Planxty Burke waltz

This feels more like 3/8 to me, but isn’t a choice here. For those who prefer it in 6/8, here you go ~

X: 1
T: Planxty Burke
C: Tourlough O’Carolan
M: 3/4
L: 1/8
R: Planxty
K: Edor
|: B |\
EE/F/G/A/ B2 A | GG/A/B AFD | DFD dDA | DF/E/D AFD |
E/F/GE BGE | EGE eEc | d2 d def | d3 B2 :|
|: d/e/ |\
fed edc | dcB ABc | dcB edc | dcB AFD |
E/F/GE BGE | EGE BEe | d2 d dd/e/f | d3 B2 :|
|: c |\
|: B/c/dd de/d/c | de/d/c/B/ AF^D | E2 e ef/e/d | eBc d2 d/e/ |
fed cBA | BB/c/d/B/ AF^D | EeA B/c/dF | G3 E2 :|

This one is also played in other keys and a version can be found in “O’Neill’s Music of Ireland”, 1903 ~ I’ll add more later.

Woops! 😏

X: 1
T: Planxty Burke
C: Tourlough O’Carolan
M: 6/8
L: 1/8
R: Planxty
K: Edor
|: B |\
EE/F/G/A/ B2 A | GG/A/B AFD | DFD dDA | DF/E/D AFD |
E/F/GE BGE | EGE eEc | d2 d def | d3 B2 :|
|: d/e/ |\
fed edc | dcB ABc | dcB edc | dcB AFD |
E/F/GE BGE | EGE BEe | d2 d dd/e/f | d3 B2 :|
|: c |\
B/c/dd de/d/c | de/d/c/B/ AF^D | E2 e ef/e/d | eBc d2 d/e/ |
fed cBA | BB/c/d/B/ AF^D | EeA B/c/dF | G3 E2 :|

I’ve just arrived back from a long drive too… Sigh! You’re a forgiving lot aren’t you?

The Old Music Project
http://www.oldmusicproject.com/
“O’Neill’s Music of Ireland (The 1850)”
http://www.oldmusicproject.com/oneils1.html
“O’Neill’s Music of Ireland (The 1850)” ~ O’Carolan’s compositions
http://www.oldmusicproject.com/OneilsOcarolans.html

GuitarNut
http://www.guitarnut.com/
“O’Neill’s Music of Ireland (The 1850)”
http://www.guitarnut.com/folktablature/oneills/index.html

X: 2
T: Planxty Burke
C: Turlough O’Carolan
B: “O’Neill’s Music Of Ireland (The 1850)”, 1903, page 120, tune #664
M: 6/8
L: 1/8
K: GDor
G(G/A/B/c/) d2 c | Bcd cAF | FGF cAF | FGF fAF |
.G(G/A/B/c/) dBG | GAG dBG | f2 f fga | ~f3 d2 ||
f/g/ |\
agf gfe | fed cd_e | fed gf_e | fed cA^F |
.G(G/A/B/c/) dBG | GAG dBG | f2 f fga | ~f3 d2 ||
e |\
fge fg_e | fed cA^F | g2 g gag | fde f2 _e |
^f/g/a=.f gde | fed cA^F | g2 d e/f/gd | B3 G3 |]

X: 2
T: Planxty Burke
C: Turlough O’Carolan
B: “O’Neill’s Music Of Ireland (The 1850)”, 1903, page 120, tune #664
M: 3/4
L: 1/8
K: GDor
G2 (GA Bc) | d4 c2 | B2 c2 d2 | c2 A2 F2 | F2 G2 F2 | c2 A2 F2 | F2 G2 F2 | f2 A2 F2 |
.G2 (GA Bc) | d2 B2 G2 | G2 A2 G2 | d2 B2 G2 | f4 f2 | f2 g2 a2 | ~f6 | d4 ||
fg |\
a2 g2 f2 | g2 f2 e2 | f2 e2 d2 | c2 d2 _e2 | f2 e2 d2 | g2 f2 _e2 | f2 e2 d2 | c2 A2 ^F2 |
.G2 (GA Bc) | d2 B2 G2 | G2 A2 G2 | d2 B2 G2 | f4 f2 | f2 g2 a2 | ~f6 | d4 ||
e2 |\
f2 g2 e2 | f2 g2 _e2 | f2 e2 d2 | c2 A2 ^F2 | g4 g2 | g2 a2 g2 | f2 d2 e2 | f4 _e2 |
^fg a2 =.f2 | g2 d2 e2 | f2 e2 d2 | c2 A2 ^F2 | g4 d2 | ef g2 d2 | B6 | G6 |]

