## Eight comments

This is a related to the Scottish pipe march, The Inverness Gathering:

M:4/4

K:Amix

e>c|\

d>c B>c A>B c>A|a2e2 e2(3def|\

g2B>A G>A(3BAG|g2d2 d2e>d|\

d>c B>c A>B c>A|a2e2 e2a2|\

g>e d>B G>B d>B|e2A2 A2::\

g2|\

a>e c>e a>e c>e|a2e2 e2f2|\

g>a g>f g>a g>e|d>c B>A G>A B>d|\

(3cBA a>A (3cBA a>A|a2e2 e2a2|\

g>e d>B G>B d>B|e2A2 A2::\

c2|\

(3AAAa2 (3AAA a2|(3AAA a>g e2d>B|\

(3GGG g2 (3GGG g2|(3GGG g>e d2B>G|\

(3AAA a2 (3AAA a2|(3AAA a>f e2a2|\

g>e d>B G>B d>B|e2A2 A2:|

### Ebb Tide

Also recorded by Seamus Egan and the late John Kelly.(Not on the same recording ! ).

### “The Inverness Gathering”

I’ve just had a listen to Seamus Egan’s recording of the Ebb Tide. Here’s a transcription of the first time through.

X: 1

T: Ebb Tide, The

M: 4/4

L: 1/8

K: G

dc|B/^c/B AB GAB=c|~d2 {A}GF G2 bg|fdcB cedB|cBAG =F3 A|

BdAB GABc|d2 fd gfdB|cBAG AeAc|1 B/^c/B GF G3 A:|2 B/^c/B GF G3 a||

bgdG gGdG|d2 Bd ga~ag|aB c/B/A eAcA|eAcA eAcA|

B/^c/B AB GAB=c|defd gfdB|cBAG AeAc|1 B/^c/B GF G3 a:|2 B/^c/B GF G3 A||

### Teada’s Ebb Tide

And yet another setting, from Teada:

X: 1

T: Ebb Tide, The

M: 4/4

L: 1/8

D: Teada, Inne Amarach

K: G

dc|B/c/B AB GABc|d2 GF G2 bg|fdcB cedB|c/B/A BG =F2 Bc|

B/c/B AB G2 A/B/c|dgfa ~g3a|f/e/d cB cedc|1 B/c/B GF G2 Bc:|2 B/c/B GF G2 ga||

bgdB gdBG|DGBd gabg|aAcA =fAcA|D=FcF dFcF|

B/c/B AB GABc|dgfa ~g3a|f/e/d cB cedc|1 B/c/B AF G2 ga:|2 B/c/B AF GAdc||

It’s on Sarah Blair’s Flower of the Red Mill CD in G with some F naturals

### F naturals

Without the Fn’s the tune loses a lot of its charm.

### My setting of the Ebb Tide

This is the only way the tune made sense to me on the flute. When I started to play it on the fiddle, this is the setting that I used. I hope people find it useful. Sarah plays it fast, pretty much as a reel, and I think it loses some of its swing - great as she is. I like to take my time with the tune and swing it, as a hornpipe.