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79th’s Farewell To Gibraltar polka

Also known as The 79th Highlanders March, The 79th Highlanders’ Farewell To Gibraltar, The 79th Highlanders’ March, 79th’s Farewell, 79th’s Farewell To Gibraltar, The 79th’s Farewell To Gibraltar, Farewell To Gibraltar, Farewell To Gibralter, March For The 79th’s Farewell To Gibraltar, March For The 79th’s Farewell To Gibralter.

There are 17 recordings of this tune.

This tune has been recorded together with

79th’s Farewell To Gibraltar has been added to 7 tune sets.

79th's Farewell To Gibraltar has been added to 101 tunebooks.

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Two settings

1
X: 1
T: 79th's Farewell To Gibraltar
R: polka
M: 2/4
L: 1/8
K: Amix
c/d/|e>f ec|A>B Aa/g/|fe/c/ e/f/a/e/|cB Bc/d/|
e>f ec|A>B Aa/g/|fe/c/ e/f/a/e/|cA A:|
a|fe/c/ e/f/a/e/|f/a/e/c/ Ba|fe/c/ e/f/a/e/|fB Ba|
fe/c/ e/f/a/e/|f/a/e/c/ Ba|fe/c/ e/f/a/e/|cA A:|
c/B/|A>B ca|fe/c/ Bc/B/|A/B/c/d/ e/f/e/c/|fB Bc/B/|
A>B ca|fe/c/ Bc/B/|A/B/c/d/ e/f/e/c/|cA A:|
c/d/|e>f ec|e>f ea|f>e fa|fe/c/ Ba|
fe/c/ e/f/a/e/|f/a/e/c/ Ba|fe/c/ e/f/a/e/|cA A:|
2
X: 2
T: 79th's Farewell To Gibraltar
R: polka
M: 2/4
L: 1/8
K: Amaj
c/d/|e>f ec|A>B Aa|fe/c/ e/f/a/e/|cB Bc/d/|
e>f ec|A>B Aa|fe/c/ e/f/a/e/|cA A:|
a|fe/c/ e/f/a/e/|f/a/e/c/ Ba|fe/c/ e/f/a/e/|fB Ba|
fe/c/ e/f/a/e/|f/a/e/c/ Ba|fe/c/ e/f/a/e/|cA A:|
c/B/|A>B ca|fe/c/ Bc/B/|A/B/c/d/ e/f/e/c/|fB Bc/B/|
A>B ca|fe/c/ Ba|fe/c/ e/f/a/e/|cA A:|
c/d/|e>f ec|e>f ea|f>e fa|fe/d/ ca|
fe/d/ cB/A/|B/A/B/c/ ea|fe/c/ e/f/a/e/|cA A:|

Six comments

An old friend I’ve long neglected, thanks for the reminder Nigel…much appreciated…

Farewell To Gibraltar

Very good rendition on an album by Phil and Johnny Cunningham which is called, I think, "Against The Storm". Phil plays it through on piano-accordion while a guest-player plays snare-drum, appropriately for a driving military march.

79th’s Farewell To Gibralter, X:2

This is how I first learnt this great tune which, although written in 2/4, has a 4/4 march feel (like you would use it for a Gay Gordons). I like to play it with swung sixteenths for extra bounce.

It differs from the original in that I don’t play any G notes and so the first line of the fourth part is slightly different. It also differs from Nigel’s setting, especially at the ending of the third part and bars five and six of the fourth part.

And, of course, in the pipe setting all the Gs are natural.
For this setting I have left the key sig as three sharps - you would accompany as if in A major.