Annotation:Atlantic Roar (1) (The): Difference between revisions
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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Atlantic_Roar_(1)_(The)> | |||
|f_annotation='''ATLANTIC ROAR, THE''' (Tuam na Farraige). AKA and see "Atlantic Hornpipe," "Atlantic Wave," "Tuam na Farraige." Irish, Hornpipe. Ireland, County Donegal. G Major. Standard tuning (fiddler). ABB (Feldman & O'Doherty): AABB (Kennedy). A County Donegal quasi-programmatic hornpipe (i.e. droning of the low string in the first strain) popularized by fiddler John Doherty and recorded by him on a CCE LP. Caoimhin Mac Aoidh, a Donegal musicologist who has studied Doherty, states that the translation is Doherty's but that the Irish title translates loosely as "The Roar of the Sea." He records that at different times Doherty credited the tune to the travelling fiddle masters Anthony Helferty (or Halferty, of the Inishowen and Ardara areas) and John Mhosai McGinley (a native of Glencolmcille). The evidence would seem to award composition of the tune to Helferty, who may have called it "The Roar of Loughros Mór" (a peninsula near Ardara). According to Mac Aoidh, the inspiration for the melody arose from the circumstance of Helferty (Ardara) finding himself too fatigued and inebriated while making his way home from playing all night for a dance--he stopped for a nap near the sea cliffs and the rhythm of the waves heard in his sleep formed the basis of the tune. Mac Aoidh maintains it is important to play the melody with G string double stops to get the effect of the droning of the waves, and also points out that most Donegal musicians play the tune at a slower tempo than a hornpipe, almost as a slow march, rendering it a listening piece rather than a dance tune. Donegal fiddler Frank Cassidy played the tune without drones or double stopping, in a rhythmically freer, more melodically elaborate version than Doherty's. | |||
---- | |f_source_for_notated_version=fiddler John Doherty (1895-1980, County Donegal) [Feldman & O'Doherty]. | ||
|f_printed_sources=Feldman & O'Doherty ('''The Northern Fiddler'''), 1979; p. 83. Kennedy ('''Traditional Dance Music of Britain and Ireland: Rants & Reels'''), 1997; No. 2, p. 3. | |||
---- | |f_recorded_sources=Cairdeas na bhFidiléirí, CNF 005, Frank Cassidy - "Níl gar Ann!" (2008). | ||
|f_see_also_listing=See a standard notation transcription of John Doherty's entire version, by Conor Caldwell, in his PhD. thesis "‘Did you hear about the poor old travelling fiddler?’ - The Life and Music of John Doherty", 2013, p. 130 [https://www.academia.edu/9727990/Did_you_hear_about_the_poor_aul_travelling_fiddler_The_Life_and_Music_of_John_Doherty]<br> | |||
}} | |||
'''ATLANTIC ROAR, THE''' (Tuam na Farraige). AKA and see "Atlantic Hornpipe," "Atlantic Wave," "Tuam na Farraige." Irish, Hornpipe. Ireland, County Donegal. G Major. Standard tuning (fiddler). ABB (Feldman & O'Doherty): AABB (Kennedy). A County Donegal quasi-programmatic hornpipe (i.e. droning of the low string in the first strain) popularized by fiddler John Doherty and recorded by him on a CCE LP. Caoimhin Mac Aoidh, a Donegal musicologist who has studied Doherty, states that the translation is Doherty's but that the Irish title translates loosely as "The Roar of the Sea." He records that at different times Doherty credited the tune to the travelling fiddle masters Anthony Helferty (of the Inishowen and Ardara areas) and John Mhosai McGinley (a native of Glencolmcille). The evidence would seem to award composition of the tune to Helferty, who may have called it "The Roar of Loughros Mór" (a peninsula near Ardara). According to Mac Aoidh, the inspiration for the melody arose from the circumstance of Helferty (Ardara) finding himself too fatigued and inebriated while making his way home from playing all night for a dance--he stopped for a nap near the sea cliffs and the rhythm of the waves heard in his sleep formed the basis of the tune. Mac Aoidh maintains it is important to play the melody with G string double stops to get the effect of the droning of the waves, and also points out that most Donegal musicians play the tune at a slower tempo than a hornpipe, almost as a slow march, rendering it a listening piece rather than a dance tune. | |||
See a standard notation transcription of John Doherty's entire version, by Conor Caldwell, in his PhD. thesis "‘Did you hear about the poor old travelling fiddler?’ - The Life and Music of John Doherty", 2013, p. 130 [https://www.academia.edu/9727990/Did_you_hear_about_the_poor_aul_travelling_fiddler_The_Life_and_Music_of_John_Doherty]<br> | |||
Latest revision as of 04:27, 26 October 2023
X: 1 T:Atlantic Roar, The R:hornpipe D:Sean Keane: Jig It in Style Z:id:hn-hornpipe-78 M:C| K:A (3EFG|A3B A2fg|afge fdBA|G2GF GFEG|Bc (3BAG AECE| A3B A2fg|afge fdBA|G2GF GFEG|Bc (3BAG A2:| |:(3Bcd|(3efe ^df e=dcd|(3efg ac' bgae|ce^df ec=dc|~B3c BEGB| e3f edcd|(3efg ac' bgae|(3cdc Ac (3BcB GB|A2GB A2:|
ATLANTIC ROAR, THE (Tuam na Farraige). AKA and see "Atlantic Hornpipe," "Atlantic Wave," "Tuam na Farraige." Irish, Hornpipe. Ireland, County Donegal. G Major. Standard tuning (fiddler). ABB (Feldman & O'Doherty): AABB (Kennedy). A County Donegal quasi-programmatic hornpipe (i.e. droning of the low string in the first strain) popularized by fiddler John Doherty and recorded by him on a CCE LP. Caoimhin Mac Aoidh, a Donegal musicologist who has studied Doherty, states that the translation is Doherty's but that the Irish title translates loosely as "The Roar of the Sea." He records that at different times Doherty credited the tune to the travelling fiddle masters Anthony Helferty (or Halferty, of the Inishowen and Ardara areas) and John Mhosai McGinley (a native of Glencolmcille). The evidence would seem to award composition of the tune to Helferty, who may have called it "The Roar of Loughros Mór" (a peninsula near Ardara). According to Mac Aoidh, the inspiration for the melody arose from the circumstance of Helferty (Ardara) finding himself too fatigued and inebriated while making his way home from playing all night for a dance--he stopped for a nap near the sea cliffs and the rhythm of the waves heard in his sleep formed the basis of the tune. Mac Aoidh maintains it is important to play the melody with G string double stops to get the effect of the droning of the waves, and also points out that most Donegal musicians play the tune at a slower tempo than a hornpipe, almost as a slow march, rendering it a listening piece rather than a dance tune. Donegal fiddler Frank Cassidy played the tune without drones or double stopping, in a rhythmically freer, more melodically elaborate version than Doherty's.
