The
Fiddler’s Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
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. 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. 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. 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 |]**
NEAPOLITAN MINUET, THE. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).
NEAPOLITAN THRESHERS'. American, Jig. D Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 70. Ryan’s Mammoth Collection, 1883; pg. 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. 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. 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.
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 SHOE, THE. Scottish, Reel. A Major. Standard. 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. 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. 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. 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. 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. 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," "Captain Carswell [1]," "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. 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 His