The
Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
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NE |
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] |
NE AN {T-}SAGART TA
UAIT? AKA and see "Is it the priest you want?"
NEAD AN PIGEAD. AKA and see "The Magpie's
Nest."
NEAD NA CUAICHE. AKA and see "The Cuckoo's
Nest [14]."
NEAD NA LACHAN SA
mBÚTA (A Duck’s Nest in the
Moat/The Ducks Nest in the Boot). Irish, Slip Jig. The “Foxhunter’s Jig [1],” in two parts.
See also the related tune “The Humours of
Derrycrosane.” There are Gaelic words to the tune which can be found in Ceolta Gael, Cas Amhrán, Amhránleabhar Ógra
Éireann and the publication with the CD “A Stór ‘s a Stóirín.” Gearóid
Ó hAllmhuráin (1999) gives the tune a Connemra provenance.
NEAL GOW... See also spellings "Neil Gow" and
"Niel Gow".
NEAL GOW'S WIFE. See "Niel Gow's Wife [1]."
NEALE, THE. Irish, Jig. A Major. Standard. AABB. Composed
by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988), named
for the region of County Mayo called the Neale. Reavy, No. 91, pg. 102.
X: 1
T:The Neale
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Dedicated to the people of this quaint region
N:of Mayo. Ed was the guest of his daugher-in-law's
N:family (the Murphys) when he visited the Neale in 1969.
N:He was charmed by the simplicity of their life
N:and the realization that many of his own
N:childhood values still remained there.
N:If his plan had been to return to Ireland,
N:the Neale, he felt, would have been a fitting
N:place to settle. But the exile seldom returns in
N:the end, and so the Neale too becomes
N:another part of his ultimate dream.
K:A
g | aec aec | fga ecA | aec aec | B2 c dcB | aec aec | fga Bcd |
gfe dBG | AGA A2 :: d | c2 a ecA | cBc ecA | c2 d e2 f | gfe dB^G |
A2 a ecA | cBc efg| aec dBG | ABA A2 :||
NEAL'S COTILLION. American, Cotillion (6/8 time). USA, southwestern Pa. D Major ('A'
part) & A Major ('B' part). Standard tuning. AABB'. Bayard's source learned
the tune from Abel Browning but nevertheless gave his own name to it, either
from affection for the tune or because the correct name was not remembered.
Source for notated version: Walter Neal (Armstrong County, Pa., 1952) [Bayard].
Bayard (Dance to the Fiddle), 1981;
No. 613, pg. 543.
NEAL'S MAGGOT. English, Country Dance Tune (6/4 time). G Major. Standard tuning. AAB.
The tune dates to 1742. A maggot is a 17th century dance form usually named
after a patron. The name derives from the Italian maggioletta, a plaything, toy, or matter of slight consequence,
though has also meant a small unit of liquid measure, similar to a dram. Barnes
(English Country Dance Tunes), 1986.
NEANSAÍ MHÍLE GRÁ. Irish, Air (6/4 time). G Major. Standard tuning. AAB. Irish words,
found in Céad de Ceoltaibh Uladh go:
***
A Neansaí mhíle grá, a bhruinneal tá gan smál,
Ba ghile do dhá láimh ná cúr geal na trá,
Ná 'n eala 's í a' snámh ar an Éirne.
Ba ghlaise liom do shúil ná braon beag de'n drúcht,
Is binne liomsa thú ná na treadaí;
'S mur 'n éalaíonn tusa liomsa, titfidh mise i leanndubh
Is cuirfinn in san chill do dhiaidh mé.
***
Is iomaí sin guth mna/ a chloisim gach ard
A bhus agus taobh thall de'n Éirne,
Go Corcaigh na gcuan 's go Béal Átha na Slua,
'S í Neansaí thug buaidh ar a' mhéid sin.
A Mhuire 'gus a Dhia, nar b' aoibhinn é ar saol
Dá mbeinnse agus í le chéile.
Ag cogarnaí ar uaigneas na sléibhe.
***
Beir litir uaimse suas chuig Neansaí chaoin na gcuach,
Is aithris dí gur buartha atá mé;
Aithris dí arís nach gcodhlaim fhéin aon oíche
Le h-arraing atá fríd mo thaobh dheas.
Aithris é dá su/il, aithris é dá cúl,
Aithris é dá [x]* [y] [z]éilín,
Aithris é dá ceann 's do bhéilín atá binn,
Gur ghiorraigh sí go cinnte mo laetha.
***
X:1
T:Neansaí Mhíle Grá
D:Clannad in Concert, Ogham BLB 5001
(1978)
S:Clannad learned the tune from
Alphonsus Mac a' Bháird, Teelin, Co. Donegal
Z:Jerome Colburn
M:6/4
L:1/4
K:G
z2 d | g2 a g2 f | e g2-g z e | d2 e
d2 c | c B2-B z \
c | d2 d B2 G | A A2-A z G/F/ | G
G2-G3 | z3 :|\
d2 c | B2 d g2 a | b3-b2 a | b2 a b2
a | a g2-g2 e |\
d d2 g2 a | b3 a3 | g3 e3 | d3-d z2
\
d | g2 a g2 f | e g2-g2 e | d2 e d2
c | c B2-B2 \
c | d3 B2 G | A A2-A G F | G G2-G3 | z3 |]**
NEAP TIDE (THE). AKA and see “Ebb Tide (2) (The),” “Tide Come In (The).” English,
Hornpipe. G Major. Standard tuning (fiddle). Attributed to Tyneside fiddler
James Hill.
NEAPOLITAN DANCE.
English, Country Dance Tune (2/4 time). G Major. Standard tuning
(fiddle). AABBCCDDEE. The melody is unique to Charles and Samuel Thompson’s
third country dance collection (London, 1773). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 35.
X:1
T:Neapolitan Dance, The
M:2/4
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:G
G|(B/c/d) cB|AGAB|(ef/g/) fe|{e}d3 c|(B/c/d)
cB|AGFG|egA^c|d3:|
|:G/A/B/A/ G/A/B/A/|G2 zG|.G2.e2|d4|dBBB|cAAA|BGDF|G4:|
|:DGGG|EGGG|(A>Bc)c|cBAG|DGGG|EGGG|A>GAB|G4:|
|:G>AB>c|.d2.B2|.c2.A2|.B2.G2|.c2.A2|.B2.G2|A>GAB|G4:|
|:GDDD|E2D2|Gddd|e2d2|dDDD|E2
Dc|BG {B}AG/F/|G4:||
NEAPOLITAN MINUET, THE. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).
NEAPOLITAN THRESHERS'. American, Jig. D Major. Standard tuning (fiddle). AABB. Cole (1000 Fiddle Tunes), 1940; p. 70. Ryan’s Mammoth Collection, 1883; p. 100.
X:1
T:Neapolitan Threshers’
M:6/8
L:1/8
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:D
g | fAA eAA | “tr”d2B A2g | fAA eAA
| “tr”d2B G2g | fAA eAA | “tr”d2B A2g |
aff “tr”gfe | d2B G2 :: B | d3
“tr”BAB | dBA A2B | d3 “tr”BAB |
dBG G2B | d3 “tr”BAB | dBA A2g | faf
gfe | dBG G2 :|
NEAPOLITAN WALTZ, THE. English, Waltz. C Major. Standard tuning.
AABBCC. Source for notated version: a c. 1837-1840 MS by Shropshire musician
John Moore [Ashman]. Ashman (The
Ironbridge Hornpipe), 1991; No. 96, pg. 39.
NEARLY DONE. American, March (4/4 time). A
Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler Randy
Miller. Miller (Fiddler’s Throne),
2004; No. 354, pg. 207.
NEARY’S. AKA and see “By Golly.” Irish, Jig. D Major. Standard
tuning. AA’BB’. The title comes from association with fiddler Jim Neary,
originally from County Mayo, who emigrated to Chicago in the 1920’s. The home
of Jim and his wife and pianist Eleanor (“Eleanor
Neary’s”) was regarded as a musical haven for Irish musicians in Chicago
[Brian McNamara]. The alternate title comes from an exclamation frequently
employed by Chicago fiddler Johnny McGreevy, with whom the tune is also
associated. Johnny McGreevy & Seamus Cooley. Brosna Céilí Band. BNM101, Brian McNamara – “A Piper’s Dream.”
X:1
T:Neary’s
M:6/8
L:1/8
R:Jig
K:D Major
E|dcA GFG|Add d2e|dcA ~G3|AGE
~E3|dcA ~G3|
Adc def|1 efd e2d|cAG A2:|2 efd
efd|cAG A2||
|:efg efg|ege dcd|efg a2a|age dcd|1
efg efg|ege d2e|
fed efd|cAA A2:|2 efg a2a|age
d2e|fed efd|cAA A2||
NEAT MR. JOHN. English, Country Dance Tune
(cut time). A Major. Standard tuning. AABB. The word ‘Neat’ in the title means
‘fine’ or ‘rare’. The melody was composed by dancing master Nathaniel Kynaston
(1683-1757). Although very little is known about him, Kynaston appears to have
been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh
published some 120 of Kynaston’s tunes and dances over several publications,
this one from The Second Book of the
Complete Country Dancing Master (London, 1719, with subsequent editions in
1735 and 1749). The Selattyn parish register in Shropshire records that a
“Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry”
married on August 25th, 1719—although whether this was the dancing
master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 92. Wildgoose WGS 298
CD, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2000).
NEAT SHOE, THE. Scottish, Reel. A Major. Standard tuning. ABCD. McGlashan (A Collection of Reels), c. 1786; pg. 24.
X:1
T:Neat Shoe, The
L:1/8
M:C|
S:McGlashan – Reels
Z:AK/Fiddler’s Companion
K:A
e|c>A c/d/e d>BBd|c>A c/d/e a>bag|f>efa bBBc|e/e/e fe aAAe|c>A c/d/e d>fB>d|
c>A c/d/e a>bag|f>efa bBBc|e/e/e f>e aAA||B|A/A/A cA F>AB>c|A/A/A c>B A>FEF|
A/A/A c>A F>AB>c|e/e/e f>e aAAB|A/A/A c>A F>AB>c|A/A/A c>BA>c E>F|
A/A/A c>A F>AB>c|e/e/e f>e aA A||e|f/g/a a2 g/a/b b2|a>fec B>cBA|a/f/a a2 g/a/b b2|
afef a3e|f/g/a a2 g/a/b b2|a>f a/g/e/c/ ~B>cBA|f/g/a a2 g/a/b b2|afef a3e||
f/g/a f/g/a ecB>A|c/B/A eA fAeA|f/g/a f/g/a ecB>A|AFEF A3 A,2|f/g/a f/g/a ecB>A|
c/B/A
eA fAef|a/f/e f/e/c e/c/B c/B/A|A>FEF A2 A,2||
'NEATH THE MOONLIGHT. American, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 3. Ryan’s Mammoth Collection, 1883; pg. 24.
X:1
T:’Neath the Moonlight
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(a/f/) | e/c/c/A/ B/A/F/A/ |
E/A/c/e/ f/g/a/f/ | e/c/c/A/ B/A/F/A/ |1 E/A/c/A/ B :|2 E/A/c/A/ BA ||
|: d/c/d/e/ f/e/f/g/ | a/f/b/g/
a/f/e/c/ | d/c/d/e/ f/e/f/g/ |1 a/f/e/c/ BB :|2 a/f/e/c/ B/a/g/f/ ||
NED COLEMAN’S JIG [1]. Irish, Jig. G Major. Standard tuning. AABB. Ned Coleman is from
Kylebrack, Loughrea, County Galway, and is an All-Ireland Senior Champion on
the flute. He was a member of the Leitrim Ceili Band, which won an All-Ireland
title, and was also a member of the Abbey, Tynagh and Pallas Ceili Bands.
Source for notated version: New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 199, pg. 61. Green Linnet SIF 1142, Joanie Madden – “A Whistle on the
Wind” (1990). Green Linnet SIF 1157, “John Williams.” Larraga TR1103, Mary
Rafferty – “Hand Me Downs” (2002).
X:1
T:Ned Coleman's jig
R:jig
L:1/8
M:6/8
S:Mike Rafferty
Z:Lesl
K:G
D|:G~G2 EDE|GAB d3|ege dge|dBA GED|
G~G2 EDE|GAB d3|ege dge|dBA G2D:|
|:g~g2 edB|dBA GED|DGG EDE|GAB d3|
g~g2 edB|dBA GED|G~G2 EGB|dBA G3:|
NED COLEMAN’S JIG [2]. AKA and see “Carolan’s Fancy
[1],” “O’Carolan’s Fancy [2].”
“Tommy Mulhaire’s Jig.” Irish,
Jig. G Major. Standard. AABB.
X:1
T:
Ned Coleman's
M: 2/2
L: 1/8
R: Double Jig
Z: Rob Greenway
K: G
EDE G2A|~B3 dBd|edB GAB|ABA AGF|!
EDE G2A|~B3 dBd|edB GAB|AGF G3:|!
|:dBd def|g2e fdB|~A3 ABd|egf e2f|!
gfe fed|edB g3|edB ABc|BGF G3:|!
NED CONNOR’S SLIDE. AKA and see “The Shrone Slide.”
Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry
border. A Mixolydian. Standard. ABB’. Source for notated version: Ned Connor
(Cordal, west Kerry) via accordion player Johnny O’Leary (Sliabh Luachra
region) [Moylan]. Moylan (Johnny O’Leary),
1994; No. 116, pg. 67. Gael-Linn CEF132, Johnny
O’Leary - “An Calmfhear/The Trooper” (1989. Appears as first track of
“Sleamhnain na Sroine”).
NED KENDALL'S FAVORITE. American, Reel. D Major. Standard tuning. AABB. Ned Kendall was a
renowned keyed-bugle player and band-leader based in eastern Massachusetts in
the mid-19th century. Not the hornpipe listed below. The melody was
apparently once quite popular, for it appears in White’s Unique Collection included in a page of reels labelled “Six
Favorite Reels,” in the company of such still-familiar tunes as “Miss McLeod’s
Reel,” “Arkansas Traveller,” “Devil’s Dream,” “Old Zip Coon” and “Lady
Walpole’s Reel.” Cole (1000 Fiddle Tunes),
1940; pg. 16. Ryan’s Mammoth Collection,
1883; pg. 40. White’s Unique Collection,
1896; No. 174, pg. 32.
X:1
M:2/4
L:1/8
S:White’s Unique Collection (1896), No. 174
Z:AK/Fiddler’s Companion
K:F
(A/B/) | (c2 c/).f/.a/.f/ | (c2
c/).f/.a/.f/ | .f/.e/.d/.c/ c(d/e/) | .f/.e/.f/.g/ .a (G/A/) |
(B2 B/).d/.f/.B/ | (A2 A/).c/.f/.c/
| G/^F/G/A/ B/c/d/e/ | f[Af][Af] :: (e/f/) |
.g/(c/=B/c/) .g/(c/B/c/) | .b/.c/.a/.c/
.g/(c/=B/c/) | .f/.a/.c/.f/ .b/.a/.g/.f/ |
.e/.g/.f/.a/ g(e/f/) | .g/(c/=B/c/)
.g/(c/B/c/) | .b/.c/.a/.c/ .g/(c/=B/c/) | (A/c/).f/.a/ (G/c/).e/.g/ | f[ca][Af]
:|
NED
KENDALL'S HORNPIPE [1]. Old‑Time, Breakdown. USA,
Missouri. D Major. Standard tuning. AABB. Ned Kendall (1808-1861) has been
identified either as a famous 19th century keyed-bugle player or as a
competition-winning black step dancer of the same era. A newspaper clipping,
shorn of heading and date but evidently from before the turn of the 20th
century, related an interview with Richard D. Blanchard, an elderly veteran
Boston musician then living in Bridgton, Maine. Blanchard reminisced about the
great musicians of the city he had known:
***
"The first
regular brass band in Boston," said Mr. Blanchard, "was founded
in 1835, by Ned
Kendall, who was its leader. Its title was ‘Boston brass band.’
Before that there was
an organization known as the ‘Boston Brigade band’ –
not its great
successor by that name -- composed of French horns, serpents,
brass instruments,
clarionets and drums, in all about 15 pieces. Way back in
the twenties there was
a band called the ‘Dragon.’ Ned was leader of and bugle
player in the Boston
Brass Band till 1842, when he went away and Eben Flagg
became its leader. In
1849 Ned Kendall returned to Boston and became the
leader of the Boston
Brigade band…Nearly all of them are gone," said Mr.
Blanchard, sadly…”Ned Kendall…died in Boston”
***
The
Boston Brass Band. Woodcut, published in Gleason's Pictorial Drawing Room in the 1850s.
***
Kendall did not confine himself to playing just in Boston. For a number of years he traveled with Spaulding & Rogers’ circus, leading the band and was renowned as a bugle soloist [Hans Nathan, in his Dan Emmett and Negro Minstrelsy, 1962, pg. 112, says: “Emmett himself tells us that he ‘travelled as small Drummer with the celebrated Edward Kendall while he was leader of Spalding and Rogers’ Circus Band. I benefited from his superior qualifications as a drummer…” This would seem to indicated Kendall was proficient in more than the bugle]. It should be noted that Kendall played an instrument known as a keyed-bugle, not the valve coronet, and that he was one of the strongest practitioners of the instrument of his era. He and Patrick Gilmore, an Irish coronet player and fellow bandleader, engaged in a celebrated keyed-bugle/coronet duel before the Civil War. He later traveled to England, where the story is told that he played before Queen Victoria and received a silver bugle from her. In 1859 Kendall’s health began to decline and he died in 1861.
***
The following story was printed in
the Boston Sunday Globe of June 7, 1908, of an interview with a Dr. Joseph
Chase of Cambridge, stemming from interest that in that year musicians from the
band that still at the time played for Boston fireman’s memorial services still
went yearly to the Forest Hills Cemetary to lay flowers on Kendall’s grave in
remembrance of the great musician.
***
When Ned Kendall was
at the height of his popularity a noted New York bugle player had heard so much
of Kendall’s playing and had heard comparison of his own execution so
frequently made with that of the Musician, to the favor of the latter, that he
came to Boston for the express purpose of meeting his rival.
On the day of his
arrival he accepted an invitation to join a sleighing party. After several
hours’ enjoyable sleighing the party drove to the Norfolk house and found the
ball room al lighted up for the grand dance that was being given by an
association of marketmen of Quincy and Faneuil Hall markets.
The New York musician
stepped into the side parlor to warm himself at the open fire, before which sat
three men, who courteously made room for him. On a table near by lay a key
bugle beside a case from which it had been taken.
"Ah!" said
the New Yorker, having warmed his fingers into flexibility as he toyed with the
keys of the instrument. "Any of you gentleman play on this?"
"Yes, I do a
little," replied a dark-complexioned man at the fire.
"Play for
parties, I suppose?"
"Now and then,
when I get a job," said the other, his eyes twinkling, "do you?"
"Oh, I do a
little in my way," remarked the New Yorker with assumed indifference, and
taking up the bugle her an over the scale, gave a few strains and pretty
snatches of melody that brought a dozen listeners to the half open door. The
dark man opened his eyes wider. "You are an excellent player," said
he.
"Oh, only
so-so," was the gratified and rather pompous reply. "I suppose you
don’t go into much except dance music?"
"Well, yes, a
little. I’m pretty good at imitating a thing I hear played once or twice."
And the dark man took up the instrument and played the same strains the other
had, but awkwardly and with several hitches and omissions.
"Pretty
good," said the New York bugler, "but you need practice and accent,
especially in solo playing."
"No doubt of
it," said the dark man.
"Now even in dance music there can be a great deal of ornamentation,"
the New York man remarked loftily, warming up with a desire to show off his
skill before what he thought an inferior player, and the gathering group that
the notes of the instrument had attracted. "The ‘Fishers’ Hornpipe’ is a
lively tune, but see what can be done with it." He put the old country
dance through a series of variations that made the nerves of every foot whose
owner was within hearing distance tingle with electric thrills.
"You can hardly
follow that as well as the scales, I suppose," said the performer, laying
down the instrument amid a buzz of applause from his now large audience.
"Well, I don’t
know about following anybody, but I may give you my idea of it," spoke up
the dark man as he took the bugle and began playing.
If the first few bars
of the music made the other player start, the succeeding ones transfixed him as
the performer executed strains with a correctness, sill and beauty that he
never before heard extracted from a bugle. The variations, trills, tones and
melody of the familiar old dance tune was rendered as never dreamed of by that
New Yorker, as the music flowed from the bell of the bugle under the skillful
manipulation and never failing wind of the performer, who, at the conclusion of
his performance, amid a roar of applause, remarked, with the same twinkle in
his dark eyes:
"What do you
think now?"
"Think!" exclaimed the New Yorker, as he stood with his eyes staring in astonishment. "Think! Why, that no loving man could have done that. You must be either the devil or Ned Kendall!"
"Ned Kendall and
no devil," quietly replied the dark man.
"That New York
bugle player was Candler -- George Candler. He was a great bugle player, but
Ned Kendall was a greater one," said Dr Chase.
***
Sources for notated versions: Jack
Croy (Gravois Mills, Missouri) [Christeson]; Creighton and Deborah Lindsay
(Corvalis, Oregon) via George Penk (Portland, Oregon) [Songer]. R.P. Christeson
(Old Time Fiddlers Repertory, vol.
2), 1984; No. 72, pg. 49. Songer (Portland
Collection), 1997; pg. 147. Great Meadow Music GMM
2002, Rodney Miller & David Surette – “New Leaf” (2000).
T:Ned Kendall’s Hornpipe [1]
M:2/4
L:1/8
S:Christeson – Old Time Fiddler’s
Reprtory, vol. 2 (1984)
R:Breakdown
K:D
F/G/ | A/B/A/G/ F/G/A/d/ | B/A/B/c/
dd/A/ | B/d/A/G/ F/D/F/D/ | A,/B,/C/D/ [EA][EA] |
A/B/A/G/ F/G/A/d/ | B/G/B/c/ dd/B/ |
A/c/e/f/ g/f/e/g/ | f/d/e/c/ B :: A/A/ |
A/c/d/A/ B/c/d/B/ | A/B/d/e/
[df][df] | g/f/e/d/ e/f/g/e/ | f/e/d/f/ e/d/c/B/ |
A/c/d/A/ B/c/d/B/ | A/c/d/e/
[df][df] | g/f/e/d/ e/f/g/e/ | f/d/e/c/ d :|
NED KENDALL'S HORNPIPE
[2]. AKA and see "Reefer's Hornpipe," "Reel du Chauffeur." American,
Hornpipe. F Major. Standard tuning. AABB (Cole): AA'BB' (Kerr). Perhaps
distantly related to “Ned Kendall’s [1].” Ned Kendall was a famous 19th century
coronet player, although it has also been rumoured that was the name of a
competition-winning African-American step dancer of the same era. This is
perhaps the version that was in the repertoire of Maine fiddler Mellie Dunham;
the elderly Dunham was Henry Ford's champion fiddler in the late 1920's. See
also O'Neill's hornpipe "Swinging
Around the Circle” and the Quebecois “Reel des Chantiers." Cole (1000 Fiddle Tunes), 1940; pg. 87. Kerr (Merry Melodies), vol. 2; No. 382, pg.
42. Ryan’s Mammoth Collection, 1883; pg. . White’s Unique Collection, 1896; No. 141, pg. 25.
T:Ned Kendall’s Hornpipe [2]
M:2/4
L:1/8
S:White’s Unique Collection (1896), No. 141
Z:AK/Fiddler’s Companion
K:F
(A/B/) | c/d/c/B/ A/F/A/c/ |
d/c/d/e/ f/e/f/d/ | c/A/f/d/ c/A/F/A/ | G/F/G/A/ G(A/B/) |
c/d/c/B/ A/F/A/c/ | d/c/d/e/
f/e/f/d/ | c/a/g/f/ e/c/d/e/ | fa [Af] :: (A/B/) |
.c(3f/e/f/ .d(3f/e/f/ | .c(3f/e/f/
.a(3f/e/f/ | g/a/b/a/ g/f/e/f/ | g/f/e/d/ c/B/A/B/ |
.c(3f/e/f/ .d(3f/e/f/ | .c(3f/e/f/
.a(3f/e/f/ | g/a/g/f/ e/c/d/e/ | fa [Af] :|
NED NAUGHTON'S
HORNPIPE (Crannciuil Eamonn
Mic Nagtain).
Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version:
Chicago Police Sergeant James O’Neill, a fiddler originally from County Down
and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 207.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1744, pg. 324.
X:1
T:Ned Naughton’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1744
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | d/c/d/e/ d/A/F/A/ |
B/c/d/e/ d/c/B/A/ | B/G/G/B/ A/F/d/F/ | E/F/G/A/ G/F/E/D/ |
d/c/d/e/ f/d/A/F/ | E/F/G/A/ B/c/d/e/
| f/d/c/d/ B/G/E/C/ | DD D :|
|:
z | A/^G/A/B/ A/c/e/f/ | g/e/f/d/ d/c/B/A/ | B/G/G/B/ A/F/d/F/ |
d/A/F/A/ G/B/E/G/ | F/A/d/f/
e/c/A/F/ | G/B/A/G/ F/D/E/C/ | DD D :|
NED OF THE HILL [1] (Eamonn/Eadmun an Cnuic). AKA - “Edmund of the Hill.” AKA and
see "As a Beam O'er the
Waters," "Col O'Gara," “Eamonn
a' Chnuic,” "The Young Man's
Dream.” Irish, Slow Air (3/4 or 6/8 time). G Major/E Minor. Standard tuning
(fiddle). AB (O’Neill, Roche): AABB (O’Farrell, Shields/Goodman). An Irish
ballad of the period 1698‑1704 written in memory of Edmond (O’)Ryan, of
Knockmeill Castle, Co. Tipperary, who was an outlaw under King William. Edmond,
or Ned, was the scion of an old family, the O'Ryans of Kilnelongurty, County
Tipperary, who "was forced to become a Rapparee, and to do a man's part in
spoiling the spoiler" (Flood, 1906). O'Ryan "took to the hills"
after the capitulation of Limerick, and was murdered in one of the first years
18th century by one Dwyer for the reward of 200 Pounds set by the
British on his head. He is burried in Curraheen, near Hollyford. The air itself
dates from the close of the 16th century (though the first printed version
appeared in 1729), according to Flood, and it underwent various modifications
between the years 1600 and 1760 appearing under many titles, including "The
Young Man's..." and a Scotch variant (in Johnson's Scots Musical Museum, 1788) "I Dreamed I Lay" with words
by Robert Burns. Another early printing of the melody appears in the appendix
to Walker’s Historical Memoirs of the
Irish Bards (1786). Source for notated version: a manuscript collection
dated 1861 by the Anglican cleric and piper James Goodman (1828-1896), who
collected primarily in County Cork [Shields]. O’Farrell (National Irish Music for the Union Pipes), 1804; p. 21. O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 133, p. 24. Roche Collection,
1982, vol. 1; No. 1, p. 7. Shields (Tunes of the Munster Pipers), 1998;
No. 34, p. 16. Plant Life Records PLR017, "The
Tannahill Weavers" (1979).
X:1
T:Ned of the Hill
T:Éamonn an Chnoic
M:3/4
L:1/8
N:”Slow”
R:Air
S:O’Neill – Music of Ireland
(1903), No. 133
Z:AK/Fiddler’s Companion
K:G
(D>E) | G2B2 (AG) |B2g2 (f>d)
| (ed/B/) A2B2 | “tr”(G>F) F2 (D>E) | G2B2 (A>G) |
B2g2 (f>d) | (ed/B/) “tr”A2B2 |
(A>B/2A/4) G2 || (De/f/) | g2 (fe) (a>g) |
f2 (ed/B/) .d(g/f/) | e>d
(B/A/G/E/) (G/A/B/d/) | (e>f) (g>a) (g/a/b) | G2B2(AG) |
B2g2(fd) | (e/d/B/G/) .A2 (G/A/B/d/)
| (e/d/B/G/) (A>G) G ||
NED OF THE HILL [2] (Eamonn An Cnuic). Irish, Air (3/4 time). G Major/E Minor.
Standard tuning (fiddle). AB. Roche Collection,
vol. 1; No. 3, p. 7.
NED WENT A FISHING. Old‑Time, Breakdown. USA, Kentucky. An old string band tune
recorded by John V. Walker (1891‑1980) in the early 1930's with the band
Walker's Corbin (Ky.) Ramblers.
NEEDA MACCOWALL. AKA and see "Brian
MacCowall."
NEEDLE AND CASE. English?, Air?. D Major. Standard tuning. AABB. Source for notated
version: John Roberts (Eng./USA) [Spandaro]. Spandaro (10 Cents a Dance), 1980; pg. 12.
NEEDLE IN A HAYSTACK.
Old-Time, Breakdown. A Major/Mixolydian. AEae (or GDgd) tuning. AA’BB’.
Mark Wilson remarks that the contours of the tune are similar to “Shortenin’
Bread.” Source for notated version: Fred Stoneking (b. 1933, Missouri), learned
from his father Lee (1907-1989) [Beisswenger & McCann]. Beisswenger &
McCann (Ozark Fiddle Music), 2008; pg. 140. Rounder
CD 0381, Fred Stoneking – “Saddle Old Spike” (1996).
NEEDLE IN THE CASE. AKA ‑ "Needlecase." Old‑Time, Breakdown. USA,
southwest Alabama. D Major. Standard tuning. AB. One of the tunes described as
a "popular old‑time tune" that the Clarke County Democrat of May 9, 1929, predicted would be "rendered in a most approved
fashion" at an upcoming contest in Grove Hill, Alabama. Tennessee musician
Sam McGee popularized the tune with his finger‑picked banjo recording,
while Vermont fiddler Pete Sutherland adapted it as a fiddle tune. Source for
notated version: Scott Marckx/Jeannie Murphy [Silberberg]. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 105. Folkways
Records, The McGee Brothers and Arthur Smith. Rounder 0132, Bob Carlin ‑
"Fiddle Tunes for Clawhammer Banjo" (1980).
