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.
NA CONNERYS [1]. Irish, Air (6/8 time).
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).
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.
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
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.
X:1
T:Naked and Bare
M:6/8
L:1/8
R:Jig
O:
K:G
F|G2A B2e|ede BAG|A2A B2e|B>AG
E2F|G2A B2e|
{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
NAMELESS LASSIE [1], THE. Scottish, Slow Air (4/4 time). G Major.
Standard tuning. One part. Composed by William Marshall.
Hunter (Fiddle Music of
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.
***
Whene'r she shows her blooming face
The flow'rs may cease to blaw,
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.
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 (
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):|
X:1
T:
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||
***
Paul Mitchell finds an almost
identical tune in the late
X:1
T:
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:|
X:1
T:
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 ANDERSON. American, Reel. The melody appears in George P. Knauff's Virginia Reels, volume IV (
NANCY ANNE. AKA – “Nancy Ann.” Old‑Time, Breakdown.
NANCY BLEVINS. Old‑Time, Breakdown & Song.
***
"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 “
***
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.
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.
***
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
***
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
***
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
***
In the
years following
***
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:||
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) ||
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,
X:1
T:Nancy Hynes
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
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 McDERMOTT. AKA and see "Planxty
Nancy McDermott," "Mrs.
Anne MacDermott Roe."
X:1
T:
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
d>c|B2 AG ED|c2 cd e2|d3z BA|G2A2
GE|D>
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
ROWLAND [1]. AKA – “
***
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
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].”
X:1
T:
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 ||
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 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.
X:1
T:
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
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:
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.”
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
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).
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
X:1
T:Napoleon Crossing the
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
NAPOLEON CROSSING THE
X:1
T:Napoleon Crossing the
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
X:1
T:Napoleon Crossing The
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
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:
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.
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.
***
Marion Thede (1967), quoting Cushman, elucidates the title, the name of a river town in the state of Mississippi:
***
'
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
early day the city of
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,
***
***
“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.
***
Sources
for notated versions: W.S. Collins (
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:
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:
M:2/4
L:1/8
R:Reel
B:George P. Knauff –
N:Published in
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||
X:1
T:
M:2/4
L:1/8
R:Breakdown
B:Ford – Traditional Music in
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) [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/}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 (
NATIVE, LA. The third (jig) section of the “Lancer’s Quadrilles.” See note for “Would You Have a Young Virgin” for more.
***
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.
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.
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 "
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 (
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.
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,
NAVY DANCE. English, Reel. D Major/Mixolydian. Standard tuning. AABB. Huntington (William Litten's), 1977; pg. 10.
______________________________________
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