X: 1 T:Planxty Toby Peyton M:6/8 L:1/8 C:Turlough O'Carolan S:Sergt. James O'Neill R:Air K:Bb "Moderato con expressivo"c>AG GAG|FD=E F2 d|c>AG GAc|d=eg f2 c| d>gg g^f/2g/2a|g=e/2^f/2g =fd/2e/2f| e/2f/2e/2d/2c d/2_e/2d/2c/2A|c/2d/2c/2B/2A/2G/2 ^FDC| D>GG GAG|^FGA A<=fd|cAG ^FDF|G3-G2|| E|F>ED CB,A,|G,>GG G,>GG|Gcc c/2d/2c/2B/2A/2G/2|Add d2 =e| fcA fcA|Ggg g^fg| a/2b/2a/2g/2^f/2a/2 g/2a/2g/2=f/2e/2g/2| f/2g/2f/2=e/2d/2c/2 d/2_e/2d/2c/2B/2A/2| fAG ^FGA|fAG ^FGA|dGG ^FDF|G3-G3|| % % Noted down by Edward Bunting at the Belfast Harp Festival % in 1792, as played by Hugh Higgins. This setting differs from % the three setting in O'Neill's Music of Ireland, and was known to % John McFadden from County Mayo and Sergt. James O'Neill of % County Down. X: 2 T:Young Terence McDonough T:McDonogh's Lamentation M:3/4 L:1/8 C:Turlough O'Carolan 1696 R:Air K:Bb "Andante"G>F|D2 G2 A>^F|G4 GA|B2 d2 cB|c4 c2| d2 g2 gf|d2 f2 dA| B2 A2 G2|g4 fg|a2 f2 fg|f4 dc| B2 A2 G2|^F2 A2 Bc|d2 D2 GA|G4|| G>F|D2 G2 G2|G4 GF|D2 B2 B2|B4 AG| F2 f2 f2|gf ed cB|db ag fe|d4 dc| B2 B2 cB|A2 A2 A2|BA Bc d=e|f4 dc| B2 B2 B2|A4 Bc|d2 D2 GA|G4|| % % composed on the death of a famous young % Catholic lawyer of Sligo. First printed in The % Hibernian Muse, London 1787. The melody was % used with Sir Walter Scott's poem "The Return to Ulster" % and also with "The Moon Dimmed Her Beams". X: 3 T:Rocking the Cradle M:6/8 L:1/8 S:Sergt. James O'Neill R:Air K:D "Andante"D/2E/2|FFF GGA/2G/2|FFD EDD/2E/2|FFF GAG|FED D2:|| A/2B/2|=c>dc B>^cd|AA/2B/2A/2G/2 FDD|=c>dc BAF|A>B^c d2 d| d>ef d>ef|AA/2B/2A/2G/2 FDD/2E/2|F/2G/2F/2E/2D/2F/2 EAG|FDD D2|| X: 4 T:Old Man Rocking the Cradle M:6/8 L:1/8 S:Rice-Walsh manuscript R:Air K:D "Andante"FAA GAA|FAA GFD|FAA GAA|GFD FED| FAA GAA|FAA GFE|DD/2E/2F/2D/2 EAG|EDD EDD|| dFF AFF|dFF GFD|dFF AFF|GFD FED| dFF AFF|dFF GFD|DD/2E/2F/2D/2 EAG|EDD EDD|| faa gaa|faa gfd|faa gaa|gfd fed| faa gaa|faa gfd|dd/2e/2f/2d/2 eag|edd edd|| % % a descriptive piece wherein an old man gives voice % to his woes, punctuated by the wailing of a peevish child % and its calls for its Ma-ma. Skillful fiddlers and pipers would % imitate those cries.The fiddle was lowered in pitch and the % fiddler would lightly touch the bridge with a large door key % held in his teeth to simulate the tones of human expression. X: 5 T:One Bottle More M:3/8 L:1/8 S:Sergt. James O'Neill R:Air K:G "Moderato"G|GBd|d>BG|cee|e2 d/2c/2|Bdg|dBG|A>FD|D2|| D|G>FG|EFG|A/2B/2c/2d/2e/2f/2|g2 f/2e/2| dfg|a/2g/2f/2e/2d/2c/2|BAG|GB/2d/2c| A>FD|D2 E/2F/2|A/2B/2c/2d/2e/2f/2|g2 f/2e/2| dg f/2g/2|a/2g/2f/2e/2d/2c/2|BGG|G2|| % % slightly different from the setting in O'Farrell's % Pocket Companion 1804-1810. X: 6 T:Teddy O'Neill M:6/8 L:1/8 S:Rice-Walsh manuscript R:Air K:D "Andante"F/2G/2|Aff f2 e/2f/2|gBe dcB|Add dcd|fee e2 F/2G/2| Aff f2 e/2f/2|gBe dcB|Adf a2 g/2f/2|eG G2 (6F/2G/2F/2E/2F/2A/2|G2 (3FDC D2 (3D^CD| B/2>c/2B/2A/2 B>d c/2d/2c/2=B/2 c>_e|d6 G/2A/2B/2c/2| d>=e (3f/2g/2f/2e d>c A>G|G2 A>G F2 G>A|B2 (3AGA G2 (3FDC| D6 (3DEF|G2 A>G G2 (6F/2G/2F/2E/2F/2A/2|G2 (3FDC D2 (3D^CD| B/2>c/2B/2A/2 Bd c/2d/2c/2=B/2 c_e|d6 (3d=ef| g/2a/2g/2f/2 g/2a/2g/2f/2 d>c A>G|G2 A>G F2 d>c| B2 (3cAG G/2A/2G/2F/2 (3DE^F|G6|| X: 11 T:Irish Widow's Lament on the Death of her Only Son M:3/4 L:1/8 S:James Whiteside manuscript R:Air K:C "Andante"c4 d2|B4 c2|A2 AG ED|E4 z2|c4 d2|B4 c2|A3 B cd|e4 d2| c4 d2|B4 c2|A2 AG ED|E4 D2|C4 D2|B,4 C2|A,6-|A,4 z2|| e4 d2|c6|d4 c2|B6|c3 B AG|A3 G ED|C4 D2|E6| e4 d2|c6|d4 