The Fiddler’s Companion
©
1996-2010 Andrew
Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
NÍ AR CHNOC NÁ AR OSLEACHT.
Irish, Air. Piper Brian McNamara says the tune is associated with the Ranafast
region of
NI-BEID ME AG SNIOM NO
FIGEAD. AKA and see "I'll Neither Spin Nor Weave."
NI BEID MO AIGNE
SUAIMNEAC GO DEO. AKA and see "My Mind Will Never Be
Easy/'Aisy'."
NI CHOISCFIDH ME
CHOICHE DEN DEOL
NI MAIT LIOM POG! AKA and see "(A) Fig
for a Kiss [1]."
NI MIAM LIOM. AKA and see "I do not intend."
NI MIAN LIOM. AKA and see "I do not incline."
X:1
T:
M:2/4
L:1/16
Q:122
C:Trad.
R:Reel
A:
B:included in Cole's
One Thousand Fiddle Tunes
D:Taken from the recording of Cyril Stinnett in
June '80. Recorded on
D:Fiddler Records 001, Tom Doucet, The Down East
Star.
Z:B. Shull, trans.; R.P. LaVaque, ABC
K:Bb
(ga|b)fdB (ed)c(A|BA)B(c d)BF(A|BA)B(c
d)(cB)d|(gf)g(a ba)gf|!
(bf)dB (ed)c(A|BA)B(c d)B(F2|EF)A(c dA)cA|B2
(3(cBA) B2:|!
(ga|b)fdf (bf)df|(bf)b(f gf)d(f|af)cf
(af)c(e|f=e)f(g af)c(A-|!
-BA)B(c
d)BF(D|ED)E(F G2)GD|FFA(c ec)Ac|B2 (3(cBA) B2:|!
NIALL BROCHDAIR. AKA and see "Glengarry's
Fox‑Hunter."
NICHOLAS McAULIFFE’S.
Irish, Slide (12/8 time). G Major. Standard tuning. AA’BB’. Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 244, pg. 141.
NICK-NACK, PADDY WACK. AKA ‑ "This Old Man (He Played One)." English, Morris
Dance Tune (4/4). G Major. Standard tuning. AA. Tune for either a polka or a
single step in the North‑West England morris dance tradition. Wade (Mally’s North West Morris Book), 1988;
pg. 15.
NICKELY HOOD. English. EFDSS CD13, Geckoes – “Hardcore English” (2007. Various
artists). Ock Records CK060, Geckoes – “The Red Horse.”
NICKERSON’S REEL. American (?), Reel. A Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 62.
X:1
T:Nickerson’s Reel
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
E | A>B ce | d/c/d/e/ fa/f/ | ec
c(B/A/) | F<B B(c/B/) | A>B ce | d/c/d/e/ fa/f/ | ec/A/ EF/G/ | A2A :|
|: a/g/ | fe fg | (ac) ca/g/ | (fe)
(ac) | B2 B{d}(c/B/) | A>B ce | d/c/d/e/ fa | ec/A/ EF/G/ | A2A :|
NICOLE FAKOORY. Canadian, Jig.
NICKY’S ARCHIVE. AKA and see “Teelin Polka [1].”
Irish, Barndance. The tune was named “Nicky’s Archive” by fiddler Patrick
Orceau because he obtained it from Kerry fiddler Nicky McAuliffe and he had no
name for it. The tune goes by the name of “Teelin Polka,” named for Teelin,
X:1
T:Nicky's Archive
D:O hAllmhurain and Orceau, Tracin'
N:Orceau learned it from Kerry
fiddler Nicky McAuliffe
Z:Michael Reid
M:C|
L:1/8
R:Barndance
K:D
B|:~A2F2A3B|~A2G2GFEd|~c2E2c2cB|A2de
fedB|
~A2F2A3B|~A2G2GFEd|~c2E2c2cB|AGFE
DEFG:|
|:A2f2f3c|e2d2 dcBA|B2g2g3f|edfd
AGFG|
A2f2f3c|e2d2 dcBd|c2E2c2cB|[1 AGFE
DEFG:|[2 A2de fed|]
NICODEMUS JOHNSON'S
REEL. American, Reel. G Major. Standard.
AB. A blackface minstrel tune printed c. 1865. Don Meade finds the tune
reprinted in Ditson’s Minstrel Songs Old
and New, 1883, the same year Ryan’s
Mammoth was published. Cole (1000 Fiddle
Tunes), 1940; pg. 35. Ryan’s Mammoth
Collection, 1883; pg. 62.
X:1
T:Nicodemus Johnson’s Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
G,/G,/G G,/G,/G | F/G/A/G/ F/D/E/F/ |
G/F/G/E/ D/G/B/e/ | d/c/A/F/ G/E/D/B,/ |
G,/G,/G G,/G,/G | F/G/A/G/ F/D/E/F/
| G/F/G/E/ D/G/B/e/ | d/c/A/B/ c/d/e/f/ ||
g>f ef | .g(3f/g/a/ gB | g>f
ef | g>f g/a/b | g>f e>f |
gfga | b B/B/ BB | B2z A/c/ |
B/G/A/F/ G/E/D/B,/ ||
NICOLE FAKOORY’S. Canadian, Jig.
NIEL GOW... See also spellings "Neil Gow" and
"Neal Gow." Gow himself insisted on the spelling 'Niel' for his name.
NIEL GOW. AKA – “Neil Gow.” AKA and see "Irish Jig", "Keep Your Country Bonnie
Lasses" (Shetland) {?}. Scottish (originally), English; Strathspey.
***
Gow and Time are Even Now,
Gow Beat Time and Time Beat Gow.
***
Carlin (The Gow Collection), 1986; No. 482. Gow (Fourth Collection of
Niel Gow’s Reels), 2nd ed., originally 1800; pg. 36. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 34. Kennedy (Traditional Dance
Music of
X:1
T:Neil Gow
M:C|
L:1/8
S:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
f|e<c a>e f<B B>f|e<c a>e f2 f>g|a/g/f/e/ a>e f<B B>g|a>fe>c A2A:|
E|A<A c>A B<F F>B|A<A c>e a>ef>a|e>a c<a B<F F>f|a>fe>c A2 A>E|
A<A c>A B<F F>B|A<A c>e a>ef>g|a/g/f/e/ a>e f<B B>g|a>fe>c A2A||
X:2
T:Niel Gow
M:C
L:1/8
R:Strathspey
S:Surenne
– Dance Music of
Z:AK/Fiddler’s Companion
K:G
e|(d<B)({B}f>)d
(e<A)A>e|(d<B)({B}f>)d e3f | (g/f/e/d/) g>d
(e<A)A>f|({e/f/}g>)ed>B G3e|
(d<B)({B}g>)d
(e<A)A>e|(d<B)({B}g>)d e3f | (g/f/e/d/) g>d
(e<A)A>f|({e/f/}g>)ed>B G3||D|
G<G ({G/A/}B>)G
(G<E)E>A|G<GG<G ({f}g>)d(e<g)|(d<g)(B<g) (A<E)
E(e/f/)|(g/f/e/d/) ({f}g>)B G3D|
G<G ({G/A/}B>)G
(G<E)E>A|G<GG<G ({f}g>)d(e<g)|(d<g)(B<g) (A<E)
E(e/f/)|(g/f/e/d/) ({f}g>)B G3||
X:3
T:Niel Gow
M:C
L:1/8
N:”Slow”
R:Strathspey
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:D
b|a<f {f}d’>a beeb|a<f
d’>a “tr”b3a|(d’/c’/).b/.a/ {c’}d’>a bee>c’|{bc’}d’>baf d3:||
A|d<d {fe}f>d e>BBe|d<d
d<d {c’}d’>abd’|(a>.d’) (f>.d’) eB B(b/c’/)|(d’/c’/).b/.a/
{c’}d’>f d3 A|
d<d {de}f>d
“tr”e>BBe|d<d d<d {c’}d’>abd’|(a>.d’) (f>.d’) eB
B(b/c’/)|(d’/c’/).b/.a/ {c’}d’>f [F2A2d2]||
NIEL GOW AND HIS 2nd
WIFE. AKA and see "Niel Gow's Second Wife [1]," "Niel Gow's Wife [1]," "Loch Erroch Side."
NIEL GOW'S. See “Niel Gow’s Strathspey.”
NIEL GOW'S
COMPLIMENTS (RETURNED) TO MR. MARSHALL. Scottish, Strathspey. A Major.
Standard tuning. AAB. Composed by the great Perthshire fiddler Niel Gow
(1727-1807). Gow (Second Collection of
Niel Gow’s Reels), 1788; pg. 13 (3rd edition). Gow (Beauties
of Niel Gow), 1819. MacDonald (The
Skye Collection), 1887; pg. 153.
X:1
T:Niel Gow’s Compliments to Mr.
Marshall
M:C
L:1/8
R:Strathspey
Q:90
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
A,AcA eAcA|A,A (d/c/)(B/A/) GB B2 {AB}|A,AcA
eAcA|f/e/f/g/ ac EA A2:|
f>a e>a d>a
c>a|(B/A/B/c/) (d/c/B/A/) GB B2|f>a ea d>a c>a|(B/A/B/c/)
(d/c/B/A/) EA Ag|
f>a ea d>a ca|(B/A/B/c/)
(d/c/B/A/) GB B2 {AB}|CEA,A FA df|(ed/c/) (d/c/)B/A/ EA A2||
NIEL GOW’S DAUGHTER. Scottish, Reel. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of
NIEL GOW'S FAREWELL TO
WHISKEY. AKA and see "Farewell to Whiskey [1]."
NIEL GOW'S FAVORITE. AKA and see "Athole Brose,"
"Buckingham House." See
also spellings "Neil" and "Neal." The tune has often been
attributed to Niel Gow because of the title, though it was never claimed by
him. It was in fact the composition of Abraham
Mackintosh who titled it "Buckingham House."
NIEL GOW'S FIDDLE. Scottish, "Slowish" Strathspey. D Mixolydian. Standard
tuning. AB. Composed by Nathaniel
Gow (1763-1831) in honor of his father. The tune features a double‑tonic
modality and contrasting major triads, "a sly allusion to his father's
style" (Collinson, 1966). The following story of Niel Gow’s fiddle is told
by William C. Honeyman in his Strathspey
Players Past and Present (1922):
***
Niel used a violin by Gasparo da Salo, of Brescia, which from its large
tone was particularly
Suitable for his work, and which according to Mr. Kippen came into his
possession thus:--
***
A very musical Scottish lady, the wife of Colonel MacQuarrie, wished to
give a party at her
house in
wrote to the Duke [of Atholl] for leaveof absence for the great fiddler.
