A much overlooked reel from O’neil’s, but not quite like this.This is how I play it. I searched here for it but couldn’t find it. Are any of you familiar with it?
Fifth bar in on the A part, is that high "b" supposed to be a "B" on the middle line? It just seems a bit odd the way it is now. Great tune, though! Lovely lovely lovely!
Shouldn’t the "g" in the second to the last bar be sharp? Nice tune.
K: A Major ~ and ^G & ^g on any crossing variations
those last two bars ~ | cef^g abaf | ecBA FA A2 :|
bit also if you pick it up on the way ~
T: Rose In The Garden, The
K: D Major
|: A/^G/F |\
EFAc dc d/c/B | c/d/c cA B2 A/^G/F | EFAc d2 fd | eaec BA A/^G/F |
Ec^Ac d2 db |c2 cA B2 AF| EFAc dfAf | eA^GB A2 :|
|: ^G/A/B |\
|: c2 ce d2 fd | ceec BA ^G/A/B | ce-ec d2 fd | ec B/A/^G FAGA |
ce-ec df-fd | ce e/e/c BA^GF | cef^g abaf | ecBA FA :|
That mayhem was just as and example, so ~ A Major?!
Low & high & other possibilities ~ A-part, bars 5 & 6 ~ K: A Major
~ | EFAc d2 d/c/B | ce c/B/A BcAF | ~ or ~ | Ec^Ac d2 db | c2 ca B2 A/G/F | ~
A beautiful driving march of the same name has been recorded by Gerry O’Connor in ‘Sennex puer’ and more recently by his son Donál in ‘Tripswitch’ where the tune ref. is given in the sleevesnotes.
there is also a beautiful reel called ‘the Rose Garden’ at; https://thesession.org/tunes/5003
how come this tune is listed as being in D major then?
High b is wrong
Jeffrey, you’re right, the high b is a mistake; I’ve corrected the ABC. You can of course sharp the odd g for effect, but the tune centers on d and suits the major feel, so I don’t think you would want to make it Amaj and sharp them all.
ceolachan, I can’t tell from the ABC what you’ve done, so I’m printing it out to try it. Interesting discussion.
K: A Major
Sorry justjim, it is where it resolves at the end that determines the key, not the occasional D… It concludes, resolves, on A, both parts… Any movement form one note to the other that might pick up a G, the melody ‘wants’ that to be ^/#, and as natural/= it jars, sounds unnatural…
”~ the high b is a mistake ~”
Good of you to admit that, but that doesn’t mean it is a mistake to jump an octave in playing a tune. As also previously illustrated, it is not unusual to do so, so can serve as a fun option, an open door rather than a closed one…
‘wants’ that to be ^/#, ~ thought in some places a =G works as well… But, it doesn’t resolve on D, sorry. However, it is your submission and you do as you please… 😏
ceolachan, you are so right. It’s obviously an A tune, What was I thinking? Or was I? I guess not. I can only plead that I am translating from my OM fingerboard into the letters and I’m new to ABC. I’ll fix the key. What an amazing new way to look stupid in front of my peers. Thanks for your help.
You don’t, don’t do that… I didn’t mean to belittle you. As I said, I like the tune and am grateful you put it here, and,. if not also obvious, I really like your ‘mistake’, it took me elsewhere with it and it was fun. So, no, you aren’t stupid… My ma would be on you for using that word, so I guess she’s coming out in me… And as to ABC-ing ~ that was a damned fine job if you haven’t done it much. If you’re ‘new’, well, that wasn’t obvious. I’ve gotten the key wrong and worse before, including recently…
Again, thanks for a sweet bit of melody, much appreciated. 😉
I like jumping octaves…
but in this case I really like the shape of tune with the lower B, so that would be my personal preference. Also, I’d play it without any Gs whatsoever. In the second to last measure of the B part I’d play: |cefa abaf| or |cefa-abaf|
… or, maybe those are G double sharps… ;)
Apologies more-than-justjim ~ usually the mayhem above occurs behind the scenes, via emails, or 4 times out of 5 anyway. 😏 ‘Agony’, probably a pinched nerve, has me being more up front lately and consequently less than considerate…
i reckon you could still play that "mistaken" high b in bar 5 and then follow that up with a high a in bar 7 after the c#s…just an attempt at a sequence slightly different to the one that it’s supposed to be that’s all!
