The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

AU - AY

[COMMENT3] 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

[COMMENT4] 

AU GRAND CAFE. French Canadian, Air or Polka (2/4 time). F Major. Standard tuning. One part. Learned by French-Canadian fiddler Omer Marcoux (Concord, N.H.) after he heard the song sung as a prelude to a movie show. Miskoe & Paul (Omer Marcoux), 1994; pg; 1.

AU LONG DE LA RIVIERE. Cajun, Waltz. Swallow SW-6131, The Tracy Schwarz Trio - "Mes Amis!

AU VISIT LOU LOUP. Breton, Bourrée. Barnes (A Little Coupledance Music). Popcorn Behavior – "Journeywork" (1997).

AUBEY FOLEY’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard. AABB. A traditional tune. Cranford (Jerry Holland’s), 1995; No. 229, pg. 66. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992).

AUBEY FOLEY’S REEL. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 50, pg. 15. Rounder Records, "Jerry Holland" (1976).

AUBEY FOLEY’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. B Flat Major. Standard. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 49, pg. 15. Rounder Records, "Jerry Holland" (1976).

AUCHDON HOUSE. AKA- "Twa Craw" (song). AKA and see "Haughton House." Scottish, March. G Major. Standard. AABB. The tune is similar to the melody of the Scottish folksong "Twa Craw:" It as recorded by Joe Ryan (on "An Buchaille Dreoite", where he lists it as a Shetland tune), and as a result has some currency in Irish sessions.

***

There were twa craw, sitting in a tree,

Sitting in a tree, sitting in a tree;

There were twa craw, sitting in a tree,

On a cold and frosty morning.

***

Carlin (Master Collection), 1984; No. 134, pg. 82. Greentrax C9004, Jimmy Johnson (fiddle, with harmonium accompaniment by Pat Sutherland) – “Scottish Tradition – Shetland Fiddle Music."  Philo 1031, Boys of the Lough – “Lochaber No More” (appears as “Haughton House,” identified as a Shetland tune).

X:1

T:Auchdon House

M:2/4

L:1/8

R:March

Z:Transcribed by Paul de Grae

K:G

GB/G/ DG/D/ |B,/C/ D/B,/ G,A/B/ | cBAG | E2 EF |

GB/G/ DG/D/ | B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 GD :|2 G2 Ge/f/ |:

gfed | ed B>d | cBAG | E2 EF | GB/G/ DG/D/ |

B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 Ge/f/ :|2 G2 G2 ||

                       

AUCHENCRUIVE'S WELCOME. Scottish, March (4/4 time). A Major. Standard. AB. Composed by William Hardie, Jr. Bill Hardie, William Jr.'s grandson, says "I could only have been in my early teens when I first heard my grandfather play this march. On inquiring as to its origins he replied: 'I composed this tune for you, Bill.' It has been in my memory ever since..." Hardie (Caledonian Companion), 1986; pg. 26.

                       

AUCHINDOUN CASTLE. Scottish, Reel. B Minor. Standard. AAB. Composed by Alexander Walker. Auchindoun Castle, a three story tower house which in modern times is a ruin in poor condition, has had a tragic history. It was built in the 15th century for the unfortunate Earl of Mar, soon murdered by his brother, James III. Upon Mar’s death, the structure passed to Robert Cochrane, another unfortunate who was hanged in 1482. The Ogilvie clan held it for some years, but control passed to the Gordons in 1535, who in turn held it for 50 years until the Macintoshes ravaged the castle in 1591 in revenge for the murder of the Bonnie Earl o’ Moray. Although the castle was restored after the depredations of the Mackintishes, Gordon was killed a few years later in 1594 in the Battle of Glenlivet. By the 18th century the castle had fallen into disrepair and was abandoned, and stones from it were being appropriated for local building projects. The tune has some modern currency with Cape Breton fiddlers according to Paul Stewart Cranford (1991). Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 57, pg. 21.

                       

AUCHTERTYRE HOUSE. Scottish, Strathspey. D Major. Standard tuning. AA'B. Stewart-Robertson (The Athole Collection), 1884; pg. 123.