X:1
T:Needlecase
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
ag f/e/d|Bg Bg|ag f/e/d|B/A/B/c/ d2|ag f/e/d|Bg Bg|
Ac e/c/B/A/|Bc d2::DF Ad|BB/A/ Bd|DF Ad|
B/A/B/c/
d2|DF Ad|BB/A/ Bd|Ac e/c/B/A/|Bc d2:|]
NEEDLECASE. AKA and see "Needle in the Case."
NEEDLE’S EYE. American, Jig. USA, New York’s Woodland Valley, Catskill Mountains. D Major. Standard tuning. One part. Cazden prints source Van Kleeck’s dance calls for the tune. Source for notated version: caller George Van Kleeck [Cazden]. Cazden (Dances from Woodland), 1945; pg. 23.
X:1
T:Needle’s Eye
L:1/8
M:6/8
K:D
FGF DEF|G2G G2F|E2E EFE|F3 A3|FGF DEF|G2G B2A|F3 E3 D6||
L:1/8
M:9/8
F2G A3 d3|(A6 A3)|F2G A3 d3|(A6 A3)|FEF D6||
L:1/8
M:6/8
FGF
DEF|G2G G2F|E2E EFE|F3 A3|FGF FEF|GFG B2A|F3 E3|D6||
NEEKY SEEKY. AKA and see "N....r Sick."
NEEN MAJOR NEAL. AKA and see "Injean Major
Neal." Irish. The first word of the title is a corruption of the
Gaelic "inion."
NEENI HAMILTON. AKA and see "Miss
Hamilton [1]."
NE'ER HEED HER
SCORNING. English. England, Northumberland .
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
NEGRO SAND DANCE. See “Morduant’s House.”
NEGRO SUPPERTIME. Old-Time, Breakdown. G Major. Standard tuning. AABB. Not the original
title. Original source for the tune was the Nations Brothers, from Mississippi.
Source for notated version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 163.
NEGUS.
English, Jig. G Major. Standard tuning. AABB. The melody was originally
published in Charles and Samuel Thompson’s Compleat Collection, vol. 3
(London, 1773). As with numerous tunes from the Thompson’s 1773 collection, it
was entered into the 1788 music copybook of fiddlers John and William Pitt
Turner (Norwich, Conn.). Negus is a drink made from wine, often port, mixed
with hot water, and sugured and spiced.
It takes its name (according to Malone) from an early 18th
century courtier named Col. Francis Negus, who invented the drink. During a
heated exchange between Tories and Whigs during the reign of George I, Negus is
said to have recommended they drink as he did—wine diluted with water, to help
curb their excesses. Negus was drunk at Fezziwig’s Charistmas party in Dickens’
Christmas Carol and is mentioned in several other literary works of the
18th and early 18th centuries. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 170.
X:1
T:Negus
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:G
G2B
d2g|bag fed|cAe dBG|FAG FED|G2B d2g|bag fed|^ceg fad|ge^c d3:|
|:d2f a2c|afc {c}B3|c2e dBG|EAG {G}F3|G2B d2g|bag fed|cAe dBG|DGF G3:||
NEGUS FOR GENTLEMEN. Irish, Air and Jig. G Mixolydian/F Major? Standard tuning. AABB.
"See 'Punch for (the)
Ladies [1]’" (Joyce), a companion piece. Negus is a concoction made of
hot water, wine, and lemon juice, sweetened and spiced. The two titles form a
reversal of convention: negus was a woman’s drink, while men typically enjoyed
punch. Joyce (Old Irish Folk Music and
Song), 1909; No. 308, pg. 144.
X:1
T:Negus for Gentlemen
M:6/8
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:Sound more like F Major. Joyce had
no sharps or flats in the signature.
K:Gmix
AGG G/A/BG | AFD F2G | AGG Gac |
dcd/e/ fcA|
AGG G/A/BG | AFD F2G | FDC FGA | cdc
cAG:|
|: FAc fga | gfe fcA | FAc fga | gfe
f2 f/g/ | afa gfe | fed cde | fcA Fac | dcd/e/ fcA :|
NEIGHBOR DOWNRIGHT.
See “Hey for Honesty.”
NEIL BEATON’S. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. ABB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 260, pg. 75.
Fiddlesticks cass., Jerry Holland - “Fathers and Sons”
(1992).
NEIL DOHERTY. Scottish, Reel. Scotland, Shetland Isles. Composed by Ronny Cooper. BM-91, Buddy MacMaster – “Glencoe Hall.”
NEIL GERROIR. Canadian, Jig. Canada, Cape Breton. G Major (‘A’ part) & D Major
(‘B’ part). Standard tuning. AA’BB’. Composed by fiddler Brenda Stubbert (b.
1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 120, pg. 42. BM-91,
Buddy MacMaster – “Glencoe Hall.” Brenda Stubbert - “House Sessions” (1992).
NEIL GOW... See also spellings "Niel Gow" (which
was the spelling Gow himself used) and "Neal Gow."
NEIL GOW'S FAREWELL TO
WHISKY. AKA and see "Farewell to Whiskey [1],"
"You've surely
heard o' the Famous Neil."
NEIL GOW'S HIGHLAND.
Irish??, Reel. Green Linnet SIF‑104,
Altan ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1095,
Altan ‑ "Horse with a Heart" (1989).
NEIL GOW'S HOUSE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by
Alexander Walker, in honor of the master Scottish fiddler of the previous
generation, Niel Gow (1727-1807). Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 81, pg. 28.
NEIL GOW'S LAMENT FOR
ABERCAIRNY. See "Niel
Gow's Lamentation for James Murray, Esq., of Abercairny."
NEIL GOW’S LAMENT FOR
HIS BROTHER. AKA and see “Gallowglass.”
NEIL
GOW'S LAMENT FOR HIS SECOND WIFE. Scottish, Slow Air (6/8 time). D
Major. Standard tuning. AAB. Martin (Ceol
na Fidhle), Vol. 1, 1991; pg. 15.
NEIL GOW'S RANT. American, Reel. USA, southwestern Pa. G Major. Standard tuning.
AABBCCDDEE. The title would seem to indicate composition by the famous Scots
fiddler Niel Gow (1727‑1807), however, nothing like it appears in that
fiddler's published works. Source for notated version: John Meighen (elderly
fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 1, pg. 17.
NEIL GOW’S STRATHSPEY. Irish, Strathspey. F Major. Standard tuning. AA’BB’. Danny O’Donnell’s
name for “The Lass o’ Corrie Mill.”
Source for notated version: fiddler Danny O’Donnell (County Donegal) [Feldman
& O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1978; pg. 191.
NEIL GOW’S WIFE. See “Niel Gow’s Wife [1]." ‘Niel’ was the fiddler’s own preferred
spelling of his name.
NEIL MACKAY’S REEL. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. ABB’.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 170, pg. 48.
Fiddlesticks cass., Jerry Holland - “Fathers and Sons”
(1992).
NEIL OF THE GLENTIES. Irish, Highland. D Major. Standard tuning. AB. Composed by County
Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988) in honor of
fiddler Neil Dougherty, born and raised in Glenties, Donegal, before moving to
Philadelphia. Reavy (The Collected
Compositions of Ed Reavy), No. 118, pg. 132.
NEIL R. MACDONALD
STRATHSPEY.
Canadian, Strathspey. Canada, Cape Breton. Composed by the late Dan R.
MacDonald (1911-1976) of Inverness, Nova Scotia. Rounder
SS‑0145, Carl MacKenzie (Nova Scotia) ‑ "Traditional Music on
Rounder: A Sampler" (1981).
NEIL ROONEY’S REEL. AKA and see “Honeymoon
(Reel) [2],” “Lady
O’Brien’s Reel [2],” “The Pure Drop [1],” ”Rooney’s Reel.”
NEIL ROY. Scottish, Reel. G Minor. Standard tuning. AA'B. MacDonald (The Skye Collection), 1887; pg. 133. Stewart-Robertson
(The Athole Collection), 1884; pg.
192.
X:1
T:Neil Roy
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
GABc d2 cB|AFcF dFcF|1 GABc d2 cB|AFcA G/G/G G2:|2 GABc defd|
cAfA G/G/G G2||
Ggga b2ag|fcac fcac|dgga b2ag|fdcA G/G/G G2|Ggga b2ag|
fcfg
agfa|gafg dfcf|AFcA G/G/G G2||
NEIL SPÓRTÚIL. AKA and see "Sporting Neil."
NEIL TAYLOR’S JIG. English, Jig. G Major. Standard.
AABB. Composed by Borders fiddler Willy Taylor in honor of his son. The tune is
played more like a two-step than a standard jig.
X:
1
T:Neil Taylor's Jig
M:6/8
L:1/8
C:WillTaylor
S:WillTaylor ms.
K:G
D | GAB BGF | GBd g2e | dBG GFG | FAF DEF | GAB AGF | GBd g2e |
dBG FGA | DAFG2d :: gag gdB | cde dBG | DFA Acc | Aed B2d | gag gdB |
cde
dBG | fed cAF | DAFG2G :|
NEIL VINCENT’S WELCOME
TO EARTH. American, March. Composed by
Peterborough, New Hampshire, accordion/keyboard player Bob McQuillen, in 1993
in honor of the birth of bandmate Jane Orzechowski’s youngest son. Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old
New England – “Choose Your Partners!: Contra Dance & Square Dance Music of
New Hampshire” (1999).
NEILÍ (Nelly). Irish, Polka. Ireland, West Kerry. G Major.
Standard tuning. AABB. A third part, with words, is sometimes added. A
favourite of accordion player Pádraig O’Shea. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The
Set Dance Music of West Kerry), No. 2.
X:1
T:Neilí
M:2/4
L:1/8
R:Polka
K:D
e>d c/B/A|ed cA|Ac ef|ge d2:|
ef ge|ed cd|ef ge|ec d2|ef ge|ed
cB|Ac ef|ge d2||
f2 fg|ed cA|f2 fg|ec de|f2 fg|ed
cB|Ac ef|ge d2||
NEILÍ NÍ MHATHÚNA. See “Nellie Mahony’s Slide.”
NEILIE CLEERE’S (REEL). Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985).
Ryan (The Hidden Ireland), 37.
NEILLY BOYLE’S/O'BOYLE'S HIGHLAND & REEL. Scottish, Irish; Reel and Highland.
A Mixolydian. Standard tuning. AB. A popular pair of tunes in County Donegal.
Neilly Boyle was a master Donegal fiddler. The Highland is performed an octave
lower for variation. Source for notated version: fiddler Danny O’Donnell
(County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 191
(appears as “Neilie Boyle’s Highland”). Green Linnet
SIF 1078 ‑ "Altan" (1987). Green Linnet SIF 1101, Mairead Ni
Mhaonaigh ‑ "Playing with Fire: the Celtic Fiddle Collection"
(1989).
NEILY CLEERE’S (POLKA). Irish, Polka. D Mixolydian. Standard tuning.
AABB. See also “Neilie Cleere’s” reel, also from the source. Taylor (Music for the Sets: Blue Book), 1995;
pg. 8.
NELL FEE’S. Irish, Polka. Patty Furlong –“Traditional Irish Music on Button Accordion”
(1999. Learned from New York fiddler Patrick Ourceau).
NELL FLAHERTY'S DRAKE (Bardal Eiblin Ni Flaitbeartaig). AKA and see "My Name it is Nell," "The Widow's Curse." Irish, Double
Jig. G Major. Standard tuning. AABB. A humorous song goes to the melody, which
Francis O’Neill heard “sung in the old homestead” as a boy in County Cork, in
the mid-19th century. He says a still-older song went to the air
which begins:
***
My name is Poll Doodle, I work with my needle,
And if I had money ‘tis apples I’d buy;
I’d go down in the garden and stay there till morning,
And whistle for Johnny, the gooseberry boy.
***
O'Neill (Krassen), 1976; pg. 74.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 763, pg. 142. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 44, pg. 24. Roche Collection, 1982, vol. 3; No. 105,
pg. 32.
X:1
T:Nell Flaherty’s Drake
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 44
Z:AK/Fiddler’s Companion
K:G
D|GAB AGE|DEG GBd|efg dBG|BAA
A2D|GAB AGE|DEG GBd|efg dBA|BGG G2:|
|:B|def gfg|afd edB|gfg edB|BAA
A2D|GAB AGE|DEG GBd|efg dBA|BGG G2:|
NELL KENNEDY (Eiblin Ni Ceinneidig). Irish, Double Jig. G Major.
Standard tuning. AABB'. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 363, pg. 74.
X:1
T:Nell Kennedy
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 363
Z:AK/Fiddler’s Companion
K:G
A|B2G A2F|GFD FGA|BAG A2F|G2g
fdc|B2G A2F|GFD FGA|BAG FDF|G3 G2:|
|:A|B/c/de fdf|gag fdc|B/c/de fdf|g3
[G2g2][Aa]|1 B/c/de fdf|gag fdc|
BAG FDF|G3 G2:|2 bag gag|fdB cde|fed
cAF|G3 G2||
NELL O’SULLIVAN’S. Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 28, pg.
135. Cranitch (Irish Session Tunes: Red
Book), 2000; 28.
NELL SULLIVAN’S. Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. G
Major. Standard tuning. AABB. Source for notated version: Nell Sullivan (Mrs.
Spillane) via accordion player Johnny O’Leary (Sliabh Luachra region)--”That
one I got from an old woman, Mrs. Spillane, mother to John Spillane, the
fiddle-player in England. She used to play the concertina” [Moylan]. Nell
Sullivan/Mrs. Spillane was a sister of Sliabh Luachra musician Thadelo
Sullivan. Moylan (Johnny O’Leary),
1994; No. 89, pg. 51. Topic 12T357, Johnny O’Leary -
“Music for the Set” (1977).
NELLY A CHAILIN DEAS. AKA and see "Nelly, My Pretty
Girl," "Little
Rock of My Affection" (Carraigin An Annsa).
NELLY BAWN. AKA and see "The Song of
Crossmolina" (Co. Mayo). Irish, "moderately slow" Air (4/4
time). G Major. Standard tuning. AB. Source for notated version: "Paddy
Conneely, the Galway piper," via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 469, pg. 261.
X:1
T:Nelly Bawn
T:Song of Crossmolina, The
M:C
L:1/8
R:Air
N:”Moderately slow”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
{D/E/}(3GAB | c3d edcA | d4 cAGE |
D2 D>E G2G2 | G6 || cd | e4 edcA | d4e2dc |
A2G2A2 Bc | d6 cd | e2d2d2 cA | d4
e2 dc | A2G2A2 Bc |
d6 (6D/E/F/G/A/B/ | c3d edcA | d4
cAGE | D2 DE G2G2 | G6 ||
NELLY BLY. American, "Sand Jig" (4/4 or 2/4 time). USA, Michigan. G
Major (Kerr): C Major (Shaw): D Major (Johnson, Sweet). Standard tuning. AAB
(Kerr): AABB (Johnson, Shaw, Sweet). Nelly Bly (1864-1922) was born Elizabeth
Jane Cochran and took her pen name from a Stephen Foster song. She was a famous
muck‑raking reporter in the latter 19th century for the New York
newspaper The World. In 1889 the
paper sent her on a round‑the‑world trip where she journeyed for 72
days, 6 hours and 11 minutes by train, ship, rickshaw and burro. Foster’s song
entered minstrel tradition; Scott records that it was "one of the 'Negro'
songs sung by the troupes which followed (in England) in the wake of the
Ethiopian Serenaders."
***
Nellie Bly in 1890 |
Nelly Bly, Nelly Bly, bring de broom along, We'll sweep de kitchen clean, my dear, And hab a little song. Poke de wood, my lady lub, An' make de fire burn, An' while I take de Banjo down Jest gib de mush a turn. (Steven Foster) |
***
Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87;
pg. 3. Kerr (Merry Melodies), vol. 2;
No. 406, pg. 45. Scott (English Song Book),
1926; pg. 80. Shaw (Cowboy Dances),
1943; pg. 384. Sweet (Fifer’s Delight),
1965/1981; pg. 10.
X:1
T:Nelly Bly
M:2/4
L:1/8
S:Shaw – Cowboy Dances (1943)
Z:AK/Fiddler’s Companion
K:C
EF GG|EF G2|E>F GA|D4|EF GG|AB cc|Bc dd|c4:|
|:e2cc|c2AA|GE DC|D4|EF G>G|AB
cc|Bc de|c4:|
NELLIE DONOVAN. AKA – “Nellie O’Donovan.” AKA and see "The Doon Reel [1]," "Kate Kelly's Fancy,” “Killoran’s Reel [2].” Irish, Reel.
G Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen): ABCD
(Mitchell). Breathnach (1976) finds the first part of “The Doon Reel” related
to this tune and to “Kate Kelly’s Fancy” and “The Ravelled Hank of Yarn [1].”
A Donegal setting was played by John and Mickey Doherty
under the title “Bonny Bunch of
Ferns.” Source for notated version: piper Willie Clancy (1918-1973, Miltown
Malbay, west Clare) [Mitchell]. Mitchell (Dance
Music of Willie Clancy), 1993; No. 19, pg. 40. O'Neill (Krassen), 1976; pg.
131. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1394, pg.
259. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 638, pg. 115 (appears as “Nellie
O’Donovan”). Piping Pig Productions PPPCD001, Jimmy
O’Brien-Moran – “Seán Reid’s Favourite” (1996).
X:1
T:Nellie Donovan
T:Nellie O’Donovan
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
638
Z:AK/Fiddler’s Companion
K:G
B2 Bd dcAc|BGGB d2 cA|B2 Bd dcAc|d2
cA BGGA|B2 Bd dcAc|BGGB d2 cA|
BABc dcAc|dBcA BGGe||fgaf gfeg|fdcA
Adde|fgaf gfeg|fdcA AGGe|fgaf gfeg|
fdcA Adde|fefg abag|fdcA AGGA||
NELLY GRAY. American, "Sand Jig" (4/4 time). G Major. Standard tuning.
AABB. Composed in 1856 by Ohio minister and schoolteacher Benjamin Russell
Hanby as “Darling Nellie Gray,” about a slave who is sold away from her beloved
to work on a plantation in Geogia. The popular song fuelled abolitionist
sympathies. It was variously arranged in traidition as an air, stage vehicle
(for a sand jig, a solo dance on a sanded stage), and a play party game.
78RPM-era recordings were numerous, by early country music stars that included
the Stanley Trio (1924), Riley Puckett (1924), Vernon Dalhart (1925), Al
Hopkins (1927) an d Carson Robison (1930). Source for notated version: Absie
Morrison (1875-1964, Sercy County, Atkansas) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 104. Kerr (Merry Melodies), vol. 2; No. 403, pg.
45.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
(((♫)))
Absie Morrison (1876-1962) “Nelly Gray” |
X:1
T:Nelly Gray
M:C
L:1/8
R:Air
S:Kerr – Merry Melodies, vol. 2, No. 403
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
B>c|d>^cd>e
d>BA>G|c>de>f g2 f>e|d>d^c>d e>dB>G|A2d2D2
B>c|d>^cd>e d>BA>G|
c>de>f g2 f>e|e2 Bd
d>cA>F|G2 [B2g2][B2g2]::A>B|c>cc>c c2 d>c|c>BB>B B2
G>B|
d>d^c>d e>dB>G|A2d2D2
B>c|d>^cd>e d>BA>G|c>de>f g2 fe|d2 B>d d>cA>F|G2
[B2g2][B2g2] :|
NELLY,
I’M AFRAID YOUR FAVOUR I’LL NOT GAIN. Irish, Air (4/4 time). A Minor.
Standard tuning. AB. Source for notated version: “From Father Walsh’s MS”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 648, pg. 162.
X:1
T:Nelly, I’m afraid your favour I’ll
not gain
M:C
L:1/8
S:Stanford/Petrie (1905), No. 648
Z:AK/Fiddler’s Companion
K:Amin
(AG) | EAAB A2 A>G | AB de g2 ag
| eg de Bd AB | G3A B2 A>G | EAAB A2 B>G |
ABde g2 a>g | eg de BAGB | A6 ||
B2 | dBde g2 ga | ge de g2 ag | e>g de Bd AB |
G3A B2 AG |EAAB A2 BG | ABde g2 ag |
eg de BAGB | A6 ||
NELLIE MAHONEY'S SLIDE
[1] (Slide Neilí Ní
Mhathúna). AKA
and see “If I Had a Wife [2],”
"Mad Dancing." Irish, Slide (6/8
time). G Major. Standard tuning. AA'B. Dennis Murphy also called the tune “Mad
Dancing.” Source for notated version: fiddler Denis Murphy, 1966 (Gneeveguilla,
Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 70, pg. 39.
X:1
T:Nellie Mahoney’s Slide [1]
M:12/8
L:1/8
R:Slide
Z:AK/Fiddler’s Companion
K:G
G2A |: B2A ABd e2d d2B | AGA BdA G2D
D2A | B2A ABd e2d d2B |1 AGA B2A G2G G2A |2
AGA B2A | G3 G2 || D | .G2g gfg age
dBd | eaa aba g3 b2g | .G2g gfg age d2B | eaa aba g3 g3e |
.G2g gfg age dBd | eaa aba g3B2A |
G2g gfg age d2B | eaa aba g3 g2e ||
NELLY MAHONY’S (SLIDE)
[2]. AKA and see “Bunratty Boys,” “John Kelly’s Slide [2].”
Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry
border. D Major. Standard tuning. AA’B. The tune begins on an E Minor chord.
Moylan’s source, Johnny O’Leary, explained that Nelly Mahony was a sister of
Mick Mahony, and was the “first one ever to bring it (i.e. the tune) around to
us.” Source for notated version: accordion player Johnny O’Leary (Sliabh
Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February,
1981 [Moylan]. Ceol, vol. 5, No. 1
(untitled). Moylan (Johnny O’Leary),
1994; No. 43, pg. 26.
X:1
T:Nelly Mahony’s Slide [2]
M:12/8
L:1/8
R:Slide
K:D
e3 efe d2f a2f | e2e efe d2A A2f |
NELLY, MY PRETTY GIRL (Nelly A Chailin Deas). AKA and see "The Little Rock of My Affection,"
(Carraigin An Annsa). Irish, Slow Air (3/4 time). G Dorian. Standard tuning.
AAB. "Forde compares this with 'Lord King'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 457, pg. 256.
NELLIE O'DONOVAN (Eiblin Ni Donnabain). See “Nellie
Donovan.”
NELLIE ON THE SHORE. AKA and see "Gilderoy [2],"
"Black Rock [2]," "Injun Et a Woodchuck [2]."
American, Reel. A Mixolydian. Standard tuning. AB. Bayard (1981) identifies
this as a "floating" title for the tune "Gilderoy." Source
for notated version: Wilbur Neal (elderly fiddler from Jefferson County, Pa.,
1948) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 169D, pg. 120.
NELLY O NEALE. Irish, Air (3/4 time). D Minor. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 98.
X:1
T:Nelly O Neale
M:3/4
L:1/8
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:Dmin
(F/G/A/) | B3d cB | A4 F>G | A2 f>dc>A | “tr”G4 FD | D2B2A2 | “tr”G4 F<D | D4 :|
AG | A2c2 de | “tr”f4 a2 | g2f2 e>c | d4 A>G | A2c2 de | f4 (ed/c/) | d4 (FG/A/) |
B3d
cB | A3G FG | A2 fdcA | G4 FD | D2d2 (3c<BG | F3A GF | D2D2 ||
NELLIE WILSON. Old‑Time, Breakdown. Marimac 9008, The
Lazy Aces ‑ "Still Lazy After All These Years" (1986. Learned
from Ima Kidder of Cashbox Top, Tenn.).
NELLIE'S BIRTHDAY. Scottish, Polka (2/4 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 391, pg.
43.
X:1
T:Nellie’s Birthday
M:2/4
L:1/8
S:Kerr – Merry Melodies, vol. 3, No. 391
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G>Bdg|eg d2|c>dBG|AF
G2|G>Bdg|eg d2|c>dBG|(A2G2):|
|:dd/e/ cc/d/|Bd A2|dd/e/ cc/d/|Bd
A2|G>Bdg|eg d2|c>dBG|(A2G2):|
NELLY’S HAT. AKA – “The Saucy Little Bird on
Nelly’s Hat.” American (originally), English, Schottische. G Major. Standard
tuning. AABB. Callaghan (2007) attributes the tune to American musical-theatre
composer Harry Tierney (1890-1965), however, it appears rather to have been a
comic song from 1906 with words by Arthur J. Lamb and music by Alfred Solman.
“The Bird on Nelly’s Hat” was popular in both America and England (on the
vaudeville and music hall stages respectively), and was released by Edison’s
Nathional Phonograph Company on a cylinder record (#9450) in January, 1907,
sung by vaudeville star Helen Trix. Source for notated version: Anglo-German
concertina player Scan Tester (Sussex) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 89.
NELLY'S JIG. AKA and see "The Bottle of
Brandy," "Sonny Dan,"
"Daniel of the Sun [1],"
"She is/She’s
the Girl that can do it," "Petticoat Loose [1]," "The Bonny Highlander," "O My Dear Father Pity your
Daughter," "The Western Jig," "Teddy/Thady you Gander," "The Leg of (a) Duck," "From the Court to the Cottage,"
"Girls of the West,"
"I gave to my Nelly," "'Tis sweet to think," "Buck(e)y Highlander," "O My Dear Judy," "Donall na Greine."
NELSON HORNPIPE [1]. English, Hornpipe. England, Yorkshire. A Major. Standard tuning. AABB.
Not the more famous "Nelson's Hornpipe [2]." Source for notated
version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby,
Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 41,
pg. 39.
NELSON'S (HORNPIPE)
[2]. AKA and see "The Bridge of Lodi," “Down Back o’ Shoddy,” “Lochmaben Hornpipe,” "Lord Nelson's Hornpipe,"
"Saxon's Hornpipe," "Huntsman's Hornpipe." English,
Hornpipe. C Major (Hardings): G Major (Callaghan). Standard tuning. AABB. The
tune is a variation of a very popular hornpipe melody that goes also by the
name "The Huntsman's (Hunter's) Hornpipe," "The Bridge of
Lodi," "Murray's Hornpipe,"
and others, often honouring Horatio Nelson (“Lord Nelson’s Hornpipe,” “Admiral
Lord Nelson’s Hornpipe,” “Nelson’s Hornpipe”). It appears as “Nelson’s
Hornpipe” in key of ‘G’ in the music manuscript collections of the Browne
family (Troutbeck, Cumbria), James Winder (1835, Wyresdale, Lancashire) and
William Andrews (late 19th century, Sheepstor, Devon). Leyburn,
north Yorkshire, musician William Calvert had it in his 1812 manuscript as
“Admiral Lord Nelson’s Hornpipe.” See also fiddler Charles Baldwin’s (c.
1822-c. 1920) “Gloucester
Hornpipe [2].” Callaghan (Hardcore English), 2007; pg. 20. Hardings All‑Round Collection,
1905; No. 107; pg. 34.
X:1
T:Nelson’s Hornpipe [2]
M:C
L:1/8
R:Hornpipe
S:Harding’s All Round Collection, No. 107 (1905)
Z:AK/Fiddler’s Companion
K:C
G>E|C2c2c2 B>c|d>BG>B d2
c>d|e>ce>c f>df>d|g>ec>e d2 G>E|C2c2c2 B>c|
d>BG>B d2
c>d|.e>d.e>d .c>A.^F>A|G2G2G2::e>f|g>fe>d
c>BA>G|A2F2F2 f>g|
a>gf>e d>cB>A|B2G2G2
e>f|g>eg>e f>af>a|g>eg>e f>af>a|g>ea>f e>dc>B|c2e2c2:|
NELSON'S HORNPIPE [3]. Irish, Hornpipe. G Major. Standard tuning. AABB. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. O’Neill (1922) remarks: “This tune is a variant of "The Cloone Hornpipe" pubished in O'Neill's Music of Ireland 1903, and O'Neill's Dance Music of Ireland 1907. It was obtained from Sergt. James Early who learned it from his tutor on the Union Pipes ‘Old Man’ Quinn. Like many other fine tunes it was anonymous, so it was named ‘The Cloone Hornpipe’ in honor of the famous piper's native town and parish in County Leitrim, Ireland. Its continued popularity is evidenced by its inclusion in a recent Irish Collection under the identical name invented for it by its sponsor, Sergt. James Early of Chicago.” Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down—many from the playing of his father [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 316. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 122, pg. 50.
X:1
T:Nelson's Hornpipe
M:4/4
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
R:Hornpipe
K:G
Bc|d2 ec B2 cA|GFAF GABc|d2 gf edcB|ABcA GFED|
d2 ec B2 cA|GFAF G2 dc|BGcA BGAF|G2 G2 G2:|
|:Bc|d2 gf edcB|edef g2 d2|efgf edcB|ABcA GFED|
d2 ec B2 cA|GFAF G2 dc|BGcA GFAF|G2 G2 G2:||
NELSON’S PILLAR (Colún Nelson). AKA and see “Kane’s
[2].” Irish, Reel. D Major. Standard tuning. AABB. A County Leitrim setting
of the tune collected as “Kane’s” in County Fermanagh or Tyrone. Source for
notated version: a c. 1880's collection by fiddler and uilleann piper Stephen
Grier (County Leitrim) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 133(ii), pg. 66.
NELSON'S PRAISE. AKA and see “Princess Royal
[1].” AKA – “Bold Nelson’s Praise.” English, Morris Dance Tune (4/4 time).
G Major. Standard tuning. AABCBCB. The tune was collected in the village of
Ilmington, Warwickshire, England, and is titled in honor of Admiral Lord
Nelson, the hero of the naval battle of Trafalger in 1805. Bacon (The Morris Ring), 1974; pg. 221.
