The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT3] 

 

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 JOY LIKE LOVE.  English, Country Dance Tune (2/4 time). E Minor. Standard tuning. AA’BB’. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 27.

X:1

T:No Joy Like Love

M:2/4

L:1/8

N:The ‘c’ note in measure four may be played sharp

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Emin

e2 g/f/e/^d/|e3 f|gabe|^d/c/ B2f|g3 =f|efgc|B2 “tr”A2|G4:|

|:=f2 e>d|c/B/A/^G/ A2|g2 f>e|d/^c/B/^A/ B^c|^defg|ag/f/ gf/e/|B2 ^d2|1 e4 :||2 e3b||

|:B2 b2|”tr”a/^g/(a a)c|B2 a2|”tr”g/f/(g g)c|B2 g2|fe/^d/ ea|gf/e/ “tr”f2|1 e3 b:||2 e4||

                                   

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). 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. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 181.

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:|

X:2

T:Noman’s Jig

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

g2|f2 d2-d2 ef|g2G2G2g2|f2d2 defd|g6 ag|f2 d2-d2 ef|g2 d2-d2 c2|B4 A4|G6:|

|:g2|f2 a4 gf|g2 b4 ag|f2 a4 gf|g2 b4 ag|fg a2 d2 ef|g2 d4 c2|B4 A4|G6:||

                       

NO MISTAKE. American, March (2/4 time). D Major. Standard tuning. 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 tuning. 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 tuning. 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 “Paul Pry,” "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 tuning. 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 tuning. 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 tuning. 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 tuning. 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:|

                       

NOCH DAGH NOCH NACHT IS MIJNE RUST.  Dutch, Country Dance Tune (3/4 time). A Minor. Standard tuning. AABBC. A traditional Dutch air. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 120 (appears as “The Sleepless Swain”, the name of a modern country dance by Pat Shaw, set to the tune).

                       

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 tuning. 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 tuning. 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 tuning. 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 tuning. 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 tuning. 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 tuning. 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’Neill – Music of Ireland (1903), No. 726

Z:AK/Fiddler’s Companion

K:D

D2F A2A|BGB A2F|GFG E2G|FEF D3|D2F A2A|BGB A2A|Bcd ecA|B2c d2||

d/e/|fgf fgf|ecA Ace|fgf fgf|gfg e2 d/e/|fgf fgf|ecA Ace|Bcd ecA|B2c d2z||

                       

NOLAN’S. Irish, Jig. D Major. Standard tuning. AA’BB’. Source for notated version: learned from a recording of George Wilson [O’Malley]. O’Malley (Luke O’Malley’s  Collection of Irish Music, vol. 1), 1976; No. 84, pg. 42.

X: 1

T: Nolan's

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: D

FAF DFA | ded BGB | AFA dAF | A,CE GFE |

FAF DFA | ded BGB | AFA dAF |1 GEC D2 A/G/ :|2 GEC D2 g ||

fef dfa | gfg ecA | dcd fdB | cec A2 A/G/ |

FAF DFA | ded BGB | AFA dAF |1 GEC D2 g :|2 GEC D2 z ||

                       

NOMAN'S JIG. See "No Man's Jig".

                       

NONE GREATER THAN LINCOLN. Old‑Time. USA, Alabama. In the repertory of Alabama fiddler D. Dix Hollis (1861‑1927), who considered it one of "the good old tunes of long ago" (as quoted in the Opelika Daily News of April 17, 1926" {Cauthen, 1990}).

                       

NONE LEFT AT HOME BUT WIFE AND BAIRN (Gun duin' aig a'bhaile). Scottish, Jig. F Major. Standard tuning. AB. "The rebellion of 1745 gave rise to this air, when, in the disaffected districts every man capable of bearing arms flew to their rendezvous on the least alarm, and left none at home but their women and children" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 211, pg. 87.

X:1

T:None left at home but Wife and Bairn

T:Gun duin’ aig a’bhaile

M:6/8

L:1/8

R:Jig

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F

f/d/|c<Ac f2g|a>gf fed|cAA ~A2 f/d/|c<Ac f2g|a>gf fcA|AGG G2 f/>d/|

c<Ac f2g|a>gf fed|cAA ~A2c|(A/B/c)c (fa)g|(fa)g fdc|AGG G2||c|

(Ac)d (Ac)d|(fd)c Acd|cAA ~A2c|(Ac)d (Ac)d|fdc Acd|AGG ~G2c|

(Ac)d (Ac)d|fdc Acd|cAA ~A2c|(A/B/c)c (fa)g|(fa)g fdc|AGG G2||

                       

NONE SO PRETTY [1]. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABCCBCCB. Collected from the village of Fieldtown (Leafield, Oxfordshire), in England's Cotswolds. Bacon (The Morris Ring), 1986; pg. 163. Mallinson (Mally’s Cotswold Morris Book), 1988, Vol. 2; No. 57, pg. 28.

       

NONE SO PRETTY [2]. AKA and see "Staten Island (Hornpipe)." Hulbert (Complete Fifer's Museum), pg. 21 (2nd tune).

                       

NONESUCH [1]. AKA ‑ "A la Mode de France." English, Country Dance Tune (2/2 time). D Minor (most versions): E Minor (Chappell). Standard tuning. AA (Brody): AB (Fleming‑Williams, Sharp): ABB (Barnes, Karpeles & Raven): AA'BB' (Chappell). King Henry VIII built an opulent hunting lodge in Duddington, near Epson, Surrey, in 1538 and called it Nonesuch. It was the most extravagant of Henry’s 14 houses, and played a key role in the development of Tudor architecture and the introduction of Renaissance style in England, and was built from scratch to adorn Henry’s new hunting estate close to London. Nonesuch took almost ten years to complete, and was not quite done when Henry died in 1547. His successor, Queen Mary I disliked hunting, however, and allowed it to go to Henry Fitzalan, 12th Earl of Arundel, in a purchase-and-exchange deal in which she got some of Arundel’s Norfolk estates. Young Queen Elizabeth I enjoyed visiting Nonesuch as a guest of Lord Lumley, son-in-law of the Earl of Arundel, and it was recorded that “there is much dancing of country dances in the privy chamber at Nonesuch, before the Queen’s majesty, who is exceeding pleased therewith.” Elizabeth enjoyed Nonesuch so much that she purchased the estate in the last decade of her reign, returning it to the crown. It remained in royal use until the Civil War, but after the execution of Charles I it was confiscated by Parliament and sold in 1649. Nonesuch again returned to the crown with the Restoration, and Charles II gave it to his mistress, Barbara Castlemaine, who finally had it demolished in 1682 due to the needs of her extravagant lifestyle and the cost of maintaining the property. The site was excavated in 1959.

***

None Such” was published by John Playford in the first volume of his English Dancing Master (1651). Under the alternate title it appears in Musick's Delight on the Cithren and Musick's Recreation on the Lyra‑Viol, sometimes in a major key. The title refers to an item or thing without parallel as in ‘there is none such that can compare’. In this context the word was used by the blind Irish harper Arthur O’Neill (1734-1818) in his memoirs. O’Neill relates agreeing to oversee the making of a harp by one Conor O’Kelly, a master harp-maker although “a peevish man.” O’Neill facilitates the harps manufacture, but on completion “…[it] had to be taken asunder, as when it was tuned the treble was thought to be too long…The harp was a second time put together. It turned out the best one I ever heard or played upon. It then only wanted varnishing to make it a nonesuch (ed. italics mine)….” (Arthur O’Neill, Memoirs, Chapter V, 1810). The title also refers to a favorite residence of Queen Elizabeth I. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler’s Fakebook), 1983; pg. 203. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 322. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 9. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 14. Raven (English Country Dance Tunes), 1984; pg. 22 & 39. Sharp (Country Dance Tunes), 1909/1994; pg. 23. Spandaro (10 Cents a Dance), 1980; pg. 5. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973). Familiar Records FAM 47, Pyewackett ‑ "7 to Midnight" (1985). Flying Fish FF90564, Bare Necessities ‑ "Take a Dance" (1991). North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Rounder 0113, Trapezoid‑ "Three Forks of Cheat" (1979). Sonet 763, Dave Swarbrick‑ "Lift the Lid and Listen."

X:1

T:Nonesuch [1]

L:1/8

M:C

K:D Minor

|:a2|a2f2g2a2|f2ef d2a2|a2f2g2a2|f6 fg|a2f2g2a2|f2ef d2f2|e2c2d2e2|d6:|

|:d2|e2c2d2e2|f2 ef d2f2|e2c2d2e2|d6 f2|e2c2d2e2|f2 ef d2f2|e2c2d2e2|d6:|

 

NON(E)SUCH [2]. AKA and see "A la Mode de France." The tune, known as "A la Mode de France," is a major-key version of the tune "Nonesuch."

 

NONESUCH [3].  English, Jig. F Major. Standard tuning. AABB. The melody first appears in print in Henry Playford’s Second Part of the Dancing Master (London, 1698), and was subsequently printed in the 12th edition (1706), 15th edition (1713), and finally in the 16th edition (1716). Walsh published the melody in his Compleat Country Dancing Master (London, 1718), and in his 1735 and 1754 editions of the same work. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 92.

X:1

T:Nonesuch [3]

M:6/8

L:1/8

R:Jig

S:Playford – Dancing Master

K:F

f|f2c A2B|c3 F2c|f>gf g>ab|a3 f2c’|c’a2 bg2|

af2 ge2|dec c2=B|(c3 c2)::c|dBB Bcd|c2B A2A|

Bcd d_ed|g2f e2g|abd egc|dfA G2B|AFf f2e|(f3 f2):|

                                               

NOON LASSES, THE (Gearrchaili na Nona).  AKA and see “The Loon Lasses.” Irish, Reel. G Major. Standard tuning. AABBCCDD. In County Clare the tune is played as a set dance, says editor Jackie Small (CRÉ V). Breathnach’s collection note said source Cathcart was unsure as to whether the title referred to a personal name or a placename. Sources for notated version: a manuscript written by John and Tommy Gunn (County Fermanagh) at the end of the 19th century; also a sound recording of fiddler John Cathcart (also from County Fermanagh) [Breathnach]. Breathnach (CRÉ V), 1999; No. 119, pg. 61. Cló Iar-Chonnachta CICD 110, Chris Droney – “The Fertile Rock.” Gael-Linn CEFCD 175, Colm Murphy – “The Bodhrán.” Ossian OSS 69, Cathal McConnell – “On Lough Erne’s Shore” (learned from the Gunn family. A reissue of the Topic album).

                       

NOONDAY FEAST, THE. AKA and see “Kitty Come Over,” "Scatter the Mud [2]” (Scaip an Puiteach). Irish, Jig. E Dorian. Standard tuning. AABB. See also the ‘A’ part of Roche’s “The Maids of Tramore.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 263, pg. 150.

                       

NOOSE AND THE GHILLIE, THE. Scottish, Reel. Composed by P. Gautier. Green Linnet SIF 1121, Tannahill Weavers - "The Mermaid's Song."

                                   

NORA AN CHUIL OMAIR. AKA and see "Nora of the Amber Hair."

                                   

NORA CHREENA. AKA and see "Nora Criona."

                                   

NORA CHRIONNA. AKA and see “Nora Criona.”

                                   

NORA(H) CREINA('S). See “Nóra Críona.”