                       

AUDENARD BATTLE, OR LONDON SPY.  English, Jig. G Minor. Standard tuning. AABB. The town of Audenaerd is in Flanders. In 1708 an engagement was fought between British and French forces, resulting in a victory for the former. Narcissus Luttrell writes in A Brief Historical Relation of State Affairs (1857)

***

A general thanksgiving is appointed to be on Thursday, the 19th of August,

for our late victory over the French, near Audenard, when her majestie, ‘tis

said, will goe to St. Pauls, and hear Dr. Fleetwood, bishop of St. Asaph,

preach upon that occasion. An officer in our army in Flanders writes, that

‘tis in their power to invest which of the enemies towns they please, but

have not battering guns nor mortars nearer than Sas van Ghent, from whence

‘twill be difficult to get them, so long as the French lye on the canal near Bruges;

 and that a strong detachment was sent to inlarge the ways for our marching to

Rousselaer to straighten them. Tis said their army is diminish’d at least 20,000

men since the battle.

***

The melody was first published by I. Walsh and P. Randall in The New Country Dancing Master, 2nd Book (London, 1710). It subsequently appeared in several of the Walsh publications, including The Second Book of the Compleat Country Dancing Master (London, 1719), The Second Book of the Compleat Country Dancing Master, 3rd Edition (London, 1735), and The Second Book of the Compleat Country Dancing Master, 3rd Edition (London, 1749). It also appears in the later Playford editions, published by John Young: entitled The Dancing Master, or Directions for Dancing Country Dances (London, editions of 1713, 1714, 1718, and 1728). The second part only consists of six measures. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 6.

X:1

T:Audenard Battle, or London Spy

M:6/8

L:1/8

R:Jig

S:Walsh – Second Book of the Compleat Country Dancing Master, 3rd Edition (1735)

K:G Minor

g|g2d d2g|fdB B2e|ecA A2d|dBG G2g|g2d d2g|

fdB Be|ecA Bd^F|(G3 G2)::A|B>cB d2B|d/e/fB A2d|

G/A/BG A2D|G/A/Bc d2g|fdB AG^F|(G3 G2):|

 

AUGHACASHEL. Irish, Reel. G Major. Standard tuning. AABB’. Composed by fiddler and piano player Josephine Keegan (b. 1935), Mullaghbawn, south County Armagh, in remembrance of music played and heard in Aughacashel, outside Drumshanbo, County Leitrim. Keegan (The Keegan Tunes), 2002; pg. 23.

X:1
T:Aughacashel
C:Josephine Keegan
M:4/4
L:1/8
N:The first part is rather like "Bill Harte's," also called "Sarah Hobbs'"
K:G
DEGA BG (3GGG|AGBG AGEG|DEGA Bded|gedB ABGE|
DEGA BG (3GGG|AGBG AGEG|(3Bcd ed Bdge|dBAc BG G2 :|
gG (3GGG GABd|eBdB GABG|A2 AB AE (3EEE|cABG AGED |
g2 ga bg e2|gedB ABGE|DEGA Bdge|dBAc BG G2 :|
"variation, 2nd part"
gBB2 GABd|egdB GABG|A2 BG AGEG|cABG ABcd |
g3a bgaf|gedB ABGE|DEGA Bdge|dBAA GABd :|

                       

AUGHAMORE. Irish, Reel. D Major. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 15, pg. 16.

X:1

T:Aughamore

M:2/2

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Delia's town, just a short distance from her native village of Aughtaboy.

N:Like so many beautiful Irish places names, Aughamore could fit nicely

N:into any charming line of verse.  No wonder the immigrant takes pride

N:in rehearsing the sound of his own native place.  He has lost much, but

N:certainly not all. No feeling can quite match that stirring of the heart

N:when an exile hears his "won place home" spoken on the lips of those he loves.

Z:Joe Reavy

K:D

FG | ADFA dAFG | ADFA fedc | BEED EFGf | gfed cAAc | dfdf cece |

BcdB AFDF | EFGA B2 (3dcB |1 cAGE D2 :|2 cAGE FD D2 ||

fgaf gece | dfed cAAg | fg (3agf bgec | dfeg fddf | afdf gece |

dfed cage | FGAB (3ccd ed |1 cAGE FD D2 :|2 cAGE D2 :||

                       

AUGHDARRA, THE. AKA and see "The Otter’s Den," "The Otter’s Hole," "The Water Dog’s Hole," "The Otter’s Holt," "Ríl an Madra Uisce," "The Water Hole," "The Windy Lane." Irish, Reel. Composed by Clare fiddler Junior Crehan. Source for notated version: Leitrim fiddler and piano player Charlie Lennon [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 12.

