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 County Donegal. It was one of many Donegal tunes collected by the late Brother Jim Forristal of Dublin (though originally from County Wexford). Drumlin Records, Brian McNamara – “A Piper’s Dream” (learned from tin whistle player Dooncha Briain). [COMMENT1] [COMMENT2] 

[COMMENT3] [COMMENT4]                                       

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 I. AKA and see "I ne'er shall wean her," “Mrs. O’Sullivan’s Jig.”  Irish, Double Jig. A Dorian. Standard tuning. AABB. The tune was recorded by the band Patrick Street under the title “Mrs. O’Sullivan’s Jig.” Source for notated version: fiddler Mrs. Murphy, 1967 (Co. Cork, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 30, pg. 18. Dervish – “Midsummer Night.”

                       

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."

 

NIAGARA HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Howe prints contra dance instructions along with the tune. Source for notated version: Tom Doucet (Nova Scotia/eastern Mass.) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 103. Howe (1000 Jigs and Reels), c. 1867; pg. 89. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 210. Ryan’s Mammoth Collection, 1883; pg. 138. White’s Unique Collection, 1986; No. 102, pg. 18. Fiddler FRLP001, Tom Doucet - “The Down East Star.”

X:1

T:Niagara Hornpipe

M:2/4

L:1/16

Q:122

C:Trad.

R:Reel

A:Missouri

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. Canada, Cape Breton. Composed by John Morris Rankin, in honor of his niece and goddaughter. Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

 

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, County Donegal. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Chieftains – “Water from the Well” (appears as unnamed tune following “Dowd’s No. 9”). 

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. Canada, Cape Breton. Composed by Cape Breton fiddler John Morris Rankin. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994).

                       

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. England, Northumberland. A Major (most versions): G Major (Surenne): D Major (Gow). Standard tuning. AB (Surenne): AAB (Athole, Gow): AABB (Carlin/Gow, Honeyman, Kennedy, Kerr, Peacock). Composed by the most famous of Scots fiddler-composers, Niel Gow (1727-1807), Dunkeld, Perthshire. It is worth remembering Gow’s epitath, inscribed on his gravestone:

***

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 Britain and Ireland: Reels and Rants), 1997; No. 149, pg. 35. Kerr (Merry Melodies), vol. 2; No. 9, pg. 4. Peacock (Peacock’s Tunes), c. 1805/1980; No. 7, pg. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 15. Surenne (Dance Music of Scotland), 1852; pgs. 20-21.

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 Scotland, pgs. 20-21   (1852)

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 Britain and Ireland: Reels and Rants), 1997; No. 150, pg. 36.

 

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 Edinburgh

house in George Square, and at which only the greatest musicians in the land should assist. She accordingly

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 Edinburgh in good time, but had some difficulty finding the house. The

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. Aberdeen was the 

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 Dresden in 1880, and handed it to Moritz Hamming who

took off the breast and found written inside, “Broken on the ice at Stairdam in 1784 and mended in Aberdeen—N. Gow.”

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 Colon MacQuarrie’s Gasparo da Solo for Niel’s old fiddle took place in the year 1783, but the adventures

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 Egypt in 1801,

And at the siege and capture of Burgos at Orthes, Toulouse, Salamanca, and Vittoria, at the siege and capture of Badajos

(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 the 12th of January, 1893, at Tobermory. The special

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, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 84, pg. 134. Carlin (The Gow Collection), 1986; No. 197. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 19. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 191. Atlantic Music 02 77657 50222 26, Carl MacKenzie - “Atlantic Fiddles” (1994). CLM Records, Carl MacKenzie - “Celtic Ceilidh” (1986).

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 (Cape Breton) tunings. AB (Alburger, Hunter, Skye): AAB (Athole, Gow, Martin, Neil). Composed Niel Gow on the occasion of the death of his aristocratic friend and benefactor James Moray (1705-1777), 13th of Abercairney, otherwise known as 'Auld Abercairny,' one of the local Perthshire gentry with whom Gow was quite friendly. Abercairny is an estate in Perth and Kinross, Scotland, near Crief. Moray married Lady Christian Montgomery, the daughter of Alexander, 9th Earl of Eglinton, with whom he had six children (see Gow’s “Mrs. Moray of Abercairney’s Strathspey/Reel”). Lady Christian’s sister, Lady Margaret, married Sir Alexander MacDonald of the Isles, establishing a connection between the families in Perthshire, the foothills of the Highlands, and the gaeltecht of the western Isles. The Pipe piobraireached “Abercairney’s Salute” was composed as a result, as explained by the MacArthurs of Skye website (http://www.linneberg.com/skye/smacarth.html):

***

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 “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 Newton – “Castles, Kirks and Caves” (2001). Scottish Records 33 SR 135, Ron Gonella – “Scottish Violin Music from the Gow Collections” (1973).