                       

NÓRA CRÍONA (Wise Nora). AKA - "Nora Chreena," Nóra Críonna,” “Nora(h) Creina.” AKA and see "Hushed be sorrow's sigh," "Lesbia hath a beaming eye," “The Metal Bridge,” "Norah Jig." Irish; Single Jig, Double Jig or Slide (12/8 time). G Major (most versions): D Major (O’Farrell). Standard tuning. AB (Mitchell): ABB (Moylan): AABB (Mitchell, Tubridy): AABBCD (Mitchell): AABBCDD (Kennedy): AABBCCDD (O’Farrell): AABBCCDDEEFF (O’Neill). The melody was first published in O`Farrell`s Pocket Companion for the Irish or Union Pipes (1804-1816). The tune, when played as a “piece,” or listening tune (in Irish, piosa, the ‘piece way’), is known as a showcase tune for uilleann pipers; although it is also rendered as a jig. Jackie Small (CRÉ V) remarks that the tune was once quite popular, although is not heard much in modern times, except in slide versions. The late Donegal fiddlers, brothers Mickey and Johnny Doherty, played this as the middle tune in a set with “Enniskillen Dragoons” and “Miss McLeod’s” (though sometimes “The Piper of Keadue” was substituted for the latter), in a rare AAae tuning (with the low string tuned up and the third string tuned down), which required playing the set in position (recorded in 1949 for the Irish Folklore Commission by Kevin Danaher & Sean Ó hEochaidh). Bulmer & Sharpley’s “Metal Bridge” is a variant, and the tune appears in many publications under the names “Wise Nora” or “Old Nora,” “The Norah Jig” etc. Clancy’s setting of “Nóra Chríonna” that he obtained from Patsy Tuohey. Clancy prints three settings: No. 151 is a close variant of the O’Neill’s version; No. 152 a bit more distanced, and No. 150 could be a separate variant category altogether. Small remarks that one of Clancy’s settings is set in ‘the piece way’. The title “Lesbia hath a beaming eye” comes from a song by Thomas Moore adapted to tune. Philippe Varlet finds early versions recorded in the 78 RPM era under the titles “Nora Greena” (a 1929 recording by piper Tom Ennis) and “Sullivan’s Jig” (a 1924 recording by piper Jimmie McLaughlin). Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler John M. Buckley (Sliabh Luachra region) [Breathnach]. Breathnach (CRÉ V), 1999; No. 8, pg. 6. Cole (1000 Fiddle Tunes), 1940; pg. 76. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 138, pg. 33. Kerr (Merry Melodies), vol. 2; No. 228, pg. 26. Moylan (Johnny O’Leary), 1994; No. 347, pgs. 195-196. O’Farrell (Pocket Companion, vol. 1), c. 1805; pgs. 60-61 (appears as “Nora Creena”). O'Neill (Krassen), 1976; pg. 36. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 126, pg. 36. Roche Collection, vol. 2; No. 312. Ryan’s Mammoth Collection, 1883; pg. 108. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 29. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996. Slide setting). Mickey Doherty – “The Gravel Walks.” Bob Smith’s Ideal Band – “Better than an Orchestra” (1977).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Nóra Chríonna

M:12/8

L:1/8

R:slide

D:The Smoky Chimney, track 1(c)

K:D

DED D2 E F2 D A2 F|DED D2 F E2 F G2 E|

DED D2 E F2 D A2 F|1E2 c cBc E2 F G2 E:|2E2 c cBc E2 F G2 F||

E2 A A2 G F2 D D2 F|ABA A2 G E2 F G2 F|

E2 A A2 G F2 D DEF|1E2 c cBc E2 F G2 F:|2E2 c cBc E2 F GFE|D3-D3 z6||

X:2

T:Wise Nora

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 126

Z:AK/Fiddler’s Companion

K:G

D|GAG G2A|B2G d2B|GAG G2B|A2B dcA|GAG G2A|BAG ABc|d2e fef|A2B cBA:|

|:ded d2c|B2G d2B|ded d2B|A2B cBA|ded d2c|BAG ABc|d2e fef|A2B cBA:|

|:BGG dGG|BAG dBG|AFF cFF|AFA cBA|BGG dGG|BAG ABc|d2e fef|A2B cBA:|

|:GBd GBd|GBd dcB|GBd GBd|A2B cBA|GBd GBd|GBd dcB|GBd fef|A2B cBA:|

|:GBd gfg|agf g2|GBd g2B|A2B cBA|GBd gfg|agf g2 g/a/|bag agf|A2B cBA:|

|:dBG GDG|BGB d2B|dBG GDG|A2B cBA|dBG GDG|BGB dcB|GBdd fef|A2B cBA:|

X:3

T:Nora Creina [1]

T:Nora Críona  [1]

L:1/8

M:6/8

S:Kerr/Cole

K:Gmix

g2G G2A|B2G d2B|g2G G2B|A2B cBA|g2G G2A|B2G d2B|A2=f fef|A2B cBA:|

|:ddd d2c|B2G d2B|ddd d2B|A2B cBA|ddd d2c|B2G d2B|A2=f fef|A2B cBA:|

 

NORA CHRIONA [2]. AKA and see “The Metal Bridge.” Irish, Jig. Mitchell (Dance Music of Willie Clancy), 1993; No. 150, pg. 118; No. 151, pgs. 118-119 & No. 152, pg. 119 (the latter Clancy identified as “Patsy Tuohey’s version”).

                       

NORA DALY. AKA – “Molly Durkin.” Irish, Air (6/8 time). A Dorian. Standard tuning. AB. The tune was recorded (as “Molly Durkin”) by Murty Rabbett, a tin-whistle and piccolo player and singer with Dan Sullivan's Shamrock Band of Boston. It was later recorded by Connie Foley (c. 1950) as “Nora Daley” and by the Clancy Brothers under the title “Musheen Durkin.” Words to the song, from the singing of Micho Russell (Doolin, County Clare) go:

***

It was down near Miltown Malbay, not a thousand miles from Galway

When I was young and merry in the breezy hills of Clare,

That I spied a colleen comely with winsome ways and homely

And she driving in a donkey cart and she going to the fair.

***

It was mild and pleasant weather with the bloom of furze and heather

Filled my soul with gladness in the wild and balmy (?) air

And my spirits felt fair lighter, and my life seems ten times brighter

Since I met that little colleen and she going to the fair.

***

Says she, "I'm Nora Daly, from the parish of Kilmeally,

My father, he's a farmer and the crossest man in Clare,

If he saw you here beside me, I'm afraid that he would chide me,

So, if you please, get down and walk a bit before we reach the fair."

***

I reluctantly obeyed her, for I could not have gainsaid her

Her visions of her father bright with the fierce and angry glare.

So before I'd quickly started, from her I gladly parted,

But I treasured her sweet memories till we reached Miltown Malbay.

***

At the Four-Mile Stone I met her, and within my heart I set her,

I searched for tales or tidings of my wanderer everywhere,

Her heart was in a flutter, as she feared her eggs and butter

They'd be scattered in the roadside and she going to the fair.

***

After years abroad sojourning and my love still brightly burning,

I sought for her and married her and settled down in Clare.

And I ofttimes yet remind her of that day long left behind her

Since I met her in the donkey cart and she going to the fair.

***

I have told my little story; though aged now and hoary,

It makes me feel quite young again and puts to flight dull care.

And along with what I've told you, one more secret I'll unfold you:

That you never met more loving hearts than those in County Clare!

***

Roche Collection, 1982, vol. 1; No. 41, pg. 20‑21. Green Linnet GLCD 3079, “The Russell Family of Doolin, County Clare.” Rounder 1027, Murty Rabbett – “From Galway to Dublin” (appears as “Molly Durkin”).

                       

NORA GREEN. Irish, Jig. G Major. Standard tuning. AABB'. McNulty (Dance Music of Ireland), 1965; pg. 20.

                       

NORAH JIG. AKA and see "Wise Nora."

                       

NORA LIKES CAKE. AKA and see "Is Maith Le Nora Ciste."

                       

NORA MY THOUSAND TREASURES. AKA and see "Noirin Mo Mhile Stoirin."

                       

NORA OF/WITH THE AMBER HAIR [1] (Nora An Chuil Omair). Irish, Slow Air (3/4 time). A Minor. Standard tuning. One part. "A different tune with this name is in Petrie's 'Ancient Music of Ireland'" (Joyce). Source for notated version: Mr. Flattely of Mayo, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 499, pg. 273.

 

NORA OF/WITH THE AMBER HAIR [2] (Nora An Cuil Omra). Irish, Air (3/4 time, "tenderly"). G Major/Mixolydian. Standard tuning. One part. O'Neills (Music of Ireland: 1850 Melodies), 1903/1979; No. 618, pg. 109.

X:1

T:Nora with the Amber Hair [2]

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 618

Z:AK/Fiddler’s Companion

K:G

gf|e2d2 BA|B2G2 GB|A2G2G2|G4 GA|B2d2 (3efg|f2 {e}d2 BA|B2d2 e>d|d4 (3GBd|

g2 gfed|=f2e2 (3dBA|G2 GA Bd/e/|=f4 g^f|e2d2BA|B2 GF (3GAB|A2G2G2|G4||

                       

NORAH OGE O'RYAN. Irish. This air appears in Luke Wadding's (the Bishop of Ferns) "A Pious Garland of Godly Songs for the Solace of his Friends and Neighbours in Afflictions"‑‑it appears "Norah oge nee Yeorane," a mangled form of the Gaelic.

                       

NORA O'NEILL [1]. Irish, Air (3/4 time). G Major. Standard. AB. Roche Collection, 1982, vol. 1; No. 19, pg. 12.

 

NORA O'NEILL [2] (Nora Ni Niall). Irish, Reel. D Major (O'Neill/Krassen): C Major (O'Niell/1850). Standard. AB (O'Neill/1850): ABB' (O'Neill/Krassen). Source for notated version: Mahony [O’Neill]. O'Neill (Krassen), 1976; pg. 142. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1453, pg. 269.

X:1

T:Nora O’Neill

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1453

Z:AK/Fiddler’s Companion

K:C

g2 {a}g^f gece | gage fdde | g2 {a}g^f gece | fagf ec c2 |

g2 {a}g^f gece | gage fddf | efge agfe | fagf ec c2 || GcEc Gcec |

Gceg fd d2 | GcEc Gcec | Bagf ec c2 | GcEc Gcec | Gceg fd d2 |

Agfe fedc | Bagf ec c2 ||

                       

NORAH THE PRIDE OF KILDARE (Nora An Blat G-Cille-Dara). AKA and see "Stony Point [2]” (Pa.). Irish, Slow Air (6/8 time). D Major. Standard tuning. AB. Bayard (1981) identifies the tune as appearing in its earliest setting (that he found) in Oswald's c. 1780 Caledonian Pocket Companion (vol. 1, pg. 64) and McGibbon's 1768? Collection of Scots Tunes (pg. 47); in both works it is simply called "Gigga" (Jig). He further states that this gigga, like others of the form, are based "to some extent" on the song‑tune immediately before it, in this case "The Bonny Boat Man." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 306, pg. 53.

X:1

T:Norah the Pride of Kildare

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 306

Z:AK/Fiddler’s Companion

K:D

A|d>cd BAz/F/|d>cd BAz/F/|GAB Ad>e|f>ed e2A|d>cd BA>F|d>cd {c}BA>F|

GAB Ade/d/|c>bc d2||A|BGd Afd|GFE {G}FD>A|B>cd Aff/e/|dec B2A|

f>ed edB|Adc/d/ e2a|f>ed edB|Af(3e/d/c/ d2||

                       

NORA WITH THE AMBER HAIR. See "Nora of the Amber Hair."

                       

NORA WITH THE CAKE (Onora an Chisde). AKA and see "Is Maith Le Nora Ciste."

                       

NORAH WITH THE PURSE. AKA and see "Cailleach an Tuirne," "Cailin A' Tuirna," "Garrett Barry{‘s Jig}," "Gearoid de Barra," "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me Darling," "The Ladies' Fancy [3]," "The Maid at the Spinning Wheel," "Maire an Phortair," “Noran Kista,” “Nora’s Purse,” "Norickystie," "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],” "Tune the Fiddle,” "The Wild Irishman [4]," "Wreathe the Bowl.”

                       

NORAN KISTA. AKA and see "Cailleach an Tuirne," "Cailin A' Tuirna," "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me Darling," "The Ladies' Fancy [3]", "The Maid at the Spinning Wheel," "Maire an Phortair," “Nora’s Purse,” “Norah with the Purse,” "Norickystie," "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],” "Tune the Fiddle,” "The Wild Irishman [4]", "Wreath the Bowl.” Irish, Jig. B Flat Major (Kerr): G Major (Kennedy, O’Farrell/vol. II): D Major (O’Farrell/vol. IV). Standard tuning. AABB (Kerr): AABBCCDD (O’Farrell/vol. IV): AABBCCDDEE (Kennedy, O’Farrell/vol. II). The alternate title “Wreath the Bowl” comes from a Thomas Moore song in Irish Melodies (vol. 7) set to the air “Noran Kista.” See also the related “Tune the Fiddle.” His song begins:

***

Wreath the bowl

With flowers of soul,

The brightest Wit can find us,

We'll take a flight

Towards heaven to-night,

And leave dull earth behind us.

***

Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 139, pg. 34. Kerr (Merry Melodies), vol. 4; No. 239, pg. 26. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 98-99 (appears as “Noran Kishta”). O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 120 (appears as “Noran Keestha”).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Noran Kishta

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

D | GAG B2G | c2A B2G | GAG cAG | F3A3 | GAG B2G | c2A B2G |

ded cAF | G3G2 :: c | BAG AFD | DED FED | DED AFD | F3c3 | BAG AFD |

DED FED | ded cAF | G3G2 :: D | GAG BGG | cAA BGG | DGG cAG | F3A3 |

GAG BGG | cAA BGG | ded cAF | G3G2 :: GBd gba | gdB ecA | BGG cAG |

F3A3 | GBd gba | gdB ecA | fed cAF | G3G2 :: c | BAG AFd | BGd AFd |

BGd AFD | F3c3 | BAG AFF | BGG cAA | ded cAF | G3G2 :|

           

NORA’S PURSE. AKA and see “Norah with the Purse.”

