Annotation:Daniel O'Daly: Difference between revisions
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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Daniel_O'Daly > | |||
'''DANIEL O'DALY''' (Domnall Ua Dalaig). AKA and see “[[Donnell | |f_annotation='''DANIEL O'DALY''' (Domnall Ua Dalaig). AKA and see “[[Donnell O'Daly]].” Irish, Air (3/4 time). D Major. Standard tuning (fiddle). One part. O'Neill's "Daniel O'Daly" is nearly identical to collector George Petrie's "[[Donnell O'Daly]]," save for the key change. O'Neill also prints essentially the same air in '''Music of Ireland''' as "[[Farewell to Ballymoney]]." Paul de Grae points out the melody is nearly identical to George Petrie's "[[Donnell O'Daly]]," save for the change in key (necessitating some melodic re-shaping at the end of the tune). He calls this a process of "creative misreading" of the tune. | ||
|f_source_for_notated_version=James O'Neill [O'Neill]. Chicago Police Sergeant and fiddler James O'Neill was originally from County Down. A skilled musician and transcriber, he served as Capt. O'Neill's collaborator on early works. | |||
|f_printed_sources= O'Neill ('''Music of Ireland: 1850 Melodies'''), 1903; No. 429, p. 75. | |||
|f_recorded_sources= | |||
|f_see_also_listing= | |||
}} | |||
Latest revision as of 19:13, 21 May 2024
X:1 T:Daniel O'Daly M:3/4 L:1/8 R:Air S:O'Neill - Music of Ireland (1903), No. 429 Z:AK/Fiddler's Companion Q:"Slow" K:D D/E/|F2G2A2|d2A2 A>G|E2D2D2|D4 d>e|f2e2 d>e| d3e d/c/A/G/|A2d2d2|d4 d>e|f2e2 de|d3 e d/c/A/G/| E2D2C2|C4 D>E|F2G2A2|d2A2 A>G|E2D2D2|D4||
DANIEL O'DALY (Domnall Ua Dalaig). AKA and see “Donnell O'Daly.” Irish, Air (3/4 time). D Major. Standard tuning (fiddle). One part. O'Neill's "Daniel O'Daly" is nearly identical to collector George Petrie's "Donnell O'Daly," save for the key change. O'Neill also prints essentially the same air in Music of Ireland as "Farewell to Ballymoney." Paul de Grae points out the melody is nearly identical to George Petrie's "Donnell O'Daly," save for the change in key (necessitating some melodic re-shaping at the end of the tune). He calls this a process of "creative misreading" of the tune.
