Thursday, 5 May 2011

Irish Celtic flok 

The Tale of Ivan


There were formerly a man and a woman living in the parish of Llanlavan, in the place which is called Hwrdh. And work became scarce, so the man said to his wife, "I will go search for work, and you may live here." So he took fair leave, and travelled far toward the East, and at last came to the house of a farmer and asked for work.

"What work can ye do?" said the farmer. "I can do all kinds of work," said Ivan. Then they agreed upon three pounds for the year's wages.

When the end of the year came his master showed him the three pounds. "See, Ivan," said he, "here's your wage; but if you will give it me back I'll give you a piece of advice instead."

"Give me my wage," said Ivan.

"No, I'll not," said the master; "I'll explain my advice."

"Tell it me, then," said Ivan.

Then said the master, "Never leave the old road for the sake of a new one."

After that they agreed for another year at the old wages, and at the end of it Ivan took instead a piece of advice, and this was it: "Never lodge where an old man is married to a young woman."

The same thing happened at the end of the third year, when the piece of advice was: "Honesty is the best policy."

But Ivan would not stay longer, but wanted to go back to his wife.

"Don't go to-day," said his master; "my wife bakes to-morrow, and she shall make thee a cake to take home to thy good woman."

And when Ivan was going to leave, "Here," said his master, "here is a cake for thee to take home to thy wife, and, when ye are most joyous together, then break the cake, and not sooner."

So he took fair leave of them and travelled towards home, and at last he came to Wayn Her, and there he met three merchants from Tre Rhyn, of his own parish, coming home from Exeter Fair. "Oho! Ivan," said they, "come with us; glad are we to see you. Where have you been so long?"

"I have been in service," said Ivan, "and now I'm going home to my wife."

"Oh, come with us! you'll be right welcome." But when they took the new road Ivan kept to the old one. And robbers fell upon them before they had gone far from Ivan as they were going by the fields of the houses in the meadow. They began to cry out, "Thieves!" and Ivan shouted out "Thieves!" too. And when the robbers heard Ivan's shout they ran away, and the merchants went by the new road and Ivan by the old one till they met again at Market-Jew.

"Oh, Ivan," said the merchants, "we are beholding to you; but for you we would have been lost men. Come lodge with us at our cost, and welcome."

When they came to the place where they used to lodge, Ivan said, "I must see the host."

"The host," they cried; "what do you want with the host? Here is the hostess, and she's young and pretty. If you want to see the host you'll find him in the kitchen."

So he went into the kitchen to see the host; he found him a weak old man turning the spit.

"Oh! oh!" quoth Ivan, "I'll not lodge here, but will go next door."

"Not yet," said the merchants, "sup with us, and welcome."

Now it happened that the hostess had plotted with a certain monk in Market-Jew to murder the old man in his bed that night while the rest were asleep, and they agreed to lay it on the lodgers.

So while Ivan was in bed next door, there was a hole in the pine-end of the house, and he saw a light through it. So he got up and looked, and heard the monk speaking. "I had better cover this hole," said he, "or people in the next house may see our deeds." So he stood with his back against it while the hostess killed the old man.

But meanwhile Ivan out with his knife, and putting it through the hole, cut a round piece off the monk's robe. The very next morning the hostess raised the cry that her husband was murdered, and as there was neither man nor child in the house but the merchants, she declared they ought to be hanged for it.

So they were taken and carried to prison, till a last Ivan came to them. "Alas! alas! Ivan," cried they, "bad luck sticks to us; our host was killed last night, and we shall be hanged for it."

"Ah, tell the justices," said Ivan, "to summon the real murderers."

"Who knows," they replied, "who committed the crime?"

"Who committed the crime!" said Ivan. "if I cannot prove who committed the crime, hang me in your stead."

So he told all he knew, and brought out the piece of cloth from the monk's robe, and with that the merchants were set at liberty, and the hostess and the monk were seized and hanged.

