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] |
O'MAHONY'S FROLICS (Sugacas Ui Matgamna). See “O’Mahoney’s
Frolics.”
O’MAHONEY’S. AKA – “O’Mahoney’s Fancy.” AKA and see “California Girls,” “Carmel Mahoney Mulhaire.”
Irish(-American), Reel. Composed by Martin Mulhaire (as “Carmel Maloney
Mulhaire’s”) and named in honor of his wife. The tune was recorded under this
title by
X:1
T:O'Mahoney's
M:4/4
L:1/8
C:Martin Mulhaire
S:Arr. C. Ricker, learned from Denis
Lanctot and Jerry S:
R:Reel
K:DMaj
dB|AF ~F2 DFBF|AF ~F2 ABde|fdad
bdad|ef (3gfe cABc|!
(3.d.c.B (3.c.B.A BAFE|DEFD
A,DFA|BG~G2 Bcde|(3fga ec d2:|!
e|f2 fa fgfe|df ~f2 af ~f|dFAd
fedf|(3gag (3fgf eAce|!
f2 fe fgfe|df ~f afdf|g2 ef
gbag|(3fga ec d2:|!
(3efg|a2 fa b2 gb|affe fgaf|gfe^d
efga|ba (3ba^g agfg|!
(3aaa fa (3bbb gb|af (3gfe
fgaf|(3gag (3fgf ecdB|AFGE D2 D:|!
G|FDDD ADFA|DFAd bafa|(3gag (3fgf
(3efe (3ded|(3cdc (3BcB AFGE|!
FDDD ADFA|DFAd bafa|(3gag (3fgf
ecdB|AFGE D2 DG:|!
O’MAHONEY’S FANCY. Irish, Reel. Bulmer & Sharpley (Music
from
O’MAHONEY’S FROLICS. AKA – “O’Mahony’s Frolicks.” AKA and see “Cat in the Corner [1],” “Felix the Wrestler,” “Lady Charlotte Murray [1],”
“O’Shaughnessy’s,” “Puss in the Corner.” Irish, Jig. D
Major. Standard tuning. AABB’. O’Neill (O’Neill’s
Irish Music), 1915; No. 188, pg. 103. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 190, pg. 45. Clo Iar-Chonnachta CICD 173, Brian Conway – “Consider the
Source” (2008).
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:O’Mahoney’s Frolics
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
G|F2D DFD|dAF AFD|E/F/GE CEG|cGE
CEG|F2D DFD|dAF AFD|
GBG EFG|AFD D2:||:g|f2d dfd|afd
def|e2c cec|gec efg|1 f2d dfd|afd efg|f
dB Ade|fdd d2:|2afa geg|fdf ecA|GBG
EFG|AFD D2||
O'MAHONEY'S HORNPIPE (Cornphíopa Uí Mhathúna). AKA and see “The Clareman’s Hornpipe,” “Fáilte Go h-Éirinn,” "The Hatter's Hornpipe," “Peter Wyper’s [2],” "Prend(i)ville's Hornpipe."
Irish, Hornpipe. G Major. Standard tuning. AABB. Sources for notated versions:
fiddlers Julia Clifford & Denis Murphy (Country Kerry, Ireland)
[Breathnach, Bulmer & Sharpley]; set dance music recorded at Na Píobairí
Uilleann, in the 1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 225, pg. 102. Bulmer & Sharpley (Music from Ireland), Vol. 1, No. 68.
Cotter (Traditional Irish Tin Whistle
Tutor), 1989; 78. Taylor (Music for
the Sets: Yellow Book), 1995; pg. 14 (appears as “O’Mahony’s”). Claddagh Records CC5, Denis Murphy & Julia Clifford ‑
"The Star above the Garter" (1969).
O'MAHONEY'S JIG. 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,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche),
“Sweet Biddy Daly,” “To the Ladies.”
O'MEAGHER OF IKERRIN. Irish, March. G Major. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 199, pg. 77.
O'MEALY’S. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by R.L.
O’Mealy. Treoir.
X: 1
T: O'Mealy's
C: R.L. O'Mealy
S: Treoir
M: 4/4
L: 1/8
Q: 325
R: hornpipe
K: G
(3DEF | GFGA BGBd | gfga bgdB | cBAG FAdc |
(3BAG (3AGF GFED |
GFGA BGBd | gfga bgdB | cBAG FAdc | (3BAG (3AGF
G2 :|
(3Bcd | gd (3Bcd gd (3Bcd | gd (3Bcd g3 z | agfd
Adfd | Adfd Ad f2 |
(3Bcd
gd (3Bcd gd | (3Bcd gd (3Bcd g2 | agfd AFDc | (3BAG (3AGF G2 :|
O’MEARA’S. Irish, Double Jig. D Major. Standard tuning. AA’BB. Source for notated
version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
80, pg. 81.
OMEGA, THE. Canadian, Strathspey. Canada, Cape Breton. B
Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer
Dan R. MacDonald (1911-1976). Cameron (Trip
to Windsor), 1994; pg. 13.
OMNIA VINCIT AMOR. Scottish. "From the Skene
manuscript (c. 1630). The phrase is from Virgil's 'Eclogues', meaning love
conquers all. The Prioress in Chaucer's 'Canterbury Tales', most inappropriately,
wore this engraved in gold on her bracelet (Williamson)." Flying Fish FF358, Robin Williamson ‑ "Legacy of
the Scottish Harpers, vol. 1."
OMNIBUS, THE. AKA
and see “Kielder Jock’s,” “Stage Hornpipe [1].” English, Hornpipe.
X:1
T:The Omnibus
M:4/4
L:1/8
R:Hornpipe
K:G
|:(3def|gage dgbd|cfac Bdgd|BGdB
cAag|(3fgf (3efe defd|gage dgbd|
cfac Bdgf|(3efg db caBg|ecAF
G2::dc|BGFG EGDG|B,DGB cBAG|
AEAB cBAG|AGFE DCB,A,|G,B,DG
BdcB|cdef gfge|dbca Bgfg|ecAF G2:|
O'MOORE'S FAIR
DAUGHTER. AKA and see "The Hawk of (Lough Eirne
of) Ballyshannon," "Katherine
O'More," "Port Athol."
O'MURCHU'S HORNPIPE. Irish, Hornpipe. RCA 09026-60916-2, The
Chieftains - "An Irish Evening" (1991).
ON A BANK OF FLOWERS (Air Bruac Na Blata). Irish, Air (4/4 time). D Major. 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.
257, pg. 45.
X:1
T:On a Bank of Flowers
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland
(1903), No. 257
Z:AK/Fiddler’s Companion
K:D
DE | F2A2A2 Bc | d2A2A2f2 | (e2d2)
fedc | d6 (DE) | F2A2A2 (Bc) |
D2A2A2f2 | (ge)(cA) f2e2 | d6 ||
(fg) | .a2 .g2 fgaf | .g2 .c2.c2 (de) |
(=.f2.d2) (.d.e.^.f.g) | a2A2A2 (FG)
| (A^GAB) (A=GFG) | (A^GAB) A2f2 |
e2d2 fedc | d3 ||
ON A COLD WINTER'S DAY. AKA ‑ "Air La Fuar
Geimread." Irish, Air (3/4 time). G Minor. Standard. One part. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 616, pg. 109.
X:1
T:On a Cold Winter’s Day
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 616
Z:AK/Fiddler’s Companion
K:Gmin
D2|D2D2D2|B4 AG|A3 BAF|D2F2C2|D2D2D2|B4
AG|A4 GF|D4 Bc|
d2B2d2|c2B2A2|G3 AGF|D2F2C2|D2B2
AG|FA c2 dc|A2G2G2|G4||
ON A FINE MORNING BY THE SIDE OF
THE GLEN. See “Maidin
Aoibhin cois Taoibh an Ghleanna.”
ON A HOT PIANO. Canadian, Reel. Canada, Cape Breton. D Major. Standard. AABB. Composed
by fidddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 132, pg. 38.
Fiddlesticks cass., Jerry Holland - “Lively Steps”
(1987).
ON A LONG LONG
SUMMER’S DAY. Irish, Air (6/8 time). E Flat
Major. Standard. One part. Source for notated version: “From Mrs. Close”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 533, pg. 135.
X:1
T:On a long long summer’s day
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 533
Z:AK/Fiddler’s Companion
K:E_
E/F/ | G2B AGF | E2 A/G/ F2 E/F/ |
GAB/c/ _d2c | B3B2 E/F/ | G>A Bc _dcB |
Efe _dcd | B2A G2 F | E3 E2 E/F/ ||
G>A B/c/ _dc=d | efe _dcd | B2A G2F | E3 E2 ||
ON A MAY DAY MORNING
EARLY. English, Jig. G Major. Standard
tuning. AB. Raven (English Country Dance
Tunes), 1984; pg. 127.
ON A MONDAY MORNING. AKA and see "Frost is
All Over [1]," "Mist of
Clonmel," "The Praties
Are Dug, and the Frost is all Over,” “What Would You/I do if the
Kettle Boiled Over,” “What
Would You do if You Married a Soldier?”
Irish, Jig.
ON ETTRICK BANKS. Scottish, Air (4/4 time). D Major. Standard tuning. AABB. This air by
an unknown composer appears in Allan Ramsay's Tea Table Miscellany of 1724. Robert Burns used it for his verses
"On Ettrick Banks," which he sent to Mrs. Stewart of Stair.
***
On Ettrick banks on a summer's night,
At gloaming when the sheep drove hame,
I met my lassie bra' and tight
Cam' wading barefoot, a' her lane.
My arms about her lily neck,
And kiss'd and clap'd her there fu' lang
My words there were na' mony feck.
***
Neil (The Scots Fiddle), 1991; No. 39, pg. 50.