c2|B6|c3 B AG|A3 G ED|E3 F GB|A6|| e a2 g ed|e4 d2|c3 d Bc|A6|d g2 ^f ge|d4 c2|B3 A BA|G4 AB| c4 d2|B4 c2|A3 B cd|e a2 g ed|c4 d2|B4 c2|A6-|A6|| X: 12 T:Limerick's Lamentation M:3/4 L:1/8 S:Bunting's Arrangement 1809 R:Air K:Eb "Adagio"E>F|G2 BF|G2 BF| GB, C2 E>F|G2 E2 E>F|E4:| E>F|G2 B2 B>c|B2 AG F>G|E2 e2 e>f|e4 E>F| G2 B2 Bc|B2 AG F>G|E2 e2 e>f|e4 Bc| d>c d>e f>d|c>B c>d e>c|B>c eG FE|F4 EF| GB, C2 E>F|G2 E2 E2|E4|| % % As far back as 1676, this melody was referred to as % "The Irish Tune". Earliest printed setting with title of % Limerick's Lamentation was Daniel Wright's collection % published about 1730. Compare this setting with that % published by McCullough (tune #13). X: 13 T:Limerick's Lamentation M:3/4 L:1/8 S:McCullough's Collection of Irish Airs 1821 R:Air K:G "Moderato"G>A|B2 B2 B>c|B2 A2 Bd|e2 A2 A>B|A4 G>A| B2 cBAG|E2 D2 G>A|B2 G2 A>G|G4:| G2|B>c d3 d|de dc BA|G2 g2 g2|{ba}g4 G>A| B>c d3 d|ed cB AG|G2 g3 g|g4 d>e| =f3 g f2|e2 d2 eg|d2 ed cB|B2 A2 G>A| B2 cB AG|E2 D2 G>A|B2 G2 A>G|G4|| X: 14 T:Lochaber No More T:Farewell to Lochaber, Farewell to My Jean M:3/4 L:1/8 S:Caledonian Muse, London 1785 R:Air K:G "Andante moderato"G>A|B2 B2 B3/2c/4d/4|B3 A (3BAG|{^d}e2 A2 A3/2B/4c/4|{B}A4 G>A| B2 cB AG|D3 E GA|B2 AG A>B|G4:| G>A|B>c d2 e3/2f/4g/4|{e}d3 c B>A|G2 g2 g>a|g4 G>A| B>c d2 e2|d>e dc BA|G2 B2 d3/2e/4f/4|g4 d>e| =fe fa gf|e3 d B/4d/4g|ed cB AG|A4 G>A| Bc de A>G|D3 e dc|B2 A>G A>B|G4|| % % Using various printed references, O'Neill asserts that Limerick's % Lamentation is Irish, rather than Scottish, because it appeared % in print as "An Irish Tune" fifty years prior to the first printing % of Lochaber No More. See Note to Tune #12. X: 15 T:Slainte Righ Pilib T:Health to King Phillip M:3/4 L:1/8 S:Burk Thumoth's Scotch & Irish Airs 1743 R:Air K:Bb "Moderato"G4 ^F2|G2 A2 c2|d4 c2|{B}A4 d2|c4 AG|^F2 A3 G|^F3 E F2|D6| G4 ^F2|G2 A2 c2|d4 A2|c4 de|f2 =e2 d2|c2 A2 G^F|G6-|G6:| g4 ^f2|g2 a2 b2|a4 gf|d4 d=e|f3 g fg|f2 d2 f2|c4 {B}A2|^F4 {E}D2| G3 A G^F|G2 A2 c2|d4 A2|c4 d=e|f2 =e2 d2|c2 A2 G^F|G6-|G6:|| % % Song refers to King Phillip IV of Spain, who died in 1665. % This setting and the two that follow illustrate the tendency to % create variants of popular compositions. X: 16 T:Slainte Righ Pilib T:Health to King Phillip M:3/4 L:1/8 S:O'Farrell's Pocket Companion, 1804-1810 R:Air K:C "Moderato"A2|G2 A2 A2|A2 B2 AG|A2 B2 d2|e2 ^f2 g2|d2 B2 BA|G4 ed| B2 A2 A2|A2 B2 AG|A2 B 2d2|e2 ^f2 g2|B4 A2|A4:| |:ed|e2 a2 a2|a2 b2 ag|a4 ba|g2 e2 g2|d2 B2 BA|G4 ed| B2 A2 A2|A2 B2 AG|A2 B2 d2|e2 ^f2 g2|B4 A2|A4:|| X: 17 T:Slainte Righ Pilib T:Health to King Phillip M:3/4 L:1/8 S:Thomson's Original Irish Airs, 1814-1816 R:Air K:Bb "moderato"F4 =E2|F2 G2 B2|c4 B2|G4 c2|B4 GF|=E4 C2|C4 C2|C2 D2 =E2| F4 =E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 =E2|F6-|F6| f4 =e2|f4 g2|f4 _e2|c4 d2|e4 e2|e2 c2 e2|B4 G2|=E4 C2| F4 =E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 =E2|F6-|F6|| X: 18 T:Kate Kearney T:Beardless Boy, The T:Dissipated Youth, The M:3/4 L:1/8 S:Capt. F. O'Neill R:Waltz K:G "Temp di Valse"GE|D2 B,2 D2|G3 A BG|A2 G2 G2|G4 D2|G2 B2 d2|ed cB AG|B2 A2 A2|A4 Bd| e2 g2 ge|d4 c2|B2 d2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2|| GE|D2 B,2 D2|D2 B,2 D2|G4 G2|G4 E2|D2 B,2 D2|D2 B,2 D2|A4 A2|A4 d2| e2 c2 e2|d2 B2 d2|c2 A2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2|| Bd|g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 d2|e4 de| g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 