Margaret Cromar waltz

There are 2 recordings of this tune.

Margaret Cromar has been added to 21 tunebooks.

Download ABC

Three settings

1
X: 1
T: Margaret Cromar
R: waltz
M: 3/4
L: 1/8
K: Gmaj
DGA|BD3D2|E<G-G2Ge|d6-|d4dc|
{A}B3-B/B/(3B/c/B/A/B/|G4D2|E<G-G2{A}BA|A3DGA|
BD3D2|E<G-G2Ge|d3-d/c/B2|{B}g4{e}fe|
d2D3D|{A}B3(3B/c/B/AG|1 G6-|G3:|2 G6-||
G2GABd|{e}=f3g fd|e3=f e<c|Bd3-d2-|
dG GABd|{e}=f3g fd|e4dc|dD3{A}BA|
A2GABd|{e}=f3g fd|e3=f e<c|{c}d3-d/c/B2|
{B}g4{e}fe|d2D3D|{A}B3(3B/c/B/ AG|G6-|
G3|:DGA|BD3D2|E<G-G2Ge|d6-|d4dc|
{A}B3-B/B/(3B/c/B/A/B/|G4D2|E<G-G2{A}BA|A3DGA|
BD3D2|E<G-G2Ge|d3-d/c/B2|{B}g4{e}fe|
d2D3D|{A}B3(3B/c/B/AG|1 G6-|G3:|2 G6-||
G2 GABd|{e}=f3g fd|e3=f e<c|Bd3-d2-|
dG GABd|{e}=f3g fd|e4dc|dD3{A}BA|
A2 GABd|{e}=f3g fd|e3=f e<c|{c}d3-d/c/B2|
{B}g4{e}fe|d2D3D|{A}B3(3B/c/B/AG|G6-|
G2 GABd|{e}=f3g fd|e3=f e<c|Bd3-d2-|
dG GABd|{e}=f3g fd|e4dc|d2D2{A}BA|
A3DGA|BD3D2|E<G-G2Ge|d3-d/c/B2|
{B}g4{e}fe|d2D3D|{A}B3(3B/c/B/AG|G6-|G3||
2
X: 2
T: Margaret Cromar
R: waltz
M: 3/4
L: 1/8
K: Gmaj
BD- D2 D2|E<G- G2 Ge|d6-|d4 dc|{A}B3- B/B/ (3B/c/B/ A/B/|G4 D2|E<G- G2 {A}BA|A3 D GA|
BD- D2 D2|E<G- G2 Ge|d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|1 G6-|G3:|2 G6-||
G2 GA Bd|{e}=f3 g fd|e3 =f e<c|Bd- d2 -d2-|dG GA Bd|{e}=f3 g fd|e4 dc|dD- D2 {A}BA|
A2 GA Bd|{e}=f3 g fd|e3 =f e<c|{c}d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|G6-|G3||
BD- D2 D2|E<G- G2 Ge|d6-|d4 dc|{A}B3- B/B/ (3B/c/B/ A/B/|G4 D2|E<G -G2 {A}BA|A3 D GA|
BD- D2 D2|E<G- G2 Ge|d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|1 G6-|G3:|2 G6-||
G2 GA Bd|{e}=f3 g fd|e3 =f e<c|Bd- d2- d2-|dG GA Bd|{e}=f3 g fd|e4 dc|dD- D2 {A}BA|
A2 GA Bd|{e}=f3 g fd|e3 =f e<c|{c}d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|G6-|
G2 GA Bd|{e}=f3 g fd|e3 =f e<c|Bd- d2- d2-|dG GA Bd|{e}=f3 g fd|e4 dc|d2 D2 {A}BA|
A3 D GA|BD- D2 D2|E<G- G2 Ge|d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|G6-|G3||
3
X: 3
T: Margaret Cromar
R: waltz
M: 3/4
L: 1/8
K: Gmaj
BD- D2 D2|E<G- G2 Ge|d6-|d4 dc|{A}B3- B/B/ (3B/c/B/ A/B/|G4 D2|E<G- G2 {A}BA|A3 D GA|
BD- D2 D2|E<G- G2 Ge|d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|1 G6-|G3:|2 G6-||
|:G2 GA Bd|{e}=f3 g fd|e3 =f e<c|Bd- d2 -d2-|dG GA Bd|{e}=f3 g fd|e4 dc|dD- D2 {A}BA|
[1 A2 GA Bd|{e}=f3 g fd|e3 =f e<c|{c}d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|G6-:|
[2 A3 D GA|BD- D2 D2|E<G- G2 Ge|d3- d/c/ B2|{B}g4 {e}fe|d2 D2- DD|{A}B3 (3B/c/B/ AG|G6-|G3||