           

NORDFORDEN. Norwegian, Springer (3/4 time). Norway, Western region. D Major. The piece was originally disseminated by the itinerant spelemann (fiddler) and rose‑painter Knut Luras, of Telemark, Norway.

           

NORE IS LONG, THE. Irish, Air (2/4 time). Ireland, Kilkenny. F Major. Standard tuning. AB. Identified as a Kilkenny ballad air by collector George Petrie. Source for notated version: “From J.G.A. Prim” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 334, pg. 84.

           

NORFOLK FREEHOLDERS, THE. English, Jig. D Major. Standard tuning. AABB. The melody appears in print in Charles and Samuel Thompson’s third collection of country dance tunes (London, 1773), and in the 1770 music manuscript collection of Northumbrian fiddler William Vickers (about whom little is known). There is an old song called “The Norfolk Freeholders” with a different melody, issued on various late 18th century songsheets. The ballad was originally published in The Court Parrot (London, 1734), “a new miscellany of prose and verse,” in which it is directed that it be sung to the tune of “Hogan of Houghton.” It supports the interests of Sir Edmund Bacon and William Woodhouse for a county election, and begins:

***

Ye Norfolk Freeholders, whose generous hearts

Are proof against bribes, and the Courtiers mean arts,

Of your Freedom and Power, express a true sense,

And bravely stand up in your country’s defense.

Let no insignificant censures affright,

Nor deter you from acting what’s honest and right;

For wise men agree (and ‘tis sure the same thing)

That serving our country is serving our king.

***

Whig candidates Bacon and Woodhouse won their seats in 1734 despite the influence of Walpole, who had spent £10,000 of his own money to prevent the outcome. “Norwich citizens observed the victory with traditional sylvan festoons and a cheering accompaniment to the Norfolk freeholders, who rode out of town bedecked with gilt cockades” (quoted from Kathleen Wilson’s The Sense of the People, 1995, pg. 395). Seattle (William Vickers), 1987, Part 3; No. 565. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 34.

X:1

T:Norfolk Freeholders, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

A|dDD FED|fed ecA|dAG FGA|Bdc d2:|

|:g|fda fda|eca eca|fda fda|Bdc d2:||

           

NORFOLK GENTLEMAN, THE. AKA and see "Now Ponder Well, Ye Parents Dear."

           

NORFOLK HORNPIPE [1]. AKA and see “The Men from Ulster.” American, Scottish; Hornpipe. G Major. Standard tuning. AABB. Composed by W.H. Whiddon, according to Ryan’s Mammoth Collection. Lisa Ornstein points out that the first part of the tune is similar to (the second part of) another tune in the Ryan collection, “Whiddon’s Hornpipe.” O’Neill prints the tune as “The Men from Ulster.” Cole (1000 Fiddle Tunes), 1940; pg. 86. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 4. Kerr (Merry Melodies), vol. 2; No. 369, pg. 41. Ryan’s Mammoth Collection, 1883; pg. 118.

X:1

T:Norfolk Hornipe [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D>B, | G,/>B,/D/>G/ B/>G/D/>B,/ | C/>E/A/>B/ c/>B/A/>c/ | B/>d/g/>d/ e/>c/A/>G/ |

(3F/G/A/ (3G/F/E/ (3D/E/D/ (3C/B,/A,/ | G,/>B,/D/>G/ B/>G/D/>B,/ | C/>E/A/>B/ c/>d/e/>f/ |

{a}g/>f/g/>e/ (3d/e/d/ (3c/B/A/ | G/>B/d/>B/ g :: (B/c/) | d/>g/{a/g/}(f/g/) e/>g/{a/g/}(f/g/) |

b/>g/a/>f/ g/>e/d/>B/ | (3c/d/e/ (3A/B/c/ (3B/c/d/ (G/>B/) | (3A/G/F/ (3A/G/E/ .D(B/c/) |

d/>g/{a/g/}(f/g/) e/>g/{a/g/}(f/g/) | {a}b/>g/a/>f/ g/>e/d/>B/ | c/>d/e/>f/ {a}g/>fg/>e/ | d/>B/c/>A/ G :|

 

NORFOLK HORNPIPE [2]. AKA and see “The Merrymaker’s Club,” “Stage Hornpipe [1].” Irish, Hornpipe. G Major. Standard tuning. AABB. A different tune than “Norfolk Hornpipe [1].”

X:1

T:Norfolk Hornpipe, The  [2]

D:Tommy Peoples: Master Irish Fiddler

B:Tommy Peoples: Fifty Irish Fiddle Tunes

R:Hornpipe

M:4/4

L:1/8

K:G

(3def|gfge dgbd|ceAc (3bcd gd|bAAg fgag|fgfe defe|!

gage dgbd|ceac (3bcd gd|eg ~g2 dg ~g2|ecAF G2:|!

A2|BG ~G2 (3DFG DB,|G,GAB cBAF|A3 B cBcA|(3ABA (3GFE (3DED (3CB,A,|!

G,CDF BdcB|cBcd efge|dbca Bgfg|ecAF G2:||

           

NORICKYSTIE. AKA and see "Norah with the Purse," "Cailleach an Tuirne," "Cailin A' Tuirna," Fourpence Ha’Penny Farthing,” "Maire an Phortair," "The Maid at the Spinning Wheel," "The Road to Lurgan," "The Wild Irishman [4],” "The Jockey [2]," "Kiss Me Darling," "Wreath the Bowl," "Tune the Fiddle." Irish, English; Jig. Irish versions are numerous under various titles. The “Norickystie” title appears in James Aird’s vol. 1 of his Selection of Scotch, English, Irish and Foreign Airs (Glasgow, 1782), with an alternate title of “The Wild Irishman.”

                       

NORMAN AND NANCY. American, Reel. Composed by bluegrass fiddler and mandolinist Sam Bush in honor of Norman and Nancy Blake, guitarist and cellist. Rounder 0215, Sam Bush ‑ "Rounder Fiddle" (1990). Rounder 0195, Sam Bush ‑ "Late as Usual."

                       

NORMAN TOY. American, March (2/4 time). D Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1965/1981; pg. 12.

                       

NORRIE LEARY. Irish, Jig. G Major. Standard tuning. AABB. O’Brien (Irish Folk Dance Music).

X: 1

T: Norrie Leary

S: J. O'Brien: "Irish Folk Dance Music"

Z: Transcribed by Bill Black

M: 6/8

L: 1/8

Q: 325

R: jig

K: G

G/A/ | BdB G2 D | EFG D2 d/c/ | BdB GAB | c3 A2 d/c/ |

BdB G2 D | EFG D2 d/c/ | EFG AFD |G3 G2 :|

A | Bdd dBd | BdB G2 A | Bdd dBG | c3 A3 |

Bdd dBd | BdB G2 D | EFG AFD | G3 G2 :|

                       

NORT RODD, DA (The North Road). Shetland, Reel. D Major. Standard tuning. AA'B. Composed by Shetland fiddler Willie Hunter, Jr.  Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 33. Olympic 6151, The Shetland Fiddlers' Society ‑ "Scottish Traditional Fiddle Music" (1978).

                       

NORTH ASTON FROLIC. English, Jig. England, Northumberland. G Major. Standard tuning. AABBCC. Seattle (William Vickers), 1987, Part 2; No. 338.

                       

NORTH BANK OF ESK. AKA and see "Banks of Esk."

                       

NORTH BERWICK LAW.  Scottish, Strathspey. B Flat Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831). North Berwick Law is a conical-shaped hill, some 613 feet high, located near the seaside town of North Berwick, East Lothian. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 29.

X:1

T:North Berwick Law

M:C

L:1/8

R:Strathspey

N:”Slowly”

C:Nathaniel Gow (1763-1831)

B:Bow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:Bb

d/e/|fBg>B G2 Gg|fB gB fBdb|fBg>B G2 Gg|fbdg fBdb|fBg>B G2 Gg|

fB gB fBdb|fBgB G2 Gg|f<bd>c B2B||B|FG BB FG B2|F<F {Bc}d>B G2 GB|F>G BB FG B>g|

f<b d>c B2 B>G|F>G BB FG B2|F<F {Bc}d>B G2 G>g|(3fed (3cBA (3Bcd (3efg|f<b d>c B2B||

                       

NORTH BRIDGE OF EDINBURGH, THE. AKA and see "Miss Watson('s Reel)," "Belhelvie House." Scottish, Strathspey. A Minor (Surenne): B Minor (most versions). Standard tuning. AB (Surenne): AAB (Gow, Skye): AABB' (Kerr). The bridge was completed in 1772, widened in 1876 and reconstructed in 1877. It spans the ravine between the New Town and the Old in Edinburgh, in response to the growth of the city in the 18th century. Previous to the original bridge, an earlier attempt collapsed as it was nearing completion in 1769 and the architect, William Mylne {1734-1790}, judiciously chose to leave for America soon afterwards. Composed by William Marshall (1748-1833) as "Belhelvie House," it appears in his First Collection of 1781. The “North Bridge…” is Gow's title and appears in his Repository. See also the Irish derivative reel “The Musical Priest.”

***

The North Bridge of Edinburgh.

***

Gow (Complete Repository), Part 1, 1799; pg. 37. Kerr (Merry Melodies), vol. 3; No. 33, pg. 6. MacDonald (The Skye Collection), 1887; pg. 61. Stewart-Robertson (The Athole Collection), 1884; pg. 130. Surenne (Dance Music of Scotland), 1852; pgs. 70-71.

X:1

T:North Bridge of Edinburgh

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:Bmin

B|F<B ~B>F B/B/B d2 | c>B A<c e/d/c/B/ A<c | F<B ~B>F B/B/B d2 |

c>Bc>^A ~B2B, ::c | d2 d<f d/d/d f>d | c>B A<e c>Ae>c |1 d2 d<f d/d/d f>d |c

>Bd>^A ~B2B :|2 d<fd<f c<A e>c | d>Bc>^A ~B2B, ||

X:2

T:North Bridge of Edinburgh, The

M:C
L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 70-71   (1852)

Z:AK/Fiddler’s Companion

K:Amin

A | (E<A)A>E A<A c2 | ({c}B>)AG>B (d/c/B/A/) G>B | (E<A)A>E A<A c2 | ({c}B>AB>^G A3A |

(E<A)A>E A<A ({B}c2) | ({c}B>)AG>B (d/c/B/A/) G>B | (E<A)A>E A<A ({B}c2) |

({c}B>)AB>^G A3 || B | c2 c>e c<ce>c | ({c}B>)AG>d (B<G)d>B | c2 c>e c<ce>c |

({c}B>)AB>^G A3B | c2c>e c<ce>c | ({c}B>)AG>d (B<G)d>B | (c>e)(c>e) (B<G)(d>B) | c<AB>^G A3 ||

           

NORTH CAPE REEL. Canadian, Reel. Canada, Prince Edward Island. E Dorian. Standard tuning. AABB. Perlman (1996) believes the tune is probably a locally composed west PEI reel.  Source for notated version: Joseph Doucette (b. 1910, DeBlois Road, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 112.

           

NORTH CAROLINA BREAKDOWN. Old-Time, Breakdown. USA, Tenn. G Major. Standard tuning. AABB (Songer): AA'BB (Phillips). Composed by Tennessee’s Fiddlin' Arthur Smith. The tune is a current festival favorite among younger old-time fiddlers. Ernest Smith, Arthur’s son, believes his father wrote “North Carolina Breakdown” around 1937, about the same time as “Smith’s Breakdown,” and that it was recorded by Nashville’s Starday lable in 1962. See also the variant "Tarheel Breakdown" and the similar “Whistling Rufus.” Source for notated version: Judy Hyman (Ithica, N.Y.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 166. Songer (Portland Collection), 1997; pg. 148. HFM 1301, Hillbillies from Mars - “Hillbillies from Mars” (1993).

           

NORTH COUNTRY FRISK. English, “Old” Hornpipe (3/2 time). A Major. Standard tuning. AABBCCDDEE. The melody appears in Walsh’s Lancashire Jiggs, Hornpipes, Joaks, etc. (c. 1730).

X:1

T:North Country Frisk

B:Walsh

M:3/2

L:1/8

N:triplets marked for first bar of last part

K:A

c4 Bd cBA4|c2e2 B2d2 c2 BA| F2 B2 E2 G2 F2 B2|F,2 D2 A2 c2 B2 A2::\

c2 e2 d2 f2 c2 e2|B2 d2 c2 BA F2 A2|E2 D2 C2 B,2 A,CB,A,|G,2D2 A2 c2 B2 A2::\

a2 c2 dcBA E2 B2| A2 D2 B2 D2 ce cB| A2 G,4 B,2 A,2 G,2::\

aedc BcdB cdef| edcB AcBA FABc| dcBA FGFE DCB,A,| G,2 D2 A2 c2 B2 A2::\

CA3 D2 CA3 D2 CA3 D2|F2 B4 c2 dcBA|F2 E2 D2 C2 B,2 A,2|G,2 A4 c2 B2 A2|A,EAe:|

                       

NORTH COUNTRY LASS. AKA “The Northern Lass.” English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. In England in the 17th and 18th century 'North Country' referred to the North Mid-lands of England, a broad belt of territory from Cheshire and Derbyshire north through Lancashire and the West Riding of Yorkshire to southern Cumbria. The three Ridings of Yorkshire—North, South and West—derived their name from thriding, a variant of Old English thrithing, itself derived from Old Norse thrithi, meaning a third.

