "Kean
O'Hara [1].”
O’HIGGIN’S HORNPIPE. Irish, Hornpipe. Rounder 1087, Tommy Reck - “From
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:Kerr
– Merry Melodies, vol. 4, No.
274 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A2A2
BdcB|A2A2 BdcB|1 ABcd efga|bagf edcB:|2Acfe ^dBcd|e2g2e2z2||
|:f2ff
f2f2|fedc BcdB|e2 ee e2e2|edcB Acde|f2f2 egfe|d2d2 cedc|B^ABc defg|a2a2a2z2||
OHO, OHO, I'VE FOUND YOU OUT. AKA and see "Asey's Piece," "Hunnell's Double Drag," "O I Hae Seen the Roses Blaw,"
"Ellis'(s) Jig," "Mason's Quickstep." American, March
(6/8 time).
__________________________________________
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[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.