Thirty-eight comments

Old Blind Dogs

Some months ago, a member here requested help with this tune, and i transcribed it for her.

I have since asked the band if they would mind me posting it here, as it is an absolutely gorgeous tune. They kindly agreed, and have asked that I credit it simply as coming from their album Close to the Bone.

If you haven’t heard them, do. Really, really gorgeous stuff.

Margaret Cromar

I know I could have got away with notating less bars, and perhaps less ornaments, but my intention was to be reasonably accurate to the fiddle playing on the album, and to be absolutely unambiguous about where the repeats and such are, so I hope you’ll forgive me.

Played it most days since too.

Still play it as a stand alone, one day THE tune might come my way which begs to become part of a set with it, but as yet, i still havent heard it.

A

Margaret Cromar - stands alone

Hi Wabbit!

Nice to see you again. I don’t think it needs any other tune to go with it. It’s lovely just as it is.

Glad to hear you’re getting reasonable use out of the tune. πŸ™‚

{A}B3(3B/c/B/AG

Looks fine to me, reasonable transcription, except ~ slamming it all together like that… 😏 Do you really mean for all of that to fit into (3B/c/B/AG ~ or {A}B3 (3B/c/B/ AG

Yeah, it works …

Look, it’s fussy, I know … but it is a reasonable approximation of what’s played, which is actually quite subtle. Too subtle for a simple transcription. But that might be just my opinion.

It is supposed to be the second of those two. Works in Navigator. Doesn’t it work for you?

Nope, I started, and then I deleted… Weird!

I was going to give this some time to play, but ~ it’s too much trouble… 😏

It leaves me cross eyed, cold, and with a headache…

Maybe I’ll stumble across the recording some day and give it some consideration…

Cut-N-Paste ~ credit your sources at least

You ripped it off the Internet?! ~ UGH!!! πŸ˜›

X: 1
T: Margaret Cromar
M: 3/4
L: 1/8
R: waltz
K: Gmaj
|: D GA |\
BD- D2 D2 | E<G- G2 Ge | d6- | d4 dc | {A}B3- B/B/- (3B/c/B/ A/B/ | G4 D2 | E<G- G2 {A}BA | A3 D GA |
BD- D2 D2 | E<G- G2 Ge | d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG |[1 G6- | G3 :|[2 G6- ||
G2 GA Bd | {e}=f3 g fd | e3 =f e<c | Bd- d2 -d2- | dG GA Bd | {e}=f3 g fd | e4 dc | dD- D2 {A}BA |
A2 GA Bd | {e}=f3 g fd | e3 =f e<c | {c}d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG | G6- | G3 ||
|: D GA |\
BD- D2 D2 | E<G- G2 Ge | d6- | d4 dc | {A}B3- B/B/- (3B/c/B/ A/B/ | G4 D2 | E<G -G2 {A}BA | A3 D GA |
BD- D2 D2 | E<G- G2 Ge | d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG |[1 G6- | G3 :|[2 G6- |
G2 GA Bd | {e}=f3 g fd | e3 =f e<c | Bd- d2- d2- | dG GA Bd | {e}=f3 g fd | e4 dc | dD- D2 {A}BA |
A2 GA Bd | {e}=f3 g fd | e3 =f e<c | {c}d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG | G6- |
G2 GA Bd | {e}=f3 g fd | e3 =f e<c | Bd- d2- d2- | dG GA Bd | {e}=f3 g fd | e4 dc | d2 D2 {A}BA |
A3 D GA | BD- D2 D2 | E<G- G2 Ge | d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG | G6- | G3 |]

😏 ~ in other words?