***

The melody was first printed as a country dance in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1788). Along with numerous other tunes from the Thompson’s 1773 collection, it was entered into the 1788 music manuscript collection of fiddlers John and William Pitt Turner (Norwich, Conn.). “North Country Lass” is one of the "missing tunes" from William Vickers' c. 1770 Northumbrian dance tune manuscript. However, “North Country Lass” appears to have originally been a song tune. Chappell (1859) mentions a ballad "North‑country Lasse" in connection with the air "Quodling's Delight." In fact, “North Country Lass” or “Northern Lass” has been a rather generic title exploited by several songs. At least one “North Country Lass” refers to Betty Maddocks, the ‘fair maid of Doncaster’, who (according to The Strand Magazine, 1906, pg. 220) was “a heroine of the seventeenth century, who, being much sought after, bargained that she would only wed the man who could tire her out in dancing. A hundred gallants made the attempt, only to retire, utterly wearied, before the terrific energy of the young lady, who, presumably, lived single ever after.” Source for notated version: “from one of Thompson’s manuscripts” [Knowles]. Knowles (A Northern Lass), 1995; pg. 12. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 133.

X:1

T:North Country Lass, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

a|a>bg f>ge|d>cd ecA|A>BA A>BA|d>ef e2a|a>bg f>ge|d>cd ecA|ABc dgf|edc d3:|
|:d2g b3|d2f afd|dgb bag|dfa afd|gab gfe|fga fed|Bgb a>bg|f>ge d3:||

      

NORTH COUNTRY STYLE, THE. Scottish, Reel. D Major. Standard tuning. AAB. Composed in 1934 by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), who has been called one of the greatest exponents of the Scottish fiddle in the 20th century. Henderson dedicated the tune to John Pirie, a violinist from Fraserburgh, Scotland. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 123, pg. 50. Henderson (Flowers of Scottish Melody), 1935.

      

NORTH DAKOTA SUNRISE. American, Waltz. G Major. Standard tuning. AABB. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 26.

                       

NORTH DOOR, THE. AKA and see "La Porte du Nord."

                       

NORTH-EAST REEL, THE.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 41.

                                   

NORTH END REEL. AKA and see "Betty Pringle's Pig [1]." American, Reel. F Major. Standard tuning. AABB. The composition credited to one J. Hand in Ryan's Mammoth Collection (1883), although clearly one of the “"Bennett’s Favorite/Silver Spire” tune family. The first part of this tune is reminiscent of "Money Musk/Monymusk." Cole (1000 Fiddle Tunes), 1940; pg. 47. Ryan’s Mammoth Collection, 1883; pgs. 59 & 76.

      

NORTH HUNT {MEDLEY}, THE (An t-Sealg). AKA and see "The Northern Meeting." Scottish, Strathspey. G Major. Standard tuning. AAB. This tune and "The Rendezvous" "form a medley, complimentary to the Northern Meeting, which becomes, in every month of October, the rendezvous of all the beauty and fashion in the north of Scotland" (Fraser). The tune is likely written by Capt. Simon Fraser. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 172, pg. 70. Stewart-Robertson (The Athole Collection), 1884; pg. 178.

X:1

T:North Hunt, The

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:G

g|d<B d>B c>AF>D|d<G d>B G<gd<b|g>c B<e E<AF<D|E<E D>F G2G,:|

g|d<B g>B A<a a>f|d<B g>B d<gB<g|d<B g>B A<a a>f|(3dgb (3agf ~g2 ge|

d<B g>B c>A F<D|B,D/G/ G<d B<gd<b|g>c B<e E<AF<D|E>ED>F G2G,||

                       

NORTH INCH. Scottish, Strathspey. A Major. Standard tuning. AAB. An ‘inch’ means a level field in Gaelic. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2.

X:1

T:North Inch. a Strathspey.

R:strathspey

M:C|

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:A

a | e<cA>c d>ef>d | ce f/e/d/c/ dBBa | e<cA>c d>ef>g | a/g/a/b/ ae cAA :||

c/d/ | e>c d/c/B/A/ a>ef>d | ec f/e/d/c/ dBB(c/d/) | ec d/c/B/A/ cedf |

ec B/c/d/B/ cAA (c/d/) | ecac dBbB | cA d/c/B/A/ GBB (c/B/) | A>Ec>A e>ca>e | ((3faf) ((3gbg) aAA |]

                                   

NORTH LOCH, THE. AKA and see “Go About Your Business,” “Gin I Had a Bonnie Lass/Lassie.” Scottish, Reel. G Mixolydian. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 44.

X:1

T:North Loch, The

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:Gmix

(c | BG)dG Bcdf | AFcF “tr”A2 Fc | BGdG Bcdg | BGA^F G/G/G G :|

|: ^f | (g>ag)d (ga)(gd) | fgfc “tr”A2 F^f | g>agd g>agd | c<A d>c “tr”B2 G^f |

g>agd g>agd | f>gfc “tr”A2 FA | BGcA dBge | dcBA “tr”B2 G :|

      

NORTH MOORS HORNPIPE. English, Hornpipe. G Major. Standard tuning. AB. Raven (English Country Dance Tunes), 1984; pg. 181.

      

NORTH OF AMERIKAY, THE. Irish, Air (4/4 time). G Major. Standard tuning. One part. "Learned when I was a child and now written from memory. There was a song to it which was composed during the American war, as this first verse indicates:‑‑

***

The seventeenth of June last by the dawning of day,

Our ship she cast an anchor and landed in the bay;

Then our brave heroes bold they quickly marched away

To fight the Boston rebels in the north of Amerikay.

***

'The Battle of King's Bridge,' the English version of the words of this song, may be seen in the Journal of the Folk Song Society, vol. II, p. 20. The air bears some slight resemblance to mine" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 15, pgs. 10‑11.

X:1

T:North of Amerikay, The

M:C

L:1/8

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G

G | cccc B>A G/E/D/E/ | GAG>G G3B | cd e/f/g a>g fd |

edc>e d2 ge | dBA<G B2 B/d/ | ef ge/d/ BABG | BA/B/ GG G3 ||

      

NORTH OF THE GRAMPIANS, THE. AKA and see "The North Side of the Grampions."

      

NORTH OF THE TAY. Scottish, Reel. E Minor. Standard tuning. AA'B. The melody was composed by James Stewart-Robertson, editor of The Athole Collection.  MacDonald (The Skye Collection), 1887; pg. 82. Stewart-Robertson (The Athole Collection), 1884; pg. 265.

X:1

T:North of the Tay

M:C|

L:1/8

R:Reel

C:James Stewart-Robertson

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:Emin

B | GE E/E/E E2 B,E | GBAG FDDF |1 GE E/E/E E2 B,B | dBAF E/E/E E :|2

GEBE GABb | gedF E/E/E E || e | gfeb gebe | feda fdad | gfeb gebe | dBAF E/E/E ~Ee |

gfeb gebe | fdad bdad | gfe^d egfe | dBAF E/E/E ~E ||

      

NORTH OF THE TWEED. Scottish, Strathspey. E Dorian. Standard. AAB. The River Tweed marks the border between England and Scotland. Stewart-Robertson (The Athole Collection), 1884; pg. 264.

X:1

T:North of the Tweed

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:Emin

G/F/ | E<B,B,<B G<E B>G | F<DA<F d/^c/B/A/ G/F/E/D/ | E<B,B,<B G<E B>G |

F<dD<F G<E~E :| f | g>fe>^d e<B B>^c | d>BA>G F<dF<D | E>Be>f g>fe>d | (3B^cd (3ef^d e2 e>f |

g>fe>^d e>Bd>^c | d>BA>G F<dF<D | (3EFG (3FGA (3GAB (3ABc |(3dcB (3AGF G<E~E ||

      

NORTH ROAD TO ARAN, THE.  AKA and see “Billy O’Rourke’s the Buachaill [1].”

 

NORTH SHIELDS REEL. English, Reel. England, North‑West. A Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 13.

      

NORTH SHORE [1]. Canadian, Breakdown. D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 3. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 3, pg. 4. F&W Records 2, "F&W String Band 2."

X:1

T:North Shore Breakdown

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

(3ABc |d2d2 dABc|d2d2 dABc|dcde fedc|B2G2 G2cd|

e2e2 eAcd|e2e2 eAcd|efed cABc|d2f2 d2:|

|:fg|abaf d2Ad|cBBB B2ef|gage c2Ac|BAAA A2fg|

abaf d2Ad|cBBB B2ef|gage cABc|d2f2 d2:|

 

NORTH SHORE [2]. Scottish, Hornpipe. D Major. Standard tuning. AA'BB'. Hardie (Caledonian Companion), 1992; pg. 33 (“based on a version…from Henderson’s Flowers of Scottish Melody). Henderson (Flowers of Scottish Melody), 1935.

X:1

T:North Shore [2]

M:2/4

L:1/8

R:Hornpipe

K:D

(3A/B/c/|dd/A/ B/A/F/D/|C/D/E/F/ GA/G/|F/A/d/c/ B/d/g/f/|e/d/c/B/ A/g/f/e/|

dd/A/ B/A/F/D/|C/D/E/F/ G/A/B/G/|F/A/d/A/ B/G/E/C/|DDD:|

|:A/B/|c/d/e/f/ g/e/c/A/|d/e/f/g/ af/a/|ge/g/ fd/f/|e/d/c/B/ A/g/f/e/|

dd/A/ B/A/F/D/|C/D/E/F/ G/A/B/G/|F/A/d/A/ B/G/E/C/|D2D2D2:|

 

NORTH SHORE [3].  English, Hornpipe. G Major. Standard tuning. AABB. The melody appears in the John Rook manuscript book (Multum in Parvo, or a Collection of old English, Scotch, Irish, Welsh Tunes, pg. 226), dated 1840.

X:1

T:North Shore – A Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Rook manuscripts

C:”by A.M. Hope”

Z:AK/Fiddler’s Companion

K:G

dc|B2 dB c2 ec|d2 ef g2 fe|dedB gdcB|B2A2A2 dc|B2 dB c2 ec|

d2 ef g2 fe|dedB ecAF|G2G2G2::dc|defg adfd|adfd BGdB|

c2 ac B2aB|c2A2A2 dc|B2 dB c2 ec|d2 ef g2 fe|dedB ecAF|G2G2G2:|

                       

NORTH SIDE, THE.  Canadian, Reel. Canada, Cape Breton. Named for the North Side of Cape Breton Island, where Irish influence is strong. Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999. Learned from Cape Breton fiddler Brenda Stubbert). 

                       

NORTH SIDE OF THE GRAMPIONS, THE (Taobh-Tuath Man Garbh - bheann). AKA – “North of the Grampians.” AKA and see "Back of the Grampians." Scottish, Strathspey. C Major. Standard tuning. AAB (most versions): AABB' (Kerr). This tune and "John O'Groat's House" "form a medley, so popular on the north side of the Grampions as to rival any now current, being in sterling dance style" (Fraser). The tune is likely written by Capt. Simon Fraser, and was attributed to him in Lowe's collection. The Grampian Mountains are the highest mountains of Great Britain, extending northeast to southwest along the southern fringe of the Highlands in central Scotland. Ben Nevis (4,406 ft.) is the tallest peak. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 194, pg. 80‑81. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 57 (appears as "Back of the Grampian Hills"). Hunter (Fiddle Music of Scotland), 1988; No. 69. Kerr (Merry Melodies), vol. 2; No. 78, pg. 11 (appears as "North of the Grampians"). MacDonald (The Skye Collection), 1887; pg. 109 (appears as “North of the Grampians”). Neil (The Scots Fiddle), 1991; No. 130, pg. 170. Skinner (Harp and Claymore), 1904; pg. 55.  Stewart-Robertson (The Athole Collection), 1884; pg. 61.

