The Fiddler’s Companion

© 1996-2010 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]

 

 

 

N' CARN GORM. AKA and see "Cairngorm Mountain."

 

N' COMUNN RIOGHAIL GAIDHEALACH. AKA and see "The Highland Society of Scotland [1]."

 

N' CUALA SIBH MAR THACHAIR DHUINN. AKA and see "Culloden Day."

 

N' DEAN THU RUITH AIR FALBH LEAM. AKA and see "Will You Run Awa' Wi' Me?"

 

N' OIDHCHE RO'N PHOSADH. AKA and see "Feet Washing."

 

N' T-APARAN GOIRID. AKA and see "The Short Apron."

 

TRUPA GHAIDHEALACH. AKA and see "The Highland Troop."

 

NA CAOIRIGH AR NA SLÉIBHTE. AKA and see “The Sheep on the Mountains.”

 

NA CEANNABHÁIN BHÁNA. AKA and see “The Little Fair Cannavans.”

 

NA COIS CEIMEANNA (The Stepping Stones). AKA and see “Jenkin’s Hornpipe,” “Stoney/Stony Steps,” “Washington Hornpipe.” Irish. Ireland, County Donegal. From the repertoire of fiddler John Doherty, County Donegal, Ireland, who called it “The Stepping Stones” due to its rising and falling step-like melody, according to Caoimhin Mac Aoidh. The tune is still in the Donegal fiddle repertory, though its origins are Scottish (as “Jenkin’s Hornpipe”).

 

NA CONNERYS [1]. Irish, Air (6/8 time). Ireland, West Kerry. G Major. Standard tuning. One part. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 92, pg. 52.

 

NA CONNERYS [2]. Irish, Air (4/4 time). D Major. Standard tuning. One part. Cranitch (Irish Fiddle Book), 1996; No. 98, pg. 168.

 

NA SAIGHNEAN. AKA and see "The Oak Tree."

 

NAANIE AN' BETTY. Shetland, Shetland Reel. Shetland, Whalsay. C Major. Standard tuning. AABB. "A traditional reel from Whalsay, learned from the late John Irvine who said it was a very old reel. Naanie and Betty were apparently two very good dancers " (Anderson). Anderson, 1983; pg. 88. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).

 

NABOB, THE.  English, Jig. D Major. Standard tuning. AABB. The melody was published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773), followed by Straight & Skillern in their Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775). The word nabob derives from Hindi and Urdu words meaning a provincial governor, from the Mogul dynasty. Europeans, during the conquest and occupation of India, picked up the word which came to mean an important or wealthy person. However, the title probably refers to The Nabob, a play by Samuel Foote that premiered at the Haymarket in 1772. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 177.

X:177

T:Nabob, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

D2D D2D|A2A A2A|ABc dcB|ABG FGE|D2D D2D|A2A A2A|B2B “tr”cBc|d3 D3:|
|:BGd BGd|AFd AFd|BGd BGd|AFd AFd|BGE BGE|AFD AFD|E2E “tr”cBc|d3 D3:||

 

NAC RAIB GRAD AICI ORM. AKA and see "Wasn't She Fond of Me?"

 

NACH BEIR THU AIR A' BHANA-MHEARLACH. AKA and see "Catch and Kiss the Romp."

 

NACH BOCHD A BHI 'M FALACH. AKA and see "The Jacobites' Hiding Places."

 

NACH TRUAGH MO CHAS. AKA and see "Hard is My Fate."


 

NAE GOOD LUCK ABOOT THE HOOSE. AKA and see "There's Nae Luck Aboot the Hoose," "The Washing Day [1]," "Up and Waur Them A', Willie [1]."

 

NAE LUCK ABOOT THE HOOSE. See “There’s Nae Luck Aboot the Hoose.”

NAGLE'S LAST. American, Dance Tune (2/4 time). D Major. Standard tuning. AB. The composition is attributed to R.B. Nagle in Ryan’s Mammoth Collection. The tune is listed in Ryan’s as a 'jig', meaning not the familiar Irish jig in 6/8 time, but a type of syncopated 19th century old-time banjo tune, often called a ‘straight’ or ‘sand’ jig (the latter as a type of clog dance was performed to it on a sanded stage to facilitate foot movements). Cole (1000 Fiddle Tunes), 1940; pg. 84. Ryan’s Mammoth Collection, 1883; pg. 116.

X:1

T:Nagle’s Last

M: 2/4

L:1/8

R:Straight Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A,C/E/ D/F/z/F/ | F/F/E/D/ F/A/z/A/ | A,C/E/ D/F/z/F/ | E/D/C/E/ Dz/D/ | A,C/E/ D/F/z/F/ |

F/F/E/D/ F/A/z/A/ | A/G/E/G/ F/D/z/F/ | E?D/C/E/ D || f/ | a/f/g/e/ f/d/e/c/ | d/c/B/A/ B/b/z/b/ |

a/f/g/e/ f/d/e/c/ | d/c/B/A/ D>f | a/f/g/e/ f/d/e/c/ | d/c/B/A/ B/b/z/b/ | d’/a/b/g/ a/f/g/e/ | f/d/e/c/ dz ||

 

NAGOLEAN CHANT. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 54.

 

NAIL THAT CATFISH TO A TREE. Old-Time, Breakdown. G Major. Standard tuning. AABB’ (Songer). A modern composition by Volo Bogtrotters member Steve Rosen who wrote the tune on a fishing vacation to Florida. It seems he received advice from an old black man on how to clean catfish, notoriously difficult because of their tough skin -- ‘nail its head to a tree and pull the skin off with pliers’. The tune has become quite popular among old-time fiddlers, especially in the Mid-West. Interestingly, in the southern tip of Indiana, pan-fried catfish are known as ‘fiddlers’. Songer (Caledonian Companion), 1997; pg. 146. The Volo Bogtrotters - “The Volo Bogtrotters”

X:1

T:Nail That Catfish

L:1/8

M:C|

K:G

DE|:GG[GB]G [GA]G[GB]G|cB A2 B4|ABAG FGAB|AGFD (3EFE DE|

GG[GB]G [GA]G[GB]G|cB A2 [G4B4]|ABAG FDEF|1 G [B,4G4] DE:|2

G [B,4G4] D2||

|:[C4E4] [D4A4]|[E3c3] E [E2c2] [E2c2]|ABAG FGAB|AGFD (3EFE D2|

[C4E4] [D4A4]|1 [E8c8]|ABAG FDEF|G6 D2:|2 [E6c6][Ec]d|d2c2B2A2|[G6B6]||

 

NAKED AND BARE.  Scottish, Jig. Scotland, Shetland Islands. G Major. Standard tuning. AABB. The title refers to the state of a ships rigging (and nothing else!). Indeed, the Boys of the Lough recorded it in a medley with “The Full Rigged Ship” (presumably the opposite outfitting condition). Barnes (English Country Dance Tunes, vol. 2). 2005; pg. 91. Flying Fish 070, Boys of the Lough – “Wish You Were Here” (1978). Greentrax 277, Fiddler’s Bid – “Naked and Bare” (2005). 

X:1

T:Naked and Bare

M:6/8

L:1/8

R:Jig

O:Shetland Islands

K:G

F|G2A B2e|ede BAG|A2A B2e|B>AG E2F|G2A B2e|

ede BAG|E3 {g/e/}g2e|dBG (E2::E)|g2g g2b|aba afd|

{g/f/}g2g g2b|agf e2f|{g/f/}g2g g2b|aba afd|e2d {g/f/}g2e|dBG E2:|

 

NAME IT AND TAKE IT. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

NAMELESS LASSIE [1], THE. Scottish, Slow Air (4/4 time). G Major. Standard tuning. One part. Composed by William Marshall. Hunter (Fiddle Music of Scotland), 1988; No. 11.

 

NAMELESS LASSIE [2], THE. Scottish, Air (4/4 time). B Flat Major (Hunter): G Major (Martin). Standard tuning. One part. The melody was composed by the violinist Alexander Mackenzie (b. Montrose, 1819), while the words were written by James Ballentine (b. Edinburgh, 1808). Mackenzie was a child prodigy who became a member of the Theatre Royal Orchestra in Edinburgh in 1833, and arranged and published the Dance Music of Scotland for piano and other Scots tunes for the violin. Ballentine was a painter who developed considerable skill with paint on glass, as well as having literary skills.

***

Whene'r she shows her blooming face

The flow'rs may cease to blaw,

And when she opes her hinnied lips

The air is music a',

But when wi' ithers' sorrow touched

The tear starts to her e'e,

Oh! that's the gem in beauty's crown

The priceless pearl to me.

***

Martin (Ceol na Fidhle), vol. 4, 1991; pg. 27. Neil (The Scots Fiddle), 1991; No. 84, pg. 113.

 

NAMES ESCAPE ME. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’. Composed by Rollo Bay, North-East Kings County, Prince Edward Island, fiddler Kenny Chaisson (b. 1947), member of a fiddling family famous in the area. Brother Kevin Chaisson came up with the title to tease those who continually request tune titles. Ken Perlman (1996) states the tune is becoming a standard in the area. Source for notated version: Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 51. 

                          

NAMPWICH FAIR. AKA – “Namptwich Fair.” English, Jig. D Major. Standard tuning. AABB. “Nampwich Fair” appears first in John Young’s The Dancing Master, volume 3, 2nd edition (London, 1726) as a longways dance, and subsequently in Walsh’s New Country Dancing Master, 3rd Book (London, 1728) and Walsh’s Compleat Country Dancing Master, volume the Third (London, c. 1749). John Johnson prints a “Namptwich Fair” in 9/8 time in his Two Hundred Favourite Country Dances, vol. 8 (London, c. 1758), but it is a different tune. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 91.

X:1

T:Nampwich Fair

M:6/8

L:1/8

R:Jig

S:John Young – The Dancing Master, vol. 3, 2nd edition (1726)

K:D

d|d2A A2d|d2A A2e|fgf efd|(e3 e2)A|B2B BAG|

A2A AGF|GAG FED|(E3 E2)::A|A2E EFG|F2D D2d|

d2A AB=c|(B3 B2)f|g2f efd|cde A2A|Bcd ecA|(d3 d2):|

 

NANCY [1]? New England, Reel. D Major. Standard tuning. AABB. Fretless 199, Rodney and Randy Miller‑‑"Castles in the Air."