X:1
T:Nelson's Praise
M:4/4
L:1/8
N:A version of “Princess Royal”
N:The measure of 2/4 in the third part (the “slows”) is as-written
S:Bacon - The Morris Ring
(1974)
Z:AK/Fiddler’s Companion
K:G
dc | B2A2G2 dc | B22G2d2 | e2 ed cdec | d2 cB B2d2 |
c2B2A2G2 | F2E2D2c2 | B2 AG A2F2 } G4G4 || g2g2g2fg |
a2d2d4 | gfed cBAG | FA D2D4 | E2 EF GFGA | B2G2 g4 |
g2d2e4 | d2B2c4 | c2B2A2G2 | FGAF D2dc | BABG A2D2 |
G4 G2 || dc | B4A4 | G4 d2c2 | B4A4 | G4D4 | e4 e2d2 |
c2d2e2c2 | d4 c2B2 | B3d | c2B2A2G2 | FGAF D2 ed | BABG A2D2 | G4G2 ||
NELSON'S VICTORY (Tuiream Mic Miall). AKA and see “The
Circus [1].” English (?), Irish, American; Hornpipe or Reel. G Major.
Standard tuning. AABB. The title probably refers to the Battle of Trafalger, or
Nelson’s flagship at the time of the conflict, HMS Victory. Cole (1000 Fiddle Tunes), 1940; pg. 105. Ford
(Traditional Music in America), 1940;
pg. 114. O'Neill (Krassen), 1976; pg. 200. O'Neill (Music of Ireland: 1850
Melodies), 1979; No. 1712. Ryan’s
Mammoth Collection, 1883. White’s
Unique Collection, 1896; No. 131, pg. 23.
X:1
T:Nelson’s Victory
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1712
Z:AK/Fiddler’s Companion
K:G
D2 (GF) GABc | d2 (fd) gdBG | E2
(cB) AGFA | GFGE DCB,A, |
G,2 (GF) GABc | dgfa gdBG | Ecec
BAGF | G2G2 G2 z2 :|
|: Bdgd cBcd | ecBc A^GAB | cfaf
dcBc | dFGE DCB,A, |
Bdgd cBcd | egfa gdBG | Ecec BAGF |
G2G2 G2 z2 :|
NEOPOLITAN THRESHERS. English, Jig. D Major. Standard tuning. AABB. Aird (Selection), vol. II, 1782; No. 47, pg. 17.
X:1
T:Neopolitan Threshers
M:6/8
L:1/8
S:Aird, Vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
A | FED AGF | B2A A2A | dcB edc | dAF D2A | FED AGF |
B2A A2A | dcB edc | d3d3 :: A | def efg | fed cde | dcB Bcd |
cBA
A2A | Bee Add | Gdd Fdd | Edd edc | dAF D2 :|
NERISSA. American, Waltz. USA, New England. A modern composition by Bob
McQuillen, and quite popular at New England dances. Alcazar
Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts"
(1980).
NERVOUS BREAKDOWN. Bluegrass, Old-Time; Breakdown. USA, Mo. A Major & C Major.
Standard tuning. AA’BC. Someone had to use this title, the wonder is, only one
did. In an e-mail posting, composition was claimed by Fletcher Bright who said
the he composed the tune with banjo player Ansley Moses about 1951. It was in
key of G modulating to Bb. They registered it with BMI and received all of $50
when Larry McNeely played it over the Glenn Campbell show. “We received some
royalties from BMI each year until the postage exceeded the royalty.” In the
repertiore of Lymon Enloe (b. 1906, Cole County, Mo.); a
"bluegrassed" tune. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 105. County CD 2707, Lyman Enloe - “Fiddle
Tunes I Recall.” Ridge Runner LP 0018, Bob Black with Norman Blake - “Ladies on
the Steamboat.”
NERVOUS MAN, THE. Irish. A Paddy O’Brien composition.
NESS BOTHAN. Scottish, Jig. D Major. Standard tuning. AABB. Composed by Fergie
McDonald. Martin (Ceol na Fidhle),
vol. 4, 1991; pg. 48.
NESS PIPERS, THE. Scottish, Reel. Composed by Pipe Major Ian
Morrison of Lewis, Scotland. Green Linnet SIF 1077,
Capercaille ‑ "Crosswinds" (1987).
NESS SIDE. Scottish. John Glen (1891) finds the earliest printing of this tune in Robert Ross's 1780 collection (pg. 5).
NETHER BOW HAS
VANISHED, THE. Scottish. John Glen (1891) finds
the earliest printing of this tune in Robert
Bremner's 1768 2nd collection (pg. 104).
NETHER CLUNY. Scottish, Reel. B Flat Major. Standard tuning. AAB. See the similar
"Miss Watt('s
Reel--Nether Cluny)." Stewart-Robertson
(The Athole Collection), 1884; pg.
289.
X:1
T:Nether Cluny
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
d|~B2 dB FBDB|GFGB cBcd|B/B/B dB fBdB|egfe dBB:|
E|DE/F/ B,F BFdB|GFGB cBcd|Bfdf egdf|cBcd B/B/B BE|
DE/F/
B,F BFdB|GFGB cBcd|f/f/f ~gf bfdB|egfe dBB||
NEUMEDIA. American, Slow Air (?). F Major. Standard tuning. AABBAACCAA. Weird. One
of the only slow pieces in Ryan’s/Coles. Cole (1000 Fiddle Tunes), 1940; pg. 24. Ryan’s Mammoth Collection, 1883.
X:1
T:Neumedia
M:2/4
L:1/8
N:”Slow”
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
C|(C/E/G)
(B/c/e/a/)|[B2g2][A2f2]|.e(e/g/) de|.d(A/d/) c>C|(C/E/G) (B/c/e/a)|
[B2g2][A2f2]|.e(e/g/)
de|fff::g|(g/B/).d (f/b/).a|[e2g2][c2e2]|ff/e/ dd/c/|
BB/A/ G.e|(g/B/).d
(f/b/).a|[e2g2][c2e2]|ff/e/ dB|cec::e|(e/A/)(A/e/) (A/e/).A|
[e2g2][c2e2]|.c(c/e/)
.A(A/c/)|.B(B/d/) f=e|(_e/A/)(A/e/) (A/e/).A|[e2g2][d2f2]|.c(c/e/)
.A(A/c/)|BdB:|
NEVADA, THE. English, Country Dance Tune (2/4 time). G
Major. Standard tuning. AB. Source for notated version: a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 117a, pg. 49.
NEVELL HOLLANDOIS, LA. English (?), Country Dance Tune (2/4 time). F Major. Standard tuning.
AABBCCDDEE. McGlashan (Collection of Scots Measures), c. 1780;
pg. 20.
X:1
T:La Nevell Hollandois
L:1/8
M:2/4
B:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion
K:F
F2GB|A2Bd|cbge|f/e/f/g/
ff|F2GB|A2Bd|cbge|f2f2:|
|:af/g/ af|bg/a/ bg|af/g/
af|g/f/e/d/ cc|af/g/ af|bg/a/ bg|ecde|f2f2:|
|:eg/f/ec|fa/g/ fd|eg=Bd|c/=B/c/d/
ca|affa|geeg|fdc=B|c2c2:|
|:c2BA|d2cB|AGFE|F/E/F/G/
FF|c2BA|d2cB|AGFE|F2F2:|
|:c2BA|d2cB|AGFE|F/E/F/G/
FF|c2BA|d2cB|AGFE|F2F2:|
NEVER ALONE. Old-Time, Waltz. Document 8038, The Red Headed
Fiddlers – “Texas Fiddle Bands” (reissue).
NEVER DESPISE AN OLD
FRIEND. Irish, Air (3/4 time). F Major.
Standard tuning. AB. Source for notated version: “From Miss Ross” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 675, pg. 169.
X:1
T:Never despise an old friend
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 675
Z:AK/Fiddler’s Companion
K:F
A>B | c3A G2 | A2F2D2 | C2D2F2 |
F F3 F2 | F3G A2 | B4 A>B | c3 A G2 |
A2F2D2 | C2D2F2 | A A3 G2 | G2F2F2 |
F4 || FF | F2A2c2 | c3d e2 | f3e d2 |
c2A2F2 | F2G2A2 | B4 A>B | c2A2G2
| A2F2D2 | C2D2F2 | A A3B2 |G2F2F2 | F4 ||
NEVER GET YOUR MONEY
BACK. AKA and see "Massa Bill," "Mossy Bill."
NEVER GOING BACK AGAIN. Green Linnet GLCD 3127, Sharon Shannon – “The
Best of Sharon Shannon: Spellbound” (1999. Appears as second tune of “Kids”).
NEVER GROW OLD. Irish, Reel. D Major. Standard tuning. AA’B. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 249.
X:1
T:Never Grow Old
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:D
A|FDAF d2 "tr"dA|d2 "tr"df eEEA|1FDAF d2 dB|cdeg fdd:|
2FDAF dABG|FAdg fdd||g|"tr"fede fgaf|gfed cAeg|
"tr"fede fgaf|ecdB Addg|fdfg fgaf|
"tr"gfed
cAeg|fdgb afge|fdec d2 d||
NEVER LOVE THEE MORE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. One
part. The tune dates to 1686. Barnes (English
Country Dance Tunes), 1986. Sharp (Country
Dance Tunes), 1909/1994; pg. 69.
X:1
T:Never Love Thee More
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
(D>ED G2A | B>cB A2) (G | dB2)
(A2G | E3 E2) (E | (D>ED G2A |
B>cB A2) (G | dB2) (c2d | e3 e2)
(e | dB2 A2) (G |c2d e>dc) |
(dBc A2G | E3 E2) E | DED GAG | Bcd
e>dc | dBc A2G | (G3 G2)z ||
NEVER MIND IT. English, Reel. England, Northumberland. D Major. Standard tuning. AABB.
Seattle (William Vickers), 1987, Part
3; No. 462.
NEVER MORE SHALL I
RETURN. See "Cha Till Mi Tuille,"
"I Shall Return No More."
This air was supposedly the last request of the famous Scottish Robin Hood‑styled
outlaw Rob Roy Macgregor, who is said to have died before the piper blew the
last strains.
NEVER OUT OF HUMOUR. AKA and see "Lawland
Lads wi' Highland Kilts." Scottish, Strathspey. D Mixolydian. Standard
tuning. AABB. John Glen (1891) finds the earliest printing of this tune in Alexander McGlashan's 1786
collection. The tune has unusual six-bar parts. McGlashan (Collection of Strathspey Reels), 1786, Vol. 3; pg. 7.
X:1
T:Never out of humour
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (1786, pg. 7)
Z:AK/Fiddler’s Companion
K:Dmix
F|D/D/D A>B A>FE>F|D/D/D A>B A>FA>B|A>FA>B A>FE>F|
D/D/D A>B A>Bd>e|f>dg>f e>FE>F|D/D/D A>B A>F D:|
|:g|f<ddf g>feg|f<d d>f a>fd>g|f<d d>f g>fe>g|a>gf>e d>ef>d|
e/f/g
f/g/a e>FE>F|D/D/D A>B A>FD:|
NEVER TIRED REEL. Old-Time, Reel. The tune was learned by Indiana fiddler Lotus
Dickey and his brother Cyprien from a volume called '''The Young Violinist's
Favorite No. 1'' by A. S. Bowman, printed in Chicago in 1891. The brothers
bought the collection from a Sears catalog at the time they talked their father
into buying them a fiddle. Albert Bowman, born around 1844, was a journeyman violinist, bandleader and
composer in Philadelphia and southeastern Pennsylvania.
NEVER WAS PIPING SO
GAY. Irish, Reel. G Major. Standard
tuning. AA’BB (Feldman & O’Doherty): AA’BB’ (Begin, Reavy). Composed by the
late fiddler Ed Reavy (1898-1988) of Cavan, Ireland, who spent much of his life
working as a plumber in Corktown, near Philadelphia, Pa. Ed’s son Joseph Reavy
explains the title comes from the last line of Yeat’s poem “The Host of the
Air” uttered by O’Driscoll, who awoke from a dream in which he imagined his
wife had died while he was peacefully playing cards. All that remained of the
dream was the distant sound of a piper-
***
And never was piping so sad
And never was piping so gay.
***
The tune was proabably composed in
the 1950’s, says Philippe Varlet. Sources for notated versions: Francie and
Mickey Byrne (County Donegal) [Feldman & O’Doherty]; Dawson Girdwood
(Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 7,
pg. 21 (appears as “Ravey’s Reel”). Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 171
(appears as 1st half of “Untitled Reel”). Reavy (The Collected Compositions of Ed Reavy),
No. 3, pg. 3. Smithsonian Folkways SFW CD 40481, Brian
Conway – “First Through the Gate” (2002. Learned from New York fiddler Andy
McGann). Stockton’s Wing – “Light in the Western Sky” (appears as second reel
of “Chicago Set”).
X:1
T:Never was Piping so Gay
C:Ed Reavy
R:reel
D:Stockton's Wing: Live
M:C|
K:G
G,2B,D GBdB|cafd cAFA|G2BG
DGBG|AF~F2 AcBA|
G2BG DGBc|dged ^cdef|~g3d ^cdBG|1
FGAF GEDB,:|2 FGAF G2Bd||
|:~g3d ^cdBG|DGBd cAFA|GBBA
BABc|dged ^cdef|
~g3d ^cdBG|DGBd cAFA|BG~G2 cA~A2|1
BdcA G2Bd:|2 BdcA GEDB,||
X: 2
T:Never Was Piping So Gay
M:2/2
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:reel
N:The concluding line of O'Driscoll's refrain in Yeats' poem, "The Host
N:of
N:he air".
N:O'Driscoll dreamed that his wife Bridget was taken by the Host as he
N:was
N:laying harmlessly at
N:cards with "the merry old men." When O'Driscoll awoke from his dream,
N:all that remained of the dream was the strange unearthly sound of a
N:pipe
N:piping away in the distant air- "And never was piping so sad, And
N:never was piping so gay."
Z:Joseph Reavy
K:G
DB,||:G, B,D GBdB|cafd cAFA|G2 BG DGBG|AF (3FFF dFcF|
G2 BG DGB,D|Aafd ^cdef|gfgd cBcA |1FGAc BGDB,:|2FGAc BG G2||
gfgd ^cdBG|FGBd cAFA|GB (3cBA BcdB|cafd ^cdef | gfgd ^cdBG|FGBd
cAFA|BG (3GGG AF (3FFF|BdcA G4||gfgd ^cdBG|FGBd cAFA|
GB (3cBA BcdB|cafd ^cdef|gbaf gd^cd|BGFG cAFA|BG (3FFF AF (3FFF|BdcA G2||
X:3
T:Never Was Piping So Gay
M:C
L:1/8
R:Reel
C:Ed Reavy
S:Brian Conway
Z:AK/Fiddler’s Companion
K:G
G,2 (B,D) GBdB | caf(d cA)FA | G2 BG DGB,G | AF (3FFF dFAF |
G2 BG DGB,G | Aaf(d ^cd)e(f | {a}gf)gd ~c3A |1 FGAF G2 DB, :|2
FGAF G2 |: Bd | ~g3(d ^cd)BG | DGB(d cA)FA | G(B{c}B)A Bc (3dcB |
caf(d ^cd)ef |1 ~g3(d ^cd)BG | DGB(d cA)FA | B~G3 A(DF)A |
d(B{d}cA) GABd :|2 gb (3agf g(d^c)d | BGDG cAFA | B~G3 A(DF)A |
d(B{d}cA) G2 DB, ||
NEVER WEATHER-BEATEN
SAIL. English, Air (4/4 time). G Major.
Standard tuning. One part. Words and music by physician, poet and composer
Thomas Campion, a contemporary of Shakespeare. He has been called the most
musical of the Elizabethan lyric poets. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time),
1964; pgs. 64‑65.
NEVER WED AN OLD MAN. Irish, Air (3/4 time). Ireland, County Limerick. G Major. Standard
tuning. AB. See also versions of the song as “Oh what shall I do
with this silly old man,” “The young wife and her old
husband [1],” and “An old man courted me.” The tune is identified as
collected in County Limerick in Stanford/Petrie. Source for notated version:
(The Irish collector) Mr. Joyce [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 531, pg.
134.
X:1
T:Never wed an old man
M:3/4
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 531
Z:AK/Fiddler’s Companion
K:G
D2 | G2 GA Bc | d2e2 Ac | B2G2 AG |
F2D2D2 | GF GA Bc | d2e2 Ac | B2G2F2 |
G4 || (3def | g2e2g2 | f2dB2 | e3
cAG | G2F2 ED | g2e2g2 | f2d2B2 | B2e2^d2 |
e4 de/f/ | g2e2g2 | f2ed2B2 | e3 cAG
| G>F ED EF | GF GA Bc | d2e2 A>c | B2G2F2 | G6 ||
NEW ACADEMY, THE. Canadian, Reel. Canada, Cape Breton. D Major/Mixolydian.
Standard tuning. AB. A ‘double-tonic’ tune composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 28.
NEW ADSON'S SARABANDE. See "Adson's
Sarabande."
NEW APRON, THE (An Tuileadac Nuad). Irish, Air (3/4 time, "with
expression"). G Major/Mixolydian. Standard tuning. AB. Source for notated
version: 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), 1979;
No. 268, pg. 47.
X:1
T:New Apron, The
M:3/4
L:1/8
R:Air
N:”With expression”
S:O’Neill – Music of Ireland (1903), No. 268
Z:AK/Fiddler’s Companion
K:G
(D>E) | (G3 ABA) | .G2.D2.E2 |
(=F3 AGF) | =F2 E2 (D>E) | G2 dc BA |
.G2.D2.E2 | {A}G>F G>A B>c
| d4 D>E | G2 dc BA | .G2.D2.E2 |
(=F2 F)(G/A/) GF | =F2 E2 (G>E) |
D3 B, (DD/E/) | D4 Bc | d3 c BA | G4 ||
B>c | d2 cB AG | c4 c_B | {B}A2
FG AB | c4 Bc | d2 cB AG | (cd/e/) d2 ze |
d2 cB .c(d/e/) | d4 .g(f/e/) | d2B2
(GA/B/) | c3d e2 | E2 AB cA | G2F2 GE |
D2 CB, (CD/E/) | D4 Bc | d3 c BA |
G4 ||
NEW BATH HORNPIPE. English. England, Northumberland. One of the "missing tunes"
from Vickers' 1770 Northumbrian dance tune manuscript. Was it perhaps "New
Bath whim?"
NEW BATH MINUET. See “Bath
Minuet.”
NEW BATH WHIM. AKA and see "Love in
a Village [1],” “The Spell,” "Trip to Bedford House."
NEW BEDFORD REEL. American, Reel. D Major. Standard tuning. AABB. Named for the former
whaling capital New Bedford, Massachusetts, and one of several Boston-area
titles in Ryan’s Mammoth. Cole (1000 Fiddle Tunes), 1940; pg. 48. Ryan’s Mammoth Collection, 1883; pg. 76.
X:1
T:New Bedford
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3E/F/G/ | AF/E/ D/F/A/c/ | d/e/f/a/
g/e/d/B/ | AF/E/ D/F/A/F/ | G/B/A/F/ [CE](3E/F/G/ |
AF/E/ D/F/A/c/ | d/e/f/a/ g/e/f/d/ |
e/c/d/B/ A/F/G/A/ | B/d/c/A/ D :|
|: (f/g/) | {b}a/^g/a/f/ d/f/a/f/ |
=g/f/g/e/ c/e/f/g/ | {b}a/^g/a/f/ d/f/a/f/ | e/d/c/B/ A/c/e/g/ |
{b}a/^g/a/f/ d/f/a/f/ | =g/f/g/e/
c/e/f/g/ | a/f/g/e/ f/d/e/c/ | d/B/A/F/ D :|
NEW BEGINNERS POLKA. Scottish, Polka. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 443, pg.
51.
X:1
T:New Beginners Polka
M:2/4
L:1/8
R:Polka
S:Kerr – Merry Melodies, vol. 2, No. 444
Z:AK/Fiddler’s Companion
K:D
A|Af f>f|ag B>B|AA f>e|ddd
z/A/|Af ff|ag B>B|AA f>e|ddd:|
|:A|ef g>c|de f>d|cd
e>d|cBA z/A/|Af ff|ag B>B|AA f>e|ddd:|
NEW BICYCLE HORNPIPE. American, Hornpipe. F Major. Standard tuning. AABB'. Composed in 1984
by cellist and fiddler Nancy Blake. Frets
Magazine, February 1987, pgs. 59‑60 (harmony part by Marie Rhines). Rounder 0211, Rising Fawn String Ensemble ‑
"Lighthouse on the Shore."
NEW BIGGING. AKA – “Newbiggin,” “Newbigging.” Scottish, Country Dance Tune (6/8
time). The melody appears in the Drummond
Castle Manuscript (in the possessin of the Earl of Ancaster at Drummond
Castle), inscribed "A Collection of Country Dances written for the use of
his Grace the Duke of Perth by Dav. Young, 1734." A Bigging (Biggin)
usually means a building or cottage, although it can mean a cloth cap.
NEW BOB, THE. AKA and see “The
Boganuadh.”
NEW BO-PEEP. AKA ‑ "Pickadilla."
English, Country Dance Tune (6/8 time). G Major. Standard tuning. ABB.
Published by Playford in his English
Dancing Master (1651). Raven (English
Country Dance Tunes), 1984; pg. 45 (a facsimile copy of the Playford
original). Sharp (Country Dance Tunes),
1909/1994; pg. 24.
X:1
T:New Bo-Peep
L:1/8
M:6/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
e/=f/|g3 e3|ded B>cd|cdB
A>GA/B/|(G3 G2) e/=f/|g3e3|ded B>cd|cdB A>GA/B/|(G3 G2)||
|:B|c>de e>dc|d B2 G2B|c>de
e>dc|d B2 G2 e/^f/|(g3 g2) f/g/|(a3 a2) e/f/|
(g3 g2) f/g/|(a3 a2) g/a/|b2e
e2=f|g2d Bcd|c2B A3|(G3 G2):|
NEW BORN BLUES. Old‑Time, Breakdown. C Major (although sounds in B Flat on the
recording, perhaps due to a faulty recording process). Vocalion
5382, Stripling Brothers (1929) {Pickins County, Alabama}.
NEW BOSTON SICILLIAN
CIRCLE. American, Reel. G Major ('A' part)
& C Major ('B' part). Standard tuning. ABB. There are dance instructions
for the Sicillian Circle printed with the tune. Cole (1000 Fiddle Tunes), 1940; pg. 26. Ryan’s Mammoth Collection (1883).
X:1
T:New Boston Sicillian Circle
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
.G.A.B.c|ddgd|eege|d3d|~(dc)cc|~(cB)BB|~(BA)cF|G3D|
GABc|ddgd|eege|d3d|~(dc)cc|~(cB)BB|~(BA)cF|G3z||
|:[E/c/][E/c/][E/c/]z/
[c/e/][c/e/][c/e/]z/ c’g|a/a/a/z/ c’a|g3g|
(g/f/)d/B/ Gg|(a/g/)e/c/ Gc|B/c/d/e/
f/g/a/b/|c’c’c’z :|
NEW BOURREE, THE. English, Country Dance Tune (2/2 time). D
Minor. Standard tuning. AAB. From Choicest
Songs, circa 1683. Raven (English
Country Dance Tunes), 1984; pg. 211.
X:1
T:New Bouree, The
M:2/2
L:1/8
S:Choicest Songs (1683)
K:Dmin
d2^c2 de f2|g2e2c2A2|f2e2 fg
a2|b2g2e4:|
e2 ed ef g2|g3f gagf|edec fefg|g3 f
f4|
c2 cB ABcA|f2d =B4|g2 gf efge|a3 ^c
d4||
NEW BOW, THE. Canadian, Clog (2/4 time). Canada, Cape
Breton. A Major. Standard tuning. AB. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 65.
NEW BOYS' HORNPIPE. American, Hornpipe. F Major.
Standard tuning. AABB. Cole (1000 Fiddle
Tunes), 1940; pg. 104. Ryan’s Mammoth
Collection (1883).
X:1
T:New Boys’
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(cB)|Acfa gbeg|fafc AcAF|DFdc
BAGF|E2G2G2 (cB)|Acfa gbeg|
fafc AcAF|DdcB
AGFE|F2F2F2::(cA)|BAGF EGcB|Acfc afcA|
BAGF EdcB|Acfc afcA|dgba gfed|cfag
fedc|dBfd cBAG|F2F2F2:|
NEW
BRIDGE HORNPIPE.
AKA and see “The Navy,” “Worcester Hornpipe.” English, Hornpipe.
The tune appears under this title in the early 19th century music
manuscripts of Joshua Burnett (Worsborough, south Yorkshire) and Bewick
(Northumberland).
NEW BRIDGE OF BALLATER. Scottish. An anonymous tune commemorating the opening of a bridge in
Ballater in 1811.
NEW BRIDGE OF DUMFRIES, THE. Scottish, Reel. G Minor. Standard tuning. AAB.
Composed by John Anderson (1737-1808) and printed in his second volume, '''A
Collection of New Highland Strathspey Reels''' (Edinburgh, 1790-91, which
contains seven of his compositions. Little is known about him, although he
seems to have connections to Perthsire and Edinburgh (he died in Inverness).
Musicologist Gavin Greig wrote of Anderson in the '''Aberdeen Journal''' (1908,
p. 178), after reviewing four of Anderson's own pieces from the volume
("Bonny Links of Aberdeen," "Sir James Grant," "Mr.
James Ramsay," "New Bridge of Dumfries"):
<blockquote>
These exhibit no originality, and
have hardly any melodic interest or value--being little more than mere
exercises in arpeggios. Anderson, indeed, would appear to have been rather an
executant than a composer. Glen (The Glen
Collection of Scottish Dance Music), vol. 2, 1891; pg. 39.
X:1
T:New Bridge of Dumfries, The
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2
(1891)
Z:AK/Fiddler’s Companion
K:Gmin
D|G2 (BG) dGBG|F2 (AF) cFAF|GABc
dGBG|AFcA A2G:|
g|(bg)dB (Gd)gb|(af)cA (Fc)fa|(bg)dB
(Gd)gb|agfa b (g2 a)|
bgdB GDB,G,|fcAG FCA,F|GDBG
dBgB|cAFA A2G||
NEW BRIDGE OF
EDINBURGH. Scottish. An anonymous tune
commemorating the opening of an Edinburgh bridge in 1769. John Glen (1891)
finds the earliest printing of this tune in Joshua Campbell's 1778 collection (pg.
60).
NEW BRIDGE OF ERIN, THE. AKA and see “The
Buckeen,” “Cameron House,” “George Gubbin’s Delight,” “Humors of Schull,” “Lord Kelly--Strathspey,”
"Lord Kelly('s Rant/Reel),"
"Mo Ceoil Sibh a Laochra"
“The Musical Priest,” “The Old Grey Gander,” “Wedding Ring [2].”
NEW
BRIDGE OF GLASGOW, THE. Scottish, Strathspey. G Minor.
Standard tuning. AAB. John Glen (1891) finds the earliest printing of this tune
in Joshua Campbell's 1778 collection
(pg. 24). Howe (1000 Jigs and Reels),
c. 1867; pg. 156.
X:1
T:New
Bridge of Glasgow
M:4/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:Gmin
D | G>AB>c A<F F2 | G>AB>c d<g g2 | f>dcB A/B/c/B/ AF | G>AB>c d<D G :|
G | G>gg>a f>gfc | d<ggd g/a/b/a/ gd | d<g g>a f>gfc | dg b/a/g/^f/ g2 gG |
G<g
g>a f>ffc | d<g g>d g/a/b/a/ gd | f<ad<f c<fA<F |
G>AB>c dDG ||
NEW BRIDGE OF
RUTHERGLEN. Scottish. An anonymous tune
commemorating the opening of a bridge in Rutherglen in 1776. John Glen (1891)
finds the earliest printing of this tune in Joshua Campbell's 1778 collection (pg.
71).
NEW BRIG O' AYR, THE. Scottish, Reel. F Major. Standard
tuning. AA'BB'. See also the companion air "The Auld Brig o' Ayr." Kerr (Merry Melodies), vol. 3; No. 156, pg.
18.
X:1
T:New Brig o’ Ayr, The
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 156
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
F2 AF f2 cA|cdcA cdcA|B2 GB A2 FA|1
GAGF ECDE:|2
GFEG F2c2||: fgfe fcAc|defd cAFA|B2
GB A2 FA|1 GAGF (Ec) c2:|2 GFEG F2C2||
NEW BRIG O' DEE [1], THE. AKA and see "The Auld Brig o' Ayr," "Benholm
Castle," "Bob Steele,"
"Johnnie Steele," "The Miller o' Dervil." Scottish
(originally), Canadian; Reel. Canada, Prince Edward Island. D Mixolydian.
Standard tuning. AA’B. Henderson (1935) attributes the tune to John Nivan,
Aberdeen, 1761. Source for notated version: Emmett Hughes (b. 1921, Dromore,
Queen’s County, Prince Edward Island) [Perlman]. Henderson (Flowers of Scottish Melody), 1935.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 79.
NEW BRIG O’ DEE [2],
THE. Scottish,
Strathspey. Henderson notes this tune evolved from James Barnett’s “Johnnie Steele.” Henderson (Flowers of Scottish Melody), 1935.
NEW BRIG OF GLASGOW, THE. AKA and see “The
Cumberland,” “Miss Gibson [2],”
“Miss Nancy Gibson, “Una’s Lock.” Scottish, Strathspey. G Minor.