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

T:Niel Gow’s Recovery

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 Staffa's Strathspey," the tune is earliest credited to Daniel McLaren of Edinburgh, a native of Taymouth, Perthshire, who published it in 1794 (unfortunately, little is known of him). Gow and sons published the tune as “Niel Gow’s Wife” in their Complete Repository, Book 2 (1802) with composer credits to Niel Gow (1727-1807). Still later, in MacDonald’s Skye Collection (1887), it is credited to Duncan MacIntyre. The title has been altered to insert the word “Second” to “Niel Gow’s Wife”  to accommodate the apocryphal story of his fiddle being the famous fiddler-composer’s ‘second wife’ in his affections.  Niel did, however, have two wives, the first of whom, Margaret Wiseman, bore him five sons; his second, Margaret Urquhart, had no children. The association of instrument and intimate bond has been made with other fiddlers as well, and stems from the old saying that the minstrel’s ‘second wife’ was his harp. Donal Hickey, in his 1999 book on Sliabh Luachra musicians Stone Mad for Music, writes: “Pádraig (O’Keeffe) {1887-1963} remained single and he used to call the fiddle ‘the missus’, declaring that it gave no bit of trouble at all. ‘Just one stroke across the belly and she purrs’, he would say.” The tune is played in County Donegal as a highland and is associated with the playing of Danny O’Donnell, James Byrne and John Doherty. See The Northern Fiddler (1979), pgs. 81 (bottom tune, and untitled highland) and 194; the latter an untitled strathspey from the playing of Danny O’Donnell. Donegal fiddler Danny O’Donnell recorded the tune in the 78 RPM era, last in a set of three Highlands (preceded by “Polly Put the Kettle On [1]” and “The Bundoran Highland”). He called his set “The Thistle and Shamrock.” “The Watchmaker” is a related melody. “Niel Gow’s Second Wife” appears in the music manuscript copybook of John Burks, dated 1821, who may have been from the north of England (photocopy in ed. possession). It is a rather simplified form of the original strathspey, which retains only some of the characteristic dotted rhythms and “Scots Snap.” Carlin (The Gow Collection), 1986; No. 446. Cole (1000 Fiddle Tunes), 1940; pg. 126. Feldman & O’Doherty (Northern Fiddler), 1979; pgs. 81c (appears as untitled Highland) & 194 (appears as untitled strathspey). Gow (Complete Repository), Book 2, 1802; pg. 13. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 29 (appears as "Neil Gow's Second Wife"). Kerr (Merry Melodies), vol. 1; Set 21, No. 1, pg. 13. MacDonald (The Skye Collection), 1887; pg. 123. Ryan’s Mammoth Collection, 1883; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 186. Surenne (Dance Music of Scotland), 1852; pgs. 34-35. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 60. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

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. England, Northumberland. G Major. Standard tuning. AAB. Peacock (Peacock’s Tunes), c. 1805/1980; No. 4, pg. 1.

                       

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. USA, Oklahoma. D Major. Standard tuning. AABB. Source for notated version: Rance Willhite (Jefferson County, Oklahoma) [Thede].

***

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. USA, north Georgia. Fiddler A.A. Gray and guitarist John Dilleshaw recorded four sides together in Atlanta in March, 1930, including “Tallapoosa Bound”/”Streak O’ Lean-Streak O’ Fat” and “N….r Baby”/”The Old Ark’s a’Moving.” Vocalion 5458 (78 RPM), 1930, A.A. Gray (north Ga.).

           

NIGGER EAT THE SUGAR. Old‑Time, Breakdown. USA, North Georgia. Recorded by Lowe Stokes (N. Ga.) for Columbia, but unissued.

           

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 Georgia fiddling championship held in Atlanta. A “N.....r in the Cotton Patch,” a version of “Sally Goodin’”, was recorded by Georgia fiddler Earl Johnson and his group in 1928. Document DOCD-8006, Earl Johnson & His Clodhoppers (reissue).

           

NIGGER IN THE PEA PATCH. American, "Jig" (4/4 time). D Major. Standard tuning. AB.  The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Kerr (Merry Melodies), vol. 2; No. 433, pg. 49.