The request was at once granted,
and Niel and his brother arrived at
servant led them into the kitchen, and then told her mistress that a
queer-looking pair of country men were
asking for her. While the girl was absent, Niel took down an old violin,
hanging on the wall, touched the
strings, found the tone good and then taking down the bow started to
test its tone thoroughly. Never in his
life had he heard such a grand tone come out of a violin.
***
“Save us a’, Donald! Was there ever in the warld sic a fiddle? It sounds
like an organ!” he cried, and continued to
pour forth his best music from the wonderful violin. The servant
returned to take him upstairs, but he saw her not;
he was lost to all but the music. The company upstairs began to creep
down and stood staring at the absorbed
performer. She asked him to stop, but I was only by holding his arm that
they got him to obey, and the Niel,
wiping the sweat from his brow, said to his hostess, “Lord mem, what a
fiddle! What a fiddle! All that night Niel
continued to use that strange violin instead of his own, and at every
pause gazed at it and exclaimed, “Sic a fiddle!
Sic a fiddle!” His whole soul was wrapped up in it. When about to part
with him Colonel MacQuarrie, who as eagerly
desired a memento of the great player, jocularly said to Gow, “When ye
think sae muckle o’ the fiddle what do ye
say to niffering it for your ain?”
***
Niel said not a word but in eager haste pulled his own fiddle out of its
bag and rammed it into the Colonel’s hands,
snatched at the Italian instrument, shoved it into the bag, and made for
the door, so excitedly as to even forget to
thank the donor.
***
“Come awa, Donald,” he anxiously said to his brother, “Come awa, for
fear he may rue it and want his fiddle back.”
***
Some time later, in the 1784, Niel was returning from a ball at Dunkeld
House on a frosty morning with this violin when
he slipped on the ice at Stairdam and fell, the concussion fracturing
seriously the breast of the violin.
nearest town containing a skilled violin repairer, and Niel went
straight thither and handed the treasured fiddle to a violin
maker named Joseph Ruddiman, who easily made it as sound as it had been
before. This great violin, with another, and a
violincello, all Niel’s property , came into the possession of a
gentleman in central Perthshire. Seeing that they had been
neglected and were out of order, he took the violin with him to
took off the breast and found written inside, “Broken on the ice at
Stairdam in 1784 and mended in
After careful examination, Hamming pronounced it to be a genuire Gasparo
da Salo. The violin has a full rich tone, that
of the fourth string being particularly grand.
***
The story doesn’t quite end there,
for later Honeyman writes:
***
The exchange of
Of the latter werenot yet over, indeed they might be said to have been
only begun, for Colonel MacQuarrie took the violin
With him when he went abroadon active service, and had it with him at
the taking of the Balearic Isles in
And at the siege and capture of
(where the Colonel was wounded), at the battle of Corunna, whence it
retreated with the army, being carried on the Colonel’s
back under his military cloak in defiance of General Sir John Moore’s
order to abandon everything that could impede the
flight. At last it reached its native Scottish hills, again in perfect
safely, and has been so well cared for by the Colonel’s de-
scendants that it was played upon by his grandson at a concert given on
providence which is said to watch over bairns and drunk men must surely
have been hanging over that fiddle.
***
Source for notated version: Peter
Chaisson, Jr. (b. 1942,
X:1
T:Niel Gow's Fiddle
C:Nathaniel Gow
B:The Gow Collection (New York 1986)
Z:Nigel Gatherer
L:1/4
M:4/4
K:D
f/e/|d>D AG/F/ E=C Cf/e/|dD B/A/G/F/ d2 df/e/|dD AG/F/ E=CC>E|
D>Fd>F A2 Af/e/|d>D AG/F/ E=C Cf/e/|dD B/A/G/F/ d2 df/e/|
dD AG/F/ E=CC>E|D>Fd>F A2 A||f/g/|af dg/f/ e=c cf/g/|
afdg fd f/g/a/f/|af dg/f/ e=c cf/g/|a>fd>A d2 df/g/|
af dg/f/ e=c cf/g/|afdA Fd AG/F/|GB/G/ Fd/F E=CCE|D>Fd>F A2 A|]
NIEL GOW'S LAMENT FOR
ABERCAIRNY. See "Niel Gow's Lamentation for James
Moray, Esq., of Abercairny."
NIEL GOW’S LAMENTATION
FOR JAMES MORAY, ESQ. OF ABERCAIRNY.
AKA ‑ "Lament for Abercairny," "Lamentation for
Jas. Moray of Abercairny," "Neil Gow's Lament for Abercairny."
Scottish, Slow Air (4/4 time). G Major (most versions): A Major (Some Cape
Breton settings). Standard or ADae (
***
This connexion produced a friendship and many reciprocal visits, and
Abercairny became very fond of
the Pipes, and had MacArthur, his brother-in-law’s Piper, a frequent guest
at his own seat. Having enlarged,
and much improved the mansion, a grand dinner was given, when every one
praised the elegance of the new
buildings, particularly the dining-room, which was allowed to be in
every respect perfect. (This room is in
what is now called the old castle. Its dimensions are 33 feet by 21, and
15 feet in height; and it is lighted by
four very large windows.) ‘The room and the entertainment are not,”
observed the hospitable proprietor
(Abercairny), “altogether complete; one thing is wanting to render them
so, to some of us perhaps—Charles
MacArthur, to animate the feast with his presence, and with the stirring
notes of his great Pipe.”
***
Neil (1991) relates:
***
The story is told that Abercarney jokingly attempted to embarrass
Niel in public over a five pound loan which he had made to him
and which Niel would repay in music, but had not yet done so.
loan had been made in the opposite direction, by commenting
to the effect that, if Lord Abercarney had not brought the
matter up in the first place, then Niel would not have mentioned it.
***
This from a sketch called “Perth to
Dunkeld,” originally published in 1912:
***
The (horse-racing) grand stand was but half filled, and only three
carriages came. What a change
from the time when James Moray, of Abercairney, the first man who
established fox-hounds in
Perthshire, drove his four-in-hand on the Inch, when he kept the
ordinary in a roar by discoursing
like an old woman in the soundest Scotch, with a table-napkin round his
head, and when he never
flagged with hell or jest till the morning sun had peeped into many a
ball-room.
***
There is, or was, a portrait of James Moray by D.C. Stewart, from which a tartan derives.
***
Hunter (1988) remarks it is "one of the finest elegiac airs in the repertoire." Niel’s third son, Nathaniel, also considered it one of his father’s best slow airs (Baptie, Musical Scotland: Past and Present, 1972). It is often followed by the strathspey “Kilravock” or “Kilrack.” Gow played the piece, among others, for Robert Burns in October 1787 when the latter visited the fiddler in Dunkeld, and the poet used the tune for his song "Where, braving angry winter's storms." It is said to have been Burns’ favorite Gow air, according to Christine Martin (2002). Nigel Gatherer found the following passage in an old book called The Fiddle in Scotland (n.d.) by Alexander G. Murdoch, from an account by Peter Stewart, who accompanied Niel Gow during the Burns visit:
***
Arriving at Dunkeld, [Burns]...put up at the
principal inn...[He] was
fortunate in making the acquaintance of Dr Stewart, an enthusiastic
amateur violin player. At the dinner table he quoted to his guests the
well-known local ditty-
. Dunkeld
it is a little toon,
. An' lies intil a howe;
. An' if ye want a fiddler loon,
. Spier ye for Niel Gow.
Burns expressed much delight at the proposal...a visit was at once
agreed to.
***
The greeting was a cordial one on both sides, and the meeting of Burns
and Gow - both geniuses of the first order in their respective lines -
was mutually worthy of each other. The magician of the bow gave them a
selection of north-country airs mostly of his own spirited composition.
The first tune was "Loch Erroch Side" which greatly delighted the
poet,
who long afterwards wrote for the same melody his touching lyric "Oh,
stay, sweet warbling woodlark, stay!"
At Burns's request, Niel next gave them his pathetic "Lament
for
Abercairney" and afterwards one of the best-known compositions in the
Highlands, "McIntosh's Lament". "Tullochgorum" was also
duly honoured,
after which the whole party adjourned to the little old-fashioned inn
at Inver, where there was a famous deoch, or parting friendly drink.
***
Cape Breton fiddlers sometimes play the tune in the key of ‘A’ major, in “high-bass” tuning, or scordatura ADae.
***
Source for notated version: Peter
Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward
Island) [Perlman]. Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 62, pg. 101. Carlin (Gow Collection), 1986; No. 110.
Collinson (The Traditional and National
Music of Scotland), 1966; pgs. 217‑218. Gow (First Collection of Strathspey Reels), 1784; pg. 3. Henderson (Flowers of Scottish Melody), 1935.
Hunter (The Fiddle Music of Scotland),
1988; No. 9. Johnson (A Further Collection of Dances, Marches, Minuetts and
Duetts of the Latter 18th Century), 1998; pg. 9. MacDonald (The Skye Collection), 1887; pg. 157.
Martin (Traditional Scottish Fiddling),
2002; pg. 112. Neil (The Scots Fiddle),
1991; No. 97, pg. 131. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 205. Stewart-Robertson
(The Athole Collection), 1884; pg.
184. Rounder Records,
Donald Maclellan – “The Dusky Meadow” (2003). Rounder 7057, Jerry Holland –
“Parlor Music” (2005). Rounder
82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House
Sessions of Traditional Cape Breton Music 1956-1977” (2000). Scots Disc
SDL-001, Ron Gonnella – “Scottish Violin Music” (1966). “Natalie & Buddy
MacMaster” (2005).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Neil Gow’s Lament for Abercairny
M:C
L:1/8
R:Slow Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B,|G,>B,D>G E>GD>G|A>B c/B/A/G/ ~E2 E>G|G,>B,D>G EG Dg/e/|
d>G d/c/B/A/ G2G||B/c/|de/f/ ~g>d e>dg>B|ca/c/ Bg/B/ A2 A>B|G,>B,D>G E>G Dg/e/|
d>G d/c/B/A/ G2 G/A/B/c/|de/f/ ~g>d e>dg>B|ca/c/ Bg/B/ A2 AB/c/|
e/d/c/B/
d/c/B/A/ c/B/A/G/ B/A/G/F/|A/G/F/E/ D/E/D/B,/ G,2 G,/C/B,/A,/||
NIEL
GOW'S LAMENT FOR (THE DEATH OF) HIS BROTHER. AKA and see "The Gallowglass,"
"Lumps of Pudding(s) [2]."
Scottish, Air (6/8 time). G Dorian (Jones): A Minor (Johnson): E Minor (Gow).