Then they came all together out of Market-Jew, and they said to him: "Come as far as Coed Carrn y Wylfa, the Wood of the Heap of Stones of Watching, in the parish of Burman." Then their two roads separated, and though the merchants wished Ivan to go with them, he would not go with them, but went straight home to his wife.

And when his wife saw him she said: "Home in the nick of time. Here's a purse of gold that I've found; it has no name, but sure it belongs to the great lord yonder. I was just thinking what to do when you came."

Then Ivan thought of the third counsel, and he said "Let us go and give it to the great lord."

So they went up to the castle, but the great lord was not in it, so they left the purse with the servant that minded the gate, and then they went home again and lived in quiet for a time.

But one day the great lord stopped at their house for a drink of water, and Ivan's wife said to him: "I hope your lordship found your lordship's purse quite safe with all its money in it."

"What purse is that you are talking about?" said the lord.

"Sure, it's your lordship's purse that I left at the castle," said Ivan.

"Come with me and we will see into the matter," said the lord.

So Ivan and his wife went up to the castle, and there they pointed out the man to whom they had given the purse, and he had to give it up and was sent away from the castle. And the lord was so pleased with Ivan that he made him his servant in the stead of the thief.

"Honesty's the best policy!" quoth Ivan, as he skipped about in his new quarters. "How joyful I am!"

Then he thought of his old master's cake that he was to eat when he was most joyful, and when he broke it, to and behold, inside it was his wages for the three years he had been with him.

Sunday, 1 May 2011

CELTIC MUSICS

Baby Brat                          jig           american Behind the Haystack                jig           Ireland  Billy In The Lowground            breakdown     Ireland  Black Reel #5                      reel          Ireland  The Boys of Ballysodare           reel          Ireland  Buttermilk Mary                    jig           Ireland  Capers                             jig           Ireland  Carrolltown                        Breakdown     English  Cherish the ladies                 jig           Ireland  Coleraine's Jig                    jig           Ireland  Congress Reel                      reel          Ireland  Connaught Man's Rambles            jig           Ireland  Cottage in the Grove               reel          Ireland  Cronin's Hornpipe                  hornpipe      Ireland  Cully Set Tune                     reel          ?        Cup of Tea                         reel          Ireland  Dawn                               reel          Ireland  Devil's Delight                    *             Ireland  Dingle Regatta                     slide         Ireland  Draught of Ale                     jig           Ireland  Drowsy Maggie                      reel          Ireland  The Drunken Landlady               reel          Ireland  Eleanor Kane                       *             ?        Eleanor Kane                       *             ?        Father O'Flynn Jig                 jig           Ireland  Frost is All Over                  jig           Ireland  Gallagher's Frolic's               jig           Ireland  Gander in the Pratiehole          double jig    Ireland  Ger the Rigger                     polka         Ireland  The Girl that Broke my Heart      reel          Ireland  Gravel Walk                        reel          Ireland  Hag with the Money                 jig           Ireland  The Hag's Purse                    jig           Ireland  Hare in the Corn                   reel          Ireland  Harper's Frolic                    *             ?       
Haste to the Wedding               jig           Ireland  Hayden's Fancy                     polka         Ireland  The Humors of Last Night          jig           Ireland  The Jig of Slurs                   jig           Scotland Julia Delaney                      reel          Ireland  Johnny has gone to France         reel          Ireland  The Lark in the Morning            jig           Ireland  The Longford Tinker                reel          Ireland  Lord Gordon's Reel                 reel          Ireland  The Lorica of St Patrick          hymn          Ireland  Kathleen Hehir                     slide         Ireland  Killarney Boys of Pleasure        reel          Ireland  Little Stack of Wheat              reel          Ireland  The Mason's Apron                  reel          Scotland Mike's Fancy                       jig           Ireland  The Musical Priest                 reel          Ireland  Nine Points of Roguery            reel          Ireland  Salmon's Tail up the Water        strathspey    England  The Scholar                        reel          Ireland  The Sepparation of Body and Soul  o'carolan     Ireland  Shebeg Shemore                     o'carolan     Ireland  Short Grass                        jig           Ireland  Sligo Maid                         jig           Ireland  Slane                              hymn          Ireland  Speed the Plough                   reel          Ireland  Spey in Spate                      reel          Scotland Sporting Paddy                     jig           Ireland  Strayaway Child                    *             Ireland  Swallow's Tail Reel                reel          Ireland  Tar Road to Sligo                  jig           Ireland  Teviot's Bridge                    jig           Scotland Tina's Schottiche                  schottiche    ?        Tom Ward's Downfall               reel          Ireland  Tongs by the Fire                  double jig    Ireland  Trip to Windsor                    jig           Ireland  Tripping up the Stairs             jig           Ireland  Uncle Henry's Reel                 reel          Ireland  Walsh's Reel                       reel          Ireland  Whelan's Jig                       double jig    Ireland  Whiskey before Breakfast          reel          America  Willie Coleman's Jig               jig           Ireland  Wind that shakes the Barley       reel          Ireland  Winter Ducks                       *             ?        Wise Maid                          reel          Ireland  Wonder Hornpipe                    hornpipe      Ireland 