                       

AUGHTABOY. Irish, Jig. G Major. Standard tuning. AABB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy’s wife, Delia Morley (b. 1902), came from the village of Aughtaboy, County Monaghan, near the Cavan border. Reavy (The Collected Compositions of Ed Reavy), No. 87, pgs. 95-96.

X: 1

T:Aughtaboy

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:The village the Morleys came from Delia (Brigid),

N:Ed's wife, was born there February 18, 1902. The old

N:house still stands after these many years, though no

N:one now lives there. Four of the eight children are

N:still living: Delia and Margaret here in the States,

N:and Jim and Eileen in England.

K:G

D | GAG BGB | d^cd gdB | GFG BAG | FDF AGF |

GDB, G,B,D | DAF FEF | BdB cAF | AGF G2 :||

A | Bdg fdf | ece dBG | Bdg fdf | agf g2 A | Bdg fdf |

ece dBG | c/2c/2AG FEF | AGF G2 A ||

Bdg fdf | ece dBG | Bdg fdf | agf g2 a | bag faf |

gdc BAF | GBB FAA | cAF G2 ||

                       

AULD... See also "Old ..."

                       

AULD BESSY. AKA and see "The Scotch Laddie," "Finnegan's Dream," "Garryowen."

                       

AULD BOB MORRIS. Scottish. The tune appears in Thomson's "Orpheus Caledonius" (1725) where it is ascribed to David Rizzio (Queen Mary's secretary and an accomplished lutenist and singer). The ascription was removed by Thomson from his second edition, and the veracity of Rizzio's authorship is questionable.

           

AULD BRIG O' AYR, THE. AKA and see "Johnnie Steele," "Benholm Castle," "The New Brig o' Dee," "Bob Steele," "The Miller o' Dervil." Scottish,  Strathspey. F Major. Standard. AB. The tune is paired on the page with “The New Brig o’Ayr.” Kerr (Merry Melodies), vol. 3; No. 155, pg. 18.

X:1

T:Auld Brig O’ Ayr, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 155 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

(C2 C>)D F<F F>G|A>AG>F (D<F) (C<A,)|(C2 C>)D F<F F>G|A>G (A<c) d2 (3def|

(C2 C>)D F<F F>G|A>AG>F (A<c) (c<f)|d>ef>d c<A A>F|G>A B/A/G/F/ (D2 D)c||

A<c c>d f>ed>c|A>AG>F (D<F) (C<A,)|A<c c>d f>ed>c|A>G (A<c) (d2 d)c|

A<c c>d f>ed>c|A<A G>F (A<c) (c<f)|d>ef>d c<A A<F|G>A B/A/G/F/ (D2 D)C||

                       

AULD BRIG O' DON, THE. Scottish, Slow Air (‘Pastoral’). E Flat Major. Standard. AAB. Composed by J. Henry (1860-1914), who lived in Aberdeenshire and lead the Aberdeen Strathspey and Reel Society from its inception in 1903 until his death, according to Hunter. The author also reports that the old bridge at Balbownie, which spans the River Don, was built in the 13th and 14th centuries, and features a beautiful gothic arch, anchored on bedrock on either side and spanning sixty-seven feet. Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 60.

                          

AULD CHAPEL BRAE. Scottish, Air (4/4 time). G Major. Standard. AB. Composed by Bert Murray in memory of his grandfather, Alexander (Sandy) Murray of Banchory, Kincardine-shire. The air takes its name from the hill called Chapel Brae, where Murray's old cottar house was situated. Sandy was a fiddler who played at Lowlands social gatherings, often accompanied by his brother on the cornet and cousin on double bass. J. Murray Neil (1991) relates:

***

Sandy was an acquaintance of James Scott Skinner, who visited

him regularly. On those occasions, the children would sit

under the bed, which had been raised on blocks, while the

two men chatted and perhaps had a 'dram'. Scott Skinner

would often pass a small plug of tobacco through the spars

to the boys, which they would smoke in their clay pipes.

Sandy composed a number of fiddle tunes, which he wrote

out on strips of paper and left on the mantle‑piece, and which

occasionally could not be found after such a visit.

***

Neil (The Scots Fiddle), 1991; No. 95, pg. 128.