ON LOUGH NEAGH'S BANKS (Air Bruaca Loca-Neag). Irish, Air (4/4 time). C Major.
Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 441, pg. 77.
X:1
T:On Lough Neagh’s Banks
M:C
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 441
Z:AK/Fiddler’s Companion
K:C
e>f|g3a gedc|d>cde
A3c|G>AGE G2 cB|Adfe d2 c/d/e/f/|g3a gedc|
fedc {B}A2 e>d|cAGE G2 c>d|e2
{B}d>c c2||G>F|E3G A>GAc|d>cde A3a|
g>age fedc|f>g a/g/f/e/ {e}d2
gf|egab c’2 ba|gedc {B}A2 ed|cAGE G2 c>d|e2 {B}e>c c2||
ON MY WAY FROM HERE TO
WHEELING. American, Song Air? (4/4 time).
USA, southwestern Pa. G Major. Standard tuning. AA. Source for notated version:
David Rogers (elderly fiddler and singer from Greene County, Pa., 1930's)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 105, pg. 61.
ON MY WAY TO GEORGIA. Old‑Time. The title appears
in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
ON MY WAY TO SEE NANCY. Old-Time. D Major. DDad tuning. From West Virginia fiddler Edden
Hammons. Edden Hammons Collection I.
ON SHORE. English?, Hornpipe. D Major.
Standard tuning. AABB. Hardings All Round
Collection, 1905; No. 51, pg. 15.
X:1
T:On Shore
M:C
L:1/8
R:Hornpipe
S:Harding’s All Round Collection, No. 51 (1905)
Z:AK/Fiddler’s Companion
K:D
FE|D2 DF ABAF|A2d2d2A2|Bcde
fedf|e2E2E2 FE|D2 DF ABAF|
A2d2d2A2|Bcde faeg|f2d2d2::de|fedc
dcBA|B2d2d2F2|
G3A BAGF|B2E2E2a2|gfeg fedf|ecBA
BAGF|EFGB AGFE|F2D2D2:|
ON ST. PATRICK'S DAY I
WAS GAY. AKA and see "(An) Brístín Mire,” "Cunla," "Friar's Breeches," "Friar's
Britches," “The Frieze
Breeches/Britches [1],” “Gallagher’s
[1],” "I
Buried My Wife (and Danced on Her Grave)," “The Trumlo.” Irish, Jig.
ON ST. PATRICK’S DAY (WHEN I WAS IN THE
PUBLIC HOUSE). See “Lá
‘le Pádruig(‘s Mé a dTig an Tábhairne).”
ON SUNDAY MORNING (Maidin Domhnaigh). AKA and see "Maidin Domhnaigh."
ON THE BANKS OF THE
CANE. See "Fort Smith [1]."
ON THE BANKS OF THE OLD
TENNESSEE. Old‑Time. The tune was
recorded for the Library of Congress by musicologist/folklorist Vance Randolph,
from Ozark Mountain fiddlers in the early 1940's.
ON THE BEAT TO
GALESBURG. Old‑Time, Quadrille (Jig).
USA, Missouri. D Major. Standard tuning. AABB. Source for notated version:
August Merrill (St. James, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2),
1984; pg. 94‑95.
ON THE BRINK OF THE
WHITE ROCK(Air Bhruach na
Carraige Baine).
Irish, Air (6/8 time, "slow or moderate"). D Minor. Standard tuning.
AB. "From W. Stack. This is obviously another form of the air given by
Bunting (1840, p. 22), to which Thomas Davis wrote his song, 'The west's
Asleep.' But Stack's version differs materially, and is very characteristic and
beautiful. I think it better than Bunting's. This air is to be distinguished
from another with the same name, to which Davis wrote his song, 'Oh, proud were
the chieftains of green Inisfail,' and which well be found in Petrie's Ancient Music of Ireland, pp. 138, 139,
140" (Joyce). Joyce (Old Irish Folk
Music and Songs), 1909; No. 667, pg. 334.
ON THE COLD GROUND. AKA and see "I
Prethee, Love, Turn to Me." English, Song Air (6/4 time). E Dorian.
Standard tuning. AB. The air appears in Playford's Dancing Master of 1665, Musick's
Delight on the Cithern (1666), and Apollo's
Banquet for the Treble Violin (1669). The tune was ascribed to Matthew
Lock, while the words were written by Sir William Davenant for the play The Rivals, performed around the year
1664. It was sung by the ‘mad shepherdess.’ The tune was popular and used for
other ballads, including: "The Courteous Health; or, The Merry Boys of the
Times", "The Old Man's Complaint; or, The Unequal‑macht
Couple", "Wit bought at a dear rate," and "The Faithful
Lover's Farewell; or, Private News from Chatham," all appearing it the
Roxburthe collection, though "many more" appear in other collections.
At some point Lock's tune was discarded and, around the year 1775, a new tune
was substituted, one familiar today as "My Lodging's in/on
the Cold, Cold Ground." The Fleishmann index (1998) states that Lock’s
tune was the precursor for “Rosin the
Beau” and attributes Irish origins for it. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 137‑138.
X:1
T:On the Cold Ground or I Prethee,
Love, Turn to Me
M:6/4
L:1/8
S:Chappell – Popular Music of the Olden Time
Z:AK/Fiddler’s Companion
K:E Dorian
B,2|E2E2F2 G2F2E2|B6 A4F2|G2A2B2
F4E2|(^D6 D4) B,2|E4F2 G2F2E2|
B6 A3GA2|B2c2d2 G4A2|(B6
B4)||B2|B2c2e2 G4A2|B6 A3GA2|B2c2e2 F4E2|
(^D6D4) B,2|E2E2 F2 G3FE2|B6 e2 EF|G3A
B2F4E2|(E6 E6)||
ON THE COURTABLEAU. See "Sur le Courtableau."
ON THE GREEN STUBBLE
IN HARVEST. Irish, Air (2/4 time). A Flat Major/E
Flat Major. Standard tuning. AB. Source for notated version: “As sung my
Margaret Callan” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 435, pg. 110.
X:1
T:On the green stubble in harvest
M:2/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 435
Z:AK/Fiddler’s Companion
K:A_
A/>G/ | EA A/G/A/B/ | c>d
e/d/c/B/ | A>c B/A/G/F/ | E/=D/E/F/
GE/D/ |
EG A/G/A/B/ | c>d e/d/c/B/ | cA
B/A/G/F/ | EE E || E/F/ | GA B/c/d/B/ |
e>f g/f/e/d/ | c>A B/A/G/F/ |
E/=D/E/F/ GE/D/ | EA A/G/A/B/ | c>d e/d/c/B/ |
cA B/A/G/F/ | EE E ||
ON THE LAKE OF KILLARNEY.
Irish, Air (6/4 time). G Major. Standard tuning. ABCA. O’Farrell (Pocket
Companion, vol. 1), c. 1805; pgs. 36-37.
X:1
T:On the
Lake of Killarney
M:6/4
L:1/8
R:Air
S:O’Farrell
– Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:G
B2G2G2 A2G2G2 | d2B2g2 g4 fe | d2 cB AG dB G2 | E2D2G2 G4 z2 |
dedB g2 dedB g2 | e2A2A2 A4Bc | dedB g>e d2B2G2 | E2D2G2 G4 || Bc |
d2B2G2 d2B2G2 | c2e2e2 e3f g2 | d2B2G2 d2B2G2 | c2A2A2 A4Bc |
d2B2G2 d2B2G2 | d2e2f2 g4 fe | d2B2G2 d2B2G2 | A2 AB cd e4 :: G |
D2=F2F2E2G2G2 | F2 DEFD G4G2 | D2F2F2E2G2G2 | F2 DEFD G4 G2A2 |
B2G2D2B2G2d2
| B2G2G2 c4BA | B2G2D2B2G2d2 | A2 ABcd e4 dc :|
ON THE MOUNTAIN SIDE (Air Taob An Sleibe). Irish, Slow Air (3/4 time). D Major. Standard.
One part. Source for notated version: O’Brien [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 289, pg. 50.
X:1
T:On the Mountain Side
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland
(1903), No. 289
Z:AK/Fiddler’s Companion
K:D
A2 | d2 (A2 GE) | c2 (B2 AG) | (E2
D2) .D2 | D4 EF | G2 (A2 Bc) |
d2 .e2 (ed) | (BA GA) BG | A4 (EF) |
G2A2 Bc | d2e2 ed | BA GA BG |
A4 A2 | d2 A2 GE | c2B2 AG | (E2D2)
.D2 | D4 ||
ON THE PIG’S BACK. See “Ar Mhuin na Muice.”
ON THE RIGHT CHEEK. AKA and see "Once Upon My Cheek."
ON THE RIVER BANK (Ar/Air Bruac na Abainne/Amaine). Irish, Reel. D Major/D Mixolydian.
Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen).
O'Neill (Krassen), 1976; pg. 146. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1473, pg. 273. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 702, pg. 124.
X:1
T:On the River Bank
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
702
Z:AK/Fiddler’s Companion
K:D Mix
d^cAF G2 GF|DEFG ABcA|d^cAF
GBAF|DEFG ABcA|
d^cAF G2 GF|DEFG ABcA|d^cAF
GBAF|DFAc BG G2||
K:D
Addc d2 cd|edcd efge|fgef d2 dc|AGFG
ABcB|
Addc d2 cd|edcd efge|faef d2 dc|Aceg
fd d2||
ON THE ROAD [1]. American, Clog. D Major ('A' part) & A Major ('B' part). Standard
tuning. AABB. Cole (1000 Fiddle Tunes),
1940; pg. 116. Ryan’s Mammoth Collection, 1883; pg. 154.