Turlough O'Carolan (1670-1738) takes up a special place in the succession of itinerant harpers, being one of the last composers in the great oral tradition. He "never excelled as a performer", as said Bunting, but showed as a composer an amazing gift of creating melodies of his own, of which over 200 have survived. He had opportunities, at this time of Irish history, to hear Italian music and even to meet Italian musicians. His music, unique and instantly recognisable, is influenced both by the Irish harp tradition and the Italian Baroque, a result of his sociable and open-minded disposition along with his musical wit. The complex architecture of Corelli's music, for example, inspired him, but having no knowledge of harmony science, he seems to have transposed this complexity on the ground of melodic line. This produced such long and intricate - yet definitely coherent - musical phrases as in Lady Dillon or Sir Festus Burke.
after 'Carolan the Harper', by Francis Bindon


Lady Athenry Petrie says : this air "exhibits a greater gravity in character, and approaches more closely to the sober dignity of Corelli's gigas, than perhaps any other composition of Carolan's of the same class".
Mrs Bermingham
James Betagh Composed in honour of James Betagh of Ballyhaunis, Co. Mayo. The Betaghs were one of the old Irish families transplanted to the West of Ireland during the Cromwell era.
The source of this tune and its appended jig is a fragment of Carolan's music in the National Library of Ireland in Dublin, which is thought to be part of the 1748 publication by Carolan's son, in collaboration with Dr Delany, of his father's music.
Lady Blayney Composed for Mary Blayney, wife of Lord Blayney, 6th Baron of Monaghan
George Brabazon (2) Seóirse Brabston, of New Park, Co. Mayo. Only found in O'Neill's Music of Ireland (1903).
Sir Ulick Burke A song composed by Carolan on his way to Glinsk, Co. Galway, the seat of Sir Ulick Burke, where, on his arrival, he was to learn his patron's death.
Sir Festus Burke A very cheerful tune, on the same Italian-Irish design as the "Concerto", but less often performed.
Dedicated to Sir Festus Burke, son of Sir Ulick's half-brother.
Lady Laetitia Burke Daughter of the Earl of Clanricard, she married Sir Festus Burke in 1708.
Planxty Burke Probably connected to another Burke family than the former tunes.
Madam Cole 'One of Carolan's finest airs', in George Petrie's opinion.
Composed for the marriage of John Cole of Florence Court, Co. Fermanagh to Jane Saunderson, from Co. Cavan, in the 1720'.
Edward Corcoran Petrie, again : "I confess that it appears to me to be one of the finest examples preserved to us of Carolan's particular genius in this class of graceful and spirit-stirring tunes."
Mrs Costello A very strange and plaintive tune.
Lady Rose Dillon According to O'Sullivan, this Lady Dillon was the wife of Richard, 9th Viscount Dillon of Costello-Gallen in Co. Mayo. A very Baroque piece, with an appended jig.
Luke Dillon Luke Dillon of Clonbrock married Honora Burke, sister of Sir Festus Burke.
Edward Dodwell
Mrs Edwards Probably Margaret Edwards, who married (for the third time) Lord Mayo, who was a friend of Carolan.
Miss Fetherston or "Carolan's devotion" : Carolan met this young lady on his way to church service in Granard, and later, at Mass, "instead of praying for Miss Fetherston, as she requested, he neglected his religious duties to compose a song on her". It is said to be the only song for which Carolan composed words in English.
Mrs Harwood Dedicatee unknown. 
portrait of Arthur O'Neill, after T. Smyth
Hewlett Here are some verses of this drinking-song.
Sean Jones This tune is said to have been composed as a payment to Sean Jones, a tailor, for the suit he made for Carolan
Mrs Judge Written for the wife of Thomas Judge of Grangebeg, Co. Westmeath.
Mrs. Keel A slow and solemn air.
Mrs MacDermott Roe
Betty MacNeill A song composed for the daughter of Captain MacNeill of Ballymascanlon, Co. Louth.
Morgan Magan Composed for Morgan Magan of Togherstown, Co. Westmeath, who died in 1738, and whose sister married Sir Arthur Shaen.
