The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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Notation Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in
the Fiddler’s Companion work fine in most abc conversion programs. For
example, I use abc2win and abcNavigator 2 with no problems whatsoever with
direct cut-and-pasting. However, due to an anomaly of the html, pasting the
abc’s into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
NO CORN ON TIGERT/TYGART [1]. Old‑Time,
Breakdown. USA, Indiana. A Dorian/Mixolydian. Standard tuning. AABB. There are
Tygart Rivers in both Kentucky and West Virginia. Gerry Milnes states the tune
is related to the “Gilderoy” family of
tunes (which includes “Red Haired Boy”
and “Salt River”). Source for
notated version: John Summers (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1),
1994; pg. 165. Shanachie Records 6040, Gerry Milnes
& Lorriane Lee Hammond – “Hell Up Coal Holler” (1999).
NO CORN ON TIGERT/TYGART [2]. AKA and see “Jimmy Ossington,” “Snakewinder.” Old‑Time, Breakdown.
USA, Kentucky. No relation to “No Corn on Tygart [1].” In Kentucky the tune
also goes by the names “Jimmy Ossington” and “Snakewinder” (Buddy Thomas).
Library of Congress 1019B1, Jilson Setters/James W. Day (recorded for John
Lomax in Ashland Ky., June, 1937). }.
NO GRAIN, NO PAIN. American, Reel. D Major. Standard tuning.
AABB. Composed by East Alstead, New Hampshire, fiddler and composer Randy
Miller. Miller (Fiddler’s Throne),
2004; No. 223, pg. 137.
NO 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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