X:1
T:On the Road [1]
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A2 | (d>.f)(e>.d) c>eA>c
| d>fa>c’ d’>af>d | d>Bb>a g>fe>d | e>dc>B
A>^AB>c |
d>fe>d c>eA>c |
d>fa>c’ d’>af>d | d>Bb>a g>fe>c | d2f2d2 :|
K:A
|: (c>.d) | e>ag>b
a>c’g>d’ | c/>ab>d’ c’>ab>c’ | d’>c’b>d’ c’>ba>c’
| b>ga>f d2 d>c |
d>fb>d’ e>a c’2 |
e>gb>g a>ec>e | f>d’c’>b e>gb>g | a>^ga>b
a>f=g>e :|
ON THE ROAD [2]. AKA and see “Chorus Jig [1],”
“The Glen Road to Carrick.”
ON THE ROAD FROM GLEN
TO CARRICK. AKA and see “The Glen Road to Carrick.”
ON THE ROAD TO BOSTON. AKA and see "The Road to
Boston," "Boston March,"
"Road to London." Canadian,
American; Reel. USA; New England, Pennsylvania. D Major. Standard tuning. AABB.
Sources for notated versions: six southwestern Pa. fifers and fiddlers
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 197A‑F, pgs. 153‑154. Messer (Way Down East), 1948; No. 32. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 49, pg. 32. F&W Records 1, "F&W String Band."
X: 1
T:On The
Road to Boston
R:Reel
M:2/4
L:1/8
Z:Transcribed by Bruce Osborne
K:D
A|f2 fe/f/|gf ed|cd ef|dA FA| f2 fe/f/|gf ed|cd
ef|d2 d:|
|:f|a2 ag/a/|ba gf|g2 gf/g/|ag fe| f2
fe/f/|gf ed|cd ef|d3:|
ON THE ROAD TO GALWAY. Irish, March (2/4 time). D Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 57.
ON
THE ROAD TO LURGAN.
Irish, Reel. Recorded in
ON THE ROAD TO SKYE. Canadian (or Scottish?), Reel. Canada; Cape Breton, Prince Edward
Island. A Major. Standard tuning. AABB’. Source for notated version: Eddy
Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island)
[Perlman]. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 81.
ON THE ROCK. Old-Time, Breakdown. USA,
Arkansas. G Major. Standard tuning. AA’BB’. Source Wallace learned the tune
from a local fiddler named Albert Lawrence in the early 1920’s. Not remembering
its name, he called it after the location of the Lawrence home, located on a
rocky shelf (Beisswenger & McCann, 2008). The first strain may derive from
the “Mason’s Apron” family of tunes.
Source for notated version: Jesse Wallace (1907-2006, born Stone County,
Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle
Music), 2008; pg. 157.
ON THE SLY (Faoi Toin Meise). AKA and see “Lochiel’s Rant,” “Mountain Rose.” Irish, Reel. A Dorian.
Standard tuning. AB. The ‘A’ part is the same as that of “The Gossan that beat his father”
and James Aird’s (Selections, 1782) “Lochiel’s
awa' to France (but he’ll come again).” O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 639, pg. 115.
X:1
T:On the Sly
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 639
Z:AK/Fiddler’s Companion
K:Amin
gf|eA (3AAA (3efg dc|BAGA Bcdf|eA
(3AAA (3efg dc|BAGB A2 gf|
eA (3AAA (3efg dc|BAGA Bc d2|eaag
(3efg dc|BAGB A2||dc|
BGBd g3a|bgaf ge d2|eaag a2 ga|bgaf
gedc|
BGBd g3a|bgaf gfed|eaag (3efg
dc|BAGB A2||
ON WI' THE TARTAN. Scottish, Jig. B Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 247, pg.
28.
X:1
T:On wi’ the Tartan
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No.
247 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bmin
A/d/|B>AF E>DE|F>EF A2
A/d/|B>AF E>DE|Fdc B2:|
|:d/e/|f>ed e>dc|dBA F2
A/d/|B>AF E>DE|Fdc B2:|
ON YONDER HIGH
MOUNTAINS. English, Air (3/4 time). E Flat
Major. Standard tuning. AB. The air appears in The Cobblers' Opera (1729) and Silvia
(1731). Chappell (1859) says this is a ballad tune, though the words have been
lost. It may be the air to the song "Over hills and high mountains,"
which Chappell says was very popular. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 136.
X:1
T:On Yonder High Mountains
L:1/8
M:3/4
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:Eb
B2|G3F GA|B2E2F2|GE AG FE|F4 B2|G3F
GA|B2E2F2|GE AG F>E|E4||
G>A|B2B2 c>d|ed cB AG|e3c
BG|F4 A>B|c2 _dc BA|B2E2F2|G2 AG F>E|E4||
ONAGH’S LOCK. AKA – “Oonagh’s Lock,”
“Oonagh’s Waterfall.” Irish, Scottish; Air (6/8 time). G Major. Standard
tuning. AABB. Scottish national poet Robert Burns (1759-1796) directed his song
“She says she lo’es me best of a’” (sometimes the first line is given as a title
“Sae Flaxen were her Ringlets”) be sung to this air.
***
Sae flaxen were her ringlets,
Her eyebrows of a darker hue,
Bewitchingly o'er-arching
Twa laughing een o' bonie blue.
Her smiling, sae wyling,
Wad make a wretch forget his woe!
What pleasure, what treasure,
Unto those rosy lips to grow!
Such was my Chloris' bonie face,
When first that bonie face I saw.
And ay my Chloris' dearest charm -
She says she lo'es me best of a'!
***
Burns wrote to his publisher, Thompson, in 1794:
***
Do
you know, my dear sir, a blackguard Irish song called “Oonagh’s Waterfall”?…Our
friend Cunningham
sings
it delightfully. The air is charming, and I have often regretted the want of
decent verses for it. It is too
much,
at least for my humble, rustic muse, to expect that every effort of hers must
have merit; still I think that
it
is better to have mediocre verses to a favourite air, than none at all. On this principle I have all along
proceeded
in the Scots Musical Museum, and, as that publication is at its
last volume, I intend the following
song, to the air above-mentioned, for that work.
***
The air was very popular in Burns’ day, and the Irish song well-known and quite bawdy, rarely printed due to its title, “Oonagh’s Waterfall: or the lock that scattered Oonagh’s piss,” and explicit lyrics. The second stanza begins:
***
Sweet Una was the tightest,
Genteelest of the village dames;
Her eyes they were the brightest
That e'er set youthful heart in flames.
Her lover, to move her,
By every art in vain essayed;
In ditty, for pitty,
This lovely maid he often prayed;
But she, perverse, his suit denied.
Sly Darby being enrag'd at this,
Resolved, when they next met, to seize
The lock that scatters Una's piss.
***
Irish poet Thomas Moore also wrote a song to the melody for Moore’s Irish Melodies, published in 1810, called “While gazing on the moon’s light.”
***
See also “Una’s Lock” and “Downey’s Lock or, The Lock Downey Pissed Through,” both reels, though apparently unrelated to the songs (as the words do not scan to them). Bruce Olson finds “Una’s Lock, or Darby’s/Downey’s Key to Una’s Lock” in volumes called The Giblet Pye (1806) and The Festival of Anacreon (6th ed., 1789). Shield introduced the song in his ballad opera Marian in 1788. “Una’s Lock” was published in Watlen, 1798, and a country dance called “Una’s Lock” was printed in W. Campbell’s Fourth Collection of Country Dances, Cotillions (London, c. 1790-1810). Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 141, pg. 34. Scots Musical Museum, 1796; No. 447.
X:1
T:Una’s Lock
S:SMM #477
Q:1/4=120
L:1/8
M:6/8
K:Dm
F|F2FF2G|F3E2E|D2DE2F|G2FE2A|A2GF2E|D3D2^c|d2AA2G|\
F2ED2^c|d3A2^c|d3A2^c|d2fe2d|=c2=BA2B|c3G2=B|c3G2=B|\
c2_ed2c|_B2AG2d|d2^cd2=B|c2=Bc2A|d2fe2d|\
c2BA2G|F2FF3/2G/F|E2EE2^c|d2AA2G|F2ED2|]
ONCE A NIGHT. AKA and see "Ye Social
Powers." English, Country Dance Tune (6/8 time). D Major. Standard
tuning. AABBC. The tune dates to 1774. Barnes (English Country Dance Tunes), 1986.
ONCE I HAD A
SWEETHEART. English, Air or Waltz. England,
North‑West. A Minor (Knowles): D Minor (Flood). Standard tuning. One Part
(Flood): AAB (Knowles). Flood (1905, 1906), with characteristic hopeful
abandon, claims this was originally an Irish tune composed around the year 1695
by the blind harper Turlough O'Carolan. It was included in Moffat's Minstrelsy of England, and Kidson
thought it an "old and pretty folk‑melody" that he traced back
as far as Daniel Wright's Complete Tutor
for ye Flute, c. 1735. As a song it has had amazing longevity. Grattan
Flood found it in Charles Coffey's (?1700-1745) Anglo‑Irish ballad opera The Beggar's Wedding produced in Dublin
in 1729, after Gay’s Beggar’s Opera (1728). It also appears in Silvia
(1731) as the air “So kind and so unwilling.” Malcolm Douglas finds that
Baring-Gould noted “Once I had a sweetheart” in Songs of the West, while
Cecil Sharp and Hammond published it in the Journal of the Folk Song Society
(vol. 5, no. 18, 1914 and vol. 3, No. 11, 1907, respectively). In 1932 the
journal, now called Journal of the English Folk Dance and Song Society,
printed a version from Australia that had been learned in Gloucestershire (vol.
1, no.1, 1932). Malcolm says that Phoebe Smith and Paddy Tunney had
versions, and another, learned by Maurice Ogg from Edith Leaning of Coleby,
Lincolnshire, appeared in English Dance and Song, vol.43, no.2, 1981. Flood, 1905; pg. 104. Knowles (Northern Frisk), 1988; No. 70.
