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Revision as of 10:09, 21 January 2023

Bayard (1981) identifies the melody as belonging to the same tune group as "Welcome Home (3)," "Haughs of Cromdale (The)," "(Fare Thee Well) Sweet Killaloe," and "Wat Ye how the Play Began." The members of this very old family, which he calls the "Welcome Home" group, appear in major, modal, duple-time, triple time, vocal and instrumental forms. Fr. John Quinn categorizes this tune as a member of the "Haughs of Cromdale (The)" tune family, a large and complex tune family with many interrelated members and derivatives. See note for "annotation:Haughs of Cromdale (The)" for more. John Glen (Collection of Scottish Dance Music, 1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, and is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Some see Irish cognates in the air "Óró 'sé do bheatha a bhaile/Óró Welcome Home" and the "Ballydesmond Polka (2)," but if in fact related, then they are distanced.

"Oyster Wives' Rant" appears in the music manuscript copybooks of Luther Kingsley (1795, Mansfield, Ct.) and Edward Murphey (1790, Newport, R.I.). It also appears in Cumbrian musician John Rook's 1840 music manuscript under the title "Charles Rant." Later, County Cork uilleann piper and Church of Ireland cleric wikipedia:James_Goodman_(musiologist) (1828-1896) entered it into Book 2 of his large mid-19th century music manuscript collection, copied from Aird's 1782 volume. An E dorian version of "Oyster Wives Rant" was collected in the early 20th century in Orkney (but described as "a Shetland Air") under the title "Da Scalloway Lasses"