X:1

T:North of the Grampians

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:C

F|E>FG>A GE c2|E/F/G G>c c<e d2|E>FG>A F<E E>G|F>DB,>G, B,/C/D F:|

f|e>c e/f/g e<c c>f|e<c c>f (3efg (3fga|e>c e/f/g e<c c>e|f>dB>G B/c/d f2|

e>c e/f/g e<c c>f|e<c c>f (3efg (3fga|(3gfe (3dcB (3cBA (3GFE|F>DB,>G, B,/C/D F||

           

NORTH SIDE TUNE, THE. Canadian, Set Dance (cut time). G Major. Standard tuning. AABB’. Named for the northeast shore of Kings County, Prince Edward Island (where it is also called “Sexton Ring the Bell”). Source for notated version: Stephen Toole (1927-1995, Green River, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 150.

           

NORTH SKELTON SWORD DANCE. AKA ‑ "The Lass O' Dallogill." English, Sword Dance (6/8 time). C Major. Standard tuning. AABA'A'B. Raven (English Country Dance Tunes), 1984; pg. 83.

           

NORTH STAR HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 96. Cranford (Winston Fitzgerald), 1997; No. 20, pg. 8. Ryan’s Mammoth Collection, 1883; pg. 131.

X:1

T:North Star

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

F2 | BfdB fBdB | eBgB fBdB | FBdB dBdB | AcBG F2 (GA) | BfdB fBdB |

eBgB fBdB | Ggfe dcBA | B2d2B2 :: f2 | f2 (df) (cf)(df) | babf edcB |

DFBD EGcB | A2F2F2(GA) | Bdfd cege | dfga babf | gfdB AFGA | B2d2B2 :|

                       

NORTH WIND, THE. Irish, March (4/4 time). G Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 56.

X:1

T:North Wind, The

M:4/4

L:1/8

Q:140

S:Rice-Walsh manuscript

Z:Paul Kinder

R:March

K:G

(3DEF|G2 GG GBdB|c2 A2 A2 c2|BGBd gdBG|d2 de dcBA|

G2 GG GBdB|c2 A2 A2 c2|(3BdB GB (3AcA FA|G2 GG G2||

(3def|g2 ga bgdB|c2 A2 A2 fg|a2 ab agfe|dgfe dcBA|

G2 GG GBdB|c2 A2 A2 c2|(3BdB GB (3AcA FA|G2 GG G2||

                       

NORTHDOWN WALTZ, THE. English, Country Dance Tune (3/4 time). B Flat Major. Standard tuning. AABC. Barnes (English Country Dance Tunes), 1986.

                       

NORTHEAST TEXAS. Old-Time, Breakdown. USA, Mississippi. A version of “Wagoner [1],” from the twin fiddling of Luke Milner and Luke Curtis. Document 8028, Milner & Curtis – “Mississippi String Bands, vol. 2” (reissue).

                       

NORTHERN FRISK. AKA and see “The Merry Conclusion,” “Mr. Kynaston’s Famous Dance.” English, Country Dance Tune (3/2 time). England, North‑West. A Dorian. Standard tuning. AABBCCDD. The melody appears in John Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) published around the year 1731. It also appears in the London Magazine, or Gentleman’s Monthly Intelligencer of 1758 (pg. 93), and in Johnson’s Two Hundred Favourite Country Dances (vol. 8, pg. 33) of the same year. The alternate title, “Mr. Kynaston’s…” refers to a dancing master named Nathaniel Kynaston, who was active from 1710 to 1721 and who was probably from the Shropshire/Wales border region. Unfortunately nothing more is known about him. “Mr. Kynaston’s” (without the “Famous Dance” part) appears as the alternate title for “The Merry Conclusion” in Walsh’s Twenty Four Country Dances for the year 1716 (pg. 24), a copy of which is in the Bodleian Library, Oxford. In fact, Walsh published one hundred and twenty of Kynaston’s tunes and dances in various publications, from 1710 to 1719. Callaghan (Hardcore English), 2007; pg. 77. Knowles (Northern Frisk), 1988; No. 1. Offord (John of the Greeny Cheshire Way). Big Chain BC 101, Cooper & Bolton – “Turning Point.” Wildgoose Records WGS 298CD, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2000).

X:1

T:Northern Frisk, The

B:Walsh

M:3/2

L:1/8

K:C

A2 e4 A2 ecBA| GABc d2 G2 B2 AG| A2 e4 A2 ecBA| E2 A4 c2 B2 A2::\

edcB ABcd ecBA| GABc dcBA BcdB| AecA ceac| BA^G^F| E2 A4 c2 B2 A2::\

e2 a2 d2 g2 c2 f2| BcdB GABG BcdB| ea^gb edcB ABcA| G2 A4 c2 B2 A2::\

e2 e2 e2 e2 e4| dcBA G2 d2 BcdB| eaec AcBA ^GAB^G| E2 A4 c2 B2 A2:|

                       

NORTHERN HAGS, THE. AKA and see “Hags of Ulster.”

                       

NORTHERN LASS [1], THE. AKA and see "Muirland Willie," "Lord Frog (and Lady Mouse)." English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AB. The tune is found in Apollo's Banquet (1669), The Pleasant Companion, or New Instructions for the Flageolet (1680), Pills to Purge Melancholy," Walsh's New Country Dances (1713) {where it appears as "Lord Frog"}, Wright's Country Dances {where it appears as "Muirland Willie"}, and The Merry Musician. Chappell (1859) states it appears in several ballad operas, although in altered form. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 21‑22.

 

NORTHERN LASS [2], THE. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABB. The air was composed by Edinburgh dancing master, singer, and musician, James Oswald (who also composed under the name David Rizzio), b. 1711. Oswald was a star of the Edinburgh musical scene when he left for London in 1741; he soon became successful in the English capital, writing in the 'Scots drawing room style' (which incorporated Italianate ornaments) and publishing a number of volumes of his Caledonian Pocket Companion (15 volumes between 1747 and 1769). Neil (The Scots Fiddle), 1991; No. 8, pg. 10.

 

NORTHERN LASS [3], THE. English, Country Dance Tune (4/4 time). G Minor. Standard tuning. AABBCCDD. No relation to either “Northern Lass [1]" or [2]. Source for notated version: Playford’s Apollo’s Banquet (1690 edition) [Knowles]. Knowles (A Northern Lass), 1995; pg. 43.

           

NORTHERN LASSES, THE ("Na Cailinide On Tuaig" or "Na Cailini Adtuaid"). AKA and see “Lady Kelly’s Reel,” “Up Roscommon.” Irish, Reel. G Major. Standard tuning. ABB' (O'Neill/1850 & Krassen): AABB' (O'Neill/1915 & 1001). Source for notated version: Chicago Police Sergeant James O’Neill, originally from County Down [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 249, pg. 1130. O'Neill (Krassen), 1976; pg. 157. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1532, pg. 283. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 747, pg. 130.

X:1

T:Northern Lasses, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 747

Z:AK/Fiddler’s Companion

K:G

(3def | gG (3GGG EGDG | EGDG EGAB | cBAG FGAB | cBAB cdef | gG (3GGG EGDG |

Aaaf gfed | cBAG FGAc | BGAF G2 ::Bd | g2 dg egdg | agbg agef | g2 dg egdg |

agba g2 ga | (3bag (3agf gfed | Bdef gedc | (3Bcd ef gfge |1 dgba gfef :|2 dB (3cBA G2 ||

           

NORTHERN LIGHT REEL, THE. American, Reel. G Major. Standard tuning. AABB. Al Smitley suggests the tune might possibly have been named for the clipper ship Northern Light, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. Cole (1000 Fiddle Tunes), 1940; pg. 49. Ryan’s Mammoth Collection, 1883; pg. 78.

X:1

T:Northern Light Reel, The

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(B/c/) | d d2(d | d)d/e/ d/B/G/D/ | F/G/A/B/ c/d/e/f/ | g/f/g/e/ d(B/c/) | dd2(d | d)d/e/ d/B/G/D/ |

F/G/A/B/ c/d/e/f/ | gg/f/ g :: d | g>a b/g/a/f/ | g/f/g/e/ d/B/G | g>a b/a/g/f/ | e/a/a/b/ (a.b/)z/ |

g>a b/g/a/f/ | g/f/g/e/ d/B/G/B/ | c/B/c/A/ B/d/g/b/ | a/d/e/f/ g :|

           

NORTHERN LIGHTS [1]. Canadian, Jig. G Major. Standard tuning. AABB (Jarman): AA’BB’ (Miller). Composition credited to Jim Magill by Jarman. Source for notated version: Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 31, pg. 44. Jarman (Cornhusker’s Book of Square Dance Tunes), 1944; pg. 10. Miller (Fiddler’s Throne), 2004; No. 82, pg. 60. Brimstone Corner Records, Rodney & Randy Miller – “Castles in the Air” (1976).

X:1

T:Northern Lights [1]

L:1/8

M:6/8

K:G

|:(3DEF|G2G EGE|cBc A2A|A2A AFA|GBc d2(3D/E/F/|

G2G EGE|cBc A2G|[F2A2][FA] DFA|G3 Gz:|

|:e/f/|~g3 ege|dBG D2B|c/d/cA F2A|GBc def|

~g3 ege|eBG D2B|ced cBA|G3 Gz:|

 

NORTHERN LIGHTS [2]. AKA and see “The Oak Tree.”  Fretless 119, Rodney and Randy Miller‑‑"Castles in the Air."

      

NORTHERN MEETING, THE. AKA and see "North Hunt Medley."

      

NORTHERN NANCY. AKA and see “Faithful Brothers.” English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB. The tune dates to 1721. Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 18.

      

NORTHERN NANNY. English, Reel. England, North‑West. A Mixolydian. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 4.

      

NORTHERN ROAD ("An Botar On Tuaig" or "Boher O Huaid"). AKA and see Keep Your Feet, Johnny,” The Northern Road to Traleee,” "Stir Thy/Your Feet Johnny." Irish, Single Jig. D Major. Standard tuning. AAB (O'Neill/1915): AABB' (O'Neill/1850 & 1001). Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915; No. 202, pg. 109. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1025, pg. 191. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 396.

X:1

T:Northern Road, The

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 396

Z:AK/Fiddler’s Companion

K:D

d|AGF A2D|DED FED|AGF A2D|F3 d2|AGF A2D|DED AGF|

EFE E2F|G3B3:||:Abc d2F|AGF d2F|Abc dAF|B3d3|1 ABc ded|

cBA d2A|Bcd EFE|G3 B3:|2 faf gec|fdB AFD|EFE E2F|G3 B2||

      

NORTHERN ROAD TO TRALEE, THE. AKA and see Keep Your Feet, Johnny,” Northern Road,” “Stir Thy/Your Feet Johnny.” Irish, March (6/8 time). Ireland, Co. Clare. E Flat Major/Mixolydian. Standard tuning. AB. “An ancient Clare march” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 448, pg. 113.

X:1

T:Northern Road to Tralee, The

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 448

Z:AK/Fiddler’s Companion

K:Eb

Bcd e2 B | {B}A2G F2E | E2e e2B | c3 e2B | Bcd e2B | BAG F2E | _dcd F2G |

A3 _d3 || “tr”G>FG B2E | “tr”G>FG B2E | “tr”G>FG B2E | A3 _d2A |

“tr”G>FG B2E | E>EE E2 _d | _dcd F2G | A3 _d3 ||

      

NORTHERN SONG [1], A. AKA and see "New Corn Riggs," "Corn Riggs (are Bonny)."

 

NORTHERN SONG [2], A. AKA and see "Sawney & Jockey," "Sawney will ne'er be my love again." Scottish, English; Country Dance Tune (4/4 time). C Major. Standard tuning. One part. William Chappell gives Thomas Farmer as the possible composer. It was published by Thomas D'Urfey in his 1681 Choice Ayres and Songs where it appears as "Sawney will ne'er be my love again," but John Playford first published the air two years before, in 1679, as "Sawney & Jockey." This latter title is another song by D'Urfey with a different lyric and tune, and presumably Playford is mistaken in his use of the title. Merryweather (Tunes for the English Bagpipe), 1989; pg. 43.

      

NORTHERN SOUL. English, Jig. England, North‑West. G Minor ('A' part) & G Major ('B' part). Standard tuning. AA'BB'. Knowles (Northern Frisk), 1988; No. 144.

      

NORTHERN TROUPE, THE (An Coib On Tuait). Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 194. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1685, pg. 313.

X:1

T:Northern Troupe, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1685

Z:AK/Fiddler’s Companion

K:G

(3A/B/c/ | d/>B/G/>B/ d/>B/e/>B/ | d/>c/B/>c/ Ez | c/>A/F/>A/ c/>A/d/>A/ |

c/>B/A/>B/ D2 (3A/B/c/ | d/>B/G/>B/ d/>B/g/>d/ | f/>e/^d/>e/ AA/>G/ |

F/>G/f/>e/ d/>c/E/>F/ | G g G :: B/d/ | gd/>c B/<G/G | G/>A/B/>G/ AB/>A/ |

G/>A/B/>c/ d/>B/d/>g/ | f/>g/a/>f/ g/>d/e/>f/ | gd/>c/ B/<G/G |

G/>A/B/>c/ dg | f/>g/a/>f/ g :|

           

NORTHERN TURTLE. AKA and see "Lull(e) Me Beyond Thee."

