[COMMENT1][COMMENT2]The Fiddler’s Companion
© 1996-2010 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] |
B AND O RAILROAD, THE. American, Hornpipe. D Major. Standard tuning.
AB. Bayard believes this to be a "recombined" tune, from other
sources. Source for notated version: J. Morris (Greene County, Pa., 1930's)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 85, pgs. 52‑53.
B AND O WALTZ. Old‑Time, Waltz. Tune mentioned in a 1931 account of a LaFollete,
northeast Tenn. fiddlers contest.
B. C. CENTENIAL. Canadian, Reel. D Major. Standard tuning.
AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in
the 1950’s and who carved out a successful career as a radio fiddler. The title
honors the Canadian province of British Columbia.
X:1
T:B.C.
Centennial
C:Ward Allen
M:2/4
L:1/16
R:Reel
K:D
d2|A,DCE
DFEG|FAGB Adce|ddfd gfed|cABd AGFE|
A,DCE
DFEG|FAGB Adce|ddfd gece|d2f2 d2:|
|:fg|abag
fdef|geag fdfg|abag fdef|gece ddfg|
abag fdef|geag fdfg|abag fdef|gece
d2:|
B FLAT HORNPIPE. Old‑Time, Breakdown. USA, Missouri. B‑Flat. Standard
tuning. AABB. Source for notated version: Luther Caldwell (Mo.)
[Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2),
1984; pg. 29.
B FLAT RAG. Old‑Time, Country Rag. USA, Kentucky. The Madisonville String
Band was a group from Hopkins County, Kentucky, who recorded seven sides for
Gennett in 1930. Guthrie Meade (1980) stylistically links them with Southwest
bands of the era such as the East Texas Serenaders and Taylor's Louisiana
Melody Makers because of the Madisonville's penchant for waltzes, rags and
marches. Morning Star Records 45003, Madisonville
String Band ‑ "Wink the Other Eye: Old Time Fiddle Band Music from
Kentucky, Vol. 1" (1980).
B-FUIL A TUILLE UAIT? AKA and see "Do You Want Anymore?"
BAALTIGH ABHRAN. AKA and see "Baltyoran."
BAB AT THE BOWSTER. See "Babbity Bowster."
BABA MO LEANABH. AKA and see "Ba‑ba, My Baby."
BABA, MY BABY (Baba Mo Leanabh). Scottish, Slow Air (6/8 time). F Major.
Standard tuning. ABB. "The editor has often listened (to this charming
lullaby) with delight to his father singing this air; it is so far preferable
to the set of it now bandied over the country, as not to admit of the smallest
comparison" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 79, pg. 29.
X:1
T:Ba-ba my Baby
T:Babà mo leanabh
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Dmin
F/G/|A2d d>ef|A2G F2 z/F/4G/4|AAA fed|c<A~c d2 d/e/|f>ef g2B|
A>BG A<F z/F/4G/4|A>Bc B<Gc|A2F G2|||:A|f>ef g2^g|a>b/a/^g/ a2 z/A/|
f>ef g2^g|a>b/a/^g/ a2 z/a/4=g/4|f>ef g2
z/B/|A>BA A<F z/F/4G/4|A>Bc B<Gc|A2F G2:|
BABBIT'S HORNPIPE. AKA and see “Smith’s
Hornpipe [2].” American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 113. Ryan’s Mammoth Collection, 1883; pg.
151.
X:1
T:Babbit’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A | d/c/d/A/ B/c/d/f/ | g/f/e/d/
c/B/A/G/ | F/A/d/f/ g/f/e/d/ | c/e/d/B/ .A(B/c/) |
d/A/e/A/ f/A/g/A/ | g/f/e/d/
d/c/B/A/ | d/f/e/g/ f/a/e/g/ | fdd :: (f/g/) | a/g/f/e/ d/e/f/g/ |
b/a/g/f/ e(e/d/) | c/A/e/A/ f/A/g/A/
| e/d/c/B/ A(B/c/) | d/A/e/A/ f/A/g/A/ |
a/f/d/A/ d/c/B/A/ | d/f/e/g/
f/a/e/g/ | fdd :|
BABBITY BOWSTER/BOLSTER. AKA – “Bee-Ba-Babbity.” AKA and see "Country Bumpkin," "Who learned you to dance and a towdle." Scottish, Jig. This common Scottish melody (which Emmerson {1972} states is "yet on the lips of every Lowland child") first appears in the Skene Manuscript (1620) under the title "Who learned you to dance and a towdle," and later was printed by Stewart in his Reels (c. 1768) as "Country Bumpkin" and by Aird in Airs (1782) as "Bab at the Bowster." A tune by this title shows up as a fugue theme in Barsanti's overture in G, op. IV no. 9, c. 1750. Flett & Flett (1964) explain that "Babbity Bowster" is the name of a kissing dance once widely performed as the last dance at country dances in Scotland, though the name changed from region to region. In the Borders and Aberdeenshire it was known as "Babbity Bowster," a corruption of "Bob at the Bolster," in Fife and Lanarkshire as "Bee Bo Bobbity," in the Highlands and the Isles under the Gaelic titles "Ruidhleadh nam Pog" (The Kissing Reel), "Dannsadh nam Pog" (The Kissing Dance), and also by the English names "Blue Bonnets," "The Bonnet Dance," "The Bonny Lad," "Pease Strae" and "The White Cockade." In Orkney (where it was danced as late as 1925) it was called the "Lang Reel," "The Swine's Reel", "The Reel of Barm" or as "Babbity Bowster." The dance began with a man displaying a twisted handkerchief who then selected a woman, spread the handkerchief on the floor and both knelt and kissed. Then it was her turn to join the dance and to select another from the audience to kiss and join the dance. There were many variations of steps and endings, and in some regions it was customary for the man to escort the woman home whom he had chosen during the dance. A poetic description is given in Alexander Fordyce's piece A Country Wedding (1818):
***
...but custom is pressing
That Bob at'e Bowster be danced ere you go
We must close in the door, tho' constraint
be distressing,
Bestman, let us see where the napkin you'll
throw:
***
That's plenty o' capers, come, kiss and be
done, Sir,
Another, another, and round, round you go
The circle increases; that squeak in the
tune, Sir,
Is meant, by the fiddler, more kissing to show.
