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]

 

 

 

NO CORN ON TIGERT/TYGART [1]. Old‑Time, Breakdown. USA, Indiana. A Dorian/Mixolydian. Standard tuning. AABB. There are Tygart Rivers in both Kentucky and West Virginia. Gerry Milnes states the tune is related to the “Gilderoy” family of tunes (which includes “Red Haired Boy” and “Salt River”). Source for notated version: John Summers (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 165. Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond – “Hell Up Coal Holler” (1999).

 

NO CORN ON TIGERT/TYGART [2]. AKA and see “Jimmy Ossington,” “Snakewinder.” Old‑Time, Breakdown. USA, Kentucky. No relation to “No Corn on Tygart [1].” In Kentucky the tune also goes by the names “Jimmy Ossington” and “Snakewinder” (Buddy Thomas). Library of Congress 1019B1, Jilson Setters/James W. Day (recorded for John Lomax in Ashland Ky., June, 1937). }.

                       

NO GRAIN, NO PAIN.  American, Reel. D Major. Standard tuning. AABB. Composed by East Alstead, New Hampshire, fiddler and composer Randy Miller. Miller (Fiddler’s Throne), 2004; No. 223, pg. 137.

                                   

NO LONGER CAN I STAY (Mi Tig Liom Do Fan Nios Fuide). Irish, Slow Air (3/4 time). D Minor. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 417, pg. 73.

X:1

T:No Longer Can I Stay

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 417

Z:AK/Fiddler’s Companion

K:D Minor

A/G/ FE|D2 d>e fd|cA GF GA|B2 AG FE|D3:|

|:(3A/B/c/|dd|d2 ef ec|{e}g2 fe dA|G>F DE FG|A3:|

       

NO LUCK ABOUT THE HOUSE. See "There's Nae Luck Aboot the Hoose."

       

NO MAN'S JIG. AKA and see "Buttered Peas(e) [1]," "The Reel of Stumpie,” “Stumpie/Stumpey." English, Sword Dance Tune (4/4 time). England; Northumberland and the town of Sleights. G Major (Karpeles, Raven): D Major (Vickers). Standard tuning. AABB. Related, at least structurally, to Playford’s "Nobody's Jig." Traditionally it has been the tune for the last figure in the sword dance from the area of Sleights, England. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 29. Raven (English Country Dance Tunes), 1984; pg. 73. Seattle (William Vickers), 1987, Part 3; No. 570.

X:1

T:No Man's Jig

M:4/4

L:1/8

K:G

B2d2d2 cB|c2e2 e4|B2d2d2cB|c2A2A4|B2d2d2cB|c2e2e2c2|B4A4|G8:|

|:g2f2e2d2|efg2 d4|g2f2e2d2|ef g2 a4|g2f2e2d2|ef g2d2c2|B4A4|G8:|

                       

NO MISTAKE. American, March (2/4 time). D Major. Standard. AABBCC. The second part shows up as the second part of the Pennsylvania‑collected "The Old Town Band [1]." Sweet's note indicates the tune was played by the Chester, Conn., Fife and Drum Corps. Sweet (Fifer’s Delight), 1965/1981; pg. 52.

                       

NO NAME BLUES. Cajun, Two-Step(?). USA, Louisiana. A Major. Standard. One part. Source for notated version: Leopold Francois (La. The father of editor and compiler Raymond Francois) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 238. 

                       

NO-NAME TUNE, THE.  Scottish, Reel. D Major. Standard. AABB. Composed by Scottish fiddler Ron Gonnella. Miller (Fiddler’s Throne), 2004; No. 224, pg. 137.

                       

NO PITCH HOT. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

NO PLACE LIKE HOME. AKA and see "The Home Waltz." English, Waltz. G Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 33. Raven (English Country Dance Tunes), 1984; pg. 132.

                       

NO POWER ON EARTH CAN E'ER DIVIDE. AKA and see "Irish Howl." English, Air. The tune appears under this name in Gay's Beggar's Opera of 1729. It also can be found in the third volume of Playford's Dancing Master (c. 1726).

                       

NO SONG, NO SUPPER. English, Country Dance Tune (6/8 time). England, Yorkshire. D Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 46, pg. 41.