A2|G2 z2|| % % Long before the song "Kate Kearney" was written by Lady Morgan, % the melody appeared as "The Beardless Boy" in Bunting (1796) and % again in Bunting (1809) as "The Dissipated Youth". Also appeared as % "Kate Martin" in Murphy's Irish Airs and Jigs. X: 19 T:Drimen Duff T:Druim Fionn Dubh M:3/4 L:1/8 S:Burk Thumoth Scotch & Irish Airs 1742 R:Air K:G "Andantino expressivo"AB|c4 B2|A2 G2 AB|{d}c4 B2|A4 GA|B4 A2|G2 E>D E>G| g2 dB cA|G4 AB|c4 B2|A2 G2 AB|c4B2|A4 B2|cB cd eg| a4 g2|ed B2 dB|A4||AB c4 B2|A2 G2 AB|c2 Be dc|A4 GA| B4 A2|(3GFD (3EFG (3gfe|(3dBg (3dcB (3cBA|G4 AB|c4 (3dcB| A4 (3GAB|c4 B2|A4 B2|(3cBc (3cde (3efg|a4 g2| (3egf (3gfe (3dcB|A4|| % % in former times it was much more common to find a white stripe % along the spine of brown or black cows, and this coloration was % called "Druim-fionn", or white-black. which became "Drimmin" or % "Drimen". Thus we have "Drimmin-fionn-dubh" or White-back % black cow, etc. In poetical literature those titles are allegorical. % "Drimmin Dhu" was a political password among the Irish Jacobites, % and all "Drimmin" songs breathe a spirit of fealty to the Jacobite % cause. X: 20 T:Drimmin Dhoun Oge T:Druim-fionn Donn Og M:3/4 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:Air K:Bb "Andantino"GF|D2 G2 GF|G2 A2 c2|d=e fe dc|A4 dB|A2 G2 GF|G3 A B2|A2 G2 FD|D6| D2 G2 GF|G2 A2 c2|d=e fe dc|A4 fg|a2 gf =ed/4c/4|d3 =e f2|G2 G2 AG/4^F/4 |G4|| d2 g2 gf|g3 a b2|a2 g2 fd|d4 =e2|f3 g fd|f2 g2 a>g|fd cB AG|F4 dc| A2 G2 GF|G2 A2 c2|d=e fe dc|A4 fg|a2 gf =ed/4c/4|d3 =e f>A|G4 {B}AG/4^F/4|G4|| X: 21 T:Lament of the Aran Fisherman M:3/4 L:1/8 S:Seamus Moriarty, San Francisco R:Air K:G "Andante con Expression"GA|B2 e2 (3fe^d|e E3 GA|B3 {cB}A AG|G4 Bc| d2 Bd ef|g2|fe f>^d|e2 =dB A>G|E4|| Bc|d2 Bd ef|g2 fe f>^d|e>=d BA BG|E4 (3EGA| B2 e2 f^d|e E3 GA|B2 {cB}AG A>G|G4|| % % Mr. Francis E. Walsh of San Francisco noted this air % from the singing of Seamus Moriarty, a native of Kerry. % The verses bewailed the drowning of a fisherman. X: 22 T:Father Tom O'Neill M:6/8 L:1/8 S:Capt. F. O'Neill R:Air K:D "Con spirito"(3B/2c/2d/2|e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2 F/2G/2| A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2|| F/2G/2|A2 F A2 c|B2 A F2 A|B2 d cBA|B3-B2 c/2d/2| e2 e f2 e|d2 B BAF|A2 F E2 E|E3-E2|| % % A ballad of 19 verses sung to this air recited the conspiracy of an % infatuated wealthy heiress in County Armagh to inveigle or coerce a % young clergyman, the son of a widow, into matrimony; and the % frustration of her designs by the confession of an accomplice. X: 23 T:Graine Uaile T:Grace O'Malley M:6/8 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:Air K:F "Slow and with feeling"B/2c/2|d>ed cAG/2F/2| DGG G2 A/2B/2|cAc/2d/2 cAG|FDE F2 d/2g/2| fed c/2B/2A/2B/2c/2A/2|d/2c/2d/2e/2f/2d/2 g2 a/2g/2| f/2e/2d/2e/2f/2d/2 d/2c/2B/2A/2G/2F/2|G2 G G2|| (3d/2e/2f/2|gdB gdB|G2 G G2 (3c/2d/2e/2|fcA fcA|F2 F F2 G/2A/2| B2 D D3|c2 D D3|d/2c/2d/2e/2f/2d/2 g2 a/2g/2| f/2e/2d/2e/2f/2d/2 d/2c/2B/2A/2G/2F/2|G2 G G2|| % % This was the earliest setting of this famous old air which the editor % could trace. A florid version entitled "Granu Weal or ma-ma-ma" % obtained from McDonnell a renowned piper in 1797 is to be found %in Bunting's 3rd collection. The sub-title represents certain passages % wherein a repeated note reinforced by concords on the regulators % produced tones like ma-ma-ma. % Grainne ni Mhaille who flourished in the reign of Queen