 

NANCY [2]. AKA and see "Sir Edward Noel's Delight," "All You That Love Good Fellows," "The London 'Prentice." English, Country Dance Tune (4/4 time). C Major. Standard tuning. AABC. Chappell (1859) thought this air to have been the precursor to the famous march "British Genediers." The air appears in the Fitzwilliam Virginal Book, Dorothy Welde's Lute Book (as "Sir Edward Noel's Delight"), Bellerophon (Amsterdam, 1622), and, in altered form, Friesche Lust‑Hof (1634), Pills to Purge Melancholy. “The London Prentice," by which the tune is known in Pills to Purge Melancholy, is "evidently a production of the reign of Elizabeth (I)," states Chappell. Several songs were written to the air, though none has been found called "Nancy," but two odd and rather macabre ballads were noted by the musicologist: "Pride's Fall, or a warning for all English women by the example of a strange monster born late in Germany, by a merchant's proud wife of Geneva," and a "True relation of Susan Higges, dwelling in Risborow, a towne in Buckinghamshire, and how she lived twenty years by robbing on the high wayes, yet unsuspected of all that knew her; till at last coming to Musseldon, and there robbing and murdering a woman, which woman knew her, and standing by her while she gave three groanes, she spat three drops of blood in her face, which never could be washt out, by which she was knowne, and executed for the aforesaid murder, at the assises in Lent at Brickhill." Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 262.

X:1

T:Nancy [2]

M:C
L:1/8

S:Chappell – Popular Music of the Olden Times, vol. 1, pg. 262 (1859)

K:C

c2G2c2d2|e4d4|c2G2 GFED|C8:|d2A2d2A2 defe d2A2|d3cB2A2 G6f2|

ec2e2d2|c2G2G2A2|G3F E2D2|C8||A2G2A2G2|A4 G3E|FG A2 A3G|

^F6 A2|d2A2d2A2|d2D2D2f2|e2 e2 d4|c8||

 

NANCY [3]. AKA – “Nancy Clough’s.” English, March. England, Northumberland. D Major. Standard tuning. AABBCCDD. Composed by Borders (Northumberland) musician Tom Clough (1881-1964) in the 1930's, who played the Northumbrian Small Pipes. Several stories are associated with the tune: the first has it that the music is supposed to depict Tom’s first wife Nancy tripping up and down the stairs. A second is that a squeaky wheelbarrow was the inspiration for the melody, and finally it has been said to have been written for a favourite sheep. The tune is a variation of “My Love is/She’s But a Lassie Yet [1].” Clough was a member of a Northumbrian family with a musical tradition that stretched back some 250 years. His playing has been described as crisp, staccato and highly rhythmic. He was active in the Northumbrian Pipers Society, and was one of the first Northumbrian pipers to be recorded.

***

Paul Mitchell finds an almost identical tune in the late West Virginia fiddler Wilson Douglas’s repertoire, called “Fair Mountain Hornpipe.” A more direct adaptation of Clough’s “Nancy” is the American clawhammer banjo version of  the same tune popularlized by Howie Bursen and Ken Perlman, who were familiar with the several British recordings of the tune (in particular the High Level Ranters’ version). It has by now taken on a life of its own in modern “revival” banjo tradition, and its Northumbrian source is frequently unrecognized. Northumbrian Piper's Tune Book. Perlman (Melodic Clawhammer Banjo), 1979; pg. 58. MWM Records C103, Joe Hutton, Willy Taylor & Will Atkinson – “Harthope Burn” (1983). Rounder CD 7024, Joe MacLean – “Old Time Scottish Fiddle Music” (1978). Rounder Heritage Series 1166-11592-2, Joe MacLean (et al) – “The Art of Traditional Fiddle” (2001). Topic Records – “Bonnie North Tyne.” Trailer 2007, "Northumbria Forever: The High Lever Ranters." Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

X:1

T:Nancy [3]

M:C

L:1/8

R:March

C:Tom Clough

K:D

(3ABc|d2D2F2A2|d2 (fe) d2A2|d2 (ef) gfed|c2e2A2(Bc)|d2D2F2A2|

d2(fe)d2A2|B2g2 fedc|d2d2d2::(fg)|a3 (ba2) gf|g3 (a g2)fe|f2 (df) gfed|

c2e2A2 (Bc)|d2D2F2A2|d2 (fe)d2A2|B2g2 fedc|d2d2d2:|

|:A2|(dc)BA (GF)ED|F2A2d2A2|(dc)de (gf)ed|cdec A2 (Bc)|(dc)BA (GF)ED|

F2A2d2A2|B2g2 fedc|d2d2d2::aAAa AAaA|gccg ccgc|dcde gfed|

cdec A2 Bc|dcBA GFED|FDFA d2A2|B2g2 fedc|d6 A2:|

 

NANCY [4].  AKA – “Nancy Taylor’s Reel.” English, Reel. England, Northumberland. G Major. Standard tuning. AABBCCDD. Another four-part English tune named Nancy, this time a reel composed by Northumberland fiddler Willy Taylor in honor of his wife. Taylor was an elderly man when “revival” concertina player Alistair Anderson introduced Taylor, Northumbrian piper Joe Hutton and harmonica player Will Atkinson to the folk circuit in the 1980’s under the moniker “The Shepherds.” In fact, Taylor did rear livestock in the Northumbrian hills. Callaghan (Hardcore English), 2007; pg. 9. Mawson & Wareham Music MWM 1031, Willy Taylor, Joe Hutton & Willy Armstrong – “Harthope Burn” (). Smithsonian Folkways Records SFW40473, Willy Taylor (et al) – “Northumbrian Rant: Traditional Music from the Edge of England” (various artists).

X:1

T:Nancy [4]

M:4/4

L:1/8

R:Reel

C:Willy Taylor

K:G

|:dc|B2 AB GDDG|B2 GB eddB|c2 Bc AF D2|DFAc ed^cd|B2 AB GDDG|

B2 GB eddB|c2 Bc Agfe|dcBA G2::d2|g2 fg dBBd|g2 fg eAAB|

c2 Bc AF D2|DFAc ed^cd|g2 fg dBBd|g2 fg eAAB|c2 Bc Agfe|

dcBA G3::Bc|dedc BABc|dedB cAAB|cdcA FDFA|e2 de dcBc|

dedc BABc|dedB cAAB|cdcB Agfe|dcBA G2::d2|gfga gdBc|dedB cAAB|

cdcA FDFA|e2 de dcBd|gfga gdBc|dedB cAAB|cdcB Agfe|dcBA G2:|

 

NANCY [5].  Irish, Waltz. Composed by Boston button accordion player Joe Derrane.

 

NANCY ANDERSON. American, Reel. The melody appears in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839).


                       

NANCY ANNE. AKA – “Nancy Ann.” Old‑Time, Breakdown. USA; West Virginia, Virginia, eastern Kentucky. A Mixolydian. Standard or AEae tunings. AB (Silberberg): AABB (Phillips): AA'BB' (Krassen). Sources for notated versions: W. Franklin George (Bluefield, W.Va) [Krassen]; Ted Erhard with Footloose [Phillips]. Krassen (Masters of Appalachian Fiddling), 1983; pg. 104‑105. Phillips (Traditional American Fiddle Tunes), 1994; pg. 161. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 104. Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned from Uncle Charlie Osborne, Russell Co., Va.). Kanawha 307, Franklin George (W.Va.) ‑ "Traditional Music for Banjo, Fiddle and Bagpipes." Rounder 0032, Buddy Thomas‑ "Possum Up a 'Simmon Tree."

                       

NANCY BLEVINS. Old‑Time, Breakdown & Song. USA, southwestern Va., western North Carolina. ADad tuning (Albert Hash). The melody is known as a Surry County, North Carolina, regional tune. Kerry Blech queried Kilby Spencer, Albert Hash’s nephew, about the tune. Kilby and Albert discussed it in a c. 1970’s taped interview, wherein Albert Hash said he learned the tune from Jim Reedy, who learned the song from his father, Bob Reedy. Albert recalled:

***

"That was one that my grandfather--he had a cousin named Nancy Blevins..and

it was back just after the Civil War for he said he could remember dancing to that

tune with a dress on, and boys would a dress for a couple years like little girls did

back then. But this tune--this girl had made up this tune of Nancy Blevins. She was

a great fiddler. I tried to find out something about her through some people that lived

down there, but the man was not old enough to know anything about it. My grandfather

could remember one verse  that went into the tune. "I've played this fiddle till it cramps

my hand, nary another tune till I get another dram."

***

Kerry says, “From the interview, it looks like his grandfather died when he was 84, sometime in the early (19)40s.” There was an actual Nancy Blevins. Carl Barron searched and found a family history in which it was recalled that “Nancy used to play the fiddle and would play at the Healing Springs Hotel.” The history recorded: “1. son of William (Bolen Bill) Baker married Nancy Blevins (11/5/1852 - 1/30/1939) daughter of Alvis and Martha Blevins on 4/27/1871 in Ashe County by R.K. Pearce, Justice of the Peace.”

***

Some find similarities between this tune and the ‘A’ part of Norman Edmonds’ “Hawks and Eagles.” Rounder 0058, Albert Hash & Thornton Spencer ‑ "Old Originals, vol. 2" (1978).

                       

NANCY CLOUGH. See “Nancy [3].

                       

NANCY COOPER [1]. AKA and see "Nancy Cooper." Irish, Planxty (3/4 time). A Minor. Standard tuning. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 16, pg, 16.

 

NANCY COOPER [2]. AKA and see "Nancy Cooper." Irish, Planxty or Slow Air (3/4 time). G Mixolydian. Standard tuning. One part. Composed by Turlough O'Carolan. Joyce's source O'Beirne remarked "'one of the oldest.'"  The tune was recorded by the Belfast Northern Star of July 15, 1792, played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. Donal O’Sullivan included the melody in his definitive work on O’Carolan, but noted that there was not incontroverable evidence that it was composed by him. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846, via Forde (Joyce). Complete Collection of Carolan's Irish Tunes, 1984; No. 17, pg. 34. Joyce (Old Irish Folk Music and Song), 1909; No. 621, pg. 318.

 

NANCY DALTON. AKA – “Nancy Dawson.” Old-Time, Breakdown. USA, Kentucky. D Major. Standard or ADae (Monday/Titon) tunings. AABB. The tune was in the repertoire of south-central Kentucky fiddler Jim Bowles (b. 1903), who learned it from local musicians. Isham Monday (1879-1964), also from Kentucky, played the tune and called it “Nancy Dawson;” his 1959 recording is in the Western Kentucky University archive. As a variant, it was apparently not widely known outside Bowles’ local area, however, Jeff Titon (2001) identifies it as a member of the “Old Dubuque” family of tunes which is more widespread. The family includes “Dubuque,” “Hell Up Coal Holler [2],” “Old Dubuque” and “Duck River” (see notes for those tunes). Sources for notated versions: Pat Kingery (Ky) [Phillips]; Isham Monday (Tompkinsville, Monroe County, Ky., 1959) [Titon]; Greg Canote [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 161. Silberberg (93 Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 32. Titon (Old-Time Kentucky Fiddler Tunes), 2001; No. 107, pg. 136. Marimac 9060, Jim Bowles – “Railroading Through the Rocky Mountains” (1994). Merriweather Records 1001-2, Pat Kingery  – “I Kind of Believe it’s a Gift” (c. 1986).