X: 1
T: Margaret Cromar
M: 3/4
L: 1/8
R: waltz
K: Gmaj
|: D GA |\
BD- D2 D2 | E<G- G2 Ge | d6- | d4 dc | {A}B3- B/B/- (3B/c/B/ A/B/ | G4 D2 | E<G- G2 {A}BA | A3 D GA |
BD- D2 D2 | E<G- G2 Ge | d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG |[1 G6- | G3 :|[2 G6- ||
|: G2 GA Bd | {e}=f3 g fd | e3 =f e<c | Bd- d2 -d2- | dG GA Bd | {e}=f3 g fd | e4 dc | dD- D2 {A}BA |
[1 A2 GA Bd | {e}=f3 g fd | e3 =f e<c | {c}d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG | G6- :|
[2 A3 D GA | BD- D2 D2 | E<G- G2 Ge | d3- d/c/ B2 | {B}g4 {e}fe | d2 D2- DD | {A}B3 (3B/c/B/ AG | G6- | G3 |]

A standard 64 bar waltz with an extra G3 slapped on at the end? 😏

Or, is that left over from a second ending?
|[1 G6 :|[2 G3 |]
|: D GA |\
or just a way of extenuating the final resolution ~
| G6- | G3 |]

R: air

R: air ~ the air-ors of our ways…

Margaret Cromar

No, ceol, I didn’t "rip it off the internet". It comes direct from the album "Close to the Bone" by Old Blind Dogs, as I said it did. I’ve credited my source, in the exact way they asked me to. What more do you want?

The last part bar is conventional when the first bar is also a part bar. Nothing unusual about it. The only slightly unusual thing about the transcription, as far as I can see, is the fact that I’ve tried to be slightly more accurate on some of the ornamentation.

Don’t accuse me again, ceolachan

I’ve checked out that link, ceolachan. So now at least I know where you’re coming from. But yes, I was the original source for that too. I didn’t know that was up there, never having seen the site before.

Don’t ever accuse me of that again. I never do it, and I’m seriously p*ssed off that you would think I would. Even more so that you accuse me, totally incorrectly, on a public forum.

Try checking with the source first next time. And try a bit of civility too.

I know, and I suspected, I was just winding you up… But that might not have been obvious… You, I wind up, others I might lack some civility with, but I’m working on that… πŸ˜‰

I wouldn’t have spent this much time with it, trying to make sense of it ~ and playing it ~ if I didn’t like it ~ and value your contributions. So, please ease up and step back and see things in a wider perspective than ‘personal’.

You should realize I’ve been trolling these Internet spaces and realms long enough to know that that ‘other’ transcription could only be YOU! But ~ that weird duplication, my fault, I admit, about ‘crediting’ sources, was not planned or expected. I forgot to apologize about that. I think I had this open in sevearl times, I really was playing through it and giving it time… Then we rushed off to Liverpool for the day. All that was while I was making muffins for our niece who is not adapting well to the climes. So, worry, rush, fuss, trying to find a way to incorporate her in our Christmas, like taking her to Europe with us, etc. ~ Yeah, I was probably not exactly clear in the wind-up.

SO APOLOGIES!!! ~ I wouldn’t be here making a mess of this if I didn’t value you and your transcriptions ~ but I did find it difficult as you’d made it, not easy to read as ABCs, which is where it was when I was playing through it between all of the above concerns.

Get real though, reread the above. I seriously don’t know how that duplicate entry happened, "Cut-N-Paste’, but I should maybe have followed with more winking than bemused smilies? πŸ˜‰

Sorry, seriously this time, no wind up… πŸ™

Apology

And I’m sorry you found my trasncription so lacking, Wabbit. Perhaps I’d better apologise to the band.

I was using your transcription to distract me from my worry for our niece. It is not just the climes pressing in on her. So, I did not give this the due care and attention one should for a considered and respected friend (at least considered on this end). I would never wind up anyone so who I didn’t feel that way toward, which might not be good for those who are less aware of that… Once burned, I won’t repeat it…

But, back on topic, before I again run out for the day ~ do they play it as a ‘waltz’ or an ‘air’, how is it listed in the CD notes? Do they say anything about the person it is dedicated to ~ Margaret Cromar? Is it a clear 3/4, a steady beat, or do they vary the rhythm/tempo? What, roughly, tempo do they give it?