Madam Maxwell (1) A quite fast tempo, as played here, emphasizes the polka character of this tune. This is the first one dedicated to the wife of John Maxwell of Farnham, Co. Cavan
Madam Maxwell (2) A second tune composed for the lady.
Miss Noble Pure blended Carolan : Italian pattern with a strong celtic flavour...
Grace Nugent (Background music) - Written for the fifth daughter of James Nugent of Coolamber, Co. Westmeath.
Mr O'Connor Same source as James Betagh.
Maurice O'Connor Composed in honour of Maurice O'Connor of Offaly, who left Ireland about the year 1700, made a huge fortune in England as a barrister (after having embraced Protestantism), and came back to Ireland twenty years later, purchasing an estate (Coote Hall) in Co. Roscommon. The song celebrates his return to Ireland and this "Irish recovery".
Michael O'Connor (2)
Denis O'Conor (1) A friend of Carolan, Denis O'Conor, of the house of Belanagare was of the lineage of the last High King (Ard Rí) of Ireland.
Charles O'Conor Charles was the eldest son of Denis O'Conor. He was taught the harp by Carolan.
Kean O'Hara (1) A drinking song composed for Cian Ó h-Eaghra (c.1657-1719) of Nymphsfield, Co. Sligo.
Kean O'Hara (2) A second fine air composed for the same host.
Owen O'Rourke Óghain Ua Ruairc was the head, in Carolan's times, of the great family of O'Rourke, Princes of Breffni, the last of them who lived in any opulence, according to Mulloy MacDermott. (see the O'Rourke site here) He lived in Tarmon, in the parish of Drumkeeran or Innismagrath, Co. Leitrim. He died on the 12th February, 1728.
Mrs. O'Rourke Máire an chúil fhionn (Mary of the fair locks). It is said that Owen O'Rourke's wife felt much offended at Carolan not composing a tune for her, "after all her attention and kindness to him". So Carolan, who "always wished to have the ladies on his side", composed this song and regained her favour !
Frank Palmer Composed for Francis Palmer of Palmerstown, Co. Mayo.
Tobias Peyton This gentleman happened to make fun of the "crooked" posture of Carolan riding his horse. Carolan took offence of that and promised a crooked tune, as a revenge on his patron : here is the result.
David Power A friend of Carolan who lived at Coorheen House, near Loughrea, Co. Galway.
Carolan's Concerto was composed in honour of his wife.
Sir Arthur Shaen Dedicated to Sir Arthur Shaen of Kilmore, Co. Roscommon. One of the most original and archaic sounding tunes by Carolan
Carolan's Welcome Attributed to Carolan. This title - and the next one - are rather dubious.
Planxty O'Carolan From Francis O'Neill's Music of Ireland.
Carolan's Cap Probably a nightcap, i.e. a last drink before going to bed. 
Carolan's Cup Not a tune by Carolan, according to Donal O'Sullivan, "at any rate in its original form, though he may have played it and slightly altered it. It is a well known folk tune, somewhat altered, entitled Ar bhruach na carraige báine or On the brink of the white rocks."
Carolan's Maggot ... or Carolan's capriccio.
The Fairy Queen Bean riogh na síbhruíne. According to Bunting, Carolan has only adapted and expanded an original and ancient air named "My love and Treasure" or Ciste sa stór. (Lyrics here). 
The Landlady First verse of this song here.
Sheebeg and Sheemor This tune is said to have been Carolan's first composition, at the age of twenty-one.
The song is about a battle fought between Daoine Maithe (good people) from two neighbouring hills, Sigh mór, and Sigh beg, in County Leitrim.
Squire Wood's Lamentation
on the Refusal of his Halfpence
A satirical tune composed at the occasion of the general boycott against a patent granted by the English Government to William Wood in 1724, allowing him to mint copper coinage (umha bog or humbug) for Ireland.
At the same time, Carolan's friend Jonathan Swift published :
"The Drapier's letters to the people of Ireland, concerning Mr. Wood's brass half-pence. Together with considerations on the attemps made to pass that coin. And reasons for the people of Ireland's refusing it ."