                       

NO SURRENDER. AKA and see “Gates of Derry.” Irish, March (6/8 time). Ireland, Ulster. D Major (Levey): C Major (Howe, Mulvihill): B Flat Major (O’Neill): A Major (Connolly & Martin). Standard tuning. AB (Howe, Mulvihill, O’Neill): AABB (Levey): AABB’ (Connolly & Martin). Joyce (1873) records that this tune was well known in Ulster and was traditionally used for the marching tune at the yearly celebration of the shutting and opening of the gates of Derry; “its use has with great probability descended form the period of the siege itself.” This tune resembles "Over the River to Charlie," though the American musicologist Samuel Bayard (1981) could not determine if it is derivative, or whether the original air was altered by emphasizing some parts or de‑emphasizing others. O’Neill (1922) notes: “(My) setting of "No Surrender"…was taken from a manuscript volume of Irish melodies compiled by H. Hudson, 24 Stephens Green, Dublin in the years 1840-41. After the name comes the notation: ‘From Ordnance Survey of Londonderry, vol. 1, page 197.’ From the remarks accompanying the famous old march in Dr. Joyce's Ancient Irish Music (Dublin 1890), we quote:

***

It is printed in the Ordnance Memoir of Londonderry where,

however, it is practically inaccessible to the general public, as

that book is very scarce. It has long been appropriated as the

marching tune of the yearly celebration of the shutting and

opening of the gates of Derry.

***

It may be of interest to add that the siege of Derry occurred in 1689. We may be pardoned for remarking that Dr. Joyce's arrangement is in the Scale of C although both settings were derived from the same scarce publication.” Joyce believed the melody to be well-known to the musicians of parts of Ulster, but seldom heard in other provinces. Fiddler Séamus Connolly (2002) remarks that the melody is related to the song “Beidh Ríl Againn,” which he learned in primary school. Mulvihill indicates the tempo is slow. Source for notated version: Seán Óg Ó Tuama (originally from Cork City) [Connolly & Martin]. Allan's Irish Fiddler, No. 116, pg. 30 (appears as “Gates of Derry”). Connolly & Martin (Forget Me Not), 2002; pgs. 82-83. Howe (1000 Jigs and Reels), c. 1867; pg. 19. Joyce (Ancient Irish Music), 1873/1890; No. 81, pg. 83. Levey (The Dance Music of Ireland, 2nd Collection), 1873; No. 50, pg. 22. Mulvihill (1st Collection), 1986; No. 57, pg. 131. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 80.

X:1

T:No Surrender

M:6/8

L:1/8

S:H. Hudson manuscript 1840-41

Z:Paul Kinder

R:March

K:Bb

F|BdB G2 B|FDF F2 G|F2 G B2 c|d2 f edc|

B/2c/2dB G2 B|FDF F2 G|F2 e dec|B3 B2||

F|B2 d f2 d|g2 e f2 d|B2 d f2 d|e2 c gec|

B2 d f>ed|e>fg f2 e|dBG FBc|dBf edc|

dBG G2 B|FDF F2 G|F2 G B2 c|d2 f edc|

B/2c/2dB G2 B|FDF F2 G|F2 e dec|B3 B2||

X:2

T:No Surrender

M:6/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

dfd B2d | AFA A2B | AFA d2e | fga gfe | dfd B2d | AFA A2B | d2g fge | d3 d2z :|

|: dfa (a2f) | (b2g) afd | dfa agf | e2f gfe | dfa (a2f) | (b2g) (a2f) | dAB d2e | f2a gfe :|

                       

NO USE KICKING MY DOG AROUND. AKA and see “Great Big Taters in Sandy Land.”

                       

NO WONDER YOUNG MEN.  See “Cha’n ioghnadh na gillean.”

       

NO YOU DON'T. Irish, Jig. G Major. Standard tuning. AABB. A version of the Irish tune "Indeed! Then You Shan’t/Won't.” White’s Unique Collection, 1896; No. 37, pg. 7.

X:1

T:No You Don’t

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 37

Z:AK/Fiddler’s Companion

K:G

g | gfe (d2B) | cBA Bcd | gfe (e2d) | cBA G2d | gfe (d2B) | cBA GBd |

gbg d2B | cBA G2 :: G | FGA (A2B) | cBA BAG | FGA (A2B) |

cBA G2G | FGA (A2B) | cBA BAG | gbg dcB | cBA G2 :|

                       

NOBBER BEYOND. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

                       

NOBE'S MAGGOT. Irish, Slip Jig. D Major. Standard tuning. AB. "'Maggot,' a dram" (Joyce). Joyce obtained the melody from the Pigot collection. Joyce (Old Irish Folk Music and Songs), 1909; No. 724, pgs. 360‑261.