           

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, Boston, 1845 (Hans Nathan), although the tune is unattributed in Ryan’s Mammoth Collection (which does include many attributed Emmett compositions). It may be an African-American tune to which Emmett’s name became attached to, as a prime exponent of the racial and cultural mixing that was minstrelsy. The melody is catagorized as a 'jig' in Ryan’s, meaning not the familiar 6/8 time Irish jig, but rather a type of duple-metre 19th century old‑time banjo tune perhaps associated with a type of dancing or, derogatorily, with African-Americans. The type was also called a ‘straight’ or ‘sand’ jig, the latter because it was sometimes the vehicle for a kind of clog dance on a sanded stage to reduce friction. “N….. in the Woodpile” was recorded in newspater accounts as having been played by Professor Ludwig (of Cobb County, Ga.) in a 1913 Atlanta, Ga. fiddlers' contest. The title has been identified by Bayard (1944, 1981) as a "floating title" in Pennsylvania, used for a number of different tunes, including a version of "Jennie Put the Kettle On (We’ll All Take Tea) [3]" (see also note for "Bonaparte Crossing the Alps) and "Miss McLeod's Reel."  Cole (1000 Fiddle Tunes), 1940; pg. 82 (appears as “Wood Pile Jig”). Kerr (Merry Melodies), vol. 2, c. 1880’s; No. 432, pg. 49. Ryan’s Mammoth Collection, 1883; pg. 114. Recorded for Vocalion in 1924 by Uncle Am Stuart (b. 1856, Morristown, Tenn.).

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. USA, southwestern Pa. G Major. Standard tuning. AB. A southwestern Pa. floating title. Source for notated version: Henry Bryner (Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 349E, pg. 212.

 

NIGGER IN THE WOODPILE [3]. Old-Time, Breakdown. USA, North Georgia. The north Georgia band The Skillet Lickers recorded a version of the tune usually known as “Pigtown Fling,” “Wild Horse” or “Ston(e)y Point [1]” under this title. Document DOCD, The Skillet Lickers, vol. 4.

 

NIGGER JIM. AKA and see "Jimmy King." American, Reel. USA, southwestern Pa. G Major. Standard tuning. One part. Bayard thinks it sounds like an American minstrel song tune. The title is the same as the name of a main character in Mark Twain's "Huckleberry Finn." Source for notated version: George Strosnider (elderly fiddler from Greene County, Pa., 1929) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 151A, pg. 86.

 

NIGGER ON THE HILLSIDE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

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. USA, southwestern Pa. A Mixolydian. Standard tuning. AB. The was a floating southwestern Pennsylvania title for a tune which is a member of a large British Isles tune family that Bayard (1981) calls the "Welcome Home [3]" tune family, after a representative member. Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 220H, pg. 176.

 

NIGGER RAN OFF WITH THE WHITE MAN'S WIFE. AKA – “Miscegenation.” Old‑Time, Breakdown. USA. G Major. Standard tuning. AABB. Source for notated version: Liz Slade  (Yorktown, New York) [Kuntz]. Kuntz, Private Collection.

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. USA, southwestern Pa. G Major. Standard tuning. AA'B.

***

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 Greene County, Pa., 1930's), John Tustin (Greene County, Pa., 1944), Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 296A‑C, pgs. 251‑252.

                       


NIGGER STOLE A PUMPKIN. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                                      

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 Virginia Mountain Boys. Musical Traditions MTCD321-2, Pug Allen (et al) – “Far in the Mountains” (2002). Rounder CD 0383, Mike Seegar & Paul Brown – “Way Down in North Carolina” (appears as “Trader Boatman”).

                       

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. USA, Ky. G Major. Standard tuning. AABB'. Source for notated version: J.W. Day, the pseudonym for Kentucky fiddler Jilson Setters, who recorded in the early 1930's [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 67. Library of Congress, 1019A1, Jilson Setters, recorded for John Lomax, Ashland, Ky., June 1934.

                       

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 NAN DEARCAG. AKA and see "The Maid of Sutherland."

                       

NIGHEAN DONN AN T-SUGRAIDH. AKA and see "Maiden Fond of Mirth."

                       

NIGHEAN DONN NAN GOBHAR. Scottish, Slow Reel. Scotland, Argyll. MacDonald, (Gesto Collection). Green Linnet SIF 1077, Capercaille ‑ "Crosswinds" (1987).

                       

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 NAN GEALA CHAS (My Lovely Black Maiden). Scottish, Reel. G Major. Standard tuning. AABB. MacDonald (The Skye Collection), 1887; pg. 87. Stewart-Robertson (The Athole Collection), 1884; pg. 175.

X:1

T:Nighean Dubh Nan Geala Chas

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 NAN CAORACH. AKA and see "The Shepherdess."

 

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. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Source O’Leary pairs this jig with the slide “Bill the Weaver’s,” according to editor Moylan. O’Leary himself though the tune to be “about two hundred years old,” and identified it as one of the five or six jigs unique to ‘Bill the Weaver’ (Bill Murphy, father of Denis Murphy, called ‘the Weaver’ because his parents were both weavers. See also the Ryan/Cole versions “Night of the Fair.” Source for notated version: Bill the Weaver, via accordion player Johnny O’Leary (Sliabh Luachra, Kerry), recorded at Na Piobairi Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 28, pgs. 17-18. O'Neill (Krassen), 1976; pg. 23. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 63, pg. 27.