Standard tuning. AB (Jones): AAB (Gow, Johnson). Attributed by some to Niel Gow,
perhaps because his name appears in the title in the Gow’s 2nd Collection (1788). It was, however, composed by
Niel’s son Nathaniel (1763-1831), and published by the Gows in 1788. It was
confusing even at the time, for poet Robert Burns demurred on the question of
Niel’s authorship, and wrote: "This air is claimed by Niel Gow, who calls
it 'Lament for His Brother'. The first half‑stanza of the song is old,
the rest is mine.' Burns, according to Dick, instructed that the tune's name be
left out of the (Scots Musical) Museum and instead (generically) called
a Gaelic air" (Alburger, 1983). Niel’s brother Donald (whose birth and
death dates are unknown) played the cello and often accompanied Niel for
performances; when he died his place on the instrument was taken by Malcom
McDonald (who published a famous collection of his own). Gow (Second Collection of Niel Gow’s Reels),
1788; pg. 18 (3rd edition). Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised
2000); pg. 19. Jones [ed.] (Complete Tutor
Violin), c. 1815; pg. 20. Claddagh Records CC34,
“The Whistlebinkies 3” (1981). SMD615, Pete Clark – “Even Now.”
X:1
T:Niel Gow's Lament for his Brother.
M:6/8
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.], 2005
K:Bb
U:T=!trill!
U:w=!wedge!
F | DGG TG2 F | GBc dgf | Td2 c (B/c/d)wc | BFF F2 F | DGG G2 F | GBc dgf | dbg fdc | BGG G2 || f |
g2 b fdB | cdf g2 b | f2 d cdc | BFF F2 F | (GB)wF (GB)wF | (GB)wc (dg)wf | (db)wg (fd)wc | wBwGwG G2 ||
X:2
T:Niel Go’w Lament for the Death of his Brother
M:6/8
L:1/8
R:Slow Air
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd edition, pg. 18 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Emin
“tr”E/D/|B,EE “tr”E>DE|FEF {F}d2B|AFA dB/^c/d/B/|(AF).D D2 “tr”E/D/|B,EE “tr”E>DE|
~FEF e2d|”tr”B>AG “tr”A>GF|(BG).E “tr”E2:||(B/4^c/4^d/2)|eBe/f/ ({e/f/}g>)fe|
(de).f “tr”g2 f/e/|({^c/4d/4e/4}d>)^cB AFd/B/|(AF).D “tr”E/D/|B,EE “tr”E>DE|
“tr”FEF e2d|”tr”B>AG “tr”A>GF|(BG).E “tr”E2||
NIEL
GOW'S LAMENT FOR THE DEATH OF HIS SECOND WIFE. AKA and see “Miss
Graham’s Delight.” Scottish, Slow Air (6/8 time). D Major. Standard tuning.
AAB (Cranford/Holland, Gow, Hunter, Johnson, Neil): AABB’ (Perlman). This air
is one of the most celebrated compositions of the famous Scots fiddler and
composer Niel Gow (1727-1807). His second wife was Margaret Urquhart of Perth,
to whom he was happily married for three decades, the wedding having taken
place in 1768. Although all Niel’s children were the issue of his first wife,
Margaret Wiseman, Margaret Urquhart was welcomed by the family and maintained
affectionate relationships with all her stepchildren. Nathaniel Gow’s
(1766-1831) composition “Long
Life to Stepmothers” attests to this.
After her death in 1805 Niel was grief-stricken and stopped playing for
a while, until encouraged to pick up the fiddle again by his family. When he
did so, he produced this air. A note below the air in the Gows’ Fifth Collection
(1809) reads: “They lived together upwards of thirty years; she died two years
before him. She had no issue.”
***
Pulver (1992) is of the opinion that
the lament “is one of the loveliest tunes ever written...it is full of
tenderness, and grace, and beauty.” Gow composed the tune with three turns of
the second part, each with a different ending, “the last one overflowing
sorrowfully into the repeat of part of the first half as though reluctant to
relinquish her memory” (Purser, 1992). Charles Gore points out that the melody
is closely related to the Irish air “Ketty
Tyrrell,” published several times in Scottish collections under its Irish
title and labelled as “Irish.” Perlman (1996) notes that Prince Edward Island
fiddlers play the second part with a condensed ending on the first repeat.
Source for notated version: Peter Chaisson, Jr. (b. 1942, Bear River,
North-East Kings County, Prince Edward Island) [Perlman]. Carlin (The Gow Collection), 1986; No. 551.
Cranford (Jerry Holland: The Second Collection), 2000; No. 318, pg. 114.
Gow (Fifth Collection of Strapthspeys
Reels), 1809; pg. 2. Hunter
(Fiddle Music of Scotland), 1988; No.
19. Johnson (The Kitchen Musician No. 5:
Mostly Irish Airs), 1985 (revised 2000); pg. 19. Neil (The Scots Fiddle), 1991; No. 98, pg. 133. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 207. Purser (Scotland’s Music),
1992; Ex. 7, pg. 205. CAT-WMR004, Wendy MacIssac -
“The ‘Reel’ Thing” (1994). Culburnie Records CUL118D, Alasdair Fraser &
Paul Machlis – “Legacy of the Scottish Fiddle vol. One” (2000). RC2000, George
Wilson – “The Royal Circus” (2000). Redwing Music RWMCD 5410, Abby
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Niel Gow’s Lament for the Death of
His Second Wife
M:6/8
L:1/8
R:Air
C:Niel Gow (1727-1807)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
N:”Slow and Pathetic”
K:D
D/2B,/2| A,>B,D ~D>ED| (EFA)
B2 d| (AFD) (E>DE)| ({DE}F)DB, B,2 D/2B,/2|
A,>B,D D>ED| (EF)A d2 c/2B/2|(AFD) {=C} B,2 A,| B,DD D2:|
(A/4B/4c/2)| (dfd)
(ecA)| (B/2A/2)(B/2c/2)({Bc}d) (B/2A/2)(G/2F/2)(E/2D/2)|
E>DE {DE}F>ED|(FD)B,
B,2|(A/4B/4c/2)|(df)d (ec)A|
(B/A/)(B/c/){Bc}d
(B/A/)(G/F/)(E/D/)|E>DE {DE}FDB,|A,DD ~D2 (A/4B/4c/)|
(df)d
(ec)A|(B/2A/2)(B/2c/2)({Bc}d)
(B/2A/2)(G/2F/2)(E/2D/2)|
(F/2D/2)(A/2F/2)(d/2A/2)
(B/2A/2)(G/2F/2)(E/2D/2)| ({DE}F)EE E2 D/2B,/2|
A,>B,D D>ED| (EF)A d2 c/2B/2|
(AF)D {=C} B,2 A,| B,DDD2||
NIEL GOW’S LAMENT FOR
WHISKEY. AKA and see “Farewell to Whiskey [1].”
NIEL GOW'S RECOVERY. Scottish, Strathspey. C Major (Kerr): B Flat (Gow, Surenne). Standard
tuning. AB (Surenne): AAB (Gow): AABB' (Kerr). Composed by Neil Gow (1727-1807)
and published on a sheet c. 1804. The first strain of this tune compares with
"This is no my ain house,"
according to John Glen (1895). Published on a single sheet by Gow and Shepherd
in 1804, accompanied by the Earl of Eglinton’s “Lady Montgomerie’s Reel,” with
the note: “Danced as a medley at the Queen’s Assembly in George Street the 18th
of January, 1804...” Kerr (Merry Melodies),
vol. 2; No. 100, pg. 13. Surenne (Dance
Music of Scotland), 1852; pgs. 110-111. Ron
Gonella – “A Triburte to Niel Gow.”
X:1
M:C
L:1/8
R:Strathspey
S:Gow & Shepherd single sheet c.
1804
Z:AK/Fiddler’s Companion
K:Bb
E | (D/E/F) (.F.d) (d/c/B/A/) “tr”B2
| (G/A/B) “tr”F>D ECCE | .D.F .F.d (d/c/B/A/) B>F |
(G/A/B) “tr”F>D DB,B, :| (f |
d)fBf dBB(_a | g>)ef>d ecc(f | d)fBf dbb(_a | g>)ef>d dBB(f |
d)fBf dBB(_a | g>)ef>d ecce |
d<f c<d B<e “tr”d>c | B>G”tr”F>E DB,B, ||
NIEL GOW'S REEL [1]. AKA and see “The Boyne Hunt,”
"Highland Skip [2]," "Molly Maguire [2],” “Perth Hunt,” "Perthshire Hunt," “The Popcorn,” “Richmond Hill [2],” “Sailor’s Trip to Liverpool.”
Scottish, Reel. A Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 13. Ryan’s Mammoth Collection, 1883; pgs. 29, 30, 37, 51.
X:1
T:Niel Gow’s
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:A
(F/ | E)C/>E/ A,/>E/C/>E/ |
A,/>EC/>E/ F/>B,/ B,/>(F/ | E)C/>E/ A,/>E/C/>E/ |
d/>f/e/>d/ c/>A/A/>(F/ |
E)C/>E/ A,/>E/C/>E/ | A,/>EC/>E/ F/>B,/ B,/>(F/ |
E)C/>E/ A,/>E/C/>E/ |
d/>f/e/>d/ (c/A/).A/ || d/ | (3c/B/A/e/>A/ f/>A/(3c/B/A/ |
(c/>A/)e/>c/ d/>B/B/>d/
| (3c/B/A/e/>A/ f/>A/(3c/B/A/ | (E>G/)B/>d/ c/>A/A/>d/ |
(3c/B/A/e/>A/ f/>A/(3c/B/A/ |
c/>A/e/>c/ (d/B/)(B/d/) | c/>e/A/>c/ d/>f/B/>d/ |
E/>G/B/>d/ (c/A/).A/ ||
NIEL GOW'S REEL [2]. Scottish, Reel. A Major. Standard tuning.
AABB. The melody appears in Gow’s Complete Repository, vol. 2 (1810).
Source for notated version: a c. 1847 music manuscript book by Ellis Knowles, a
musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]. Plain
Brown Tune Book, 1997; pg. 48.
NIEL GOW'S SECOND WIFE
[1]. AKA and see "Athole Brose," "Loch Erroch Side," "Mr. Macdonald of Staffa's
Strathspey," "Niel Gow's Wife [1],”
“The Watchmaker.” Scottish, Strathspey. G
Minor. Standard tuning. AB. As "Mr. Macdonald of Staffa's
Strathspey," the tune is credited to Daniel McLaren of Edinburgh, a native
of Taymouth, Perthshire, who published it in 1794 (little else is known of
him). Because of the title, the tune is frequently but probably incorrectly
attributed to Niel Gow. Even so, the tune is properly “Niel Gow’s Wife,”
however the title has been altered a bit to accommodate the apocryphal story of
his fiddle being the famous fiddler-composer’s ‘second wife’ in his affections. The association has been made with other
fiddlers as well, and stems from the old saying that the minstrel’s ‘second
wife’ was his harp. A somewhat simplified version appears under this title in
the music manuscript of John Burks, dated 1821, who may have been from the
north of England (photocopy in ed. collection). Kerr (Kerr’s Collection of Reels and Strathspeys), pg. 11. Ron Gonella – “A Tribute to Niel Gow.”