           

NORTHLAND JOCKEY. English, Reel. F Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 16.

           

NORTHON'S FAVORITE. See "Norton's Favorite."

           

NORTH'S FAREWELL TO THE CALEDONIAN HUNT. Scottish, Slow Air. C Major. Standard tuning. AABB. The Caledonian Hunt was a gentlemen's club, who, among other things, sponsored the annual Caledonian Hunt Ball, along with horse-racing and other gentlemen’s events. The title includes the parenthetical note “Milles Macphail” after the word ‘North’s’ in the title in the originally publication, a reference to Mr. Miles Macphail, a once-famous Established Church publisher in Edinburgh, to whom poet Robert Burns was once apprenticed. Carlin (Gow Collection), 1986; No. 366. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 16.

X:1

T:North’s (Milles Macphail) Farewell to the Caledonian Hunt

M:6/8

L:1/8

N:”Very slow, with expression”

R:Air

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:C

G|”tr”G>Ac {c}”tr”d2c|(ec).e {e}d2c|e>dc A2G|(G3 c2):||e|

“tr”c>de g2e|(af).a {a}g2e|”tr”c>de g2f|(e3 g2)g|

afa {a}g2f|edc g2c|{c/d/}e>dc A2G|(G3 c2):|

           

NORTHSIDE KITCHEN. Canadian, Jig. Canada, Cape Breton. G Mixolydian/Major. Standard tuning. AABB. As the ‘A’ part of this jig is closely related to O’Neill’s “The Cook in the Kitchen [1],” Cranford gave it this title. Sources for notated version: Editor Paul Cranford traces this untitled Irish jig through generations of Northside Cape Breton Irish fiddlers, beginning in the 19th century with Henry Fortune to Joe Confiant (who was 80 when Cranford met him) to Robert Stubbert and then to his daughter, Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 118, pg. 41.

           

NORTHSIDE REEL [1], A. Canadian, Reel. Canada, Cape Breton. D Mixolydian. Standard tuning. AABB. A traditional Cape Breton reel associated with the northern (‘northside’) part of the island. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 59, pg. 21.

 

NORTHSIDE REEL [2], THE. AKA and see “The Chaisson Reel,” “Kennedy’s Reel.” Canadian, Reel. Canada, Prince Edward Island.

           

NORTHUMBERLAND BAGPIPES, THE. AKA and see "March, Boys, March," "To Thee, To Thee." English, Air (4/4 time). England, Northumberland. G Major. Standard tuning. ABC (Stokoe and Bruce): AABCC (Chappell). According to Chappell (1859) the this air appears in Pills to Purge Melancholy (1700), Apollo's Banquet (1693) {where it appears under the title "A New Dance in the play of the 'Marriage Hater Match'd'"}, and Wright's Dancing Master {where it is called "The Boyan"}. It also can be found in the Roxburgh and Bayford Collections as "The Merry Bagpipes: the pleasant pastime betwixt a jolly shepherd and a country damsel on a midsummer day in the morning, to the tune of 'March Boys.'" Bruce & Stokoe (1882) say the same tune appears in a MS music book dated 1694‑95, "inscribed with the name of Henry Atkinson, Hartburn, Northumberland, lately in the possession of Mr. W.A. Chatto, of London. The title of the tune in this book is 'To thee, to thee', which is the chorus of D'Urfey's song."

***

A shepherd sat him under a thorn,

He pull'd out his pipes and began for to play;

It was on a midsummer day in the morn,

For honour of that holiday.

A ditty he did chant along,

That goes to the tune of 'Cater Bordee;'

And this was the burden of his song:

If thou wilt pipe, lad, I'll dance to thee,

To thee, to thee, derry, derry, to thee;

To thee, to thee, derry, derry, to thee;

And this was the burden of his song:

If thou wilt pipe, lad, I'll dance to thee. (Bruce & Stokoe)

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 67. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 107‑108.

X:1

T:Northumberland Bagpipes, The

M:C

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy   (1882)

Z:AK/Fiddler’s Companion

K:G

d|B2G2G2G2|D2 DD A3d|B2GG G2GG|(GA)BG c3c|

c2dc B2cB|A2GA F3F|G3G E3F|F3G G3||g|g2G2g2G2|

(gf)(ed) g2G2|G2 AG F2 (GF)|EE E2 c3c|c2dc B2 (cB)|A2 (BG) F3F|

G3G E2EF|F3G G3||g|g2G2g2GG|gf(ed) g2G2|G2(AG) F2GF|

EE E2 c3c|c2dc B2(cB)|A2(BG) F3F|G3G E2EF|F3G G2||

           

NORTON’S FAVORITE. AKA – “Norton’s Best Hornpipe,” “Northon’s Hornpipe.” AKA and see “Remembrance of Dublin.” American, Hornpipe. G Major. Standard tuning. AABB. "Can be used as a Clog” (Cole). The tune is included by Howe (c. 1867) in a section of tunes with the heading: “As played by Jimmy Norton, the Boss Jig Player,” with the note that a 9-part arrangement can be found in Howe’s Full Quadrille Orchestra. New York musician, writer and researcher Don Meade informs that Norton was a Boston, Massachusetts, fiddler grew up in a minstrel show family troupe called the Norton Juvenile Minstrels, and was onstage from childhood. Cole (1000 Fiddle Tunes), 1940; pg. 106. Howe (1000 Jigs and Reels), c. 1867; pg. 32. Lerwick (The Kilted Fiddler), 1985; pg. 54 (appears as “Northon’s Favorite”). Ryan’s Mammoth Collection, 1883; pg. 143.

X:1

T:Norton’s Best Hornpipe

T:Norton’s Favorite

M:C

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

(3d/e/f/ | g>dB>d e>cA>F | G>F>G>B A>FD>C | B,>DG>F E>cA>G | F>d^c>e d>de>f |

g>dB>d e>cA>F | G>FG>B A>FD>C | B,>DG>F E>cA>F | GzGzGz :: zG |

A>GA>B c>Bc>d | e>de>f g2d2 | g>fe>d c>BA>G | F>d^c>e d>de>f |

g>dB>d e>cA>F | G>FG>B A>FD>C | B,>DG>F E>cA>F | GzGzGz :|

           

NORTON’S REEL. American, Schottische. D Major. Standard tuning. AAB. Apparently associated with the Jimmy Norton who is identified as the “Boss jig player” in the Howe publications. Howe (1000 Jigs and Reels), c. 1867; pg. 53.

X:1

T:Norton’s Reel

M:2/4

L:1/8

R:Schottische

S:Howe – 1000 Jigs and Reels (1867)

Z:AK/Fiddler’s Companion

K:D

{B,}(A,/G,/A,/B,/ D)F/A/ | B/F/A/F/ E/D/B,/A,/ | {B,}A,/G,/A,/B,/ D/E/F/A/ |

B/d/A/F/ D2 | {B,}(A,/G,/A,/B,/ D)F/A/ | B/F/A/F/ B/F/A/F/ | {e}d/c/d/e/ f/g/a/g/ |

f/d/e/c/ dz :| {g}f/e/f/d/ d/e/f/d/ | e/f/d/f/ e/d/B/A/ | {g}f/e/f/d/ d/e/f/d/ | e/d/B/F/ D>g |

{g}f/e/f/d/ d/e/f/d/ | e/f/d/f/ e/d/B/z/ | (3b/b/b/b/b/ b/b/a/g/ | e/d/e/c/ d2 |

{g}f/e/f/d/ d/e/f/d/ | e/f/d/f/ e/d/B/A/ | {g}f/e/f/d/ d/e/f/d/ | e/d/B/F/ Dz | “tr”a4 | 

b2 a2 | d(3d’/d’/d’/ d’/d’/d’/f’/ | e’/d’/f’/e’z ||

      

NORWAY SCHOTTISCHE. American, Schottische. The title appears in a repertoire list of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. Bronner (1987) says the tune was apparently written by Dunham (b. 1853), who lived his life in Norway, Maine.

           

NORWEGIAN POLKA.  AKA and see “The Bergen Polka.” Scottish, Norwegian; Polka. Scotland, Orkney Islands. D Major (‘A’ and ‘C’ parts) & D Minor (‘B’ part). Standard tuning. AA’BB’CC’. Christine Martin (2002) says source Mainland picked up the 2nd part of the tune while on tour in Norway with Orkney fiddler Hugh Inkster (1910-1988) many years ago. The tune is called “The Bergen Polka” in Norway. Source for notated version: Tommy Mainland (Orkney) [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 101.

 

NORWEGIAN (WALTZ) [1], THE. Canadian, Waltz. G Major. Standard tuning. AABB'. French-Canadian fiddlers sometimes add an extra measure to the ‘B’ part of the tune. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 167, pg. 112.

X:1

T:Norwegian Waltz [1]

R:Waltz

M:3/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

dc|B2D2G2|B3 cdB|c2E2G2|c6| D2F2A2|d2e2f2|g3 fga|g4:|

|:ga|b2g2g2|g4AB|c2e2e2|e6| d2f2a2|d2f2a2|d3 edc|B4ga|

b2g2g2|g4AB|c2e2e2|e6| d2f2a2|d2f2a2|d2e2f2|g4:|

 

NORWEGIAN WALTZ [2], THE. Canadian, Waltz. Canada, Prince Edward Island. G Major. Standard tuning. AA'BB'. A traditional waltz. Sources for notated versions: fiddler Graham Townsend (Ontario, Canada) via button accordion player Jackie Daly (Kanturk, County Cork) & Manus McGuire (County Sligo, Ireland) [Matthiesen]; Stephen Toole (1927-1995, Green Road, Queens County, Prince Edward Island) [Perlman]. Matthiesen (Waltz Book II), 1995; pg. 41. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 169. Green Linnet SIF-1051, Jackie Daley, Seamus & Manus McGuire - "Buttons and Bows" (1984).

X:1

T:Norwegian Waltz, The [2]

M:3/4

L:1/8

K:G

EDC|:B,2D3G|B2d3e|d2c2A2|E3E (3EFE|

D2F2AB|c2B2A2|G2B2de|d3 def|

gd dB BG|GD DB, B,A,|A,2C3E|G3 GFE|

D2d3^c|=cE3F2|G3 FGA|1G3 EDC:|2G3 def|

|g2d3B|g3 gfg|a2e3c|a3abc'|d'2c'2a2|f2d2cA|

G2B2de|d3 def|g2d3B|g3gfg|a2e3c|a4bc'|

d'2c'3a|f2d2ba|1g3fga|g3 def:|2g3fga|g3||

           

NORWEGIAN HORNPIPE. English, Norwegian?; Hornpipe. England, North‑West. D Major. Standard tuning AABB. Knowles (Northern Frisk), 1988; No. 114.

           

NOS FERCHER. AKA and see “Wednesday Night.”

                       

NOS GALAN (New Year’s Eve). Welsh, Air (2/4 time). F Major. Standard tuning. AAB. The tune appears in Blind Parry’s Twelve Airs for one and two Guitars, 1781 edition. The tune is ancestral to the Christmas carol “Deck the Halls.”

X:1

T:Nos Galan

T:New Year’s Eve

M:2/4

L:1/8

K:F

c>B AG|FF/G/ AF|G/A/B/G/ A>G|FE F2:|

GG/A/ BG|A/B/A/B/ cG|A/G/A/B/ cf|ed c2|

c>B AG|FF/G/ AF|FF/G/ AF|G/d/B/G/ c>B|AG F2||

           

NOS WENER.  Welsh, Two-step or Polka. D Major. Standard tuning. AABB’.

X:1

T:Nos Wener

M:4/4

L:1/8

K:D

D2 FA d2f2|edcB AGFE|D2 FA d2f2|edcd e2d2:|

A2 fd a2 fd|edcB AGFE|D2 FA d2g2|1 fdec defg:|2 fdec d2d2||

                       

NOT FOR JOE [1]. English, Polka (2/4 time). G Major. Standard tuning. ABC. The tune appears to have little relation to the famous 19th century song of the same name (see "Not for Joe [3]"). Carlin (Master Collection), 1984; No. 3, pg. 16.

 

NOT FOR JOE [2]. AKA and see "Much Wenlock." English, Morris Dance Tune (4/4 time). Morris dance version traditional to the South Shropshire/ North Herefordshire area of England, near the Welsh border (David Jones).

 

NOT FOR JOE [3]. English, Air (2/4 time). A Major. Standard tuning. AB. Words and tune written by Arthur Lloyd.

***

Joseph Baxter is my name,

My friends all call me Joe.

I'm up, you know, to every game,

And everything I know.