X: 3
T: Planxty Burke
C: Turlough O’Carolan (1630 - 1738)
B: “Carolan: The Life, Times and Music of an Irish Harper” by Donal O’Sullivan
N: marked “Allegretto”
M: 6/8
L: 1/8
K: Gdor
|: GAB/c/ d2 c | Bcd cAF | FAF fAF | FAF cAF |
G/A/BG dBG | GBG gBG | f2 f fga |[1 f3 d3 :|[2 f3 d2 f/g/ ||
|: agf gfe | fed cde | fed gfe | fed cAF |
G/A/BG dBG | GBG dBG | f2 f fga |[1 f3 d2 f/g/ :|[2 f3 d3 ||
|: d/e/ff fg/f/e | fg/f/e/d/ cAF | g2 g ga/g/f | gde f2 g |
agf edc | d/e/fd cAF | f2 c d/e/fd | B3 G3 :|

X: 3
T: Planxty Burke
C: Turlough O’Carolan (1630 - 1738)
S: “Carolan: The Life, Times and Music of an Irish Harper” by Donal O’Sullivan
N: marked “Allegretto”
N: ~ based on the transcription from this book, with minor changes…
M: 3/4
L: 1/8
K: Gdor
|: B2 |\
G2 A2 Bc | d4 c2 | B2 c2 d2 | c2 A2 F2 | F2 A2 F2 | f2 A2 F2 | F2 A2 F2 | c2 A2 F2 |
GA B2 G2 | d2 B2 G2 | G2 B2 G2 | g2 B2 G2 | f4 f2 | f2 g2 a2 | f6 | d4 :|
|: fg |\
a2 g2 f2 | g2 f2 e2 | f2 e2 d2 | c2 d2 e2 | f2 e2 d2 | g2 f2 e2 | f2 e2 d2 | c2 A2 F2 |
GA B2 G2 | d2 B2 G2 | G2 B2 G2 | d2 B2 G2 | f4 f2 | f2 g2 a2 | f6 | d4 :|
|: c2 |\
de f2 f2 | f2 gf e2 | f2 gf ed | c2 A2 F2 | g4 g2 | g2 ag f2 | g2 d2 e2 | f4 g2 |
A2 g2 f2 | edc | d/e/fd | cAF | f2 c | d/e/fd | B6 | G4 :|

Other keys ~ A Dorian / B Dorian / & low and high by an octave in E Dorian

X: 2
T: Planxty Burke
C: Turlough O’Carolan (1630 - 1738)
B: “O’Neill’s Music Of Ireland (The 1850)”, 1903, page 120, tune #664
N: ~ transposed from G Dorian to E Dorian, with minor adjustments…
M: 3/4
L: 1/8
K: EDor
|: GF |\
E2 EF GA | B4 A2 | G2 A2 B2 | A2 F2 D2 | D2 E2 D2 | A2 F2 D2 | D2 E2 D2 | d2 F2 D2 |
E2 EF GA | B2 G2 E2 | E2 F2 E2 | B2 G2 E2 | d4 d2 | d2 e2 f2 | d6 | B4 :|
|: de |\
f2 e2 d2 | e2 d2 c2 | d2 c2 B2 | A2 B2 =c2 | d2 c2 B2 | e2 d2 =c2 | d2 c2 B2 | A2 F2 ^D2 |
E2 EF GA | B2 G2 E2 | E2 F2 E2 | B2 G2 E2 | d4 d2 | d2 e2 f2 | d6 | B4 :|
|: c2 |\
d2 e2 c2 | d2 e2 =c2 | d2 c2 B2 | A2 F2 ^D2 | e4 e2 | e2 f2 e2 | d2 B2 c2 | d4 =c2 |
^de f2 =d2 | e2 B2 c2 | d2 c2 B2 | A2 F2 ^D2 | e4 B2 | cd e2 B2 | G6 | E4 :|