 

AULD CLETTEN ROE. AKA - "Auld Clett on Roe." AKA and see "I Went to the Well." Shetland, Wedding tune. Shetland, Mainland (district). D Major ('A' part), D Mixolydian ('B' part). Standard. AB. Shetland fiddler Tom Anderson said: "This tune was used as a 'test' tune at weddings in the old days. If the fiddler couldn't play it, or his playing was deteriorating, his 'supply' was cut off until he recovered." Anderson (Ringing Strings), 1983; pg. 62.

                       

AULD EAGE AND YOUNG NEVER GREES THE GITHER. See “Old Age and Young (Never Agrees).”

 

AULD FIDDLER, THE (BERT MURRAY). Scottish, Reel. A Major. Standard. AAB. Composed by Billy McGuire, formerly fiddler with the Scottish band the Whistlebinkies. Willie Hunter (with Violet Tulloch) – "Leaving Lerwick Harbour" (1995). Green Linnet SIF 3107, Aly Bain & Phil Cunningham – "The Pearl." X:1

T:The Auld Fiddler

C:Billy McGuire

S:Aly Bain \& Phil Cunningham

D:The Pearl

Z:Juergen.Gier@post.rwth-aachen.de

L:1/8

M:C|

K:A (3efg|a2ed cdBc|ABcd eaga|be (3eee c'e (3eee|d'ec'e be (3efg|\

a2ed cdBc|ABcd eaga|be (3eee ^de=de|cecB A2:|Ac|\

BE (3EEE BEcE|dEeE dEcE|BE (3EEE BEBc|dBGB A2Ac|\

BE (3EEE BEcE|dEeE dEcE|BE (3EEE ^DE=DE|CECB, A,3 c|\

BE (3EEE BEcE|dEeE dEcE|BE (3EEE BEBc|dBGB A2Ac|\

BE (3EEE cE (3EEE|dEeE fBgB|aeee ^dede|^defg a2|]

X:2

T:The Auld Fiddler

M:C

L:1/8

C:Billy McGuire

S:Arr G Blair

R:Reel

K:A

eg | a2 ed cdBc | ABcd eaga | beee c'eee | d'ec'e befg | a2 ed cdBc |

ABcd eaga | beee _e=ede | ceBe A2 :||: GA | BEEE BEcE | dEeE dEcE |

BEEE BEcE | dBGB A2 GA | BEEE cEEE | dEeE dEcE | BEEE _E=EDE |

CEB,E A,2GA | BEEE BEcE | dEeE dEcE | BEEE BEcE | dBGB A2GA |

BEEE cEEE | dEeE fEgE |1 aeee _e=ede | ceBe A2 :|2 aeee _e=e_e=e | _e=efg a2 ||

                       

AULD FOULA REEL, DA. AKA and see "Foula Reel," "Da Auld Reel," "Shaalds o' Foula." Shetland, Reel. A Major. AEae. AAB. The melody is the traditional accompaniment for a special dance from the Island of Foula, in the Shetlands. On the Island of Yell, also in the Shetlands, the tune in known as "Da Auld Reel," according to Alastair Hardie. Flett & Flett (1964) state that The Auld Reel was a Shetland dance for three couples (in Whalsay) traditional to the isles which, by 1900, had almost disappeared as a separate dance and survived in combination only with the Shetland Reel, having been supplanted by dances from the mainland of Scotland. The traditional Shetland wedding incorporated the Auld Reel and was performed into the last decade of the 19th century; these first Auld Reels were known as the Bride's Reels and were performed by the womenfolk present who danced them in turn. These were followed by the Bridegroom's Reels, with the men taking the place of the women and danced again in turn. "At the end of each of the Bride's Reels, the 'married woman' collected the 'fiddler's money' from the dancers. The bride and the other dancers in the first Reel usually gave a shilling, those in the next Reel gave a sixpence, and so on, descending to threepence from the last dancers of all...in the same way the 'married man' collected...from the men at the end of each of the Bridegroom's Reels. This 'fiddler's money' was the only payment which the fiddler received in those days, but with a big company it was a more than sufficient reward" (Flett & Flett, 1964). The whole series of dances could take up to two hours. In later years the Auld Reel was supplanted by Shetland Reels for most of the ritual, though it still was featured for a portion of the dancing. For an extensive and thorough treatise on the subject see Flett & Flett pgs. 70-74. Source for notated version: Tom Anderson (Shetland) [Hunter]. Hardie (Caledonian Companion), 1992; pg. 123. Great Meadow Music GMM 2002, Rodney Miller & David Surette – "New Leaf"

(2000).

