Annotation:Eleventh of October

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X:1 T:11th of October, The M:C| L:1/8 R:Reel S:Patrick O'Farrell music manuscript collection (c. 1860's, Ballinamuck, Co. Longford) Z:Transcribed by Conor Ward K:A F|EA (3cBA eA (3cBA|EA (3cBA (dB)Bd|(3cBA eA (fA)gA|(af)ed (cA) A:| g|a2 ae a2 ae|(3fga ec (dB)Bg|a2 ae a2 ae|(3fga ed (cA)Ag| a2 ae a2 ae|(3fga ec (dB)Bd|(3cBA eA (fA)gA|(af)ed (cA) A2||

ELEVENTH OF OCTOBER. AKA - "11th of October." AKA and see "After the Hare," "Ugly Customer (An)." Irish, Reel. A Major. Standard tuning (fiddle). AB (O'Connor): AABB (Levey). See note for "Annotation:Ugly Customer (An)" for more. Researcher Conor Ward finds the reel in manuscripts from County Leitrim (biography:Stephen Grier, c. 1883) and County Longford (Patrick O'Farrll, c. 1860's) with Levey's "Eleventh of October" title but also as "Ninth of August (The)." However, he has found a minor-mode version contemporary with O'Farrell printed in America by Boston publisher Elias Howe in Musician's Omnibus, vol. 2 (c. 1865, p. 123) as "Scotch Reel." "After the Hare" and "Ugly Customer (An)" are cognate tunes. "The 11th of October" is contained in the music manuscript collection of curate and fiddler biography:Rev. Luke Donnellan (1878-1952), Oriel region, south Ulster[1] Researcher Connor Ward posits that Edward Riley's "Duvil's Hornpipe" is a cognate tune, and, when transposed to the key of 'A' the correspondences are compelling. Although there are melodic differences, there is a relational similarity in contour, cadence and structure that strongly suggest relatedness.

Gerry O'Connor notes that the 11th of October, 1899, was the date of the start of the 2nd Boer War, although the tune and title were in circulation prior to that date (meaning there is another significance to the date).

Additional notes
Source for notated version : - Rev. Luke Donnellan music manuscript collection (c. 1909, Oriel region, south Ulster) [O'Connor].

Printed sources : - Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 52, p. 22. O'Connor (The Rose in the Gap), 2018; No. 140, p. 80.

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  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.