***
Flett & Flett make the connection of this dance with an earlier and very similar dance called "The Cushion Dance" or "Joan Sanderson," which was danced at court at the time of the Restoration. The 'bolster' of the Scottish title was in fact the 'cushion' referred to in the English name, and refers to the small pillow that was used at one time before the handkerchief was substituted.
BABBY’S FANCY. Scottish, Country Dance Tune. G Minor. Standard tuning. AB. The tune
was published in 1799 by Thomas Calvert, a musician from Kelso, Scotland. A
note with the collection states that Calvert supplied “a variety of music and
instruments, instruments lent out, tun’d and repaired.”
X: 1
T:Babby's Fancy
M:C
L:1/8
B:The Calvert Collection - Page 7
Z:Nigel Gatherer
K:Gmin
D|G>FG>A B2 Bd|cBAG
AFFD|G>FG>A B2 dc|"tr" BGA^F G2 G||
d|g>^fg>a ~g2
d=e|"tr" f>=ef>d cAFA|g>^fg>a ~g2 dc|"tr" BGA^F
G2 Gd|
g>^fg>a ~g2 d=e|~f>gf>d
c/B/A/G/ FA|GBAc Bd {e}dc|"tr" BGA^F G2 G||
BABE. Old-time. E Flat Major: D
Major. Standard tuning. From the early 78 RPM group the East Texas Serenaders,
originally played in the key of E flat (although often heard in modern times in
D major).
BABES IN THE WOODS [1]. AKA and see “Girl
with the Blue Dress On [1],” “Tony
Lowe’s Polka [1].” English, Irish; Polka. G Major. Standard tuning. AABB.
Carlin (Master Collection), 1984; No.
6, pg. 17.
X:1
T:Babes in the Woods [1]
M:2/4
L:1/8
R:Polka
K:G
de/d/ cA | BG G/D/G/B/ | AD F>G |
AG GB/c/ | de/d/ cA |
BG G/d/G/B/ | AD D/E/F/G/ | AG G2 ::
GB/d/ g>a | fe e2 |
FA/c/ f>g | ed d/c/B/A/ | GB/d/
gg | fe e2 | fe/f/ af | ag g2 :|
BABES IN THE WOODS [2]. Irish, Polka. D Major. Standard tuning. AABB. Source for notated
version: fiddler Adam McConnell with McConnell’s Four Leaf Shamrocks, who
recorded the tune in 1924 [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 125. Green Linnet GLCD 3092,
Bernard O’Sullivan & Tommy MacMahon – “Clare Concertinas” (appears as one
of “Stack Ryan’s Polkas,” named for the musician from whom it was learned). Old
Hat Music OH!02, "The Old Hat Dance Band" (1992. Learned from Kerry
fiddle player Julia Clifford,
who has lived in Norfolk for some years). Topic TSCD 602, McConnell’s Four Leaf
Shamrocks – “Irish Dance Music” (1995. A reissue of the 1924 original).
X:1
T:Babes in the Woods [2]
M:2/4
L:1/16
Q:125
S:Castle Ceili Band
R:polka
Z:by m euritt
K:D
A2BA F2A2| d2e2f4|g4 f2e2|d2f2A4|
A2BA F2A2| d2e2f4|g4 f2e2|d4d4:|
e4e2d2|c2e2a4|e4e2f2|g2e2 c2A2|
e4e2d2|c2e2a4|g4 f2e2|d4d4:|
X:2
T:Babes in the Woods
M:2/4
D:Beginish
K:D
B2|: ABAG F2A2 | d2e2 f2ef | g2 gg
f2e2 | d2f2 A2B2 |
ABAG F2A2 | d2e2 f2ef | g2 gg f2e2
|1 d6 B2 :|2 d6 cd ||
c2d2 e2f2 | g2gg g2g2 | f2ff f2a2 |
e4 e2d2 |
c2d2 e2f2 | g2gg g2g2 | f2a2 g2e2 |1
d2dd d2cd :|2 d6 ||
BABES IN THE WOODS [3]. AKA and see “Peter Street [1] [1],” “Timour the Tarter.” Scottish, Country
Dance Tune (2/4 time). A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 4, pg. 22.
X:1
T:Babes in the Wood [3]
M:2/4
L:1/8
R:Country Dance
B:Kerr – Merry Melodies, vol. 1, pg. 22
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A>c e/c/A/c/|eagf|e>c
e/c/A/c/|BdcB|A>c e/c/A/c/|
eagf|e>c ac|B2A2::E>G
B/G/E/G/|BdcB|
A>c
e/c/A/c/|eagf|e>ca>f|ee/c/ a>f|e>cac|B2A2:|
BABES IN THE WOODS
SCHOTTISCHE [4]. American, Schottische. D Major.
Standard tuning. AB. Source for notated version: Strosnider (1930's). A version
of this tune, with the same name, was sung in southwestern Pennsylvannia,
beginning:
***
My dears, do you know, a long time ago,
Two little children whose names I don't know
Went out for to play one fine summer's day,
And were lost in the woods, so I've heard people say.
(Bayard)
***
Bayard (Dance to the Fiddle), 1981; No. 400, pg. 381.