                       

AULD GRADEN KIRN.  Scottish, Waltz. D Major. Standard. AABB. The tune was in the repertoire of Borders fiddler Tom Hughes. A ‘kirn’ is an end-of-harvest celebration. Liner notes to Hughes 1981 recording give: "When Tom and his father played for dances this was the common tune for the St Bernard's Waltz.  Tom had no title to the tune but the kirn at Old Graden near Yetholm was always a great gathering.”

X:1
T:Auld Graden Kirn, The
S:Lori Watson, Fiddle 2003
Z:Nigel Gatherer
L:1/8
M:3/4                  
K:D
fe dB AG | FA df ed | B2 d3 B | A6 |
f3 efg | a2 f2 d2 | Bc dB cd | e6 |
fe dB AG | FA df ed | B2 d3 B | A6 |
g3 fga | a2 f2 e2 | d3 edc | d4 z2 :|
a3 eae | a2 e2 d2 | c2 B2 A2 | g6 |
g3 fgf | g2 f2 e2 | d2 c2 B2 | A6 |
a3 eae | a2 e2 d2 | c2 B2 A2 | g6 |
f2 e2 d2 | e2 B2 c2 | d3 edc | d4 z2 :|]

X:2
T:Auld Graden Kirn
S:LP, Tom Hughes and his Border Fiddle (1981)
Z:Nigel Gatherer
L:1/8
M:3/4
K:D
A2 | f>e d>B A>G | F>A d>f e>d | B2  d2  B2  | A4
f2 | g2  f2  a2  | a2  f2  d2  | B>c d>B c>d | e4
A2 | f>e d>B A>G | F>A d>f e>d | B2  d2  B2  | A4
f2 | g2 f2 a2 | a2 f2 e2 | d3 edc  | d3 ||
ef>g | a3 faf  | a2 f2 d2 |c2 B2 A2 | g6  |
g3  fgf  | g2  f2  e2  | d2  c2  B2  | A4
d>f | a3  faf  | a2  f2  d2 | c2 B2  A2 | g4
(3gag | f2 e2 d2 | e2 B2 c2 | d4 d2  | d4 |]

                       

AULD HOUSE, THE. Scottish, Highland Schottische. G Major. Standard. One part (Neil): AABB (Kerrs). The tune and song in the traditional style are by Lady Nairne, popular until before the Second World War.

***

The mavis still doth sweetly sing,

The bluebells sweetly blaw,

The bonny Earn's clear winding still,

But the Auld House is awa'.

The Auld House, the Auld House,

Deserted tho' ye be,

There ne'er can be a new house

Will seem sae fair to me?

***

Kerr (Merry Melodies), vol. 3; No. 207, pg. 24. Neil (The Scots Fiddle), 1991; No. 109, pg. 146.

 

AULD INN, THE. Scottish, Jig. A Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 265, pg. 28.

X:1

T:Auld Inn, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 265  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E | EFG AGA | F2B B3 | G2e e3 | c2A AGF | EFG AGA | F2B B2A |

GAB AGF | (E3 E2) :: d | cBc ABc | (d3 d2)c | BAB GAB | (c3c2)B |

A2A ABc | d2F B2A | G2e dcB | (A3 A2) :|

                       

AULD JEW, THE. AKA and see "Black Headed Dearie" (Ceann Dub Oilir), "The Irish Round," "Kennington Wells." Scottish. Williamson got the tune from a 'very old' Scottish manuscript printed by Stenhouse. It was known in the Scottish Highlands as "Cuir, a Ghaoil Dileas, Tharrum do Lamh," which translates as 'Place, True Love, Thine Arm About Me'. A similar tune was apparently known to Irish harpers, according to the Scottish fiddler and composer Fraser (1816) who states that, notwithstanding their own national prejudices, on hearing his Scottish rendition they at once relinquished all claim to it "considering their own an imperfect imitation of the original." Flood (1906) claims Irish composition for the tune, dating it to the first decade of the 17th century or earlier, but indicating it was known as "The Auld Jew" in Scotland. Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

                       

AULD JOE OF HARESHAWHEAD. AKA – “Old Joseph of Hareshawhead.” English, Strathspey. England, Northumberland. G Major. Standard. AABBCCDD. Composed by musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Graham Dixon (1995) discovers that Hareshawhead is a farm on the Bellingham-to-Otterburn Road, Northumberland, and that “Auld Joe” is reputed to have referred to Joe Armstrong, the farmer. See also note for “The Coal Fiddle.” Source for notated version: an unattributed 19th century manuscript in the collection of Tommy Breckon [Dixon]. Dixon (Remember Me), 1995; pg. 44.