Ah, I was green as green could be,

I suffered for it though;

Now, if they try it on with me,

I tell them not for Joe.

Chorus:

Not for Joe, not for Joe,

If he knows it, not for Joseph,

No, no, no,

Not for Joe.

Not for Joseph, Oh dear no!

***

Scott (English Song Book), 1926; pg. 94.

 

NOT FOR JOE [4]. AKA and see “Mrs. Crowley’s.” Irish, Polka. G Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 23. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 9 (appears as “Gan Ainm”).

X:1

T:Not for Joe [4]

M:2/4

L:1/8

K:G

E|DG EG/E/|DG EG/E/|DG AG/A/|BA A2|DG EG/E/|DG EG/E/|DG AG/A/|BG G:|

|:B|dB gB|dB gB| dB gB|cA A>B|dB dB|dB gB|GB AG/A/|BG G:|

           

NOT GONNA GET NO SUPPER HERE TONIGHT. AKA ‑ "Ain't Gonna Get No Supper Here Tonight." Old‑Time, Breakdown. USA, Mississippi. G Major. Recorded in 1939 for the Library of Congress by collector Herbert Halpert from the playing of Tishomingo County, Mississippi, fiddler John Brown (b. circa 1871).

           

NOT IN TOWN. English, Country Dance Tune (6/8 time). F Major. Standard tuning. One part. Published by Playford in his English Country Dancing Master.

X: 1

T: Not in Town

M:6/8

L:1/8

Q:160

S:Playford

O:Manuscript

A:English

K:F

a2|a2 g2 g2 a2|f2 ef d2| a2| a2 f2 g2 a2| f4 f2 a2|a2 f2 g2 a2| f2 ef d2 a2|\

a2 f2 g2 a2|f4 d2::e2|e2 c2 d2 e2|f2 ef d2 e2|e2 c2 d2 e2|f4 d2 e2|e2 c2 d2 e2|\

f2 ef d2 e2 | e2 c2 d2 e2 |f4 d2:|

                       

NOT LONESOME ANYMORE. AKA and see "J' m'Ennuie Pas d' Toi."

           

NOT SAFE WITH A RAZOR. AKA and see “8th of October.” Irish, Reel. Composed by American tin whistle player L.E. McCullough, who has also called the tune “8th of October” and “The Analgesic Reel” (he says he sometimes changes titles of his tunes at whim).  McCullough (St. Patrick was a Cajun). Treoir (1978). Flying Fish 586, “Trian.” Flying Fish, L.E. McCullough – “Late Bloomer” (1983).

           

NOT THE SWAN ON THE LAKE.  AKA and see “Ealaidh Ghaoil.”

                       

NOTHING CAN SADDEN US (Ni Deanac Aoinnid Bronac Sinn). AKA – “Nothing in Life Can Sadden Us.” Irish, Jig. A Major (O’Neill): G Major (Goodman). Standard tuning. AAB (O'Neill): AABA (Goodman): AABB' (Kerr). The title is the name of a song set to the tune in 1802 by Sir Thomas Moore:

***

Oh! Nothing in life can sadden us

While we have wine and good humour in store;

With this, and a little of love to madden us,

Show me the fool that can labour for more!

Come then, bid Ganymede full every bowl for you,

Fill them up brimmers, and drink as I call;

I’m going to toast every nymph of my soul for you,

Ay, on my soul, I’m in love with them all!

***

Kerr (Merry Melodies), vol. 3; No. 220, pg. 25. O'Neill (Krassen), 1976; pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 747, pg. 139. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 168, pg. 71 (appears as “Nothing in Life Can Sadden Us”).

X:1

T:Nothing Can Sadden Us

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 747

Z:AK/Fiddler’s Companion

K:A

A/B/ | cdc BcB | ABA Ace | fga edc | c>BB Bed |c3 BAB |

A>BA Ace | fga edc | dBG A2 :|| e/d/ | cde e2 e | efe fga | e>dc cBA |

G>AB B2e | cde e2e | e>fe fga | e>dc cBA | G>AB Bed | c3 BAB | A2A Ace |

f>ga edc | c>BB B2 e/d/ | cec BcB | ABA Ace | fga edc | dBG A2 ||

X:2

T:Nothing in Life can Sadden Us

M:6/8

L:1/8

R:Air

S:James Goodman manuscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 168 (1998)

K:G

G/A/|BGB AFA|GAG GBd|efg dcB|BAA A2 d/c/|BGB AFA|

GAG GBd|efg dBd|GAG G2:||c|B2d ded|ded efg|dcB BAG|

FGA ABc|B2d ded|ded efg|dcB BAG|c2B ABc|| repeat A.

                       

NOTHING NEW.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody also appears in Longman and Broderip’s Compleat Collection of 200 Favorite Country Dances (London, 1781). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 151.

X:1

T:Nothing New

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

(f/g/a) (af)|(e/f/g) (ge)|(B/c/d) (dB)|(A<F)(E<D)|(EFGA)|”tr”B3 d|(A<F)(E<D)|{D}E4|(fga).f|(efg).e|

(Bcd).B|(A<F)(E>D)|(EFG).A|(Bcd).B|(A<F)”tr”(E>D)|D4::DFAF|dAfd|afec|dBAF|DFAF|

dAfd|(f/g/a) (af)|{f}e4|DFAF|dAfd|”tr”(f>ga).f|(e<c)(B<A)|(B>cd).B|(A<F)(E>D)|”tr”(E>D)(E>F)|D4:||

                       

NOTTINGHAM CASTLE. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The town of Nottingham derives its name from an Anglo-Saxon chieftain named Snot, and dates from the 7th century. Its name was originally Snotingaham, literally ‘the town of Snot’s people.”  The Anglo-Saxons held the town (with a period of Viking rule) until the Norman invasion of England, and it was the Normans who built Nottingham Castle in 1068 to help consolidate their rule over the surrounding area. There remained a strong Anglo-Saxon influence in the region, however, and Nottingham Castle will be remembered as the legendary abode of the Sheriff of Nottingham of Robin Hood legend, infamous for his oppression of the non-Norman population. The location of the castle was on an ancient rock, fortified since prehistoric times and filled with caves and passages. The Norman castle was largely destroyed in 1651 during the English Civil War, but was rebuilt later in the century as a Renaissance-style palace by the first Duke of Newcastle. History was not kind, however and in the early 19th century it was gutted by Luddites angry at the Duke’s opposition to Parliamentary reform. In 1875 the shell of the structure was bought by the Nottingham City fathers and restored as the first Provincial Museum of Fine Art. Sadly, only the gatehouse remains of the medieval structure. Aird (Selection), vol. II, 1782; No. 84, pg. 31.

X:1

T:Nottingham Castle

M:2/4

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

g/f/g/a/ bg | d/e/d/c/ {c}BA/G/ | GG A/G/A/B/ | cBBA |

g/f/g/a/ bg | dd/c/ {c}BA/G/ | DG B/e/d/c/ | BG G2 :|

|: BA/G/ cc | BA/G/ AD | gg f/a/f/d/ | e/g/e/c/ dD |

B/d/B/G/ cc | B/d/B/G/ AD | gg f/a/f/d/ | e/g/e/c/ d2 :|

                       

NOTTINGHAM RACES. Scottish (?), Scots Measure. D Major (McGlashan): G Major (Aird). Standard tuning. AABBCC. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 113, pg. 41. McGlashan (Collection of Scots Measures), c. 1780; pg. 23.

X:1

T:Nothinghame (sic) Races

M:C

L:1/8

R:Scots Measure

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:D

d/e/f/e/ dA B/c/d/c/ BF|G>FED C>DEA,|d/e/f/e/ dA B/c/d/c/ BA|d>cBA E^G A2:|

|:A/B/c/B/ AB c/d/e/d/ cd|e>fgf e/d/c/B/ A2|BGdB Acdf|gfed Ac D2:|

|:dcdc B2 Ad|cded gf e2|dcdc B2 Ad|cd f/e/d/c/ d2 D2:|

X:2

T:Nottingham Races

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

g/a/b/a/ gd | e/f/g/f/ eB | cB AG | ABcD | g/a/b/a/ gd | e/f/g/f/ eB | gfed | A^c d2 :|

|: d/e/f/e/ de | f/g/a/g/ fg | abc’b | a/g/f/e/ d2 | ecge | dfga | c’bag | df g2 :|

|: gfgf | e2 dg | f>gag | c’b a2 | gfgf | e2 eg | fg b/a/g/f/ | e2 G2 :|

           

NOTTINGHAM SWING. AKA ‑ "Hilly‑Go, Filly‑Go All the Way," "Cumberland Reel," "King of the Cannibal Islands." English, Jig. D Major. Standard tuning. AAB. The Nottinghamshire town was much contested in the wars between the Danes and the Saxons. Two years after the Norman invasion William I established a castle here (1068). Prince John was left in charge at Nottingham when Richard I left on his Crusade, thus the close association of the town with John and Robin Hood. In 1642 Charles I raised his standard here, signaling the start of the English Civil War. The is an English ceilidh dance called the Nottingham Swing, from northern England. Kennedy (Fiddlers Tune Book, vol. 1), 1951; No. 86, pg. 42 (appears as "hilly‑Go, Filly‑Go All the Way"). Raven (English Country Dance Tunes), 1984; pg. 107.

X:1

T:Nottingham Swing

T:Cumberland Reel

T:King of the Cannibal Islands

L:1/8

M:6/8

K:D

A|f2e d2c|d2B A2F|GFG EFG|F2G A2A|B2G d2B|A2F d2d|cde ABc|d3D2:|

e|f2f f2e|f2f f2e|f2f g2f|e2e e2c|d2d d2c|d2d d2c|d2B e2d|c2B ABc|

ded cBA|B2c d2A|ded cBA|B2c d2f|e2e e2e|e2e efg|a2A ABc|d3D2||

           

NOTTINGHAM (WALTZ), THE.  English, Waltz. D Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 152, pg. 40.

                       

NOU LET US SING. Scottish. The air was the tune of a drinking song adapted to religious use by the Scottish Church in "Gude and Godlie Ballatis," published in 1578. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

                                   

NOUVELLE ANNÉE, LA.  French, Country Dance (6/8 time). A Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 45.

X:1

T:Nouvelle Année, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 45

Z:AK/Fiddler’s Companion

K:A

e2d cBA | B2A GFE | e2d cBA | B2A GFE | FGA GFG | A3 A,3 :|

|: e2e ecA | f2f fdB | e2e ecA | B3E3 | BGE ^d2e | BGE ^d2e |

BAG GAF | E3 E3 :: .A(GA) gf^A | B^AB {e}dcB | dcd .feG |

.A(GA) cBA | Fdc B2A | GFE e2d | EAG | A3A,3 :|

                       

NOUVELLE FANTASIE, LE.  See “Trip to Cottingham.’

                       

NOVA SCOTIA.  English, Country Dance Tune (2/4 time). G Minor. Standard tuning. AABB. The melody was first printed by John Johnson in his Choice Collection of 200 Country Dances, vol. 6 (London, 1751). Nova Scotia had been a British possession since the early 18th century, despite its majority Acadian population. In 1749 Halifax was made the capital of the province. However, just two years before the (London publishers) Charles and Samuel Thompson’s publication, the British Army forcibly evicted some 12,000 individuals of the French-Speaking population in what is known as the Grand Dérangement, or Great Expulsion. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 2.

X:1

T:Nova Scotia

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

d>ba>g|^f/g/a g2|cedc|BA G2|dbag|^f/g/a g2|Bc {Bc}”tr”c2|d4:|

|:Bbag|fdcB|Agfe|dBA^F|G B2 A/G/|Aedc|BAG^F|G4:||

                       

NOVA SCOTIA (JIG), THE. AKA and see “Pride of Sleive Aughty.” Irish, Jig. G Major. Standard tuning. AA’BB’. The tune was in the repertoire of Donegal fiddler James Byrne’s father, John, although James did not know where he learned it. Small/Breathnach prints it as “Pride of Sleive Aughty” in CRÉ V, a title obtained from accordion player Joe Burke, however, the note with the tune says that it can be found in An Ceol, vol. 8, a fiddle instruction book from Cairdeas na bhFidléirí, in County Donegal. Source for notated version: New York fiddler Larry Redican (d. 1975) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 108, pg. 54.