X: 3
T: Planxty Burke
C: Turlough O’Carolan (1630 - 1738)
S: “Carolan: The Life, Times and Music of an Irish Harper” by Donal O’Sullivan
N: ~ transposed to E Dorian, with minor adjustments…
M: 3/4
L: 1/8
K: Edor
|: G2 |\
E2 F2 GA | B4 A2 | G2 A2 B2 | A2 F2 D2 | D2 F2 D2 | d2 F2 D2 | D2 F2 D2 | A2 F2 D2 |
EF G2 E2 | B2 G2 E2 | E2 G2 E2 | e2 G2 E2 | d4 d2 | d2 e2 f2 | d6 | B4 :|
|: de |\
f2 e2 d2 | e2 d2 c2 | d2 c2 B2 | A2 B2 c2 | d2 c2 B2 | e2 d2 c2 | d2 c2 B2 | A2 F2 D2 |
EF G2 E2 | B2 G2 E2 | E2 G2 E2 | e2 G2 E2 | d4 d2 | d2 e2 f2 | d6 | B4 :|
|: A2 |\
Bc d2 d2 | d2 ed c2 | d2 ed cB | A2 F2 D2 | e4 e2 | e2 fe d2 | e2 B2 c2 | d4 e2 |
F2 e2 d2 | c2 B2 A2 | Bc d2 B2 | A2 F2 D2 | d4 A2 | Bc d2 B2 | G6 | E4 :|

K: Edor
|: B2 |\
E2 EF GA | B4 A2 | G2 GA B2 | A2 F2 D2 | D2 F2 D2 | d2 D2 A2 | D2 FE D2 | A2 F2 D2 | ~

K: Ador
|: e2 |\
A2 AB cd | e4 d2 | c2 cd e2 | d2 B2 G2 | G2 B2 G2 | g2 G2 d2 | G2 BA G2 | d2 B2 G2 | ~

K: Bdor
|: f2 |\
B2 Bc de | f4 e2 | d2 de f2 | e2 c2 A2 | A2 c2 A2 | a2 A2 e2 | A2 cB A2 | e2 c2 A2 | ~

K: Edor
|: b2 |\
e2 ef ga | b4 a2 | g2 ga b2 | a2 f2 d2 | d2 f2 d2 | d’2 d2 a2 | d2 fe d2 | a2 f2 d2 | ~

I prefer it down low… 😎

This is one, for example in E Dorian, that also works nice in octaves, one taking it low while someone else takes it high, partially or completely…

F woodwind = G Dorian
G woodwind = A Dorian
A woodwind = B Dorian

in G minor with some E naturals in the B part, but not the odd contrast of E flats and naturals in first O’Neill’s transcription above (I haven’t looked at the others yet). It seems to me that in converting the G minor version to G dorian, the marked E naturals were left as natural, but subsequent Es in the same measure, which should remain natural, have been marked flat.

X:668
T:Planxty Burke
C:Turlough O’Carolan
Z:1997 by John Chambers <jc@trillian.mit.edu>
N:“Animated”
N:The turns are over the dots in O’Neill.
B:O’Neill’s 664
M:6/8
L:1/8
K:Gm
G(G/A/B/c/) d2c | Bcd cAF | FGF cAF | FGF fAF |
| .G(G/A/B/c/) dBG | GAG dBG | f2f fga | ~f3 d2 ||
|| (f/g/) \
| agf gf=e | f=ed cde | f=ed gfe | f=ed cA^F |
| .G(G/A/B/c/) dBG | GAG dBG | f2f fga | ~f3 d2 ||
|| e \
| fg=e fge | f=ed cA^F | g2g gag | fd=e f2e |
| (^f/g/a).f gd=e | f=ed cA^F | g2d (=e/f/g)d | B3 G2 |]

