Caoineadh Eoghain Rua polka

Also known as Caoineadh Eoghain Ruadh, The Lament For Eoin Rhua, Lament For Owen Roe.

There are 10 recordings of a tune by this name.

Caoineadh Eoghain Rua has been added to 15 tunebooks.

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Three settings

X: 1
T: Caoineadh Eoghain Rua
R: polka
M: 2/4
L: 1/8
K: Emin
E2 F/G/A | B2 c z/A/ | B3 z/G/ | AB zG | E4 |
E2 F/G/A | B2 cz/A/ | B3 z/G/ | E4 | e3 f/e/ |
dz ~BA | G4 | e3 f/e/ | dz ~BA | F3 G/4F/4D/ |
E4- | E4- | E4 :| E(F/G/ A/B/c/d/ |e/f3/) g2 |
g4 | ge f2 | f4 | gf ed | BA Bz |
B4 | ^cd ef | zF F2- | F2 E2 | E4 ||
X: 2
T: Caoineadh Eoghain Rua
R: polka
M: 2/4
L: 1/8
K: Emin
EF/G/ A2 | B3 c z/A/ | B4 zG A/A/| B2 zG E6 |
EF/G/ A/A/ | B3 c z/A/ | B4 z/G/ E6 |
e4 f/e/ dB/A/ G8 | e4 f/e/ dB/A/ F4-FG/ F/D/ |E2 E2 HE8 :|
EF/G/A/B/c/ de/ f | g2 g4 - g f2 e | ff2zf |
g/a//g// f e/f//e// d B/c//B/ A| B/ B2 ^c2d2 e2| f2 z F3 G//F// D |E2 E2 E8 ||
X: 3
T: Caoineadh Eoghain Rua
R: polka
M: 2/4
L: 1/8
K: Emin
EF/ (3GAB | c3 A | B3 G/A/ | "dc"B3 G | E4 |
EF/ (3GAB | c3 A | B2 (3GAB |"dc"A3 "dc"F | E4 |
"dc"ed/ (3B/c/B/ A/F/ | G4 | "dc"ed/ (3B/c/B/ A/E/ | F4 | "dc"{F}G3 (3F/E/D/ | E4|
E3F | (3GAB ^c/d/e/f/ | g3 (3{a}g/f/e/ |"dc"f3 e/d/ |"dc"{A}B3 (3A/B/^c/ |
d2 (3^cde | f4 | F4 | "dc"G3 (3F/E/D/ | E4 |
EF/ (3GAB | c3 A | B2 (3GAB | A3 F | "dc"{A}G3 F | E4 :|
# Added by cac .

Five comments

My version is abc code as written dots by the boys of the lough.
It’s a brilliant album for sure! and a lovely air!

Re: written dots

So this is their very own attempt of a transcription? Very cool! I see, I shouldn’t try to force this kind of melody into fixed bar lines so much… :) Thanks for posting!

The Boys did not write bar lines in their tunebook, they used dotted bar lines, a feature we do not have in abc notation, but is a honest way of notation of the unsteady rythm of the slow air.

Caoineadh Eoghain Rua, X:3

This beautiful version is by Paul Smyth in his album "Paul Smyth". He plays it at about 1/4 = 60, with some rubato. The letters "dc" above certain notes in the transcription stand for ‘double cut’ (a poor term) or ‘delayed cut’ (a much better term, due to June McCormack). They are played near the end of the dotted notes, falling into the note which follows. Needless to say, the transcription is only a rough guide to jog the memory if the recording is not at hand.

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