X:1

T:Nova Scotia

M:6/8

L:1/8

R:Jig

S:James Byrne and Roisin McRory

K:G

BA|GDB, DGB|d^ce dBG|~c3 AB^c|ded B2A|

GDB, DGB|d^ce dBG|~c3 AB^c|1 dAF GBA:|2 dAF GBd||

~g3 Bdg|bag fed|~c3 AB^c|ded B2d|

~g3 Bdg|bag fed|~c3 ABc|1 dAF GBA:|2 dAF GBd||

X: 2

T: Nova Scotia (The)

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: G

B/A/ | GG,B, DGB | d^ce dBG | cBc ABc | dgd B2 A |

GG,B, DGB | d^ce dBG | cBc ABc |1 edF G2 B/A/ :|2 edF G2 d ||

gfg Bdg | bag fed | cBc ABc | dgd B2 d |

gfg Bdg | bag fed | cBc ABc |1 edF G2 d :|2 edG G2 z ||

                                   

NOVA SCOTIA (POLKA), THE. AKA and see "The All‑Star Barn Dance." Canadian, Polka. A Major. Standard tuning. AAB. See also an untitled polka/barn dance in Breathnach’s CRÉ V, from an early 20th century manuscript attributed to the Pigott family of east Kerry. Editor Jackie Small (CRÉ V) says the tune is “widely known nowadays as a barn dance.” Messer (Way Down East), 1948; No. 59. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 100, pg. 63. O’Brien (Irish Folk Dance Music), No. 242. Beaumex BMCD 563, “Joe Derrane and Jerry O’Brien – Irish Accordion Masters” (a reissue of the Copley record). Copley Records, The Irish All-Stars (Jerry O’Brien, Joe Derrane, George Derrane) [early 1950’s]. Green Linnet GLCD 1051, “Buttons and Bows” (appears as second of the pair entitled “Barndances”).

X:1

T:Nova Scotia Polka

R:Polka

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:A

cd|efec Acea|g2f2 f2Bc|dedc Bcde|f2e2 c2cd|

efec Acea|g2f2 b2ba|gagf edcB|A2c2 A2:|

|:e2|c2e2 edef|e2d2 dcBc|d2f2 fefg|f2e2 c3d|

e2f2 g2a2|a2g2 gfga|g2f2 fefg|f2e2 e3d|

c2e2 edef|e2d2 dcBc|d2f2 fefg|f2e2 c3d|

e2f2 g2a2|b2a2 f3a|gagf edcB|A2c2 A2:|

                                   

NOVELLE HOLENDOISE, LA.  AKA and see “Chain Cotillion.”

                                   

NOVELTY, THE (Nuadhalachd). Scottish, Reel. C Minor & E Flat Major. Standard tuning. AAB. "(From) Captain Fraser's collection" (Skye)./ This tune and "The Beauty of the North" form a medley by the editor, which has been much in request. (It) has been for a long time associated with the “Marchioness Cornwallis's” strathspey, by Mr. Marshall; it forms an exceedingly good medley also with 'The Editor's Thanks to Mr. Nathaniel Gow'" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 182, pg. 74‑75. Hunter (Fiddle Music of Scotland), 1988; No. 279. MacDonald (The Skye Collection), 1887; pg. 195. Stewart-Robertson (The Athole Collection), 1884; pg. 267.

X:1

T:Novelty, The

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:Cmin

E|B,EG,E B,G,G,E|B,G,B,E G2 GB|B,EG,E B,EGB|AGFD F2F:|

c|BG e2 BGGc|BGBc Bedc|BGe2 BGGB|AGFE F2FG|BG e2 BGGc|

BGBe g2 ga|bged eBAG|AGFE F2 FG||

X:2

T:Novelty, The

T:Nuadhalachd

M:C|

L:1/8

R:Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Eb

E|B,EG,E B,G,G,E|B,G,B,E G2 GB|B,EG,E B,EGB|AGFE (F2F)||

c|B<G e2 BGGc|BGBc (Be)dc|BG e2 BGGB|(AG)FE F2 FG|

BG e2 BGGc|BGBe g3 ga|bg(ed) eB(AG)|(AG)FE F2 FG||

 

NOVELTY [2], THE.  AKA and see “The Eclipse [3].” American, Clog. A Major. Standard tuning. AA’BBCAA’BB. The composition is attributed to F. A. Morrison in Ryan’s Mammoth Collection. Unfortunately, nothing is known about the composer. Irish musicians play the tune as “The Eclipse,” a title that probably gained currency through a mistake by influential fiddler Sean McGuire. Cole (1000 Fiddle Tunes), 1940; pg. 120. Ryan’s Mammoth Collection, 1883; pg. 157.

X:1

T:Novelty, The [2]

M:C

L:1/8

R:(Lancashire) Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(A>.c)(E>.G) (A>.c)(e>.a) | f>dB>F D>FB>d | g>ed>B f>ec>A | (3BcB (3AGF E2 (3EFG |

A>cE>G A>ce>a | f>dB>F D>FB>d | g>be>g f>ac>^d |1 e>^de>f =d>BG>E :|2 e2g2e2 ||

|: (^de) | (f>.e)(d>.B) G>EF>G | A>ec>a e>c’a>e | d>bc>a B>gA>f | B>^df>b e2 (de) |

f>ed>B G>EF>G | A>Bc>d e>fg>a | (3f^ef (3Bcd e>c’a>f | (3efe (3dcB A2 :|

c2 | (c>.a)(g>.a) f>c (3c^Bc) | c>ag>a f>c (3c^Bc | a>fc>f g>^ec>e | f>^ef>g f2e2 |

=B>g_g>=g e>B (3B^AB | B>g_g>=g e>B (3B^AB | (3gfe B>g (3f^dB B>d | e>fg>f e>^d=d>B ||

 

NOVELTY [3], THE.  English, Jig. D Major. Standard tuning. AABB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 121.

X:1

T:Novelty, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

g|fdd def|gee efg|fdd def|ecA A2g|fdd def|gag fag|fdf ecA|d3 D2:|

|:g|fga aba|bgg gag|aff fgf|gee efg|fga aba|bgg gag|fdf ecA|dAF D2:||

           

NOVEY GALLOWS. AKA and see “Stony Steps Hornpipe.”

                       

NOW FOR IT.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757: No. 133.

X:1

T:Now for it

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

G|F A2g|f d2 G|F A2d|c E2 G|F A2 g|f d2 f|edcB|A3:|
|:A|B G2 (e/f/)|g B2 G|A F2 (d/e/)|f A2 G/F/|(3G/A/B/ (3 A/B/c/|(3B/c/d (3e/f/g/|fdec d2 D:||

                         

NOW I AM TIRED AND WISH I WAS AT HOME. Irish, Air (3/4 time). E Minor. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 381, pg. 96.

X:1

T:Now I am tired and wish I was at home

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 381

Z:AK/Fiddler’s Companion

K:Emin

E/^G/A/B/ | c2c2 (3BAc | BA GE (3GED | E2 EG AB | (A2G2) (E/^G/A/B/) |

c>d e2 {f}(3edc | (BA) GA (3BAG | A2 (3GEG (3AGE | E2 E2 || z |

G2 (GA) (B>G) | (A2 G)A (B/A/)G/E/ | D2 (EG) (AB) | A2G2 (E/^G/)A/B/ |

(cd) e2 (3edc |  (BA) (GA) (3BAG | A2 (3GEG (3AGE | E2E2 || 

           

NOW, O NOW, I NEEDS MUST PART. AKA and see "The Frog Galliard."

           

NOW OR NEVER.  English, Reel. D Major. Standard tuning. AABB. The melody appears in Northumbrian musician William Vickers’ 1770 music manuscript collection (pg. 22). It was also published in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 4 (London, 1748), Charles and Samuel Thompson’s Compleat Collection of 200 Country Dances, vol. 3 (Lodnon, c. 1772-73), Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 4 (London, 1788). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 80.

X:1

T:Now or Never

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscripts, pg. 22  (1770)

Z:AK/Fiddler’s Companion

K:D

A|FDDF GEEG|FDDg f2e2|FDDF GEEG|FDEC D2 D:|

|:f|afdB gecA|fdBf f2 (ef/g/)|afdB gecA|fdAc d2D2:||

X:2

T:Now or Never

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

F/(D/D/)F/ G/(E/E/)G/|F/(D/D/)f/ “tr”fe|F/(D/D/)F/ G/(E/E/)G/|F/D/E/[C/c/] [D2d2]:|
|:a/f/d/A/ g/e/c/A/|f/d/A/f/ “tr”fe|a/f/d/A/ g/e/c/A/|f/d/A/c/ dD:||

                       

NOW PONDER WELL, YE PARENTS DEAR. AKA and see "The Children in the Wood," "The Norfolk Gentleman,” “Two Children in the Wood." English, Air. Published by John Gay in his Beggar's Opera of 1729 (as "Oh ponder well, be not severe"), though the tune dates from 1595. It also appears in Pills to Purge Melancholy (1709). See 1st alternate title. Raven (English Country Dance Tunes), 1984; pg. 54.

           

NOW ROBIN LEND TO ME THY BOW. English, Air (2/2 time). D Mixolydian. Standard tuning. One part. The air is from Ravenscroft's Pammelia, or Pleasant Roundelais and Delightful Catches. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 95.

           

NOW ROGER, I'LL TELL THEE, BECAUSE THOU ART MY SON. English, Air. The air was published by John Gay in his Beggar's Opera (1729), where it appears under the title "When a wife's in her pout". Kidson (1922) states that a traditional version of this song begins:

***

And now my dear Robin, since thou art my son,

I'll give you good counsel in life,

Go haste thee away and make no delay

And I'll warrant I'll get the a wife.

***

Raven (English Country Dance Tunes), 1984; pg. 65.

           

NOW SHE’S PURRING. AKA and see “Callaghan’s (Reel) [3],” “The Concert Reel [4],” “Denis Murphy’s (Reel) [1],” “The Doon Reel [4],” “O’Callaghan’s Reel.” Irish, Reel. Dennis Murphy recorded this as “The Doon” (there are several “Doon” reels) on a 1940's 78 RPM, though later said the title was “Now She’s Purring” (Treoir, 1975), a fact that Martin Mulvihill also noted in his collection. O’Keeffe may simply have been making a satisfied comment on the quality of the music when he “hit the groove”, however. Treoir.

X:1

T:Now She's Purring!

S:Treoir

M:4/4

L:1/8

Q:350

Z:Transcribed by Bill Black

R:reel

K:G

d | G3 A Bdgd | B2 BG AE E2 | GBAF GABd | (3efg fa gedB |

G3 A Bdgd | BABG AE E2 | GBAF GABd | (3efg fa g3 z ||

g3 a bgaf | gaba gfed | B3 A GABd | (3efg fa gfed |

gaba gfed | gbaf gfed | BdAB GABd | (3efg fa g3 z ||

           

NOW THE DAY DAWNS. Scottish. A record of this tune appears in an early 16th century MS. by Dunbar in his poem "To the Merchants of Edinburgh" (see J.C. Dick (Songs of Burns...), 1962; p. 450). See also "Day Dawns" for other notes.

           

NOW THE SPRING IS COME. English, Air (4/4 time). E Minor. Standard tuning. AAB. The air appears in Elizabeth Rogers' Virginal Book and Gamble's MS. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 194‑195.

X:1

T:Now the Spring is Come

M:C

L:1/8

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:Emin

E3F GA B2 | c2 BA B2 AG | A2 DD D2 EF | GA B2 A3G | G8 :|

|| B2 AG A2 GF | G2 FE F4 | G2G2A2B2 | c2 BA B2 EE |

E6 ^c^d | e6 EF | G2G2 F3E | E8 ||

           

NOW YOU'RE GANE AWA (O'n a tha thu falbh). Scottish, Slow Air (3/2 time). D Minor. Standard tuning. AAB. "This is the air of a tender love song, to which it is difficult to attach incident that could be relied on as authentic. It, however, requires minute attention to the accent and punctuation on first reading over, but will be found simple and delicate when fully acquired" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 208, pg. 86.

X:1

T:Now you’re gane awa

T:O’n a tha thu falbh

M:3/2

L:1/8

R:Air

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:Dmin

Ad3 d3c A4|Ff3 f3g a3g|f3e ~d3c A4|A3 ^G A2 ~^c2 d4:|

f3e d3c A4|Ff3 f3g a3g|f3d e3c A4|A3 ^G A3 ^c2 d4|f3d e2c2 A4|

f3e f2g2 a c’2z|a3d d3c A4|A3^G A2 ~^c2 d4||

           

NOWILL HILLS. AKA and see “Love Neglected,” “Of a Noble Race was Shenkin.” English, Country Dance Tune (2/2 time). D Minor. Standard tuning. AABB. Sharp (Country Dance Tunes), 1909/1994; pg. 78.

X:1

T:Nowill Hills

M:2/2

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:Dmin

|: e2 | f2 ed ^cdec | d2 D4 e2 | f2 ed ^cdec | d6 e2 |

f2 ed ^cdec | d2 D4 e2 | f2 ed ^cdec | d6 :|

|: e2 | f2 f2 c2 c2 | f2 f6 | F4 E4 | D4 ^C2 e2 |

f2 f2 e3e | d2 d2 ^c3A | B2 G2 A2 ^c2 | d2 d4 :|

 

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