Standard tuning. AB (Cole): AAB (Howe): AA'B (Gatherer). An anonymous tune
commemorating the opening of a new bridge in Glasgow which was completed in
1768. Glen (1891) finds the earliest printing of this tune in Angus Campbell's collection (pg. 24).
Nigel Gatherer has discovered that Gow and Shepherd printed the tune under the
title "The Cumberland Reel, or Miss Nancy Gibson" as a single sheet
issued around 1800. Cole (1000 Fiddle
Tunes), 1940; pg. 125. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 35. Howe (1000
Jigs and Reels), c. 1867; pg. 156. Ryan’s
Mammoth Collection, 1883; pg. 165.
X:1
T:New Bridge of Glasgow, The
M:4/4
L:1/8
R:Strathspey
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:Gmin
D | G>AB>c A<F F2 |
G>AB>c d<g g2 | f>dcB A/B/c/B/ AF | G>AB>c d<DG :|
G | G>gg>a f>gfc | d<ggd
g/a/b/a/ gd | d<g g>a f>gfc | dg b/a/g/^f/ g2 gG |
G<g g>a f>gfc | d<g
g>d g/a/b/a/ gd | f<ad<f c<f A<F | G>AB>c dDG ||
NEW BRIG O' METHLICK
[1], THE. Scottish, Strathspey. F Major.
Standard. ABB'. Composed by William Hardie (1787-1884), in honor of a new
bridge completed in 1844 in the village of Methlick, on the river Ythan. Hardie
(Caledonian Companion), 1992; pg. 70.
Henderson, Flowers of Scottish Melody,
1935.
NEW BRIG O' METHLICK
[2], THE. Scottish, Reel. F Major. Standard.
AB. Composed by William Hardie (1856-1944), a matching reel to the strathspey.
Born at Auchencruive, Hardie was a member of the famous Scottish family
fiddling dynasty and a contemporary and friend of J.F. Dickie. Source for
notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford].
Cranford (Winston Fitzgerald), 1997;
No. 150, pg. 60. Hardie (Caledonian
Companion), 1992; pg. 58. Henderson, Flowers
of Scottish Melody, 1935.
NEW BROOM [1]. AKA and see "Democrats
A-Rising." Old‑Time, Breakdown. G Major. Standard tuning. AB
(Silberberg): AA'BB' (Phillips). Charles Wolfe (1991) thinks the title might be
associated with an old African-American banjo song, perhaps of minstrel
origins, called “Sweep dat Kittle Wid a Bran’ New Broom.” Sources for notated
versions: Dick Barrett [Phillips]; Carthy Sisco [Silberberg]; Gary Lee Moore (Seattle)
[Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 164. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pgs. 105 & 106. Ok 45477 (78 RPM), The Fox Chasers. Rounder 0215, Byron
Berline ‑ "Rounder Fiddle" (1990). Rounder 0100, Byron Berline ‑
"Dad's Favorites."
NEW BROOM [2], THE. Irish, Air (3/4 time). F Mixolydian: E Flat
Mixolydian. Standard tuning. AB. Source for notated version: “From P. Conneely”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; Nos. 855 & 856, pg. 213.
X:1
T:New Broom, The
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 854
Z:AK/Fiddler’s Companion
K:F
cB | c2f2 ga | f2 ec BG | F2 FG
Bc/d/ | _e4 cB | c2f2 ga | f2 ec cB | c2 AG FG | F4 ||
_ed | _e2G2 ed | _e2G2 BG | F2 FG
Bc/d/ | _e4 cB | c2f2 ga | f2 ec cA | G2F2 F>G | F4 ||
X:2
T:New Broom, The
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 855
Z:AK/Fiddler’s Companion
K:Eb
GA | B2e2 fg | e2 dB AF | E2F2 AB/c/
| _d2B2 BA | B2e2 fg | e2 dB BA | (3B>AF E2E2 |
E4 || _dc | _d2F2 dc | _d2F2 AF | E2
EF AB/c/ | _d4 BA | B2e2 fg/>f/ | e2 dB BA | A<F E2E2 | E4 ||
NEW BROOM [3], THE. AKA and see “Tony Smith’s Barndance.” Irish,
Barn Dance. G Major. Standard tuning. AA’BB’. Composed by flute player Vincent
Broderick of Loughrea, County Galway. Source for notated version: Antoin
MacGabhann/Tony Smith, via New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 298, pg. 99. Green Linnet GLCD 1187, Cherish the Ladies – “One and All:
the best of Cherish the Ladies” (1998. Learned from Antoin MacGabhann).
NEW BRUNSWICK, THE. Canadian, Breakdown. C Major. Standard tuning.
AABB. Messer (Way Down East), 1948;
No. 2. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 2, pg. 4.
X:1
T:New
Brunswick Breakdown
R:Reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:C
e2|:g^fga
g2e2|cBcd c2A2|G^FGA BAGB|a2g2 g4|
g^fga
g2e2|cBcd c2A2|G^FGA BGAB|c2cc c2z2:|
|:G2GG
G2AB|c2c2 c2Bc|d2d2 d2cd|eag^f g4|
G2GG G2AB|c2c2 c2Bc|d2Ac BAG2|c2cc
c2z2:|
NEW BRUNSWICK HORNPIPE. Canadian, Hornpipe. Alcazar Dance Series ALC‑201,
Jerry Robichaud ‑ "Maritime Dance Party" (1978).
NEW BUMPKIN. AKA and see “Honorable Colonel
Hamilton’s Delight.” Scottish, Jig (6/8 time). Beauties of Niel Gow (Part I).
NEW CAMPTOWN RACES. Bluegrass, Breakdown. B Flat Major. Standard tuning. Composed by
mandolinist Frank Wakefield about 1957. Folkways FA
2492, New Lost City Ramblers ‑ "String Band Instrumentals"
(1964).
NEW CARROLL COUNTY
BLUES #2.
Old‑Time. A tune named after, and riding on the commercial coattails of,
the successful "Carroll County Blues" by Mississippi fiddler Willie
Namour.
NEW CENTURY [1], THE. English, American; Hornpipe. D Major. Standard
tuning. AABB. The title was listed as commonly played for Orange County, New
York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). Under the title “The Crooked S” the
tune was in the repertoire of Champion, central New York State fiddler Winifred
“Murph” Baker. White’s Unique Collection
identifies the ‘new century’ as the 20th. O’Neill prints a different
hornpipe by the same name. Source for notated version: New Hampshire Fiddlers'
Union [Phillips]. Cole (1000 Fiddle Tunes),
1940; pg. 90. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 210. Raven (English Country Dance Tunes), 1984; pg. 189. Ryan’s Mammoth Collection, 1883; pg. 123. White's Unique Collection, 1896; No. 111, pg. 20. A tune by this
name was recorded by John Baltzell (Mt. Vernon, Ohio) for Edison, but unissued.
X:1
T:New Century (20th)
Hornpipe [1]
M:2/4
L:1/8
R:Hornpipe
S:White’s Unique Collection (1896), No. 111
Z:AK/Fiddler’s Companion
K:D
(A/G/) | (F/A/)D D(E/F/) | GE
E(A/G/) | F/A/G/B/ A/c/B/G/ | F/D/G/D/ E(A/G/) |
(F/A/)D D(E/F/) | GE E(G/A/) |
B/G/B/d/ c/A/c/e/ | ddd :: (a/g/) | f/d/f/a/ f/d/f/a/ |
e/c/e/g/ e/c/e/g/ | f/d/f/a/
f/d/f/a/ | f/d/g/f/ e(a/g/) | f/d/f/a/ f/d/f/a/ | e/c/e/g/ e/c/e/g/ |
e/d/c/B/ A/G/F/E/ | DDD :|
NEW CENTURY [2], THE (An Ceadbliadain Nuad). Irish, Hornpipe. G Major. Standard
tuning. AABB. The title undoubtedly refers to the new 20th century,
around the time O’Neill prepared his first publication, Music of Ireland, and the heyday of the Chicago Irish Music Club.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 939, pg. 161. Green Linnet
Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is
Wealth" (1985). Shaskeen Records OS‑360, Andy McGann, Felix Dolan,
Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965). Shanachie
78005, De Danann – “Hibernian Rhapsody” (appears as 1st of “George
Ross Hornpipes”). Talcon Records KG240, Paddy Cronin – “The House in the Glen”
(197?).
X:1
T:New Century, The [2]
R:hornpipe
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Gmix
Bc|:dBG^F GBdB|cA=FE FAcA|BAG^F GA
(3Bcd|gb (3ag^f g2ge|
dedB G2AB|c=fcA F2Ac|BGgd ecd^F|1
AGG^F G2Bc:|2 AGG^F G2GA||:
Bcde =fdcA|dDE^F GFGA|Bcde
=fdge|a^fd^c d2 (3def|
gdBG ecA^F|G^FGB AG (3EFG|^FDFA
ced^F|1 AGG^F G2GA:|2 AGG^F G2||
X:2
T:New Century [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
939
Z:AK/Fiddler’s Companion
K:G
Bc|dBGA GB (3dcB|caFE FG (3ABc|BAGF
GBdf|gb (3agf gage|dgdB G2 AB|
cfcA F2 GA|BGgd ecdF|AGGF G2:|
|:GA|Bcde fdcA|dDEF GFGA|Bcde
fdge|afdc d2 (3def|gdBG ecAF|
GFGA BGEF|GDBG cedF|AGGF G2:|
NEW CHARLESTON NO. 1. AKA and see "Avalon Quickstep."
NEW CHARLESTON NO. 3. Old-Time, Breakdown. USA, North Carolina. From
the playing of Ararat, North Carlonia, fiddler Marcus Martin. Old 97 Wrecords 001, “The Hush Puppies.”
NEW CHRISTENMIS EVE. Northumbrian. One of the "missing tunes" of William Vickers'
1770 Northumbrian dance tune manuscript.
NEW CHRISTMAS. AKA ‑ "New Christenmiss Day." AKA and see "The Bass Reel." Scottish, English; Reel. England, Northumberland. G Major. Standard tuning. AB (Surenne): AAB (Gow, MacDonald, Seattle). John Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1757 collection (pg. 91), though it also appears in the Gillespie Manuscript of Perth, 1768. At the time Bremner compiled his publication, Christmas was indeed a relatively ‘new Christmas’ due to the fact that the day of its celebration had been very recently changed. Since Roman times calendars had been calculated on the Julian system, an improvement over previous calendar schemes, but one that resulted in an over-estimation of the year by over eleven minutes per annum. By the 16th century this meant that the Julian calendar was some ten days ahead of time, and a reform was mandated by Pope Gregory XIII. The new calendar (which bears his name, the Gregorian calendar) corrected the problem going forward, but to bring things into line Gregory decreed that ten days would be deleted from the year when it was first adopted. Most Europeans embraced the change, but Reformation England did not want to be dictated to by a Catholic pontiff, and the Julian calendar remained in effect in that country. This state of affairs (e.g. with the date in Paris being ten days behind that of London) lasted for over a century and a half, until at last Parliament agreed to adopt the Georgian system. In 1752 the change occurred throughout Britain, with September 2nd followed by September 14th. This was the cause of consternation for many, who thought they had been robbed of ten days of life with the change. The full adjustment, particularly for holiday celebrations, took years, with both ‘Old’ and ‘New’ Christmas days coexisting for some time. In fact, Old Christmas day was imported to the Americas by Scots-Irish and northern English immigrants, and survived in the Upland South into the 20th century. Bremner (Scots Reels), c. 1757; pg. 91. Carlin (Gow Collection), 1986; No. 457. Gow (Complete Repository), Part 2, 1802; pg. 16. MacDonald (The Skye Collection), 1887; pg. 82. Seattle (William Vickers), 1987, Part 2; No. 259. Surenne (Dance Music of Scotland), 1852; pg. 28.
X:1
T:New Christmas
T:Bass Reel, The
L:1/8
M:C
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:G
c|~B2 GB dgdB|g2 (b/a/g) a(AA)c|B2
GB dgdB|cAdB G/G/G G:|
D|(B,/A,/G,) (DG,) EG,DG,|(B,/A,/G,)
(DG,) EA,A,D|(B,/A,/G,) (DG,) EG,DG,|
EGFA GG,G,D|(B,/A,/G,) (DG,)
EG,DG,|(B,/A,/G,) DG, EA,A,D|
(B,/A,/G,) (DG,) EG,DG,|(E/F/G)
(F/G/A) GG,G,||
X:2
T:New Christmas
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 26
(1852)
Z:AK/Fiddler’s Companion
K:G
B | GBdg edcB | g2 (3bag aAAB | GBdg
edcB | cAdB GGGB | GBdg edcB |
g2 (2bag aAAB | GBdg edcB | cAdB GG
G || d | (3BAG dG eGdG |
(3BAG dB eAAd | (3BAG dG eGdG | egfa
gGGd | (3BAG dG eGdG |
(3BAG dB eAAd | (3BAG dG eGdG |
(3efg (3fga gGG ||
NEW CHRISTMAS EVE. See “Jenny’s Wedding.”
NEW CLARET. Scottish, Jig. G Major. Standard tuning. AABBCC. Claret was a general
term for any light red wine. John Glen (1891) finds the earliest appearance of
this tune in print in Robert Bremner's
1757 collection (pg. 70). The melody is founded, however, on a chord
progression that was centuries old in Bremner’s time. It is, for example, very
similar to a ground employed by the English composer Henry Purcell, which was
itself derived from a popular bawdy song of the day, “Sir Symon the King.” Bremner (Scots Reels), 1757; pg. 70. Carlin (Gow Collection), 1986; No. 464. Gatherer (Gatherer’s Musical Museum), 1987; pg. 17. Gow (Complete Repository), Part 2, 1802; pg. 18. MacDonald (The Skye Collection), 1887; pg. 185.
X:1
T:New Clarinet
M:9/8
L:1/8
R:Jig
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:G
G2G B2G (B/c/)dB|G>AG B2G
(B/c/)dB|E2E C2C (E/F/)GE|D>ED F2D (F/G/)AF:|
|:G2G g2d (B/c/)dB|G>AG g2d
(B/c/)dB|c2c e2c (e/f/)ge|d>fd f2d (f/g/)af:|
|:gdB GAB gdB|gdB GAB gdB|ece ece
(e/f/)ge|fdf fdf (f/g/)af:|
NEW CLOAK, THE (An Fallaing Nuad). Irish, Jig. E Minor. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 42. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 919, pg. 171.
X:1
T:New Cloak, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 919
Z:AK/Fiddler’s Companion
K:Emin
D | E>FA B>AF | dAF AFD |
E>FA B>AF | F>EE E2D |
E>FA B>AF | dAF AFD | dfe dAF
| F>EE E2 :|
|: d | dBd efe | dBd e2 (d/e/) | fed
dcB | A>Bd FED |
E>AF B>AF | dAF AFD | dfe dAF
| F>EE E2 :|
NEW COINED GUINEA, DA. Shetland, Reel. G Major. Standard tuning. AAB. The tune, note Anderson
& Georgeson (1970), was known in Papa Stour and the West side as well as
Hillswick. Source for notated version: Arthur Peterson (Shetland) [Anderson
& Georgeson]. Anderson & Georgeson (Da
Mirrie Dancers), 1970; pg. 26.
NEW COLDSTREAM MARCH. English, March (4/4 time). D Major.
Standard tuning. AABB. Kate Van Winkler Keller finds the earliest printing of
this march to be in Bennett’s London fife tutor of about 1767. Source for notated version: the manuscript
collection of Captain George Bush (1753?-1797), a fiddler and officer in the
Continental Army during the American Revolution [Keller]. Keller (Fiddle
Tunes from the American Revolution), 1992; pg. 19.
NEW COLLEGE HORNPIPE
[1], THE. AKA and see "Manchester Hornpipe [1],"
"One Eyed Fiddler," "Rickett's Hornpipe." English,
Hornpipe. England, Shropshire. D Major. Standard tuning. AABB. Source for
notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman].
Ashman (The Ironbridge Hornpipe),
1991; No. 103b1, pg. 42.
NEW COLLEGE HORNPIPE
[2], A. AKA and see "Flaherty's Hornpipe," "The Avondale."
NEW COMET, THE.
English, Reel. F Major. Standard. AABA. Standard tuning. From Ann Winnington’s music
manuscript book, c. 1810. Winnington was an American and the inscription
inside the front cover of her book indicates she lived in New York.
X:1
T:Dance in
Paul and Virginia
M:C
L:1/8
S:Ann
Winnington’s manuscript book
K:F
f>g | a>gf>e d>cdf> |
g2g2g2f>g | a>gf>e d>cd>e | f2a2f2 :|
|: f>g | a>gf>a
b>d’c’>b | a2f2f2 f>g | a>ga>b a>d’c’>b | a4 z2f>g |
a>ga>b a>d’c’>b |
g2f2f2f>g | a>ga>b ac’c’b | a4z2 ||
f>g | a>gf>e dcd>f |
g2g2g2f>g | a>gf>e d>cd>e | f2a2f2 ||
NEW COPPERPLATE, THE. AKA and see "The Copperplate [1]." Irish, Reel.
G Major. Standard tuning. AA'BB'. There is a tune called "The Old
Copperplate" which is no relation. Mallinson (Enduring), 1995; No. 2, pg. 1. Taylor (Crossroads Dance), 1992; No. 41, pg. 29. Shaskeen
- "Shaskeen Live."
NEW CORN RIGGS. AKA and see "Corn
Riggs (are Bonny),” “Northern Song [1]."
Scottish. Appears under this title in the Newbattle MS Lessones for ye violin, c. 1680, and as "A Northern Song"
in Playford's Choice Ayres (1681);
and sung as "Sawney was tall and of noble race" in D'Urfey's play The Virtuous Wife in London in 1680.
NEW
COSSAK, THE.
English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABBCC. The melody appears in Hodsoll’s Collection of Popular Dances No.
24, an undated manuscript containing tunes with Napoleonic-era titles and
simple dance instructions for each melody.
X:1
T:New Cossak, The
M:2/4
L:1/8
S:Hodsoll’s Collection of Popular Dances No. 24
K:Bb
Bd/B/ Fd|Bd/B/ Fd|fg/f/ e/d/c/B/|A/B/c/A/ FG/A/|
Bd/B/ Fd|Bd/B/ Fd|fg/f/ e/d/c/B/|A/B/c/A/ B2:|
|:F/A/c/A/ e/c/A/c/|B/A/B/c/ d/B/A/B/|B/A/B/c/ d/B/A/B/|Bd F2|
F/A/c/A/ e/c/A/c/|B/A/B/c/ d/B/A/B/|F/A/c/A/ e/c/A/c/|Bd B2:|
|:ba/g/
fd|ef/g/ fd|gecf|e/d/c/d/ B2|ba/g/ fd|ef/g/ fd|becf|dB B2:|
NEW COTILLON. English, Slow Jig. England, Northumberland. B Flat Major. Standard
tuning. AABB. Seattle (William Vickers),
1987, Part 3; No. 553.
NEW COTILLON AL DEMENE. English, Jig. England, Northumberland. F Major. Standard tuning.
AABBCC. Seattle (William Vickers),
1987, Part 3; No. 552.
NEW CUSTOM HOUSE, THE (Teach Nua an Chustaim). AKA and see "The Game of Love," "Bloron's Fancy," "Bond's (Reel)," "The Aberdeen Lasses." Irish, Reel.
D Mixolydian. Standard tuning. AABB'. The tune has been attributed to Paddy
Kelly (by Han Speek), although he apparently did not name it himself. Kelly was
a founding member of the Aughrim Slopes Ceilidhe Band with Jack Mulkere and Joe
Mills. Despite this attribution “New Custom House” is clearly a version of “The
Game of Love” in O’Neill, which predates Kelly by many years. Source for
notated version: accordion player Joe Cooley (Ireland) [Breathnach]. Breathnach
(CRÉ III), 1985; No. 175, pg. 80. Gael‑Linn Records
CEF 044, Joe Cooley ‑ "Cooley" (1975). Gael‑linn CEFCD
114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí” ('In
Knocknagree'). Shanachie SH78041, Solas – “The Hour Before Dawn” (2000).
X:1
T:New Custom House, The
L:1/8
M:C|
K:Dmix
|A2DE FGAB|cAGE DEFG|
NEW DANIEL COOPER.
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
The melody first appears in print in David Rutherford’s Choice Collection of
Sixty of the Most Celebrated Country Dances (London, 1750), reprinted a
decade later in his Compleat Collection of 200 Country Dances, vol. 2
(London, 1760). It was also published by John Johnson in Choice Collection
of 200 Favourite Country Dances, vol. 6 (London, 1751) and in Charles and
Samuel Thompson’s 1757 country dance collection. The melody was picked up by
musicians and entered into manuscript copybooks on both sides of the Atlantic.
London fiddler Walter Rainstorp included it in his manuscript book, begun in
1747, and Northumbrian musician William Vickers entered it into his 1770
manuscript collection. In America, it appears in the 1794 manuscript papers of
flute player Micah Hawkins (New York), and in flute player John Hofff’s 1797
copybook (Lancaster, Pa.). Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 178.
X:1
T:New Daniel Cooper
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
d2 (e/f/g)|f>edf|e^cAc|d2 d2::(3 BGB (3BGB|(3cAc (3cAc|
(3BGB
(3BGB|d2 d2|(3BGB (3BGB|(3cAc (3cAc|(3BGB (3AFD|G2 G2:||
NEW DARGLE, THE. Irish, Country Dance Tune (4/4 time). The
melody appears in Hime's 48 Original
Irish Country Dances', c. 1795. See note for "(The) Dargle."
NEW DASH, THE.
English (?), B Flat Major. Standard
tuning. AABBCCDD. The melody appears in the music copybook of Ann Winnington,
c. 1810, a resident of New York.
X:1
T:New
Dash, The
M:3/8
L:1/8
S:The
music manuscript copybook of Ann Winnington, c. 1810 (New York), No. 47
Z:AK/Fiddler’s Companion
K:Bb
(3F/G/A/)
| B>cB | Ffd | cec | Ac/A/F | B>cB | Ffd | ceA | B2 :: A/B/ |
c/A/c/A/F
| d/B/d/B/F | ecc | fdB | c/A/c/A/F | d/B/d/B/F | ecA | B2 :|
|:
f | bag | (g/f/)dd | (f/e/)cc | dBF | bag | (g/f/)dd | (f/e/)cA | B2 :|
|:
d/e/ | fdg | e2c | Acf | d2 B | fdg | e2c | Acf | B2 :|
NEW DEACON, THE. Irish, Jig. G Major. Standard tuning. AABB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black, in honor
of Brother Francis Kelly on the occasion of his ordination to the deaconate.
Black (Music’s the Very Best Thing),
1997; No. 360, pg. 191.
X:1
T: New Deacon
C: © B. Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: G
G, | G,B,D GDB, | CEG cBc | Bcd cBA | GAG FED |
G,B,D GDB, | CEG cBc | BGB AFA | G3 G2 :|
d | gfg dBG | cBc ABc | BGG cAA | ^cec d2 f |
gbg
dBG | cec ABc | BGB AFA | G3 G2 :|
NEW DEMENSE [1] (An Tirteac Nuad). AKA and see "An Cailin Fionn,” "College Grove(s)," "The Connacht Reel [1]," "The Green Jacket," "The Milestone [1]," "The Millstone," "Miss Corbet,"
"Miss Corbett(’s Reel),”
"The New Domain," "The Old Locks and Quays
of Galway," "Whiskey
in the Jar/Jug." Irish, Reel. D Mixolydian. Standard tuning. AA'B.
Both O'Neill editions give the key as D major, though the key clearly should be
in the mixolydian mode. A Scottish relation is Lowe’s “Miss Corbett,” “Miss
Corbett’s Reel.” Source for notated version: Chicago fiddler James Kennedy who
had the tune from his father, a celebrated local fiddler from Ballinamore,
County Leitrim [O’Neill]. [O’Neill]. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1208, pg. 228. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 484, pg. 93.
X:1
T:New Demense, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
484
Z:AK/Fiddler’s Companion
K:D
D2 (3FED AD (3FED|E>c (3cBc
GcEc|D2 (3FED AD (3FED|1 cAGF EFGE:|2
CAGE ED D2||(3fgf df (3fgf df|(3efe
ce (3efe ce|(3fgf df (3fgf dB|cAGE ED D2|
(3fgf df (3fgf df|(3efe ce (3efe
dce|fgaf gedB|cAGE EFGE||
NEW DEMENSE [2] (An Tirteac Nuad). AKA and see "College Grove(s)." Irish, Reel. D
Mixolydian. Standard tuning. ABCD. This is really version #1, with two
variations. Source for notated version: Chicago flute player and piper John
Ennis, originally from County Kildare. Ennis was a policeman and, at times, a
journelist, who became president of the Irish Music Club in Chicago after
Francis O’Neill [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1209, pg. 228.
X:1
T:New Denense, The [2]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No. 1209
Z:AK/Fiddler’s Companion
K:D
D2 (3FED AD (3FED | Ec (3cBc edcA |
D2 (3FED Eddc | ABGF EDCE |
D2 (3FED AD (3FED | Ec (3cBc edcA |
DEFG Addc | ABGE (ED) D2 ||
(fe)(dc) Acdf | edcd ef{a}ge |
(fe)(dc) dcdf | (ea)ag (ed) d2 | (3fgf df (3fgf df |
(3efe ce (3efe ce | dfeg fagb | afge
(fd) d2 || faag fddf | efgf eccg | faag fddB |
cAGE (ED) D2 | faag fddf | efgf ecce
| dfeg fagb | afge (fd) d2 || (3fgf df (3fgf df |
(3efe ce (3ege ce | (3fgf df (3fgf
dB |cAGE (ED) D2 | (3fgf (df) dfdf |
(3efe (ce) cece | dfeg fagb | afge
(fd) d2 ||
NEW DOMAIN, THE. AKA and see “An
Cailín Fionn” (The Fairhaired Girl), "College Grove(s)," "The Connacht Reel [1]," "The Green Jacket," "The Milestone [1]," "The Millstone," "Miss Corbet,"
"Miss Corbett(’s Reel),”
"The New Domain," "The Old Locks and Quays
of Galway," "Whiskey
in the Jar/Jug." Irish, Reel. Ireland, County Cork. D Major. Stanadrd.
AAB. Source for notated version: “From P. Carew’s MSS” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 904, pg. 229.
T:The
new domain. A Cork Reel.
B:The Complete Collection of Irish Music
as noted by
B:George
Petrie, edited by Charles Villiers Stanford; no. 904.
R:reel
M:4/4
L:1/8
K:D
A/c/|d2
AG FGAB|=cBcG EFGE|dBcA BGAG|EFGE FDD :|
g|fddg
fddf|eccf eccg|fddg fddf|efge fddg|
fddg
fddf|eccf ecce|defg abag|(3fga eg fdec ||
NEW DROPS OF BRANDY.
AKA and see "Drops
of Brandy [1]."
English, Jig (9/8 time). G Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg.
6. Peacock (Peacock’s Tunes), c.
1805/1980; No. 5, pg. 2.
NEW
DUMENSE, THE. AKA and see
"The New Domain," "New Demense," "College Grove(s)."
NEW
EXCHANGE, THE. AKA ‑
"Durham Stable." English, Country Dance Tune. Published in Playford, The English Dancing Master (1651). Raven
(English Country Dance Tunes), 1984;
pg. 37.
NEW FASHIONED HABIT, THE.
AKA and see "Docherty's
Reel,”
“The
Gwebarra (Bridge) Reel,”
“Johnny
Doherty’s Reel [2],”
“The
Killarney Boys of Pleasure”
(the Co. Antrim name for the tune). Irish, Reel. A Dorian ('A' and 'B' parts)
& E Dorian ('C' and 'D' parts). Standard tuning. AABBCCDD. Source for
notated version: Paddy O'Brien (button accordian player from Dublin) and Micky
Docherty (Co. Donegal) via Tommy Peoples (Co. Donegal){"Not knowing a name
for it we called it after Mickey, as is the custom"} [Boys of the Lough]. Boys of the Lough, 1977; pg. 9. Trailer LER 2086, "Boys of the Lough."
NEW FIDDLE, THE. Canadian, Jig. Canada, Cape Breton. E Major.
Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cranford (Jerry Holland: The Second Collection),
2000; No. 279, pg. 100. A & M Records 79602
2000-2, Ashley MacIsaac - “Close to the Floor” (1992).
NEW FIGARY, THE. English, Country Dance Tune (2/2 time, ‘A’ and
‘B’ parts; 6/8 time, ‘C’ and ‘D’ parts). B Flat Major. Standard tuning. ABCD.
Sharp (Country Dance Tunes),
1909/1994; pg. 38.
X:1
T:New Figary, The
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Bb
|: (F | B>)(Bc>)(c d>efd) |
(edc>B) B3F | B>(Bc>)(c d>)(ef>)(d |
gf=e>f) f3 (F | B>)(Bc>)(c
d>efd) | (edc>B) B3F | B>(Bc>)(c d>)(ef>)(d |
gf=e>f) f3 || z | f>(fg>)(a
b2) (ab) | g>(ga)(g ^f2 d)(e/f/ | g)ggf (=e2 c)(d/e/ |
fdc>B) B4 | f>(fg>)(a b2)
(ab) | g>(ga)(g ^f2 d)(e/f/ | g)ggf (=e2 c)(d/e/ |
fdc>B) B4 ||
M:6/8
L:1/8
(dfd) (c>BA) | (B2F B2)(c | dfd)
(c>BA) | B3 d3 | (dfd) (c>BA) |
(F2F B2)(c | dfd) (c>BA) | (B3 d3
) || (dfd f3) | (dfd e3) | (g>ab) (f>ed) |
(c2B) B3 | (dfd f3) | (dfd e3) |
(g>ab) (f>ed) | (c2B) B2 ||
NEW FIVE CENTS [1]. AKA – “Five Cents,” "New Five Cent
Piece." AKA and see “Buffalo
Nickel [2],” "Ruffled Drawers."