X:1

T:Nobe’s Maggot

M:9/8

L:1/8

R:Slip Jig

S:Joyce – Old Irish Folk Music and Songs, No. 724  (1909)

Z:AK/Fiddler’s Companion

K:D

d>ed f2g a3|c2d e2f ecA|dcB AFd F2z|d2z D2E F>ED||

G>AG B>cd F3|G>FE E>FE F>GF|G>AG B>cd F2z|d2z D2E FED||

                       

NOBLE RACE OF JENKEN, THE. Scottish. The melody appears in the Gillespie Manuscript of Perth, 1768. Probably “Of a Noble Race was Shenkin.”

                       

NOBLE SHRIVE, THE. English, Dance Air (6/4 time). F Major. Standard tuning. AB. The air appears in a MS of virginal music which Chappell (1859) believes contains air mostly tracable to the sixteenth century. Supporting this he notes that the word 'Shrive', which is an old form of 'Shire‑reeve' or Sheriff, had disappeared by the 17th century. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 126.

                       

NOBLE SQUIRE DACRE. English, Scottish; Air (6/8 time). England, Northumberland. G Major. Standard tuning. AABB. "This beautiful air is possessed of that uncommon characteristic appertaining to some of our oldest and best national melodies, that is, if played slowly it awakens the emotional feelings of the listeners, and if played in quick time it appeals as effectively to their saltatory powers. Sir Walter Scott, in a letter to Mr. John Ball of Gateshead, dated 7th March, 1816, says: 'The Dowager Lady  Penicuick (a sister of noble Squire Dacre) tells me that when any of the family was buried the bag‑piper played that tune at the funeral, as they play the family lament to this day in the Highlands.' There is no doubt that the Dacres, like the other noble families of the district, maintained their family minstrels; and Sir Walter Scott utilized, in an appropriate and happy spirit, the information he received from lady Penicuick, in his poem of 'The Lay of the Last Minstrel,' canto IV., stanza 14:‑‑

***

Lord Dacre's billmen were at hand—

A hardy race, on Irthing bred,

With kirtles white and crosses red,

Array'd beneath the banner tall,

That streamed o'er Acre's conquered wall,

And minstels, as they marched in order,

Played 'Noble Lord Dacre, he dwells on the Border.

***

It is very probable, from the title given to this tune, that a song or ballad set to it was at one time in existence; but, so far as we know, it has disappeared" (Bruce & Stokoe).

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 161.

X:1

T:Noble Squire Dacre

M:6/8

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

BA>G G>FG|G>AB A2G|c>BA A>BA|c>ec efg|B>AG G>AG|

G>AB A2G|c>ec def|g2B A2G:|

|:BG/A/B/G/ d2G|BG/A/B/G/ d2G|cA/B/c/A/ e2A|cA/B/c/A/ efg|

BG/A/B/G/ d2G|BG/A/B/G/ dcB|cec def|g2B A2:|

                       

NOBLEMAN'S WEDDING, THE. Irish, Tune (4/4 time). F Major. Standard. One part. "This pretty ballad was a favourite in my father's house, from whose singing I learned it in my childhood. More than half‑a‑century ago I gave it to Dr. Petrie, who published the air in his 'Ancient Music of Ireland', p. 180. He gives three versions, the third of which is the one given by me (not the first, as he states by an oversight). Instead of the peasant words, however, he has given a ballad by William Allingham, founded on the original. Patrick Kennedy has also given the ballad in his 'Banks of the Boro' (p. 194): but this version has been largely constructed by himself. I give here from memory the very words of the peasant song; and they will be found nowhere else. The air, I must observe, has been republished in several settings‑‑including my own‑‑in the Stanford‑Petrie collection" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 413, pg. 224.

                       

NOBLE'S. English?, Hornpipe. F Major. Standard. AAB. Harding’s All Round Collection, 1905; No. 33, pg. 10.

X:1

T:Noble’s

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection (1905), No. 33

Z:AK/Fiddler’s Companion

K:F

C2|F3G AGAc|defd cAGF|G^FGA BABc|d2g2g2G2|F3G AGAc|

defd cAGA|F2f2 cAGF|A2F2F2::c2|f2a2 gece|f2a2 gece|

bgbg afaf|e2g2g2 fg|a^gaf g^fge|defd cAGF|F2f2 cBAG|A2F2F2||

                       

NOBODY CARES FOR ME. Irish, Air (6/8 time). A Minor. Standard. AB. "Not intended for a jig. Taken down from Michael O'Hannigan, piper, 24th April, 1853, at Mr. Curry's (i.e. the great Irish scholar, Eugene O'Curry)" {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 808, pgs. 392‑393.