 


NANCY DAWSON [1]. AKA ‑ "Nancy Dawson's Hornpipe." AKA and see “Here we go gathering nuts in May,” "Here we go round the Mulberry Bush," "I Saw Three Ships Come Sailing In," "Piss on the Grass,"  "Scottish Perrigordien," "Sixieme Anglaise de la Reine." Scottish, Irish, English; Air, Country Dance Tune (6/8 time), Single Jig or Morris Jig. England; North‑West and Northumberland. B Flat Major (Gow): G Major (most versions). Standard tuning. AB (Chappell, Emmerson): AAB (Gow): AABB (most versions). "Very old" (Gow). This well-known dance tune appeared in performances of John Gay's ballad opera The Beggar's Opera (1729) where it was labelled a hornpipe, although it must be noted that any step‑dance at the time could be called a "hornpipe." It also appears in Love in a Village (1762, as a housemaid’s song), and actually may be found in many country dance collections (such as the Gillespie Manuscript of Perth, 1767). In J. Walsh's Caledonian Country Dances (book iii, pg. 36, 1744) and MWA 200 Country Dances (c. 1740) it appears under the earthy title "Piss on the Grass." It was also printed in Peter Thompson's Compleat Tutor for the Flute, c. 1750-54. 

***

The later "Nancy Dawson" designation for the melody derives from the name of a stage dancer of great popularity, Nancy Dawson (1728-1767), who performed to the tune in England during the 1760's. Miss Dawson came to public attention through her dancing at Sadler's Wells, but gained renown in 1759 by dancing a solo rendition of the tune between the acts in a Covent Garden, London, revival of Gay's The Beggar's Opera in 1759. She immediately became a genuine celebrity and was celebrated in popular song and country dance. Little is known about her: Kidson says she is said to have been the wife of a publican at Kelso; elsewhere it is given that her father was a poster in Clare Market.  A period publication called the Dramatic History of Master Edward, Miss Ann and Others, states she was “extremely agreeable in her figure, and grew to be a great favorite of the town…she became vastly celebrated, admired, imitated and followed by everybody.” It is also said she was a charitable person, admired for her good qualities as much as for her performances. Nancy died May 27, 1767, and was buried in the churchyard of St George's-in-the-Fields (also given as the Chapel of St. George the Martyr, Queen Square, Bloomsbury).

***

A song in eulogy of her was written and published in half-sheet music and in Thompson's Collection of Hornpipes, issued about this date, and the air is called “Miss Dawson's Hornpipe.” At a later period Thompson published other airs used by Miss Dawson, under the titles “Miss Dawson's New Hornpipe” and “Miss Dawson's Fancy,” but none attained the popularity of the original hornpipe bearing her name. There is one report that a verse from the eulogy song is said to have been cut on her tombstone, but was obliterated by order of the vicar. This may be so, as it is said that her tombstone how reads only “Here lies Nancy Dawson,” a stark phrase that begs a following couplet. A single-sheet folio printed in London in 1760 sets the tune to a song in praise of the performer.

***

Of all the girls in our town,

The red, the black, the fair, the brown,

That dance and prance it up and down,

There's none like Nancy Dawson.   etc.

***

Her easy mien, her shape so neat,

She foots, she trips, she looks so sweet;

Her every motion’s so complete,

I die for Nancy Dawson.

***

Several of her portraits exist. A period likeness of Nancy Dawson portrayed in a dance pose is in the Dance Collection of the New York Public Library. Another, is in Dr. Burney’s Collection of Theatrical Portraits in the British Museum. Her likeness (as well as an excellent article) also appears at the South Riding Folk Network website.

***

In the years following Nancy’s celebrity the melody appeared in many collections as a country dance, including a French publication of c. 1785 in which it appears under the title "Sixieme Anglaise de la Reine." In the North‑West England morris tradition the melody is used for a single step dance. The tune is contained in the 19th century Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. American appearances of the tune may be found in a number of manuscripts, including Giles Gibbs' fife MS. made in New Windsor, Ellington Parish, Connecticut, in 1777. Greenland, New Hampshire, native Clement Weeks copied directions for a dance to the tune in his 1783 MS collection of dances. It also appears in the music copybook of Henry Livingston, Jr., who purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 Livingston was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

Nancy Dawson survives in a mother-goose rhyme and a 'ring game', “Here we go round the Mulberry Bush”:

***

Nancy Dawson was so fine

She wouldn't get up to serve the swine;

She lies in bed till eight or nine,

So it's Oh, poor Nancy Dawson.

And do ye ken Nancy Dawson, honey?

The wife who sells the barley, honey?

She won't get up to feed her swine,

And do ye ken Nancy Dawson, honey?

***

Carlin (Gow Collection), 1986; No. 363. Chappell (Popular Music of the Olden Times), Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 16. Kennedy (Traditional Dance Music of Britain and Ireland: J igs & Quicksteps, Trips & Humours), 1997; No. No. 131, pg. 32. Gow (Complete Repository), Part 3, 1806; pg. 5. O’Neill (O’Neill’s Irish Music), 1915; No. 213, pg. 114. Seattle (William Vickers), Part 2, 1987; No. 274. Wade (Mally’s North West Morris Book), 1988; pg. 17.

X:1

T:Nancy Dawson [1]

M:6/8

L:1/8

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:Bb

B2B ~B2d|{d}f2d B2d|c2c ~c2d|{d}c2B AGF|B2B ~B2d|f2d B2d|(dcB) (ABG)|F3F3:|

c2c ~c2c|{d}c2B AGF|f2f (f2g)|{g}f2e dcB|e2d e2f|g2a b2 a/g/|(gf)e (de)c|B3 B2d|

c2c ~c2d|{d}c2B AGF|f2f ~f2g|(gf)e dcB|e2d e2f|g2a b2 a/g/|(fg)e (de)c|(B3 B3)||

X:2

T:Nancy Dawson [1]

M:6/8

L:1/8

S:Walsh and Thompson

K:G

G2G G>AB/c/|d2B G2B|A2B A2B|A2B AFD| G2G G>AB/c/|

d2B G2B|A2G F2E|(D3 D2)z||A2B A2B|A2B AFD|B2c d2e|

d2e dBG|d2B c2d|e2f gfe|dcB AGF|(G3 G2)z||

 

NANCY DAWSON [2]. AKA and see “Nancy Dalton.”

 

NANCY DAWSON'S FANCY. English, Country Dance Tune (whole time). G Major. Standard tuning. AABB. The melody, unrelated to other “Nancy Dawson” tunes, is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 98, pg. 52.

X:98

T:Nancy Dawson’s Fancy

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

d/c/|BGdB A/G/F/E/ Dc|BGgB {B}A3c|Bgfe dBec|{c}B2 {B}”tr”A2 G3:|

|:(3e/f/g/|fe/d/ e2 dc/B/ c2|BGgB A3g|fdec dc/B/ ec|{c}B2 {B}”tr”A2 G3:||

 

NANCY DELIGHT. English. England, Northumbria. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

 

NANCY DILL. AKA and see "The Cane Break [2]." English, Reel. G Major. Standard tuning. AB. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 43, pg. 22. Raven (English Country Dance Tunes), 1984; pg. 170.

X:1

T:Nancy Dill

M:C

L:1/8

K:G

D | G2 BA G2B2 | cBce d2g2 | G2 BA GBdB | AGAB GFED | G2 BA G2B2 |

cBce d2g2 | G2 BA GBdB | AGAB (G2G) || B | d2 dB g2 ge | dedB A2 AB |

cBcd e2d2 | GABc e2 dB | d2 dB g2 ge | dedB A2 AB | cBcd edef | aggf (g2g) ||

 

NANCY FAT. American, Jig. USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) calls this seemingly a composite tune, and while he was not able to trace the second strain, the first strain is derived from "Because he Was a Bonny Lad." A very similar tune, part of "The Lancers," was recorded by Bayard (1981, Appendix No. 41, pg. 590) from a fiddler from Prince Edward Island, Canada. Sources for notated versions: Guy Mundell (Greene County, Pa., 1944) and Levi Hall (Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 566, pg. 503.

 


NANCY HANKS. American, Polka. D Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 50.

X:1

T:Nancy Hanks

M:2/4

L:1/8

R:Polka

Z:AK/Fiddler’s Companion

K:D

A | AF/A/ dA/d/ | fd/f/ a>f | gg/f/ eA | ff/e/ dA | AF/A/ dA/d/ |

fd/f/ af | gg/f/ ec | dfd :: A | gg/f/ eA | ff/e/ dA | c/d/e/f/ gf |

e/d/c/B/ A2 | dd/e/ fd | c/d/e/f/ ge | af gf/e/ | dfd :|

 

NANCY HINES. AKA and See "Nancy Hynes."

 

NANCY HYNES (Anna Ni h-Eidin). AKA and see "Ruaig an Mí‑ádh," “The Bag of Meal,” “Banish Misfortune [1],” "The Little Bag of Meal," "Humors of Mullina(a)fauna [1]," "Judy Hynes,” "Máire Ní Eidhinn,” "Nancy Hines," “Parish Girl [2],” "Round the Carthouse." Irish, Double Jig. D Mixolydian. Standard tuning. AABCC (O'Neill/1915): AABB'CC (O'Neill/1850 & 1001). O’Neill’s source, Chicago piper and flutist John Ennis, was the father of Tom Ennis, who was a famous piper in his own right. The younger Ennis recorded this tune on 78 RPM paired with “Sullivan’s Jig.”  Another Irish-American piper, Jimmie McLaughlin (about whom nothing is known) also recorded the jig set on 78 RPM for the Gennet label (No. 5356), although he called the first melody “Judy Hynes”). Source for notated version: John Ennis, originally from County Kildare [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 145, pg. 83. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 903, pg. 168. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 150, pg. 40.

X:1

T:Nancy Hynes

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 150

Z:AK/Fiddler’s Companion

K:D

G|A3 cAG|A2d cAG|F2D DED|FAF GED|A3 cAG|A2G Ade|fed ecA|ded d2:|

|:d/e/|fgf fed|efe edc|ded dcd|ecA A2 a/g/|1 fgf fed|efe edc|faf gec|ded d2:|2

f2d edc|ded cAG|A2d cAG|Add d2||:(3A/B/c/|ded cdc|BAB cAG|

F2D DED|FAF GED|A3 cAG|A2G Ade|f2d ecA|ded d2:|

 

NANCY IN THE HOBBLE.  AKA and see "An Garda Nua," "Lady Cork's Reel,” “Monsignor’s Blessing,” "The New Policeman [3]," "Paddy Bolster's Reel," "The Tinker's Stick.” “Twin Brothers [1].” English, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 146, pg. 35.

 

NANCY McDERMOTT. AKA and see "Planxty Nancy McDermott," "Mrs. Anne MacDermott Roe."

 

NANCY MY PRIDE (Anna Mo Muirnin). Irish, Slow Air (3/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 294, pg. 51.