X:1
T:Niel Gow’s
Second Wife [1]
T:Mr.
MacDonald of Staffa’s Strathspey
M:4/4
L:1/8
R:Strathspey
K:G Minor
dz|B<GG>B
A<FF>A|B<GG>B B>ABg|B<GG>B A<FF>A|B<Bc>B FBBc|
B<GG>B
A>FF>A|B>GG>B B>ABg|B<GG>B A>FF>A|B<Bc>B
FBBd||
B<Bd>B
f>Bd>B|F<FA>F c>FAc|B<Bd>B f>Bd>f|g>gb>g
d<gg>b|
f<ddd>f
e<cc>e|d<BB>d B>AB>F|G<G B2 c<cd>c|B<GB/A/G/F/
D<GGz||
NIEL GOW’S SECOND WIFE
[2]. AKA and see “Niel Gow’s Recovery.” Scottish. Kerr (Kerr’s Collection of Reels and Strathspeys),
pg. 11. Ron Gonella – “A Tribute to Niel Gow.”
NIEL
GOW'S STRATHSPEY. Scottish, Strathspey. AKA and see
"Jack at the Helm"
(Shetland) {?}. Scottish, Strathspey. A Major (Gow/Repository, Johnson/Petrie,
Skye): D Major (Gow/Carlin). Standard tuning. AAB (Johnson/Petrie): AABB
(Carlin, Gow, MacDonald). Composed by Duncan MacIntyre, an expatriate Scots
dancing master who taught in London. MacIntyre spent some years in India
(probably as a Master of Ceremonies to the Governor‑General's Court), and
died about 1806. “Niel Gow’s” is the air for Robert Couper Esq., M.D.'s song
"Kinrara; or, Red Gleams the Sun." Source for notated version: Robert Petrie’s Third Collection of Strathspey Reels (1800), where it is attributed
to Macintyre [S. Johnson]. Carlin (Gow
Collection), 1986; No. 196. Gow (Complete
Repository), Part 2, 1802; pg. 24. S. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 34. MacDonald
(Skye Collection), 1887; pg. 5. Rounder 7059, Alex Francis MacKay with Gordon MacLean –
“Gaelic in the Bow” (2005).
X:1
T:Niel Gow’s Strathspey
M:C
L:1/8
R:Strathspey
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
f | e<cae f<B B>f | e<c
a>e f2 (fg) | a/g/f/e/ a>e f<B B>g | a>f e<c A2A :|
|: E | A<A c>A B<F ~F>B
| A<A c>e a>e f<a | e>a c<a B<F ~F>g | a/g/f/e/ a<c
A2A :|
NIEL GOW'S STYLE ("Stoile Neill Ghobha" or "Staoileach
Neill Ghobha"). Scottish, Strathspey. B Minor. Standard tuning. AB (Hardie): AAB
(Fraser): AABB (Alburger). Composed by Captain Simon Fraser. This tune "is
merely Niel Gow's sprightly style imitated by the editor, in which his friends
are pleased to say he has made a happy effort" (Fraser). Perhaps not‑‑Collinson
(1966) calls the tune a "rather poor parody" of its inspirer.
Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 99, pg. 164. Fraser (The Airs
and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874;
No. 149, 60. Hardie (Caledonian Companion),
1992; pg. 91.
X:1
T:Niel Gow’s Style
T:Stoile Neill Ghobha
M:C
L:1/8
R:Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
a|f<B f>e f>B B<a|f<B f>e a>c c<a|f<B f>d e>cd>B|A>F E<A C>A,A,a|
f<B f>e f>B B<a|f<B f>e a>a a<a|f<B f>d e>cd>B|A>F E<A C>A,A,:|
C|B,/F/B DB F<B, B,<D|B,/F/B DB A>A, A,<C|B,/F/B DB F<B d>B|A>F E<A C>A, A,>C|
B,/F/B DB F>B, B,<D|B,/F/B DB A>C, A,<C|B,/F/B
DB F>B d<f|a/^g/f/e/ a>e cAA||
NIEL GOW'S WIFE [1]. AKA and see "Athole Brose,"
"Loch Erroch Side,” "Mr. Macdonald of Staffa's
Strathspey," "Niel Gow's
Second Wife [1]," “The Watchmaker.”
Scottish, Strathspey. G Minor (Athole, Cole, Kerr, Skye, Surenne): A Minor
(Williamson). Standard tuning. AB (Surenne): AAB (Athole, Cole, Gow, Kerr,
Skye): AA'BB (Williamson). Under the title "Mr. Macdonald of
X:1
T:Neil Gow’s Wife
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
d|B<G G>B A<F ~F>A|B<G G>A B>A B<g|B<G G>B A<F F>A|~B2 d>B F<BB:|
d|B<B d>B f>Bd>B|F<F A>F c>FA>c|~B2 d>B f>Bd>f|g<g b>g d<g g>b|
f<d
d>f e<c c>e|d<B B>d c<B A>F|G<GB<B c<c
d>c|B>G B/A/G/^F/ D<GG||
NIEL GOW'S WIFE [2]. English, Reel.
NIGGER… This offensive term for African-Americans
crops up from time to time in American music. The titles are included here for
completeness and for cross-referencing, and are by no means an endorsement of
their use—in fact there are usually very acceptable alternate titles that are
historically valid. Mark Wilson (2001)
says that the use of the word sometimes indicates that they were once played by
African-American musicians, as is the case with the tune “N....r Winder”
(“Portsmouth Winder”), and thus can provide some clues into African-American
fiddle (and banjo) traditions, largely vanished.
NIGGER AND THE WHITE
MAN. AKA and see "Seven Up." Old‑Time, Breakdown.
***
Nigger and the white man playin' seven up,
Nigger won the money and afraid to pick it up.
***
Thede (The Fiddle Book), 1967; pg. 68.
NIGGER BABY. Old‑Time, Breakdown.
NIGGER EAT THE SUGAR. Old‑Time, Breakdown.
NIGGER FEVER [1]. See “Muddy
Weather,” “N....r Weather.”
NIGGER FEVER [2]. Old-Time, Breakdown. F Major (‘A’ part) & B
Flat Major (‘B’ part). From the repertoire of Vee Latty. The first strain is
similar to the verse of the song “One Little Story that the Crow Told Me,”
while the second strain is “Don’t You Cry Melinda.”
NIGGER IN THE COTTON
PATCH. AKA and see "The Cotten Patch," "N....r in/on the Woodpile [1]"
(?). Old‑Time, Breakdown. Tune mentioned in an account as having been
played in a 1922
NIGGER IN THE PEA
PATCH. American, "Jig" (4/4
time). D Major. Standard tuning. AB.
The title appears in a list of traditional
NIGGER IN THE TREETOPS. AKA and see “Coon in the
Treetops.”
NIGGER IN/ON THE
WOODPILE [1]. AKA and see "In the Woodpile [1]," "Wood Pile Jig," "The Cotten Patch," "Nigger in the Cotton Patch." AKA -
- “The Woodpile Tune.” American, "Jig" (2/4 time). D Major. Standard
tuning. AABB (Cole): AABB' (Kerr). The tune has been credited to American
black-face minstrel Dan Emmett,
X:1
T:N….. in de Wood Pile [1]
M:2/4
L:1/8
R:’Straight’ Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
({^G}A) | z/A/F/D/ ED | z/d/f/d/
e/d/z/({c}d/) | z/A/F/D/ ED/F/ | G/>B/A/>F/ D ({^G}A) |
z/A/F/D/ ED | z/d/f/d/ e/d/z/({c}d/)
| z/A/F/D/ ED/F/ | G/>B/A/>F/ D :: (3A/B/c/ |
defg | f/B/~B f/B/~B | d/e/f/^g/ |
a/>e/f/>d/ c/>e/A | defg | f/B/~B f/B/~B |
(a/>.b/)(g/>.a/)
(f/>.g/)(e/>.c/) |1 (d/>.f/)(e/>.d/) c/A/ :|2
(d/>.B/)(A/>.G/) F/D/ ||
NIGGER IN THE WOODPILE
[2]. AKA and see "Miss
McLeod's/MacLeod’s Reel [1]." American, Reel.
NIGGER IN THE WOODPILE
[3]. Old-Time, Breakdown.
NIGGER JIM. AKA and see "Jimmy King."
American, Reel.
NIGGER ON THE
NIGGER ON THE WOODPILE
[1]. See "N....r in the Woodpile."
NIGGER ON THE WOODPILE
[2]. AKA and see "The Squirrel Hunters",
"Squirrel Hunting", "The Pennsylvania Quickstep [2]".
Old‑Time, Breakdown.
NIGGER
RAN OFF WITH THE WHITE MAN'S WIFE. AKA – “Miscegenation.” Old‑Time,
Breakdown.
X:1
T:Nigger Ran Off with the White
Man’s Wife
T: Miscegenation
M:2/4
L:1/8
S:Liz Slade
Z:Transcribed by Andrew Kuntz
K:G
D/(E/G/)A/ (B/A/)B/(B/|A/)(D/G)
(G/[GB])(A|B)/A/B/(B/ d/A/)B/(B/|
A/)[GB][G/B/]
[G/B/][G/A/][G/B/]G/|D/(E/G/)A/ (B/A/)B/(B/|A/)(D/G) (G/[GB])(A|
B/A/B/B/ d/A/B/B/|A/[GB][G/B/]
[GB]d||(e/e)(e/ e)(e|e/)(e/g) d>(A|
B/)A/B/B/ d/A/B/B/|A/[GB][G/B/]
[GB]d|( e/e)(e/ e)(e|e/)(e/g) d>(A|
B/A/B/B/ e/A/B/B/|A/[GB][G/B/]
[G/B/]A/[G/B/]G/||
NIGGER SICK. AKA and see "N…..y Sick," "Neeky Seeky." Old‑Time,
Breakdown.
***
Nigger sick and nigger dead,
Nigger had a wooly head;
Nigger sick and nigger dead,
Devil take his curly head. (Bayard‑H. White)
***
Nigger sick and nigger die;
Nigger eat a chicken pie. (Strosnider)
***
Sources for notated versions: George
Strosnider (elderly fidder from
NIGGER STOLE A PUMPKIN. Old‑Time. The title appears in a list of traditional
NIGGER SUPPERTIME. Old-Time, Breakdown. From the
playing of the Nations Brothers.
NIGGER TAKE A DRAM. See "I'd Rather be a
Nigger Than a Poor White Man."
NIGGER
TRADER BOATMAN. AKA – “Trader Boatman.” Old-Time,
Breakdown. Mike Yates (2002) suggests this tune is a distant relative of Emmett
Lundy’s “Julie Ann Johnson.” His
source, Pug Allen of Stuarts Draft, Augusta County, Va., learned the tune ‘way
back’ from his father, and recalled these words sung to the tune:
***
Nigger trader boatman, now mammy don’t you cry.
