Click here to jump straight to the TAB for “The Flowers of Edinburgh.”
If the title of this tune were “The Flower of Edinburgh” instead of “The Flowers of Edinburgh,” you would probably assume it was about a woman. But because of that pesky “-s,” other theories about the origin of the name of this fiddle tune persist.
One popular story is that the “flowers” refer to the stench of the city of Edinburgh. Like most cities in the days before modern sewage systems, the city reeked, mainly due to its residents tossing the contents of their chamber pots out into the streets.
But the most likely explanation is that the song was written about a woman and that the plural worked its way into the title at some point in the tune’s 250+ year history. “The Flowers of Edinburgh” first appeared in Scotland in the 18th century. It crossed the Atlantic and took root both in the States and in Canada, and it is still popular today among Old Time enthusiasts.
“The Flowers of Edinburgh” Playing Tips
There are two main challenges to playing “The Flowers of Edinburgh.” In the A section, you’ll be traveling up and down the C major scale fluidly with very few breaks in the eighth-note runs. This tune is one of the answers to the question, “Why do I have to practice scales?”
It’s also a reason why you don’t have to practice scales if you want to look at it that way. What I mean by that is if you don’t have the C major scale in your fingers before playing mastering this song, it will be there when you are done.
I knew the scale inside and out before ever playing this tune, so it came fairly easily to me. But it can go the other way, too. And if you are someone who loathes practicing scales, songs like this can be another way to practice them.
Leaving First Position
The B section of “Flowers” throws you to the wolves immediately, throwing a jump up to the 7th fret in the first measure. The use of the 5th fret might also catch you off guard if you played the A section in strict first position, with your four fingers align with frets 1-4.
There are a couple of ways to strategize hitting those higher notes, and there is no “correct” answer. It will come down to your hand size, dexterity, and comfort level. When I play through this tune, I keep my hand in second position, with my four fingers algined with frets 2-5. The 4th fret is used much more frequently that the first, so I would rather play the 4th with my ring finger and reach back to 1 with my index than have to use my pinky all the time on 4.
With your hand already in second position, have two options for tackling measure 11. If you have big hands like me, you can keep your hand in second position and stretch up to grab the 7 with your pinky. Leave your middle finger on 3 to act as an anchor – it helps. And since you will already be stretched between frets 3 and 5, you can use your ring finger to grab the 5th fret in measure 11.
If you can’t manage the full stretch, you can shift your hand up to 3rd position for measure 11, with your fingers aligned to frets 3-6, and only need to stretch a little to hit 7.
You can also abandon hand position altogether and go up and grab that 7th fret however you are able by moving your entire hand. This should be a last resort, though, and it isn’t a good habit to get into as it will limit your ability to play up-tempo in the long run. Economy of movement is important.
Click the download link below if the embedded PDF doesn’t display correctly. I’ve included a simplified version of “The Flowers of Edinburgh” as well if those constant eighth notes are too much for you. The simplified arrangement doesn’t let you off the hook with the stretch up to the 7th fret, though. Sorry. Happy picking!
“The Flowers of Edinburgh” Low G Sheet Music Download
“The Flowers of Edinburgh (Simplified)” Low G Sheet Music Download
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