BABES IN THE WOODS [5]. Old‑Time, Fiddle Tune. May be the same as versions #1 or #2. The
tune was recorded in the Ozark Mountains in the early 1940's for the Library of
Congress by musicologist Vance Randolph.
BABY BEN. American, Schottische. G Major. Standard tuning. AABB. From the
repertoire of Alabama fiddler James Bryan.
X:1
T:Baby Ben
M:C
L:1/8
Q:160
S:James Bryan – Festival of Fiddle
Tunes, 1995
Z:From a transcription by Dave
Barton
K:G
z4 (.B2.c2) |: [G,3D3d3] (e dc) BA |
G2G,2A,2G,2 | ({D}E4) ({D}E3F) | E4 (.A2.B2.) |
{B}[D3c3] (d cB) AG |1 F2D2 (ED) C2
| ({A,}B,4) ({A,}B3C) | B,4 (.B2.c2) :|2
F2D2E2F2 | G4 (G3A) | [B,4G4]
(.B,2C2) |: [B,4D4] [B,3(D4] | [B,2D2)] Bc B(A GF) |
[C4E4] (E3F) | ({E/F/}E4) .A2.B2 |
({B}[D3c3)] (d cB) AG |1 F2D2 (ED) (CA,) |
({A,}B,4) ({A,}B3C) | B,4 (.B,2C.2)
:|2 F2D2E2F2 | ({F}G4) ({F}G3A) | [B,4G4] (.B2.c2) ||
BABY GAVIN. AKA and see “Burke's [1],” “Charlie Mulvihill’s (Jig)
[1],” “Connie O’Connell’s
Jig [2],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “Matt Molloy’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig. D Major. Standard
tuning. AA’BB’. Printed under this title by New Jersey accordion player Luke
O’Malley, once a student of John McGrath, who obtained the tune from the Gavin
family of Ballina. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 103, pg. 52.
BABY-O. See “Whatcha Gonna
Do with the Baby?”
BACACH.
AKA and see "Drunken Hiccups [1]." Irish.
The Irish word means lame or cripple.
BACACH NA CLEITHE. AKA and see "An Ghaoth Aniar Andeas," "Connie the Soldier," "Coffee and Tea [2]," "Jimmy the Tailor," "Aineens Double," "The Cherry Grove," "Banish Misfortune (or Mary of Inistuick)[2]."
BACAGH OF THE WATTLE, THE. Irish, Jig. Published under this title by Petrie, collected from Galway
piper Paddy Coneely in 1840. It is a version of “Banish Misfortune” [2] and “Connie the Soldier.”
BACCA PIPES JIG (GREENSLEEVES). AKA and see "Greensleeves [1]." English, Morris Dance. A Dorian (Bacon {Bampton, Hinton},
Karpeles, Raven): G Major (Bacon {Ascot‑Under‑Wychwood}). Standard
tuning. AB (Bacon {Ascot}): AAB (Bacon {Hinton}): AABB (Karpeles, Raven):
ABA'B'A''B''A'''B'''(Bacon {Headington}). From the Ascot‑under‑Wychwood,
Bampton, and Headington areas of England's Cotswolds. 'Bacca' pipes refers to
the long‑stemmed clay tobacco pipes (sometimes called ‘churchwarden’
pipes), which were crossed and placed on the ground (in the manner of some
sword dances) whilst a solo jig was danced between them. Although not related
to the tune it is interesting to note that the term ‘bacca-pipes’ in lower
class English slang of the early 19th century referred to whiskers
curled in small close ringlets. Bacon (The
Morris Ring), 1974; pgs. 26, 197, & 204. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 36. Raven (English Country
Dance Tunes), 1984; pg. 74. EFDSS CD03, William
Kimber – “Absolutely Classic: The Music of William Kimber.” Topic 12T249,
William Kimber – “The Art of William Kimber” (William Kimber played the anglo
concertina for Headington Quarry Morris on Boxing Day, 1899, when Cecil Sharp
first encountered them, which led to a morris dance revival).
X:1
T:Bacca Pipes Jig (Greensleeves)
M:6/8
L:1/8
K:A Dorian
c3 c2e|d2c B3|c2B A3|B2A G3|(c3 c2)e|d2c B3|c2A B2G|A3 A3||
g2f g2e|d2B G3|g2f g2e|a2f d3|g2f
g2e|d2c B3|c2d e2d|A3 A3||
BACA(C)H
BUIDHE, AN (Lame Yellow Beggar). AKA and see
"Bacach Buidhe Na Leige" (The Yellow Beggar of the League), "The
Lame Yellow Beggar," "The
Wild Geese," "Johnnie
Armstrong," "Todlin
Hame," "The
Meeting of the Waters [1]." Irish, Air (4/4 time). B Flat
Major (O'Sullivan/Bunting): G Major (Flood). Standard tuning. AAB (Flood): ABB
(O'Sullivan/Bunting). The great Irish collector Edward Bunting's 1840
publication attributes composition of this melody to the famous Ulster harper
Rory Dall O'Cahan in the year 1650. Though born in Ulster, O'Cahan performed
primarily in Scotland, and this tune is "said to have been composed by him
in reference to his own fallen fortunes, towards the end of his career."
{See note for "Give Me Your Hand" for more information on O'Cahan). Audiences heard the
air in "The Beggar's Wedding" (1728), an opera by Charles Coffey of
Dublin, and it was printed in the score in 1729. The title was reported by the Belfast Northern Star of July 15th,
1792, as having been a tune played by one of ten Irish harp masters at the last
great convocation of ancient Irish harpers, the Belfast Harp Festival, held
that week. Bunting, who was in attendance at the festival, claimed to have
noted it from harper Charles Byrne in his manuscript, though he attributes
harper Daniel Black in 1792 as the source in his 1840 published work. The
melody may also be found in Neales' Celebrated
Irish Tunes, pg. 26 and Holden's Old
Established Tunes, pg. 36, reports O'Sullivan (1983), and is a variant of the melody known variously
as "Johnnie Armstrong," "Todlen Hame," "Rye
Whiskey [1]," "Jack
of Diamonds," "Drunken
Hiccups," etc. Flood, 1905; pg. 80. Murphy (A
Collection of Irish Airs and Jiggs, 1809 or 1820; pg. 22.