X:1

T:Night at the Fair, A

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 63

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 Chicago police sergeant and fiddler James O’Neill, originally from northern Ireland [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 39, pg. 7.

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 Munster. The earliest sound recording appears to be by fiddle player John Gerrity in New York in 1920, at the very beginning of the 78 RPM era. It was more famously recorded in 1935 by banjo-mandolin player Michael Gaffney (b. 1896, Mullaun, Arigna, County Rosommon). Gaffney paired with flute player John McKenna (18801-1947) for a number of important recordings. McKenna was originally from South County Leitrim, and started his working life as a weighmaster for a coal mine, then emigrated and joined the New York City Fire Department. Age 41 at the start of his recording career, he made some of his most celebrated tracks when in his 50s. Paddy Ryan says McKenna recorded another version of “The Night Cap” under the title “Judy Callaghan’s Jig.” Giblin (Collection of Traditional Irish Dance Music), 1928; 84. O'Neill (Krassen), 1976; pg. 73. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 723, pg. 135. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 23, pg. 20. Treoir, Vol. 32, No. 3, 2000; pg. 20. Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001. Obtained from Jackie Small, who had it from Harry Bradshaw and Nicholas Carolan).

X:1

T:Night Cap, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 23

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 Ireland: 1001 Gems), 1907/1986; No. 256, pg. 56.

X:1

T:Night Dance, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 256

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 NEWTOWN, THE.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 31.

 

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 ede dcB | ({B/c/}d2)B AGF E3 ||

 

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. USA, Maine. D Major. Standard tuning. AABB. Composed by Maine musician Nick Appolonio (1981). Kuntz, Private Collection (circulated among contra dance musicians).

 

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 County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 582, pg. 102.

X:1

T:Night Was Calm, The

M:2/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 582

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>E GG|G3||

 

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 Ireland:1001 Gems), 1907/1986; No. 863, pg. 149.

X:1

T:Night We Made the Match, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 863

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. USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: John Kirkpatrick (elderly fiddler from Indiana County, Pa., 1951; learned from his father) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 363, pgs. 357‑358.

 

NIGHTINGALE [4], THE. English, Scottish; Jig. G Major. Standard tuning. AABB. This old air about the British Isles nightingale is sometimes claimed as Scottish, but according to Chappell (1859) it is of English origin, and indeed, it sounds English. The nightingale, a small and rather drab migratory thrush, was prized for its melodious bird-song, and thus the subject of many songs and tune titles. Kerr (Merry Melodies), vol. 3; No. 263, pg. 29.

 

NIGHTENGALE [5], THE. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABB. The tune, collected from the Cotswold village of Stanton Harcourt, Oxfordshire, may be a variation of version #4 as there are some melodic similarities. Bacon (The Morris Ring), 1974; pg. 295.

 

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 Tipperary fiddle player Sean Ryan (d. 1985). The melody often appears in a set with another Ryan composition, “The Castle Jig [2],” and they are often called “Sean Ryan’s Jigs.” It was first recorded by Clare musicians Paddy Canny and P.J. Hayes on their 1960 album as “Seán Ryan’s.” Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 26 (appears as untitled jig). Bulmer & Sharpley (Music from Ireland), vol. IV; 61. Harker (300 Tunes from Mike Rafferty), 2005; No. 206, pg. 63. Ryan (The Hidden Ireland: the Music of Seán Ryan), pg. 13. Shanachie 29005, Johnny Cronin and Joe “banjo” Burke (1977. Appears under the title “The Top of Cork Road”). Bobby Casey – “Taking Flight.”

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

D | G>B AF | GB d2 | GB AF | GB d2 | BB c2 | BB c2 | B/d/g/f/ e/d/c/B/ |

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 Greene County, Pa.

           


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" (Pa.) English, Jig. D Major. Standard tuning. AABC.

***

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, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 72.

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 (Dublin) [Brody]: fiddler John Doherty, 1965 (Co. Donegal, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 264, pg. 137. Brody (Fiddler’s Fakebook), 1983; pg. 202. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 26. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 65. Jordan (Whistle and Sing), 1975; 41. Mallinson (Essential), 1995; No. 50, pg. 22. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 37. Folkways FTS 31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos." Philo 1026, Boys of the Lough‑ "Live." Shanachie 29003, Tommy Peoples and Paul Brady‑ "The High Part of the Road." Shanachie 79002, "The Boys of the Lough" (1973). Trailer 2086, "Boys of the Lough."

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 Dumfries, though a mediocre musician and composer. Burns wrote words for the air.

 

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 Fayette County fifer Ananias Bittner via Lloyd Grimm (Greene and Westmoreland Counties, Pa., 1960), Mount Pleasant Tablatures (Pa., 1950's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 192, pgs. 149‑150.

 

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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