                       

NOBODY'S BUSINESS. Old‑Time, Song and Breakdown. Recorded in 1928 for Brunswick/Vocalion by West Virginia string band duo the Cumberland Mountain Entertainers (Sam Caplinger and fiddler Andy Patterson {1893‑1950}). Later the duo moved to Akron, Ohio, and formed the Dixie Harmonizers, who recorded for Gennett. Carryon Records 002, "Ace Weems & the Fat Meat Boys."

                       

NOBODY'S JIG. AKA and see "My Lady Winwood's Maggot." Related to "No Man's Jig." English, Country Dance Tune (2/2 time). G Major. Standard. AABB. Merryweather (1989) states the tune dates from the 17th century when the term ‘jig’ meant any spirited dance tune, rather than the 6/8 time dance (as in Irish jig) form familiar to us in modern times. Barnes (1986) for some reason dates it to 1721. In fact, it appears in the Fitzwilliam Virginal Book (c. 1650?), and was later published by John Playford in his English Dancing Master from the edition of 1679 and subsequently. The tune seems related to, at least structurally, to "No Man's Jig," a morris-dance version of “Buttered Peas.”

***

Implied in the title is a double meaning that has been a kind of joke from the Middle Ages to the present. ‘Nobody’s Jig’ can refer to a jig that no-one has laid claim too, but also could be taken to mean it belongs to (a person named) Nobody. This dual meaning was extent at the time. Reginald Nettle, in his book Sing a Song of England (1954), says that Thomas Weelkes, referring to the Shakespearean actor, dancer and performer Will Kemp, set the following words to the tune in his Ayeres or Phantasticke Sprites (1608):

***

Since Robin Hook, Maid Marian, and Little John are gone-a,

The hobby-horse was quite forgot when Kemp did dance alone-a.

***

Nettles believes the tune to be a variant of the Helston Furry Dance melody. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 18 (appears as "My Lady Winwood's Maggot"). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 42. Raven (English Country Dance Tunes), 1984; pg. 23.

X: 1

T: Nobody's Jig

M:4/4

L:1/8

Q:160

S:Playford

O:Manuscript

A:English

K:F

g2|f2 d2 d2 ef|g2 G2 G2 g2|f2 d2 defg|g6 ag|f2 d2 d2 ef|

g2 d2 d2 c2|B4 A4|A6::cB|c2 e2 e2 ec|Bc d2 d2 cB|

c2 e2 e2 dc|b2 d2 d2 B2|cBcd edef|g2 d2 d2 c2|B4 A4| g6:|

                       

NODLOG MEIDREAC. AKA and see "(A) Merry Christmas."

                       

NOEL HILL’S. AKA and see Foxhunter’s (Reel) [2],” Mary McMahon,” “Micho Russell’s (Reel) [4],” “The Sister’s Reel.” Irish, Reel. D Major. Standard. AABB. Breathnach, (CRÉ II), 1976; No. 269 (appears as “Gan ainm”/Untitled). Shanachie 78005, De Danann – “Hibernian Rhapsody.”

X:1

T:Noel Hill’s

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:D

fAeA dAAG|FGAB =cAGB|Add2 efed|(3Bcd ef g2ag|\

fdec dAAG|FGAB =cAGB|Add2 efed|cAGE D4:||\

f3g a2fa|abag fede|f3g a2fa|bfaf g2ag|\

f3g a2fa|abag feda|bfaf gfed|(3Bcd ef g2ag:||

                       

NOEL HILL’S FANCY. Canadian, Reel. Canada, Cape Breton. C Major. Standard. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton) in honor of Irish Anglo concertina player Noel Hill. Cranford (Jerry Holland’s), 1995; No. 68, pg. 20. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

NOEL'S WALTZ. American (?), Waltz. G Major. Standard. AB. Private collection (circulated among contra-dance musicians).

                       

NOGGIN OF CREAM, THE. AKA and see "The Munster Rake," "The Swaggering Jig [1]," "The Drunken Gauger [1]," "Welcome the Piper," "The Silly Old Man [1]," "Girls take care how you marry," “Give Us a Drink of Water [2],” "Just at/in the height of her bloom," "Tiggit along the Room," "Taim in Arreir dTigh an Oil," "Taim in Arrears," “The old woman's consort." Irish, Slip Jig. G Major. Standard. AABCCD. A noggin is a unit of measure used in Ireland, about ¼ of a pint. O'Neill (O’Neill’s Irish Music), 1915; No. 226, pg. 121.