Elizabeth was % the most forceful character of her day. Her Irish maiden name became %one of the allegorical titles by which Ireland is poetically known, and % eclipses totally those of her two husbands, O'Flaherty and Sir Richard % Bourke. In the course of time, the original Irish name became % corrupted to "Granu Weal", "Graina Uaile" ,"Grainu Mhaol, and % other forms. X: 24 T:Did You See My Man Looking for Me M:6/8 L:1/8 S:Capt. F. O'Neill R:Air K:G "Moderato spiritoso"G/2F/2|D>GG A2 d|c>Ad c>AG|D>GG A2 d|c>AF G2:| e/2f/2|g>fe f>dd|e>ce d>BG|g>fe f>dd|ece d2 e/2f/2| g>fe f>dd|e>dg d>BG|F>GA B2 d|c>AF G2|| % % Of this old folk song, I remember the following verse: % Did you see my man, He was a fine man ? % Did you see my man looking for me ? % He wore a green jacket, a pair of white stockings, % A hump on his back and he's blind in one eye; % a corduroy breeches; his brogues full of stitches % Did you see my man looking for me ? X: 25 T:Sweet Castle Hill M:3/4 L:1/8 S:P.J.Healy, San Francisco R:Air K:G "Andante"G/2D/2E|G3 A B2|AG G3 A|B2 AG E2|G4 B2| cd/2e/2 d2 BA|G2 EG A2|d2 e2 de| B2 AG A2|B2 AG E2| D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4|| DE|G3 A B2|GA B2 AG|E G3 DE|G2 A B3| AG E A3|B A3 z2|d2 e2 de|B2 A2 GA|B2 AG E2| D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4|| X: 26 T:Go My Own Darling Boy M:3/4 L:1/8 S:Hudson manuscript 1841 R:Air K:Eb "Andante"e>d|c2 B2 G>F|E4 E>E|F2 F2 AB/2c/2|B>A G2 e>d| c2 B2 (3GAF|E4 E>F|Gc/2B/2 GE F>G|E4|| B>B|e2 ed c>f|B4 e>e|fe cB (3GEB|B>A F2 e>d| c2 B2 (3GAF|E4 E>F|Ge/2d/2 G>E F>G|E4|| X: 27 T:I Found My Love in the Morning M:6/8 L:1/8 S:Rice-Walsh manuscript R:Air K:G "Andante moderato"D|EFE EDB,|G3 G2 A|BcB BAB|d3 dge| dBG BdB|AFD DFA|BGE DB,D|E3 E2:| |:d|efe edB|g3 f2 e|dBG GAB|d3 d2 B| G/2A/2Bc d2 B|AFD DFA|BGE DB,D|E3 E2:| X: 28 T:Connacht Mother's Slumber Song, The M:4/4 L:1/8 S:Francis E. Walsh, San Francisco R:Air K:G "Moderato cantabile"B,D|E2 E2 E2 DE|G2 G2 A3 G/2A/2| B2 {cB}AG E2 DC|D6 B,D| E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:| |:Bc|d2 B2 B2 AG|A2 A2 A2 GA|B2 AG E2 DB,|D6 B,D| E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:|| % % Not the least charming of the many airs and dance tunes, for which % we are indebted to our liberal San Francisco contributor, Francis E. % Walsh, is the fines Slumber Song above printed. It is an old strain % of which variants under divers names gained wide circulation. % Who hasn't heard the one time popular ballad about "my Love Nell % from the Cove of Cork" and her inconstancy. "Mary of Blackwater Side" % one of the numbers in Joyce's Old Irish Folk Music and Songs, Dublin %1909, betrays a similar origin. X: 29 T:Battle of Aughrim, The M:2/4 L:1/16 S:Walker's Historical Memoirs of the Irish Bards, London 1786 R:March K:G "Moderato"ABAG ABAE|ABAG ABAE|ABAG ABAE|ABAG ABAE| (3AGA (3AGA (3AGA A>E|(3AGA (3AGA (3AGA A>E| (3AGA (3AGA (3AGA A>E|{CDEGA}B3c d3e| d2e2 d2f2|d2e2 d2f2|d2e2 d2e2|d8| cBAG E4|ABAG ABAE|ABAG ABAE|ABAG A3E| (3AGA (3AGA (3AGA A>E|(3AGA (3AGA (3AGA A>E| GABc d3e|d2e2 d2f2|d2e2 d4|BAGF E4|| % % To the musical antiquary war cries and battle pieces may not be % without interest. To the modern ear they possess but little % attraction; yet when Martin O'Reilly, the blind piper from Galway, % at the Dublin feis in 1901 played a descriptive selection entitled % "The Battle of Aughrim 1691" in which the blare of trumpets, battle % onslaught, and wailing of the women