O'Sullivan/Bunting, 1983; No. 20, pgs. 34-35.
BACACH BUIDHE NA LEIGE (The Yellow Beggar of
the League). AKA and see "Baca(c)h Buidhe."
Irish, Air. O'Sullivan (1983) suggests "The League" is probably a
townland of the same name in the parish of Myross, near Skibbereen, County
Cork.
BACACH NA CLEITHE. AKA and see “Aineen’s Double,”
“The Cherry Grove,” “Coffee and Tea” [2], “Connie the Soldier,” “(An) Ghaoth Aniar Andeas” (The
South-West Wind), “Jimmy the Tailor.”
Irish, Jig. Source for notated version: piper Patrick Coneelly, 1840 [Petrie].
Petrie (Ancient Music of Ireland),
1882; pg. 41.
BACCAUGH BUIE. See "Baca(c)h Buidhe."
BACHELOR’S JIG. Canadian, Jig. Canada,
Cape Breton. The tune was recorded by Cape Breton fiddler Joe MacLean in the
1960’s. Paul Stewart Cranford writes that some contend the ‘bachelor’ of the
title was fiddler Duncan MacQuarrie, and that it may be a Cape Breton
composition. Cape Breton’s Magazine
(Number 43, 1986). Rounder 82161-7032-2, Bill Lamey –
“From Cape Breton to Boston and Back: Classic House Sessions of Traditional
Cape Breton Music 1956-1977” (2000).
BACHELORS OF EVERY NATION. English (?), Reel. G Major. Standard tuning. AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 178, pg. 65.
X:1
T:Bachelors of Every Nation
M:2/4
L:1/8
R:Reel
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
Bd de/f/ | g>a (g/f/)(e/d/) | e>fge | d/e/d/c/ BG | Bdg>f |
ea {g}”tr”f2 | gbdg | (b/a/)(g/f/) g2 :: bgaf | ga/g/ fd | e>fge |
d/e/d/c/ BG | Bd”tr”g>f | ea {g}f2 | gbdg | b/a/g/f/ g2
:|
BACHELOR'S REEL. AKA and see "Reel boule
de neige." French Canadian, Reel. D Major ('A' part), G Major ('B'
part). Standard tuning. AABB. Carlin (Master
Collection), 1984; pg. 44, No. 61.
BACK DOOR [1], THE. AKA and
see "La Porte d'en Arriere."
BACK DOOR [2], THE. AKA and
see “Cul Doras Highland.” Irish, Highland.
Ireland, County Donegal.
BACK IN ’89. Old-time, Breakdown. A Major.
Standard tuning. AA’BB’. Beisswenger & McCann (2008) identify this as a
probable member of a tune family that includes “Village
Hornpipe,” “Sweet Ellen/Ellum [2],”
“Last of Callahan” and “Old Dubuque,” albeit they are played in
the key of ‘D’. They also believe that source Lymon Enloe did not have a name
for the tune, but rather it was named by a radio announcer named “Captain Jack”
Hiney of WOS in the 1930’s. Source for notated version: Missouri fiddler Lymon
Enloe (1906-1997), who had the tune either from his father, or his Uncle “Pink”
Enloe [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle
Tunes), 2008; pg. 27. County CD-2707, Lymon Enloe
– “Fiddle Tunes I Recall” (originally recorded 1973).
BACK IN THE GARDEN. AKA and see “Touch Me if You Dare [2].”
BACK OF THE CHANGE, THE. Irish, Reel. A Aeolian. Standard tuning. AAB. Roche Collection, 1982; vol. I, pg.
71, #185.
BACK
OF THE CHANGE HOUSE, THE. AKA and see “Cuckold’s Song,” “Hame Cam Oor Gude Man.” Scottish;
Reel, Strathspey and/or Pipe March. D Major. Standard tuning. AAB (Athole, Gow,
Skye): AABB’ (Cranford/Holland): AB (Honeyman, Surenne): AABB (Bremner). A
‘change house’ was a 1) structure for changing horses on coaches or wagons, for
example, as at an inn, and 2) short for ‘exchange house’, a commonly found
building in rural areas for exchanging goods and services. Paul de Grae says,
of the latter, “many of these buildings survive in large and medium-sized towns
all over Ireland, though nowadays often converted to other uses such as shops,
heritage centres or even public toilets.” Not "Back of the Change" as
printed in the Roche Collection. John
Glen finds the tune first printed in Robert Bremner's 1757 collection. Bremner
(Scots Reels), c. 1757; pg. 93.
Cranford (Jerry Holland: The Second Collection), 2000; No. 90, pg. 36. Gow (Complete Repository), Part 1, 1799; pg. 33. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 11. Jones [Ed.] (Complete
Tutor Violin), c. 1815; pg. 8. MacDonald (The Skye Collection),
1887; pg. 39. Stewart-Robertson
(The Athole Collection), 1884; pg.
