Annotation:Gobby-O (The)
Tune properties and standard notation
GOBBY-O/GOBBIE O, THE (An Gobbi O). AKA and see "Jefferson and Liberty," "Jefferson's March," "Gaby Boy (The)," "Bay of Bantry (The)." Scottish (originally), English, Irish; Jig. A Minor (O'Farrell): A Dorian (most versions): A Major (O'Neill/1850). Standard tuning (fiddle). AB (Stanford/Petrie): AABB (most versions): AABC (Kerr). One suggestion regarding the meaning of the title postulates a progressive derivation from "Gaberlunzie Boy" (i.e. beggar boy), shortened to "Gaby Boy (The)," and finally morphing into "Gobby-O." Another suggests the title derived from the Gaelic word gob, meaning 'mouth' or 'beak'. O'Sullivan & McCandless (2005) say that the title "most likely refers to a 'gobby-stick' (a flute or fife), the inference being that these woodwind instruments are hollow sticks played with the mouth (gob is the Irish language word for 'beak' or 'mouth')." O'Neill (1922) says: "Classed as an Irish tune in Aird's Selections of Scotch, English, Irish and Foreign Airs [vol. 4, 1796, p. 20] and in Brand & Weller's Country Dances for 1798. Aird designated the provenance of the tune as 'Irish'. 'The Gobby O' was a simple jig of two parts. The possibilities of elaboration based on a popular strain are well illustrated by Jeremiah Breen, a blind fiddler of Ballybunnian, North Kerry, as noted down by his pupil Thomas Rice." Two tunes unrelated to the present "Gobby O", but related to each other, and also called "The Gobby O" appear in the music manuscript collections of flute player Thomas Molyneaux (1788, Nova Scotia) and fiddler Thomas Fife (1780, probably Perthshire and perhaps at sea).
The tune became popular in American fife and drum repertory, especially under the title "Jefferson and Liberty," the name of a campaign song set to the melody. Previously, the melody also served as a vehicle in England for the topical song "Wilkes and Liberty," honouring the 18th century politician and journalist John Wilkes (1727-1797), who championed the cause of American independence in England and was jailed for his troubles.
Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O'Neill]; the c. 1847 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown].
Printed sources: Cole (1000 Fiddle Tunes), 1940; p. 55. Kennedy (Fiddler's Tune Book), vol. 2, 1954; p. 42. Kerr (Merry Melodies), vol. 1; No. 26, pg. 33. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 16, p. 7. O'Farrell (Pocket Companion), c. 1805; p. 19. O'Neill (Krassen), 1976; p. 32. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 844, p. 157. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 105, p. O'Neill (Waifs and Strays of Gaelic Melody), 1922; No. 68. 33. Doyle (Plain Brown Tune Book), 1997; p. 25 (appears as an untitled "Gigg" in the Ellis Knowles MS). Raven (English Country Dance Tunes), 1984; p. 108. Roche Collection, 1983, vol. 3; No. 112, p. 35. Ryan's Mammoth Collection, 1883; p. 85. Stanford/Petrie (Complete Collection), 1905; No. 546, p. 138. Sweet (Fifer's Delight), 1964/1981; p. 28. Wilson (Companion to the Ball Room), 1816; p. 121.
Recorded sources: Jerry O'Sullivan - "O'Sullivan meets O'Farrell" (2005).
See also listings at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources [1]