 
This kind of 'bardic' music is known only through a few manuscript tablatures (found in the British museum or the National Library of Wales) like Robert Ap Huw & Wiliam Penllyn mss. (on-line facsimile) or the Iolo Morgannwg ms. There is still some argument on how these documents should be read. So the following tunes must be considered as mere interpretations or translations.


from Ap huw & Penllyn mss. Two pieces, inspired by Alan Stivell's playing, according to Arnold Dolmetsch's transcriptions. The first, Profiad y Botwm (about 35'') is from the Ap Huw ms., and the second (Caniad Llywelin ap Ifan ab y Gof, parts I, III, IX and 'Diwedd' V) is from the Penllyn ms.
Caniad Marwnad Ifan y Gof
(10')
The death song of Ifan the Smith, from the Penllyn ms. This piece is in the Bragod Gywair (bitter sweet) mode, which is an Aeolian scale with a raised 7th (Harmonic minor), hence its strange harmonies.
It is divided in 17 parts.




 


Piobaireachd - anglicised as pibroch, the word simply means 'piping' - is the classical music of the Highland bagpipe of Scotland, exclusive to unaccompanied solo piping. It is also called ceol mor, or 'big music'. A piobaireachd consists of a theme, called the 'urlar' (ground), followed by a series of very codified variations through which the "bare bones" notes of the ground are embellished with clusters of gracenotes of increasing complexity. As says Seumas MacNeill, piobaireachd "does not usually make an immediate appeal to the listener", but the enjoyment of understanding this unique musical form is worth the effort.

Pibroch o' Donald Dhu
(13')
(Piobaireachd Dhomnuill Duibh) A very widespread tune, played on a G.H. Boyd MIDI bagpipe by Craig Neumann, here restored to its correct pitch : a complete Pibroch (13') with urlar (or ground) and the leumluath, taorluath and crunluath variations. (Move along the tune, and wait for the drones to be reactivated)
 