101. Surenne (Dance Music of Scotland),
1852; pg. 23. Rounder 7021, Natalie MacMaster – “A
Compilation” (1998). Smithsonian Folkways Records, SFW CD 40507, The Beaton
Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording Index |
X:1
T:Back of the Change House, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
B|AFAf edBd|AFAB dedB|AFAf edBg|f/g/a e>c d2d:|
g|fedf edBg|fefg agag|fdgf edBg|f/g/a e>c d2 dg|fedf edBg|
fefg abag|fdgf edBg|afge dedB||
X:2
T:Back of the Change House, The
M:C
R:Reel
B:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
(B | “tr”A>)FAf “tr”e>dBd | “tr”A>FAB (ded)B | “tr”A>FAf “tr”edB(f/g/ | a>)(A A)B (d2d) :|
|: (g | “tr”f>)edf “tr”e>dBg | “tr”f>efg a>baf |
g>af>g “tr”e>dBg | (f/g/a) A>B (d2d) :|
BACK OF THE GRAMPIANS. AKA ‑ "Back of the Grampian Hills." AKA and see "North Side of the Grampions."
English, Country Dance Tune (cut time). England, Northumberland. D Major.
Standard tuning. AAB. Originally a Scottish tune appearing in Captain Simon
Fraser's collection as “North Side of the Grampion’s.” Hall & Stafford (Charleton Memorial Tune Book), 1974; pg
57. Raven (English Country Dance Tunes),
1984; pg. 187.
X:1
T:Back of the Grampians
M:C|
L:1/8
K:D
F>GA>B AFFd|A>dF>A df
e2|F>GA>B A>BA>G|G>EC>A, (3CDE G2:|
||g|fd (3fga fddg|fddg (3fga
(3gab|fd (3fga fddf|gecA (3cde g2|
fd (3fga fddg|fddg (3fga (3gab|(3agf
(3edc (3dcB (3AGF|GECA, (3BDE G2||
BACK OF THE HAGGARD (Taob Iar De'n Iotlann). AKA and see “Black’s Hornpipe [2],” “Dan O’Leary’s [2],” “Duke’s Hornpipe,” “Johnny O’Leary’s,” "Kershaw's Hornpipe," "Lady Flashdash Hornpipe,"
“Let’s Have a Ceilidh,” “Loyalist Hornpipe,” “Miss Manner’s Hornpipe,” “Sliabh Mhachaire [1],” “The Tournmore,” “The Toormore Polka [2],” “Tuar Mor Polka [2]," “Wallace’s Cross.” Irish, Hornpipe. D Major.
Standard tuning. AABB (O'Neill {4 editions}): One part (Williamson; his version
uses irregular measures). The melody can be found in many English collections
under the alternate titles “Kershaw’s Hornpipe,” “Lady Flashdash Hornpipe,”
“Duke’s Hornpipe” and others (see note for “Kershaw’s Hornpipe” for more). A haggard
or haggard was the corner of the farmyard that was farthest from the
house (according to Reg Hall), but it also may refer to a farm building, as a
shed or stable. Paul de Grae says the word is commonly used in Ireland and
refers to a hay-yard, from the Norse hey-garthr. The Hyde Brothers
(about whom nothing is known) recorded “Back of the Haggart” in New York in
March, 1928. Ceol, vol. 5, No. 1.
O'Neill (1915 ed.), 1987; No. 325, pg. 161. O'Neill (Krassen), 1976; pg. 206.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1742, pg. 324.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 918, pg. 157. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 82‑83.
X:1
T:Back of the Haggard
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
918
Z:AK/Fiddler’s Companion
K:D
(3ABc|dfdf ecAc|dcdB AFDF|GFGB
Afed|c2A2 A2Bc|
d>A (3AAA e>A(3AAA|fefg
afdc|BdcB AGFE|D2D2D2:|
|:(3ABc|dcdA FADF|BGFG BGFG|gefd ecdB|cdec dcBc|
A>d
(3ddd c>e (3eee|d>f (3fff e>g (3ggg|fafd egec|d2d2d2:|
BACK OF THE MOON, THE. Scottish, Reel. Composed by A.G. Kenneth of
Stronachullin, a well known composer with a penchant for stragne titles like
“The Lady in the Bottle.” Green Linnet GLCD1182, The
Tannahill Weavers - “Choice Cuts 1987-1996.”
BACK REEL, DA. Shetland, Shetland Reel. Shetland, Walls. D Mixolydian. Standard. AB. A
quick reel danced at the conclusion of "Da Muckle Reel," note
Anderson & Georgeson. Source for notated version: Peter Fraser (Shetland)
[Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 21. Bain (50 Fiddle Solos), 1989; pg. 17.
BACK RUB, THE. Canadian, Jig. Canada, Cape Breton. D Major.
Standard. AABB’. Composed by Paul M. MacDonald. Cranford (Jerry Holland’s), 1995; No. 226, pg. 66.
BACK SIDE OF ALBANY. AKA ‑ "Backside Albany." AKA and see "Boyne Water [1]," "The Seige of Plattsburg." American; Air, March or Reel. E Dorian. Standard tuning. AABB. The melody, an adaptation of the air used for a 17th century Irish ballad about the Battle of the Boyne Water (1690) {see note for "Boyne Water”}, was used for a dialect song written by an American, Micah Hawkins (1777-1825). Hawkins included it as a part of a play called The Battle of Lake Champlain, performed in Albany, New York, in 1815, a patriotic work that described a military event in the recently concluded War of 1812. Hans Nathan, in his Dan Emmett and Negro Minstrelsy (Univ. of Oklahoma Press, 1962, pg. 35), says: “The comedian (who sang the song) was a ‘Black Sailor’ espousing the American cause. Here, for the first time, the Negro spoke no longer as a mouthpiece of the white man.” “Backside Albany” was widely popular until at least the 1840's (according to William J. Mahar, American Music, vol. 6, No. 1, Spring 1988). It was first published in The Columbian Harmonist (Albany, 1815), and begins:
***
Back side Albany stan’
Lake Champlain,
One little pond, half
full a’ water,
Platebug dare too,
close pon de main,
Town small—he grow
bigger do here-a-ter.