were imitated, his performance % was rapturously applauded. X: 30 T:Lamentation of Aughrim, The M:3/4 L:1/8 S:McCullough's Collection of Irish Airs, Dublin 1821 R:Air K:D "Andantino"DE|F2 A2 B>A|d2 d2 (3def|e2 d2 f>d|c>B B2 AF|A2 A2 FA|B4 AF| D3 D ED|D4 D>E|F2 d3 c|B2 A2 F>E|E2 D2 E>D|D4|| fg|f2 e2 ga|g2 f2 ba|gf ed cd|d2 c2 A2| Bc de fg|a2 f2 g2|f2 d'2 c'2|d'4|| % % At the battle of Aughrim, July 12th 1691, fought near Ballinasloe, % County Galway, General St. Ruth in command of the Irish forces, % and 7,000 of his troops were killed. X: 31 T:Cuckoo, The M:3/4 L:1/8 S:Miss Lucy Ray R:Air K:A "Moderato"C2|F2 F2 EC|FF F2 G2|B2 B2 GF|E4 C2| F2 F2 EC|F2 F2 EC|F2 A2 B2|c4|| cB|A2 A2 ec|B2 B2 cB|A2 A2 GF|E4 C2|F2 F2 EC|F2 F2 c2|cB A2 G2|F2-F2|| X: 32 T:Sarsfield's Lamentation M:3/4 L:1/8 S:The Hibernian Muse, London 1787 R:Air K:F "Andante sostenuto"Ac|d2 d2 cA|f2 f2 e>d|c>d c>A G>A|F2 G2 A/2G/2F D2 de c>A|f>g gf/2g/2 a2|F3 G Ac|G4:| |:AB|d2 d2 c>A|f2 f3 E/2F/2|g2 g3 f/2g/2|a2 ba ge| d>e d>c d/2c/2A|f2 g/2f/2g a2|F>E F>f d/2c/2A|G4:|| % % This lamentation derives its importance from the historical prominence % of General Sarsfield as the Irish Commander at the Siege of Limeriick. % That circumstance obviously accounts for its being confounded in later % times with "Limerick's Lamentation". This composition bears no % resemblance except in name to the "Lament for Sarsfield" No. 433 in % O'Neill's Music of Ireland, Chicago, 1903. X: 33 T:Dark-eyed Gypsy, The M:4/4 L:1/8 S:P.J.Healey, San Francisco R:Air K:G "Andante"d2|B2 {d}cA G3 g|B2 {d}cA G3 d/2e/2| =f2 g2 A2 _B2|=B2 c2 d3 B/2c/2| d2 ga b3 a/2g/2|{a}gf dB c3 B/2c/2|B g2 f d2 cA|A2 G2 G2| |:Bc|d2 ga b3 a/2g/2|{a}gf dB c3 B/2c/2|de =fe d2 cA|A2 G2 G2:|| % % Although suggestive of an English origin, "The Dark-eyed Gypsy" was % the name of a popular song in Tipperary, Mr. Healey's native county. X: 34 T:Cnoic Uisnach T:Hill of Uisnach M:4/4 L:1/8 S:P.J. O'Donohue, San Francisco R:Air K:G "Maestoso"e>d|B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E4 (3BAF| E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d6|| AF|E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d4 e3 d| B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E6|| % % I am informed by our liberal contributor, Mr. Francis E. Walsh of % San Francisco, that variants of the above air are known to several % of his musical acquaintances but by different names such as % "Knuck Usnach Gathering"; "Knuck Costhnach"; "The Coming % of Lugh"; and "The Poor Man's Friend". Mr. O'Donohue, whose % setting is presented, insists that it is the true air of "Willy % Reilly", the old time favorite of an earlier generation. The melody % is the real thing however. X: 35 T:Molly of Lough Erne Shore M:3/4 L:1/8 S:James Whiteside manuscript R:Air K:G "Andante"AB|c2 B2 c2|A2 G2 G2|A2 B2 c2|d4 fg| a2 g2 a2|=f2 e2 d2|d2 e2 A2|A4 f2| a2 g2 a2|f2 e2 d2|d2 c2 A2|^f4 ge| d2 A2 B2|c2 A2 G2|A2 B2 c2|d4|| X: 36 T:Gay Young Fireman, The M:4/4 L:1/8 S:Capt. F. O'Neill R:Air K:G "Moderato" ED|E2 A2 A2 GA|B2 AG E2 D2|G3 A G2 D2|EDEG A2 z2| D2 DD d3 B|A2 G2 G2 AB|c3 A B2 AG|E2 D2 D2|| % % Some fifty years ago I heard a ballad sung to this air by a young lady % from Brooklyn, NY. It recited the fascinations of A Gay Young Fireman % of that city. The strain, unmistakably of Irish origin, displays % marked individuality. X: 37 T:My Dear Irish Girl M:4/4 L:1/8 S:Capt. F. O'Neill R:Air K:G "Con spirito"(3DEF|GFGB edBG|AGEE E3 d|efgf