The Unjust Incarceration
(20')
(An ceapadh Eucorach) A tune composed in 1705 by the blind piper Iain Dall MacKay of Gairloch (1656-1754). Complete Pibroch : urlar, specific variations in 3/4 at 4'40'', stereotyped variation (taorluath, no leumluath) at 9'20'', crunluath at 11'45'', then crunluath a-mach at 14', and back to the urlar at 16'.
The Lament for the Harp Tree
(32')
(Cumha Craoibh na'n Teud)
By courtesy of Claire Major
This long and grand piece is thought to be the oldest extant piobaireachd.
The structure of the piece is as follows : urlar, doubling at 5'33'', variation at 9'49'', variation doubling at 14'12'', taorluath at 17'15'', taorluath doubling at 19'55'', crunluath at 22'17'', crunluath doubling at 24'54'', and back to urlar at 26'50''
Kinlochmoidart Here is only the ground of the tune.
Patrick Og MacCrimmon Another lament composed by Iain Dall MacKay, after the death of his teacher in 1725 (ground and first variation)



Ancient music of Ireland



A few pages mainly inspired by the collections of Edward Bunting, who had attended the famous Belfast Harp Festival in 1792 and had been engaged to note down the music from the last harpers, before it would vanish with them for ever.
The tunes (in MIDI format, i.e. not music, but mere mechanical sound output of sheet music !)   are an attempt to reflect this very stage of Irish music, standing, at this end of the 18th century, at the crossroads of several traditions, combining and blending them, in various proportions, and creating something new. Very roughly :
- until the end of the Middle Ages, "bardic" music of the harpers (cruitire), accompanying the poets' (file) verses, widespread in all island and continental celtic area. Religious choral music, war-pipe music, work songs are likely to have been heard by many ears.
- around the 17th century, music of the itinerant harpers, who had lost their statute of court musicians when clans were swept away. Their way of life has been described by Arthur O'Neill (1734-1818) in his (on line) memoirs.
- Baroque music, which had a great influence upon composers like Carolan, and arrangers like Lyons,
- preromantic "classical" music, strongly influencing collectors like Bunting, and the arrangements they published.
- Later on, popular and nationalist musics and songs, dance music (often imported from England or the continent) will be in their turn merged into the ever shifting tradition.
after Michael Praetorius' Theatrum Instrumentorum (1618) : Irish harp with brass strings

This situation, between popular and scholarly music (echoed in the social position of the last harpers) is probably representative of other traditions (see welsh harp & piobaireachd page). It is expressed further in the coexistence of anonymous tunes along with others, more or less mythically credited to different composers.

after "The Image of Ireland", by John Derrick (1581)
This kind of music, unlike the mediæval european music which is purely modal and develops its lines around a few emphasized notes of the scale, is often (for the first time ?) built on particular subsets (chords) of the scale.
Another feature, extensively discussed by Bunting, is the occasional lack of certain notes of the scale. This distinguishes some pibroch-like tunes (Scott lamentation), which he credits with less antiquity than airs spanning the whole scale, attributing it to a "fashion" at Rory Dall's time. Yet pentatonic scales do not seem to be a late discovery in the gaelic world !
Nevertheless if not strictly modal, it remains "horizontal". Hence, a minimal harmonization has always been sought in the present arrangements : Melodic richness is best emphasized in a "poor" harmonic framework, i.e. a melodic line loses its own flavour if coming about within a parallel harmonic shift (That is true of modern traditional music as well).
The arrangements have been displayed in various ways : either they take up published scores (mainly by Bunting) or they (carefully !) harmonize melodies ; they often combine the two options, the harmonized rendering coming afterward.



The tune are in GM-MIDI format. Arrangements have been created with Cakewalk and Band-in-a-Box. It may be necessary, according to your soundcard, to change drum canal (default 16 to 10), in the few tunes where they're present.
You should install the typeface Bunchló.ttf, by Vincent Morley. (Click here to download the 16 Ko zip file, then unzip and save it to your fonts folder) in order to see the Gaelic lettering, on the next pages.
Try Footlight MT Light (© The Monotype Corporation) font too
.
With MidiNotate, you can convert my MIDI files to musical notation that can be immediately viewed on the screen as the music is playing, and print them as sheet music.
go to MidiNotate