ONCE I LOVED A MAIDEN
FAIR. English, Country Dance Tune (4/4
time). D Major. Standard tuning. AABB. The melody was first published by
Playford in his English Dancing Master (1651) and subsequently
appeared in other of his publications including Introduction in the Skill of Musick, according to Kidson (1890).
Chappell notes that it also appears in the 1680 volume Pleasant Companion for the Flageolet. The original ballad sung to this
air appears in the Roxburghe collection. Chappell prints a different version of
the air which Kidson finds has "great resemblance" to "Here's a Health unto his
Majesty" by Saville. Kidson (Old
English Country Dances), 1890; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 42.
X:1
T:Once I Loved a Maiden Fair
M:C
L:1/8
S:Chappell – Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:G
B2B2 B4 | A2B2G2 FG | A2A2 A2B2 | A4 G4 ||
E2F2 G4 | A2B2G2 FG | A2A2A2B2 | A4 G4 ||
X:2
T:Once I Loved a Maiden Fair
M:C
L:1/8
S:Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:D
f2f2 f4|e2f2d2 cd|e2e2e2f2|e4
d4::B2c2d4|e2f2d2 cd|e2e2e2f2|e4 d4:|
ONCE I LOVED ANOTHER
MAN'S WIFE. Scottish. Appears in full in the
Guthrie MS. Guthrie was a covenenting minister who was beheaded in 1661 for
writing a seditious pamphlet. He probably was no lover of dance music, and some
wag may have sown tunes into a MS of his sermons.
ONCE
I WAS AT A NOBLEMAN’S WEDDING [1]. AKA - “Once I was invited to a
nobleman’s wedding.” Irish, Air (2/4 time). E Flat Major: F Mixolydian: G
Major. Standard tuning. One part. Sources for notated versions: “As sung by
Margaret Callan,” “From Mr. Fitzgerald,” “From (the Irish collector) Mr. Joyce”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; Nos. 491, 492 & 493, pg. 124.
X:1
T:Once I was at a Nobleman’s Wedding
[1]
M:C
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 492
Z:AK/Fiddler’s Companion
K:F
F>G AB c2 _e2 | d2 cB A>G F2 |
_e2 dc c2f2 | cd _ed c3d | _e2 dc c2f2 |
c>d cB AG F>C | F>G AB c2
dB | A2 {A}G2 F3 z ||
X:2
T:Once I was at a Nobleman’s Wedding
[1]
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 493
Z:AK/Fiddler’s Companion
K:G
D | G2 GB d2 e>d | dB GB A2G2 |
g2 eg f2 ed | BA Bd e3d | g2 fe d2 ec |
BA BG E2 DE | G2 Bd e2 dc | B2
A>G G3 ||
ONCE
I WAS AT A NOBLEMAN’S WEDDING [2]. Irish, Air (4/4 time). Ireland, Co.
Mayo. E Flat Major. Standard tuning. One part. Petrie notes this melody was
learned in County Mayo. Source for notated version: “From Dr. Kelly”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 494, pg. 125.
X:1
T:Once I was at a Nobleman’s Wedding
[2]
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 494
Z:AK/Fiddler’s Companion
K:Eb
e2 ee eB
Gc | B2 B>c BG EB, | E>FGA B2B2 | cB AG F3B | e2e2 eB Gc |
B2 Bc BG
E>B, | EF GA B2 e>A | G2F2 E3 z ||
ONCE
I WAS INVITED TO A NOBLE WEDDING [3]. Irish, Air (2/4 time). E Flat
Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 495, pg. 125.
X:1
T:Once I Was Invited to a Noble
Wedding [3]
M:2/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 495
Z:AK/Fiddler’s Companion
K:Eb
E>E
E>F | G2 G>F | FE GF | E E2z | BG Bc/d/ | e3 d/>c/ | cB GE | F3E |
E>E ee
| ed cB | BG ed | cB2 G/>F/ | EE E>F | G2 G>F | F3E | E3 z ||
ONCE I WAS HAPPY (Do Bios Sonasac Roime So). Irish, Air (3/4 time,
"tenderly"). D Mixolydian. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 380, pg. 66.
X:1
T:Once I Was Happy
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 380
Z:AK/Fiddler’s Companion
K:Dmix
Ac|d2 A2 GE|c2B2 AB|GE D2D2|D4
Ac|d2d2 ed|c2B2 AG|E2F2G2|
A4 Ac|d2d2 ed|c2B2 AG|E2F2G2|A4
Ac|d2 A2 GE|c2B2 AB|GE D2D2|D4||
ONCE MORE I HAIL THEE (Seo Do Beata Aris). Irish, Air (3/4 time). F Major. Standard
tuning. AB. Source for notated version: Walsh [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 503, pg. 88.
X:1
T:Once More I Hail Thee
L:1/8
M:3/4
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 503
Z:AK/Fiddler’s Companion
K:F
F2 F2 Ac|d2d2 fd|cA F2
(3AGF|F{G/F/}E D2 CD/E/|{G}F2 F>G Ac|
d3 d fd|{d}cA F2 AG|G4 Fz||f2
fedc|^cd d2 fd|=cA F2 (3AGF|F{G/F/}E D2 C2|
F2 F2 Ac|{c}d2 d2 fd|cA F2 A>G|G4
Fz||
ONCE
ON A MORNING OF SWEET RECREATION. AKA and see "The Blackbird [1]," "Hurry the Jug [1]."
ONCE UPON MY CHEEK. AKA and see "On the Right Cheek."
American, Reel. A Major. Standard tuning. AABB (Cole): AABBCC (Phillips). The
‘A’ part is the same as that of the tune known variously as “Murillo’s Lesson,” “Morelli’s Lesson”
or “Morella’s Lesson,” which can be found in 19th century instrumental tutors.
See also “Colosseum.” Source for notated
version: Taylor McBaine (Mo.) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 15. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 213. Ryan’s Mammoth Collection, 1883; pg. 39.
Missouri State Old Time Fiddlers Association 002,
Taylor McBaine (b. 1911) ‑ "Boone County Fiddler" (appears as
"On the Right Cheek").
ONE AND ALL. Cornish, Air. C Major. Standard tuning. AAB. The original is thought to
have been an old Cornish country song, although as a march it was the regimental
march of the 32nd, the Duke of Cornwall’s Light Infantry, prior to
1881. Verses were set to the tune attributed to Colonel Bridges Willyams, who
commanded the Royal Cornwall Rangers Militia around the year 1811 when they
volunteered to a man to serve in Ireland against Napoleon's threat of invasion.
‘One and All’ is the county motto. They begin:
***
Away, brave boys to Dublin jig,
The girls to kiss, the whisky swig,
And each as merry as a grig,
***
Sing 'One and All'.
***
But he that will not with us jog,
Shall kiss no girls and drink no grog,
For that he is a sorry dog,
***
Sing 'One and All'.
***
Chorus:
Then let the bells of Dublin ring,
The Cornish boys are come to sing,
With Irish lads God save the King,
***
Sing 'One and All'.
***
Winstock (Songs and Music of the Redcoats), 1970;
pg. 129.
ONE BEFORE WE GO (Cean Roime Ar N-Imteacd). Irish, Jig. A Mixolydian. Standard
tuning. AABB. 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 (Krassen), 1976; pg. 38. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 888, pg. 165.
X:1
T:One Before We Go
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 888
Z:AK/Fiddler’s Companion
K:A
e | ABA cBA | cde efg | GAG BAG |
dBG BAG |
ABA cBA | cde fga | e^de gdB | AcB
A2 :|
|: e | Ace aec | ece aec | Bdg gdB |
dBG aec |
edc eaf | edc eaf | e^de gdB | AcB
A2 :|
ONE BOTTLE MORE [1]. Irish, Air (6/8, 3/4 or 3/8 time, "spiritied"). F Major (Complete Collection, O’Sullivan, Stanford/Petrie): G Major (Johnson, O’Farrell, O'Neill). Standard tuning. One part (Complete Collection, O’Sullivan, Stanford/Petrie): AAB (Johnson, O’Farrell, O'Neill). The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), although Donal O’Sullivan, in his definitive work on the bard could find no incontrovertible evidence of its origin. He does say it is in the harper’s style and may have been composed by him. The tune was first published by Petrie with the “One Bottle More” title, although an earlier printing appears in Bunting under the title “Páidín Mac Ruaidhrí—Paddy MacRory.” Lyrics (not original with O’Carolan) set to the tune were published in Crosby’s Irish Musical Repository (1808), and go:
***
Assist me, ye lads who
have hearts void of guile,
To sing in the praises
of old Ireland’s isle,
Where true hospitality
opens the door,
And friendship detains
us for one bottle more.
One bottle more,
arrah, one bottle more,
And friendship detains
us for one bottle more.
***
O’Sullivan
(1958) finds another song text which incorporates the “One Bottle More” title
from County Sligo dating from 1772, attributed to one Humphrey Thomson,
identified as a translator of several of O’Carolan’s songs, done in the metre
of the originals. It is not known what
tune accompanied the Humphrey text (for more see O’Sullivan, pg. 295). O’Neill
(1922) notes that his version is “slightly different from the setting in
O'Farrell's Pocket Companion
1804-1810.” Source for notated
version: Sergeant James O’Neill (Chicago, originally from County Down)
[O’Neill]. Complete Collection of
Carolan's Irish Tunes, 1984; No. 198, pg. 135. Johnson (The Kitchen Musician’s No. 5: Mostly Irish),
2000; pg. 1. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 6. O'Neill (Krassen), 1976; pg. 233. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 651, pg. 117. O’Neill (Waifs and Strays of Gaelic Melody), 1922. O’Sullivan (Carolan: The Life and Times of an Irish
Harper), 1958; No. Stanford/Petrie (Complete
Collection), 1905; No. 825, pg. 206.