                       

AULD KIRK, THE. Scottish, Strathspey. E Major. Standard. AABB’. Kerr (Merry Melodies), vol. 4; No. 133, pg. 16.

X:1

T:Auld Kirk, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 133  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:E

g>ed>B (c<e) d2 | c>BA>G F<A F>D | g>fe>d (e<g) d2 | c<A d>B G3d :|

|: B<G G>A B<d d>B | c>BA>G F<A F>D | B<G G>A B<d d<g |1

c<A d>B G3d :|2 (3efg (3fga g3 z ||

                       

AULD LANG SYNE. Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): G Major (O’Farrell, Sumner): A Major (Stewart-Robertson). Standard tuning. AABB. Robert Burns (1759-1796) had the air to which he wrote his famous lyrics from an old man's singing, and immediately wrote it down upon hearing as he thought it "exceedingly expressive" and which he later remarked "has often thrilled through my soul." The song was sent by him to Johnson for inclusion in the Scots Musical Museum with a note that it was an old song with additions and alterations (Neil, 1991). Fuld (1966) states that the extent of Burns' responsibility for the words and tune has always been controversial, and states that it is "generally agreed that he was not the author of the words of the first verse," which he points out is the only one everyone knows. According to Robert Chambers [Scottish Songs Prior to Burns, 1890], the earliest printing of a song called "Old-Long-Syne" [sic] with the famous opening line is in James Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers wrote that he song appears "as early as the reign of Chas. I, its associations conveyed in a song of many (10) stanzas", finally "brought together (in Watson’s book) in a song of many stanzas." In fact, there were ten stanzas given in Scots Poems. These early printings, including Burns’ version, were to melodies other than the air famous in modern times (interestingly, Burns wrote another song to the "Auld Lang Syne" melody that is substantially the one we know today, which he called "O Can Ye Labor Lea, Young Man," also known as "I Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]). See abc’s below.

***

Fuld finds identifying motifs for the modern melody for "Auld Lang Syne" in Playford's "The Duke of Buccleugh's Tune" in Appolo's Banquet (1687), and subsequently and more elaborately as "The Miller's Wedding" (in Bremner's Scots Reels, c. 1765), "The Miller's Daughter [1]," "The Lasses of the Ferry," "Sir Alexander Don's Strathspey," "Roger's Farewell," an the "Overture" to William Shield's opera Rosina (London, 1783). A minor-key tune called "Old Lang Syne, by Mr. Beck" is in the Balcarres manuscript (a lute manuscript at Balcarres House in Fife), and shows some similarities to the tune in Volume 4 of the Scots Musical Museum. The Balcarres tune also appears in Playford’s A Collection of Original Scots Tunes (1700) and the Sinkler Manuscript (1710). According to Fuld the words and the present melody were first printed together in 1799 in George Thompson's A Select Collection of Original Scottish Airs (London), but, Fuld states, "it is not clear whether Thomson or Burns brought the words and melody together," and it is not clear exactly which air Burns heard the aforementioned old man singing. The late Bruce Olson, however, found another version of the song called "Auld Lang Syne" in both editions of Orpheus Caledonius (c. with the tune, and called “The Soldier's Welcome Home” in Walsh's British Musical Miscellany, III, n.d. (1735).

***

Stewart-Robertson prints a strathspey version of the tune arranged by John MacAlpin of Killin, for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang Syne" early in the 19th century.

***

As a young man Mark Twain thought to learn music and tried first one instrument, then another, before finally settling down with an accordion. After determining its rudiments, he learned the popular air “Auld Land Syne,” and for about a week he continued to torture his unwilling listeners with the melody, when he, being of an ingenious turn of mind, endeavoured to improve upon the original melody by adding some variations of his own device. Just as he finished the tune with a suitable flourish, his landlady stepped into his room and said, “Do you know any other tune but that, Mr. Twain?” He told her meekly he did not. “Well then,” said she, “stick to it just as it is; don’t put any variations on it; because it is rough enough on the boarders the way it is now.” As it happened, half the boarders left anyway, while the other half would have had not the landlady discharged Twain first. The aspiring musician went from house to house, but none would undertake to keep him after one night’s music, so, at least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy, by name. He says:

***

The first time I stuck up the variations, a haggard care-worn,

cadaverous old man walked into my room and stood beaming

upon me a smile of ineffable happiness. Then he placed his hand

upon my head, and looking devoutly aloft, he said with feeling

unction: “God bless you, young man! God bless you! for you

have done that for me which is beyond all praise. For year I

have suffered from an incurable disease, and knowing my doom

was sealed, and that I must die, I have striven with all my power

to resign myself to my fate, but in vain--the love of life was too

strong within me. But heaven bless you, my benefactor! For since

I heard you play that tune and those variations, I do not want to

live any longer--I am willing to die--in fact, I am anxious to die.”

And then the old man fell upon my neck and wept a flood of happy

tears. I was surprised at these things, but I could not help giving the

old gentleman a parting blast, in the way of some peculiarly lacerating

variations, as he went out of the door. They doubled him up like a

jackknife, and the next time he left his bed of pain and suffering he

was all right, in a metallic coffin.

***

At last Twain gave up the instrument, and from then on gave amateur musicians a wide berth.

***

Burns verses (from a letter of 1793 to publisher George Thomson) go:

***

Should auld acquaintance be forgot,

And never brought to mind?

Should auld acquaintance be forgot,

And days o' lang syne?

Chorus:

For auld lang syne, my Dear,

For auld lang syne,

We'll tak a cup o' kindness yet,

For auld lang syne -----

***

We twa hae run about the braes,

And pu't the gowans fine;

But we've wander'd mony a weary foot

Sin auld lang syne -----

***

We twa hae paidlet i' the burn,

Frae mornin' sun till dine:

But seas between us braid hae roar'd,

Sin auld lang syne.----

***

And there's a hand, my trusty feire, 

And gie's a hand o' thine,

And we'll tak a right gude-willie waught,

For auld land syne ----

***

And surely ye'll be your pint-stowp,

And surely I'll be mine;

And we'll tak a cup o' kindness yet,

For auld lang syne. ---

***

Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 72b, pg. 30. McGibbon (Scots Tunes, Book 1) c. 1762; pg. 14. Neil (The Scots Fiddle), 1991; No. 189, pg. 244. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 9 (appears under the title “Why should Old acquaintance be forgot”). Stewart-Robertson (Athole Collection), 1884; pg. 1. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 83 (originally set in the key of ‘C’ major). Tannahil Weavers IV (1981. See abc X:2).

X:1

T:Auld Lang Syne

M:C

L:1/8

N:”As arranged by John McAlpin, Killen”

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

R:Strathspey

K:A

E|A2A>c B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|

|:a|e<cc>A B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F A2A:|

X:2
T:Auld Lang Syne
S:??, heard on Thistle and Shamrock and possibly misremembered

N: (AK)This is the Tannahill Weavers (IV) version
Z:Jerome Colburn
M:2/4

L:1/8
K:D
DE | F3 G | A2 F2 | E3 D | D3 D | D2 d2 | c2 d2 | B4 |-B2  \
Bc | d3 d | c2 BA | B3 A | E4 |-E2 \
dc | B3 A | FEFA | B4 |-B2 :|**

X:3

T:Auld lang Syne

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1762)

Z:AK/Fiddler’s Companion

K:F

cd | f3g (fg) a2 | c2A2 “tr”G2F2 | f2d2 (fg/a/) ”tr”(g>f) | d3f d2 :: fg | a2F2 (Ac)dF | A2(GA) G3A | c3d (cd)cA |

(cA)(cd) f2 (cB) | A2 (GF) A>BcA | (dc)”tr”(BA) G(BAB) | (cA)(cd) (fc)(dA) | c3d c2 :: cd | fcfg (f>ga)A |

(cA)cd (cA)”tr”(GF) | fcfg (f/g/a) “tr”(g>f) | d3f d2 :: fg | (a/g/f/g/ a)F Acdf | A2 (GA) G3A | (c/B/A/B/ c)d (f/d/c) (d/c/A) |

cAcd f2 (cB) | Ac (B/A/)(G/F/) (A/G/A/B/) (A/B/c/A/) | (dc/)d (BA/)B (GB)(AB) | (c/A/G/A/) cd (f/d/c) (d/c/A) | c3d c2 :|

           

AULD LUCKIE