All The Pretty Little Horses
Amazing Grace
The Ballad of Mary Hamilton
The Band Played Waltzing Matilda
Included by kind permission of the author: Eric Bogle

The Beggar Man
Bird in a Cage
Blackleg Miners
Blow Away the Morning Dew (i)
Blow Away the Morning Dew (ii)
Blow The Candles Out (i)
Blow The Candles Out (ii)
The Bonny Lass of Fyvie
The Bonny Ship The Diamond
The Broomfield Wager
The Bunch of Thyme
Butternut Hill
Captain Wedderburn's Courtship
Carrickfergus
The Cluster of Nuts
Cold Haily Rainy Night
Courtin' in the Kitchen
The Cruel Miller
The Cuckoo (i)
The Cuckoo (ii)
Cushie Butterfield
The Demon Lover
The Derby Ram
The Dogger Bank
The Dowie Dens of Yarrow
Drowsy Sleeper
Fair Ellender
The Fair Maid of Islington
The False Bride
False True Love
Fare Thee Well Enniskillen
The Foggy Dew
For A' That
The Gallant Forty Twa
The Gardener
Geordie
Gie The Lass Her Fairing
Go From My Window (i)
Tune in a major key.

Go From My Window (ii)
Tune in a minor key. I like this one best.

Green Grows the Laurel
Green Grow the Rushes-O
The Grey Cock
The Grey Hawk
Gypsy Laddie
The Handsome Cabin Boy
Hares on the Mountain
High Barbaree
High Germany
The House Carpenter
Hugh the Graeme
I Rede You Beware of the Ripples
The Irish Girl
I Will Put My Ship in Order
I Wish, I Wish
Jack the Jolly Tar
John Anderson
Johnny Has Gone
Johnny Has Gone for a Soldier
O Johnny, Johnny
The Jolly Beggar
The Jug of Punch
Kelly the Boy from Killane
Kevin Barry
The Lass of Lochroyan
Little Musgrave
Lord Randal
Lord Thomas and Fair Annet
Love is Pleasing
Lowlands
The Lowlands of Holland (i)
The Lowlands of Holland (ii)
Maggie May
The Maid of Tottenham
Mary Ann (i)
Mary Ann (ii)
Mrs McGrath
The Molecatcher (i)
Must I be Bound
Navvy Boots
Night Visiting Song
No Man's Land (The Green Fields of France)
Included by kind permission of the author: Eric Bogle

October Winds
The Old Maid's Song
Once I Had a True Love (i)
Once I Had a True Love (ii)
Our Captain Calls
The Parting Glass
Peggy-O
The Ploughman
Portlairge
The Ranting Dog
Rare Willie
Ratcliffe Highway
The Recruited Collier
Reynardine
Richies Lady
Ripest Apples
The Rising of the Moon
Rob Roy
Rocking the Cradle
Rolling in the Dew (i)
Rolling in the Dew (ii)
Rothsea-O
Saint Valentine's Day
Sandgate Dandling Song
The Seeds of Love
The Shearing's Not For You
Sheffield Park
She's Like the Swallow
Singing Bird
The Sprig of Thyme
Still Growing
Still I Love Him
Supper isna Ready
Sweet Joan
Sweet William
Thomas of Winesbury
Three Maidens a-Milking
The Trooper and the Maid
The Trooper Cut Down
The Trumpeter of Fyvie
Turtle Dove
Under Her Apron
The Unguiet Grave (i)
The Unguiet Grave (ii)
The Unguiet Grave (iii)
Valentine's Day
The Waggoner
O, Waly, Waly
The Water is Wide (i)
The Water is Wide (ii)
When I Was No But Sweet Sixteen
William Grismond (i)
William Grismond (ii)
Young Benjie
Young Rambleaway (i)
[major key, with chorus]

Young Rambleaway (ii)
[minor key, no chorus]

Young Roddy M'Corley

Saturday, 30 April 2011