X:1

T:Nancy My Pride

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 294

Z:AK/Fiddler’s Companion

K:G

d>c|B2 AG ED|c2 cd e2|d3z BA|G2A2 GE|D>E G2B2|A3z dc|B2 AG ED|

cB cd e2|c3z BA|G2A2 GE |D<E (G2G2)|G3z||Bc|d2 cB AG|e2 ef ge|d3z gf|

e2 dB AB|G2G2 cB|A3 zDE|G2 AG ED|c2cd e2|d3z BA|G2A2 GE|D>E (G2G2)|G3z||

 

NANCY PLYM.  English, Jig. E Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with numerous other tunes in the Thompsons’ 1773 collection, it was entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 106.

X:1

T:Nancy Plym

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:E

e3 g2a|bge bge|B3 d2e|fdB fdB|e3 g2a|bge bge|cag fed|e3 E3:|
|:E3 G2B|e=dc B^AG|F3 ^A2c|fed dcB|aga B2a|gfg c2a|gfe Bcd|e3 E3:||

 

NANCY ROLLIN. See "Nancy Rowland."

 

NANCY ROWLAND [1]. AKA – “Nancy Rollin.” AKA and see "Little Nancy Rowland." Old‑Time, Breakdown. USA; Georgia, Arkansas, Missouri, Mississippi, Tennessee, North Carolina, West Virginia. G Major. Standard tuning. AB (Silberberg): AABB (Brody, Kaufman, Phillips). Charles Wolfe (in his notes for "Gid Tanner and the Skillet Lickers ‑ Kickapoo Medecine Show") states that this tune was apparently well‑known in the Atlanta area during the 1920's but that its popularity has since considerably dwindled. He believes a more archaic solo fiddle rendition was rendered by John Carson on a mid‑1920's OKeh recording (#40238). It was also in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border. The title appears (as "Nancy Rowland" and "Nancy Rollins") in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The following (floating) ditties are sometimes sung to the tune:

***

Had a little dog, his name was Rover,

When he died, he died all over.

***

I had a wife and she was a quaker,

She wouldn’t work and I wouldn’t make her.

***

I had a wife and she was a weaver,

She wouldn’t work, so I had to leave her.

***

Sources for notated versions: Highwoods String Band (N.Y.) [Brody]; Carter Brothers [Phillips]; Bruce Reid [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 201. Kaufman (Beginning Old Time Fiddle), 1977; pg. 56. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 162. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 104. County 520, Carter Brothers and Son‑ "Echoes of the Ozarks, Vol. 3." County 528, The Carter Brothers‑ "Traditional Fiddle Music of Mississippi." June Appal 007, Thomas Hunter‑ "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter, Madison County, N.C.). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Rounder 0023, Highwoods String Band‑ "Fire on the Mountain." Rounder 1023, Gid Tanner and the Skillet Lickers‑ "Kickapoo Medicine Show."

 

NANCY ROWLAND [2]. Old-Time, Breakdown. G Major. Standard tuning. AABB. Related to version #1. Source for notated version: Howard 'Howdy' Forrester [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 162. Owen “Snake” Chapman – “Walnut Gap” (learned from hearing Howdy Forrester play the tune on the radio). 

                       

NANCY TAYLOR’S REEL. See “Nancy [4].” 

                       


NANCY THE PRIDE OF THE EAST [1]. Irish, Air (3/4 time). G Major. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 57, pg. 28.

 

NANCY THE PRIDE OF THE EAST [2]. Irish, Air (3/4 time). G Major. Standard tuning. AB. Petrie notes there is “a more than usual agreement” between the different versions of this tune, though Stanford points out Petrie’s air is different from others printed under this title. Source for notated version: “From Father Walsh’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 689, pg. 173.

X:1

T:Nancy the pride of the east

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905) – No. 689

Z:AK/Fiddlers’ Companion

K:G

AG | E2D2D2 | E2G2 AB | c2B2AG | E2D2D2 | E2G2G2 | A4 {B}AG |

E2D2D2 | E2G2 AB | c2B2AG | E2D2D2 | (E2G2) G2 | G4 ||

Bc | d2B2AB | (G2B2) d2 | e2f2 ge | d2B2 AG | G2B2 dB | A4 AG |

E2D2D2 | E2G2 AB | c2B2AG | E2D2D2 | (E2G2) G2 | G4 ||

                       

NANCY THE PRIDE OF THE WEST. AKA and see “Ar Eirinn ni Neosfainn Ce Hi,” "For Ireland I'd Not Say (Tell) Her Name [1]," "The Melodious Little Lis of Bruff." Irish, Air (3/4 time). F Major. Standard tuning. AB. "Dr. Petrie published the Kilkenny version of this air in his Ancient Music of Ireland (p. 99). The setting I give here from memory as I heard the old people of Limerick sing it in my young days, is different, and is more simple and more purely vocal. There is a beautiful song in Irish to this air, which I published set to the music in my Irish Music and Song (p. 22)‑‑Ar Eirinn ni 'neosainn ce hi (For Ireland I'd Not Tell Her Name). Sometimes the air is known by this name: and it is also often called ‘Binn lisin aerach a Bhrogha’ (The Melodious Littel Lis of Bruff, Co. Limerick) from a song about that place" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 410, pg. 221.

                       

NANCY TILL. American, Dance Tune (4/4 time). G Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 2; No. 408, pg. 46.

X:1

T:Nancy Till’

M:4/4

L:1/8

B:Kerr – Merry Melodies, vol. 2, No. 408 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(3GGG B>A G2B2|c>bc>e d2g2|(3GGG B>A G>AB>c|1 d>BA>B G>FE>D:|2 dBAB G2z2||

|(3ddd d2 g>dB>c|d>ed>B A>GA>B|c>Bc>d e>cA>F|1 G>AB>c d>cB>c:|2 A2G2G2z2||

                       

NANCY VERNON. AKA and see "Planxty Nancy Vernon."

                       

NANCY WANTS HER OWN. AKA and see "I know well what Nancy wants," "Charming Lovely Nancy," "An Chearc ar fad is an tAnraith."

 

NANCY WANTS HER OWN SHARE. AKA and see “Maggie Pickens,” “Whistle O’er the Lave O’T.” Irish, March (2/4 time). G Major. Standard tuning (fiddle). AABB. The air is identified as one of the marching tunes of the Irish Volunteers in 1782. “It is an old 17th century Irish air, which wandered over to Scotland in the ’45 period, and was printed in 1756” (‘’’Musical Times’’’, 7/1/1914, p. 456). Source for notated version: farm laborer and flutist John Ferguson (Rathangan, Co. Wexford, Ireland) [Darley & McCall]. Darley & McCall (Feis Ceóil Collection of Irish Airs), 1914; No. 69, p. 31.

 

NANCY'S BRANCHING TRESSES (Cuil Craobaig Anna). Irish, Air (4/4 time). F Major. Standard tuning. AABB. Source for notated version: credited to Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 374, pg. 65.

X:1

T:Nancy’s Branching Tresses

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 374

Z:AK/Fiddler’s Companion

K:F

c2|f>gaf d>efd|c<A G>A F2 AB|cde>f cAGA|F4 z2:|

|:c2|cdef g3f|e2 d>c c2 zc|cdef a3 g/f/|e>g f/e/d/e/ c3 c/d/:|

 

NANCY'S FANCY. English, Reel (2/4 time) or Country Dance Tune (2/2 time). G Major (Kennedy & Raven): C Major (Karpeles, Sharp). Standard tuning.  ABC (Karpeles, Sharp): AABC (Kennedy & Raven). The first part of this tune appears as the second part of the Pennsylvania‑collected "The Cheat River" (Bayard, 1981; No. 370, pg. 361). Thomas Hardy, English novelist, fiddler and accordion player, mentions the tune in his novel The Return of the Native  (Book Second, chapter 5). Karpeles & Schofield, 1951; pg. 3. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 27. Raven (English Country Dance Tunes), 1984; pg. 146. Sharp (Country Dance Tunes), 1909/1994; pg. 7.

X:1

T:Nancy’s Fancy

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:C

G2 | (c2e2) (e2de) | (f2d2) (d2g2) | (e2c2) (c2e2) | (dcBA G4) |

(c2e2) (e2de) | (f2d2) (d2g2) | (e2c2d2B2 | c4) c2 || (c’2 | b2a2g2) (f2 |

e2d2c2e2) | (g2c’2g2e2 | e4 d2) (c’2 | b2a2g2f2 | e2d2e2f2) | (g2c’2b2g2 |

c’4 c’2) || z2 | .e2.e2 (ede2) | .f2.f2 (fef2) | .e2.e2(ede2) | (dcBA G4) |

.e2.e2 (ede2) | .f2.f2 (fef2) | (eec2) .d2 .B2 | c4 c2 ||

 

NANCY’S GOT A PRETTY DRESS ON. Old-Time, Breakdown. Mark Wilson sees similarities with the Ozark “Blue Mule.”

                       


NANCY'S TO THE GREENWOOD GANE. Scottish. Appears in the Munro's collection of 1732, and the McLean Collection published by James Johnson in Edinburgh in 1772. It also was used by Allan Ramsay for his ballad opera "The Gentle Shepherd" (1725).

 

NANCY'S WALTZ. American, Waltz. A Major. Standard tuning. AA'BB. Composed in 1980 by Chris Romaine (Silver Spring, Maryland) for Nancy Morris, "a good dance and music friend." Played at Pinewoods (music and dance camp) in 1981, where it was picked up by fiddler Rodney Miller and others. Matthiesen (The Waltz Book), 1992; pg. 38. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Rounder 0193, Rodney Miller ‑ "Airplang" (1985).

 

NANNY AND ANDREW. Shetland, Reel. Shetland, Quarff area. G Major. Standard tuning. AABB. Source for notated version: Magnie Smith (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 26.

 

NANNY AND BETTY. See "Naanie an' Betty."

 

NANNY-O. English, Reel. England, North‑West. E Minor. Standard tuning. AABB. There is an English ballad of this name that appears in the Roxburghe collection (therein called "The Scotch Wooing of Willy and Nanny" and even though having 'scotch' in the title refers to southern Northumberland)‑‑Chappell (1859) takes this as the precursor for the Scots "Nanny‑O." Knowles (Northern Frisk), 1988; No. 3.

 

NANNY’S DELIGHT.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 85.

X:1

T:Nanny’s Delight

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

f|gdBG|cecA|BdBG|A3 d|gdBG|cecA|BdDF|1 G3:|2 G4||

|:GDBD|ADcD|BdcB|cA “tr”A2|GDBD|ADcD|BdDF|G4:||

 

NANOOK OF THE NORTH. Bluegrass, Breakdown. Composed by legendary bluegrass mandolin player Bill Monroe, the "Father of Bluegrass," named in honor of the famous documentary film of the same title. Rounder 0175, James Bryan ‑ "Lookout Blues" (1983).

 

NANTUCKET SLEIGH RIDE. New England, Reel. A Major. Standard tuning. AABB. The title refers to the careeming course of a New England whale boat, dragged through the water by a just-harpooned whale.