...more at: The Oyster Wives' Rant - full Score(s) and Annotations

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 {{SheetMusic
-|f_track=Banks Hornpipe.mp3
+|f_track=Oyster Wifes Rant.mp3
-|f_pdf=Banks Hornpipe.pdf
+|f_pdf=The Oyster Wives Rant.pdf
-|f_artwork=Banks hornpipe.png
+|f_artwork=Oyster.gif
-|f_tune_name=Banks Hornpipe
+|f_tune_name=The Oyster Wives' Rant
-|f_track_title=Banks_Hornpipe_(1)
+|f_track_title=Oyster_Wives_Rant_(The)
 |f_section=abc
-|f_played_by=[https://soundcloud.com/marylaplant Mary LaPlant]
+|f_played_by=[https://www.youtube.com/@thegoodtunes The Baltic crossing: Esko Järvelä (fiddle), Kristian Bugge (fiddle), Andy May (Northumbrian Pipes), Antti Järvelä (mandolin) and Ian Stephenson (guitar)]
-|f_notes= Stephen Grier music manuscript collection (Book 3, c. 1883, No. 1, p. 1)
+|f_notes= Fine Oysters
-|f_caption=The Grier setting has the coherence to justify attributing this tune to Morgan, whoever that Morgan was. Some day we may find out.
+|f_caption=TThe members of this very old tunes family, which Bayard calls the "Welcome Home" group, appear in major, modal, duple-time, triple time, vocal and instrumental forms.
-|f_source=[https://soundcloud.com/marylaplant/banks-hornpipe-instrumental Soundcloud]
+|f_source=[https://www.youtube.com/watch?v=HqpNYhIOANU Youtube]
 |f_pix=420
 |f_picpix=200
-|f_article=[[Banks_Hornpipe_(1) | '''Banks Hornpipe''']]
+|f_article=[[Oyster_Wives_Rant_(The) | '''The Oyster Wives' Rant''']]
-Irish fiddlers have often recorded "The Banks" as well, including Michael Coleman, Lad O'Beirne, Sean McGuire, Andy McGann, Sean Keane, Seamus McGuire, and Joe Burke. Queens, New York, fiddler Brian Conway plays an exquisite version. However, Fr. John Quinn finds versions in Irish tradition in much earlier musicians' music manuscripts under the title "Morgan's Hornpipe." Fr. Quinn analyzed versions of the tune and came to some surprising conclusions:
+Bayard (1981) identifies the melody as belonging to the same tune group as "[[Welcome Home (3)]]," "[[Haughs of Cromdale (The)]]," "(Fare Thee Well) [[Sweet Killaloe]]," and "[[Wat Ye how the Play Began]]." The members of this very old family, which he calls the "Welcome Home" group, appear in major, modal, duple-time, triple time, vocal and instrumental forms. Fr. John Quinn categorizes this tune as a member of the "[[Haughs of Cromdale (The)]]" tune family, a large and complex tune family with many interrelated members and derivatives.  See note for "[[annotation:Haughs of Cromdale (The)]]" for more.   John Glen ('''Collection of Scottish Dance Music''', 1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, and is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Some see Irish cognates in the air "[[Óró 'sé do bheatha a bhaile]]/[[Óró Welcome Home]]" and the "[[Ballydesmond Polka (2)]]," but if in fact related, then they are distanced.
-<blockquote>
-''If one carefully studied the ABC structure of a fairly complete selection of tune variants, one might be expected to arrive at what the'' ''original setting the composer intended. It might become obvious how jumbled settings arose from performers not understanding the original'' ''intended structure.''
+"Oyster Wives' Rant" appears in the music manuscript copybooks of Luther Kingsley (1795, Mansfield, Ct.) and Edward Murphey (1790, Newport, R.I.). It also appears in Cumbrian musician John Rook's 1840 music manuscript under the title "[[Charles Rant]]."  Later, County Cork uilleann piper and Church of Ireland cleric [[wikipedia:James_Goodman_(musiologist)]] (1828-1896) entered it into Book 2 of his large mid-19th century music manuscript collection, copied from Aird's 1782 volume. An E dorian version of "Oyster Wives Rant" was collected in the early 20th century in Orkney (but described as "a Shetland Air") under the title "Da Scalloway Lasses"
-''A case in point is “Morgan’s Hornpipe”,'' [Stephen] ''Grier’s'' [1883] ''version of which I attach...The tune has a very clear structure:'' ''A, B+A; A’, B’+A’. The second half of the second part is a repeat of the first part. The third part is a variant on the first part, and'' ''the fourth a variant on the second plus a repeat of the variant on the first part. I imagine if Morgan, if he was the composer, wished to'' ''add a further variation, it would be A”, B”+A”, and if another A’’’, B’’’+A’’’, etc. ''
-''But it is obvious that nobody that I know of who has gone into print, or who has attempted to play this tune, actually understood the'' ''original intended structure. W.B. Lawrence, in'' '''Köhler''', ''has quite a jumbled structure: A, B+A”, A’+A’’’. Scott Skinner has'' ''perpetuated this structure, only varying the individual bars in his highly ornamented version, published by Hardie. In Ireland, Coleman'' ''and Maguire popularised this jumble.'' '''Ryan’s Mammoth Collection''' ''has a simpler setting, closer to the original, but which also'' ''doesn’t understand the intended structure: he has A, B+A’, B’. He claims Luigi Ostinelli of Boston as the composer, whereas Hardie has''
-''the story about Parazotti composing it under Mrs. Taff’s roof. The garbled structure of both Ostinelli’s and Parazotti’s “compositions”''
-''is proof enough to me that neither of them was the composer.''
-''The Grier setting attached has the coherence to justify attributing this tune to Morgan, whoever that Morgan was. Some day we may find'' ''out. If there were no other reference associating this gentleman with this hornpipe, we might be inclined to say maybe Grier called it'' ''after someone he got it from, for example. But there is an oblique reference to our man: John McCarthy of Cappamore, whose manuscripts'' ''range from 1876 to 1912, has a very minimal manuscript version of the tune, with structure A, A’ only, but with the title “The Morigan'' ''Hornpipe”. The intrusive “i” may be just the way “Morgan” was pronounced, following a similar intrusive “ə” whenever a “g” follows an''
-'' “r” in Gaelic.''
 }}