X:1
T:One Bottle More [1]
M:3/8
L:1/8
R:Air
N:”Spirited”
S:O’Neill – Music of Ireland (1903), No. 651
Z:AK/Fiddler’s Companion
K:G
G|GBd |d>BG|cee |e2
d/c/|Bdg|dBG|A/F/ DD|D2:|
D|G>FG|EFG|A/B/ c/d/ e/f/|g2
f/e/|deg|a/g/ f/e/ d/c/|BGG|
G>Bd/B/|A/F/ DD|D2 F/G/|A/B/ c/d/
e/f/|g2 f/e/|dg f/g/|a/g/ f/e/ d/c/|BGG|G2||
ONE BOTTLE MORE [2]. AKA and see "The Ball
(Humours) of Ballynafeidh," "The Banks of Lough Gowna,"
"The Clare Jig [1]," "Delaney's Drummers," "The Kitten and the Frog,"
"Kitty in the Fog," “The Mug of Brown Ale [2],” “Old Man Dillon,” "Paddy in London [2]," "Paddy O'Brien's (Jig) [3],” “The Raffle Jig,” "The Rambler From Clare [1],"
"The Stonecutter's Jig,"
"Tom Billy's {Jig} [1],"
“Winter Apples [2],” "Young Tom Ennis." Irish, Double Jig.
A Dorian. Standard. AABB. Cole (1000
Fiddle Tunes), 1940; pg. 66. Ryan’s
Mammoth Collection, 1883; pg. 96.
X:1
T:One Bottle More [2]
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(c. 1883)
Z:AK/Fiddler’s Companion
K:A Dorian
G | EGG ABc | edc BcA | BGG dGG |
BGd BAG | EGG ABc |
def a2e | edc Bcd | ecA A2 :: a |
gef g2a | gef g3 | BGG dGG |
Bcd BAG |EAA ABc | def a2e | edc Bcd
| ecA A2 :|
ONE BUMPER AT PARTING. AKA and see "Mall Rua," "Moll Roe in the Morning," "Ditherum Doodle," "Though late was I plump," "Come Under My Dimity," "Late on a Saturday Night," "The Night of the Fun [3]," "Munsterman's Flattery," "I'll take a glass with a friend," "B'fhearr liomsa ainnir gan guna." The title of a song by Thomas Moore, to the melody “Mall Rua.” 19th century Irish collector P. W. Joyce notes: “Here is how Mr. Patrick Murray (see p. 154) describes them about 1840 in a parody on Moore's 'One bumper at parting' (a lumper; in Mr. Murray's version, means a big potato):-
***
One lumper at parting, though many
Have rolled on the board since we met,
The
biggest the hottest of any
Remains in the round for us yet.'
ONE BY THE NECK. Irish, Jig. G Major. Standard tuning. AABB. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975;
No. 36, pg. 9.
ONE DAY AS I TRAVELLED THE MOOR (Latha siubhail sleibh dhomh). Scottish, Air (whole time). E Minor. Standard. One part. From Argyleshire. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 8. McDonald (Collection of Highland Vocal Airs), 1784; No. 128. Rideout (Soft May Morn).
ONE DAY FOR RECREATION. Irish, Air or Polka. A Major. Standard tuning. AB. The words to the air were composed with lines alternating in English and Irish, which, according to Sean O Boyle (1976), reflects the bilingual period in the historical process of the supplanting of the Gaelic language by English in Ireland. Cranitch (Irish Fiddle Book), 1996; pg. 44.
ONE DAY IN MY RAMBLES. AKA and see "The Habit Shirt,"
"The Rambling Reaper."
Irish, Air (2/4 time). D Dorian. Standard tuning. One part. Source for notated
version: "Mr. Flattely of Mayo," via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 493, pg. 271.
ONE-EIGHTH FIDDLE, 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. 237, pg. 68.
ONE-ELEVEN SPECIAL. Old‑Time, Breakdown. Curly Fox's cover version of James
McCarroll's (of the Roane County Ramblers) "Southern 111." Decca 5169 (78 RPM), Curly Fox (Ga.) {1935}.
ONE EVENING FAIR. Irish, Air (4/4 time, "moderately slow"). D Dorian. Standard
tuning. One part. "I learned both the air and the words of this song at
home in early youth" (Joyce). A variation of "The Foggy Dew" and thus a member of
the "Boyne Water [1]"
family of tunes (Cowdery, 1990). Petrie (1855) had his tune, the exact same,
from the collector P.W. Joyce. Joyce (Old
Irish Folk Music and Songs), 1909; No. 53, pg. 29. Stanford/Petrie (Complete Collection), 1905; No. 662, pg.
166.
X:1
T:One Evening Fair
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:D Minor
(3A=Bc|d2d2 cA G2|F2A2 GE D2|E2GE
D2D2|D3 DE|F2 FD FGA=B|c4 F2G2|
A2d2 cdef|d6 DE|F2FD FGA=B|c4
F2G2|A2d2 cdec|d6 (3A=Bc|d2d2 cA G2|
F2A2 GE D2|E2 GE D2D2|D6||
ONE EVENING HAVING
LOST MY WAY. AKA and see "Walpole," "Happy Clown," "Do You Fancy a Seamstress."
English, Air. The air appears in John Gay's
Beggar's Opera (1729), under
the title "I'm like a skiff on the ocean tossed." Raven (English Country Dance Tunes), 1984; pg.
65.
ONE EVENING IN JUNE. AKA and see "My
Fair‑Haired Darling [1]," "Mavourneen Na Gruaige Baine,"
"Charmer With the Fair
Locks," "Dobbin's
Flowery Vale [1]," "Maid of
Templenoe," "Youth and Bloom."
Irish, Air (4/4 time). G Mixoydian. Standard tuning. AB. Source for notated
version: “From P. Coneely” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 828, pg.
207.
X:1
T:One evening in June
T:Youth in bloom
M:C
L:1/8
N:”Andante”
S:Standford/Petrie (1905), No. 828
Z:AK/Fiddler’s Companion
K:G Mixolydian
dA | cAGA G2 AF | GA cd fg ab | g2d2
cA GA | F3G A2 dA | cA GA G2 AF |
GA cd fg ab | g2 d2 cA GA | G4 G2 ||
A2 | c2 de f2 d^f | gf de fg ab | g2d2 cA GA |
F3G A2 dA | cA GA G2 AF |GA cd fg ab
| g2d2 cA GA | G4 G2 ||
ONE
EVENING OF LATE AS I ROVED OUT IN STATE. Irish, Air (2/4 time). F
Mixolydian. Standard tuning. One part. Source for notated version: “From (the
Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 660, pg.
165.
X:1
T:One evening of late as I roved out
in state
M:2/4
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 660
Z:AK/Fiddler’s Companion
K:F Mixolydian
F | F2F2 FG | B4 cB | G2F2F2 | F4
G>A | B2c2d2 | e2d2e2 | c2f2e2 |
f4 =ef | g2 {g}f2 =e2 | f3 g_ed |
c2B2A2 | G4 Bc | d=e f2 ec |
B4 GF | G2F2F2 | F4 ||
ONE EYED FIDDLER. AKA and see "Manchester
Hornpipe [1]," "Sailor's
Hornpipe [2],” "Rickett's
Hornpipe," "The New
College Hornpipe [1].” English, Hornpipe. England, Dorset. D Major.
Standard tuning. AABB. Trim (Thomas Hardy),
1990; No. 62.
ONE EYED RILEY. Old-Time, Breakdown. USA, Kentucky. D Major.
Standard tuning. AB. Source John Masters (1904-1986) learned the tune from
African-American fiddler Jim Booker. The title is that of a well-known bawdy
song, remards John Harrod. Source for notated version: John Masters (Lexington,
Fayette County, Ky.) [Titon]. Titon (Old Time Kentucky Fiddle Tunes),
2001; No. 121, pg. 149. Rounder 0377, John Masters (et
al) – “Traditional Fiddle Music of Kentucky, Vol. 2: Along the Kentucky River”
(1997).
ONE EYED ROSIE. Old‑Time, Breakdown. USA, Kentucky. An archaic‑style fiddle
tune. County 788, Clyde Davenport (Monticello, Ky.) ‑
"Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau"
(1986).
ONE FOR DAN. English, March or Rant. G Major. Standard tuning. AABB. Topic Records, Cock and Bull Band – “Eyes Closed and
Rocking” (1985).
X:1
T:One for Dan
R:rant or march
C:Dave Whetstone
M:4/4
L:1/8
Q:1/8=200
K:G
d |: GB.g e dB.ed | GB .ge dB.ed |
.c c .A .c .B B .G .B | .AB .cd AA A. B |
GB.g e dB.ed | GB .ge dB.ed | .c c
.A .c .B B .G .B | .AB .cA GG G.G :|
|: 3df/2 e/2 3d d/2 d/2 | 2e 2f 3g
g/2 g/2 | f/2 e/2 3d e/2 d/2 3c | d/2 c/2B/2 c/2 2AA/2 B/2 |
3c c/2 c/2 .3B G/2 B/2 | A/2 B/2 c/2
d/2 A A/2 A/2 | B B/2 c/2 d/2 c/2 B/2 A/2 G/2 g/2 g/2 g/2 g d :|
ONE-HORNED COW [1], THE (An Bo Leatadarcac). Irish, Double Jig. G Major
(O’Neill): F Major (Stanford/Petrie). Standard tuning. One part
(Stanford/Petrie): AB (Stanford/Petrie): AABB (O’Neill). The phrase ‘one-horned
cow’ is sometimes used to reference a still. Source for notated version:
Stanford/Petrie’s second setting was obtained from the collector J.E. Pigott,
who had it from a Miss O’Connell of Grena. O'Neill (Krassen), 1976; pg. 66.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1077, pg. 203. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 277, pg. 60. Stanford/Petrie (Complete Collection), 1905; No. 342, pg.
