Annotation:O'Connell's Daughter

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X:1 T:O’Connell’s Daughter M:C L:1/8 R:Reel B:Rev. Luke Donnellan, “Oriel Songs and Dances”, Journal of the County B:Louth Archaeological Society vol. 2, No. 2 (Sept. 1909); No. 1. B:https://www.jstor.org/stable/27727870?read-B:now=1&refreqid=excelsior%3A6617c48d5f7231a6b936183ad5f11506&seq=16 Z:AK/Fiddler’s Companion K:C P:Original in JCLAS vol. 2, No. 1 B|cded c2 cd|cded cAAB|cded cfed|cAGE EDDg|| egga gage|cded cAAg|eaab abag|egag eddg| cded c2 cd|cded cAAB|cded cfed|cAGE EDDg|| egga gage|cded cAAf|edcB cfed|cAGE ED D2|| P:As edited by Gerry O’Connor B|cded c2 cd|cded cAAB|cded cfed|cAGE EDDg:| egga gage|cded cAAg|eaab abag|egag eddg| egga gage|cded cAAB|cded cfed|cAGE EDD||

O'CONNELL'S DAUGHTER. Irish, Reel (whole or cut time). C Major. Standard tuning (fiddle). AB. "O'Connell's Daughter" is a reel in the music manuscript collection in the possession of biography:Rev. Luke Donnellan (1878-1952), Oriel region, south Ulster^[1] It was printed in Donnellan's article "Oriel Songs and Dances" in the Journal of the County Louth Archeological Society, vol. II (No. 2, Sept., 1909; No. 1) and was somewhat garbled in the transcription. The key signature, for example, appears as two sharps, although clearly in the key of C major. The second strain is irregular and was reconstructed by modern fiddler Gerry O'Connor for his 2018 publication.

O'Neill's "She's a Daughter of Daniel O'Connell" is a musically different tune with a similar title.

Additional notes
Source for notated version : - Rev. Luke Donnellan music manuscript collection [O'Connor].

Printed sources : - Rev. Luke Donnellan, “Oriel Songs and Dances” (Journal of the County Louth Archeological Society, vol. II), No. 2, 1909; No. 1. O’Connor (The Rose in the Gap), 2018; No. 89, p. 60.

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↑ Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by an unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler.

[1] Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by an unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler.

[1]