I lifted the above transcription from:
http://music.gordfisch.net/oregans/pages/oneills/Planxty_Burke_75734e9f.abc

muspc, I’m surprised, check that out a little closer, they got the key signature wrong. It’s not minor. Then check out above. All I did was correct the key and eliminate the repeating =e (e natural) from the O’Neill take on it, which I found more confusing than useful… 😉

I forgot to mention it… 😏

Also, as there’s no lead-in given for the A-part of the music, they got the ending wrong. If you played ~ | B3 G2 |} you’d lose an 1/8th each time through the tune, with a kind of hiccup of a bridge from there to the start of the A-part. So, I did change that too, to ~ | B3 G3 |]

Again, I forgot to mention it. It’s been a funny week, as you’ll already know…

OOPS!

F woodwind = G Dorian
G woodwind = A Dorian
A woodwind = B Dorian

Sorry, I said it was a funny week. I’ll add another take for a whole slew of other key options for winds for this, just for the madness of it all, and because it has been a mad week…

X: 3
P: C
N: the third part, bars 9 - 16, 10 through 14 were unconverted
|: c2 |\
de f2 f2 | f2 gf e2 | f2 gf ed | c2 A2 F2 | g4 g2 | g2 ag f2 | g2 d2 e2 | f4 g2 |
A2 g2 f2 | e2 d2 c2 | de f2 d2 | c2 A2 F2 | f4 c2 | de f2 d2 | B6 | G4 :|

I love it low. This is for muspc, but realizing it won’t make up for all the mistakes I’ve been guilty of lately… 🙁

X: 4
T: Planxty Burke
C: Turlough O’Carolan (1630 - 1738)
N: Another opportunity for octaves…
M: 3/4
L: 1/8
K: Ador
|: C2 |\
A,2 B,2 CD | E4 D2 | C2 CD E2 | D2 B,2 G,2 | G,2 B,2 G,2 | G2 B,2 G,2 | G,2 B,2 G,2 | D2 B,2 G,2 |
A,B, C2 A,2 | E2 C2 A,2 | A,2 C2 A,2 | A2 C2 A,2 | G4 G2 | G2 A2 B2 | G6 | E4 :|
|: GA |\
B2 A2 G2 | A2 G2 F2 | G2 F2 E2 | D2 E2 F2 | G2 F2 E2 | A2 G2 F2 | G2 F2 E2 | D2 B,2 G,2 |
A,B, C2 A,2 | E2 C2 A,2 | A,2 C2 A,2 | E2 C2 A,2 | G4 G2 | G2 A2 B2 | G6 | E4 :|
|: D2 |\
EF G2 G2 | G2 AG F2 | G2 AG FE | D2 B,2 G,2 | A,2 A2 A2 | A2 BA G2 | A2 E2 F2 | G4 GA |
B2 A2 G2 | F2 E2 D2 | EF G2 E2 | D2 B,2 G,2 | G4 D2 | EF G2 E2 | C6 | A,4 :|
“ ~ and all that an octave up 😉 )”
|: c2 |\
A2 B2 cd | e4 d2 | c2 cd e2 | d2 B2 G2 | G2 B2 G2 | g2 B2 G2 | G2 B2 G2 | d2 B2 G2 |
AB c2 A2 | e2 c2 A2 | A2 c2 A2 | a2 c2 A2 | g4 g2 | g2 a2 b2 | g6 | e4 :|
|: ga |\
b2 a2 g2 | a2 g2 f2 | g2 f2 e2 | d2 e2 f2 | g2 f2 e2 | a2 g2 f2 | g2 f2 e2 | d2 B2 G2 |
AB c2 A2 | e2 c2 A2 | A2 c2 A2 | e2 c2 A2 | g4 g2 | g2 a2 b2 | g6 | e4 :|
|: d2 |\
ef g2 g2 | g2 ag f2 | g2 ag fe | d2 B2 G2 | A2 a2 a2 | a2 ba g2 | a2 e2 f2 | g4 ga |
b2 a2 g2 | f2 e2 d2 | ef g2 e2 | d2 B2 G2 | g4 d2 | ef g2 e2 | c6 | A4 :|