On Lake Champlain
Uncle Sam set he boat,
And Massa M’Donough he
sail ‘em;
While Gen’ral M’Comb
Make Plat-te-bug he home,
Wid de army, who
courage nebber fail ‘em.
***
Micah Hawkins played piano, flute and violin, and was the
uncle of Long Island painter William Sydney Mount. Mount was musically influenced
by his uncle and was himself a fiddler who often depicted fiddlers in his
paintings. “Backside Albany” was learned by 'revival' musician John McCutcheon
from fiddler Lotus Dickey (Paoli, Indiana), who learned it from a brother who
in turn claimed to have gotten it through a book from a Sears and Roebuck
catalogue. The city of Albany, by the way, was originally settled as
Willemstadt by the Dutch and renamed Albany by the English when they gained
control of the Hudson, in honor of James, Duke of York and Albany. Howe (1000 Jigs and Reels), c. 1867; pg. 47. Greenhays GR 710, John McCutcheon ‑ "Fine Times
at Our House" (1982).
T:Back Side of Albany
M:2/4
L:1/8
R:March
S:Howe – 1000 Jigs and Reels (c.
1867)
Z:AK/Fiddler’s Companion
K:E Dorian
EB/B/ B/c/d/B/ | A/G/F/E/ DE/F/ | GF/E/ B/A/G/F/ | E2 E z | EB B/c/d/B/ |
A/G/F/E/ DE/F/ | GE B/A/G/F/ | E>E E2 :: B>c de | dB A>A | (Be) (ef) |
(ed) B>c | d/c/d/e/ dB | A/G/F/E/ DE/F/ | GE B/A/G/F/ | E>F E2 :|
BACK STEP CINDY. See "Backstep Cindy."
BACK TO GWEEDORE. Irish, Reel. Ireland, County Donegal. G Major. Standard tuning. AAB.
Source for notated version: collected from the playing of County Donegal
musicians by Dave Abe [Black]. Black (Music’s
the Very Best Thing), 1996; No. 135, pg. 70.
X:1
T: Back to Gweedore
S: Dave Abe
Q: 350
R: reel
M: 4/4
L: 1/8
Z: Transcribed by Bill Black
K: G
A | BcdB GABG | AD (3FED dcBA | BcdB GABG | ADFA G3 :|
A | B3 d gdBd | cBce agfe | fgaf defd | ed^ce d2 ef |
gfed
(3efg a2 | agfe dcBA | BcdB GABG | ADFA G3 :|
BACK TO THE FOUNTAIN. AKA and see "Just From
the Fountain."
BACK TO THE HILLS. Scottish, Solo Piece (4/4 and 12/8 time). D Minor. Standard tuning.
ABC. Composed by J. Scott Skinner (1843-1927), and
dedicated by him to Tom Fraser. Hardie (Caledonian
Companion), 1992; pg. 111. Skinner, The
Scottish Violinist; pg. 41.
BACK TO THE MILL WHEEL. Irish, Jig. D Major. Standard tuning. AABB. The tune begins on the
dominant chord. McGuire & Keegan (Irish
Tunes by the 100, vol. 1), 1975; No. 29, pg. 8.
BACK TO THE SUGAR CAMP. Canadian, Reel or Breakdown. USA, northern N.Y. D Major ('A' part)
& G Major ('B' part). Standard tuning. AA'BB'(x4), AA''. Composed by
Ontario fiddler Ward Allen who won contest after contest in Canada in the
1950’s, and who had a successful career playing over the radio. Source for
notated version: Don Messer (Canada) [Bohrer/Kibler]. Bohrer (Vic Kibler), 1992; No. 27, pg. 27. GRT Records 9230-1031, “The
Best of Ward Allen” (1973). Sparton Records SP 213, “Ward Allen Presents Maple
Leaf Hoedown, vol. 3.”
X:1
T:Back to
the Sugar Camp
C:Ward Allen
M:2/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
DF G|A2
A3/2B/|AF Ad|f2 f3/2a/|fd AF| G2 e3/2f/|ec AG|F2 A3/2B/|AD FG|
A2 A3/2B/|AF
Ad|f2 f3/2a/|fd AF| G2 e3/2d/|cA Bc|d2 d3/2d/|d:|
K:G
=c BA|B2
B3/2B/|BG Bc|d2 d3/2e/|d2 cB| BA AB|c2 dB|cB B/A/B/c/|BD GA|
B2 B3/2c/|BG Bc|d2 d3/2e/|d2 cB|BA Bc|ed
EF|G2 G3/2G/|G:|
BACK UP AND PUSH [1]. AKA and see "Rubber
Dolly." Bluegrass; Breakdown. USA, widely known. C Major. Standard
tuning. One part (Lowinger): AABB (Brody, Silberberg): AA'BB (Phillips): AA'BB'
(Reiner). Gid Tanner and the Skillet Lickers' 1934 version of the piece (backed
with "Down Yonder") became the third best-selling country music
record for that year. Gid's son, 17 year old Gordon Tanner, played uncredited
fiddle lead at the session, according to Tony Russell. Sources for notated
versions: Kenny Baker [Brody]; Curley Ray Cline [Phillips]; Floyd Engstrom
[Silberberg]. Brody (Fiddler’s Fakebook),
1983; pg. 31. Lowinger (Bluegrass Fiddle),
1974; pg. 62. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 18. Reiner (Anthology of Fiddle Styles), 1977; pg. 41. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor
Tavern), 2004; pg. 3. County 770, Kenny Baker‑
"Frost on the Pumpkin." RCA Camden CAL‑719, Bill Moinroe‑
"The Father of Bluegrass Music." Magg 3901, Marion Sumner and Jesse
McReynolds‑ "Old Friends." Rounder 7002, Graham Townsend‑
"Le Violin/ The Fiddle." Rebel 1552, Buck Ryan‑ "Draggin'
the Bow." CMH 9006, Benny Martin ‑ "The Fiddle
Collection." Condor 977‑1489, "Graham & Eleanor Townsend
Live at Barre, Vermont." Fretless 101, "The Campbell Family‑‑Champion
Fiddlers." Fretless 103, "Clem Myers: Northeast Regional Old Time
Fiddle Champion 1967 & 1970." F&W Records 6, The Fireside String
Band‑ "Square Dance Tunes For a Yankee Caller." Bluebird 5562B
(78 RPM), Skillet Lickers (Ga.) {1934}. Rounder 0005, Snuffy Jenkins &
Pappy Sherrel – “30 Years of Pickin’ & Pluckin’.”
