The Orange Rogue jig

This is a great little tune, one of the first I ever learned to play. There are actually many sixteenth notes in there in various places, but I wasn’t quite sure how to tell the computer that. So, if you really want to know, just ask me. Other than that, have fun with it!

This is another one of those set dances ( See "Hurry the Jug"). It would be played a lot slower than a double jig.
There seems to be 8 bars missing off the end off the end of this tune.
Jeremy, perhaps there should be a separate category for Set Dances. (also Airs,Mazurkas??)

Chris

It’s a nice tune as it is, but if you want to add in those extra notes, it’s really not difficult. To halve the note duration, just place a slash ( / ) after it.

For example: A/B/cd will give two 16th notes and two 8th notes.

I don’t understand why almost no one recorded this beautiful tune called The Orange Rouge.

if I search Tunes, I find only 2…. and one of them I heard allready.

Maybe this tune is not so known or something ?

Lots of ceili bands have recorded this jig over the years as its from O`Neill`s book.It`s just that none of these recordings are listed in the `recordings`section of this website,yet.For example if you come across an Ed Reavy tune on this site like `The Hunter`s House`,or `love at the endings`,I`ll bet Ed`s own recording of it isn`t listed-Yet!

The Orange Rogue is actually a set dance-An Rogaire Bui and I have several recordings of it including one made by Sean Mcguire for Gael Linn in Dublin in 1958.

Joe Burke and Andy McGann played the orange rogue on their shanachie album -The Funny Reel.

If there are other names for this excellent tune, please be welcome to point them.

I have it on good counsel from reliable sources that this set dance is also known as "Defence of Wexford",but has since kinda lost that name. How it got the name in the first place is anyone’s guess!

This is the 2nd in the "Baile na bPoc" set on Michelle O’Brien/Aogan Lynch/Gavin Ralston, track 7.

It’s nice in ‘Em’ on a G drone, as written here or, staying above the G drone:
B|ege dBA|GBd e2 g|BGB def|gab agf|
ege dBA|GAB d2e|BGB def|e3 e3 :|

some other minor adjustments and variations come easy then.

The introductory beats are redolent of My Mind Will Never Be Easy (slip jig) https://thesession.org/tunes/191

B: "O’Neill’s The Dance Music of Ireland: 1001 Gems", 1907, page 168, tune #978
N: Category = Long Dances and Set Dances
R: set dance

Interesting to compare it to O’Neill’s version in his 1850… most notably being a bit accidental-heavy, which I always like! And it’s listed there as a double jig (#837), which is reflected in the symmetric setting.

Thanks for reminding me of that nice one anyway! :)

B: "O’Neill’s Music of Ireland: 1850 Melodies", 1903, page 156, tune #837
N: Category = double jigs
S: Cronin

I was getting there. ;-)

I too am quite fond of the in-betweeners…

In the O’Neill transcription the ‘~’ used as ~g2 in the B-part of sebastian’s transcription is actually given in O’Neill’s as an upper mordent, !uppermordent!g2. I’ve written it out exactly as O’Neill gives it, for comparison…

‘in-betweeners’ = accidentals and micro-tones… 8-)

I listen to everything and this tune has an odd beat in the B part. On the repeat the first note of the first bar ‘e’ is redundant! as it is already the last note of the part? Or the last ‘e’ in the last bar is redundant?

Oops, sorry ceolachan for getting there first! :) However, I didn’t know that mordents are possible in ABC; so presumably O’Neill wanted to indicate a (double) cut this way, rather than a roll?

Sorefingers, if you are referring to settings 5 and 6, then the very last f is indeed redundant. It’s how O’Neill has notated it though, and we transcribed it faithfully.