Annotation:Moll Roone: Difference between revisions
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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Moll_Roone > | |||
|f_annotation=''MOLL ROONE.''' AKA – "Molly Roone." AKA and see "[[Farewell--But Whenever You Welcome the Hour]]," "[[Jack the Jolly Ploughboy]]." Irish, Air. D Major (Miller & Perron): G Major (Clinton, Hannam, Haverty). Standard tuning (fiddle). AB (Clinton, Haverty): AAB (Miller & Perron). Thomas Moore (1779–1852) used the melody for his song "[[Farewell--But Whenever You Welcome the Hour]]." His lyric begins: | |||
<blockquote> | |||
<blockquote | |||
''Farewell, but whenever you welcome the hour,''<br> | ''Farewell, but whenever you welcome the hour,''<br> | ||
''That awakens the night-song of mirth in your bower,''<br> | ''That awakens the night-song of mirth in your bower,''<br> | ||
| Line 13: | Line 12: | ||
''But he ne'er will forget the short vision that threw''<br> | ''But he ne'er will forget the short vision that threw''<br> | ||
''It's enchantment around him while lingering with you.''<br> | ''It's enchantment around him while lingering with you.''<br> | ||
</blockquote> | |||
The lyric to the song "Molly Roone" goes: | The lyric to the song "Molly Roone" goes: | ||
<blockquote> | |||
<blockquote | ''There's a girl in Kilmurry—my own love'd one—''<br> | ||
''There's a girl in | |||
''The loveliest caileen that the sun shines on;''<br> | ''The loveliest caileen that the sun shines on;''<br> | ||
''Her eyes are as bright as the May-tide moon,''<br> | ''Her eyes are as bright as the May-tide moon,''<br> | ||
''And the devil a girl like my own Moll Roone!''<br> | ''And the devil a girl like my own Moll Roone!''<br> | ||
</blockquote> | |||
The tune contains much melodic material from the English melody "[[Nutting Girl (The)]]" and was re-used by Samuel Lover as the melodic basis for his popular song "[[Low-Backed Car (1) (The)]]." For discussion of this large song-tune family see note for "[[annotation:Jack the Jolly Ploughboy]]." Frank Kidson wrote about the melody in his address "The Vitality of Melody"<ref>Frank Kidson, "The Vitality of Melody," '''Proceedings of the Musical Association''', 34th Sess. (1907-1908), pp. 81-99. </ref>, tracing the tune to 1760 when a simplified version was used for the song "[[To Rodney We will go]]," and thereafter for numerous songs, often in praise of war heroes: "[[Brags of Washington (The)]]" "[[With Wellington We'll Go]], etc., and thence to politicians election songs. | |||
The tune contains much melodic material from the English melody "[[Nutting Girl (The)]]." | |f_source_for_notated_version= | ||
< | |f_printed_sources=Clinton ('''Gems of Ireland'''), 1841; No. 51, p. 26. Hannam ('''Irish Melodies, vol. 3'''), c. 11810; p. 9. Haverty ('''One Hundred Irish Airs, vol. 3'''), 1859; No. 217, p. 105. Miller & Perron ('''Irish TTraditional Fiddle Music'''), 1977; vol. 3, No. 69. O'Flannagan ('''The Hibernia Collection'''), Boston, 1860; p. 26. | ||
|f_recorded_sources=Tradition TLP 1024, Mary O'Hara. Vocalion 14931 (78 rpm), 1924, The Four Provinces Orchestra (as "Moll Room," last of a medley including "Katie O'Connor," "Colleen Rue" and "Foggy Dew"). | |||
|f_see_also_listing= | |||
}} | |||
'' | ------------- | ||
</ | |||
Tradition TLP 1024, Mary O'Hara. | |||
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Latest revision as of 03:48, 26 April 2023
X:1 T:Moll Roone T:Farewell! but whenever you welcome the Hour M:C L:1/8 R:Air Q:"Andante con Expressivo" B:P.M. Haverty – One Hundred Irish Airs vol. 3 (1859, No. 217, p. 105) Z:AK/Fiddler’s Companion K:G D|G2 (B>G) (c<A) GF|(GBd>e) d2 Bd|(dcAc) (cBGB)|(cAGF) G3D| [G,2G2] (B>G) (cAGF)|(GBd>e) d2 (Bd)|(dcAc) (cBGB)|(c<A) (GF) [B,3G3]|| d|(d>cBc) (dgfe)|(d>cBc) d2 g>g|g2 (eg) g f2d|(fed^c) (d=cBA)| [B2,G2] (B>G) (cAGF)|(GBd>e) d2 (B>d)|(dcAc) (cBGB)|(cAGF) [B,3G3]||
MOLL ROONE.' AKA – "Molly Roone." AKA and see "Farewell--But Whenever You Welcome the Hour," "Jack the Jolly Ploughboy." Irish, Air. D Major (Miller & Perron): G Major (Clinton, Hannam, Haverty). Standard tuning (fiddle). AB (Clinton, Haverty): AAB (Miller & Perron). Thomas Moore (1779–1852) used the melody for his song "Farewell--But Whenever You Welcome the Hour." His lyric begins:
Farewell, but whenever you welcome the hour,
That awakens the night-song of mirth in your bower,
Then think of the friend who once welcomed it too,
And forgot his own griefs to be happy with you.
His griefs may return, not a hope may remain,
Of the few that had brightened his pathway of pain,
But he ne'er will forget the short vision that threw
It's enchantment around him while lingering with you.
The lyric to the song "Molly Roone" goes:
There's a girl in Kilmurry—my own love'd one—
The loveliest caileen that the sun shines on;
Her eyes are as bright as the May-tide moon,
And the devil a girl like my own Moll Roone!
The tune contains much melodic material from the English melody "Nutting Girl (The)" and was re-used by Samuel Lover as the melodic basis for his popular song "Low-Backed Car (1) (The)." For discussion of this large song-tune family see note for "annotation:Jack the Jolly Ploughboy." Frank Kidson wrote about the melody in his address "The Vitality of Melody"[1], tracing the tune to 1760 when a simplified version was used for the song "To Rodney We will go," and thereafter for numerous songs, often in praise of war heroes: "Brags of Washington (The)" "With Wellington We'll Go, etc., and thence to politicians election songs.
- ↑ Frank Kidson, "The Vitality of Melody," Proceedings of the Musical Association, 34th Sess. (1907-1908), pp. 81-99.