eede|ccBA B3 d| efgf efde|ccBA e2 dB|GFGB edBG|AGEE E3|| M:6/8 L:1/8 D|GAG GAG|BAG Bcd|GAG GFG|FAG FED| GAG G2 G|BAG Bcd|efg edB|AGF G2|| % % Not a few songs or ballads have been sung to a variant of this old % air, one of them being named "The Hat My Father Wore". Where % the second part came from the Editor is unable to say, except that % it has lodged in his memory for many years. X: 38 T:Dawning of the Day, The M:4/4 L:1/8 S:Aird's Selections 1782-97 R:Air K:G "Moderato"DE/2F/2|G>AGF E2 D2|dd g/2f/2e/2d/2 B2 c/2B/2A/2G/2| GFGA B2 g/2f/2e/2d/2|B>c A2 {GF}G2:| e>def g2 ga/2b/2|agfe d2 B2|ed e/2g/2f/2a/2 ggab| agf>e e4|edef gg g/2f/2e/2d/2|Bg B/2g/2B/2g/2 A2 B/2A/2G/2F/2| GFGA B2 g/2f/2e/2d/2|Bc A2 GF G2|| % % This fine air, the best known of the compositons of the great harper % Thomas O'Connellan, was taken from "Aird's Selection of Scotch, % English, Irish and Foreign Airs, Vol.3", published in 1788. % O'Connellan flourished in a period when the renown of Irish harpers % became a matter of history. After a sojourn of 20 years in Scotland, % he returned to his native land in 1689, and died nine years later. % As the above setting differs materially from that of Bunting in his % second collection issued in 1809, and others much more recent, % its introduction among Waifs and Strays may be not without interest % to students of Irish musical history. X: 39 T:Lamentation of Owen Roe O'Neill, The M:4/4 L:1/8 Q:90 R:Air K:Bb "Andante"GABc d3 c|Bcd=e f2 ef|gddc B2 AG|A2 GF D2 z2| GABc d2 cB|cBAG F2 Ac|B2 AG AGAc|B2 A>G G2 z2|| GABc d3 c|Bcd=e f2 ef|g2 d2 edcB|A2 G>F F2 z2| d>edB cccA|B>cBG AGFD|B3 G A3 F|G>FD^F G2 z2|| % % This fine composition is attributed to Carolan in Bunting's General % Collection of the Ancient Irish Music, Dublin 1796; Hardiman's Irish % Minstrelsy, London 1831; and Clinton's Gems of Ireland, London 1841. % Grattan Flood, an eminent authority, states in his A History of Irish % Music, Dublin 1905, that this "glorious lament was composed on the % death of Owen Roe O'Neill in 1649", a date preceding Carolan's birth % by twenty-one years. Owen Roe O'Neill, prince of Ulster, was a % gallant military leader who vanquished the British forces at the % battle of Benburb in 1646. X: 40 T:Jesse the Flower of Dunblane M:6/8 L:1/8 S:Wood's Songs of Scotland, Edinburgh, 1848 R:Air K:G "Andante con moto"G/2A/2|B>cB A>dB|G>FG AEC B,cB AEC B,F G2|| B|B>GA BE D2 D| G>BA BG>A|BdB cA>B|c>de dB>G|A>EF G2 G/2E/2| D>EC B,de dF G2|| % % Early in the nineteenth centtury, this song was composed by a % modest weaver, Robert Tannahill of Paisley, and was set to an % alleged ancient Scottish melody by Robert A. Smith author of the % Irish Minstrel, and the Scottish Minstrel. According to Farquhar % Graham, editor of Woods Songs of Scotland, not a few of the airs % in the latter work were composed by Smith himself. % Whatever the origin of the above melody may have been it has a % decidedly Gaelic tonality. X: 41 T:O'Connell's Lamentation M:6/6 L:1/8 S:Sergt. James O'Neill R:Air K:C "Andante"E|A2 d/2c/2 AGE|Gcd ea^f|gec dcA|GE^F G2 E| Adc AGE|c3/2d/2e/2^f/2 gea|gec dcA|A3-A2|| e/2^f/2|g3/2^f/2a/2f/2 g3/2b/2a/2g/2|f/2e/2d/2e/2f/2d/2 e2 A| c/2B/2c/2d/2e/2^f/2 ge/2c/2A/2| GEc/2A/2 GEG| AA/2B/2c/2A/2 BB/2c/2d/2B/2|cc/2d/2e/2^f/2 gea| gec dcA|A3-A2|| A/2B/2|cE^F G2 A/2B/2|c/2B/2c/2d/2e/2^f/2 gea| g/2f/2e/2g/2f/2e/2 d/2f/2e/2d/2c/2B/2|cE^F G2 A/2B/2| cE^F G2 A/2B/2|c/2B/2c/2d/2e/2^f/2 gea| gec dcA|A3-A2|| % % Comparing