The
Fiddler’s Companion
© 1996-2009 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 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 |]**
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 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. 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
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; pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 133, pg. 24. Roche Collection,
1982, vol. 1; No. 1, pg. 7. Shields (Tunes of the Munster Pipers), 1998;
No. 34, pg. 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. AB. Roche Collection, vol.
1; No. 3, pg. 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. AABB. Source for notated version:
John Roberts (Eng./USA) [Spandaro]. Spandaro (10 Cents a Dance), 1980; pg. 12.
NEEDLE IN THE CASE. AKA ‑ "Needlecase." Old‑Time, Breakdown. USA,
southwest Alabama. D Major. Standard. 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, Catskell Mountains. D Major. Standard. 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. 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 FOR GENTLEMEN. Irish, Air and Jig. G Mixolydian/F Major? Standard. 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:G Mix
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. 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. 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:G Minor
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:G
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. Kerr (Merry Melodies), vol. 2;
No. 403, pg. 45.
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:A Minor
(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:D Minor
(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:B_
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. 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. 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:D Mixolydian
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 WAS PIPING SO
GAY. Irish, Reel. G Major. Standard.
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. 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."
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:D Minor
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. 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:G Minor
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:G Minor
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:G Minor
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:E_
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:E Minor
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. 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. 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. 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. 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. 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:B_
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.
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:D Mixolydian
|A2DE FGAB|cAGE DEFG|
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:B_
(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. Composed
by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). 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:B_
|: (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 - "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. 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 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:
***
***
Mark Wilson says the tune is called
“Buffalo Nickel” in the Ozarks. Sources for notated versions: Paul Warren
[Phillips]; Isham Monday (Tompkinsville, Monroe County, Ky., 1959) [Titon];
Carthy Sisco [Silberberg]. 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” (1999).
T:New Five Cents
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 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 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.” Irish,
Barndance. The tune was featured in the 1968 Swedish comedy "Under
ditt parasoll" ("Under your parasoll"). It was first recorded by
the Flanagan brothers on a 78 RPM for Columbia in 1930, however, for stylistic
reasons it may not be Irish in origin. 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