F woodwind = C Dorian
G woodwind = D Dorian
A woodwind = E Dorian ~ back around again 😎

Favourites? ~ I’d have to say ‘low’, either E Dorian or A Dorian

X: 4
T: Planxty Burke
C: Turlough O’Carolan (1630 - 1738)
N: Another opportunity for octaves…
M: 3/8
L: 1/8
K: Ador
|: C |\
ABC/D/ | E2 D | CC/D/E | DB,G, | G,B,G, | GB,G, | G,B,G, | DB,G, |
A,/B,/CA, | ECA, | A,CA, | ACA, | G2 G | GAB | G3 | E2 :|
|: G/A/ |\
BAG | AGF | GFE | DEF | GFE | AGF | GFE | DB,G, |
A,/B,/CA, | ECA, | A,CA, | ECA, | G2 G | GAB | G3 | E2 :|
|: D |\
E/F/GG | GA/G/F | GA/G/F/E/ | DB,G, | A,AA | AB/A/G | AEF | G2 G/A/ |
BAG | FED | E/F/GE | DB,G, | G2 D | E/F/GE | C3 | A,2 :|
“ ~ and all that an octave up )”
|: c |\
ABc/d/ | e2 d | cc/d/e | dBG | GBG | gBG | GBG | dBG |
A/B/cA | ecA | AcA | acA | g2 g | gab | g3 | e2 :|
|: ga |\
bag | agf | gfe | def | gfe | agf | gfe | dBG |
A/B/cA | ecA | AcA | ecA | g2 g | gab | g3 | e2 :|
|: d |\
e/f/gg | ga/g/f | ga/g/f/e/ | dBG | Aaa | ab/a/g | aef | g2 g/a/ |
bag | fed | e/f/ge | dBG | g2 d | e/f/ge | c3 | A2 :|

Grrrrr! ~ I must get more sleep… But, it’s only the one bar. It could be worse… 😏

In the B part of the O‘Neill’s you’ve posted (the first X: 2 on this page), the second measure is this: | fed cd_e | so, there’s an E natural descending followed by an E flat ascending. This is very different in effect from what’s in O’Neill’s. The same odd E nat and E flat situation continues in the rest of the B and the C parts. In O‘Neill’s, there’s only one E flat, and that’s probably a mistake (the lead in to the C part). I believe the original transcriber in O’Neill’s, here, followed the classical procedure of shoehorning all pieces into a major or minor key signature, then marking with accidentals the true mode--which, I agree, is G dorian.

in the same transcription you posted is also very odd: ^f/g/a=.f gde | For some reason, this converts as having a C natural between the a and f! Strange!

… of the dot and equal sign, but why that would convert to an extra note is beyond the realm of my ABC understanding!

I’m enjoying it! Of course, since I’m playing it on my main instrument, the guitar it sounds an octave even lower! 🙂

Weird! I just fed those O’Neill transcriptions into Concertina Dot Net’s Tune-O-Tron and it did exactly as you said, not picking up the staccato of the dot. Instead of
~ | ^f/g/a=.f gde | ~ it reads ~ ~ | ^f/g/a=.cf gde | ~
Why does it throw an extra note in the conversion?

If I put it ~ | (^f/g/a).f gd=e | ~ it converst without a problem…

Now to try it with the natural ~ ~ | (^f/g/a)=.f gd=e | ~ MAD!!!

It seems that an equal sign followed by a dot is taken as c natural ~ =.f ~ becomes ~ =cf

GUITAR! ~ I’d love to hear it taken there… In the past we’ve had the joy of playing regularly with really nice finger picking and plectrum guitarists. I miss that… I appreciate and love good accompaniment, but we both are fond of it when the melody is taken on the guitar with some skill…

The dot (.) needs to come before the natural sign (=), as given above.

That makes sense. I was sleeping on the job…

It was recorded by this breton band many years ago, but it’s still a beautiful version : http://www.youtube.com/watch?v=FE1y_ss3m8c

play video

http://youtu.be/_-pX1lKSvOk

play video