I hope I got the chord symbols in ABC notation correct for this. It looked a little weird after I submitted it.
Good, it works.🙂
I impressed my friends at music school by telling them I could play a concerto on the tin whistle. This tune works well on whistle, and I’ve also heard it on fiddle.
You can find some sound clips and info on this tune at http://www.contemplator.com/carolan/carolmid.html#concert .
Oh yes, and this tune is quite fast.
Oh yes, and this tune is quite fast.
Cathal McConnell does a beautiful unaccompanied version of this on whistle, on his album, On Lough Erne’s Shore.
I often play this tune (on the flute, by the way; my instrument of choice) with the final seven measures raised an octave, starting with the measure reading |cABG AFGE| in the B part. Also, with that same measure, I generally use triplets instead of eigth notes, so that it would read thus: |(3cBA (3BAG (3AGF (3GFE| Mind you, the way I play it, that measure is raised into the second octave, but it works either way. Oh, and in the measure directly preceeding the afore-mentioned one (or the eighth measure into the second part), I play the first B also raised up an octave, though I leave the rest of the bar as usual. Oh, try using a retard in the last two measures as you finish off the tune, and trill that last D note; it adds a sort of classical flair, and I almost always do so.
According to a recent discussion, this tune was played near the end of the Survivor finale last night
Liam O’ Connor plays a very good version of this on button accordion on his album reel spirit.
"Oh yes and this tune is quite fast." ~ BALDERDASH!
If you want to steam it up and blow the hell out of it, well, do as you will, but there’s nothing to stop you from being relaxed about it and having a bit of fun with what else this number has to offer besides just a sequence of notes. So, any way from 110 to 120 bpm is a fine way to roll it along without decimating it…
Oh yeah, the neighbours have had a word with me and asked that I as you if you would please stop parking your steam roller on thier flower beds…
Same version…without the chords
sorry but i was having a bit of trouble learning it and having to pick bits out with all the chords there.
T: Carolan’s Concerto
(3ABc|:d2 dd d2 cB|ABGA F2A2|E2A2 D2A2|Bcde dcBA|
d2a2 fgaf|efge fgaf|gabg fdfa|gfed dcBA|
BdBd gdgd|AdAd fAfA|GBGB efed|c2Bc A3G|
FGAF EFGE|FGAF GABG|A2d2 fedc|d6:|
(3ABc|:d2b2 agfe|d2a2 c2a2|B2gB ABcd|ecBA d2df|
edcB caaa|Bggg Afff|edcB caaa|Bggg bgbg|
afaf edcB|cABG AFGE|DAFA DAFA|GEBE GEBE|
FAdc BAGF|EFGA Bcde|A2d2 fedc|d6:|
I find that these tunes are usually played singly in sessions if they are played at all. If you wanted to try a set of 2, try following this with Carolan’s Draught https://thesession.org/tunes/1421. I like the key change, and there are some similar themes in the tunes, for example, the bit in this one in the A-part that goes |FGAF EFGE|FGAF GABG|A2d2 fedc|d6… is echoed in the B-part of Carolan’s Draught as |EFGE FGAF|GABG ABcA|d2g2 bagf|g6…
The .mid file
The midi file on my laptop plays at about half the tempo I expected with Celeron M410 1.46Ghz
Hello, here is a new version of the chords.
T: Carolan’s Concerto
(3ABc|:"D"d2 dd "D"d2 cB|"A"ABGA "D"F2A2|"A"E2A2"D"D2A2|"G"Bcde "A"dcBA|
"D"d2a2 fgaf|"G"efge "D"fgaf|"G"gabg "D"fdfa|"Em"gfed "A"dcBA|
"G"BdBd gdgd|"D"Ad Ad fAfA|"Em"GBGB "E7"efed|"A"c2 Bc "A7"A3G|
"D"FGAF "G"EFGE|"D"FGAF "G"GABG|"G"A2d2 "A"fedc|"D"d6 :|
(3ABc|:"G"d2b2 agfe|"D"d2a2 "A/c#"c2a2|"G/b"B2 gB "A"ABcd|"A7"ecBA"D"d2 df|
"D"edcB "A"caaa|"G"Bggg "D"Afff|edcB "A"caaa|"G"Bggg bgbg|
"D"afaf "A"edcB|cABG AFGE|"D"DAFA DAFA|"Em"GEBE GEBE|
"D"FAdc BAGF|"Em"EFGA "A"Bcde|"D"A2d2 "A"fedc|"D"d6:|
I have updated my version with the chords, and fixed and error in the structure.