 

NANTWICH FAIR [1]. English, Jig. England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 32.

 

NANTWICH FAIR [2]. English, Country Dance Tune (9/8 time). G F Major/G Minor. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 36.

X:1

T:Nantwich Fair

R:slip jig

C:traditional

B:A Northern Lass

M:9/8

L:1/8

K:Gmin

|B2G^F2A D2c|B2G G2B AcA|B2G ^F2A  D3|D2F F2B AcA :|

|BAB cBc d3|_e2c c2F AcA|BAB cBc d3|c2F F2B AcA :|

 

NAOI nARDA NA RÓGAIREACHTA. AKA and see "The Nine Points of Roguery."

 

NAOMI'S JIG. American, Jig. D Major. Standard tuning. AABB. Source for notated version: Ben Guillemette [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 372.

 

NAPHTALIE BILLET.  French-Canadian. The “crooked” tune is named for a member of the Billet family of the Valleyfield region (southwest of Montréal), via harmonica player Robert Legault. 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

                       


NAPOLEON('S MARCH). AKA and see "Bonaparte's March [2]," “Buonaparte’s March.” "The Hanoverian March," “Napoleon’s Grand March.”  See note for “Buonaparte’s March” for discussion.

 

NAPOLEON CROSSING THE ALPS [1]. AKA and see "Boney (Bonaparte) Crossing the Alps," "Bonaparte Crossing the Rhine [2]," "Bonaparte's Retreat [5]" (Pa).  English, Reel. A Dorian. Standard tuning. AABB. See Bayard's (1944) note for "Bonaparte's Retreat." He stated in his 1981 volume that the tune is a member of the ubiquitous "Lazarus" tune family. A Pennsylvania‑collected march called "Governor Taylor's March" is similar. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 7. Raven (English Country Dance Tunes), 1984; pg. 171.

X:1

T:Napoleon Crossing the Alps

M:C|

L:1/8
R:Reel

K:G

cB|A2 AB AGEG|cd (3edc d2 (3e^fg|aged cAGE|G2 (3GGG G2 cB|

A2 AB AGEG|cd (3edc d2 (3e^fg|aged cAGE|A2 (3AAA A2:|

|:e2|aged cde^f|gega g3e|aged cAGE|G^FGA G2 cB|A2 AB AGEG|

cd (3edc d2 (3e^fg|aged cAGE|A2 (3AAA A2:|

 

NAPOLEON CROSSING THE ALPS [2]. AKA and see “The Dark Girl (Dressed) in Blue [4],” “Denis Murphy’s Slide [1],” “The Girl in the Dress,” “The Gleanntán (Slide),” “Julia Clifford’s Slide [1],” “Pádraig O’Keeffe’s Slide.”

 

NAPOLEON CROSSING THE ALPS [3]. Irish, March (4/4 time). A Dorian. Standard tuning. AA’BB’.

X:1
T:Napoleon Crossing the Alps
Z:Jerome Colburn
S:Lisa Boucher
N:Martin Hayes uses the ending on G both times through.
M:C
L:1/8
K:G
E2 FG | A4 A2 G2 | ABAG E2 D2 | B2 d2 e2 B2 | d4
e2 fg | a3 g eged | B3 A G2 E2 |1 G3 G G2 E2 | G4 :|2 A3 G A2 B2 | A4 ||
e2 fg | a3 g eged | B3 d e2 f2 | g3 f g2 a2 | g4
e2 fg | a3 g eged | B3 A G2 E2 |1 G3 G G2 E2 | G4 :|2 A3 G A2 B2 | A4 |]**

 

NAPOLEON CROSSING THE RHINE. AKA and see "Bonaparte Crossing the Rhine [1]," "Bonaparte Crossing the Alps," "Bonaparte's Retreat [5]," "Napoleon Crossing the Alps," "The Blackbird." American, Reel. D Major. Standard. AAB. Bayard (1944) identifies this tune as belonging to "The Blackbird" tune family (see his extensive note for that tune). Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 88A.

X:1
T:Napoleon Crossing The Rhine
M:C

L:1/8
K:Emin
B,D|~E3E EDB,D|GFGB A2GA|(3Bcd gf edBA|GE~E2 FDB,D|\
~E3E EDB,D|GFGB A2GA|(3Bcd gf edBA|GE (3FED E2::Bd|\
eged B2BA|GFGB d2Bd|(3efg ed BdBA|GE~E2 FDB,D|\
E2GE EDB,D|GFGB A2GA|(3Bcd gf edBA|GE (3FED E2:|

                       

NAPOLEON HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 103. Ryan’s Mammoth Collection, 1883; pg. 139. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

X:1

T:Napoleon Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

F | .B(b/f/) d/B/c/d/ | e/d/c/B/ A/G/F/E/ | D/F/B/F/ e/d/c/B/ | A/B/c/d/ .cd/c/ | .B(b/f/) d/B/c/d/ |

e/d/c/B/ A/G/F/E/ | D/F/B/d/ c/e/c/A/ | B[Bd]B :: B/c/ | .d/(B/A/B/ .e/(c/A/c/) | f/d/g/f/ e/d/c/B/ |

A/B/c/d/ e/c/d/B/ | .A{g}.f F/G/F/E/ | D/F/B/d/ f/d/B/F/ | G/E/G/B/ g/f/e/d/ | d/B/A/g/ f/e/c/A/ | B[Bd]B :|

                       

NAPOLEON’S CHARGE. AKA and see “Charge of Bonaparte,” “Piney Ridge.” Old-Time, Breakdown. USA, Kentucky. D Major. DDad tuning. AABB. Titon (2001) notes that the names Bonaparte and Napoleon were both variously used by Kentucky fiddlers for the tunes “Bonaparte’s Retreat,” “Bonaparte’s March” and “Bonaparte’s Charge.” Some fiddlers, he says, played all three tunes together in a kind of suite. Titon also finds W.H. Stepp’s “Piney Ridge,” recorded by Alan and Elizabeth Lomax in 1937, to be a variant of this tune. “Napoleon’s Charge” seems to be related to “Dry and Dusty [2].” Source for notated version: Alva Greene (Sandy Hook, Elliott County, Ky., 1973) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 108, pg. 137.  Pearl Mae 002CS, Bruce Greene & Jim Taylor – “Little Rose is Gone” (1991).

                       

NAPOLEON'S FAREWELL TO PARIS. AKA and see "The Grand Conversation of Napoleon," "The Bold Sportsman," "The Carpenter's March," "Pratie Apples," "McKenna's Dream," "Under the Rose," "Captain Rock(e’s) [1]," "The Greenfields of America [1]," "Miss Wedderburn(‘s Reel) [1]," "Old Mother Flanagan," "Molly Brallaghan [1]." The English musicologist Chappell called it "one of the most common street ballad tunes of London, to which numberless songs have been sung at various times."

                       

NAPOLEON’S GRAND MARCH.  AKA and see “Buonaparte’s March.” “Hanoverian March,” "Napoleon('s March)," "Bonaparte's March [2]." See note for “Buonaparte’s March” for discussion.

 

NAPOLEON'S WALTZ. AKA and see "Valse a Napoleon."

                       

NAPPER. Old-Time, Breakdown and Song. USA, West Virginia. DGdg tuning. Part of the tune is the same as “Lynchburg Town.” See also Thede’s “Poor Old Napper.” Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va. fiddler Harvey Sampson from the playing and singing of his father).

 

NAPPER [2]. Old-time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB. Composed by Homer E. Dillard, father of the family group The Dillards. Homer himself came from a musical family—his father John W. Dillard was a fiddler. Source for notated version: Homer E. Dillard (c. 1913-c. 1993, Salem, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 180.

 

NAPPER TANDY. Irish, Redowa or Mazurka (3/4 time). D Major. Standard tuning. AA'BB'. James Napper Tandy was a long-time member of the United Irishman and a founder of the Dublin branch of the United Irishmen in the 1790’s. He was one of the leaders of the Irish uprising of 1798 and was involved in the attempt to drive the English from Connacht. According to one historian, he raised a small naval force which he brought to the shores of Donegal to support the rebellion there, however, upon arriving he learned that his comrades had already been defeated, he got blind drunk and had to be carried back on board ship. Captured along with Wolfe Tone by Lough Swilly in the north of Ireland, Tandy was transported to Lifford Jail to undergo trail. However, because he had previously lobbied in France for the Irish cause, Tandy had been commissioned a brigadier in the French Army, and perhaps because of this he was released in 1803. He returned to France to carry on for the cause, but died soon afterwards. Roche Collection, 1982, vol. 3; No. 164, pg. 56. Croppy’s Complaint.

 

NARROW BOTTOM. English, Jig. England, Northumberland. G Major. Standard tuning. AABA. Seattle (William Vickers), 1987, Part 3; No. 577.

 

NARROWBACK, THE. AKA and see “Great North Reel,” “The Irish-American Reel,” “Lee’s Double Clog.” Irish, Reel. The name ‘narrowback’ was used to refer to Irish immigrants to America in the 19th century. Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

X:1

T:The Narrowback

T:The Irish-American Reel

S:Andy McGann, as transcribed in Treoir magazine

D:Larry Redican on "Job of Journeywork" (RTE)

R:reel

M:4/4

L:1/8

K:F

cde|:fage fcaf|bgeg fdcB|AFcF dFcF|AGG^F Gcde|

fage fcaf|bgeg fdcB|ABcd efga|1bgeg fcde:|2bgeg f2 fg|:

afef Acfg|afcf Acfa|bagf gdgf|egfd cefg|

afcf Acfg|afbg ecde|fcdB cABG|1AFGE F2 fg:|2AFGE F4|

 


NARRY THE PIPER. Irish, Single Jig. E Dorian. Standard tuning. AB. "...copied by Mr. Pigot from a MS. lent to him by Miss O'Connell of Grena, Killarney" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 800, pg. 389.

X:1

T:Narry the Pipe

M:6/8

L:1/8

R:Single Jig

S:Joyce – Old Irish Folk Music and Songs (1909), No. 800

Z:AK/Fiddler’s Companion

K:Edor

E2B E2B | BAG FED | E2B E2B | BAF d3 | E2B E2B | BAG FED | AF d2F | E3B3 ||

AFA d2f | edc d2B | B2e e2f | g2e fdB | AFA d2f | edB d2B | AFA d2F | E3B3 || 

                       

NATAL DAY, THE. Scottish, Hornpipe. G Major. Standard tuning. AABB. Natal day=birthday. Kerr (Merry Melodies), vol. 3; No. 341, pg. 37.

X:1

T:Natal Day, The

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, 341   (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(BA) | GBdB Acdc | Bdgf agfe | dedB cdcA | BdBG ADEF | GBdB Acdc |

Bdgf agfe | dBdg bagf | g2g2g2 :: d2 | bdbd bdcB | acac acBA | BdBd BdcB |

AGAB A2d2 | eGeG eGFE | dDdD dBce | dbdb caAf | gdBd G2 :|

                       

NATALIE MACMASTER’S. Canadian, Reel. Canada, Cape Breton. Composed by J.P. Cormier. Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996).