Old‑Time, Breakdown. USA; Cumberland Plateau border region of Ky./Tenn.,
western North Carolina, Missouri. D Major. Standard or ADae tunings. AB
(Silberberg): AABB (Phillips): AABBCC (Titon). In the repertoire of fiddler
Isham Monday (1879-1964), who played the tune in ADae tuning, but who tuned his
fiddle so low it sounded below C. See also the closely related “Robinson County,” and the accompanying
note. Marion Thede, in connection with an unrelated Oklahoma tune, prints the
following lyrics, indicating the floating nature of some verses:
***
I wisht I had a new five cents, to give that gal of mine.
***
Mark Wilson says the tune is called
“Buffalo Nickel” in the Ozarks, dating that title for the tune to around 1913
(albeit the melody may be older, under different titles). Drew Beisswenger
(2008) points out the second strain is similar to the second strain of “Grey
Eagle,” as played by Missouri fiddler Ike Helton. Gus Meade (2002) finds the
earliest recording of the tune to be by Paul Warmack, who recorded it in 1928
as “Five Cents.” Sources for notated versions: Paul Warren [Phillips]; Isham
Monday (Tompkinsville, Monroe County, Ky., 1959) [Titon]; Carthy Sisco
[Silberberg]; Cecil Goforth (b. 1936, Eminence, Missour) [Beisswenger &
McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 186.
Phillips (Traditional American Fiddle
Tunes), Vol. 1, 1994; pg. 164. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 107. Titon (Old-Time Kentucky Fiddle Tunes),
2001; No. 109, pg. 138. County 787, Clarence Ferrill
Band ‑ "Five Miles Out of Town: Traditional Music From the
Cumberland Plateau." County CO-CD-2711, Kirk Sutphin - "Old Roots and
New Branches" (1994. Learned from fiddler Bert Edwards, "a native of
the hills of Alleghany County, North Carolina"). Marimac 9060, Jim Bowles
– “Railroad Through the Rocky Mountains” (1994). Rounder 0435, Gene Goforth –
“Traditional Fiddle Music of the Ozarks, vol. 1” (1999).
M:C|
L:1/8
K:D
(A|:A)f2 f3e|dfed BcdB|Abde f2f2|e3
fe2[DA]-|[DA] f2 fgfe|
dfed BcdB|A2 FD ED C2|1 D3E
D2(A:||D3 E D2 dB||
A2 F2F2 dB|A DFG F2 dB|A2F 2 FEDE|F
E2F E2dB|
AFDF AFdc|B [GB] A BcdB|A FD ED C2|1
D3 ED dB:||2 D3 E D4||
NEW FIVE CENTS [2]. AKA and see “Finger Ring,” “I Wish't I Had a New Five Cents.”
NEW FOREST. Scottish, Reel. D Minor. Standard tuning. AABB'. Composed by Alexander
Walker, after New Forest in Rhynie. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 103, pg. 35.
NEW FOUND OUT, THE. AKA and see “Aggie Whyte’s (Reel) [2],” “Satin Slipper,” “Seamus Connolly’s (Reel).” Irish,
Reel. D Major. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 221, pg. 136.
NEW FOUND OUT [2], THE.
Irish, Jig. A Minor. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 132, pg. 32.
NEW FROCK, THE (An Gúna Nua). Irish, Jig. A Dorian. Standard
tuning. AA’BB’. Breathnach obtained the tune from a music manuscript from
Munster given to him by fiddler Sean B. O’Leary. Although the author is unidentified, editor Jackie Small says it
may be one of Kerry fiddler Padraig O’Keeffe’s. Breathnach (CRÉ V),
1999; No. 25, pg. 15.
NEW GERMAN SPA. AKA and see "German Spa."
NEW GERMAN WALTZ. English, Waltz (3/8 time). G Major. Standard tuning. AABBC. Source for
notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman].
Ashman (The Ironbridge Hornpipe),
1991; No. 32a, pg. 10.
NEW GROUND, THE. Shetland. From the Mainland Shetland district.
NEW GYPSEY HORNPIPE. English, Hornpipe. G Major.
Standard tuning. AABB. The title is an attempt to set the tune off from the
numerous “Gypsy Hornpipes” in the repertoire. Source for notated version: the
early 19th century music manuscript of Joshua Burnett (Worsborough,
south Yorkshire) [Callaghan]. Callaghan (Hardcore
English), 2007; pg. 19.
NEW HAMPSHIRE SWINGEROO.
American, Reel. G Major. Standard tuning. ABB’. Randy Miller says the
tune originally appeared in Honor Your Partner (1949). Composed by Ralph Page
(1903-1985, New Hampshire), the “dean of the contra dance callers,” and a
seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm).
Miller (Fiddler’s Throne), 2004; No.
222, pg. 136.
NEW HARMONY. American, Reel. The melody was
published in Original
Dances, Walzes & Hornpipes for the Violin (1829), by M. Higgins.
NEW HIGH LEVEL [1], THE. Scottish, Reel or Hornpipe. G Major. Standard
tuning. AABB. Composition credited (and copyrighted) to Andrew Rankine,
according to Martin & Hughes. The tune has been described as a “fast
hornpipe,” and the first part is similar to the “New High Level Hornpipe [2].”
Martin & Hughes (Ho-ro-gheallaigh),
1990; pg. 14.
NEW HIGH LEVEL
HORNPIPE [2]. English, Hornpipe. England,
Northumberland. B Flat Major (‘A’ part) & F Major (‘B’ part). Standard
tuning. AABB’. The melody has been attributed in the Northumbrian Pipers Tune Book, vol. 1, 2nd edition
(1970), to Robert Whinham (1814-1893), a musician, teacher, composer, dancing
master and fiddler originally from Morpeth, Northumberland. Dixon (1995),
however, could find no verification for the attribution. The tune is usually
played in the key of ‘G’, and is often paired with James Hill’s “High Level
Bridge Hornpipe,” says Dixon. Source for notated version: the 19th
century Foster manuscript, in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 70. Common Ground CGR002, Will Atkinson – “Mourthorgan.” EAR
015-2, Joe Hutton – “Northumbrian Piper.” PCCD001, Pauline Cate – “The Wansbeck
Piper.” Topic 12TS239, Billy Atkinson – “Bonny North Tyne.” Topic TSCD 669,
Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of
England” (1998).
NEW HIGHLAND LADDIE
[1]. AKA
and see "Jinglin' Johnnie,"
"Kate Dalrymple." Scottish,
English; Reel. England, Northumberland. G Major. Standard tuning. AABB. The
tune appears in its earliest form in the lute manuscripts of the early 17th
century such as the Skene (c. 1615‑20) and Rowallan (c. 1612‑28).
It also was included in the Gillespie
Manuscript of Perth (1768). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 185 (includes two variations by
famous Northumbrian small‑piper John Peacock).
X:1
T:New Highland Laddie
M:C
L:1/8
R:Reel
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
N:John Peacock’s variations are the latter two parts
K:G
G2GB A2AB|G2 GB A2 AB|G2g2d2 cB|ABcA B2G2:|
|:d2 de d2 de|dgfe d2 cB|d2 de d2 de|dgfe d2 cB|c2 ce B2Bd|
A2 AB c2 BA|G2 g2d2 cB|AbcA B2G2:|
|:(3GBd (3GBd (3GBe (3GBe|(3GBd (3GBd (3GBe (3GBe|
(3GBd (3Gce d2 cB|ABcd B2G2:|
|:d/c/B/c/ d/c/B/c/ d/c/B/c/ d/c/B/c/|e/d/c/B/ ge d2 cB|
d/c/B/A/ G/A/B/c/ d/c/B/A/ G/A/B/c/|e/d/c/B/ ge d2 cB|
c/e/g/e/ c/e/g/e/ B/d/g/d/ B/d/g/B/|A/G/A/B/ c/B/c/d/ e/c/B/A/|
G/A/B/c/ d/e/f/g/ edcB|AB cd/c/ B2G2:|
NEW HIGHLAND LADDIE
[2]. English?, Air (6/8 time). D Major. Standard tuning.
AABBC. Kate Van Winkler Keller finds a song to this tune arranged by Thomas
Arne for the production Clio and Euterpe (London, 1758), beginning: “The
lowland lads think they are fine.” Source for notated version: the manuscript
collection of Captain George Bush (1753?-1797), a fiddler and officer in the
Continental Army during the American Revolution [Keller]. Keller (Fiddle
Tunes from the American Revolution), 1992; pg. 26.
NEW HORNPIPE. AKA and see "Grant's Rant,"
"Chester Castle [1],"
"The Recruit." English, Reel.
England, Northumberland. D Major. Standard tuning. AABB. Kerr (Merry Melodies), Vol. 1; pg. 42 (appears
as "Chester Castle"). Seattle (William
Vickers), 1987, Part 3; No. 433.
NEW HOUSE [1], THE. Canadian, Jig. Canada, Cape Breton. G Major.
Standard tuning. AA’B. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cameron (Trip to
Windsor), 1994; pg. 61.
NEW HOUSE [2], THE. Irish, Double Jig. D Major (Flaherty): C Major
(Taylor/Tweed). Standard tuning. AABBCC (Flaherty): AA’BB’CC (Taylor/Tweed).
Composed by County Offaly musician Paddy O’Brien. Source for notated version:
flute player Colm O’Donnell (b. 1962, outside Aclare, County Sligo) [Flaherty].
Flaherty (Trip to Sligo), 1990; pgs.
20-21 (appears as “Unknown”). Taylor (Traditional
Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 6.
NEW HOUSE
[3], THE. Irish, Jig. G Major. Standard tuning. AABB. Composed
by Falmouth, Massachusetts, musician and writer Bill Black.
X: 1
T: New House (The) [3]
C: © B. Black
M: 6/8
L: 1/8
Q: 325
R: jig
K: G
D | DEG BAB | dBA GED | DEG Bdg | edB A2 A |
DEG BAB | cBc def | gdB FAd | BGF G2 :|
A | Bee gfe | bgb gfe | def gfe | dBd e2 f |
gfe
dcB | ABG FED | GBd cAF | AGF G2 :|
NEW HOUSE IN ST. PETER’S, THE.
Scottish, Pipe Air. Composed by Highland bagpiper Iain MacDonald in the
early 1980’s in honor of his brother Angus’s new house in Richmond County, Nova
Scotia, the “Gateway to Cape Breton Island.” MacDonald was raised in Glenuig,
Moidart, and has been a member of Ossian and the Battlefield Band. Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin”
(2008).
NEW HOUSE WAS BUILT, THE. AKA and see "Wes Muir's Tune." Old-Time,
Breakdown. C Major. Standard. AABB. Source for notated version: Geoff Seitz
with the Ill-Mo Boys [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 164. MSOTFA,
Nile Wilson - "Now That's A Good Tune:
Masters of Traditional Missouri Fiddling".
NEW IBERIA POLKA. Cajun, "Polka" (3/4 time). USA, southwestern Louisiana. D
Major. Standard. One part (x5). The rhythm seems similar to a waltz and two
step (valse a deux temps). New Iberia is the name of a parish (county) in
Louisiana. Source for notated version: Segura Brothers (La.) [Francois].
Francois (Yé Yaille Chère!), 1990;
pg. 237. Old Timey Records OT-108, the Segura
Brothers.
NEW
IRISH BARN DANCE. AKA – “Swedish Barn Dance.” AKA and
see “Ball in Karlstad.” Irish, Barndance. D Major. Standard tuning.
AABBCCDDEEFFGG. Although the melody has been in the Irish repertory since being
recorded by the Flanagan brothers on a 78 RPM for Columbia in 1930
(later recorded by De Danann and Mick Moloney), it was not originally Irish.
Daniel Neely (http://danieltneely.com/?p=144)
traces the origins of the tune to Sweden, although it was first recorded for
Victor in New York in 1916 by the accordion duet of John Lagar and Eric Olson
under the title “Balen I Karlstad” (Ball in Karlstad). Olson, at least, was
born in Sweden and but emigrated to New York where he became a fixture in the
Swedish community, establishing a career as a music teacher, music publisher
and radio performer. However, Neely finds that the schottishe he recorded was
in fact a popular melody that was often prior recorded prior to the Flanagan’s
release, under a variety of European titles marketed to various ethnic
communities. Accordion player Viola Turpeinen (born in Michigan of Finnish
extraction) and violinist John Rosendahl recorded the tune as “Jukan Sottiisi”,
released by Victor (January, 1928); it was recorded a few months later (also
for Victor) by the Jahrl Instrumental Quintet as “Balen Karlstad.” Jahrl, who
immigrated from Sweden in 1916 and began his career on the vaudeville stage,
re-recorded the tune in 1929, this time for the Columbia label, as “Te Dans Mä’
Karlstatösera” (E. Jahrl’s Kvintett). Columbia Records, Neely relates, then
took Jahrl’s recording and reissued it under a variety of titles, targeted to
various ethnic markets. Thus it can be heard as the American “The Ball in
Karlstad” (Waltz, Co 12121-F) , Polish “Wesole Czasy” (Walc, Co 18349-F),
Finnish “Naantalin Aurinko-Sottiisi” (Co DI 98), German “Karlstadtreinlander”
(Co GN 97). The tune still
retains associations with Sweden, however, and was featured in the 1968
Swedish comedy "Under ditt parasoll" ("Under your
parasoll"). Shanachie
79018, De Danann – “Star Spangled Molly.”
X:1
T:New Irish Barn Dance
R:hornpipe
D:DeDanann, "Star-Spangled
Molly"
Z:Jeff Myers
M:C
L:1/8
K:D
dc|d2 dB A2 AF|GFGA B2 BG|~A3B
cdeg|fefe df
ec|dedB A2 AF|GFGA B2 BG|(3AGA cB
ABGE|(3DED FE D2:|
(3Bcd|e2 e2 e3d|(3cBA Ac e4|(3BcB Bc
e2 e2|(3cBA Ac e2
(3Bcd|e2 e2 e3d|(3cBA Ac e3d|e2 ef
edcB| A2 c2 A2:|
dc|d2 dB A2 AF|GFGA B2 BG|~A3B
cdeg|fefe df
ec|dedB A2 AF|GFGA B2 BG|(3AGA cB
ABGE|(3DED FE D2:|
(3DEF|G6 e2|d6 B2|=cB=cB =c2 A2|BABA
B2
D2|G6 e2|=c6 e2|(3ded fe d=cBA|G2 B2
G2|
(3DEF|G6 e2|d6 B2|=cB=cB =c2 A2|BABA
B2
D2|G6 e2|=c6 e2|(3ded fe d=cBA|G2 B2
G2:|
dc|d2 dB A2 AF|GFGA B2 BG|~A3B
cdeg|fefe df
ec|dedB A2 AF|GFGA B2 BG|(3AGA cB
ABGE|(3DED FE D2:|
(3Bcd|e2 e2 e3d|(3cBA Ac e4|(3BcB Bc
e2 e2|(3cBA Ac e2
(3Bcd|e2 e2 e3d|(3cBA Ac e3d|e2 ef
edcB| A2 c2 A2:|
dc|d2 dB A2 AF|GFGA B2 BG|~A3B
cdeg|fefe df
ec|dedB A2 AF|GFGA B2 BG|(3AGA cB
ABGE|(3DED FE D2:|
NEW IRISH JIG. English, Reel. England, Northumberland. G Major. Standard tuning. AABB.
Seattle (William Vickers), 1987, Part
3; No. 574.
NEW IVY LEAF, THE. AKA
and see “The Ivy Leaf [2],” “Mind My Brother,” “New Steamboat,” “The New
Steampacket.”
NEW JERSEY. American, County Dance Tune. The melody appears in John Carr’s American
publicatoin First Book of Cotillions
(1801). Maggie’s Music MMCD216, Hesperus - “Early
American Roots” (1997).
NEW JORDAN. Old-Time, Breakdown. D Major.
Standard tuning. AABB.
X:1
T:New Jordan
M:4/4
L:1/8
R:Reel
S:Bruce Molsky
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
(fa2) (e fe)de|f((aa)f) e3f|a2a2 fedf|e(dBd) A2 (fg)|a2a2 fede|f(a2f) e2(a2|
b2)a2(fe)df|e(dBd) A2A2::(Bd2) (e fd)ed|B2e3fe2|d3(f e2)ef|(ed)BdA2 AB|
d2de (fd)ed|B2e3f e2|e3(f e2) ef|e(dBd) A2A2:|
NEW KELVIN BRIDGE, 1891. Scottish, Reel. Composed by Archibald Morrison (1820-1895). Henderson (Flowers of Scottish Melody), 1935.
NEW KILARNEY. Irish, Polka. D Major ('A' part) & G Major ('B' part). Standard
tuning. AABB. Miller & Perron (101
Polkas), 1978; No. 13. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
133. Free Reed FRR-011, Old Swan Band – “No Reels”
(1977).
NEW KILLIECRANKY. AKA and see “The Haughs o'
Cromdale.”
NEW KISS ME LADY.
English, Country Dance Tune (2/4 time). A Major. Standard tuning.
AABBCCDD. Gibbons originally set the tune in the key of ‘C’ in his mss., along
with an appendage to the title that reads “Rasen Band,” perhaps a reference to
a village band in the small Lincolnshire town of Market Rasen (which Charles
Dickens called “the sleepiest town in England”). Source for notated version: the 1823-26 music mss of papermaker
and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen,
Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 16.
NEW LAND, THE. Canadian, Waltz. F Major. Standard tuning.
AABB. The most famous composition by luthier and musician Otis Tomas (Goose
Cove, St. Ann’s Bay, Cape Breton Island, Nova Scotia) in 1977, commemorating
the first peice of land he and his wife bought on Cape Breton. The melody was
recorded by the band Touchstone in the early 1980's. Matthiesen (Waltz Book II), 1995; pg. 40. Green Linnet, Otis Tomas - "The New Land."
NEW LANGOLEE [1] (An Langoli Nuad). AKA and see "Dear Harp of My
Country," "Paddy Bull's Expedition." Irish, Air (6/8 time,
"with expression"). G Major. Standard tuning. AB. A curious title for
O’Neill, as “Lango Lee” was originally a song published in London appearing
about 1775. It had explicitly sexual lyrics, and ‘langolee’ is supposed to mean
‘the stiff dick’ in Irish. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 248, pg. 43.
X:1
T:New Langolee
M:6/8
L:1/8
R:Air
N:”With expression”
S:O’Neill – Music of Ireland
(1903), No. 248
Z:AK/Fiddler’s Companion
K:G
D/D/ | D>EF GAB | c>ed cBA |
BGE DEG | B>cA G2D |
(DEF) (GAB) | (ced) (cBA) | (BGE)
(DEG) | (B{d}cA) G2 ||
c/c/ | BGB dBd | e>dc dBG | G>Bd efg | G>AG GED/D/ |
cec BdB | AGA BGE/E/ | GFE (D<d)c
| B>cA G2 ||
NEW LANGOLEE [2]. AKA and see “The Banks of the Dee.” English,
Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. See note for “Lango Lee.” Kate Van Winkler Keller says the
melody “The Banks of the Dee” and several parodies were set to the tune. Source
for notated version: the manuscript collection of Captain George Bush
(1753?-1797), a fiddler and officer in the Continental Army during the American
Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution),
1992; pg. 27.
NEW LESSON, THE (An Leigeann Nuad). AKA and see "The 'Read‑a‑med‑aisy,'"
"Billy McCormick('s Jig)."
Irish, Air (6/8 time, "airily"). D Mixolydian. Standard tuning. AB.
O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 488, pg. 85.
X:1
T:New Lesson, The
M:6/8
L:1/8
R:Air
N:”Airily”
S:O’Neill – Music of Ireland (1903), No. 488
Z:AK/Fiddler’s Companion
K:D
f/e/|dcA ABA|=cAF GFG|AFD ECE|D3 D2
f/e/|
dcA/B/ =c2d|=cAF G2B|AGF EDE|D3
D2||F/G/|
Ad d/e/ fef | gfe/d/ cAG | Adf
e/d/ce | d2e f2 f/e/ | dcA ABA |
=cAF GFG | AGF EDE | D3 D2 ||
NEW LIMERICK LASSES. Irish, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 147, pg. 35.
NEW LINCOLN. English, Country Dance Tune (4/4 time). D Major. Standard tuning. AABB.
The melody can be found in the 1770 music manuscript collection of William
Clarke. Clarke was from Lincoln, so perhaps this was a local tune. Callaghan (Hardcore English), 2007; pg. 44.
NEW LINE. AKA and see “Fahy’s Reel,” “The New Road.”
American (?), Reel. D Major. Standard tuning. AABB. Paul de Grae finds a
variant printed by O’Neill under the title “The New Road.” See also the related
“Corney is Coming.” Cole (1000 Fiddle Tunes), 1940; pg. 27. Ryan’s Mammoth Collection, 1883; pg. 53.
X:1
T:New Line
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
DFED dfed | cAGF (Ec) c2 | DFED dfef
| cAGE AFGE | DFED dfed |
cAGF (Ec) c2 | DFED dfef | cAGE
(AD)D2 :: fefg fagf | eAce g2(ag) |
fede fage | fdec Adde | fede fagf |
ecAc e2(gA) | fgef decd | cAGE AD D2 :|
NEW LINE LASSIE. Irish, Reel or Highland. E Minor. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 148, pg. 35.
NEW LINE TO DUBLIN, THE. Irish, Reel. A version of this tune is an
untitled reel in Breathnach’s Ceol Rince
na hÉireann IV, No. 146, from the c. 1880’s Grier (from County Leitrim)
manuscript.
NEW LIVERPOOL
SCHOTTISCHE.
American, Schottische. G Major. Standard tuning. AA’B. Composed by
Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 12.
NEW LONDON. American, Reel. G Major. Standard tuning. AABB. The first part of this
tune seems to be shared, at least in part, with "London Hornpipe [1]," "Navvie on the Line," and "Blue Eyes Polka." Ford (Traditional Music in America), 1940; pg.
104.
NEW LONESTAR RAG NO. 2. American, Country Rag. USA, Texas.
A Major. The tune was recorded on a 78 RPM by Bill Boyd’s Cowboy Ramblers.
NEW LOST TRAIN BLUES. Old‑Time, Breakdown. USA, western North Carolina. C Major.
Standard tuning. AA'BCCDCCD. Composed by fiddler Steve Ledford. Source for
notated version: J. E. Mainer [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 91. Bluebird B‑6424, J.E. Mainer's Mountaineers. Folkways
FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals"
(1964).
NEW MAD TOM OF BEDLAM. AKA and see "Gray's Inn
Maske," "Mad Tom."
NEW MADE GOWNE, THE. AKA ‑ "Let Me In This Ae Nic"
(Song). Scottish, Jig. A Minor. Standard tuning. AB. The tune can be found in
various late 17th century collections (Ewan MacColl). MacColl, Folk Songs and Ballads of Scotland (Oak).
NEW MAILCOACH, THE ("An Carbad-Litireac Nuad" or
"Carbad Nuad na Litreaca"). Irish, Reel. D Major. Standard tuning. AABB'
(O'Neill/Krassen): AAB (O'Neill/1915 & 1850). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 251, pg. 131. O'Neill
(Krassen), 1976; pg. 114. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1302, pg. 244. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 489, pg. 93.
X:1
T:New Mailcoach, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
489
Z:AK/Fiddler’s Companion
K:D
dB|A>G (3FED FAAg|fgec
dcBd|A>G (3FED AFFg|fgec d2:|
||(3ABc|d2 fd adfd|cded (3cBA Bc|d2
fa a2 fd|(3cBA Bc d2 (3ABc|
d2 fd adfd|cded (3cBA Bc|defg
abag|fgec dcdB||
NEW MARKET [1]. AKA and see “The Black and the
Grey,” "John
Paterson's Mare (Goes Foremost/Forewort)," Scottish, Jig. F Major.
Standard tuning. ABCD. Howe (c. 1867) directs: “Performed in the time of Horse
Gallop.” The alternate title “John Paterson’s Mare Goes Foremost” is from a
song written to the melody. New Market was famous in the 17th and 18th
centuries for the exhibition of horse-races. Carlin (The Gow Collection), 1986; No. 364. Gow (Complete Repository), Book 2, 1802; pgs. 8-9. Howe (1000 Jigs and Reels), c. 1867), pg. 141
(appears as “John Paterson’s Mare Goes Forewort”).
X:1
T:New Market, or John Paterson’s
Mare goes Foremost
M:6/8
L:1/8
R:Jig
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:F
c/B/|AFA f2c|AFA f2c|AFA fcB|A3
F2A|BGB g2d|BGB gdc|
B3 G2 c/B/|AFA f2c|AFA f2c|AFA
fcB|A3 FGA|B>AB c>Bc|
d>Bd e>de|f>ed
gdc|B3G2||c|A/B/cF A/B/cF|A/B/cF A/B/cF|A/B/cF fcB|
A3F2c|B/c/dG B/c/dG|B/c/dG
B/c/dG|B/c/dG gdc|B3 G2B|A/B/cF A/B/cF|
A/B/cF A/B/cF|A/B/cF fcB|A3
FGA|B>AB c>Bc|d>Bd e>de|f>ed gdc|B3G2||
c|AFA f2c|f/g/a/g/f/e/
f2c|f/g/a/g/f/e/ fcd|~A3 F2A|BGB g2d|=e/f/g/f/e/d/ g2d|
=e/f/g/f/e/d/ gdc|B3G2c|AFA f2c|
f/g/a/g/f/e/ f2c|f/g/a/g/f/e/ fcf|~A3 FGA|
B>AB c>Bc|c>Bc
e>de|f>ed gdc|B3G2||c|f/g/a/g/f/e/ f/g/a/g/f/e/|
f/g/a/g/f/e/
f/g/a/g/f/e/|f/g/ag/f/e/ fcd|A3Fd2|g/a/_b/a/g/^f/ g/a/b/a/g/f/| g/a/_b/a/g/^f/
g/a/b/a/g/f/|
g/a/_b/a/g/^f/
gdc|B3G2c|f/g/a/g/f/e/ f/g/a/g/f/e/|f/g/a/g/f/e/ f/g/a/g/f/e/|f/g/a/g/f/e/ fcf|
A3 FGA|B>AB c>Bc|d>Bd
e>de|f>ed gdc|B3G2||
NEW MARKET REEL [2]. Canadian, Reel. Canada, New Brunswick. Rounder
SS‑0145, Jerry Holland (Boston) ‑ "Traditional Music on
Rounder: A Sampler" (1981. Learned from his father, a French‑Canadian
from New Brunswick). Rounder Heritage Series 1166-11592-2, Jerry Holland (et
al) – “The Art of Traditional Fiddle” (2001).
NEW MARRIED COUPLE (An Lanamuin Nuad). AKA and see "Joys Of Wedlock," Irish, Double
Jig. G Major. Standard tuning. AABB. Cork cleric James Goodman (1828-1896)
printed the tune under the title “Joys of Wedlock,” although, confusingly, he
had another (unrelated) jig in his collection with the title “New-Married
Couple” (see below). Source for notated version: Chicago piper and police
Sergeant James Early, originally from County Leitrim [O’Neill]. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1011, pg. 189. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 225, pg. 51. Ryan’s
Mammoth Collection, 1883; pg. 80.
X:1
T:Newmarried Couple [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
225
Z:AK/Fiddler’s Companion
K:G
D|GAG GBd|gfe d2c|Bdg dBG|fAA
A2D|GAG GBd|
gfe d2c|BdB cAF|GAG G2::c|Bdg
dBG|Bdg d2c|
Bdg dBG|FAA A2c|Bdd def|gfe fdc|BdB
cAF|GAG G2:|
NEW MARRIED COUPLE [2], THE. Irish,
Jig. E Dorian. Standard tuning. AABB. A different jig than “New Married Couple
[1].” The earliest appearance of the tune in print is in Church of Ireland
cleric James Goodman’s mid-19th century music manuscripts. Goodman
(1828-1896) was an uilleann piper, and an Irish speaker who collected locally
in County Cork and elsewhere in Munster. He also obtained tunes from
manuscripts and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 491, pg. 191.
X:1
T:New-Married Couple, The [2]
M:6/8
L:1/8
R:Jig
S:James Goodman manuscripts (mid-19th century)
B:Hugh Shields – Tunes of the Munster Pipers, No.
491 (1998)
K:E Dorian
Bee e2d|BAB d2A|Bee e2d|BAB dBA|Bee
e2d|
BAB d2A|def g2e|age dBA::e2a aga|bab
g2d|
E2a aga|bab ged|e2a aga|bab g2d|def
g2e|age dBA:|
NEW MARRIED COUPLE [3], THE. AKA
and see "Bonnie Sally,"
"O'Connell's Trip
to Parliament [1],” "The
Sporting Days of Easter [1]," “Trip to Parliament,” “Willow Tree [5].” Irish, Reel.
NEW MAY MOON. AKA and see “The Old Figary O’,”
"Young May Moon [1]."
English, Country Dance Tune (6/8 time). England; Lincolnshire, Yorkshire. D
Major. Standard tuning. AABB. Once a very popular tune in both England and
Ireland. Thomas Moore employed the melody for his song “The Young May Moon,”
and the jig is known in County Leitrim as “The Old Figaree/Figary.” It was used
by Irish poet Thomas Moore (1779-1852) for his song “The Young May Moon.” The
melody appears in the old music manuscript of Yorkshire musician George Spencer
as “The Young May Moon.” An old supersticion in Sussex holds that the new May
moon, aided by certain charms, has the power of curing scrofulous complaints
(Charlotte Latham, “Some West Sussex Superstitions Lingering in 1868,” The Folk-Lore Record for 1878, p. 45).
Sources for notated versions: an MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; the 1823-26 music
mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds) [Sumner]. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 13. Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 79, pg. 47. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 43 (set for
three instruments). Front Hall FHR-020, Alistair
Anderson – “Dookin’ for Apples” (1979).