86.
X:1
T:One-Horned Cow, The [1]
L:1/8
M:6/8
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 277
Z:AK/Fiddler’s Companion
K:G
Bdd gdd|edd gdc|Bdd gdd|edc BcA|Bdd
gdd|edc gdc|Bdd gfg|edB A2G:|
|:Bdd ecc|dBB ecc|Bdd ece|dBG
A2G|Bdd ecc|dBB ecc|Bdd gfg|edB A2G:|
ONEHORNED COW [2]. AKA and see "Carawith Jig,"
"Montrosse's March," "The Retreat," "Pretender's March," "A Rock and the/a Wee Pickle Tow,"
"Green Goose Fair [1]," "The Scotch March [1]," "When the Wind Blows," "De
bheatha ad' shlainte, Ui Shuilleabhain Mhoir," “O’Sullivan Mor(e’s March) [1],”
"Painneach na nUbh [1],"
"Gogai o gog."
ONE-HORNED COW [3], THE. Irish, Jig. E Minor (Kennedy): G Minor (Petrie). Standard tuning. One part (Petrie): AABB (Kennedy). Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 142, pg. 35. Stanford/Petrie (Complete Collection), 1905; No. 340, pg. 86.
X:1
T:One-Horned Cow, The [3]
M:6/8
L:1/8
K:Emin
A||:Bee dBA|Bee d2B|Bee dBA|BGE E2D|…
X:2
T:One-Horned Cow, The [3]
M:6/8
L:1/8
R:Jig
B:Stanford/Petrie, No. 340 (1905)
Z:AK/Fiddler’s Companion
K:G Minor
dff ecB|dff e2c|dff ecB|AFA G2F|dff
ecB|
dff e2c|dff ecB|AFG/A/ G2F|dBB
cAA|dBB c2B|
dBB cBB|AFA G2F|dBB cAA|dBB c2B|dBB
cBB|AFA G2F||
ONE-HORNED COW [4], THE. Irish, Jig. F Major. Standard tuning. One part. Source for notated version: “obtained by J.E. Pigott, Esq., from Miss O’Connell of Grena” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 340, pg. 86.
X:1
T:One-Horned Cow, The [4]
M:6/8
L:1/8
R:Jig
B:Stanford/Petrie, No. 341 (1905)
Z:AK/Fiddler’s Companion
K:F
FAA EGG|Acc d2c|FAF EGG|G2F F2F|FAA EGG|
Acc d2c|FAA EGG|G2F F2F|Acc cdc|Acc d2c|Acc cdc|
B2A G2F|Acc cdc|Acc d2c| .f2.e .d2z|c2B A3|AFA GEG|
cAc
d2c|AFA GEG|G2F F2F|AFA GEG|G2F F2F||
ONE-HORNED SHEEP. American, Jig. G Major. Standard tuning. AABB’. Source for notated version:
Creighton Lindsay (Corvalis, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 151.
ONE
HUNDRED FIFTY SIXTH BRIGADE AT THE BATTLE OF ROMANI, THE. Scottish, Pipe March. Composed in the 19th
century. Maggie’s Music MMCD222, Bonnie Rideout –
“Scottish Fire” (2000).
ONE HUNDRED PIPERS. See “Hundred Pipers.”
ONE I LOVE, THE. AKA and see "Cette-la J'aime."
ONE-LEGGED MAN [1], THE (Fear na Leat-Cois). AKA and see "Go to the Devil and
Shake Yourself [1]." Irish, Jig. D Major. Standard tuning. AABB. The
tune seems to be a setting of "Go to the Devil and Shake Yourself
[1]." O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 710, pg. 132.
X:1
T:One-Legged Man, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 710
Z:AK/Fiddler’s Companion
K:D
A2d dcB | AFA AFA | dfd ege | fdB
B2A | A2d dcB | ABA AFA | dcd eag |
fdd d2 :: f/g/ | afd cBA | BGG G2
g/a/ | bge dcB | cAA A2A | A2d dcB |
ABA AFA | dcd eag | fdd d2 :|
ONE-LEGGED MAN [2] (Fear na Leat Cois). Irish, Jig. D Major. Standard tuning. AABB.
See also the related “Lark in the
Morning.” O'Neill (Krassen), 1976; pg. 44. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 938, pg. 174.
X:1
T:One-Legged Man [2]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 938
Z:AK/Fiddler’s Companion
K:D
d/B/ |: AFA DFA | DFA DFA | AFA DFA
| DFA Bcd | AFA DFA | DFA DFA |
def gea | fdB Bcd :: def a2f | b2g
a2f | afd edB | def a2f | b2g a2f | b2g a2f | def gea | fdB Bcd :|
ONE MORE DANCE AND
THEN. English; March, Country Dance or Polka.
G Major. Standard tuning. AABB. At one time the end‑of‑the‑country‑dance
("farewell") tune in Ashover, Derbyshire, probably in the 1970's.
From the Ashover Collection of
Harrison & Well, a reprint of a musician’s manuscript from the town dating
to 1762. The melody appears in print in
X:1
T:One More Dance and Then
M:2/4
L:1/4
Q:30
S:Mick Peat
R:Polka
K:G
B/2c/2 |"G"d3/4e/4 d/2B/2|"G"g B/2c/2|"G"d3/4e/4 "Em"d/2B/2|"Am"c/2" D"A B/4c/4\
|"G"d3/4e/4 "Dv1"d/2B/2|"Em"g/2f/2 "Bm"e/2d/2|"C"e/2d/2 "D"c/2B/2|"G"B3/
2:| A/4B/4|"D"c/2A/2 f/2A/2|"D"a/2c/2 B/2A/2|"G"B/2G/2 d/2B/2|"G"g/2B/2 A/2G /2|\
"A"a/2g/2
f/2e/2|"D"d/2c/2 B/2A/2|"G"G/2c/2
"D"B/2A/2|"G"G3/2:|
ONE MORE RIVER TO
CROSS. Old‑Time, Breakdown. USA,
West Virginia. G Major. Standard tuning. AABB. From West Virginia fiddler and bagpiper
Franklin George. Mark Wilson (1981) says the tune bears a distant resemblance
to a Negro spiritual of the same name. Brody (Fiddler’s Fakebook), 1983; pg. 208. Rounder
0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch"
(1973. Learned from Frank George, W.Va.). Rounder SS‑0145, Wilson Douglas
(Ivydale, W.Va.) ‑ "Traditional Music on Rounder: A Sampler"
(1981).
ONE MORN IN JUNE. English, Waltz. A Minor. Standard tuning. One part. A modern
composition by editor Michael Raven. Raven (English
Country Dance Tunes), 1984; pg. 196.
ONE NIGHT I DREAMT. AKA and see “Are you not the bright star that used to be before me?”
Irish, Air (3/4 time). E Flat Major. Standard tuning. AAB. Petrie notes in
pencil in his MS “or ‘Sweet Castle Hyde’.” Stanford/Petrie (Complete Collection), 1905; No. 831, pg.
208.
X:1
T:One night I dreamt
T:Are you not the bright star that
used to be before me?
M:3/4
L:1/8
R:Air
S:Standford/Petrie (1905), No. 831
Z:AK/Fiddler’s Companion
K:E_
e/>d/ {d}cB/A/ | G>A BG/F/ EC
| E>F GB AB/A/ | G>F EF/G/ EE | E3 :|
|| G/A/ BG | B2 c/d/e fd | e>d ef
ge | c2 d>e {g}fe/d/ | e3 e/>d/ {d}cB/A/ |
G>A B/A/G/F/ EC | E>F GB AB/A/
| G>F EF/>G/ EE | E3 ||
ONE NIGHT IN THE
SHIELING. AKA and see "Way Up in Clachan.” New England,
Waltz. G Major. Standard. One part.
ONE O’CLOCK
CANNON, THE.
X:1
T:The One O'Clock Cannon
M:4/4
L:1/8
C:Ian Brockbank
S:Dunedin Dances Book 4
R:Reel
P:AABBCCDD
K:A Major
G2|AFDF AGAc|BAGB A2Bc|dcdf ecAc|BAGF E2FG
|AFDA BGEB|cAce a2ga|faea BdcB|c2 A2 A2:
:fg|agae gecA|fdAf e2fg|aAgA fAeA|Bfec B2cd
|eAGA fAGA|gefg a2ga|faea BdcB|c2 A2 A2:
:cB|c2e2 a2e2|fdAf e2fg|abaf ecAc|BdcA B2cd
|eAGA fAGA|gefg a2ga|faea BdcB|c2 A2 A2:
:ag|abab afdA|fdAf e2fg|aAgA fAeA|Bfec B2cd
|efec
fgfd|gefg a2ga|faea BdcB|c2 A2 A2:|]
ONE
OF JOE BURKE’S. Irish, Jig. C Major. Standard.
AABB. Black (Music’s the Very Best Thing),
1996; No. 109.
X:1
T: One of Joe Burke's
S: Mike Reynolds
Q: 300
R: Jig
Z:Bill Black
M: 6/8
L: 1/8
K: C
AGA DED | AGA cBc | AGE C3 | EDC EFG |
AGA DED | AGA cde | dcA GEC | DED D3 :|
Add dcd | cde gec | dcA GEG | AGA cAG |
Add
dcd | cde gec | dcA AFE | DED D3 :|
ONE OF THE BOYS (Cean De Na Buacaillib). AKA and see “Democratic Rage Hornpipe,”
"Leddy's Hornpipe,” “Reel de/du Pecheur.” Irish, Hornpipe.
B Flat Major. Standard tuning. AABB. A Pennsylvania‑collected untitled
reel in Bayard (1981; No. 100, pg. 59) strongly resembles this tune. O'Neill
(Krassen), 1976; pg. 208. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1747, pg. 325.