                       

NATALIE’S VISIT.  Canadian, Pipe Reel. Canada, Cape Breton. A Dorian. Standard tuning. AAB. Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 45, pg. 19.

 

NATCHEZ. Old‑Time, Breakdown. A Mixolydian or A Mixolydian ('A' part) & A Dorian ('B' part). Standard tuning. AABB. Source for notated version: Pete Sutherland [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 162. Marimac 9009, Dave Spilkia & Maggie Holtzberg ‑ "Old Time Friends" (1987).

                       


NATCHEZ UNDER THE HILL [1]. AKA and see "Turkey In the Staw," "The Old Bog Hole," "Old Zip Coon." Old‑Time, Breakdown. USA; Oklahoma, Arkansas, Missouri, Virginia. A Major. AEae tuning. AABB (Chase, Thede): AA’BB’ (Beisswenger & McCann). “Natchez Under the Hill” is a title attached to a several distinct tunes and their variants, particularly in the Midwest. However, the most popular of the tunes with this title can easily be recognized for it was perhaps progenitor of, the American fiddling standards "Turkey in the Straw" and "Old Zip Coon" (it is distinct from the latter, a Northern relative, by virtue of the two different beginning measures). It appears to be American in origin, though Alan Jabbour sees the roots of the tune in the English country dance melody "The Rose Tree [1]," while others note the similarities of the English morris dance tune "Old Mother Oxford." Jabbour (1971) states: "The only conspicuous difference in the melodic contours is that 'The Rose Tree' drops to tonic in the third phrase of the second strain, while the American tunes thrust up to the octave for rendering much of the same melodic material." Though it seems clear its roots were in the British Isles, "Natchez Under the Hill" appears to have been one of the earliest American tunes that can be characterized as "old-timey" (i.e. having entered American traditional fiddling repertoire via the folk process) and a popular one. It was first published in this country in George P. Knauff's Virginia Reels, volume I (1839), although Mark Wilson says it was mentioned in print twenty years prior to that. The title was again mentioned in a humorous dialect story called "The Knob Dance," published in 1845, set in Eastern Tennessee. Brown maintains the tune served as a "rhythmically enlivened" transitional melody between "The Rose Tree" and the song "Old Zip Coon" (curiously published in 1834, five years before the Knauff's printing of 'Natchez'--the two tunes were probably older than their publications), which closely follows "Natchez" harmonically and melodically (save the opening arpeggios of "Natchez" are replaced by a more sing-able phrase). By at least 1899 it was enough of a "chestnut" that it had become a category tune for fiddlers' contests, like the one held that year in Gallatin, Tennessee. Each fiddler would play his version, and the rendition judged the best won a prize (C. Wolfe, The Devil's Box, vol. 14, No. 4, 12/1/80).

***

Marion Thede (1967), quoting Cushman, elucidates the title, the name of a river town in the state of Mississippi:

***

'Natchez Under the Hill' was in that early day (the late 1700's and early

1800's) the sine qua non as the point of rendezvous for the rough and

 care‑for‑nothing men who navigated the keel and flat boats on the

 Mississippi River ere they were superseded by the steamboat. At that

 early day the city of Natchez was an excellent market for the products

 of the 'upper country', consequently hundreds of heavily laden and

 richly‑laden boats congregated there, to the great dread of the

 law‑abiding and peaceful inhabitants residing in the upper part

 of the city, known as 'The Bluff;' for the wild and lawless boatmen     

 knowing no restraint...indulged in their caprices  in every kind of

 rowdyism known to man...thus did those specimens of American

 freemen spend their leisure hours in drinking whiskey, yelling,    

 fiddling, dancing, and fist‑fighting...'"

***

Natchez, Mississippi in the 18th century.

***

Sandy Hook, Kentucky, fiddler Alva Greene called his version “Matches Under the Hill,” but had no explanation for the title. Kerry Blech suggests comparison with the Cape Breton/Scottish tune “Old Bog Hole” which seems to be a close relative or variant of “Natchez.” A version of “Bog Hole” was fiddled by Joe MacLean on Rounder 7024, “Old Time Fiddle Music from Cape Breton Island.”

***

“Natchez” was recorded in 1941 for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddler Lon Jordan, of Farmington, Arkansas (AFS 5317 A3), and was reissued on the Library of Congress LP AFS L62, “American Fiddle Tunes from the Library of Congress,” edited by Alan Jabbour. In introducing the tune, Mr. Jordan says before playing: “’Natchez Under the Hill’—it sounds a lot like ‘Turkey in the Straw’, but there’s a difference!” Other Library of Congress recordings of the tune were made in 1937 of Theophilus G. Hoskins of Hyden, Kentucky (AFS 1520 A1), and in 1941 of Emmett Lundy of Galax, Virginia (AFS 4941 A3).

***

Sources for  notated versions: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; Mrs. John Hunter (Richmond, Va.) [Chase]; Lon Jordon (Farmington, Ark.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 87. Chase (American Folk Tales and Songs), 1956; pg. 208. Thede (The Fiddle Book), 1967; pg. 112‑113. County 2730, Rafe Stefanini – “Glory on the Big Spring.” PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Two versions: one from LOC recording in 1941 of Lon Jordon, Farmington, Arkansas; second from Bruce Greene, who learned it from fiddlers around Metcalf County, central Ky.). Rounder 18964-1518-2, Lon Jordan – “American Fiddle Tunes.” Rounder 82161-1108-2, Lon Jordan – “Ozark Folksongs.”

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Natchez on the Hill [1]

M:2/4

L:1/8

R:Reel

B:George P. Knauff – Virginia Reels

N:Published in Baltimore by Geo. Willig n.d. (1839?)

Z:AK/Fiddler’s Companion

K:A

A/E/c/A/ E/C/A/E/ | C/A,/E/C/ A,A/B/ | [Ec][Ec] (c/B/A/B/) | [Ac][EGB] [EGB]E | {E}Ac/A/ EA/E/ |

CE/C/ A,e | a/g/a/e/ f/e/c | e/c/B/c/ Az || c/e/e/f/ e/c/B/A/ | c/e/e/f/ ee | {g}f/e/f/g/ a/g/f/e/ |

e/f/f/g/ fg | [c2a2] e/a/c | [Ac]B/A/ BA/B/ | [Ac][Ac] c/B/A/F/ | E/A/A/B/ A z ||

X:2

T:Natchez on the Hill

M:2/4

L:1/8

R:Reel

B:George P. Knauff – Virginia Reels

N:Published in Baltimore by Geo. Willig n.d. (1825-1829?)

Z:AK/Fiddler’s Companion

K:A

A/E/c/A/ E/C/A/E/|C/A,/E/C/ A,A/B/|[Ec][Ec] (c/B/A/B/)|cB BE|

{E}Ac/A/ EA/E/|CE/C/ A,e|a/g/a/e/ f/e/c|e/c/B/c/ A z :||

c/e/e/f/ e/c/B/A/|c/e/e/f/ ee|{g}f/e/f/g/ a/g/f/e/|c/f/f/g/ fg|

[c2a2] e/a/c|cB/A/ BA/B/|cc c/B/A/F/|E/A/A/B/AA|

c/e/e/f/ e/c/B/A/|c/e/e/f/ ee|{g}f/e/f/g/ a/g/f/e/|c/f/f/g/ fg|
[c2a2] e/a/c|[ce]B/A/ BA/B/|cc c/B/A/F/|E/A/A/B/ A z||

 

NATCHEZ UNDER THE HILL [2]. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Related to version #1. Ford (Traditional Music in America), 1940; pg. 56.

X:1

T:Natchez Under the Hill [2]

M:2/4

L:1/8

R:Breakdown

B:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D|G/GG/ E/D/B,/C/|D/DE/ DG/A/|B/BB/ d/B/A/G/|B/AB/ AB/A/|G/GG/ E/D/B,/C/|

D/DE/ DG/A/|B/dd/ d/B/A/G/|B/GA/ G::A|B/dd/ d/B/A/G/|B/dd/ d/B/A/G/|

c/ef/ e/d/c/B/|c/ef/ ed/e/|g/a/g/e/ dB/c/|d/e/d/B/ AG/A/|B/B/A/G/ ED/D/|E/GA/ G:|

 

NATCHEZ UNDER THE HILL [3]. Old-Time, Breakdown. A Major. Standard tuning. AB (Silberberg): AABB (Phillips). Source for notated version: John Hartford [Phillips]; Floyd Engstrom [Silberberg]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 163. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 105. Rounder CD 0392, John Hartford – “Wild Hog in the Red Brush and a Bunch of Others You Might Not Have Heard” (1996. Learned from Texas fiddler Benny Thomasson “one night in Dallas at a birthday party”).

 

NATCHEZ UNDER THE HILL [4]. Old-Time, Breakdown. A Major. Standard tuning. AABB. A different tune that versions #1 and #2. Source for notated version: Bob Walters (Burt County, Nebraska) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 163.

 

NATCHEZ (UNDER THE HILL) [5].  Old-Time, Breakdown. USA, Arkansas. A Major. GDgd (AEae). AA’BB’. An irregular version of “Natchez Under the Hill” in both strains in the repertoire of fiddler Absie Morrison (1876-1964). Morrison, who liked to connect his tunes with historical events, apparently believed this tune was played when Andrew Jackson and his army landed at the town in 1815, on their way to the Battle of New Orleans. Source for notated version: Absie Morrison (Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 103.

(((♫)))  Absie Morrison (1876-1964). “Natchez”

 

NATCHEZ UNDER THE HILL [6].  Old-Time, Breakdown. USA, Arkansas. G Major. Standard tuning. AABB. Unrelated to other “Natchez Under the Hill” tunes. Source for notated version: Jim ‘Skeeter’ Walden (1879-1956, Busch, northern Arkansas), field recording, 1951 [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 153.

 

NATHANIEL GOW. Scottish, Slow ("when not danced") Strathspey. B Flat Major. Standard tuning. AAB. Composed by Duncan MacIntyre in honor of Nathaniel Gow (1763-1831), Scottish fiddler, composer, music publisher and bandleader; 3rd son of famed fiddle-composer Niel Gow (1727-1807). MacIntyre was a dancing master in London in the last decade of the 18th century, about whom little is known. He published one collection, and seems to have journeyed to India in the early 1800’s. Nathaniel Gow published several of his tunes in the Fifth Collection (1809). Carlin (The Gow Collection), 1986; No. 195. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 35. MacDonald (The Skye Collection), 1887; pg. 163.