Hug and kiss you ‘fore I go, and call you honey
pie.
***
When I was a little boy about six inches high,
I used to climb the table leg and steal my
mammy’s pie.
***
Great big hog into the pen, corn to feed him
on,
All I wants a pretty little girl, to feed him
when I’m gone.
***
The
last verse is a floating verse and appears in several tunes. Yates says that
Glen Neaves’ version has more content about the slave trade. Folkways LP3830, Glen Neaves and the
NIGGER WEATHER. See “Muddy
Weather.”
NIGGER WINDER. AKA and see “Portsmouth Winder.”
NIGGER'S DELIGHT. AKA and see "Wine's Delight."
NIGGER'S WEDDING, THE. AKA
and see "Day's Wedding."
Old-Time, Breakdown.
NIGHEAN BHUIDH
BHOIDBEACH. AKA and see "Golden Locks."
NIGHEAN BODACH AN
ROAINAITINN. AKA and see "Rinettan's Daughter."
NIGHEAN DONN (The Brown-Haired Daughter). Scottish, Reel. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire”
(2000).
NIGHEAN DONN A BUAIN
NIGHEAN DONN AN
T-SUGRAIDH.
AKA and see "Maiden Fond of Mirth."
NIGHEAN DONN
NIGHEAN DONN RO
BHEADARACH. AKA and see "The Darling."
NIGHEAN DUBH ALASDAIR. Scottish, Strathspey. A Dorian/Mixolydian. Standard tuning. AAB.
Stewart-Robertson (The Athole Collection),
1884; pg. 29.
X:1
T:Nighean Dubh Alasdair
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
a|A/A/A A>B =c>AB>d|e>AA>B d/c/B/A/ =G>B|A/A/A A>B =c>AB>d| eAAB =GEE:|
a|g<e e>g d>ed>B|=g<e e>f g>ab>a|=g<e e>g d>ed>B|e<A A>B =G<E E>a|
=g<e
e>g d>ed>B|=g<e e>g gaba|=g<be<g d<gB<b|e<A
A>B =GEE||
NIGHEAN DUBH
X:1
T:Nighean Dubh
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
e|g>ed>g BBG>B|d2ed B2Bd|gedg BBG>B|d2e>d BAA:|
|:B|dGdB
dGdB|dGdB ceAe|dGBG dega|gedB BAA:|
NIGHEAN
NIGHEAN THORMAID. AKA and see "Macleod's
Daughter."
NIGHT AT THE FAIR, A (Oidce Ag An Aonac). AKA and see “Night of the Fair.” Irish, Jig.
X:1
T:Night at the Fair, A
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
A|B2A GED|EGG G2A|BGG dGG|BAA
ABc|B2A GED|EGG G2A|BGB Adc|BGG G2:|
|:d|egg eaa|egg ged|edB AGA|BAA
A2d|egg eaa|egg ged|ced cBA|BGG G2:|
NIGHT BEFORE LARRY WAS
STRETCHED, THE (An Oidce Roime
Crocad Lamrais).
AKA and see “To the
hundreds of Drury I write.” Irish, Air (9/8 time, "with spirit").
G Dorian. Standard tuning. AB. The song is a member of a group of ‘Execution
Songs’ written in the 1780’s in Newgate (prison) Cant or Slang Style in the
1780s. It begins:
***
Oh the night before Larry was stretched
[i.e., hanged]
The boys they all paid him a visit,
A bait [food] in their sacks too they fetched,
For they sweated their duds [pawned their clothes]
till they ris it [rose it, i.e., got the money].
For Larry was ever the lad
When a boy was condemned to the squeezer [noose]
Would fence [sell] all the duds that he had
For to help his poor friend to a sneezer [drink?]
and warm his gob [mouth] 'fore he died.
***
There were numerous other satirical
or comical ballads written to the tune. Source for notated version: the tune
was transcribed for O’Neill by
X:1
T:The night before Larry was
stretched
S:Frank Harte
M:6/8
L:1/8
Z:transcribed by Paul de Grae
K:DDor
c2 B|ADD DED|C3 z EG|ADD DEG|Ac2-c2
B|
ADD DED|C3 z EG|ADD EDC|DD2-D2 G|
Add ded|c3 z GG|Add ded|cAc-c2 G|
Add ded|c3 c2 B|ADD DEG|Ac2-c2 z|
X:2
T:Night Before Larry was Stretched,
The
M:9/8
L:/8
B:”O’Neill’s 39”
N:”With spirit” “collected by
J.O’Neill”
Z:”Transcribed by Norbert Paap, norbertp@bdu.uva.nl”
K:Bb
d/2-c/2|B>AG GDG G2B|A>GF FCF
ABc|B>AG GCG G2B|A>Bc cdB AGF||
B>cd ded f2d|B>cd d=ef
_ecA|B>cd ded d2d|edc cdB ABc|BAG AG^F G2||
NIGHT CAP [1], THE (An Biread Oidce). AKA and see “Judy Callaghan’s Jig.” Irish, Double
Jig. G Major (O’Neill): D Major (Treoir).
Standard tuning. AABB. Captain Francis O’Neill first published this tune in
1903, based on his own recollection of hearing it played in his childhood in
X:1
T:Night Cap, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
G/A/|:Bcd d2c|Bcd dBG|cee e2d|cee
ecA|Bdd d2c|Bdd dBG|GBd e2d|gBG A2G:|
|:BGG dGG|BGB dcB|cAA eAA|cAe
edc|BGG dGG|BGB dBG|GBd e2d|gBG A2G:|
X: 2
T: Night Cap (The)
S: Treoir 32/3
M: 6/8
L: 1/8
Q: 325
Z: Transcribed by Bill Black
R: jig
K: D
D |: FAA A2 D | FAA AFD | GBB B2 D | GBB dBA |
FAA A2 D | FAA AFD | FAA d2 B | AFF E2 D :|
FED ADD | BAF ADD | FED ADD | BAG FED |
FED
ADD | BAF ADD | FAA d2 B | AFF E2 D :|
NIGHT CAP [2], THE. Scottish, Jig. A Major. Standard tuning. ABB'.
Kerr (Merry Melodies), vol. 3; No.
224, pg. 26.
X:1
T:Night Cap, The [2]
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 224
Z:AK/Fiddler’s Companion
K:A
c2 c cBc|A2E E2C|A,CE A2c|B2e
e2d|c2c cBc|A2E E2A|FBA GcB|(A3 A2)e||
|:e2c cde|f2a a3|1 e2c cBA|GBA
GFE:|2 efe dcB|(A3 A2)z||
NIGHT CAP [3], THE. English, Country Dance Tune (6/8 time). C
Minor. Standard tuning. AABB. Barnes (English
Country Dance Tunes), 1986.
NIGHT DANCE, THE. AKA and see “Fitzpatrick’s Jig,” “Jackson’s Night Cap,” “The Piper’s Welcome,” "Strike the Gay Harp," “Strike the Young Harp.” Irish,
Double Jig. C Major. Standard tuning. AABBCC. O'Neill (Dance Music of
X:1
T:Night Dance, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:C
c>AA B>GG | AGF E>DC |
c>AA B>GG | cGE DEG | c>de A>Bc | GAF E2D |
C>CC C2E | GEC DEG :: cde efg |
gag gec | cde efg | afd dBG | cde g2g | af/g/a/g/ g2f|
e>dc ced | cGE DEG :: ced | cGE
DEG | cde A>Bc | GAF E2D | C>CC C2E | GEC DEG :|
NIGHT I MARRIED SUSIE, THE. AKA and see "St. Patrick was a Gentleman [3],"
"Billy O'Rourke's
the Buachaill [1]," "An Bothar o thuaidh go dti
Arainn" (The South Road to Aran), "Beidh ril againn." The tune
appears under this title in the Forde collection, pg. 330. See also the related
tunes "Ballahaboy Fair,"
"Arra Kitty be easy," "Tristram Shandy."
NIGHT I SPENT DOWN AT BRADY’S, THE. Irish, Jig. G
Major. Standard tuning. AABBCC. O’Brien (Irish
Folk Dance Music).
X: 1
T: The Night I Spent Down at Brady's
S: J. O'Brien: "Irish Folk Dance
Music"
M: 6/8
L: 1/8
Q: 325
R: jig
Z: Transcribed by Bill Black
K: G
D | D2 G GFG | ABc d2 e | =fef ded | cAG =FDC |
D2 G GFG | ABc d2 e | =fed BA^F | G3 G2 :|
f | gfg def | gfg a2 g | =fef ded | cAG =F2 f |
gfg def | gfg a2 g | =fed cA^F | G3 G2 :|
f | gfg def | gfg a2 g | =fef ded | cAG =FDC |
DGG
GFG | ABc d2 e | =fed cA^F | G3 G2 :|
NIGHT IN ENNIS, A. AKA and see “The Ashplant [2],"
“Coleman’s (Reel) [2]," “Dennis Murphy’s Favourite,” Dicky Sherlock’s Reel,” “Jim Kelly’s [2]," “John Brennan’s Reel [2],” “Maguire’s (Reel),” “Matt Molloy’s [2],” “Packie Duignan’s Reel,” “Tipperary Fancy.” Irish, Reel. Named for
the various players who were the sources of the tune for others.
NIGHT IN
NIGHT OF FUN, THE. AKA and see “Dublin
Boy’s Jig.” Irish (?), Slip Jig. E Minor. Standard tuning. AABB. See the
"The Old Dutch Churn,"
"The Splashing of the
Churn [2]," “Night of the Fun [2],”
“Fig for a Kiss [1]” family of
tunes. Ryan also prints the tune under the title “Night of Fun,” points out
Paul de Grae, who says the tunes are in fact a combination of the ‘A’ part of
“Fig for a Kiss” with the ‘B’ part of “Dublin
Streets.” Cole (1000 Fiddle Tunes),
1940; pg. 64. Ryan’s Mammoth Collection,
1883; pg. 93.
X:1
T:Night of Fun, The
M:9/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Emin
G2B E2B BAG | F2A D2F AGF | G2B E2B
BAG | BdB AGF E2z | G2B E2B BAG |
F2A D2F AGF | G2B E2B BAG | BdB AGF
E2z :: e2f g2a baf | f2d d2f afd | e2f g2a baf |
f2d afd e2B | e2f g2a baf | f2d d2f
afd | g2e f2d e2c | d2B AGF Ezz :|
NIGHT OF THE FAIR. AKA and see “Night at the Fair.”
Irish, Jig. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB.
Composition credited to one H. Carey by
Ryan’s Mammoth Collection (1883).
Cole (1000 Fiddle Tunes), 1940; pg.
69. Ryan’s Mammoth Collection, 1883;
pg. 99.