X:1
T:New May Moon
M:6/8
L:1/8
R:Jig
S:Colclough – Tutor for the Irish Union Pipes (c. 1830)
Z:AK/Fiddler’s Companion
K:D
A | d2d d2A | B2A A2A | d2d ede |
f2d d2f | g2g f2f | efd c>BA | B>AG F>GA | B2A A2 :|
|: (B/c/) | d2A d2A | B2A A2A |
d>ed e>fg | f2d d2 e/f/ | g>ag f>gf | e>fd c>BA | B>AG FGA
| B2A A2 :|
NEW MILE END FAIR. English, Country Dance Tune
(4/4 time). C major. Standard tuning. AABB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg.
29.
X:1
T:New Mile End Fair
M:C
L:1/8
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)
Z:AK/Fiddler’s Companion
K:C
g2 | e2 dc d2 cB | c2C2D2C2 | EG
c4e2 | agfe fedc | Bc d4g2 | e2 dc d2 cB | c2C2E2C2 |
EG c4 BA | GFED C2 :: GF | EG c4 ed
| cd e2A2a2 | f2d2A2d2 | ^cde^c d2 cB | Bd g4 cB |
Ac f4 ag | fgag fedc | BA G4g2 |
agfe gedc | ec c’4 e2 | fedc d2 cB | c6 :|
NEW MILL OF LOGIERAIT. Scottish, Strathspey. A Dorian. Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
56.
X:1
T:New Mill of Logierait, The
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
a|A/A/A e>d B2 A>B|G>AB>c d<g d>B|e<A e>d e>^fg>e| d>B^G>B (A2A:|
g|a<A a>b a2 e>^f|g>ed>c B<G G<g|a<A a>b a<e e>^f|g>ed>B A2 A>g|
a<A a>b a<A A>f|g<Gg<b g<G G>g|a>e^f>d e>fg>e|d>B^G>B A2A||
NEW MILLS HOUSE. Scottish, Jig. D Major. Standard tuning. AABB.John Glen (1891) finds the earliest appearance in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), 1757; pg. 72.
X:1
T:New Mills House
M:6/8
L:1/8
R:Jig
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:D
NEW MINISTRY, THE.
English, Country Dance Tune (2/4 time). C Major. Standard tuning. AABB.
The melody was originally published in Charles and Samuel Thompson’s third
country dance collection (London, 1773). “The New Ministry” was also entered
into the 1788 music manuscript collection of flute player Ensign Thomas
Molyneaux, 6th Regiment, of Shelburne, Nova Scotia. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 47.
X:1
T:New Ministry, The
M:2/4
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:C
c2
(c/d/e)|dB AG|cegc|B2G2|c2 (c/d/e)|dB GF|EcDB|c2 [C2c2]:|
|:g(e e)(f/g/)|a(ff)a|f(d d)(e/f/)|g(e e)(g/f/)|e(c c)(d/e/)|(f/g/a)
(e/f/g)|(B/c/d) GB|c2 [C2c2]:||
NEW MISS McLEOD, THE (Ríl Nua Iníon Mhic Leoid). Irish, Reel. C Major. Standard
tuning. AB. Unrelated to the reel usually played as “Miss McLeod.” Source for
notated version: fiddler and uilleann piper Stephen Grier (Farnaght, County
Leitrim) who wrote down his tunes in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 115, pg. 59.
NEW MONEY. Old‑Time, Breakdown. USA, eastern Kentucky. C Major. Standard
tuning. AABB. Doc Roberts (1897‑1978) recorded this indigenous east‑central
Kentucky tune in the 1920's (learned from Elzic Stone of Montgomery County,
Ky., at a fiddle contest); his repertoire consisted mostly of regional tunes
and he paid little attention to outside music (Wolfe, 1982). Source for notated
version: Doc Roberts (Ky.) [Maloy/Devil's Box, Phillips]. Brody (Fiddler’s
Fakebook), 1983; pg. 202. The Devils Box, vol. 10, #1, 1976; pg. 46.
Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 165. Davis Unlimited 33015, Doc Roberts‑ "Classic
Fiddle Tunes." Gennett 6775 (78 RPM), Doc Roberts (1927). Jim Martin
Productions JMP201, Gerry Milnes (et al) – “Gandydancer.” Morining Star 45005,
Doc Roberts - "Way Down South in Dixie."
X:1
T:New Money
M:C|
L:1/8
R:Breakdown
K:C
cde^f gage | gage gage | cde^f
gage | aged BGA^F | GABc ^cded | f2 e(ff)e f2 |
G2A2 Bf2d | e2dc cBAG :: c3d cGEG |
cBcd cGEG | cBcd cAGE | DCB,C D^FGA |
BGBG ABGA | BGBG ABde | fedc BGAB |1
c>c dB c2G2 :|2 d2 dB c4 ||
NEW MOON, THE (An Gealac Nuad). Irish, Hornpipe. G Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 176. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1609, pg. 298.
X:1
T:New Moon, The
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1609
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/ | G/F/G/A/ B/G/d/B/ |
A/G/A/B/ c/A/F/A/ | G/F/G/A/ B/G/d/B/ |
A/G/A/B/ A(3D/E/F/ | G/F/G/A/
B/G/d/B/ | A/G/A/B/ A/g/f/a/ |
g/d/e/c/ d/B/c/A/ | BG G :: (3d/e/f/
| g/f/g/a/ g/f/e/d/ | c/B/A/B/ c/d/e/f/ |
g/f/g/a/ g/f/e/d/ | ea a(3d/e/f/ |
g/f/g/a/ g/f/e/d/ | c/B/A/B/ c/d/e/f/ |
g/d/e/c/ d/B/c/A/ | BG G :|
NEW MOWN MEADOWS, THE. AKA and see “Anderson’s (Reel) [2],” "Miss Lane's Fancy,” “My Love is on the Ocean [1],”
“The Old Silver Spear,” "The Silver Tip [1]," "The Silver Spear," “The Threepenny Bit,” "The Top of the Cliff.” Irish, Reel. A
Dorian: D Dorian {Joyce}: E Dorian (‘A’ part) & A Mixolydian (‘B’ part).
Standard tuning. AB (Joyce): AA’BB’ (Moylan). There are different versions of
this tune, although generally it is played in either the keys of A Dorian or E
Dorian, less frequently heard in D Dorian. The tune is often associated with
"The Silver Spear," which it resembles, especially in the ‘B’ part.
It is currently popular in County Clare. See also the related “Five Mile Chase [2],” by Donegal
fiddler John Doherty. "Written from memory,” says P.W. Joyce, who
collected in the mid-1800’s. This is the same period that Church of Ireland
cleric James Goodman (1828-1896), of Cork, collected in, and he included the
melody twice in his collection, albeit under the titles “The Top of the Cliff
and “The Silver Top.” Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na
Piobairi Uilleann, October, 1984 [Moylan]. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 6.
Joyce (Old Irish Folk Music and Songs),
1909; No. 61, pgs. 33‑34. Moylan (Johnny
O’Leary), 1994; No. 152, pg. 88. Globestyle Irish
CDORBD 085, Denis Murphy & Julia Clifford - “The Rushy Mountain” (1994.
Reissue of Topic recordings). Tara 2002, Christy Moore ‑ "The Iron
Behind the Velvet" (1978. Learned by concertina player Noel Hill from the
playing of his mother, concertinist Margaret Hill of Lissycasey, Co. Clare).
X:1
T:New Mown Meadows, The
M:C
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D Dorian
A2D2 EDEG|AcBG AE E2|A2D2 EDEF|G2 AG
EG G2|A2D2 EDEG|
AcBG AE E2|c2 cA B2BA|G2 AG EG
G2||Bd d2 eddB|AcBG AE E2|
Bd d2 eddB|G2 AG EG G2|BddB
ecdB|AcBG AE E2|c2 cA B2 BA|
G2 AG EG G2||
X:2
T:New Mown Meadow, The
R:reel
H:Also played in Edor (#470), and rarely in Ddor (#739)
D:Noel Hill agus Tony McMahon: \'I gCnoc na Gra\'i
Z:id:hn-reel-500
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Ador
“Am”eAAG A2 (3Bcd|egfd edBd|eA~A2 BGBd|d2ed BABd|
eAAG A2 (3Bcd|egfd edBd|g2ge ~f3e|1 dfed BABd:|2 dfed Bdfg||
|:”D”a2fa bafa|~a2fd edBd|a2fa bafe|dfed BdA2|
a2fa bafa|~a2fd edBd|g2ge ~f3e|1 dfed Bdfg:|2 dfed BABd||
X:3
T:New Mown Meadow, The
R:reel
H:Also played in Ador (#500), and rarely in Ddor, #739
D:Noel Hill agus Tony McMahon: \'I gCnoc na Gra\'i
Z:id:hn-reel-470
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Edor
BEED E2FA|BdcA BAFA|BE~E2 FDFA|A2BA FEFA|
BEED E2FA|BdcA BAFA|d2dB c2cB|1 AcBA FEFA:|2 AcBA FAcd||
e2ce fece|e2cA BAFA|e2ce fecB|AcBA FAE2|
e2ce fece|e2cA BAFA|d2dB c2cB|1 AcBA FAcd:|2 AcBA FEFA||
NEW, NEW EXCHANGE. AKA and see "Adson's
Saraband, New,” "Royal Exchange."
NEW, NEW NOTHING. English, Country Dance Tune. Published in John Playford in his English
Dancing Master (1651). Raven (English
Country Dance Tunes), 1984; pg. 47.
NEW OPERA DANCE. AKA ‑ "Mrs. Loch's
Favorite." Scottish, Jig. E Flat Major. Standard tuning. AABA. Gow
gives the alternate title “Mrs. Loch’s Favorite.” Carlin (Gow Collection), 1986; No. 365. Gow (Fourth Collection of Niel
Gow’s Reels), 2nd ed., originally 1800; pg. 22.
X:1
T:New Opera Dance, The
M:6/8
L:1/8
R:Jig
N:Played AABA
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:Eb
”tr”F2G (EB,)E|”tr”F2G E2:||g2e
(BG).B|~(c2e) G3|~A>Bc E2E|~F2G B,3|
g2e (BG).B|(c2e) G2B|~A>Bc
f2g|(agf edc)||
NEW ORLEANS. Old-Time, Breakdown. USA, West Virginia. A Mixolydian. Standard tuning.
AB. A crooked tune from West Virginia fiddler Melvin Wine. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 107.
NEW ORLEANS (LANCASHIRE) CLOG. American, Clog. B Flat Major.
Standard tuning. AABB. Cole (1000 Fiddle
Tunes), 1940; pg. 118. Ryan’s Mammoth
Collection, 1883; pg. 157.
X:1
T:New Orleans
M:C
L:1/8
R:(Lancashire) Clog
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:Bb
(D>.F)d2 (D>.F)d2 | D>F
d>c B>G F2 | D>F d2 D>F d2 | c>d c>=B c>A f2 |
D>F d2 D>Fd2 | D>F d>c
B>G F2 | D>Fd2 D>Fd2 | c>=B c>d B4 :|
|: (3cdc =B>.c (d>.c)(B>.c)
| f>cA>d c>A F2 | G>^FG>A B>GE>G | F>EF>G A>F C2
|
(3cdc =B>c d>cB>c |
f>cA>d c>A F2 | G>^FG>A B>GE>G |1 F>CA,>C
F>GA>B :|2 F2z2 [C4_E4]||
NEW PAIR OF SHOES, THE (Na Brogaide Nuada). Irish, Double Jig. G Major.
Standard tuning. AABB (O'Neill/1850): AABB' (O'Neill/Krassen). Source for
notated version: O’Reilly [O’Neill]. O'Neill (Krassen), 1976; pg. 29. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 824, pg. 153.
X:1
T:New Pair of Shoes, The
M:6/8
L:1/8
S:O’Neill – Music of Ireland
(1903), No. 824
Z:AK/Fiddler’s Companion
K:G
d/c/ | BGG dGG | BAG G2 g/f/ | efg
dBG | FAA A2 d/c/ | BGG dGG |
BGG g2 g/f/ | efg dBG | FAF G2 :: d
| gfg afd | gfe dBd | efg dBG |
FAA A2d | gfg afd | gfe dgf | ecA
dBG | FAF G2 :|
NEW PARK. Irish, Jig. G Major. Standard tuning. AABBCC. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 133, pg. 32. O’Farrell (Pocket Companion for the Union Pipes, vol. IV), c. 1810; pg. 116.
X:1
T:New Park
M:6/8
L:1/8
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:G
B/A/ | GDG G2c | BGB cAF | GDG G2B | dBd gab | GDG G2c | BGB BAG |
def g2e | edc BAG :: g2e (g/a/)ge | (g/a/)ge dcB | g2e (g/a/)ge | (aga) bge |
g2e (g/a/)ge | (g/a/)ge dcB | def g2e | edc BAG :: GBG GdG | GBG cAF |
GBG
GdG | AGA B3 | GBG GdG | GBG BAG | (def) g2e | edc (BAG) :|
NEW PAVEMENT, THE.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London,
1773). London streets were repaved with granite in the 1760’s and early 1770’s,
with new features such as two gutters on either side of the road rather than a
central trough in the middle. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 77.
X:1
T:New Pavement, The
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:G
d|GBG
GBG|d3 B3|AcA AcA|e3 g3|GBG GBG|d3 B3|dBd cAF|(G3 G2):|
|:d|dBd dBd|efg gfe|ded dcB|(A3 A2)d|GBG GBG|d3 B2e|d2c BcA|(G3 G2):||
NEW POLICEMAN [1]. AKA and see "The Barrow
Castle," "Belles of
Tipperary [2]," "The
Blea‑berry Blossom," “Braes of Auchtertyre [1],”
"Connacht Lasses,"
"The Connacht Star,"
"The Dandy Girl/Lass/Lasses,"
"The Four Courts of Dublin,"
"Green Fields to America,"
"Lamont's Reel,” "Jackson's Welcome to Cork [1],"
"Johnny Shooting in
the Glen," “Kerry Star,” “Mel Roddy’s Tune” (northeast Kings
County, PEI), “Miss
Mona(g)han('s Reel),” "O'Connell
in Clare," “Shannon’s Shores,”
"Stormy Weather," "The White‑haired Piper.” Irish,
Reel. D Major. Standard tuning. AABB. The tune “Master McDermott’s” has some
similarities (see version #4). Source for notated version: flute player Séamus
Tansey [Miller & Perron]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 27. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 3, No. 20. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 94. Taylor (Crossroads Dance), 1992; No. 5, pg. 6. Vallely (Armagh Piper’s Club Play 50 Reels), 1982; No. 40, pg. 19. Outlet OLP 1007,
Séamus Tansey – “Best of Séamus Tansey” (1971). Shaskeen - "The Joys of
Life."
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:New Policeman, The [1]
M:C|
L:1/8
R:Reel
K:D
D2 FA D2FA | defe dBBA | B2 AF
ABde | f2 ed f~e3 | d~A3 DEFA |
d2 fe dBBA | B2AF ABdB | AFEG FD
D2 :: faaf afdf | gfed cdef |
g2 gf gbba | faaf e3f | d~B3 A~F3
| D~F3 ABdf | afef dBAF | A2 ag fd d2 :|
NEW POLICEMAN'S [2]. AKA and see “The Flannel Jacket,”
“Hibernia’s Pride,” “The Peeler’s Jacket [2].” Irish,
Reel. G Major. Standard tuning. AABB. Does not appear to be similar to version
#1. Cole (1000 Fiddle Tunes), 1940;
pg. 32. Ryan’s Mammoth Collection,
1883; pg. 58.
X:1
T:New Policeman’s [2]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D2 |: G2 (BG) F2 (AG) | FGAB c2 (Bc)
| .d(fge) d2 (eg) | fdcA BGAF | G2 (BG) F2 (AG) |
FGAB c2 (Bc) | dgge d2 (de) fdcA BG
G2 :: {a}gfge d2 (ef) | {a}gfga bgaf | (3.g.g.g (ge)d2 (de) |
fdcA (BG) G2 | {a}gfge d2 (ef) |
{a}gfga bgaf | {a}gfge d2 (de) | fdcA BG G2 :|
NEW POLICEMAN [3], THE ("An Garda Nua" or "An Siotmaor
Nuad").
AKA and see “Boil the Kettle
Early [3],” “The Cloontia Reel,” “The Far Field,” "Lady Cork's Reel," “Michael Dwyer’s Favourite,” “Nancy in the Hobble,” "Paddy Bolster's Reel," "The Twin Brothers [1]," "The Tinker's Stick." Irish, Reel. G
Major. Standard tuning. AB (Breathnach, Cranitch): AAB (O'Neill). Sources for
notated versions: flute player John Keegan/Seán Mac Aodhgain (Ireland)
[Breathnach]; Francis O'Neill learned the tune from a young Limerick man named
James Moore in Chicago during the winter of
1875. Moore, a flute player without an instrument, lived in a cold
boarding-house across the street from O'Neill and often availed himself of O'Neill's hospitality, ensconcing himself on
a "cozy seat on the woodbox back of our kitchen stove" while
borrowing O'Neill's flute to play on. Moore, complained a frustrated O'Neill,
often did not remember the names of the tunes he played ("a very common
failing") and was lost track of when he moved to New York in the spring
[O'Neill, Irish Folk Music]. The
title is perhaps O'Neill's, or named by Moore for O'Neill, who had joined the
Chicago police force in 1873 (Breathnach took his name for the tune from
O’Neill). Edward Cronin, a Tipperary fiddler, was the only other man O'Neill
heard to play a variant of the melody. The alternate title “Lady Cork’s Reel”
is from the Goodman Manuscripts at
the Library of Trinity College, Dublin, while Peter Kennedy prints the variant
“Nancy in the Hobble.” “Ambrose
Moloney’s” is a related reel. Breathnach (CRÉ I), 1963; No. 99, pg. 42. Cranitch (Irish Fiddle Book), 1996; No. 78, pg. 155. O'Neill (Dance Music
of Ireland: 1001 Gems),
1907/1986; No. 511, pg. 96. O’Neill (Music
of Ireland), 1903; No. 1367.
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:New Policeman, The [3]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
511
Z:AK/Fiddler’s Companion
K:G
(3GAB | c2 BG AGEG | DGBG AGEG |
BcAB G2 Bc | dBAc BG G2 :|
|| g2 gf g2 dg | egdg egde | g2 gf g2
d2 | ea{b}ag ea{b}a2 | dggf g2 dg |
egdg egde | g2 ge a2 ag | b2 ba gfed
||
NEW POLICEMAN [4], THE. AKA and see “Master McDermott’s Reel,” “McDermott’s Reel [1].” Irish, Reel.
Tommy Peoples’ title for the tune on his album “A Traditional Experience with
Tommy Peoples” (SOLO 7012).
NEW POST OFFICE, THE (Oifig Nua an Phoist). AKA and see “The Humours of Scartaglen,” “The Gleanntán Reel [4],” “Tom Billy’s Reel [2]." Irish,
Reel. D Mixolydian. Standard tuning. AB (Treoir): ABC (Breathnach). Editor
Jackie Small (CRÉ V) says the tune is
heard in two versions: in two and three parts. Kerry fiddler Denis Murphy
recorded both two and three part versions. Source for notated version: a radio
broadcast recording from Kerry fiddler Denis Murphy [Breathnach]. Breathnach (CRÉ V), 1999; No. 146, pg. 73. RTÉ CD 183, “Denis Murphy—Music from Sliabh Luachra” (three
part version). Shanachie 34002, Denis Murphy & Julia Clifford – “The Star
Above the Garter” (two-part version—appears as “Tom Billy’s”).
X: 1
T: New Post Office
S: Treoir
M: 4/4
L: 1/8
Q: 350
Z: Transcribed by Bill Black
R: reel
K:Dmix
DFEF D2 dB | cAGD EFGE | DFEF D2 dB | cAGE AD D2
|
DFEF D2 dB | cAGF EFGB | Bdd^c dfed | cAGE ED D2
||
f2 fe fage | fdge afde | f2 fe fage | fgec Adde
|
f2
fe fage | fdge afge | fage dfed | dcAG EFGE ||
NEW POTATOES, THE (Na Potataoi Nuad). AKA and see “Autumn Leaves,” "Ginley's Fancy," "Handsome Sally [1]," “The Man of the House,” “The Merry Thatcher,” “Miss Kelly’s Favourite,”
"Old Tom,” “Paddy Carthy’s Reel [2],” "Sally Grant," “Through the Heather." Irish,
Reel. E Minor. Standard tuning. Source for notated version: O’Reilly [O’Neill].
AAB (O'Neill/1850: AABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 152.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1505.
X:1
T:New Potatoes, The
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No.1505
Z:AK/Fiddler’s Companion
K:Emin
(EB)(BA) FAFA | (EB)(BA) FD E2 |
(EB)(BA) FAFA | (BA)(dA) FD E2 :|
|| (Be)(eg) fded | (Be)(eg) fd d2 |
(Be)(eg) fded | BAdA FD E2 |
(Be)(eg) fded | Beeg fd d2 | bgaf
gfed | BAdA FDDF ||
NEW PRINCESS ROYAL. See note for “Princess Royal
[1]."
NEW QUEEN OF HEARTS. English, Jig. A Major. Standard
tuning. AAB. The melody is contained in the Joseph Kershaw manuscript. Kershaw
was a fiddler who lived in Slackcote, Saddleworth, North West England, in the
19th century, and his manuscript dates from around 1820 onwards. The
title references obliquely the jig “Queen of
Hearts” and perhaps indicates a popularity that demanded a sequal. The
Joseph Kershaw Manuscript, 1993; No. 14.
NEW REEL [1], THE. AKA and see "Geatley's," "The Humours of Ballagh,"
"The Mountain Lark [1],"
“Piper’s Choice,” "Thornberry's," "Thresh the Feathers," "Toss the Feathers [1]."
NEW REEL [2], THE. Irish, Reel. A Minor. Standard tuning. AABB.
Source for notated version: “From a manuscript in Mike Reynolds’ collection”
[Black]. Black (Music’s the Very Best
Thing), 1996; No. 108, pg. 56.
X:1
T: New Reel
S: Mike Reynolds
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
ag |: e2 AB cded | d2 BG dGBd | e2 AB cdea | gedB cAag |
e2 AB cdec | d2 BG dGBd | e2 AB cdea | gedB cA A2 :|
a2 ea aged | (3Bcd ef g2 fg | a2 ea agab | gedB BA A2 |
a2
ea aged | (3Bcd ef g2 fg | afge fdef | gedB BA A2 :|
NEW RIGGED SHIP [1], THE. AKA and see "Chapel Hill Serenade" (old‑time),
“Coleman Killed His Wife,”
"Miss/Mrs.
Finlay's/Findley's Delight," “Old
Hickory,” "Over the
River to Charley's" (old‑time), "Piper's Fancy [1]," "The Raw Recruit." Scottish, English,
New England; Jig and Country Dance. England; Shropshire, Dorset. D Major (most
versions): C Major (Emmerson, Gow, Hunter, Skye): G Major (Ashman). Standard
tuning. AAB (Emmerson, Gow, Hunter, Skye): AA'B (Kerr): AABB (most versions):
AABBA'B' (Karpeles). It has been suggested that the ancient tune "John come kiss me now"
survives in the second part of "New Rigg'd Ship," although when
Emmerson (1971) compared both melodies he thought them dissimilar enough to
amend that "New Rigg'd Ship" was perhaps only a set of the older
tune, and closer in spirit and tone then actuality.
***
The English novelist Thomas Hardy (Return of the Native, The Mayor of
Casterbridge) grew up in a musical family and was an accomplished dance
fiddler and accordion player from early youth. He was influenced by his father
(himself a locally famous dance fiddler), an uncle and a cello-playing
grandfather, all of whom played for a church band in addition to more secular
amusements. Young Thomas played with his father at village dances and, at the
age of twelve, was reported to have played “The New Rigged Ship,” a favorite
dance, for nearly three quarters of an hour before his hostess stopped him for
fear he might burst a blood vessel (Allison Thompson, Dancing Through Time, pgs. 182-183). “New Rigged Ship” also appears
in the manuscript collection of Northamptonshire poet and fiddler John Clare.
The tune was recorded by the English traditional “revival” band Oak (Rod and
Danny Stradling, Tony Engle, Peta Webb) in the early 1970’s, at the beginning
of the resurgance of interest in English traditional dance music played for
English dances.
***
An older American version is
contained in Ann
Winnington’s music manuscript book, c. 1810 (No. 28, set in the key of
‘C’). The inscription inside the front cover of her book indicates she lived in
New York. However, “New Rigged Ship” has been more popular in the
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:New-Rigged Ship (jig), The [1]
T:Miss Finlay's Delight
R:Jig
O:Shetland
O:
M:6/8
L:1/8
K:D
A|\
d2d def|d2d def|ecA ABA|ecA ABc|\
d2d def|d2d def|ecA ABc|d3 d2:: f|\
a2f a2f|d2d dfa|b2g b2g|e2e efg|\
a2f a2f|d2d ecA|Bcd ecA|d3 d2:|
X:2
T:New Rigged Ship [1]
L:1/8
M:6/8
K:D
ded d2f|ded d2f|ecA Acd|ecA ABc|ded d2f|ded d2f|ecA ABc|d3 d3:|
|:a2f a2f|ded dga|b2g b2g|efe efg|a2f a2f|ded g3|ecA ABc|d3 d3:|
X:3
T:New Rigged Ship, The [1]
M:6/8
L:1/8
S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th S:century)
Z:AK/Fiddler’s Companion
K:C
G | c2c c2e | c2c c2e | dBG G2B | dBG GAB | c2c c2e | c2c dBG | ABc dBG | c3 c3 :|
|: e/f/ | g2e g2e | c2c ceg | a2f a2f | d2d def | g2e g2e | c2c dBG | ABc dBG | c3 c2 e/f/ |
gfe
gfe | c>dc ceg | agf agf | d>ed def | gfe gfe | cec dBG | ABc dBG | cGE
C2 ||
NEW RIGGED SHIP [2], DA. AKA ‑ "The New Riggit Ship," “Full Rigged Ship (1) (Da).”
Shetland, Shetland Reel. Shetland, (Island of) Walls. A Dorian/Mixolydian.
Standard tuning (fiddle). One part (Anderson): ABB’ (Martin & Hughes).
"A traditional reel from the playing of the late Peter Fraser of
Finnigarth, Waas. The tune celebrates the rigging out with new sails and mast
of a fishing boat, which the owner proudly calls a ship" (Anderson, 1983).
Scots fiddlers generally play the tune in a medley with “Full Rigged Ship [1].” Anderson (Ringing Strings), 1983; p. 59. Martin
& Hughes (Ho-ro-gheallaidh),
1990; p. 30. Green Linnett SIF 1117, Altan - “Harvest
Storm” (appears after the song “Donal agus Morag”). Dervish - “The Boys of
Sligo.” Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music"
(1977). Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk
Fiddling, Vol. 2" (1978).
X:1
T:Da New Rigged Ship
C:Traditional Shetland
M:4/4
L:1/8
R:reel
K:AMix
eg |: a2 ab ageg | a2 ab ageg |g2 gg
fgag |1 f2d2 d2 eg :|2 f2d2 d2 ed ||
|: cAcA B2 ed | cAcA E2 ed | cAcA B2
ed |1 c2 A2 A2 ed :|2 c2 A2 A2 AB ||
|: =cdec BcdB | ABAF GFE2 | =cdec
BcdB |1 =c2 A2 A2 AB :|2 =c2A2 A4||
NEW RIGGED SHIP [3], DA. Shetland, Jig. A Dorian. Standard tuning (fiddle). AABB. Bain (50 Fiddle Solos), 1989; p. 32.
X:1
T:Da New Rigged Ship
C:Trad. Shetland
S:Aly Bain
M:6/8
L:1/8
K:Am
|| e2a aea | aea b2 a | e2 f g2 g |
gag f2 d |
e2 a aea | aea b2 a | g2 e edB | A3
A3:|
|| efe edB | A2 B c3 | B2 G B2 G |
Bcd E3 |
efe edB | A2 B c2 d | efe dBG | A3
A3:|
NEW RING ON MY HORN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
NEW RIVER TRAIN. Old‑Time,
Breakdown & Song. USA; Western N.C., Southwestern Va. D Major. The melody
has been described as a "Blue Ridge Mountain standard" and has been
recorded numerous times since the first recorded version by guitarist Henry
Whitter in 1924. Subsequent recordings were by Kelly Harrell in 1925 (backed by
a ‘string band’ made up of New York City studio musicians, notes Kerry Blech),
Sid Harkreader a bit later in 1925 (playing guitar to accompany his vocal,
rather than playing his fiddle), and several different recordings by Vernon
Dalhart. Blech goes on to identify Ernest Stoneman’s recording with the Sweet
Brothers on July 9th, 1928 (who was inspired by Whitter to record)
and two more versions by Harrell, in 1925 and 1926. A recorded oddity was the
1927 version of the song in the key of ‘G’ by the South Georgia Highballers
(released as “Green River Train”), who used a musical saw as
accompaniment. Nearly all early
versions were set in the key of ‘D’, although it is ocassionaly heard in ‘G’. Bear Family Records, The Monroe Brothers (a reissue of the
original 1936 recording). County 778, Tommy Jarrell ‑ "Pickin' on
Tommy's Porch" (1984. Learned from the playing of his father, fiddler Ben
Jarrell). Front Hall FHR‑037, Mark Graham ‑ "Natural
Selections" (1987). Rounder CD 0383, Mike Seegar and Paul Brown - “Down in
North Carolina.” Vanguard CD, Doc
Watson, Fred Price & Clint Howard.