X:1
T:One of the Boys
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1747
Z:AK/Fiddler’s Companion
K:Bb
F2 | B2 (Bc) BFDF | BcdB edcB | Bdfg
fdBd | edcB AcAF | B2 (Bc) BFDF | BcdB edcB |
Bdfg fecd | B2B2B2 :: (Bd) | f2 (fg)
fdfb | g2 (ga) gfga | bagf edcB | ABcA F2 (de) |
f2 (fg) fdfb | g2 (ga) gfga | b2
(fd) ecAc) | B2B2B2 :|
ONE OLD INDIAN, TWO OLD SQUAWS. Rounder 0436, Bill Graves
– “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”
ONE SNOWY NIGHT. American, Quadrille. According to Kerry Blech, the tune was recorded in
December, 1925, at the Victor field studio in St. Louis, from the playing of
Judge Sturdy’s Orchestra, and old-time band.
Judge John O. Strudy was born in 1858, lived in the Valley Park area,
and fiddled and called figures. His band included a bowed cello.
ONE STEP A CHAUMONT. Cajun, One‑Step. D Major. Standard tuning. AA'. Greenblatt (Cajun Fiddle Book) 1985; pg. 25.
ONE-STEP A MARIE (Mary's One-Step). Cajun, One-Step (4/4 time). USA, Louisiana. D
Major. Standard tuning. AB(Vocal)BABA(Vocal)ABABAB. According to Raymond
Francois (1990), the one-step was a rare dance for the Cajun community.
Francois' father said the first time he saw the one-step danced was about 1916,
when it was performed to the then-popular wartime song "It's a Long Way to
Tipperary." Source for notated version: Breaux Freres {Amede, Ophy &
Clifford} (La.) [Francois]. Francois (Yé
Yaille Chere), 1990; pgs. 228-229. Old Timey
Records OT-114, the Breaux Freres.
ONE-STEP DE CHUPIE. See "One-Step de Choupique."
ONE-STEP DE CHOUPIQUE (Choupique One-Step). Cajun, One-Step (4/4 time). USA, Louisiana. G
Major. Standard tuning. BB(Vocal)A(Vocal)ABA(Vocal)AA(Vocal)BA. Raymond
Francois (1990) identifies Choupique as a community situated six miles north of
Eunice, Louisiana, where fiddler Dennis McGee was raised. The name derives from
a Choctaw Indian word which refers to the Bowfin fish, also called 'cypress
trout', 'grentle' or 'mudfish,' which can be found in the streams of the
region. Source for notated version: fiddler Dennis McGee (La.) [Francois].
Francois (Yé Yaille Chere), 1990;
pgs. 83-84. Morning Star 45002, "The Early
Recordings of Dennis McGee (La.) 1929‑1930.
ONE STEP DE MAMOU. Cajun, One-Step. USA,
Louisiana. Recorded in New Orleans by fiddler Dennis McGee in October, 1929,
for Vocalion Records. A version of “Lake
Arthur Stomp.” Yazoo Records 2012, Dennis McGee –
“The Complete Early Recordings of Dennis McGee, 1929-1930” (2000).
ONE-STEP DE RICHE (Riche One-Step). Cajun, One-Step (4/4 time). USA, southwestern
Louisiana. A Major. Standard tuning. AB(Vocal). Riche is a community several
miles southwest of Eunice, Louisiana. The song has never been recorded and is
relatively unknown, according to Raymond Francois (1990). Source for notated
version: Lawrence Aguillard (La.) via the editor's father, Leopold Francois
[Francois]. Francois (Yé Yaille Chère!),
1990; pg. 271.
ONE-STEP DES CHAMEAUX (Chameaux's One-Step). Cajun, One-Step. D Major. Standard
tuning. One part. Raymond Francois (1990) notes that Chameaux is a family name
around Basile, Louisiana. Source for notated version: fiddler Dennis McGee and
accordionist Amede Ardoin (Eunice, La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 65-67. Old Timey Records OT-108, Amede Ardoin & Dennis McGee.
ONE SUNDAY AFTER MASS. AKA ‑ "Dia‑Domnaig Tareis An Aifrionn." Irish,
Slow Air (3/4 time). D Major (O’Neill): B Flat Major (Stanford/Petrie).
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. 231, pg. 40. Stanford/Petrie (Complete Collection), 1905; No. 633, pg. 159.
X:1
T:One Sunday After Mass
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 231
Z:AK/Fiddler’s Companion
K:D
F>E|D2 D2 F>G|A4 Bc|d2f2 ec|d4
dc|B>c BAFE|D3E FA|
B3d ce|d4 ef||D2F2
A>B|A4||AB/c/|d2A2A2|d4 cd|e2 cA B>c|
A4 cd|ee e2 e2|d4 a2|A3B AF|A4
fe||dB A/>B/d {f}e>d|d4||
ONE TOO MANY. English, Jig. A Dorian. Standard tuning. AABB. A modern composition by Ian
Ball. Knowles (A Northern Lass),
1995; pg. 32.
ONE, TWO, THREE. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody appears unique to London publisher Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 32.
X:1
T:One, Two, Three
M:2/4
L:1/8
N:Play AABA.
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:D
Ad2
c/B/|AGFE|Adce|f2B2|A d2 c/B/|AGFE|Dd c/d/e/c/|(d3 d2):||
fdec|dBcA|GBAc|”tr”B2E2|(A/B/c) (B/c/d)|(c/d/e) (d/e/f)|ea (^g/a/b/g/)|(a2
a2)||
ONE WIFE IS ENOUGH FOR
ME (Is Mo Sait Aon Ceile
Amain). Irish, Air (3/4 time). A Minor. Standard
tuning. AB. A member of the “Star of the County Down” family of airs. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 319, pg. 55.
X:1
T:One Wife is Enough for Me
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 319
Z:AK/Fiddler’s Companion
K:A Minor
cB|A3BA2|A2G2E2|c6|d2d2d2|e3dc2|c2d2e2|(G6|G2
c3B|A3B A2|A2G2E2|
c6|d2c2d2|e2f2e2|d2c2B2|(A6|A4)||e2|e2c2e2|g2e2c2|B2
(G4|G2) d2e2|
f2e2d2|c2d2e2|(G6|G2)c2B2|A3B
A2|A2G2E2|c6|d2c2d2|e2f2e2|d2c2B2|(A6|A4)||
O’NEILL’S CASTLE (Caislean Uí Neill). Irish, Air. Ireland, western Ireland. Four
versions of this song appear in “Amhrain Mhuighe Seola” (1923), collected by
Mrs. Costello; three from Mayo and one from Galway.
O’NEILL’S CAVALCADE.
AKA and see “O’Neill’s March” [1]. Irish, March. E Minor.
Standard tuning. One part. A clan march. Mallinson (Enduring), 1995; No. 98, pg. 41.
O'NEIL'S HORNPIPE [1]. AKA and see “The Brighton
Hornpipe,” “Duke of Leinster
[3],” “The Five Pound Note,” “Hennessy’s (Hornpipe) [1],” “Kildare Hornpipe,” “Peggy Morrissey,”
“Pretty Maggie Morrissey,”
“The Strip of Turf (Ciumhais na Móna),”
“The Wexford Hornpipe.” Irish,
Hornpipe. G Major. Standard tuning. ABB. Recorded in New York in 1927 by
renowned fiddler Michael Coleman, originally from County Sligo. Source for
notated version: fiddler Michael Coleman (1891-1945, Co. Sligo/New York City)
[Miller & Perron]. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 1, No. 55. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 121. IRC Records, Michael Coleman -
“The Musical Glory of Old Sligo ” (1967).
See also listings at: Alan Ng’s Irishtune.info |
O'NEILL'S HORNPIPE [2] (Crannciuil Uí Niall). Irish, Hornpipe. A Major. Standard tuning.
AABB. Mulvihill (1st
Collection), 1986; No. 1, pg. 87. O'Neill (Krassen), 1976; pg. 213. O'Neill
(Music of Ireland: 1850 Melodies), 1903/1979; No. 1766, pg. 329.
X:1
T:O’Neill’s Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1765
Z:AK/Fiddler’s Companion
K:A
e>d | c>eA>c E>AC>E |
(3A,CE (3Ace a2 b>a | g>be>g B>eG>B |(3EGB (3egb e’2 e>d |
c>eA>c E>AC>E | (3A,CE
(3Ace a>c’b>a | g>be>g f>a^d>f | e>Bg>B e2 :: d>e |
f>A,D>F A>df>a |
e>A,C>E A>df>a | g>B,E>G B>dg>a | b>ag>f e>cd>e
|
f>A,D>F A>df>a |
e>A,C>E A>ce>a |g>eb>g e>dB>e | A2 [c2a2] [c2a2] :|
O’NEILL’S MAGGOT [1]. AKA and see “Captain
Rock('s) [1],” “Humours
of Ballyconnell [1].”
O’NEILL’S MAGGOT [2]. Irish, Jig. D Major. Standard tuning. AABBCC. The word ‘maggot’ in this
sense means a thing of small consequence, a plaything, a trifle; from the
Italian maggioletta. Levey (Dance Music of Ireland, 2nd
Collection), 1873; No. 11, pg. 5.
X:1
M:6/8
L:1/8
R:Jig
S:Levey – Dance Music of Ireland, 2nd Collection (1873)
Z:AK/Fiddler’s Companion
K:D
d2e f2e | d2e d2B | A2F d2F | EEE E2z | d2e f2e | d2e d2B | A2F d2F | DED D2z :|
|: DDD (A2F) | DDD (A2F) | EEE (B2G) | EEE B2G) | DDD (A2F) | DDD (A2F) |
G2E A2F | DED D2z :: a3 (a2f) | a3 (a2f) | (g2e) (b2e) | (g2e) (b2e) | a3 (a2f) |
a3f3
| e2d e2f | ddd d2 z :|
O'NEILL'S MARCH [1]. AKA and see “O’Neill’s Cavalcade.”