NIGHT OF THE FUN [1]. AKA and see "Maid(en) on
the Green." Irish, Air or Slide (12/8 time). C Major/A Minor. Standard
tuning. One part. A version of "Maid on the Green." Stanford-Petrie (Complete Collection), 1905; No. 564, pg.
143.
X:1
T:Night of the Fun, The [1]
M:12/8
L:1/8
S:Stanford/Petrie (1905), No. 564
Z:AK/Fiddler’s Companion
K:C
cBc A2G EAA GED | ECC GCC EDD DEG |
cBc A2G EAA GED |
DCC GCC EDD DEG | cGc ABc Gdc BAG |
cBc Adc BGG G>cd |
Ece dBd cAc A2G | E>AA GED DCC C2
||
NIGHT OF THE FUN [2], THE. AKA and see "Cailin Lasa Sal Roc," "The Dublin Boys," "Dublin Streets," "A Fig for a Kiss [1]," "Gaire na mBan," "Gliogar an Mheadair,"
"Gurgling of the Churn," "Humours of Bottle Hill,"
"Milk the Churn," "The Old Dutch Churn," "The Splashing of the Churn [2],"
"Two in a Gig." Irish, Air (9/8
time). E Dorian. Standard tuning. AB. Joyce records the melody is a “song
tune.” Joyce (Old Irish Folk Music and Song), 1909; No. 700, pgs. 350‑351.
Kennedy (Fiddler’s Tune-Book: Slip Jigs
and Waltzes), 1999; No. 52, pg. 12.
X:1
T:Night of the Fun, The [2]
M:9/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Song, No. 700 (1909)
Z:AK/Fiddler’s Companion
K:Edor
E2d BGE BGE | E2B AFD AFD | E2d BGE
BGE | ({B/c/}d2)B AGF E3 ||
e2e f2g afd | d2d d2e fdB | e2e f2g
afd | B2A Bcd e3 | e2e f2g afd |
d2d d2e fdB | a2f
NIGHT OF THE FUN [3], THE. AKA and see "Mall Rua," "Moll Roe in the Morning,"
"Ditherum Doodle," "Though late was I plump,"
"One Bumper at Parting,"
"Jig an da Thuistiun,"
"Come Under my Dimity,"
"Late on a Saturday Night,"
“Night of Fun,” "B'fhearr
liomsa ainnir gan guna," "Munsterman's Flattery."
NIGHT OF THE FUN [4]. See note for “O’Connell’s Reel [2].”
NIGHT OF THE WEDDING, THE. AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “Fond of the Ladies,” “The Frolicksome Dame,” “A Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,”
“Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “O’Mahony’s
Jig,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche),
“Sweet Biddy Daly,” “To the Ladies.”
NIGHT PIECE. See "Nightpiece."
NIGHT THE WEDDING WAS, THE (An Oidhche a bha Bhainis ann). AKA and see “The Lea Rig.”
NIGHT THE WHISKEY
FROZE, THE. American, Jig.
NIGHT WAS CALM, THE (Do Bi An Oidce Cuin). Irish, Slow Air (2/4 time). E Minor
(?). Standard tuning. One part. Source for notated version: attributed to
Chicago Police Sergeant James O’Neill, a fiddler originally from
X:1
T:Night Was Calm, The
M:2/4
L:1/8
R:Air
S:O’Neill – Music of
N:”Slow”
Z:AK/Fiddler’s Companion
K:E Minor
G/A/4B/4|c>e dc|B>A
GE/D/|E>F GG|G3 B/d/|e>e dB|gB AG/A/|B>c BG|A3 B/d/|
e>e dB|gB AG/A/|B>c BG|E3
E/G/|A>B cA|B>A GE|D>
NIGHT WATCH [1], THE. English, Air or Waltz. C Major. Standard
tuning. AB. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 207.
NIGHT WATCH [2], THE. English, Country Dance Tune (cut time). G Major. Standard tuning.
AABBCC. The melody (an almaine) appears in a publication by English composer Anthony Holborne (1545?-1602)
set for viol consort. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 5 (appears as “Arlington Assembly,”
the name of a dance composed by Philipe Callens in 2000, set to the tune).
NIGHT WE HAD THE GOATS, THE. AKA and see "(An) Oidhche Bha Na Gabhair
Againn."
NIGHT WE MADE THE
MATCH, THE (An Oidce Do
Rinneamar An Reite/Cleamnas). Irish, Hornpipe. A Mixolydian. Standard tuning. AABB. Hans Nathan, in
his book about the American minstrel Dan Emmett, asserts that strains from this
tune contributed to the formation of the popular tune "Hell on the Wabash" (Bayard,
1981, pg. 352). O'Neill (Krassen), 1976; pg. 182. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1636, pg. 304.
O'Neill (Dance Music of
X:1
T:Night We Made the Match, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
a2|a2 AB cBAB|cdec A2 ef|=g2 GA
BAGA|BcdB =GBdg|
a2 AB cBcd|edef =gedB|cdeg aefd|cABG
A2:|
|:AB|ceef edcA|ceef e2 dc|Bdde
dcBd|Bcde dcBd|
ceec BddB|cABG ABcB|Aceg aefd|cABG
A2:|
NIGHT WE PAID THE RENT, THE. Irish. Bayard (1981) states this tune is a
version of "Hell on the
Wabash [1]."
NIGHTENGALE [1], THE. See "Hanged Man's Reel."
NIGHTINGALE (CLOG) [2]. AKA and see "Parkersburg
Landing" (Ed Hayley), "Mason‑Dixon Schottische,"
"Acrobat's Hornpipe [1],"
“Evening Pleasures
Schottische,” "Peacock Rag,"
“Rustic Dance--Scottische [3],”
“Starlight Clog,” "Limber Neck Blues." American, Clog. F Major. Standard tuning.
AABB. Al Smitley suggests the tune may have been named for the clipper ship Nightingale, a name that appears in American Clipper Ships 1833-1858 by Howe
and Matthews. An adaptation of “The Nightingale" became known as the
"Acrobat's Clog" when entrepreneur and circus owner P.T. Barnum began
using it as a theme for his acrobats. Cole (1000
Fiddle Tunes), 1940; pg. 117. Ryan’s
Mammoth Collection, 1883; pg. 155. Great Meadow Music GMM 2002, Rodney Miller & David
Surette – “New Leaf” (2000).
X:1
T:Nightingale
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(3AB=B | c>af>d (3c=Bc (3dcA |
B>bg>d B2 (3GAB | c>eg>e b>ge>c | (3fag (3fed (3cFG (3AB=B |
c>af>d (3c=Bc (3dcA | Bbg>d
B2 (3GAB | c>eg>e b>ge>c | f>ca>g f2 :|
|: A>^c | (3dAd (3fdf
a>fd>A | (3^cAc (3ece g>fe>d | ^c>bg>e c>_BG>A | (3FDF
(3AFA d>AB>=B |
c>af>d (3c=Bc (3dcA |
B>bg>d B2 (3GAB | c>eg>e b>ge>c | f>ca>g f2 :|
NIGHTINGALE [3], THE. American, Reel.
NIGHTINGALE [4], THE. English, Scottish; Jig. G Major. Standard
tuning. AABB. This old air about the
NIGHTENGALE [5], THE. English, Morris Dance Tune (6/8 time). G
Major. Standard tuning. AABB. The tune, collected from the Cotswold
NIGHTINGALE [6], THE. AKA and see “Dan Dowd’s,” “Dowd’s,” "Seán Ryan's," "O'Dowd's (Jig),” “Pat Lyons’." Irish, Jig. A Minor.
Standard tuning. AABB (Harker/Rafferty): AABB’. Composed by
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:The Nightingale [6]
M:6/8
L:1/8
R:Jig
Z:Dennis Gormley
K:Am
G|EAA A2B|cAB cAG|EDE GBG|DGG GEA|
|EAA A2B|cAB cde|gag ege|gBG A2:|
|:a|aea aef|gef ged|aea aef|1 gef g3
aea aef|gef g3|gag ege|dBA G2:|2 gfe
def
gbg faf|ege def|gag ege|dBG A2|
NIGHTINGALE [7], THE. English (?), Air ? (2/4 time). G Major. Standard tuning. AABBCCDDEE. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 58.
X:1
T:Nightingale, The [7]
M:2/4
L:1/8
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
AAA :: d3^c | d3 ^c | df (a/g/f/e) | dd d(e/f/) | g3d | B3d | BA/G/ B/G/B/d/ |
ggg :: {c}d2 {c}d2 | {c}d2 {c}d2 | {c}d{c}d {c}d{c}d | {c}d{c}d {c}d2 |
G/B/d/B/ G/B/d/B/ | G/B/d/B/ G/B/d/B/ | cd e/d/e/f/ | ggg :: “tr”(d4 | “tr”d4 |
“tr”d4 | “tr”d4) | B/G/c/d/ B/G/c/d/ | B/G/c/d/ B/G/c/d/ | cd e/d/e/f/ | ggg :|
|:
.B.c.d.e | .d.^c.d.B | .A.B.c.d | c.B.c.A | .B.c.d.e | .d.c.d.B | .c.d.e.f |
ggg :|
NIGHTINGALE WALTZ, THE. Old‑Time, Waltz. The title appears in a
list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954.
NIGHTINGALE’S PRELUDE, THE (Profiad Yr Eos Brido). Welsh. From the Robert Ap Huw
manuscript (a manuscript of bardic music of Wales from the Renaissance and
Middle Ages, now housed in the British Museum), deciphered by Arnold Dolmetsch.
Ap Huw was a harpist who lived in the time of Elizabeth I and James IV. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy
Ngwlad/The Sweet Harp of My Land” (1996).
NIGHTPIECE, THE. AKA and see "Dance of Death," "Shaking of the Sheet(s) [1]."
English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABBB'
(Barnes): ABBB (Sharp). Published by Playford in his English Dancing Master (1651). Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 37 (a facsimile copy of
Playford’s printing). Sharp (Country
Dance Tunes), 1909/1994; pg. 65.
X:1
T:Nightpiece, The
L:1/8
M:6.8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companon
K:D
f2d a2f|d2A d f2|e g2 f>ed|cef
g2a|f2d a2f|d2A d f2|e g2 f>ed|cef g2||a|
|:bga gaf|efd e2A|ddc ddA\fe>d
d2:|bga gaf|efd e2A|ddc ddA\fe>d d2||
NIGHTS OF GLADNESS. Irish, Quadrille. A version of “Johnny Cope [2].” 5 Parts:
1)
D
Major. ABC.
2) G Major ('A' and 'B' parts) &
D Major ('C' part). ABCBC.
3) D Major. AB, Trio.
4) G Major. ABCBC.
5) G Major ('A', 'B', 'C', 'D', and 'F'
parts) & D Major ('E' part). AABBCDBBCDEF.
Roche Collection, 1982, Vol. 3; No. 196, ps. 73‑74.