X:1

T:Noggin of Cream, The

M:9/8

L:1/8

S:Slip Jig

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

BAG GEG GEG | BAG GEG A3 | BAG GEG GEG | AGA BGE D3 :|

Bdd BdB BAG | Bdd BdB BAG | Bdd BdB BAG | AGA BGE D3 |

Bdd BdB BAG | Bdd Bde g3 | gfe fed edB | AGA BGE D3 |: BAG EFG EFG |

BAG EFG A3 | BAG EFG EFG | AGA BGE D3 :| Ggg ged BAG | Ggg ged e3 |

Ggg ged BAG | AGA BGE D3 | Ggg ged BAG | Ggg ged e2f | gffe fed edB | AGA BGE D3 ||

                       

NOININ CONNACHTACH, AN (The Connaught Daisy {from Coady}). Irish, Air (3/4 time). G Minor. Standard. AB. Editor O'Sullivan (1983) thinks the piece a harp-melody rather than a song air. He chooses to print Bunting's MS version rather than the one printed in his 1840 collection (from Hugh Higgins, the harper, noted in 1792); the versions are not similar except for some resemblances in title, meter, rhythm and phrase lengths. The Higgins version O'Sullivan thinks related to "An Bonnain Bui." Source for notated version: Bunting noted the tune from James Coady the piper. O'Sullivan/Bunting, 1983; No. 114, pgs. 164-165.

                       

NÓIRÍN BÁN. Irish, Air (3/4 time). D Minor. Standard. AAB. Source for notated version: “From Mrs. Close” [Petrie]. Petrie (Complete Collection), 1905; No. 1068, pg. 271.

X:1

T:Nóirín Bán

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 1068

Z:AK/Fiddler’s Companion

K:D Minor

FG/A/|B2B2 B>c|B4 A>G|A2c2f2|A4 {A/}GF|BGAFGD|F4 GA/B/|

A>F D2D2|D4:||AG|F2A2c2|f4 ef|defedc|{B/}A3 BAG|F2A2c2|

f4 ef|d2 df eg|f3 edc|B2B2 B>g|B4 {B/}AG|A2c2f2|A4 {A/}GF|

BGAFGD|F4 GA/B/|A>F D2D2|D4||

                       

NOIRIN MO MHILE STOIRIN ("Noirin/Nora My Thousand Treasures). AKA - "Noreen Ma Villa Storeen." Irish, Air (3/4 time). D Minor. Standard tuning. AABB. Source for notated version: The index to the Irish collector Edward Bunting's 1840 collection indicates the tune was noted at Galway in 1802. O'Sullivan/Bunting, 1983; No. 28, pg. 46.

                       

NOISY CURLEW, THE. AKA and see “Jack McGuire’s Reel.” The curlew is a large brown-streaked wading bird that emits haunting cries and a bubbling trill song (related to courtship, but heard in all seasons). It winters on the coast of Ireland, mainly on the coast and in estuaries, although sometimes inland, but during nesting season may be found in numerous habitats, including upland moors, grassy or boggy open areas in forests and damp grasslands and traditionally managed hayfields particularly in river valleys.

***

The Curlew.

***

Nimbus Records, Seamus Egan & Eileen Ivers – “Dear Old Erin’s Isle.”

X:1

T:Noisy Curlew

M:C

L:1/8

Q:224

S:Eileen Ivers & Seamus Egan

D:Dear old Erin´s Isle, Eileen Ivers + Seamus Egan;

D:Corner House

K:D

|: DF ~F2 DG ~G2 | DF ~F2 E2 FE| DF ~F2 ABde | fdAF GEFE|

DF ~F2 DG ~G2| DF ~F2 E2 FE | DF ~F2 ABde| fdAF GEFE :|

|: fgaf (3ggg ag | fgaf gf e2 | fgaf g2 fa  | gdAF GE D2 |

fgaf (3ggg ag | fgaf gf ea | gdAF G2  a2  | gdAF GE D2 :|

                       

NOLAN THE SOLDIER (Ua Nuallain An Ceatarnac). AKA and see "The Wicklow's March," "The Miners of Wicklow," "Paddy O'Flynn," "The Lass(ie) of Gowrie." Irish, Jig. D Major. Standard tuning. AB. The tune is a quickstep tune for the fife, according to Francis O'Neill, who named the melody after Nolan, who had been a fifer in the Confederate army during the Civil War. O'Neill learned the melody in Edina, Missouri, where he lived for a time in the 1870's, and where Nolan and his son (who played the drums) would "give free exhibitions of their skill on the public square at Edina to enliven the evenings while the weather was fine" (O'Neill, Irish Folk Music). See also the related “Seán Buí.”  O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 726, pg. 135.

X:1

T:Nolan the Soldier

M:6/8

L:1/8

R:Jig

S:O’N