The Grouse On The Hill jig

By Paddy O’Brien

There are 2 recordings of this tune.

The Grouse On The Hill has been added to 1 tune set.

The Grouse On The Hill has been added to 16 tunebooks.

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Two settings

1
X: 1
T: The Grouse On The Hill
R: jig
M: 6/8
L: 1/8
K: Dmaj
A|GEF ~G2 A|Bec dBA|BAF GFG|AFD FGA|
GEF ~G2 A|Bee fed|BdB AFB|EFE {F}E:|
f|~g2 e fed|Bec dBA|gfg afd|efe ~e2 f|
~g2 e fed|Bec dBA|BdB AFB|EFE {F}E2:|
2
X: 2
T: The Grouse On The Hill
R: jig
M: 6/8
L: 1/8
K: Emin
|:GEF G2A|B2A Be^c|d2 A BAG|F3 DEF|
G2E FGA|Bee fed|B3 AFB|1 EFE E2 F:|2 EFE E2 f||
|:g2e fed|Be^c dBA|gfg afd|e/f/gf e2 f|
g2e fed|Be^c dBA|B3 AFB|EFE E3:|

Five comments

Was that Paddy O’Brien from Nenagh ?

The Grouse On The Hill

Yes. It’s note for note what you would find in the book ‘The Definitive Collection of the Music of Paddy O’Brien 1922-1991’ (2009).

The Grouse On The Hill, X:2

I love the differences in the beginning measures of the A part between this version—my friend plays it this way and I don’t know where they got it—and the version above.

Sharps, modes, and key signatures

I notated this tune in E minor instead of E dorian, even though every written C is raised. To my ears, if one were to insert a little neighboring C into the 7th measure, or to harmonize the 12th measure with a nice A minor chord, the C would be natural (a sharped C would sound out of place).

I’m always tickled by the openness and ambiguity of melody-centric music, and by the way thinking harmonically can complicate things a bit.