Sorry, still on the tune… πŸ˜‰

I would have hoped that I’d given you considerable respect and appreciation over time for you to know when I’m winding you up? Let me repeat that emphasized ~ ‘RESPECT’ & ‘APPRECIATION’!!! No, my voice doesn’t travel that far, and I realize that those sort of things are sometimes missed by the intended recipient. πŸ˜‰

However, 3/4 transcriptions still read better when they are clearly written as 3/4, for example, bar 5 ~
| {A}B3- B/B/- (3B/c/B/A/B/ | ~ or even ~ | {A}B2- B>B- (3B/c/B/A/B/ |
or ~ | {A}B2- B>B- (3B/c/B/ A/B/ |

Back to giving this melody a few more goes before stepping out… I’ll have to again see if I can chase up a listen to the track on the album…

Still an insult

If that was a windup, it was in extremely poor taste. What you accused me of was something which I also hate. It was also false. And public.

It was unacceptable. I would have expected at least a public - and private - apology for the slur. And even then, I find your behaviour in this to be unforgiveable.

Respect! Don’t make me laugh. I have consistently shown you nothing but consideration, and you don’t even bother to check with me first??!?

Anyway, if this is what you get for trying to help people, I’m out.

Bye.

Delays ~ I’m picking up ‘others’, so I’m stuck here for the moment… 😏

So, I have poor taste, c’est la vie. That’s something that happens over time and is, as we all know, very subjective. I don’t even attempt wind-ups unless I’m sure I’ve already shown enough respect for someone and care, that they will hopefully realize it. But it won’t be the first time I’ve stepped in my own shight. Just be assured, it was not intended as that, it was to draw attention to that interesting website and the contributions there, where this was, I thought, obviously you. I don’t know how it duplicated, except I had multiple windows open at the time and had slipped on the [Enter] key before I’d intended, and, et voila, both entries arrived here in what seemed simultaneously.

So, I thought I had been apologizing, sorry! And to repeat if that isn’t clear, I apologize. It was not taken as intended so I was obviously guilty of not being clear in the contribution, so I fully accept the responsibility for this misunderstanding. Unacceptable, alright, but I do feel remiss and I am sorry you have taken it so. As said, it was not meant as a ‘slur’ on your character. I KNOW you don’t like cut-n-paste, I KNOW, part of what I respect in you, and I would have thought, that being obvious to me, that what was up there was tongue-in-cheek. But, it wasn’t taken that way, and that is what is important and that I can only repeatedly apologize for, that it was taken in such a way, that I wasn’t clear, that I was clumsy in the contributions and that you took offence. I’m sorry.

I can only repeat and repeat again, I value your contributions, including this one, I ALWAYS have. I don’t linger in ‘comments’, usually, unless I’m giving the tune some consideration. I don’t ask questions, dumb or otherwise, wind-up or clumsy, or just plain daft, unless I’m enjoying the music, the tune, the contribution, in one way or another.

I will not take responsibility for your not realizing that over the years, on site and off, I have only shown you respect and appreciation. That remains. This site would be less interesting and less rewarding without you. Part of what draws me here for distractions from the reel world, and out of my unending curiosity ~ are the likes of you and other characters on here. For me, just to clarify ‘CHARACTER’ is a complement. I am fond of characters, but I realize that part of that is our distinctions, that we don’t read the world all the same way. It is that richiness in the diversity of perspective that I value so very highly, including your perspective on things.

I gave this tune and transcription a lot of attention, was drawn her in the first place, because Ben Hall’s name was on it, you had contributed it. I can only tell you that comes from respect, and there are other contributors on site here I am equally drawn to for the same reason ~ respect ~ the likes of slainte, dow, kenny ~ and that list doesn’t end there. You can take things as you choose. I have respect for you, appreciate your contributions, and this is an apology for not being clear in the wind-up of this. I take things for granted. To me, suggesting you’d do ‘cut-n-paste’ ~ that’s unheard of, so saying it here I was laughing, but that doesn’t come across in print. I’m sorry, very sorry… My heart is heavy. Fortunately I’ve got music and dance for the rest of the day, but the heaviness will remain. To offend a friend, and I count you as one, is an offense I don’t take lightl and I don’t fogive myself for… It might not be a hair shirt and a whip, but I am giving myself guff for the clumsy windup and this unintended but percieved abuse… Take that as you will… I will, as is always the case when I fluff up like this, take more care in future ~ stepping back slowly now and repeating ~