very favorably with compositions of this class, "O'Connell's % Lamentation" is presented as the production of two members of the once % famous Irish Music Club of Chicago which flourished in the early years % of the twentieth century. The first and second parts were outline by % John McFadden, an untutored fiddler of fertile fancy and dextrous % execution. The third part as well as the whole arrangement is the % work of Sergt. James O'Neill, the club's worthy scribe. X: 42 T:All I Want is a Decent Boy M:3/4 L:1/8 S:O'Farrell's Pocket Companion 1804-1810 R:Air K:G "Andantino"D>E|G>A G>A Bd|e>f e>d B>e|dB/2A/2 G>A BA|AG E2 D>E| G>A G>A B>d|e>f ed B>e|dB/2A/2 G>A BA|AG G2 z A|BB g2 B2|gfed B2| dB/2A/2 G>A BA|AG E2 D>E|G>A GA Bd|e3/2f/2e/2d/2 B3 e| dB/2A/2 GA BA|AG G2|| % % The name of a ballad sung to this air has been substituted for % "The Young Man's Dream" an obviously wrong title - as printed % in O'Farrell's work. X: 43 T:Captain O'Kane T:Wounded Hussar, The M:6/8 L:1/8 S:McGoun's Repository 1803 R:Air K:G "Moderato"E/2D/2|B,EF G2 F/2E/2|F/2G/2A/2G/2F/2E/2 DEF| GBG B/2A/2G/2F/2E/2D/2|B,EE E2 E/2D/2|B,EF G2 F/2E/2| F/2G/2A/2G/2F/2E/2 DEF|GBB B/2A/2G/2F/2E/2D/2| B,EE E2||E/2F/2|GBB B2 A/2G/2|FAA A2 d/2c/2| Be^d e>fg|Be^d e2 e/2f/2|g>fe d>cB|AFd DEF| GBG B/2A/2G/2F/2E/2D/2|B,EE E2|| % % The earliest setting of this rare composition which the compiler can % trace is that found in Vol.3 of Aird's Selections of Scotch, English, % Irish and Foreign Airs, printed in 1788. Slightlly disguised as % "Captain Oakhain: A Favorite Irish Tune", it appears in McGoun's % Repository of Scots and Irish Airs, Strathspeys, Reels, etc. Glasgow % 1803", but it is not numbered among the Bunting or Petrie % Collections. "The Wounded Hussar" we learn from Alexander % Campbell's song of that name printed with the music in Smith's Irish % Minstrel, Edinburgh 1825" was Captain Henry O'Kain who died of % his wounds on "the banks fo the dark rolling Danube". % Included as one of Carolan's compositions in Hardiman's Irish % Minstrelsy, 1831" the author adds: "Capt. O'Kane or O'Cahan of a % distinguished family, a sporting Irishman well know in Antrim in his % day as "Slasher O'Kane'". There can be no doubt that he was % the hero of Campbell's song. The Wounded Hussar is also included in % Serenne's "Songs of Ireland without words, Edinburgh 1854". X: 44 T:Young Ellen of My Heart M:4/4 L:1/8 S:Rice-Walsh manuscript R:Air K:G "Andante"g|edcB AGFE|G2 AA A3 E|ABcd e2 ec|d2 ed c2 BA| ABcd e^fge|d2 ed c2 g^f|edcB AGEF|G2 AA A3 E| ABcd e^fge|d2 ed c2 g^f|edcB AGEF|G2 AA A2|| X: 45 T:Irish Lassie, The M:6/8 L:1/8 S:Aird's Selections 1782-97 R:Air K:G "Andante cantabile"G/2A/2|B2 A B2 g|dBG A2 B|E2 D EFG|AFD D2 G/2A/2| B2 A B2 g|^ceg f2 e|f>ed ed^c|d3-d2 d=c|B>cB cA>f| g3 d2 c|B>GB c2 d|ede gfe|d2 (3e/2f/2g/2 f2 e|d2 c B/2c/2dD| EcB ADF|G3-G2|| X: 46 T:My True Love Has Gone From Me M:4/4 L:1/8 S:Capt. F. O'Neill R:Air K:G "Moderato con expressivo"Bd|e3 d g2 B2|c4 edBA|B2 AB G2 G2|G4-G2 ga| b2 bc' b2 ag|a3 c' b2 ab|g3 g f3 e|d4-d2||ga|b2 bc' b2 ag|a3 c' b2 ab| g3 g f3 e|d4-d2 Bd|e3 d g2 B2|c4 edBA|B2 AB G2 G2|G4-G2|| % % This air like scores of others was unconsciously memorized in my % boyhood days at Tralibane some three miles southeast of Bantry, % West Cork. All that I can remember now of the ballad sung to it is the % distich: % "My true love he has gone from me, and I can't tell how far % Eighteen hundred thousand miles , on board of a