BACK UP AND PUSH [2]. Canadian, Reel. D Major. Standard tuning.
AABB. Attributed to Canadian fiddler Ward Allen, who won contest after contest
in the 1950’s and who carved out a successful career for himself as a radio
fiddler.
X:1
T:Back up
and Push
C:Ward Allen
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
fg|a2ba
f2af|d2fd A2ef|g2ag e2ge|cdef g2fg|
a2ba
f2af|d2fd A2ef|g2gb agfe|d2[df][df] [d2f2]:|
|:A2|A2BA
F2A2|defg a2fa|g2ed cBAF|G2FG E2FG|
A2BA F2A2|defg a2f2|gage
cABc|d2[df][df] [d2f2]:|
BACKBONE AND SPARERIBS. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled in the mid‑1950's by musicologist
Vance Randolph.
BACKSIDE ALBANY. AKA and see "Back Side of Albany."
BACKSTEP. AKA and see "Backstep Cindy."
BACKSTEP CINDY. AKA ‑
"Backstep." AKA and see "Step-Back
Cindy," "Old
Time Back Step Cindy," "Hollyding,”
“Rockingham Cindy;” this despite the
fact that “Backstep Cindy” was frequently collected in North Carolina
repertoire. Sources for notated versions: The Fuzzy Mountain String Band
(Durham, N.C.), who learned the tune from Fred Cockerham (Low Gap, N.C.) [Brody];
Uncle Charlie Higgins (Galax, Va.) [Krassen]; Tommy Jarrell (Mt. Airy, N.C.)
[Phillips]. Brody (Fiddler’s Fakebook),
1983; pg. 30. Krassen (Appalachian Fiddle),
1973; pg. 47. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 18. County
Records 701, Fred Cockerham & Kyle Creed – “Clawhammer Banjo” (1966).
County Records 748, Tommy Jarrell‑ "Come and Go With Me."
County 756, Tommy Jarrell ‑ "Sail Away Ladies" (1976). County
CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994. Appears
as "Old Time Back Step Cindy"). Folkways 3832, William Marshall &
Glen Smith. Heritage XXIV, Tommy Jarrell ‑ "Music of North
Carolina" (Brandywine 1978), 1979. Musical Traditions MTCD321-2,
William Marshall (et al) – “Far on the Mountains, vols. 1 & 2” (2002). Rounder Records 0035, The Fuzzy Mountain String Band‑
"Summer Oaks and Porch" (1973). Rounder 0197, Bob Carlin ‑
"Banging and Sawing" (1985).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Backstep Cindy
M:C|
L:1/8
R:Reel
S:Tommy Jarrell via Tom Sauber
N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
(a2 |: a)(gfg) a2a2 | (A/(B/ B2)) (d
d2) (a2 | a)(bag) (fe) d2 |1 B3 (d d2) (a2 :|2 B3 (dd2) fd ||
|: e(dBc) d2d2 | A/B/ B2 (d d2) fd |
e(dBd) A2A2 |1 B3 (d d2) fd :|2 B3 (d d4) ||
BACKWARDS FIDDLE, THE. Canadian/American, Reel. Canada, Cape Breton.
A Major. Standard. AA'BB'. Composed by teenaged friends Kimberley Fraser
(Sydney Mines, Cape Breton) and Rosie Shipley (Baltimore, Maryland & Beach
Meadows, Nova Scotia). The tune’s name came about, says Cook, when Kimberely and Rosie, left- and
right-handed respectively, switched fiddles. Cook (Night in the Kitchen Collection), 1996; pg. 23.
BACKWOODSMAN REEL. Canadian, Reel. Composed by Meilleur. MCA
Records MCAD 4037, “The Very Best of Don Messer” (1994).
BACON AND CABBAGE. Old‑Time. USA, Ky. Recorded for Victor in 1928 by Blind Joe
Mangrum (b. 1853), Paducah, Ky., probably the second oldest fiddler to be
recorded. “Bacon and Cabbage” and “Bill Cheatam” were his only released sides.
BACON AND EGGS. Canadian, Strathspey. Canada, Cape Breton. Composed by Inverness, Cape
Breton, fiddler Wendy MacIsaac. CAT-WMR004, Wendy
MacIssac - “The ‘Reel’ Thing” (1994).
BACON’S HORNPIPE. AKA and see “Admiral Nelson,” “Miss Baker’s,” "Mrs. Baker's Hornpipe.” English,
Hornpipe. The tune is under this title in the English J. Clare manuscript (c.
1820), and although it sometimes appears as the similar sounding “Bacon’s
Hornpipe” or even “Miss Bacon’s Hornpipe,” it is properly titles “Miss Baker’s
Hornpipe.”
BÁD CHILL DALUA. AKA and see “The Killaloe Boat.”
BÁD GO BÉAL FEIRSTE, AN. AKA and see “The Belfast Boat.”