I’m very sorry, I apologize…

I was clumsy, foolish, unclear and inconsiderate…

But, I still, honestly, want to know more about the tune…

The transcription wasn’t lacking, if that was intended for me and not Wabbit, it was intriguing, if, for me, confusing… I was interested in what you were attempting, and the results. I wanted to understand it better, especially not having the preferred option to hear it being played. Your transcription was a challenge, not lacking, not with so much going on and the valiant attempt to do justice to an actual performance… I can only say ~ that is ‘with respect’, to the task and the person…

I would much rather you disowned me, wrote me off, decided I wasn’t worthy of fuss and bother, than you leaving the site and refusing to ever contribute again. So, slag me off, you won’t be alone, be done with me, but keep your valued contributions coming in here ~ ideas and tunes, musings and asides… I have no doubt I am not the only one that appreciates them.

Goodbye ~ not a ‘discussion’, a regreted loss

# Posted on November 10th 2008 by benhall.1
https://thesession.org/discussions/19696

Mea culpa, for sometimes being less than conscious, sometimes clumsy, sometimes juvenille, sometimes not as considerate as I would wish… I can understand removing me from your Christmas card list, but opting out of this site and the interesting mix of characters here, which was richer for your involvement, well, measure for measure, I guess you’ve beat me on all those counts… You will be missed…

"Old Blind Dogs: Close to the Bone"

Too close…

Err excuse me !

I dont read for a weekend and return to find myself flamed for something ?

Benhall If I in any way thought your transcript was lacking or off, Id have emailed you back while we were still talking about it & pointed this out to you along with specific descriptions of why I thought as much (in as best as i could describe anyways).

And if i thought it was lacking then why do I still get the same kick out of playing it as I did the playing it for the first time when you emailed me the ABC ? I love this tune, Ive loved this tune since it was first played on stage all those long years ago & enjoy it more so being able to play it correctly & note perfect as you transcribed it.


Wabbit
aka Amber

Margaret Cromar

ceol ~ you of all people should know not everyone, including ben, is privy to the inner workings of your mind. Drawing attention to someone or something … well, it may not earn the result you want. We can only hope benhall might offer us the pleasure of hearing his fine version of this tune on SoundLantern.
Live & learn.

Posted by .

I like the tune too Wabbit. It wasn’t you, it was me, I think, he was referring to with regards to it ‘lacking’. See previous.

Yes RN ~ even I am not privy to some fo the inner workings of my curiously wired brain… 😏

"Margaret Cromar" ~ R: air / Q: 1/4 = 86

Played at an approximate and relatively steady 86 bpm (1 beat = 1/4)…a lovely air, it works nicely as a waltz too.

Notes from the recording I have, first the C & c ~
C: Jonny Hardie / copyright: Bulk Music Ltd.

‘Margaret Cromar’ is a tune written for, and dedicated to, the lady of that name who is a great supporter of the band ("Old Blind Dogs").

Still painful more than a year later… Damn my curiously wired brain…

Sigh! πŸ˜›

And I can tell you that, nearly three years later, it’s still painful for me too. So that’s OK then, eh?

Can I just urge anyone who bothers to read this far in this woeful thread, to buy the bloody album? It’s great, and the band are fantastic. Just do it. I’m convinced you won’t regret it.

Margaret Cromar

Shame all the talk here wasn’t about this beatiful tune, written by Johnnie Hardie of the Old Blind Dogs fame . It works well as both a waltz and a slow air, but the "feeling" in the tune is most beautiful as a slow air.(IMHO)

I played it in the Lampie last night and a number of folks commented "what was that called, it’s a lovely tune"

Brings a tear tae ma ee’n

Re: Margaret Cromar

It is a very beautiful tune and I for one very much appreciate the time and effort put into transcribing it and posting it here for others to enjoy. The album too is wonderful btw.