X:1

T:Nathaniel Gow

M:C

L:1/8

R:Strathspey

C:Duncan MacIntyre

B:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:Bb

D|:B,>F D<G F<B, {E}D2|B,>FD>F G/F/E/D/ C<D|B,>F D<G F<B, D>B|1

F>GB>c d/c/B/A/ B<d:|2 F>GB>c d/c/B/A/ B<g||

f>B e/d/c/B/ f<B {Bc}d2|f<B d>f g>ce>g|f<B d>f B>fd>f|e>gd>f g<ce<g|

f>B e/d/c/B/ f<B {Bc}d2|f<B d>f g/f/e/d/ c/B/A/G/|F<B G/F/E/D/ F<B, D>F|(3EGE (3DFD G<CEG||

X:2

T:Nathaniel Gow

M:C

L:1/8

R:Strathspey

C:Duncan MacIntyre

N:”Slowly”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Bb

B,F DG FB, {E}D2|B,>FD>F G/F/E/D/ C>D|BGEG FB, D>B|”tr”F>G “tr”B>c (d/c/)B/A/ Bd|

B,F DG FB, {E}D2|B,>FD>F G/F/E/D/ C>D|BGEG FB, D>B|”tr”F>G “tr”B>c (d/c/)B/A/ Bf||

f>B (e/d/)c/B/ fB {Bc}d2|fBdf gc(eg)|fBdf (Bf)(df)|(eg)(df) gc(eg)|f>B {e}dc/B/ fB {Bc}d2|

fBd>f .g/.f/.e/.d/ .c/.B/.A/.G/|~F>B (G/F/).E/.D/ FB,DF|(E/F/G) D/(E/F) G(CEG)||

 

NATHANIEL GOW’S COMPLIMENTS TO HIS BROTHER.  Scottish, Strathspey. A Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831) in honor of his younger brother, John Gow (1764-1826), youngest child of fiddler-composer Niel Gow (1727-1807). John and brother Andrew Gow (1760-1803) started the London branch of the family publishing business in 1788, and were the representatives for the Gow publications in that city. John continued the business after Andrew’s death, eventually bringing his own son into the business, publishing in the 1820’s as “John Gow & Son, 162 Regent Street, London.” John himself was the composer of a few tunes that appear in the later Gow collections. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 19.

X:1

T:Nathaniel Gow’s Compliments to His Brother

M:C
L:1/8
R:Strathspey

N:”Slow”

C:Nathaniel Gow (1963-1831)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:A

C|A,C E>F (EA) A>c|B>A {AB}c>A B>A F>A|A<C E>F (EA) A>f|e<A d>c “tr”(B2 A) C|

A,>C E>F (EA) A>c|B>A {AB}c>A B>A F>A|A,>C E>F (EA) A>f|(e<A) d>c “tr”(B2 A)||e|

a<a a>e “tr”f>e ae|(f/g/a) (ec) “tr”B>A Fb|a<a “tr”f>e (c/e/f/g/)|a>A e>c “tr”B2 A>e|

a>b (a/g/f/e/) (f/e/d/c/) (d/e/f/g/)|a>A e>c “tr”B>A F>B|A<A c>A B>F A>E|F<F A>C “tr”B,2 A,||

 

NATHANIEL GOW’S COMPLIMENTS TO MR. GEO. GRANT.  Scottish, Strathspey. D Major. Standard tuning. ABBCCDA. Composed by Nathaniel Gow (1763-1831). Gow (Fifth Collection of Strathspey Reels), 1809; pg. 24.

X:1

T:Nathaniel Gow’s Compliments to Mr. Geo. Grant

M:C

L:1/8

R:Strathspey

N:”Slowly”

C:Nathaniel Gow (1763-1831)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:D

B|A>DF>D F/G/A “tr”E2|ADFD AF d(f|e>)c dF G/A/B “tr”E2|ADFA dFA f/(g/|a>)e f>c dF “tr”E2|

ADFD AF d(f|e>)c dF G/A/B “tr”E2|ADFA dF Af||:dafa g<b e2|dafa dafd|e>c dF G<B “tr”E2|

ADFA dF A<f::FdBd Fd E2|FdBd AdFd|FdBd Fd E2|1 Fd f>d e>c dA:|2 Fd f>d e>c df||

(af)(af) g<b e2|(af)(af) (af)(gb)|(af)(af) g<b e2|f>d {f}ed/c/ d>FD f/g/|

(af)(af) g<b e2|(af)(af) (ge)(fd)|e(c d)F G<B “tr”E2|ADFA dF A<f||

 

NATHANIEL GOW’S COMPLIMENTS TO MR. W.K. JENKINS.  Scottish, Slow Air. E Flat Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831). The person of the title is unknown, although there was a William Kinnaird Jenkins, born around 1790 in Hereford, who became a lawyer and successful land speculator and developer in London. He married in 1813 Henrietta Carolina (?), and had six children between 1814 and 1822. A son, George, was also a noted barrister. Nathaniel also wrote a tune for George Jenkins, a London dancing master (as did his son, Neil Gow Jr.)—could W.K. be a relation? Carlin (The Gow Collection), 1986; No. 28. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 21.

X:1

T:Nathaniel Gow’s Compliments to Mr. W.K. Jenkins

M:C

L:1/8

R:Slow Air

N:”May be played as a Hornpipe.”

C:Nathaniel Gow (1763-1831)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Eb

B>A|~G3A (BG)AB|(cB)(AG) F2 GA|(BA)(GF) “tr”(EDE)G|(FE)(DC) B,2 BA|

~G2A (BGAB)|(cdef) {ef}g2 fe|(dcBA)(GFED)|E2 [G,2E2][G,2E2]:||

~d>e|(fd)(fd) B2 ef|(ge)(ge) B2 ag|(fac’)b (ag)(fe)|(dc)(B=A) B2 “tr”B>c|

._d(Bcd) .c(ABc)|(BA)(GF) (EG)(BG)|(cB)(AG) (GF).E.D|E2 [G,2E2][G,2E2] ~d>e|

(fd)(fd) B2 ef|(ge)(ge) B2 ag|(fac’)b (ag)(fe)|(dc)(B=A) B2 ed|

(dc) ec (dB) ed|(dc) .e.c Bz .e.d|(dc) (BA) (GF)ED|E2 [G,2E2][G,2E2]||

 

NATHANIEL GOW’S LAMENT FOR MRS. OSWALD OF AUCHINCRUIVE.  Scottish, Lament (whole time). C Minor. Standard tuning. AABB. Composed by Nathaniel Gow (1763-1831) on the occasion of the death of talented and beautiful Lucy Johnston, who became Mrs. Oswald when she married Richard Oswald of Auchicruive. See note for “Miss Johnston of Hilton’s Fancy” for more on Lucy. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 14.

X:1

T:Nathaniel Gow’s Lament for Mrs. Oswald of Auchincruive

M:C

L:1/8

R:Lament

N:”Slow, with expression”

B:Gow – Fourth Collection of Strathspey Dances (1800)

Z:AK/Fiddler’s Companion

K:Cmin

C|G>FED C2 (cd)|ed/c/ (=Bc) G2 c>=B|(AG)(FE) D>E/2F/4 (EC)|E3(F/E/) D2G2|(ed)(c=B) c2 “tr”d>e|

(fe)(dc) {c}=B2G2|(cg)(fe) (dc)=Bc|e2 “tr”d>c c3::c|gefg ~e3f|e2 “tr”d>c c3g|afga (g>a/2g/4) fe|

e3 (f/e/) d3G|”tr”c(ed>)G (df)e>G|(eg)(fa) {a}g3f|ec (f/g/a/f/) e2”tr”d2|c6:|

 

NATHANIEL GOW’S LAMENT FOR (HUGH) EARL OF EGLINTOUN.  Scottish, Strathspey. D Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831), upon the death of Hugh Montgomerie (1739-1819), the 12th Earl of Eglintoun. The Earl was a patron of the Gows, who dedicated their Fourth Collection (1800) to him (see note for “Earl of Eglinton [1]”). Gow (Sixth Collection of Strathspey Reels), 1822; pg. 21.

X:1

T:Nathaniel Gow’s Lament for (Hugh) Earl of Eglintoun

M:C

L:1/8

R:Strathspey

N:”Slow”

C:Nathaniel Gow (1763-1831)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:D

d|(D<F)F>D “tr”E>DB,>E|(D<F)F>D d>A~B>A|(D<F)F>D “tr”E>DB,B|(A<d) ~d>F {F}A2 Ad|

(D<F)F>D “tr”E>BB,>E|(D<F)F>D d>A~B>A|(D<F)F>D “tr”E>DB,B|(A<d) ~d>F {F}A2A||B|

(A<f) (f/a/g/f/) “tr”e>dB>d|A<f f>d “tr”e>dfd|(A<f) f/a/g/f/ “tr”e>d Bd|(A<d) ~d>F {F}A2 A>B|

(A<f) (f/a/g/f/) “tr”e>d Bc/d/|(A<f) f>d e>cdA|”tr”B>AFd “tr”E>DB,B|A<d ~d>F A2A||

 

NATHANIEL GOW'S LAMENT FOR THE DEATH OF HIS BROTHER. Scottish, Lament (6/8 time). A Minor. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831) on the occasion of the death of his elder brother William. William, the eldest child of Niel Gow, was born in 1751 and died in 1791 at the age of 40. He is buried in Greyfriar’s Churchyard. He married at Edinburgh in June, 1776, to Jean, daughter of James Lawson, Salt Officer in Bo’ness, and they had three children. William was the leader of the Edinburgh Assembly Orchestra after the death of ‘King’ McGlashan, and was in turn succeeded by his younger brother Nathaniel who had played the violincello under both leaders. William is said to have played the violin with a “bold and spirited style” (Chambers & Thomson, A Biographical Dictionary of Eminent Scotsmen, 1870). See also an adaptation of Nathaniel’s lament called “Lord John Scott’s March.” Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 11 (3rd ed.). Hardie (Caledonian Companion), 1992; pg. 87. Howe (1000 Jigs and Reels), c. 1867; pg. 148. Lerwick (The Kilted Fiddler), 1985; pg. 78.

