The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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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] |
AU GRAND CAFE. French Canadian, Air or Polka (2/4
time). F Major. Standard tuning. One part. Learned by French-Canadian fiddler
Omer Marcoux (
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.
AUBEY FOLEY’S
REEL.
Canadian, Reel.
AUBEY
FOLEY’S STRATHSPEY.
Canadian, Strathspey.
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.
AUCHTERTYRE HOUSE. Scottish, Strathspey. D Major. Standard tuning. AA'B.
Stewart-Robertson (The Athole Collection),
1884; pg. 123.
AUDENARD
***
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
‘tis in their power to invest which of the enemies
towns they please, but
have not battering guns nor mortars nearer than Sas
van
‘twill be difficult to get them, so long as the French
lye on the canal near
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 (
X:1
T:Audenard
Battle, or
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
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
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
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
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
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
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'
X:1
T:Auld
Brig O’
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.
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:
***
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 :|