I found notation in Dm, but it is easiest played in Em on the D whistle
(at least for me), so here is what I hope is a reasonable transcription for Em.
I love this one!
For those who don’t already use it, here’s the fingering for the E flat
(If you have trouble with it, try covering the hole completely and
then roll your finger slightly to the outside of the whistle to open the hole partway.
With a little practice, you will get the correct note consistently.):
Yeah, I really like it too. I originally heard it from the Old Blind Dogs’ recording on the The World’s Room. On thesession.org someone says it’s from the 18th century, when Italian music had a big influence on Scottish music. The poster there believed it was probably by James Oswald.
I originally got into the tune through the Burns song, The Slave’s Lament, which is set to the tune.
The information I had about the tune (from Sheena Wellington, my favorite singer of the song), is that it is from the Sephardic Jewish tradition in Spain.
Wherever it comes from it sounds lovely on flat pitched pipes. I have been using it to practice ghost D and even my botched attempts sound nice to my ears.
Tony Higgins you mean? Both are good players, but there’s a slight difference.
You’re too kind. ‘Slight’ is a bit of an understatement. But, one can aspire…
I learned the tune from an Alistair Frasier cd. He plays it very slowly on fiddle with a beautiful guitar backup, which is also the intro. And he follows it up with Miss Gordon of Gight, another beautiful reel, played faster.
Annie, the notes you posted look very much like what I played on Clips. I just can stand playing it on a high D. Those sustained high b notes rattle my eardrums.
Tony
I read somewhere that this was a very familiar tune way back at the time of George Washington and that it was even played at his funeral. perhap, some Masonic link. Thanks for the tune. Cheers
The folks in my little bitty ol’ town are probably cursing me at this moment.
While my daughter was doing her license renewel stuff today, I sat in the car, windows down
and practiced this thing over and over on my high D Water Weasel…
I think I’ve just about got it.
Thx so much for submitting this tune,
It is definitely a keeper,
one of the prettier melancholy tunes,
and i wouldnt have known of its charm if not for your effort,
again thank you,
i will be playing this one in the future alot, sounds great on my susato low g, the dixon low d does it justice,…and …oh so many whistles change its feel, damn whoa
so nice
regards
David
This is a lovely tune, but whatever you do, make sure you play the Eb notes where apropriate, rather than getting lazy and playing bottom D’s instead, which really detracts from the tune.
Just for the record, that would be a D# rather than an Eb, making the V chord major. I know there will be those who will say: but it’s the same note anyway, so why make the distinction? The main reason is that when you are playing, I think it makes more sense to feel its pull upward, back to the “home” note, and the sharp conveys that upward draw, whereas flats convey a downward pull. Also, I think in just tuning they are actually not even quite the same note. Just a small point for anyone interested, not at all meant to detract from the very nice job anniemcu did on that transcription and her kind sharing of it. Well done!
I, too, know the tune from OBD. I’d love to hear the other versions. Yours was lovely, Tony.
“Just for the record, that would be a D# rather than an Eb, making the V chord major. I know there will be those who will say: but it’s the same note anyway, so why make the distinction? The main reason is that when you are playing, I think it makes more sense to feel its pull upward, back to the “home” note, and the sharp conveys that upward draw, whereas flats convey a downward pull.”
Hey, I never said I was an “Educated” musician Carol, lol!! From now on I’ll be sure to use all the enharmonic spellings, to further confuse things
“Also, I think in just tuning they are actually not even quite the same note.”
Hey, does this mean I have to shade the bottom of the D hole for the D# when half holing, and the top half of the hole for Eb? Or is it the other way around?? I’m so confused!
At the risk of scaring away the easily offended, I did manage to get a short sample of this recorded and Tony saw fit to post it on the Clips and Snips Archive. It is “performed” on my high D Water Weasel and recorded with a low rent mic on my PC. http://tinwhistletunes.com/clipssnip/Audio/07-06/Roslyn_Castle_in_EbAnnieM.mp3
The folks in my little bitty ol’ town are probably cursing me at this moment.
) all the way in to play with you on that clip.