Annotation:Rivals (The)
X:1 T:The Rivals M:6/8 L:1/8 B:O'Neill's Music of Ireland. 1850 Melodies, 1903, p. 208, no. 1103 N:The last 2 notes of part B have been moved to the beginning of part C ; N:the last note of the 1st bar of part C has been corrected (a instead of a2). Z:François-Emmanuel de Wasseige K:A (a/f/)|ecA A>BA|{d}cBA Aaf|ecA A>BA|dBG GBd| {d}cBA A>BA|ecA Ace|{=g}fed edc|dBG A2:| |:(c/B/)|A>aa aea|{d}cBA ABA|=G>=gf {a}gfg|dBG GcB| A>aa aea|fga ef=g|{=g}fed edc|dBG A2:| |:(d/B/)|A>aa e2a|{d}cBA A>cB|A>aa ef=g|dBG GcB| Aaa efg|fga ef=g|{=g}fed edc|dBG A2:|]
RIVALS (THE). AKA and see "How Much Has She Got?." Irish, Jig (6/8 time). Standard tuning (fiddle). AABB. Paul de Grae provides a cogent observation:
Usually, when a tune is shown in [O'Neill's Music of Ireland] in a major mode and in [O'Neill's Dance Music of Ireland] in a minor mode, it is the [Dance Music of Ireland] setting which sounds more correct, especially with tunes in the key of A. In this case, however, the [Music of Ireland] setting--with three sharps in the key signature and a liberal sprinkling of G naturals--sounds preferable to the [Dance Music of Ireland] setting, which is in A dorian (i.e. with F# only). This seems to be confirmed by the [O'Neill's Irish Music, 134] setting, which has a key signature of two sharps with just a penultimate G# accidental in each part[1].
See notes for the related tunes "annotation:Field of Flowers (The)" and "annotation:How Much Has She Got?" for more.