NEW ROAD, THE (“An Botar Nuad” or “An Bóthar Nua”). AKA and see “The
New Line.” Irish, Reel. D Mixolydian. Standard tuning. AB (O’Neill): ABC
(Breathnach). The ‘B’ part is nearly the same as “Corney is Coming.” Galway fiddler
Paddy Fahy has been credited with reworking this tune, says fiddler Frankie
Gavin, and indeed, Paul de Grae points out the tune was recorded by the Raymond
Roland Quartet as “Fahy’s Reel.” De Grae finds a variant of the tune in Ryan’s Mammoth Collection (1883) under
the title “The New Line.” Sources for notated versions: Seán Reid manuscript
(County Clare) [Breathnach]; Chicago Police Sergeant James O’Neill, a fiddler
originally from County Down [O’Neill]. Breathnach (CRÉ IV), 1996; No. 113, pg. 58. O'Neill (Krassen), 1976; pg. 105.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1250, pg. 235. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 523, pg. 98. Ember 3361, The Raymond Roland Quartet – “Saturday Night at
the Céilíi” (London, 1965. Appears as “Fahy’s Reel”). Green Linnett GLCD 1087,
Seamus Connolly - "Notes From My Mind" (1988). Tara CD4011, Frankie
Gavin – “Fierce Traditional” (2001).
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 523
Z:AK/Fiddler’s Companion
K:D
DFED dfed | cAGF EFGE | DFED dfed |
cAGE AFGE|DFED dfed | cAGF Ec c2 |
DFED dfed | cAGE FD D2 || defg afdB |
cdef gecA | defg agfa | gecd eddf | afdf afdf |
gece gfge |defg agfa | gecd ed d2 ||
fefg fagf | eAce g2 ag | fede fage | fdec Adde |
fede fagf | eAce g2 fg | afge dfed |
cAGE FD D2 ||
NEW ROAD TO ALSTON. English, Country Dance Tune (4/4 time). England, Northumberland. A
Minor. Standard tuning. AABB. Kidson noted that Alston, at the time of his
writing, was a “wild and remote district of Cumberland.” The melody is from a
Northumbrian piper’s MS of about 1816. Knowles thinks the tune has “more of a
French feel to it.” Malcolm Douglas identifies it as a relative of “Davy Davy
Nick Nack.” Source for notated version: A Kidson MS [Knowles]. Kidson (Old English Country Dances), 1890; pg.
22. Knowles (A Northern Lass), 1995;
pg. 5. BLOWZABELLA1, Blowzabella – “Octomento” (2007).
X:1
T:The New Road to Alston
B:South Riding Tunebook I: Paul Davenport/South Riding Folk Network, 1996.
S:Frank Kidson MSS
N:An unusual form of Davy Davy Nick Nack
L:1/8
Q:1/4=120
M:4/4
K:C
A2 B2 c2 c2|A2 B2 c2 c2|edcB A2 A2|edcB A2 A2|
A2 B2 c2 c2|A2 B2 c2 c2|e2 f2 edcB|A2 A2 A4:|
e2 e2 c2 c2|a2 a2 e4|edcB A2 A2|edcB A2 A2|
e2 e2 c2 c2|a2 a2 e4|e2 f2 edcB|A2 A2 A4:|]
NEW ROAD TO BERWICK, THE. AKA and see "Barwick Billy.” In this version, from
Henry Atkinson's 1694 MS., the harmonic outline is reversed in relation to the
other versions, i.e. the basic progression is I,II,I,I, rather than
I,I,I,II" (Seattle). It is an early version of “Go to Berwick, Johnny.”
NEW ROAD TO BRECHIN
CASTLE, THE. Scottish, Reel. A Minor. Standard
tuning. AB. Composed by Niel Gow, Jr. (c. 1795-1823), the son of Nathaniel Gow
and the grandson of family scion Niel Gow. While it looks like a jig on paper,
Gow directed it be played ‘Slowly’. The younger Niel briefly joined his
father’s music publishing firm, and was showing great promise as a talented
performer and composer before his untimely death. His father collected and
published his son’s compositions in a Collection
of Slow Airs, Strathspeys and Reels, being the Posthumous Compositions of the
late Niel Gow, Junior, dedicated to the Right Honourable, the Earl of
Dalhousie, by his much obliged servant, Nathaniel Gow (Edinburgh, 1849). Brechin Castle,
Angus, Scotland, is the seat of the Earl of Dalhousie. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 10.
X:1
T:New Road to Brechin Castle, The
M:C|
L:1/8
R:Reel
C:Niel Gow Jr.
S:Niel Gow Jr. – Collection
of Slow Airs, Strathspeys and Reels, etc.
(1849)
K:A Minor
e|a2 b^g aefd|eBcA ^GBEG|Acea
fdBd|ce^GB AA,A,e|a2 b^g aefd|
eBcA ^GBEG|Acea fdBd|ce^GB
AA,A,||B|c2 (e/d/)c gedc|BGBd gdB^G|
AcBd cedf|eA^Ge cAAB|c2 (e/d/c)
gedc|BGBd gdB^G|AcBd cedf|eA^Ge cAA||
NEW ROUNDABOUT, THE. AKA and see “Hennessy’s Polka.” Irish, Polka.
Ireland, West Kerry. G Major. Standard tuning. AABB. A modern composition by
Cork musician Dave Hennessy. Cranitch (Irish
Fiddle Book), 1996; No. 39, pg. 140. Cranitch (Irish Session Tunes: Red Book), 2000; 39. Mac Amhlaoibh &
Durham (An Pota Stóir: Ceol Seite Corca
Duibne/The Set Dance Music of West Kerry), No. 22, pg. 21. Any Old Time - “Phoenix.”
NEW ROYAL EXCHANGE, THE. English, Air (4/4 time). G Minor. Standard
tuning. ABC. The air appears in Playford's Dancing
Master (1665). Chappell (Popular
Music of the Olden Time), vol. 2, 1859; pg. 8.
NEW SAILOR'S HORNPIPE, THE. AKA and see "Morpeth Rant [1]."
English, Hornpipe. England, Shropshire. B Flat Major. Standard tuning. AABB.
Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore
[Ashman]. Ashman (The Ironbridge Hornpipe),
1991; No. 83a, pg. 33.
NEW SCHOOL, THE (An Scoil Nuad). Irish, March (6/8 time). G Major. Standard
tuning. AABB'. Source for notated version: 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), 1903/1979; No. 1826, pg. 343.
X:1
T:New School, The
M:6/8
L:1/8
R:March
S:O’Neill – Music of Ireland
(1903), No. 1826
Z:AK/Fiddler’s Companion
K:G
B2B B>AB | d2B B>AB | c2e g2e
| d2B B>AB | c2A A>GA |
B2G G>FG | E2e d2c | B2G G2z :: d2c
Bcd | e2f g2a | b2a gfe |
d2B Bcd | e2e ecA | d2d dBG | c2A
B2G |1 F2A D2z :|2 F2G Adc ||
NEW SCOTCH MEASURE, A.Scottish. The tune appears in Henry Playford's 1700 collection of Scottish
airs. The manuscript contains the first mention in print of the term 'Scotch
Measure'.
NEW SCOTLAND. Canadian, Schottische. A Major. Standard tuning. AABB. Composed by
Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who
carved out a career for himself as a radio fiddler. GRT
Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 213,
“Ward Allen Presents Maple Leaf Hoedown, Vol. 3.”
X:1
T:New
Scotland Schottische
C:Ward Allen
R:Schottische
L:1/8
M:4/4
Z:Transcribed
by Bruce Osborne
K:A
a3/2f | e2ed
c/e/e (3efg | a2e2 e<fe>c | d2d2 defg | a<eA>c e2a>f |
e2ed c<e
(3efg | a<eA>c e2ef | =gedB =GBdB | cdef e2 :|
|: c>d |
e/a/a3 a3g | a2e2 e/a/ae>c | c3e g2 (3efg | a2af edcd |
e/a/a3 a3g |
a2Ac e2ef | =gedB =GBdB | cdef e2cd |
e/a/a3 a3g |
a2e2 e/a/ae>c | d3e g2 (3efg | a2af edcd |
e/a/a3 a3g | a2Ac e2ef | =gedB
=GBdB | cdef e2 :|
NEW SHADY GROVE. Old-Time, Breakdown. A Major. Standard tuning.
AB. Source for notated version: Greg Canote (Seattle) [Silberberg]. Silberberg
(Tunes I Learned at Tractor Tavern), 2002; pg. 107.
NEW SHIELDS LASSES. English, Jig. England, Northumberland. D Major. Standard tuning. AABB.
Seattle (William Vickers), 1770/1987,
Part 3; No. 578.
NEW SHIELDS LADS. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
NEW SHILLING. Scottish (?). Shanachie 79016, Silly Wizard –
“So Many Partings.”
NEW SHIPS A SAILING. Irish, Reel. Green Linnet GLCD 1117, Altan -
"Harvest Storm" (1992. Learned from a tape of the playing of fiddler
Mick Hoy and the late flute player Eddie Duffy, of Derrygonnelly, Co.
Fermanagh).
NEW STEAMBOAT, THE. AKA
and see “The Ivy Leaf [2],” “Mind My Brother,” “The New Ivy Leaf,” “The New
Steampacket.” Irish, Reel. County Sligo flute player and fiddler Peter
Horan always knew this tune by the title “New Steamboat” It is widely known in
Ireland as “The Ivy Leaf.” Cló Iar-Chonnachta CICD
167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007).
Coleman Center CD CC004, Gregory Daly & Ted McGowan – “The Mountain Road: A
Compilation of tunes popular in South Sligo” (1999. Various artists).
NEW STEAMPACKET, THE. AKA
and see “The Ivy Leaf [2],” “Mind My Brother,” “The New Ivy Leaf,” “New
Steamboat.”
NEW TATTER JACK. American, Jig. B Minor. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 20.
NEW TENPENNY, THE. AKA and see "The Tenpenny Bit [2]," "The Ducks and the Oats," "Are You Shot?" Irish, Jig. G
Major/Mixolydian. Standard tuning. AB. Source for notated version: “From P.
Carew’s MS. [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 347, pg. 88.
X:1
T:New Tenpenny, The
M:6/8
L:1/8
R:Jig
B:Stanford/Petrie, No. 347 (1905)
Z:AK/Fiddler’s Companion
K:G
B/c/|dGG FGA|Adc ABc|dGG
FGA|A/B/c/d/e/f/ gfe|dGG FGA|
Adc ABc|dgf/g/ dcA|{G/B/}AGG
G2||B/c/|d2e =fef|dgg edc|d2e =fef|
dgg g>fg|af/g/a/f/
ge/f/g/e/|fd/e/f/d/ cde|dgf/g/ dcA|{G/B/}AGG G2||
NEW TOBACCO. AKA and see “The Steampacket.” Popcorn Behavior – “Journeywork” (1997).
NEW TOWN BRIDGE. AKA and see “The Bellharbour
[2],” Mulhaire’s Reel,” “The Rough Road,” “The Sailor’s Farewell.” Irish,
Reel. The reel is often attributed to Paddy O’Brien, who did compose a jig
called “Newtown Bridge,” however, it is a composition of Irish musician Chris
Droney, of Bellharbour, Co. Clare, who called it “The Bellharbour Reel.”
According to Don Meade, the confusion stems from the first recording by the
group Trian (Billy McComiskey, Liz Carroll, Daithi Sproule) in which it was
miss-labled and miss-attributed to O’Brien. Breathnach (CRÉ II), 1976; No. 146. Breathnach (CRÉ III), 1986; No. 183. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 76.
NEW TOWN OF EDINBURGH [1]. Scottish. John Glen (1891) finds
the earliest version of the tune in print in Robert Bremner's 1768 2nd collection
(pg. 97).
NEW TOWN OF EDINBURGH [2]. Scottish, Reel. E Major. Standard tuning.
AABB. A modern composition by Iain MacPhail.
X:1
T:The New Town of
C:Iain MacPhail
S:Radio Scotland, Dec 1991
N:As played by the Iain MacPhail
Band
M:4/4
L:1/8
Z:Nigel Gatherer
K:E
z2|e2 de ceBA|GABA GEBd|e2 de
ceBe|AeGe F3 B|
e2 de ceBA|GABA GBGE|CEAc dBcd|eEED
E2:|]
B2|G2 =G^G FGEF|GEGB AGFE|A2
=GAF^G|AGAB cBce|
G2 =G^G FGEF|GEGB AGFE|CEAc
dBcd|eEED E2:|]
NEW TRIP TO THE FERRY.
English? Irish?, Jig. G Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 137, pg. 33.
NEW TWELFTH NIGHT. AKA and see “India(n) Queen [2].”
English. England; Northumberland,Yorkshire. One of the "missing
tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. The
tune does appear in an anonymous late 18th century manuscript from
Yorkshire (VWMLa).
NEW TYNE BRIDGE, THE.
Scottish, Jig. A Dorian. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 81, pg. 59.
NEW WATER KETTLE, THE. Scottish, Jig. F Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisher and bandleader. The third son of the famous Scottish fiddler-composer Niel Gow. “Dedicated to A. Ballentine Esq., Kelso” (Gow, 1817). Gow (Complete Repository), Part 4, 1817; pg. 22.
X:1
T:New Water Kettle, The
M:6/8
L:1/8
R:Jig
S:Gow – 4th Repository
Z:AK/Fiddler’s Companion
K:F
cAF F3{EF}|F3 {EF}F3 {EF}|cAF
F3{EF}|GAF EDC|cAF F3 {EF}|F3 {EF}cBA|
def cBA|GAF EDC:|
cBA f2c|f2c f2d|cBA f2A|GAF EDC|cBA
f2c|fed cBA|dcB AGF|EGF EDC|
cBA f2c|f2c f2d|cBA fcA|GAF EDC|cBA
agf|edc fed|cBA dcB|AGF EDC||
NEW WATERFORD.
Canadian, Jig. Canada, Cape Breton. Composed by fiddler and prolific
composer Dan R. MacDonald. New Waterford is a town on Cape Breton. Rounder Records , John L. MacDonald – “Formerly of Foot Cape
Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).
NEW WAY, THE. AKA and see "The Punk's Delight."
NEW WAY OF CARDING AND
SPINNING, A. English, Slip Jig. England,
Northumberland. G Mixolydian. Standard tuning. AAB. Seattle (William Vickers), 1770/1987, Part 2; No.
250.
NEW WAY OF GETTING
BAIRNS, THE. AKA – “A New Way of Making Bairns.”
English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABB.
Seattle (William Vickers), 1770/1987,
Part 2; No. 251. EFDSS CD13, Our Northern Branch –
“Hardcore English” (2007. Various artists).
NEW WAY OF GETTING TO
WALLINGTON, THE. English. England, Northumberland.
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
NEW WAY OF GIL DON. AKA and see "General
Stuart's Reel." Scottish. The dance instructions for the tune, but not
the music, appear in the Menzies
Manuscript, 1749, contained in the Atholl Collection of the Sandeman
Library, Perth.
NEW WAY OF WOOING [1], THE. AKA and see “Cocks Louns walie hoyn.”
Scottish, English, American; Country Dance Tune (2/4 time). England,
Northumberland; USA, Massachusetts. D Major. Standard tuning. AB. The melody
sounds Scottish. Some of the earlier printings of the tune can be found in
Wright's Collection of c. 1742 (pg.
9) and Walsh’s Caledonian Country Dances,
and it is one of the "missing tunes" from William Vickers' 1770
manuscript of dance melodies popular in Northumberland. In America, it appears
in Whittier Perkins' violin copybook MS (Massachusetts, 1790) which is
reproduced in facsimile on p. 39 of Music
in Colonial Massachusetts, I, 1980.
NEW WAY OF WOOING [2]. Oswald, Caledonian Pocket
Companion.
NEW WAY TO RUMBEHIL. English. England, Northumberland. One of the "missing tunes"
of William Vickers' 1770 Northumbrian dance tune manuscript.
NEW WEDDING REEL. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 25. Ryan’s Mammoth Collection, 1883; pg. 51.
X:1
T:New Wedding Reel
M:2/4
L:1/8
R:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
c|B/G/A/F/ B/G/A/F/|.G(B/d/)
g/e/d/c/|B/G/A/F/ B/G/A/F/|F/D/E/F/ Gc|
B/G/A/F/ B/G/A/F/|.G(B/d/)
g/e/d/c/|B/G/A/F/ B/G/A/F/|F/D/E/F/ GG:|
|:g/f/g/e/ f/g/a/f/|.g(b/g/)
a/f/d/f/|g/f/g/e/ f/g/a/f/|b/g/e/f/ gg| g/f/g/e/ f/g/a/f/|
.g(b/g/) a/f/d/f/|g/f/g/e/
f/g/a/f/|b/g/e/g/ g/e/d/c/:|
NEW WHIM, THE.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
The melody is unique to London publisher Charles an Samuel Thompson’s 1765
country dance collection. Presumably the title was meant to be associated with
the popular older country dance called “Whim.”
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 91.
X:1
T:New Whim, The
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:D
df/g/ aa|ge/g/ fc/e/|df/g/ aa|ge/g/f2|df/g/ aa|ge/g/ fc/e/|df/g/ ag|fe/f/ d2:|
|:(F/A/).A/.A/ (G/A/).A/.A/|(F/A/).A/.A/ (E/A/).A/.A/|(F/A/).A/.A/ (G/A/).A/.A/|FE/D/ A2|
(F/A/).A/.A/
(G/A/).A/.A/|(F/A/).A/.A/ (E/A/).A/.A/|(F/A/).A/.A/ (G/A/).A/.A/|FE/F/
[D2A2f2]:||
NEW WHITE HART HORNPIPE, THE. English, (Old) Hornpipe (3/2 time). D Major. Standard tuning. AABBC. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) published around the year 1730.
X:1
T:New White Hart Hornpipe, The
B:Walsh
M:3/2
L:1/8
K:D
d2 Bc dBAG FGAF | G2 E2 efed c2 A2| BcdB ABAG FGAG|F2 D2 D2 c2 d4::\
d2 de gefg fgad| c2 a2^g2 a2 ed| cdec d2 cBABAG|FGAF D2 c2 d4::\
dA
F2 BG E2 AF D2| cdef e2 E2 FGAF| d2 A2 B2 G2 A2 F2| gfed cdec d4||
NEW WHITEHALL. English, Dance Tune (6/4 time).
Published in Playford’s English Dancing
Master of 1701 and in various versions of Walsh’s Compleat Country Dancing Master from 1718 onwards. Topic Records TSCD550, Brass Monkey – “Flame of Fire”
(2004).
NEW WIDOW WELL MARRIED, THE. Irish, Slip Jig. G Major. Standard tuning.
AA'B. Roche Collection, 1927/1982,
vol. 2; No. 266, pg. 28.
X:1
T:New Widow Well Married, The
M:9/8
L:1/8
R:Slip Jig
S:Roche – vol. 2, No. 266 (1927)
Z:AK/Fiddler’s Companion
K:G
g|:edB BAB GED|E2d d2B d2g|edB BAB
GED|1 E2e e2d efg:|2 E2d e2d e2d||
B2g g2e fed|B2d d2B d2A|B2g g2e
fed|B2e e2d e2d|B2g g2e fed|B2d d2B d2g|
edB BAB GED|E2e e2d efg:|
NEW WILD MORRIS. English, Jig (12/8 time). England, North‑West. D Major. Standard
tuning. AABB. The melody appears in Walsh’s third collection of Lancashire
tunes (Lancashire Jiggs, Hornpipes,
Joaks, etc.) published around the year 1730. Knowles (Northern Frisk), 1988; No. 7.
X:1
T:New Wild Morris
B: Walsh
M:12/8
L:1/8
K:D
d| def Bcd cde ABc|dcB AGF Edc d2 D| def Bcd cde ABc|dcB EA^G A3 A2::\
a| agf fed gfe edc| fed dcB cde ^A2 f| gfe dcBB3 B2 c| dDd dcB efe edc|\
fFf
fed cde Aag| fed Adc d3 d2 ::
NEW YEAR, THE. Canadian, Pipe
March (6/8 time). A Mixolydian. Standard tuning. AABBCCDD. A composition of
Cape Breton piper Malcolm Gillis (1856-1929), the ‘Margaree Bard’. Gillis was a
huge musical talent, according to Barry Shears (1986), and could play the
accordion, violin, bagpipes, uilleann pipes, piano and organ. He directed the
local choir and composed several popular Gaelic songs. Glen (Edinburgh Collection, Book 11), c. 1900. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 37.
NEW YEAR ALONE, THE. Australian, Reel. D Major. Standard tuning.
AABB. A modern tune composed by Peter Holmes.
X:1
T:The New Year Alone
R:reel
C:Peter Holmes
Z:Andrew Le Blanc
M:4/4
L:1/8
Q:100
K:D
||: dAFA BAFA |dBAF EDB,D |A,2 A,B,
CDEF | ABAd BAFA |
dAFA BAFA |dBAF EDB,D |A,2 A,B, CDEF
|ABAF D4 :|
|: B2 GB dBGB |AGAB dBGB |ADFA BAFA
| DEFA BAFA |
B2 GB dBGB |AGAB dBGB| Ac c2 BAFA |
dfec d4:||
NEW YEAR'S DAY [1]. Scottish, Jig. F Major. Standard tuning. AABB. The tune first appears
inj Alexander Reinagle’s 1782 publication A
Collection of the Most Favorite Scots Tunes, according to Charles Gore.
Carlin (The Gow Collection), 1986;
No. 500. Gow (Complete Repository),
Part 2, 1802; pg. 29.
X:1
T:New Year's Day [1]
S:Gow's Complete Repository,
c.1810
Z:Transcribed by Nigel Gatherer
N:Transposed from F; 1st bar
N:changed from d/e/fe to dfe
M:6/8 jig
K:D
L:1/8
F|D>ED dfe|dDD D2 F|D>ED
d>ef|eEE E2 F|DEF dcB|
A2 g f2 e|d>cB AFd|AFD
D2::F/G/|A>BA FAF|ABA F2 G|
ABc d>ef|eEE E2 F|A>BA FAF|A2
g f2 e|dcB AFd|AFD D2:|]
X:2
T:New
Years Day [1]
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 5
%
Gore's Index gives earliest publication as Alexander Reinagle's
%
"A Coll. Of the Most Fav. Scots Tunes" 1782
L:1/8
M:6/8
R:Jig
K:F
A|FGF
fgf|fFF F2A|FGF f>ga|gGG G2A|
FGF
fgf|c2b a2g|fed cAf |cAF F2::A|
cdc
AcA|cdc A2d|cdc fga |gGG G2A|
%Petrie
shows the last note in the last measure above as a 1/4 note -SW
cdc
AcA|c2b a2g|fed cAf |cAF F2:|
NEW YEAR'S DAY [2] (Bhliadhn' ur). Scottish, Strathspey. G Dorian ('A' part)
& C Mixolydian ('B' part). Standard tuning. AB. "...Sung by the
editor's father" (Fraser). The melody is listed by Stewart-Robertson in
the "A Minor" section of "The Athole Collection," though
both he and Fraser clearly harmonize it in the relative major. Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 40, pg. 14. Stewart-Robertson
(The Athole Collection), 1884; pg.
50.
X:1
T:New Year’s Day [2]
M:C|
L:1/8
R:Strathspey
B:The Athole
Collection (1884)
Z:AK/Fiddler’s Companion
K:A minor
d|G>G G>A _B>cd>f|e<c f>d e<c f>d|G>G G>A _B>cd>^f|g>e=f>d ~c2c:|
|:e/f/|g>c e<g f>_B d<f|g<c e>c g>fe>c|(3faf (3ege f>_B d<^f|g<e =f>d ~c2c:|
T:New Year’s Day [3]
C:James Hill
M:C|
L:1/8
R:Hornpipe
S:The c. mid-19th century manuscript of William Hall Lister and Robert Lister, East Bolden,
S:Northumberland.
Z:AK/Fiddler’s Companion
e2 e^d eaga | faga fedc | Bdfe dcBA | GAFG E2 cd | e2 e^d eaga |
faga fedc | Bcdf eEFG | (A/B/).c/.d/ e2 c2 :: BA | GABc edBG | ABcd ecAc |
cB/c/
ec ed/e/ fd | gf/g/ af ecd^d | e2 ed eaga | faga fedc | Bcde eEFG | A/B/c/d/ ec
A2 :|
NEW YEAR'S DAY IN THE MORNING. English, Country
Dance Tune (6/8 time). A Major. Standard tuning. AABB. The melody was first
published in John Hinton’s periodical Universal Magazine of Knowledge and
Pleasure (London, 1755). It was followed by printings in Charles and Samuel
Thompson’s first country dance collection (London, 1757), and in John Johnson’s
200 Favourite Country Dances, vol. 8 (London, 1758). The Thompson’s
reprinted it in their Complete Collection of 200 Favourite Country Dances,
vol. 3 (London, 1773). Barnes (English
Country Dance Tunes), 1986. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 104
X:1
T:New Year’s Day in the Morning
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
A2c d2f|eca cBA|fdf ecA|GBA GFE|A2c d2f|eca cBA|gba gfe|Bc^d e3:|
|:Ae=d
cBA|=GFG FED|dfe dcB|AFA GFE|gba gfe|dBd cBA|fdf ecA|EFG A3:||
T:New Year’s Gift
C:James Hill
M:C|
L:1/8
R:Hornpipe
S:The c. mid-19th century manuscript of William Hall Lister and Robert Lister, East Bolden, Northumberland.
Z:AK/Fiddler’s Companion
K:A
cd | e2 e^d eaga | faga fedc | Bdfe dcBA | GAFG E2 cd | e2 e^d eaga |
faga fedc | Bcdf eEFG | A/B/c/d/ ec A2 :: BA | GABc edBG | ABcd ecAc |
cBdc
e^dfe | gfaf ecdf | e2 e^d eaga | faga fedc | Bcdf eEFG | (A/B/)c/d/ ec A2 :|
NEW YEAR’S NIGHT.
Irish, Reel. A
Dorian. Standard. AA’B. The melody belongs to the “Reel of Bogie” family of tunes. See also
the related “Stile of Ballylanders.”
O’Neill (1922) remarks: “This reel memorized probably from
"Barney" Delaney's wonderful piping seems to have been omitted from
former O'Neill collections.” O’Neill
(Waifs and Strays of Gaelic Melody),
1922; No. 284.
X:1
T:New Year's Night
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:Ador
gf|eA (3AGA edBd|(3efg dB GABd|1eA (3AAA edBc|d2 ef g2:|
2edef gfga|gedBA2||BA|G2 Bd g2 ge|
dedB d2 BA|G2 Bd g2 af|gedB AcBA|
G2 Bd g2 ge|dedB dega|bgag (3efg fa|gedB A2||
NEW YEAR’S POLKA, THE.
English, Polka.
England, Northumberland. G Major (‘A’, ‘B’, ‘C’, ‘D’, ‘E’ parts) & D Major (‘F’
part). Standard tuning. AABBCCDDEEF. Composed by Robert Whinham (1814-1893), a
musician, teacher, composer, dancing master and fiddler, originally from
Morpeth. Underneath the title in the namuscript version is a dedication to Miss
Thompson, Gofton (see note for “Mrs. Thompson of Gofton’s
Strathspey). Source for notated version: an un-attributed 19th
century manuscript at the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 36.
NEW YEAR'S RESOLUTION. New England, March.
G Major. Standard tuning. AAB. McQuillen, Bob's
Notebooks, vol. 2; No. or pg. 50.
NEW YEAR'S SONG (Abran
Nuad-Bliadain). Irish, Air (6/8 time, "with spirit"). G Major. Standard
tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
212, pg. 37.
X:1
T:New Year’s Song
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland
(1903), No. 212
Z:AK/Fiddler’s Companion
K:G
D | D2G G2A | B2d d2B | c2A A2A |
(A3 A2) A | B2 A G2B | d2G G2A |
{A}G2F D2D | (D3 D2) || (B/c/) | d2d
e2d B2c d2B | c2c d2c | (A3 A2) (B/c/) |
d2c B2G | A2G F2D | C2D G2G | (G3
G2) ||
NEW YORK GIRLS. English(?), Jig. G Major. Standard. AABA. Aird (Selections). vol. II, 1782; No. 140, pg. 52.
X:1
T:New York Girls
M:6/8
L:1/8
S:Aird, Vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
B | BcA G2B | c2B A2d | d2c Bcd | dcB A2B | BcA G2B | c2B A2d | d2c Bcd | cBA G2 :|
|| B | d2d e2f | gfe d3 | B2B c2d | edc B3 | d2d e2f | gfe d3 |
B2B
c2d | edc B2d | dcB ABc | cBA B2d | dcB ABG | FGE D2 ||
NEW YORK HORNPIPE. English, Scottish; Hornpipe. England, Northumberland. A Major (Kerr): C Major
(Geoghegan). Stanard. AABB (Kerr): AABBCCDDEEFF (Geoghegan). One of the
"missing tunes" from William Vickers' 1770 Northumbrian manuscript.
The tune is printed by Offord as a triple time hornpipe, and by Kerr as a duple
time hornpipe. Geoghegan (Compleat
Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 26. Offord (John of the Greeny Cheshire Way), 1985; pg. 9. Kerr (Merry Melodies), vol. 3; No. 353, pg.
38.
X:1
T:New York Hornpipe
M:3/2
L:1/8
R:”Old” Hornpipe
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)
Z:AK/Fiddler’s Companion
K:C
FAGF EGFE D3c | Bcde d2D2 EFGE | FAGF
EGFE D2 (cd) | e2c2c2C2 EFGE :|
|: cdef gfed c3c | Bcde d2D2 EFGE |
cdef gfed caga | fedc c2C2 EFGE :|
|: c’bag agfe fedc | Bcde d2D2 EFGE
| c’bag agfe fedc | e2c2c2C2 EFGE :|
|: cAFA GECE D3c | Bcde d2D2 EFGE |
cAFA GECE D2 (cd) | e2c2c2C2 EFGE :|
|: cdef gece dBGc | Bcde d2D2 EFGE |
cdef gece afdf | e2c2c2C2 EFGE :|
|: c’bag faef dece | Bcde d2C2 EFGE
| c’bag faef dece | e2c2c2C2 EFGE :|
NEW YORK JIG [1]. AKA and see “Alex Joe’s Jig.” Canadian, Jig. Canada,
Cape Breton. C Mixolydian (‘A’ part) & C Major (‘B’ part). Standard. AABB.
