I don’t recall seeing this posted before. I found this in the rec.music.celtic board today. I make no warranties on the accuracy, etc. but it looks like a useful site. http://www.sosyourmom.com/occ/tunes.html
Mike
I like this line on the home page: 
NOTE: WHILE ALL TUNES HAVE BEEN TRANSPOSED FROM Eb, Bb, F and other such “orchestral” keys into “USER FRIENDLY” (for the untrained musician) keys like A, D and G, it is eminently possible in the NWC programme to move these back to their original keys or to further transpose them to things like Ab. (But why would you want to?)
See Martin’s thread about disclaimers.
Of course, who of Turlough’s descendants would bring a lawsuit concerning the re-keying of his tunes?
Nice site - and one where I could see myself wasting a great deal oft time in days to come. Thanks.
While I have forked out for the book - I love ABC and its great to have all the tunes - transposed (and ready to retranspose) and also ready to be printed emailed, linked etc. Yay
Wicked.
Paul
All that work on the page and NO guitar chords so friends could
play along, 
not TOO useful, after all
Lolly
If they need chords written out for them (to O’Carolan tunes, sheesh) you don’t want to play with them anyway.
DING!!!
Yes, Bloomie and Darwin, you are correct BUT,
so many people out there could care less if I made a cd or not.
When I ask them to record with me, and give them a roughed-in
cd and the sheet music, they listen once and maybe try to
play along. Then I beg for months, and sometimes, finally I can
get someone to come over and sit for an hour and play for me.
I pay them, and they are gone, not caring if they played good or bad.
Without the Chords on the sheet music they say; “oh, not that one”!
and I know its cause they have been too un-caring to even try to figure
out the chords. I guess I just need to meet some musician who gives
a darn; but then they would be working on their own album, wouldn’t they!
Lolly
You shouldn’t be paying a “guitarist” who can’t play unless he has chords written out for him! Seriously! A guitarist worthy of being paid for session work won’t have any trouble deriving his or her own chords. They may have trouble getting other things right, if they are not familiar with ITM, but they shouldn’t have any trouble deriving the chords.
Quite a few of the collections I’ve seen with chords added are just plain wrong. This is mainly because the chord chooser has been unaware of the various different modes in ITM.
Lolly,
Try to find a guitarist who is an avid listener of rock and roll oldies and who can play these tunes without a chart. He will already know the proper chords and turnaround patterns for trad music, and will likely be able to properly strum a reel or hornpipe right away (he may have to practice a little at strumming jigs). If he can play rock and roll “slow dance” tunes, he can likely play an air or an O’Carolan tune as well. Give this guy a rough draft of one of your tunes, and he should be able to bang out a chord chart in two or three listenings.
I will admit to an interest in why an itinerant harpist, like O’Carolan, would perform his music in ‘orchestral’ keys, such as Eb, rather than in more standard ‘folk’ keys…This makes little sense to me. I know little about folk harps. However, I have played in groups with them… Looking over the instrument, and seeing what strings are ‘color-coded’, and what sharping levers are considered standard, I am confused… (I find the O’Carolan site’s disclaimer odd for a number of reasons…This is just one of them…)
I must be over-looking something…Can anyone help with an explanation?
Best.
Byll
O’Carolan did not write his own tunes down (for the 12 year old joke thread: did you ever see carolan’s harp. …well neither did he :roll: ), in fact most of his tunes were notated from the last surviving harpers by Bunting, long after Carolan’s death. Notations were usually made by the cultured class and being culturesd they wrote them as they heard them, ignoring whether or not the harp was tuned to concert pitch (compare this to settings of dance music in O’Neill’s where pieces taken from playing on the flat pipes often turn up in keys with loads of flats while nobody would even think of playing them in those keys).
Wirestrung harps like the one carolan and his contemporaries played have a tendency to go all over the ship whith changes in temperature and humidity, Whne not playing with anyone else it’s often easier not to bother tuning them up to concert pitch. I play the odd time with harper/fiddler Paul Dooley, on occasion his harp was down two full tones, just not worth the hassle of tuning but no problem for solopieces (hearing him play makes you appreciate Carolan’s tunes by the way). ANyone who would make a nottation of that without thinking of the practicalities would be led to write unusual keys.
Makes sense…Thank you, Peter.
Best.
Byll