The Rose In The Garden

reel

Key signature: Amajor

Submitted on January 18th 2008 by justjim.

This tune has been added to 16 tunebooks.

Recordings of a tune by this name:

An Tobar Gl�é by Neil Mulligan
Brighid's Kiss by Lá Lugh
Crossroads by Máirtín O'Connor, Cathal Hayden, Seamie O'Dowd
Eavesdropper by Kevin Burke And Jackie Daly
I Can Hear You Smiling by Josephine Marsh Band
Senex Puer by Lá Lugh

Details ABC Sheetmusic Comments

Details ABC Sheetmusic Comments

A much overlooked reel from O'neil's, but not quite like this.This is how I play it. I searched here for it but couldn't find it. Are any of you familiar with it?

# Posted on January 18th 2008 by justjim

Fifth bar in on the A part, is that high "b" supposed to be a "B" on the middle line? It just seems a bit odd the way it is now. Great tune, though! Lovely lovely lovely!

# Posted on January 19th 2008 by Jeffery

Shouldn't the "g" in the second to the last bar be sharp? Nice tune.

# Posted on January 19th 2008 by Phantom Button

K: A Major ~ and ^G & ^g on any crossing variations

those last two bars ~ | cef^g abaf | ecBA FA A2 :|

bit also if you pick it up on the way ~

That mayhem was just as and example, so ~ A Major?!

# Posted on January 19th 2008 by ceolachan

Low & high & other possibilities ~ A-part, bars 5 & 6 ~ K: A Major

~ | EFAc d2 d/c/B | ce c/B/A BcAF | ~ or ~ | Ec^Ac d2 db | c2 ca B2 A/G/F | ~

# Posted on January 19th 2008 by ceolachan

Name sake

A beautiful driving march of the same name has been recorded by Gerry O'Connor in 'Sennex puer' and more recently by his son Donál in 'Tripswitch' where the tune ref. is given in the sleevesnotes.
there is also a beautiful reel called 'the Rose Garden' at; http://www.thesession.org/tunes/display/5003

# Posted on January 19th 2008 by birlibirdie

how come this tune is listed as being in D major then?

# Posted on January 19th 2008 by D.J.F.

High b is wrong

Jeffrey, you're right, the high b is a mistake; I've corrected the ABC. You can of course sharp the odd g for effect, but the tune centers on d and suits the major feel, so I don't think you would want to make it Amaj and sharp them all.
ceolachan, I can't tell from the ABC what you've done, so I'm printing it out to try it. Interesting discussion.

# Posted on January 19th 2008 by justjim

K: A Major

Sorry justjim, it is where it resolves at the end that determines the key, not the occasional D... It concludes, resolves, on A, both parts... Any movement form one note to the other that might pick up a G, the melody 'wants' that to be ^/#, and as natural/= it jars, sounds unnatural...

# Posted on January 19th 2008 by ceolachan

"~ the high b is a mistake ~"

Good of you to admit that, but that doesn't mean it is a mistake to jump an octave in playing a tune. As also previously illustrated, it is not unusual to do so, so can serve as a fun option, an open door rather than a closed one...

# Posted on January 19th 2008 by ceolachan

'wants' that to be ^/#, ~ thought in some places a =G works as well... But, it doesn't resolve on D, sorry. However, it is your submission and you do as you please... :-/

# Posted on January 19th 2008 by ceolachan

Jeeez

ceolachan, you are so right. It's obviously an A tune, What was I thinking? Or was I? I guess not. I can only plead that I am translating from my OM fingerboard into the letters and I'm new to ABC. I'll fix the key. What an amazing new way to look stupid in front of my peers. Thanks for your help.

# Posted on January 19th 2008 by justjim

You don't, don't do that... I didn't mean to belittle you. As I said, I like the tune and am grateful you put it here, and,. if not also obvious, I really like your 'mistake', it took me elsewhere with it and it was fun. So, no, you aren't stupid... My ma would be on you for using that word, so I guess she's coming out in me... And as to ABC-ing ~ that was a damned fine job if you haven't done it much. If you're 'new', well, that wasn't obvious. I've gotten the key wrong and worse before, including recently...

Again, thanks for a sweet bit of melody, much appreciated. ;-)

# Posted on January 19th 2008 by ceolachan

I like jumping octaves...

but in this case I really like the shape of tune with the lower B, so that would be my personal preference. Also, I'd play it without any Gs whatsoever. In the second to last measure of the B part I'd play: |cefa abaf| or |cefa-abaf|
... or, maybe those are G double sharps... ;)

# Posted on January 20th 2008 by muspc

Apologies more-than-justjim ~ usually the mayhem above occurs behind the scenes, via emails, or 4 times out of 5 anyway. :-/ 'Agony', probably a pinched nerve, has me being more up front lately and consequently less than considerate...

# Posted on January 20th 2008 by ceolachan

i reckon you could still play that "mistaken" high b in bar 5 and then follow that up with a high a in bar 7 after the c#s...just an attempt at a sequence slightly different to the one that it's supposed to be that's all!

What do you think?

# Posted on January 20th 2008 by D.J.F.

~ going low & high ~ A-part, bars 5 - 8:

# Posted on January 20th 2008 by ceolachan

& maybe even ~ dfaA | eAaB A2 :| :-/

# Posted on January 20th 2008 by ceolachan

Up & Down & Roundabout ~ hiccups, potholes and little bursts of energy...

I love those opportunities, often discovered by mistake or a misfiring memory, or even a slip of memory that takes you into some other melody's way, a fragment slipping in from another tune. Jumps up or trips down can offer a pleasant surprise, like the bump of a pothole in a road, or a steep drop, the short moment of freefall that your stomach seems to register as your body heads down before it. Those bursts of energy can surprise and excite. They can also be overdone, becoming too much, like leaving the known road with its occassional surprise and taking a side road that is all potholes and just a pain in the backside, a wrong turn, 'lost', loss of connection and direction and sense. A 'wrong turn' is when you have lost connection with the original melody and the treatment starts to show a disrespect for the original melody rather than true understanding, appreciation and joy, fun... Those extremes are more akin to vandalism rather than art or tradition... Yeah, sometimes that can be fun, but only now and then, not as the general norm...

What makes them work is having respect for the melody, mostly keeping it recognizeable, because that's why you chose to play it in the first place, I hope, because you like the melody, not because of what you can do to it or it can do for your bag of tricks. That applies to percussion too. So, you play it recognizeably most of the time, and then now and then you tickle it a little with a variation, to add that extra surprise and excitement. But, like with anything taken to excess, too much and it isn't a surprise or exciting, it becomes irritating and an imposition on the melody and rhythm rather than a compliment to it, or a pleasant contrast.

# Posted on January 20th 2008 by ceolachan

Slightly Deconstructed

I'm just looking for a third reel to the Willafjoerd and Spootaskerry from Shteland and so this one ended up with some syncopation:

# Posted on January 20th 2008 by swisspiper

Damn, we must have left the back door unlocked... ;-)

# Posted on January 20th 2008 by ceolachan

Nice tune

There is only one G note in the whole tune! I think on the fiddle it could be nice to use a G neutral (slightly sharp) --- rather than a natural or a complete Gsharp.

# Posted on January 21st 2008 by The Merry Highlander

...revisited

Checking back to see any added comments I listened to the tune and found yet another mistake in my transcription: the"f" in measure three should be a "c". Jeeez, how does that stuff happen? I mean, I know I did it, but how does it get past me?

# Posted on March 18th 2008 by justjim