Composed by Alex Joe MacEachern, brother of famous Cape Breton composer Dan
Hughie MacEachern (Cranford). Originally recorded by Cape Breton fiddler
Winston “Scotty” Fitzgerald (1914-1987). Cranford (Jerry Holland’s), 1995; No. 215, pg. 62. “MacEachern’s Collection:
The Music of Dan Hughie MacEachern, vol. 2.” Cranford
Publications CP-R2, “Jerry Holland Solo” (1988). Natalie MacMaster – “In My
Hands.”
NEW YORK JIG [2], THE. AKA and see “The Handsome Young Maid(en)s.”
Irish, Jig. D Major. Standard. AA’BB. Green Linnet SIF 3040, De Danann – “Ballroom.” Pan 146CD,
John Skelton – “One at a Time.”
X:1
T:New York Jig, The
R:Jig
S:John Skelton, One At A Time
N:Skelton remembers the name of this
tune only as The New York Jig,
N:but it as a Charlie Lennon
composition called
N:”The Handsome Young Maidens.”
D:John Skelton, One At A Time (PAN
146CD)
Z:Chris Corrigan
M:6/8
L:1/8
K:D
dAG FAE|DFA dcd|eAA GAA|EAA edc
|dAG FAE|DFA dcd|eAA GAA|1 edc d3:|2
edc dAG||
F2 A FAF|G2 B BAG|FGA dAF|EBA BAG|
F2 A FAF|G2 B BAG|AFA dAF|FEc d3:|
X:1
T:
T:Kitty of Coleraine
T:Paddy’s Resource
L:1/8
M:6/8
K:G
~G3 DB,D | GBd e2d | gdB BAB | cGE
X:1
T:
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 64
Z:AK/Fiddler’s Companion
(3D/E/F/ |
G/B/A/G/ G/B/d/B/ | c/d/e/f/ g/e/d/B/ | G(B/A/) G/B/d/B/ |
A/B/A/G/ F/D/F/A/
| G(B/A/) G/B/d/B/ | c/d/e/f/ (3g/g/g/(d/B/) | e/d/c/e/ d/B/G/B/ |
A/G/F/A/
[B,G] :: .d(B/c/) .d.g | f/a/f/d/ e/g/e/^c/ | .d(B/=c/) .d.g | f/g/e/^c/ d>e
|
d/e/f/e/ d/c/B/A/ | .B(A/G/)
B/G/E/F/ | .G(D/E/) .G.e | d/B/c/A/ Gz :|
X:1
T:
B:Walsh
M:3/2
L:1/8
K:Gm
EGFE DFED C3 B| ABcd c3 C DEFD| EGFE DEFD C3 B| FBAc B3 B, DEFD::\
E2 G2 _AGFE DEFD |CcBd c3 C DEFD|E2 G2 _AGFE DEFD|B,BAc B3 B, DEFD::\
B2 d2 edcB ABcA| GcBd c3 C DEFD|E2 d3 edcB ABcA| FBAc B3 B, DEFD::\
BGEG
FDB,D C3 c| ABcd c3 C DEFD|BGDG FDB,D C3 e| d2 B2 B3 B, DEFD:|
NEWBURN LADS. AKA and see "The Bob of Fettercairn," "Come Kiss With Me
(Come Clap with Me)," "I'll Kiss the Lass, She Bad Me,"
"The Braw (Brave)
Lads of Jedburgh," "Braw Lads of Jeddart/Jethart," "Had I the Wight." English,
Scottish; Reel.
X:1
T:Newburn Lads
M:C
L:1/8
R:Reel
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
B/c/|dBGB dBGB|dBdg f2 ed|ecAc ecAc|edef gage|dBGB dBGB|
DBdg f2 df|afge fdgB|A/A/A Bd e2e:|
|:g|dgBg dgBg|dgBg fedf|eaca eaca|ecef gage|dgBg dgBg|dgBg fedf|
afge
fdgB|A/A/A Bd e2e:|
NEWBYTH HOUSE [1].
Scottish, Reel. E
Minor. Standard tuning. AAB. John Glen (1891) finds the earliest printing of
this tune in Daniel Dow's c. 1775
collection (pg. 17). Stewart-Robertson (The
Athole Collection), 1884; pg. 259.
X:1
T:Newbyth House
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
e|~B2 EF GABG|~F2 DF dFAF|~B2 EF GBdB|ADFA BE E:|
F|EeeB defd|BddF AFDF|Eeeg fded|BAdF BEEF|Eege ^dBeB|
^deBd FDAF|GBEB eBdB|ADFA BE E||
NEWBYTH HOUSE [2]. Scottish, Jig. D Major. Standard tuning. AAB. Composed by Malcolm MacDonald, the tune appears in his first collection, dedicated to Mrs. Baird of Newbyth. Compare with the Irish “Malowney’s/Maloney’s Wife.” MacDonald (A Collection of Strathspey Reels, vol. 1), c. 1788; pg. 24.
X:1
T:Newbyth House [2]
M:6/8
L:1/8
R:Jig
S:MacDonald – Collection of Strathspey Reels, vol. 1 (c. 1788)
Z:AK/Fiddler’s Companion
K:D
G | F2A AFA | AFA AB=c | BAG FGA | BGE E2G | F2A AFA |
AFA efg | fed ABc | dFD D2 :| g | fed ABc | dcB AGF | GBG FGA |
BGE E2 g | fed ABc | dcB AGF | D2d dcd | AFD D2g | fed ABc |
dcB AGF | GBG FGA | BGE E2G | F2A AFA | AFA efg | fed ABc | dFD D2 ||
NEWCASTLE [1]. English; Country
Dance Tune (2/2 time). England, Northumberland. G Major (most versions): F
Major (Chappell). Standard tuning. AB (Chappell): AABB (most versions). The air
was published by John Playford (1623-1686) in the first edition of his English Dancing Master, 1651, where it
was the tune for a special country dance, a “round for 4 couples”. It appears
in subsequent editions of the Dancing
Master, throught the 8th, until 1690. The English town of
Newcastle is in Northumberland, near the border with Scotland. Barnes (English Country Dance Tunes), 1986.
Chappell (Popular Music of the Olden
Times), vol. 1, 1859; pg. 188. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book
1), 1965; pg. 5. Johnson (The Kitchen
Musician No. 14: Songs, Airs and Dances of the 18th Century),
1997; pg. 14. Karpeles & Schofield (A
Selection of 100 English Folk Dance Airs), 1951; pg. 11. Raven (English Country Dance Tunes), 1984; pg.
23 & 45. Sharp (Country Dance Tunes),
1994; pg. 16. Dorian
90238, The Baltimore Consort – “A Trip to Killburn.”
X:1
T:Newcastle [1]
M:4/4
L:1/4
Q:200
H:Simpson feels that the surviving
tune is not the one which had some
H:currency in Elizabethan days. He points out that wrenchings of accent
H:are necessary to accomplish the
fit of Playford's dance tune to a
H:curious fragment of text found in
the 18th century Percy folio MS, a
H:source of dubious authenticity
itself.
H:Came you not from
H:Newcastle?
H:Came yee not there away? &c
H:It is quite possible that
H:this dance was inspired by
William, Duke of Newcastle, a royalist who
H:remained in London and bent his
interests towards the theatre during
H:the interregnum.
K:G
BdGA|G>AGD|BdGd|eg2
f/2e/2|dBAG|Ee2 d/2c/2|dBA>G|1 G4:|2 G3 e/2f/2||
L:1/8
gfed g3B|A2 g4 A2|G3A B2F2|E2 e4
f2|gfed g3B|A2A2 c3d|e2B2 A3G|G8||
NEWCASTLE [2], THE. See "Newcastle
Hornpipe." May be the "Newcastle" on Shanachie 14001, "The Early Recordings of Angus Chisholm" (Cape
Breton).
NEWCASTLE BEER. AKA and see "Hunting the Hare [1]."
NEWCASTLE BRIDGE. Scottish, Jig. A Major. Standard tuning. AABB. Composed by Abraham Mackintosh, son of Robert 'Red Rob' Mackintosh. Hunter (Fiddle Music of Scotland), 1988; No. 301.
NEWCASTLE HILL. Canadian, Clog. B Flat Major. Standard tuning.
AABB. Kerr (Merry Melodies), vol. 1;
pg. 46. Messer (Way Down East), 1948;
No. 85. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 161, pg. 110.
X: 1
T:Newcastle
Hill Clog
R:Hornpipe
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:Bb
d>c|B2B,2
(3dcB (3AGF|E2g2 g2f>e|d>fB>d c>eA>c|B>ba>g f>ed>c|
B2B,2 (3dcB
(3AGF|E2g2 g2f>e|d>fB>d c>eA>c|B>AB>c B2:|
|:D>C|B,>DF>B
d>fb>a|g>^fg>a g2C>B,|A,>CF>A c>fa>g|f>=ef>g
f2D>C|
B,>DF>B
d>fb>a|g>^fg>a g>de>=e|f>ef>g f>ec>A|B>AB>c
B2:|
NEWCASTLE HORNPIPE [1], THE.
AKA and see “McCormack’s,” “Prince Albert’s Hornpipe [1].” Scottish, Hornpipe. C Major (Hunter):
B Flat Major (Cranford, Hardie, Kerr, O’Malley). Standard tuning. AB (Hardie,
Hunter): AABB (Cranford): AA'BB' (Kerr, O’Malley). Composed by fiddler and
renowned hornpipe composer James Hill
(c. 1815-c. 1860), a native of Dundee who spent most of his life at Gateshead,
northeast England, near Newcastle, Northumberland. Regarding the alternate
title, Queen Victoria and Prince Albert officiated at the opening of the High
Level Bridge and the Central Station in Newcastle, and Hill may have been honouring
both the monarchy and the new structures which graced his city. Source for
notated version: New York fiddler Larry Redican (d. 1975), born in Dublin
[O’Malley]. Cranford (Jerry Holland’s),
1995; No. 44, pg. 13. Hardie (Caledonian
Companion), 1992; pg. 62. Hunter (Fiddle
Music of Scotland), 1988; No. 325. Kerr (Merry Melodies), vol. 1; No. 30, pg. 46. O’Malley (Luke O’Malley’s Collection of Irish Music),
1976; No. 125, pg. 63. Rounder Records, “Jerry
Holland” (1976). Smithsonian Folkways SFW CD 40481, Brian Conway – “First
Through the Gate” (2002).
X: 1
T: New Castle [1]
M: 4/4
L: 1/8
Q: 325
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: Hornpipe
K: Bb
(3cBA|B2 B,2 (3dcB (3AGF|E2 g2 g2 fe|dfBd
ceAc|Bbag (3fgf (3edc|
B2 B,2 (3dcB (3AGF|E2 g2 g2 fe|dfBd ceAc| B2 d2
B2 :|
(3CB,A, | B,DFB dfba | g^fga g2 (3BA_A | =A,CFA
cfag|
f=efg
f2 (3CB,A,|B,DFB dfba|g^fga g2 =fe|dfBd ceAc| B2 d2 B2 :|
NEWCASTLE HORNPIPE [2]. AKA and see “Kirkgate Hornpipe [2].” English, Hornpipe. G Major.
Standard tuning. AB (Kershaw): AABB (Gibbons). The tune is among those in the
19th century manuscripts of Joseph Kershaw and Joshua Gibbons.
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. Papermaker and musician Joshua Gibbons (1778-1871)
lived in the village of Tealby, near Market Rasen, Lincolnshire Wolds, and
compiled his manuscript 1823-26. The Joseph Kershaw Manuscript, 1993;
No. 37. Sumner (Lincolnshire Collections,
vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 13.
X:1
T:Newcastle Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:Joshua Gibbons ms (1823-26)
Z:AK/Fiddler’s Companion
K:G
gd|B2B2 BcAF|G2G2 GABc|dcdB
edcB|BAcA GFED|
B2B2 Bd^ce|d2d2d2 cB|AdcB
AGFE|D2D2D2:|
|:AB|c2c2c2 AB|cBAG FEDC|B,2 d2d2
ef|gfed cBAG|
e2e2 efge|dcBc d2g2|egec
BGAF|G2G2G2:|
NEWCASTLE LASSES.
English, Reel. G Major. Standard tuning. AABB. The melody appears in the
1840 music manuscript collection of Cumbrian musician John Rook. Northumbrian
Pipers Pocket Green Book, 1993.
X:1
T:Newcastle
Lasses
M:C
L:1/8
R:Reel
S:John Rook
music manuscript (Cumbria, 1840)
K:G
d2|BGDB c2
ec|BG[dg]B cAAc|BGDB c2 ec|BgAc BGG:|
|:f|g/f/e/d/
Bd egdc/B/|cedB aAAf|g/f/e/d/ Bd egdB|cAdc BGG:|
NEWCASTLE STATION. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Hall &
Stafford (Charlton Memorial Tune Book),
1974; pg. 13. Raven (English Country
Dance Tunes), 1984; pg. 141.
X:1
T:Newcastle Station
M:C|
L:1/8
K:G
dc|Bd G2G2 BG|FA D2D2 dc|Bd G2 GABc|dgfg ecAF|Bd G2G2 BG|
FA D2D2 dc|BdGB cAFA|G2G2G2:|
|:d2|gfga gdBG|cABA GFED|EGEG FAdc|B2A2A3d|
gfga
gdBG|cABA GFED|EGDG FG A/B/c|B2G2G2:|
NEWCASTLE VOLUNTEERS
QUICK STEP, THE. Scottish, March (6/8 time). D Major.
Standard tuning. AAB. The tune appears in a 1799 collection published by Thomas
Calvert, a musican who lived in Kelso, Scotland. A note with the
collection states that Calvert supplied “a variety of music and instruments,
instruments lent out, tun’d and repaired.”
X: 1
T:Newcastle Volunteers Quick Step
M:6/8
L:1/8
B:Calvert Collection (1799) - Page 18
Z:AK/Fiddler’s Companion
K:D
G|FGA A2d|BGB “tr”A2G|FGA [F2A2]g|”tr” fdf e2G|
FGA [F2A2]d|BGB A2b|afd gec|[F3d3] [F2d2]:|
a|[f2a2][fa] [f2d’2]a|”tr” f3 d2f|[c2e2][ce] [c2a2]e|”tr” c3 A2c|
[F2d2] [Fd] Bcd|[c2e2]e cde|[df][e^g][fa] [fa][eg][df]|
edc BAG|FGA [F2A2]d|BGB [F2A2]G|FGA [F2A2]g|
“tr”
fdf [A2c2e2]G|FGA [F2A2]d|BGB [F2A2]b|afd gec|[F3d3][F2d2]||
NEWFIE JIG. Canadian, Jig. A
Major ('A' part) & D Major ('B' part). Standard tuning. AABB. 'Newfie' is a
sometimes derogatory name for a Newfoundlander. Welling (Welling’s Hartford Tunebook), 1976; pg. 9.
NEWFIELD COTTAGE. AKA ‑ "Marshall's Strathspey." Scottish, Strathspey. A
Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Newfield is the name
of the cottage Marshall built in Dandeleith, near Craigellachie, in which he
spent the final years of his life. It was designed by Marshall and built by him
for his retirement. Published by Gow in 1788 and Marshall in 1822. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 19.
X:1
T:Newfield Cottage
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:A
A>AA>B A/B/c/A/ ~E2|B,<B
B>c B>A F2|A,>AA>B A>B A/B/c/d/|
E/f/g/a/ f/e/d/c/ B2A2:|
C<e e>f e>fec|B>Abc
A>BAE|Fff>a f/e/d/c/ d/c/B/A/|B/c/d/c/ d/c/B/A/ B2A2|
C<e e>f e/f/g/a/
f/e/d/c/|B>Abc A>BAE|F<AE<A D<AC<f|f/e/d/c/ d/c/B/A/ B2A2||
NEWLY MOWED MEADOW, THE.
See "New Mown Meadows."
NEWLY WEDS' REEL, THE. AKA and see "Reel des Jeunes Maries."
French-Canadian, Reel. G Major. Standard tuning. AABB. Bain (50 Fiddle Solos),
1989; pg. 27. County CO-CD-2729, Art Stamper -
"Goodbye Girls I'm Going to Boston" (2000). Philo 1051, Boys of the
Lough (with Leo Beaudoin) - "Good Friends, Good Music" (1977). John
Edwards Memorial Foundation JEMF-105, Louis & Wilfred Beaudoin - "New
England Traditional Fiddling" (1978).
NEWLYN TOWN. AKA and see "The Robber," "The Croppy Boy [2]," "Charlie Reilly."
NEWLYWEDS WALTZ, THE. Scottish, Waltz. A Major. Standard
tuning. AAB Composed by Louise Mackenzie, sounding very much like a New England
waltz. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 25.
NEWMARKET POLKA [1]. AKA and see "John Walsh's [1]," "Walshe's Polka [2]." Irish, Polka.
Ireland, West Kerry. G Major. Standard tuning. AABB. Mac Amhlaoibh & Durham
(An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry),
No. 24, pg. 21 (appears as "Gan Ainm" {untitled}). Realworld (WOMAD) Records, "Music at Matt
Molloy's" (1992. Appears as part of "Westport Set-Dancers"). CEF
057, "Jackie Daly & Seamus Creagh."
NEWMARKET POLKA [2]. AKA and see "Dan Mac's," "Dan Mack's,"
"Jack Mitchell's Polka,"
"Jerome Burke's." Irish,
Polka. Ireland, West Kerry. D Major. Standard tuning. AABB. Mac Amhlaoibh &
Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West
Kerry), No. 34, pg. 26 (appears as "Gan Ainm" {untitled}).
NEWMARKET (POLKA) [3], THE. AKA and see "Art O'Keeffe's Polka [2],"
"The Sliabh Luachra [2]."
Irish, Polka. A Major (Mallinson. Taylor): G Major (Tubridy). Standard tuning.
AABB (Mallinson): AA'BB' (Taylor, Tubridy). Mallinson (100 Polkas), 1997; No.
40, pg. 15. Taylor (Music for the Sets: Blue Book), 1995; pg. 6. Tubridy
(Irish Traditional Music, Book Two), 1999; pg. 10.
NEWMARKET RACES [1]. AKA and see "Horse and Away to Newmarket,"
"Fenwick o' Bywell," "Galloping Ower the Cow Hill."
English, Jig. England, Northumberland. G Major. Standard tuning. Very similar
to the Irish jig "Gary Owen."
AABBCCDDEEFFGG. The tune was included (with variations) in his collection of
1805 by Northumbrian smallpipes player John Peacock (c. 1754-1817), one of the
last of the Newcastle Waits. He is also said to have been the first smallpiper
to play a keyed chanter, which he commissioned from John Dunn. The tune
predates his collection though, as it appears (as "Horse and Away to
Newmarket") in the music manuscript collection of James Biggins, of Leeds,
England, dated 1779. Peacock (Peacock's Tunes), c. 1805/1980; No. 48,
pg. 22.
X:1
T:Newmarket
Races
M:6/8
L:1/8
R:Jig
S:Peacock
- A Favorite Collection of Tunes with Variations (1805)
Z:AK/Fiddler's
Companion
K:G
g|:edc
BAB|GBA B2g|edc BAG|AgA c2g|edc BAB|
GBG
B2G|c>de/f/ gdB|AgA c::e|GGd BBg|GGd B2g|
GGd
BBg|AgA c2e|GGd BBg|GGd B2G|c>de/f/ gdB|AgA c2::e/f/|ggd eeB|ddG B2 e/f/|ggd
eec|AgA c2 e/f/|
Ggd
eeB|ddG B2A|c>d/e/f/ gdc|AgA c2::e|d/c/B/c/d/e/ d/c/B/c/d/e/|
d/c/B/c/d/e/
B2e|d/c/B/c/d/e/ d/c/B/c/d/B/|AgA c2e|e/d/B/c/d/e/ d/c/B/c/d/e/|
d/c/B/c/d/e/
B2G|c>de/f/ gdB|AgA c2::e|GB/c/d/B/ dB/c/d/B/|Ggd B2g|
GB/c/d/B/
dB/c/d/B/|AgA c2e|GB/c/d/B/ dB/c/d/B/|GB/c/d/B/ dB/c/d/B/|
c>de/f/
gdB|AgA c2::e|dcB dcB|dcB dcB|dcB|dcB|(A/B/)(A/B/)(A/B/) c2e|
NEWPORT.
American, March (2/4 time). D Major. Standard tuning. AABB. The tune
appears in minstrel Dan Emmett's Fife Instructor, No. 11, probably named
for Newport Barracks in Kentucky, where he was first stationed after joining
the army as a teenager in 1834 (Hans Nathan, Dan Emmett and Negro Minstrelsy,
Univ. of Oklahoma Press, 1962, pg. 107). The melody was printed in Bruce and
Emmett's Drummer's and Fifer's Guide: or Self-Instructor (1862).
X:1
T:Newport
B:Bruce
& Emmett
M:2/4
L:1/8
Q:1/8=180
K:D
|:
(3A/B/c/|dA f>e|dA f>e|d/F/A/d/ fd/f/|e/d/c/B/ A/B/c/e/|dA f>e|dA
f>e|d/c/B/A/ (3^G/A/B/ c/d/|e2-d :|
|: A/F/|Dd/B/
Af/e/|da/f/ de/f/|g/a/g/f/ e/f/e/d/|c/e/d/B/ AA/F/|Dd/B/ Af/e/|da/f/
de/f/|gg/-f/ f/-e/e/-d/|f2-e e/-f/|
g/f/g/e/
ca/g/|f/g/f/e/ db/a/|g/a/g/f/ e/f/e/d/|c/e/d/B/ AA/G/|F/A/d A/d/f/a/|g/f/g/e/
c/A/B/c/|dd/c/ B/A/^G/B/|A2-A :|
% end with
D.C.
NEWPORT BREAKDOWN. Old-Time, Breakdown. USA, western
North Carolina. In the repertoire of influential fiddler Osey Helton, western
North Carolina. Voyager VRCD-354, Hart & Blech -
"Build Me a Boat."
NEWPORT ON THE
NARRAGANSETT.
American, Waltz. B Flat Major ('A' part), F Major ('B' part) & E Flat Major
('C' part). Standard tuning. AABBCC. Ford (Traditional Music in America),
1940; pg. 141.
NEWPORT LASS, THE (Gearrchaile
Bhaile Uí bhFiacháin).
AKA - "Newport Lasses." AKA and see "A/The Trip to Athlone." Irish, Double
Jig. D Major/Mixolydian. Standard tuning. AABB (Breathnach): AA'BB' (Taylor).
Newport is in County Mayo. The Irish group De Danann recorded the tune under
the title "The Trip to Athlone." Source for notated version: piper
Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]. Breathnach (CRÉ
I), 1963; No. 42, pg. 17. Taylor (Where's the Crack), 1989; pg. 18. Drumlin Records, Brian McNamara - "A Piper's
Dream." Lochshore CDLDL 1215, Craob Rua - "The More that's Said the
Less the Better" (1992). Néillidh Mulligan - "The Leitrim
Thrush" (Learned from his father).
NEWPORT WALTZ. AKA and see "Valse de
Newport."
NEWPUCK REEL, THE (Ríl Newpuck). Irish, Reel. D Major. Standard
tuning. AAB. Source for notated version: the 1880's collection of uilleann
piper and fiddler Stephen Grier (County Leitrim) [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 156, pg. 75.
NEWRY LASS, THE. AKA and see "The Floggin'," "The Flag(g)on," "The Humours of Bantry Bay,"
"The Slashing Reel," "The Fife Reel."
NEWRY MOUNTAIN. Irish, Air (3/4 time). G Dorian.
Standard tuning. AB. "This (tune was) sent to me in 1875 by Mr. W.
M'Kimmin of Newry, who says he remembers both from childhood."
***
At the
foot of Newry Mountain clear water does flow,
There
lives a wee lassie far whiter than snow;
The
blackberry blossom round her fair neck does twine,
She's a
nice little girl, and she says she'll be mine" (Joyce).
***
Joyce (Old
Irish Folk Music and Song), 1909; No. 209, pg. 103.
X:1
T:Newry
Mountain
M:3/4
L:1/8
R:Air
S:Joyce - Old
Irish Folk Music and Songs (1909),
No. 103
Z:AK/Fiddler's
Companion
K:G Dorian
BA|G2D2
GA|c2f2 ef|d2 cA G>A|F4 BA|G2D2 GA|c2f2 ef|d2 cA G>A|G4||
Bc|d2g2 de|fe
d2 fe|d2G2 AG|F4 BA|G2D2 GA|c2f2 ef|d2 cA G>A|G4||
NEWRY PRENTICE BOY, THE. Irish, Air (6/8 time). D Major/A
Mixolydian. Standard tuning. One part. Source for notated version: "From
(the noted sculptor) P. MacDowell, Esq." [Stanford/Petrie]. Stanford/Petrie
(Complete Collection), 1905; No. 364, pg. 92.
X:1
T:Newry
Prentice Boy, The
M:6/8
L:1/8
R:Air
N:"Allegro
moderato"
S:Stanford/Petrie
(1905), No. 364
Z:AK/Fiddle's
Companion
K:D
e/d/ | c2A
d2B | A2B d2e | f>ed B2A | (A3A2) e/d/ | c2A d2B | A2B d2e |
f>ed
e2f | (e3e2) || d | e>fg a2a | b>ag f2d | e>fg f2d |
(e3e2)
{f}e/d/ | c2A d2B | A2B d2e | f2>ed B2A | (A3A2) ||
NEWS BOYS. American, Hornpipe. F Major (Cole,
Kerr, Ryan): G Major (Miller). Standard tuning. AABB. Cole (1000 Fiddle
Tunes), 1940; pg. 104. Kerr (Merry Melodies), vol. 2; No. 397, pg.
44. Miller (Fiddler's Throne), 2004; No. 302, pg. 179. Ryan's Mammoth
Collection, 1883; pg. 141.
X:1
T:News
Boys
M:C|
L:1/8
R:Hornpipe
S:Ryan's
Mammoth Collection (1883)
Z:AK/Fiddler's
Companion
K:F
(cB) |
Acfa gbeg | fafc AcAF | DFdc BAGF | E2G2G2 (cB) | Acfa gbeg |
fafc AcAF
| DdcB AGFE | F2F2F2 :: (cA) | BAGF EGcB | Acfc afcA |
BAGF EdcB
| Acfc afcA | dgba gfed | cfag fedc | dBfd cBAG | F2F2F2 :|
NEWS FROM DENMARK.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s third country dance collection (London, 1774).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol.
3), 1773; No. 28.
X:1
T:News from Denmark
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:G
GAG B2d|cBA G2D|GAG B2d|cBA G3::d2G def|gfe d2G|
D2G def|gfe d3|cBA G2B|AGF G2D|cBA G2B|AGF G3:||
NEWS FROM FRANCE.
English, Jig. D Major. Standard tuning. AABB. The tune dates from the
Napoleonic conflict. Kennedy (Traditional Dance Music of Britain and
Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 134, pg.
32.
NEWS FROM PORTUGAL.
English, Jig. G Major. Standard tuning. AABB. The tune dates from the
Napoleonic conflict. Kennedy (Traditional Dance Music of Britain and
Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 135, pg.
33.
NEWS FROM TRIPOLY. English, Country Dance Tune (3/2
time). B Flat Major. Standard tuning. AABB. The tune dates to 1703. Barnes (English
Country Dance Tunes), 1986.
NEWS OF THE VICTORY, THE. AKA and see "Tars of the Victory," "The Willow Tree [2]". English, Jig.
G Major. Standard tuning. AABBCC. Kennedy (Traditional Dance Music of
Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No.
136, pg. 33.
X:1
T:News of
the Victory, The
M:6/8
L:1/8
K:G
d|dBd
dBd|g2G G2B|ABc DEF|GBd d2d|...
NEWSMAN, THE. American?, Jig. G Major. Standard
tuning. AB. Hardings All Round Collection, 1905; No. 145, pg. 46.
X:1
T:Newsman,
The
M:6/8
L:1/8
R:Jig
S:Harding's
All Round Collection (1905)
Z:AK/Fiddler's
Companion
K:G
G | GBd
dBd | ece dBG | GBd dcB | A2A A2G | GBd dBd | ece dBG | GAB cAF | GGG G2g ||
gee fdd |
ecc dBd | gee fdd | eAA A2g | gee fdd | ecc dBG | GAB cAF | GGG G2 ||
NEWTON LASSES.
AKA and see "Humors
of Ballymanus," "Jig Polthogue,"
"Polthogue (Jig)."
NEWTON'S DREAM. Old-Time. The title appears in a
list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
NEWTOWN BRIDGE. Irish, Jig. D Major. Standard
tuning. A Paddy O'Brien composition. The Compositions of Paddy O'Brien.
X:1
T:Newtown
Bridge
M:6/8
L:1/8
R:Jig
K:D
A2G
FDD|ded =cAF|...
NEXT OARS. AKA and see "The Sheep-Shearers."
NEXT STOP, THE.
English(?), Waltz. A Major. Standard tuning. ABBC. Kennedy (Fiddler's
Tune-Book: Slip Jigs and Waltzes), 1999; No. 151, pg. 39.
NEXT SUNDAY IS MY
WEDDING DAY. AKA and see "General White's Jig," "Kennedy's Jig," "The Misfortunate Rake," "(Next) Sunday is/was My Wedding
Day," "An Piobaire Caoch,"
"Rattle the Quilt (to Pieces),"
"The Shamrock (Reel) [1], "The Squint‑eyed Piper "The Unfortunate Rake [2]," "Apples in Winter [1]."
_______________________________
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