X:1

T:Nathaniel Gow’s Lament for the Death of His Brother

M:6/8

L:1/8

R:Slow Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Amin

A/B/ | {A/B/}c>BA eBd | .c.A.A A2 A/B/ | cBA (e^fg) | BGG G2A/B/ |

{A/B/}cBA {G}(eBd) | cea (e2d) | cBA EA^G | BAA A2 :| e |

a^ga e=g/f/e/d/ | .c.A.A A2 A/B/ | cBA (e^fg) | BGG (G2e) |

a^ga e=g/f/e/d/ | cAA Aed | c>BA EA^G | BAA A2 ||

X:2

T:Nathaniel Gow’s Lament for the Death of his Brother

M:6/8

L:1/8

R:Air

N:”Pathetically Slow”

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 11  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Amin

A/B/|{A/B/}c>BA {^G}(eBd|c).A.A ~A2 A/B/|({A/B/}c)BA (e^f)g|BGG “tr”G2 A/B/|

({A/B/}c)BA {^G}(eBd|c).e.a e2d|”tr”c>BA EA”tr”^G|AAA A2e:||e|a^ga e(=b/e/)e/d/|

cAA A2 A/B/|({A/B/}c)BA e^fg|BGG “tr”G2e|a^ga e=g/f/e/d/|cAA Aed|

“tr”c>BA EA^G|AAA A2e|a^ga e(=g/f/)e/d/|c.A.A “tr”A2 A/B/|({A/B/}c)BA (e^f)g|

BGG “tr”G2e|(ae).g (fd).B|(ec).A (B^G)E|ABc B(e/d/)c/B/|cAA A2||

 

NATION ONCE AGAIN, A.  Irish, Song Air and March. D Major. Standard tuning. One part. The tune was played by the Kilfenora Céilí Band in the 1950’s and !960’s. Treoir, vol. 38, No. 2, 2006; pg. 29. Turloughmore Céilí Band – “Seven Streams”.

X:1

T:Nation Once Again, A

M:2/4

L:1/8

R:March

S:Treoir, vol 38, No. 2, 2006

K:D

AB/c/|d2A2|f2A2|a3 g/f/|eA ^GA|c2A2|e2c2|g3 f/e/|d2|:FG|

A2 Bc|d2 cd|f3 e|d3c|B2e2|dc Bc|e2d2|d2FG|A2 Bc|d2 cd|f3 e|

d3 c|B2e2|dc Bc|B2 A2|A3 A|A2B2|c2d2|e3 c|A3 A|B2c2|d2e2|(f4|

f2) dc|B2B2|g3f|e2d2|c2B2|A f3|e3 d|(d4|d2) A2|f3 e|de2c2|(B4|B2) B2|

g3f|e2d2|(c4|c2)A2|A2 Bc|d2 cd|B2 ed|c2 de|f g3|e3 d|(d4|d2):|

                       


NATIONAL GUARDS’ HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. “As performed by J. Hand” notes Ryan’s Mammoth Collection. Cole (1000 Fiddle Tunes), 1940; pg. 98. Ryan’s Mammoth Collection, 1884; pg. 133.

X:1

T:National Guards’

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(BA) | G>EG>B A2 (ce) | a>gf>e d>cB>A | G>EG>B A>Bc>A | G>dc>B A>cB>A |

G>EG>B A2 (ce) | a>gf>e d>cB>A | G>EG>B e>dc>B | A2c2A2 :: (ef) |

g>eB>e g>eb>e | a>ec>e a>ec’>e | b>ed’>e b>ed’>e | a>ec’>e e’2 (ef) |

g>eB>e g>eb>g a>gf>e d>cB>A | G>AB>c d>EF>G | A2c2A2 :|

 

NATIONAL HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 107. Ryan’s Mammoth Collection, 1884; pg. 143.

X:1

T:National Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

c/d/ | f/e/e/e/ e/a/g/f/ | f/e/e/e/ .ec/e/ | e/d/f/d/ d/c/e/c/ | d/B/A/G/ A/B/c/d/ |

f/e/e/e/ e/a/g/f/ | f/e/e/e/ .ec/e/ | e/d/f/d/ d/c/A/c/ | e/d/B/G/ A :|

|: E | A/c/c/e/ A/c/c/e/ | e/d/f/d/ d/c/.c | A/c/c/e/ A/c/c/e/ | e/d/c/B/A/E/F/G/ |

A/c/c/e/ A/c/c/e/ | e/d/f/d/ d/c/.c | A/c/c/e/ A/c/c/e/ | e/d/B/G/ A :|

 

NATIONAL LANCERS' HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. Composed by Harry Carleton, about whom nothing is known, although he may have been an East-coast journeyman composer of light music. The name may also have been a pseudonym. The National Lancers was a volunteer light cavalry militia unit form in Boston in October, 1836, whose primary (and mostly ceremonial) purpose was to guard and escort to governor of the State of Massachusetts. While membership was not restricted to the upper class, as with many such ceremonial units, each trooper had to supply and maintain his own horse, which did limit enrolment. During the Civil War members of the unit saw action as part of the Army of the Potomac, while remaining home guard elements of the unit helped quell the Boston Draft Riot (the counterpart of the more famous New York City draft riots) in July 1863. Cole (1000 Fiddle Tunes), 1940; pg. 105. Ryan’s Mammoth Collection, 1884; pg. 141.

X:1

T:National Lancer’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(e/f/) | g/f/e/d/ e/d/c/B/ | c/B/A/G/ G/F/E/D/ | B,/D/G/D/ E/G/c/e/ | d/B/G/B/ A/d/e/f/ |

g/f/e/d/ e/d/c/B? | c/B/A/G/ G/F/E/D/ | B,/D/G/D/ E/G/c/e/ | d/c/B/A/ G :|

|: (g/a/) | b/a/g/f/ g/f/e/d/ | e/d/c/B/ c/B/A/G/ | G/F/E/D/ B,/D/G/B/ | A/d/^c/d/ e/f/g/a/ |

b/a/g/f/ g/f/e/d/ | e/d/c/B/ c/B/A/G/ | G/F/E/D/ E/G/c/e/ | d/c/B/A/ G :|

 

NATIONAL SCHOTTISCHE. AKA and see "Pretty Baby," "Snyder's Clock," "Military Schottische." American, Schottische. Howe (Diamond School for the Violin), 1861, pg. 56.

 

NATIVE, LA. The third (jig) section of the “Lancer’s Quadrilles.” See note for “Would You Have a Young Virgin” for more.

 

NATURAL BRIDGE BLUES. Old-Time, Breakdown. USA, Missouri. A Major. Standard tuning. AA’B. Composed by fiddler Tommy Magness (1911-1972), who played with Bill Monroe, Roy Acuff, and Fiddlin' Arthur Smith. He first recorded the melody as a member of Roy Hall's Blue Ridge Entertainers in 1941. Missouri fiddler Lonnie Robertson and his wife Thelma sometimes sang the following lyric to the tune on their radio broadcasts:

***

Oh, the Natural Bridge Blues is a killin’ me,

I don’t know what to do;

Makes no difference where I roam,

I feel so sad and blue.

Every night when I lay down,

In my dreams I see,

That old bridge a-standin’ there,

I hear it calling me.                      [printed in Beisswenger & McCann, 2008]

***

Source for notated version: Lonnie Robertson (1908-1981, Springfield, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 122. County Records, "Roy Hall and His Blue Ridge Entertainers." Rounder 0172, Bob Carlin - "Where Did You Get That Hat?" (1982. Learned from Fred Cockerham). Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1979).  

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

 

NATURE AND MELODY. AKA and see "The Black Rogue."

 

NAVAL PILLAR, THE. AKA and see "Speed the Plow/Plough [1]."

 

NAVALAH. English. England, Northumberland. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

 

NAVVIE, THE. AKA and see "Navvie on the Line."

 

NAVVIE ON THE LINE. AKA and see "The Clog Hornpipe [1]," "London Hornpipe [1]." English, Scottish, Irish; Clog or Hornpipe. G Major (Kennedy, Kerr): A Major (Honeyman, Martin). Standard tuning. AAB (Kerr): AABB (Kennedy, Honeyman, Martin). The first part is similar to the first parts of "New London," "London Hornpipe [1]” and "Blue Eyes Polka." The Bothy Band made a classic recording of this tune. The title probably refers to a 19th century labourer on a railway or canal excavation. See also the related American tune “The Old Sow, She Stole the Middlins.” The melody is attributed Tyneside fiddler and composer James Hill, in Kohler’s Violin Repository (Edinburgh, 1881-1885). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 45. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 8, pg. 4. Kerr (Merry Melodies), vol. 1; No. 6, pg. 42 (appears as "The Navvie"). Kerr (Caledonian Collection), pg. 22. Martin (Traditional Scottish Fiddling), 2002; pg. 58. Nimbus NI5415, Martin O'Connor - "Across the Waters." Fife Strathspey and Reel Society – “The Fiddle Sounds of Fife” (1980).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Navvie on the Line

M:C

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor

Z:AK/Fiddler’s Companion

R:Hornpipe

K:A

c>d|e>ag>f e>dc>B|A>cE>A c2 B>A|G>BE>G B2 A>G|A>EF>G A>Bc>d|

e>ag>f e>dc>B|A>cE>A c2 B>A|G>AB>c d>ef>g|a2 A2 A2:|

|:B>A|G>BE>G B2 A>G|A>cE>A c2 B>A|G>BE>G B2 A>G|A>EF>G A>Bc>d|

e>ag>f e>dc>B|A>cE>A c2 B>A|G>AB>c d>ef>g|a2 A2 A2:|

 

NAVVY ON THE SHORE [1]. AKA and see “Pride of Cloontia.” Irish, Reel. G Major. Standard tuning. AB (Miller & Perron/1977): AA’BB’ (Miller & Perron/2006). See also the closely related “Navvie on the Line.” Source for notated version: flute player Patsy Hanley (County Roscommon) [Miller & Perron]. Bulmer & Sharpley (Music from Ireland), 1974 vol. 3, No. 8. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 2, No. 11. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 93. Comhaltas Ceoltoiri Eireann No. C18, Patsy Hanley - "From the Homes of Ireland" (1973. Various artisits).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1
T:Navvy on the Shore [1]
R:reel
Z:From Danny Meehan's CD, "Navvy on the Shore"; first time through
M:C
L:1/8

Z:Transcribed by Larry Sanger
K:G
[d4D4]ef||~g2BA GdBd|edBA GdBd|gB{d}BA GdBd|eB{e}dB A2Bd|
[g2B2]{d}BA GdBd|edBA GABd|~g3d e<dBG|A/A/G F2 G3g{f}|
g2BA GdBd|edBd GdBd|{a}g2BA GdBd|eB{e}dB [A2A2]Bd|
[g2B2]{d}BA GdBd|edBd GdBd|g{a}g2f edBG|AGFD [G3G,3]D||
Gage dBGD|A<[FA]AB AGEF|[G2G,2][dG]d {e}dBGB|AFAD A2BA|
Gage dBGD|A/A/G AB ABEG|[gB]afg egdB|AGFA [G3G,3]D|
Gg{a}ge dBGD|A/A/[FA]AB AGEF|[G2G,2]dd {e}dBGB|ABBG ~E3F|
[~G3G,3]e dBGD|AGAB AGEF|gafg (3efg dB|AGFD [G3G,3]g

 

NAVVY ON THE SHORE [2], THE. Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: tin whistle and flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 12.

 

NAVY, THE.  AKA and see “New Bridge Hornpipe,” “Worcester Hornpipe.” English, Hornpipe. The melody appears under this title in the William Hall Lister music manuscript (mid-19th century, East Boldon, near Newcastle).

 

NAVY DANCE. English, Reel. D Major/Mixolydian. Standard tuning. AABB. Huntington (William Litten's), 1977; pg. 10.


 

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