NIGHT'S PAST AND GONE, THE. Irish, Air (6/8 time, "lively, but not
too fast"). D Dorian. Standard tuning. AB. Source for notated version:
"Joe Martin: about 1852" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 50, pgs. 27‑28.
X:1
T:Night’s past and gone, The
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Ddor
A|A2d def|edc A2G|A2d def|gfe
d2A|A2d def|edc ABc|BAG A2F|D2D D2||
D|DFA ABc|BAG A2F|DFA ABc|d2A
F2E|DFA ABc|BAB cBc|dcB AFE|D2D D2||
NIKOLINA. Scandinavian-American. This tune, by far the best known
Scandinavian-American tune, was composed by Olle i Skratthult, and was recorded
for Columbia Records (E 3494) in 1917.
NI'L AON AIRGIOD AGAM. AKA and see "I Have No Money."
NIL SE INA LA (It is not day yet). Irish, Air (3/4 time). D Major. Standard
tuning. One part. Cranitch (Irish Fiddle
Book), 1996; pg. 36.
NIMBLE FINGERS [1]. American, Reel. C Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 44. Ryan’s Mammoth Collection, 1883; pg. 71.
X:1
T:Nimble Fingers [1]
M:C|
L:1/8
R:Reel
B:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
C2 (EC) (cC)(EC)|FEDE FDdD|EDCD
EFGE|FDGE C2C2|
C2 (EC) (cC)(EC)|FEDE FDdD|EDCD
EFGE|FDGE C2C2||
e2 (dc) e2 (dc)|dcBc defd|e2 (dc)
AcGc|edcB c2c2|
e2 (dc) e2 (dc)|dcBc defd|ecdB
cABG|AFGE FEDE||
NIMBLE FINGERS [2]. Scottish, Reel. A Major. Standard tuning. AABB. Composed in 1926 by
Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated
to a blind pianist from Aberdeen named Miss Carr. Cape Breton fiddler Joe
MacLean recorded the melody on an early 78 RPM disc. Paul Cranford (1997) notes
the tune was meant to be played as a listening tune at something slower than
dance tempo, but that Winston Fitzgerald ‘smoothed out’ some of the ending
arpeggios and chromatics to enable him to play it for dances. Source for
notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 96, pg. 40. Henderson (Flowers of Scottish Melody), 1935.
NIMBLE FINGERS [3]. Irish, Jig. “Composed” by Tipperary
fiddle player Seán Ryan (d. 1985). It is, however, the last two parts of the
jig “Gold Ring [3]" as recorded by Paddy Killoran in 1937. Ryan
(Seán Ryan’s Dream), 24.
NIMROD HORNPIPE. See "Nymrod Hornpipe."
NINA'S JIG. American, Jig. USA, New Hampshire. B Minor. Standard tuning. AABCC.
Composed by New Hampshire fiddler Harvey Tolman. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs.
18‑19.
NINE MILE [1].
Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AA’BB’.
Source for notated version: Gene Goforth (1921-2002, High Ridge, near St.
Louis, Missouri), learned from his father, Richard “Dink” Goforth [Beisswenger
& McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg.
46. Gene Goforth – “Strike Up the Bow.” Rounder CD
0435, Gene Goforth – “Traditional Fiddle Music of the Ozarks, vol. 1” (1999).
NINE MILE [2].
Old-Time, Breakdown. USA, Missouri. G Major. DDad tuning. AA’BB’. Drew
Beisswenger (2008) points out the first strain is similar to “Nine Miles Out of Louisville” (as
fiddled by Kentucky’s Buddy Thomas), but suspects it may be an older version
due to the cross-tuning. Source for notated version: Howe Teague (1913-2005,
Dent County, Missouri), learned from Roy Wooliver [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 148. Rounder CD 0435, Howe Teague – “Traditional Fiddle Music of
the Ozarks, vol. 1” (1999. Various artists).
NINE MILE DOWN TENMILE. American. USA, Pennsylvania. Bayard (1981) mentions a tune by this
title, but said it was not played for him. There is a Tenmile Creek (or Run) in
NINE MILES OUT OF LOUISVILLE.
Old‑Time, Breakdown. USA;
northeast Ky. G Major. Standard tuning. AABB. See also note for “Nine Mile [2].” Source for notated version: Buddy
Thomas (Ky.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 165. Rounder
0032, Buddy Thomas (N.E. Ky.) ‑ "Kitty Puss: Old‑Time Fiddle
Music From Ky." Rounder CD 0380, Roger Cooper - "Going Back to Old
Kentucky" (1996. Same version as Buddy Thomas’).
NINE NIGHTS
AWAY/AWA, WELCOME HOME/HAME MY DEARIE. AKA and see "Welcome Home My Dearie [1].”
In 1893 Robert Burns tried to obtain John French's (1753‑1803) set of
this tune via the town provost.
NINE-PINS (NINEPINS) [1]. AKA and see "Cats in the Village." English, Jig. G Major. Standard tuning. ABC. Ninepins is a game similar to bowling, and although there are various rules and procedures for the game, it is generally played with hand-sized balls and a set of nine slender pins arranged in a diamond pattern. The game was popular in Europe for several hundred years before being imported to the New World in the 1600’s where it was a favorite with early Dutch and German settlers. Ninepins could even be found in Puritan communities despite the elders’ consistent objections to such pleasurable activities. The game of ninepins was a popular betting game, too popular for some lawmakers, who outlawed the game in Connecticut and New York in the early 19th century.
***
Pilgrims
bowling.
***
Kennedy (Fiddler’s Tune Book), Vol. 2, 1954; pg. 47.
NINE-PINS (NINEPINS) [2].
AKA and see "Oats, Peas, Beans
[1].” AKA and see "The Life of a Soldier," “Portuguese Dance,” "The Soldier's Glory," "Voulez Vous Danser{,
Mademoiselle?}" "Old
Amzi Eccles Tune" (
***
Oats, peas, beans and barley grows,
As you and I and everyone knows...
Waiting for a partner.
***
There is a dance in New England called the "Ninepins Quadrille" which features designated dancers ('ninepins') scrambling for partners. In Scotland, too, Ninepins (or, as it was sometimes called, Ninepins Reel) was a part of the traditional dance repertoire, though it fell into a separate category from the reels and country dances. If set in reel time the melody is that of the French-Canadian classic “La Bastringue.” The jig-time tune appears as “Portugeuse Dance” in the Joseph Kershaw manuscript from the North West of England dating from 1820 onwards. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 47. Raven (English Country Dance Tunes), 1984; pg. 108.
X:1
T:Nine Pins [2]
T:Oats, Peas, Beans
M:6/8
L:1/8
K:D
d|f2f f2f|efe d2d|c2d e2c|d2e f2d|f2f f2f|efe def|g2f e2d|cBc d2:|
||d|efe cBA|def e3|efe cBA|def e2e|a2a ^gg|f2f e2e|d2d c2c|BAB A3||
a2a a2a|gfg f2f|e2f g2e|f2g a2A|a2a a2a|gfg fga|b2a g2f|edc d2||
NINE PINT COGGIE [1], THE. AKA - “The Nine Point Coggie.” AKA and see “The Collier’s Daughter,” “The Mullingar Lea.” Scottish, Reel. G
Mixolydian. Standard tuning. AB (Howe): AAB (Little, Skinner): AABB (Kerr).
"Ancient Reel" (Skinner). A 'coggie' or 'cogie' is a small barrel or
container made of staves. The tune is based on an earlier tune called “The
Collier’s Daughter” in James Gillespie's manuscript fiddle book from 1768,
according to Nigel Gatherer. It appears in William Christie’s 1820 collection.
Cape Breton fiddler Winston Fitzgerald recorded it under the “Nine Pint” title.
Irish versions go under the title “Mulligar Lea.” Howe (1000 Jigs and Reels), c. 1867; pg. 124. Kerr (Merry Melodies), vol. 3; No. 62, pg. 9. Little (Scottish and Cape Breton Fiddle Music in New
Hampshire), 1984; pg. 31. Skinner (The
Scottish Violinist), pg. 27. Green Linnet SIF‑1094,
Capercaille ‑ "Sidewaulk" (1989). Rounder 82161-7032-2, Bill
Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of
Traditional Cape Breton Music 1956-1977” (2000).
X:1
T:Nine Pint Coggie, The [1]
S:Paul O'Shaughnessy
Z:Juergen Gier
M:C|
L:1/8
R:Reel
K:Gmix
c|BG~G2 G^FDE|F2FE FGAc|BG{A}G^F GFDE|^FAdc BGGc|\
BG~G2 G^FDE|F2FE FGAc|(3BBc AB
G^FDE|^FAdc BGG2|]\
g^fgd Bcde|fafd ABce|dggd Bcde|dega
{b}aga^f|\
g^fgd Bcde|fafd ABce|dBcA D2^FA|dBcA
BGAc|]
NINE PINT COGGIE [2], THE. Scottish, Reel. E Minor/Dorian. Standard
tuning. AB (Surenne): AAB (most versions). "Very old" (Skye). The
tune was recorded by Cape Breton fiddler Bill Lamey on a 78 RPM disc. Source
for notated version: Emmett Hughes (b. 1920, Dromore, Queens County, Prince
Edward Island) [Perlman]. Little (Scottish
and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 6. Lowe (A Collection of Reels and Strathspeys),
1844. MacDonald (The Skye Collection),
1887; pg. 184. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 110. Stewart-Robertson
(The Athole Collection), 1884; pg.
249. Surenne (Dance Music of Scotland),
1852; pg. 132. Culburnie
Records CUL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).
Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Nine Pint Coggie [2]
M:C|
L:1/8
R:Reel
B:Stewart-Robetson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
E|B,E E/E/E E2 D>B|ADFD FAAd|B2 AB Beef|dD D/D/D F>EE:|
F|Eeef fedB|defe dBAd|Beed efab|afed e2 df|abaf edef|dBAF ABde|
fde^c
dBBc|dD D/D/D F<EE||
NINE PINT COGGIE [3], THE. Irish, Reel. Ireland, County Donegal. A Major.
Standard tuning. AAB. The tune is similar to Scott Skinner’s “Davie Work.” Nigel Gatherer points out the
first part is actually closer to James Fraser’s “The Mill Burn [1],” although as a whole
(and especially in the ‘B’ part) it seems derivative of Skinner’s tune. Ted
Hastings suggests that source Doherty, a fan of Skinner’s, may have confused
the tunes and titles of “Davie Work” and “Nine Pint Coggie.” Source for notated
version: fiddler John Doherty
(1985-1980,
X:1
T:Nine Pint Coggie, The [3]
M:C|
L:1/8
S:John Doherty
R:Reel
Z:Transcribed by Ted Hastings
N:from The Northern Fiddler p. 72
K:A
E|[C2E2A2] cA GABc|dcBA GEGB|(3AAA
cA Bcdf|ecdB {d}cAAa|!