Played by “The Chieftains” and James Galway.
The Vivaldi Tale
An interesting episode is told of O’Carolan:—"At the house of an Irish nobleman, where Geminiani was present, Carolan challenged that eminent composer to a trial of skill. The musician played over on his violin the fifth concerto of Vivaldi. It was instantly repeated by Carolan on his harp, although he had never heard it before. The surprise of the company was increased when he asserted that he would compose a concerto himself at the moment, and the more so when he actually played that admirable piece known ever since as ‘Carolan’s Concerto.’"
It seems rather a pity to spoil this story, but it appears from O’Conor, who knew O’Carolan, that Geminiani never had the pleasure of meeting the Irish minstrel. Thus writes O’Conor:—"In the variety of his musical numbers he knew how to make a selection, and seldom was contented with mediocrity. So happy was he in some of his compositions, that he excited the wonder, and obtained the approbation, of a great master who never saw him—I mean Geminiani." 
The following seems to be the true version of the incident:—"Geminiani, who resided for some years in Dublin, heard of the fame of O’Carolan, and determined to test his abilities. He selected a difficult Italian concerto and made certain changes in it, ‘so that no one but an acute judge could detect them,’ and forwarded the mutilated version to Elphin. O’Carolan listened attentively to the violinist who performed the concerto, and at once pronounced the composition beautiful, but, to the astonishment of all present, added humorously in Irish: ‘Here and there it limps and stumbles.’ He was then desired to rectify the errors in musical grammar, which he immediately did, and his corrections were sent to Dublin to Geminiani. No sooner did the Italian composer see the changes than he pronounced O’Carolan to be endowed with il genio vero della musica."
O’Conor adds;—"O’Carolan outstripped his predecessors in the three species of composition used amongst the Irish, but he never omitted giving due praise to several of his countrymen who excelled before him in his art. The Italian compositions he preferred to all others, and was enraptured with Corelli’s music."
Re: Turloch O’Carolan
‘three species of composition used amongst the Irish’
emm I wonder what that is… Jigs Reels and Airs?
The three species of Irish Music - joyous, sleep & lament
I refer to the sleeve notes on the superb Horslips ‘Book of Invasions’ album, also known as the ‘Celtic Symphony’. This is the ultimate Irish Trad Folk-Rock album, all compositions being credited to ‘traditional’. The notes refer to the 3 types of Irish music as the joyous, sleep and lament strains (with accompanying Gaelic names for them). Hence under this classification all typical session tunes are in the ‘Joyous’ category - fair enough! I guess an air (eg ‘The Londonderry Air’, ‘Carrickfergus’) would be typical of the ‘lament’ strain. For ‘sleep’ strain I think pieces like ‘Suo Gan’, ‘Arran Boat’ and the ‘Spinning Wheel’ would fit that into that category, slow but not mournful. The classifications in the modern world are a lot more varied than this.
Kevin Burke - O’Carolan’s Concerto & Loftus Jones
A tin whistle version here
2 “Chieftains 3” entries
I see the version on "Chieftains 3" is listed twice.
Re: Carolan’s Concerto
Regarding O’Connor’s comments on O’Carolan, the three species of music known to the Irish are geantraí, goltraí & suantraí. Irish musical terminology is extensive and remains preserved. Traditional musical scholarship should include this unique European classical heritage in any curriculum.
Re: Carolan’s Concerto
Really like this : https://youtu.be/e3LHonckZwA
Carolan’s Concerto, X:5
This is the Concerto (Mrs. Power (Poer)) from Donal O’Sullivan’s which is like Bunting’s version.
From O’Sullivan’s tune notes: "Mrs. Poer’ with unimportant modifications suggested by other copies of the tune, which is one of the best known of Carolan’s compositions. Other versions (all entitled ‘Carolan’s Concerto’) : M, p 21 (in 2/4 time; this version is defective, having a group of four notes missing at the beginning of bar 4 of the second part and being wrongly barred from there till the end."
Carolan’s Concerto, X:6
O’Sullivan/Bunting version in DM.