The Fiddler’s Companion
©
1996-2008 Andrew
Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with your
cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces between
all the lines of abc notation after pasting, so that they are single-spaced,
with no intervening blank lines. This being done, the F/C abc’s will convert
to standard notation nicely. Or, get a copy of abcNavigator 2 – its well
worth it. [AK] |
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. 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 ||
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 "Athole Brose."
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.
Niel, however, turned the tables on him by inferring that the
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 “
***
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." 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 "
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
after which the whole party adjourned to the little old-fashioned inn
at Inver, where there was a famous deoch, or parting friendly drink.
***
***
Source for notated version: Peter
Chaisson, Jr. (b. 1942,
|
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:E Minor
“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 (Carlin/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
X:1
T:Niel Gow’s Lament for the Death of
His Second Wife
M:6/8
L:1/8
R:Air
N:”Slow and Pathetic”
K:D Major
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
X:1
M:C
L:1/8
R:Strathspey
S:Gow & Shepherd single sheet c.
1804
Z:AK/Fiddler’s Companion
K:B_
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, ||