Irish, March. E Minor. Standard tuning. One part (Sullivan): AABCBC (Tubridy).
Sullivan identifies this piece as an old clan march. Sullivan (Session Tunes), vol. 2; No. 54, pg. 23.
Tubridy (Irish Traditional Music, Book
Two), 1999; pg. 4.
X:1
T:O’Neill’s March [1]
L:1/8
M:4/4
K:E Minor
B2g2f2a2|e2g2 gf ed|B2g2f2a2|e2g2
gfed:|
|:e3e fe dB|e2 ee fe dB|e/f/e de fe
dB|e/g/e de fedB||
A2 AB G2 GB|A2 e2 ed BG|A2 AB G2
GB|A2 e2 ed BG:|
X:1
T:O'Neill's March [1]
R:march
D:Chieftains Live
Z:id:hn-march-5
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:2/4
L:1/8
K:Edor
Bg fa | eg g/f/e/d/ | Bg fa | eg g/f/e/d/ :: ed/e/ f/e/d/B/ | ed/e/ f/e/d/B/ :|
|:
A>B G>B | Ae e/d/B/G/ | A>B G>B |1 Ae e/d/B/G/ :|2 Ae e/d/B/A/ ||
O’NEILL’S MARCH [2]. AKA and see “Barrack Hill [1],”
“Haughs o’ Cromdale,” “Tralee Gaol.” Island
ILPS 9501, "The Chieftains Live" (1977).
X:1
T:Green Cockade, The
T:O'Neill's March
R:march
D:Paddy Keenan: Port an Phiobaire
D:Chieftains Live
Z:id:hn-march-6
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:2/4
L:1/8
K:Ador
eA AB/d/|e/g/e/d/ Bd|eA A/c/B/A/|GG/A/ B/G/B/d/| eA AB/d/|e/g/e/d/ Bd|e/d/e/f/ gB|A2 A2:|
|:ea ag/a/|bb/a/ gg/f/|e/d/B/d/ gg/e/|d/c/B/A/ G/A/B/G/| ea ag/a/|bb/a/ gg/e/|dB gB|A2 A2:|
O’NEILL’S MARCH [3]. See “Shane O’Neill’s March.”
O’NEILL’S RIDING. Irish, Air (6/8 time). D Dorian. Standard tuning. AB. Source for
notated version: “From O’Neill’s collection, 1787" [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 472, pg. 119.
X:1
T:O’Neill’s Riding
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 472
Z:AK/Fiddler’s Companion
K:D Dorian
A2f e2g | d2f fed/c/ | A2f e2g | d2f
fed/c/ || d2d edc/A/ | d2d edc/A/ |
d2 c/d/ edc/A/ | d2 c/d/ edc/A/ | G2
G/A/ F2F | G2d dcA/G/ | G2 G/A/ F2F |
G2d dcA/G/ | G2 G/A/ F2F | G2d
dcA/G/ | G2 G/A/ F2F | G2d dcA/G/ ||
ONION TOPS AND TURNIP
GREENS. Old-Time, Breakdown. G Major.
Standard tuning. AABB. Source for notated version: Bob Prater [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 96.
ONLY FOR BARNEY. Irish, Jig. A Major. Standard tuning. AABBCC.
Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn,
south County Armagh, who explains that Barney was a pet name for her daughter,
whose delight was watching the TV show “The Flintstones.” Keegan (The Keegan
Tunes), 2002; pg. 51.
ONTARIO SWING. Canadian, Dance Tune. Composed by New Brunswick fiddler Ned Landry,
born in Saint John in 1921. Landry joined Don Messer & The New Brunswick Lumberjacks
in the mid-1930’s, doing dual duty on harmonica and fiddle. When Messer left
the group to go to Charlottetown, Landry took over leadership of the group and
remained in that capacity for many years. Condor 977‑1489,
"Graham & Eleanor Townsend Live at Barre, Vermont." RCA Victor
LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑ "Bowing the
Strings With Ned Landry."
OOKPIK WALTZ. AKA and see "Eskimo Waltz,"
"Utpick Waltz," "Ootpik Waltz." Canadian, American; Waltz. G Major
('A' part) & E Minor ('B' part) {Matthiesen, Phillips}: A Major ('A' part)
& F # Minor ('B' part) {Reiner & Anick}. Standard tuning. AA'B (Matthiesen):
AABB' (Phillips): AA'BB' (Reiner & Anick). A folk‑processed tune
(whose title has various spellings) that surfaced as a contest waltz in the
West (first heard at the Weiser constest in the early 1970's being played by a
group of Spokane fiddlers--Don Gish, Sheila Wright, et al—according to Seattle
fiddler Vivian Williams). It quickly became widely disseminated and popular
among many North American fiddling genres, though of late it seems to have lost
its cachet among some fiddlers due to the frequency of its having been played
and heard. Rumors and folklore have become attached to it, and stories of its
having been composed by 'Eskimos' or that it was a Canadian or Eskimo dirge are
common; many sources have asserted (although seemingly with little confidence)
that it derived from the Pacific Northwest. Some stories have it that the tune
was named for an Inuit funeral dirge, and that the Inuit believed “ook pik” was
the owl that came to carry to soul away.
***
The facts sustain at least some of the
folklore, albeit in a rather quirky way. According to the Canadian Encyclopedia, the word Ookpik
is Inuktitut for "snowy" or "Arctic owl.” It was also the name
of the most popular of Inuit handicrafts in the form of a souvenier sealskin
owl, which featured an appealling large head and big eyes (a la the Disney
cartoon characters). It was created at the Fort Chimo Eskimo Co-operative in
Québec in 1963, and quickly became a worldwide symbol for Canadian handicrafts.
The cute fuzzy, stuffed Ookpik owl doll was already popular image in Canada by
the time of the Centennial (1967), which propelled it to even more fame.
***
Despite the rumors of antiquity, the
“Ookpik Waltz” was not dervived from a Native American source but is a
composition of Mission, British Columbia, fiddler Frankie Rodgers, who has
published it in a tunebook of his compositions. British Columbia fiddlers know
the tunebook and the source well. It was also first recorded on his (c. 1960's)
LP "Maple Sugar, Fiddle Favorites by Canada's Old Time Fiddle King Frankie
Rodgers of the Rodgers Brothers Band" (Point P-250). Sheet music of
“Ookpik Waltz” was published with a 1965 copyright to Rodgers.
***
Matthiesen (Waltz Book I), 1992; pg. 52. Phillips (Traditional American Fiddle Tunes, Vol. 2), 1995; pg. 289. Reiner
& Anick (Old Time Fiddling Across
America), 1989; pg. 147 (appears as "Utpick Waltz"). American Heritage Records, Don Gish. MCE, Walt Michael ‑
"Bermudaful." Point 250, Frankie Rodgers - “Maple Sugar.” Wild
Asparagus WA003, Wild Asparagus ‑ "Tone Roads" (1990). Voyager
VRLP‑319‑S, Ace Sewell ‑ "Southwest Fiddlin.'"
Altan – “Another Country” (learned in Maine, USA).
X:1
T:Oot Pik
M:3/4
L:1/4
Q:90
R:waltz
K:G
|(3D/E/F/|"G"G> F G/B/|
"D"A G E/D/| "G"E G> A| G B d| "Em"e>d
e/f/| ed
B/G/| "G"B d>e| d2 B/d/| "Em"e>d e/g/|e
d B/A/| "G"B d B/A/| "Em"G E D
| "C"C> B, C/E/|
"D"D F E/D/| "G"E G> A| G B d|| "Em"e B> A|
B2 e| "Bm"d
B> A| B2 B| "Am"A> G A/B/| A G E/D/|"Em"E G A|G B d|
"Bm"e B> A|B2 f/e
/|
d B>G| B2 B| "Am"
A> G A/B/| A G E/D/| "Em"E G E| "D" D2||
OONAGH. Irish, Air. The tune used by Moore for his song “While gazing on the
moon’s light.” Not to be confused with “Una,” begs Joyce (1873), a different
tune with the same title pronunciation.
OONAGH’S WATERFALL. See “Una’s Lock.”
OOR... See "Our..."
OOT BE EST (East) DA
VONG. Shetland, Shetland Reel. Shetland,
Mainland Shetland. D Major. Standard tuning. AA'B (Anderson, Martin): AABB
(Bain). One of "three traditional reels from the playing of the late Henry
Thomson of Vidlin. These were favourite dancing tunes in Vidlin for the dance
'The Shetland Reel'" (Anderson). The title refers to a fishing landmark,
or meathe, called the Vong, a part of the Outer Skerries—in this case the
fishing ground is to be found ‘east of the Vong’. See also the closely related
Scottish tune “The Kilt is My Delight.”
Source for notated version: learned by the late composer, teacher and collector
Tom Anderson (Lerwick, Shetland) [Flett & Flett]. Anderson (Ringing Strings), 1983; pg. 41. Bain (50 Fiddle Solos), 1989; pg. 16. Flett
& Flett (Traditional Dancing
in Scotland), 1964; pg.
219. Martin (Traditional Scottish
Fiddling), 2002; pg. 93. Topic 12TS379, Aly Bain
& Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).
X:1
T:Oot Be East De Vong
S:Session, Crieff Dec 2003
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
z2 | AFAB ABde | f2 ed ed B2 | AFAB ABde | f2 ed d2 :|
ef | g2 ge f2 fd | edef ed B2 | g2 ge f2 fd | edef a4 |
g2 ge f2 fd | edef ed B2 | AFAB ABde | f2 ed d2 |]
OOTPIK WALTZ. AKA and see "Ookpik Waltz,"
"Eskimo Waltz," "Utpick Waltz."
________________________________________
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