What do you think?
~ going low & high ~ A-part, bars 5 - 8:
~ | Ec^Ac dAdb | ca c/B/A B^ABf | eAac dfaf | eacB A2 :| 😎
& maybe even ~ dfaA | eAaB A2 :| 😏
Up & Down & Roundabout ~ hiccups, potholes and little bursts of energy…
I love those opportunities, often discovered by mistake or a misfiring memory, or even a slip of memory that takes you into some other melody’s way, a fragment slipping in from another tune. Jumps up or trips down can offer a pleasant surprise, like the bump of a pothole in a road, or a steep drop, the short moment of freefall that your stomach seems to register as your body heads down before it. Those bursts of energy can surprise and excite. They can also be overdone, becoming too much, like leaving the known road with its occassional surprise and taking a side road that is all potholes and just a pain in the backside, a wrong turn, ‘lost’, loss of connection and direction and sense. A ‘wrong turn’ is when you have lost connection with the original melody and the treatment starts to show a disrespect for the original melody rather than true understanding, appreciation and joy, fun… Those extremes are more akin to vandalism rather than art or tradition… Yeah, sometimes that can be fun, but only now and then, not as the general norm…
What makes them work is having respect for the melody, mostly keeping it recognizeable, because that’s why you chose to play it in the first place, I hope, because you like the melody, not because of what you can do to it or it can do for your bag of tricks. That applies to percussion too. So, you play it recognizeably most of the time, and then now and then you tickle it a little with a variation, to add that extra surprise and excitement. But, like with anything taken to excess, too much and it isn’t a surprise or exciting, it becomes irritating and an imposition on the melody and rhythm rather than a compliment to it, or a pleasant contrast.
I’m just looking for a third reel to the Willafjoerd and Spootaskerry from Shteland and so this one ended up with some syncopation:
AF|:EFAc- cdcB|c2AB- BcAF|EFAc- cdfd|efBA FAA2|
EFAc -cdcB|c2AB- BcAF|EFAc dfaf|ecBA FAA2:|
|:ce2c d2fd|ce2c BAFA|ce2c d2fd|ecBA FAA2|
ce2c df2d|ce2c BAFA|cefg abaf|ecBA FAA2:|
Damn, we must have left the back door unlocked… 😉
There is only one G note in the whole tune! I think on the fiddle it could be nice to use a G neutral (slightly sharp) —- rather than a natural or a complete Gsharp.
Checking back to see any added comments I listened to the tune and found yet another mistake in my transcription: the"f" in measure three should be a "c". Jeeez, how does that stuff happen? I mean, I know I did it, but how does it get past me?
the rose in the garden
on kevin burkes eavesdropper, is this the actual name of this tune, i cant seem to find anyone else playing it anywhere. any help is appreciated.
Re: the rose in the garden
Assuming they’re playing the same tune, it’s on 5 other recordings.
i dont think so, unless they play it alot different, sounds like a completely different tune than the other ones i was able to find
Rose in the Garden
Here’s how Kevin Burke and Jackie Daly play it on their Eavesdropper cd. They’re tuned up a half step, but Kevin’s playing it out of G fingering on fiddle.
T: Rose in the Garden
D: Eavesdropper, Kevin Burke & Jackie Daly
ABAc B~G3|BGBd gBfB|eA A/A/A BGGA|e/f/g dc BdgB|
AGAc B~G3|BGBd g2 ga|bgag e/f/g fa|1 gedc BG G/G/G:|2 gedc BGG2||
b~g3 agef|gage dega|b~g3 bgag|e~a3 e~a3|
b~g3 agef|gage dega|bgag e/f/g fa|1 gedc BGG2:|2 gedc BG G/G/G||
Rose In The Garden
The tune from Eavesdropper transcribed above is Ah! Surely, not the tune in question here, which is in O’Neill’s. Melodeon player PJ Conlon recorded it, a compilation of his 78s will be available shortly. His take can be heard at the Comhaltas Archive for those interested. It wasn’t given a title there. Jackie and Kevin play some other tune as well, perhaps that’s the one they had in mind with their blanket title.
Go here for a similar tune (a version of the same?) https://thesession.org/tunes/7792