man of war" % It is not likely that the poetaster in equalizing his meter realized % the absurdity of a voyage equal to seventy-two times the % circumference of the earth. X: 47 T:My Only Joe and Deary O M:4/4 L:1/8 S:Wilson's Companion to the Ballroom, London 1816 R:Air K:G "Maestoso"B|e3 f gfed|e2 B2 B3 G|A3 c BAGF|G2 E2 E3 G| e3 f gfed|e2 B2 B3 G|A3 c BAGF|G2 E2 E2 z|| B|e3 f g2 e2|f2 ^d2 B2 z B|e3 f g2 fe|f2 d2 d2 ef| g2 e2 gfe^d|e2 B2 B2 G2|A3 c BAGF|G2 E2 E2 z|| % % Classed as a Scotch tune among the "figure" dances in % Wilson's Companion to the Ballroom, "My Only Joe and Deary O" % is not listed in the Analytical Table of the Glen Collection of % Scottish Dance Music, Strathspeys, Reels and Jigs, Edinburgh, % 1891. It is quite distinct however from "My Ain Kind Dearie"first % printed in the 12th Number of Robert Bremner's Collection of Scots % Reels or Country Dances issued in Edinburgh in 1761. An elaborite % arrangement of the latter, with 12 bars in each part appears in % McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc., % published in Glasgow about 1803. X: 48 T:My Charmer from Clare M:3/4 L:1/8 S:Whiteside manuscript R:Air K:G "Andante con Sentimente" (3EFG|A2 A2 dc|B2 G2 (3AGE|(3DEF G2 G2| G4 (3Bcd|e2 ef ge|f2 d2 ed|c2 BA B2|E4||(3Bcd|e2 ef ge|f2 d2 ed| c2 BA B2|E4 (3EFG|A2 A2 dc|B2 G2 (3AGE|(3DEF G2 G2|G4|| % % James Whiteside, the "Bard of Bray", County Wicklow, was a genius - % scholar, poet, musician, composer. Born in County Monaghan in 1844, % he retired after 40 years service as a schoolteacher at Bray. His % playing of the violin won two first honors at two Feiseanna. An % interesting sketch of his life appears on pages 384-7, Irish % Minstrels and Musicians. X: 49 T:Banished to America M:4/4 L:1/8 S:Rice-Walsh manuscript R:Air K:D "Moderato"(3ABc|d2 de dcAF|G2 GF GBAG|F2 GFD2 D2|D4-D2 DE| F2 FE FGAF|G2 GF G2 Ac|d2 dc ABce|d4-d2|| DE|F2 FE FGAF|G2 GF G2 Ac|d2 dc ABce|d4-d2 fe| d2 de dcAF|G2 GF GBAG|F2 GF D2 D2|D4-D2|| X: 50 T:Valley Near Sliavnamon, The M:2/4 L:1/8 S:M. Flanagan, Dublin R:Air K:G "Andantino Calamato" d|d2 ed|G2 DG|B2 cd|E2 AG|F2 DE| F B2 A|G3 d|d2 ed|G2 DG|B2 cd|E2 AG|F2 DE| F B2 A|G2-G||G|A2 AB|c3 c|BGGA|B2 BB|^c2 AB|^c f2 e| d3 d/2d/2|ed ^cd|G2 EG|B2 cd|E2 AG|F2 DE|F B2 A|G2-G|| % % This fine air which runs to the unusual number of 14 bars in each part % was sent me by a Dublin friend, Mr. M. Flanagan, a distinguished % linguist and scholar. In his leisure moments, he enjoys the music of % his fiddle, and union pipes, being a skillful perfomer on both % instruments. A brief sketch of his eventful life appears in Irish % Minstrels and Musicians. % Whether suitable to the meter of the melody or not, Mr. Flanagan's % charming verses will be no less appreciated than his music: % Alone, all alone by the wave-washed strand, % All alone in the crowded hall; % The Hall is gay and the waves are grand % But my heart is not here at all; % It flies far away, by night and by day, % To the times and the joys that are gone; % And I ne'er can forget the sweet maiden I met % in the valley near Sliavnamon. % % It was not the grace of her queenly air, % Nor her cheek of the roses glow, % Nor her soft black eyes, nor her flowing hair, % Nor was it her lily-white brow; % 'Twas the soul of truth, and melting ruth, % And the smile like a summer dawn % That stole my heart away, one mild autumn day % In the valley near Sliavnamon. % Output from ABC2Win Version 2.1 k pre2 on 9/7/2000