(3AAA cA GABc|dcBA GEFG|AcEc
ABcd|ecdB cA A:|!
a|(3aaa Aa fddf|(3bbb Bb geeg|(3aaa
Aa fdfa|ecdB {d}cAAa|!
(3aaa Aa fddf|(3bbb Bb gefg|agae
fdfa|ecdB cA [CE]||
NINE POINTS OF KNAVERY. Irish, Reel. A Dorian. Standard tuning. AAB. The only appearance of
this tune is in the Forde Collection, contained in Joyce’s publication. William
Forde was a distinguished musician from County Cork, who collected some of his
work in 19th century County Leitrim, where he collected this tune
from James Blair, at the time a stipendiary magistrate in Ballinamore (although
originally from Armagh). Source for notated verison: Mr. James Blair, Armagh,
via Forde (Joyce). Joyce (Old Irish Folk
Music and Song), 1909; No. 447, pg. 251. Drumlin Records, The McNamara Family – “Leitrim’s Hidden
Treasures” (1999).
X:1
T:Nine
Points of Knavery, The
M:2/4
L:1/8
R:Reel
B:Joyce – Old
Irish Folk Music and Songs, No. 447 (1909)
Z:AK/Fiddler’s
Companion
K:Ador
aa/g/
e/g/g/e/|dB/G/ B/d/d/g/|ed/e/ g/a/b/a/|g/e/d/B/ AA:||
e/a/a/b/
aa/c’/|b/a/g/b/ d’/b/a/g/|e/a/a/b/ aa/b/|d’/b/g/a/ b/a/a|
d’/e’/d’/b/ a/c’/b/a/|g/e/d/B/
d/e/g/a/|b/d’/a/b/ g/c’/b/a/|g/e/d/B/ AA||
NINE POINTS OF ROGUERY, THE (Naoi nArda na Rógaireachta). AKA and see “The Black Fanad Mare,” “The Black Mare of Fanad,” “Kiltyfanad Reel.” Irish, Reel. D Major
('A' and 'C' parts) & D Mixolydian ('B' part) {Brody, Mallinson}: D
Mixolydian ('A' and 'B' parts) & D Major ('C' part) {Breathnach}. Standard
tuning. AA'BB'CC'BB' (Brody): AABBCCBB (Martin & Hughes): AABBCCAABB
(Breathnach): AABBA’A’BB (Mallinson). The title remains somewhat of a mystery.
According to chivalry the nine points of knightly virtue were honor, loyalty,
liberality, pride, good faith, bravery, glory, unselfishness and courtesy, and
it may be surmised that the nine points of roguery were the opposite. The way
the Boys of the Lough play the tune, after the three parts of the tune are
played through once, the 'B' part is repeated, and only then the 'A' part is
played again. One of the parts is often an octave transposition of another, as
is occasionally the custom in Donegal fiddle tradition; for example
Breathnach’s transcription of Doherty’s version has the ‘C’ part that is simply
the ‘A’ part an octave higher. In County Donegal the tune is known as “The
Black Mare of Fanad” (see note for this tune for a story of the origins of the
title); see The Northern Fiddler (pg.
65). Source for notated versions: Boys of the Lough (Ireland/Shetland), who had
the tune from the Castle Ceili band (
X:1
T:The Nine Points of Roguery
M:4/4
L:1/8
K:D
FE|"D"D2 FD GEFE|"D"DEFG "A"ABAF | "D"D2 FD GEFA | "Em"BE E2 "A7"BEGE |
"D"D2 FD GEFE|"D"DEFG "A"ABAF | "D"D2 FA "G"GB"A"Ac | "D"d2 dc d2 :|
AB|"C"=c3 A "G"B3 G|"A7"A2 AB AGFE | "D"D2 FD GEFA | "Em"BE E2 BEEB |
"C"=c cA "G"B2 BG|"A7"Adcd "D"fdAF | "D"D2 FA "G"GB"A"Ac | "D"d2 dc d2 :|
fe|"D"d2 fd gefe|"D"defg "A"abaf|"D"d2 fd gefa|"Em"bege bege | "D"d2 fd gefe |
"D"d2 ad "A"bdad|"D"dfaf "A7"gece|"D"d2 dc d2 :| AB | "C"=c3 A "G"B3 G |
"A"A2 AB AGFE|"D"D2 FD GEFA|"Em"BE E2 BEEB | "C"=c2 cA "G"B2 BG |
"A"Adcd "D"fdAF|"D"D2 FA
"G"GB"A"Ac|"D"d2 dc d2 :||
NINETY
DAYS IN GEORGIA. Old-Time, Breakdown. USA, West
Virginia. Learned by Randolph County, W.Va., fiddler Woody Simmons (b. 1911)
from a local mentor, John Greer.
NINETY DEGREES. Old‑Time, Breakdown. Standard. Rounder
0197, Bob Carlin ‑ "Banging and Sawing" (1985).
NINETY-FIRST AT MODDER RIVER, THE. AKA – “The 91st at Modder
River.” Scottish, March (2/4 time). B Minor. Standard tuning. AABB’CCDD’. The
title refers to a river in South Africa, the site of British setbacks in the
Boer War (1899-1902). The 91st Regiment is the Argyle and Sutherland
Highlanders and the 1st Battalion of the regiment joined Lord
Methuen in October, 1899, in time to take a prominent part in the battle of the
Modder River. By that time the war was a month old, with the Boers,
Dutch-German settlers, laying siege to Ladysmith, Mafeking and Kimberly.
Methuen set off in relief of Kimberly, with the 91st and piper James
Mackay. Harrased by snipers, the column reached the Modder River, 25 miles from
Kimberly, on November 28th and the Highlanders were sent to secure a
railroad bridge across the river that was thought to be lightly defended by the
settlers. Instead, they found an entrenched foe of some 7,000, who laid down a
deadly fire with rifles and field artillery. The Argyle and Sutherlanders
managed to ford the river, but on the far bank they were pinned down by
withering fire. Only nightfall allowed them to retreat and regroup for a push
the next day. However, on arising they found the Boers had deserted their
positions during the night, after inflicting 468 casualties on the British
against 20 of their own dead. Martin (Ceol
na Fidhle), Vol. 4, 1991; pg. 43. Sandy MacIntyre
- “Steeped in Tradition.”
NINETY-FIVE. AKA and see “Jean de Paris,”
"John of Paris."
NINETY-NINE YEARS. Old‑Time. USA; Ky., Central Pa. In the repertory of Buffalo
Valley, Pa., region dance fiddler Archie Miller. Conqueror
8078 (78 RPM), Doc Roberts.
NINETY-THIRD'S FAREWELL TO GIBRALTER, THE. Scottish, Quickstep March (2/4 time). A Major.
Standard tuning. AA'BB'CC'DD. The 93rd Regiment is the Sutherland
Highlanders, merged in 1881 with the 91st Regiment to form the
famous Argyll and Sutherland Highlanders.
***
The Thin Red Line. 93rd at
Balaklava, Crimean War.
***
Kerr (Merry Melodies), vol. 1; No. 20, pg. 40. Kerr (Caledonian Collection), pg. 6. Kerr (Merry Melodies for the Piano), pg. 12.
NINTH
OF JANUARY. AKA – “Lost
Indian [9],” “Old Time Eighth of January.” Old-Time, Breakdown. D Major. Standard tuning. AA’BB.
Beisswenger & McCann (2008) relate that the tune is Holt’s version of
Charlie Deckard’s playing of “The Eighth of January.” It was different enough
to provoke exceptions from those who knew the fairly common “Eighth of January” tune, saying it was not correct. Finally, Holt simply
gave it a similar but different name. The melody was in the repertoire of Alton
Jones under the alternate titles, above. Source for notated version: Bob Holt
(1930-2004, Ava, Missouri) [Beisswenger & McCann]. Beisswenger & McCann
(Ozarks Fiddle Music), 2008; pg. 64. Rounder CD 0432, Bob Holt – “Got a Little Home to Go to” (1998).
NINTH OF JULY, THE. Irish, Jig.
Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 12.
NIONAG A CHUIL DUINN NACH FHAN
THU (Wait
for me, brown haired maiden). Scottish,
Air (4/4 time). D Major?. Standard tuning. AB. Morison (Highland Airs and Quicksteps, vol. 1), No. 17, pg. 8.
X:1
T:Nionag a
chuil duinn nach fhan thu
T:Wait for
me, brown haired maiden
M:C
L:1/8
R:Air
N:”Briskly”
S:Morison – Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:D
G>G AB
g>f ed | eE G>B B/A/G ED | GG AB g>f ed || B>d d deg ed |
Bd dg ed BA |
A>A BB g>f ed | eE G>B B/A/G ED | GG AB g>f ed ||
NIPPIN GRUND, DA (The Nipping Ground). Shetland, Shetland Reel. Shetland, (islands of) Unst and Yell. G Major. Standard. AABB. "This tune is attributed to Fredamann Stickle, The Nippin Grund is a Fishermans Meathe" (Anderson). Anderson (Ringing Strings), 1983; pg. 72.
NITHIAN A GHREITH (The Suttor’s Daughter). AKA and see “The Suttor’s Daughter.”
NITHSDALE’S WELCOME
HAME. Scottish. The melody was composed
by Robert Riddell of Glenriddel,
a neighbor of Robert Burns near
NIXON.
AKA and see "Mount Pleasant Clickstep,"
"The Quickstep." American, March.
USA, southwestern Pa. G Major. Standard tuning. AB. Appears to be descended
from "Rakes of Mallow.” Source for notated version: Charles Cook and the
Berlin Band (martial) {Somerset County, Pa.} via George Fisher (Somerset
County, Pa., 1962) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 325B, pg. 290.
NIXON NO. 1. AKA and see "Rakes of Mallow." American, March
(2/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. A duple time
march version of the well‑known Irish jig "Rakes of Mallow."
Source for notated version: Charles Cook and the Mount Pleasant Band via fifer
Lloyd Grimm (Greene and Westmoreland Counties, Pa., 1962) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 190D,
pgs. 146‑147.
NIXON NO. 2. American, March (2/4 time). USA,
southwestern Pa. G Major. Standard tuning. AABB. The tune is a version of the
famous Welsh air "Gorhoffedd Gwyr Harlech" (The March of the Men of
Harlech) Source for notated version: From legendary
NIXON’S FAREWELL. American, Breakdown. D Major. Standard tuning. AABB. Composed on the
occassion of President Nixon’s resignation in the mid-1970's by Curtis Bouterse
(San Diego, California). Since then the tune has been folk-processed into
several versions. Songer (Portland
Collection), 1997; pg. 147. Clyde Curley - “Tunes
of the Gods: Old-Time Music for the Mandolin” (1994).
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