BAD HAIR. American, Jig. G Major. Standard. AABB. Composed by Antrim, New
Hampshire, fiddler Rodney Miller, who told Susan Songer (Portland Collection) that he was inspired after hearing his five
year old daughter Elvie spontaneously comment upon seeing a mannequin with a
spiked and frazzled coif, “That one has Bad Hair!”. Songer (Portland Collection), 1997; pg. 22. Rodney Miller Band - “Greasy Coat.”
BAD LUCK TO THIS
MARCHING. AKA and see "Paddy O'Carroll('s Jig) [1]."
The title is listed as an alternate for "Paddy O'Carroll" in
O'Neill's 1001 Gems.
BADDECK GATHERING, THE. Canadian, Jig. Canada, Cape Breton. D
Major/Mixolydian. Standard. AB (Little): ABB’ (Cranford): AA’BB’ (Shears).
Composed by Pipe Major A. ‘Piper Alex’ MacDonald (b. 1893, Cape Breton), who
moved to the Windsor, Ontario/Detroit, Michigan area. Baddeck is a town in Cape
Breton on the shore of the great Bras d’Or, and the tune was composed in
commemoration of a regatta held there in 1932 (Shears). Cape Breton fiddler
Johnny Wilmot (1916-1993) recorded the tune in the early 1950's. Sources for
notated versions: Cape Breton style fiddler Harvey Tolman (Nelson, N.H.)
[Little]; fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova
Scotia) [Cranford]. Cranford (Brenda
Stubbert’s), 1994; No. 111, pg. 39. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs.
14‑15. MacQuarrie (The Cape Breton
Collection). Shears (The Gathering of
the Clans Collection, vol. 1), 1986; pg. 68. CAT-WMR004,
Wendy MacIssac - “The ‘Reel’ Thing” (1994).
BADIN, LE. AKA and see "The Carle He Came
Through the Croft [2]." English, Reel. England, Northumbria. B Flat
Major. Standard. AABB. Seattle (William
Vickers), 1987, Part 3; No. 520.
BAFFLED KNIGHT, THE. English, Country Dance Tune and Air (6/8
time). E Flat Major. Standard. One part (Chappell): AABB (Barnes). The air
appears in "Youth's Delight on the Flagelet" (9th and 11th editions,
1697), and, as was common in the period the tune was written, is the vehicle
for other songs of the early 17th century.
***
It was a Knight was drunk with wine,
A riding along the way, Sir;
And there he met with a lady fine,
Among the cocks of hay, Sir.
***
Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 69.
X:1
T:Baffled Knight, The
M:6/8
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:E_
E|E2B B>cB|G2F E2d|e2d c>de|d3
c2d|e>dc _B>AG|c2F F>GA|B>AG E2D|E3B2||
BAG OF MEAL, THE (Ruaig an Mi-adh). AKA and see "Ruaig an Mí‑ádh"
(Banish Misfortune [1]),
"The Little Bag of Meal,"
"Humors of
Mullinafauna [1]," "Judy Hynes,”
"Máire Ní Eidhinn,” "Nancy Hines," “Nancy
Hynes,” “Parish Girl,” "Round the Cart House." Irish,
Double Jig. D Major (Cole, Howe): D Major/Mixolydian (Joyce): D Mixolydian
(Breathnach). Standard tuning. AABB (Cole, Howe, Joyce): AABBCC (Breathnach).
In modern times the tune is known as “Banish Misfortune.” Sources for notated
versions: piper Sean Potts (Ireland) [Breathnach]; learned by Joyce from his
father, presumably in his childhood in Limerick in the 1840's [Joyce].
Breathnach (CRÉ I), 1963; No. 38, pg.
16. Cole (1000 Fiddle Tunes), 1940;
pg. 75. Howe (1000 Jigs and Reels),
c. 1867; pg. 19. Joyce (Ancient Irish
Music), 1890; No. 41, pg. 43. Ryan’s
Mammoth Collection, 1883; pg. 106.
X:1
T:Bag of Meal, The
M:6/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:D
d/e/ | f2d cAG | A2d cAG | F2D D(ED)
| F3 GED | ABA cAG |
ABA A2d | fed cAc | d3 d2 :: e | f2d
ded | fga afd | d2=c cdc | efg gfe |
fga agf | gfg efg | fed cAc | d3 d2
:|
BAG OF POTATOES [1], THE (An Mala Beag Fatai). AKA and see “Little Bag of Potatoes [1].”
Irish, Reel. G Major. Standard tuning. AABB. Source for notated version:
flutist Michael o Tiobraide/Michael Tubridy (Ireland) [Breathnach]. Breathnach
(CRÉ I), 1963; No. 94, pg. 41. Shanachie 79022, “Chieftains 2” (1969).
BAG OF POTATOES [2], THE (An Mála Fataí).
AKA and see “The Bag of Spuds,” “Eddie Dunne’s Favorite,” "The Sligo Dandy." Irish, Reel. A
Dorian. Standard tuning. AB (Mulvihill): AABB (Sullivan): AABB' (Breathnach).
Frequently called “The Bag of Spuds.” The tune was called “Eddie Dunne’s
Favourite” on a 1926 78 RPM recording by Frank Quinn, according to Philippe
Varlet, who says it was “a very popular and oft recorded tune in the 1920s.” It
was recorded by the Laictin Naofa Céilí Band (Junior Crehan, Josie Hayes, Willie
Clancy, Jim Ward, P.J. MacMahon and others from the Miltown Malbay, Clare,
area). Unrelated to “Bag of Potatoes [1].” Sources for notated versions: piper
Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; Frank McCollan
(Ballycastle, County Antrim) [Mulvihill]; Festy Conlan and Tim Lyons
[Sullivan]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Breathnach (CRÉ
I), 1963; No. 111, pg. 46. Harker (300
Tunes from Mike Rafferty), 2005; No. 146, pg. 44. Mulvihill (1st Collection), 1986; No.
109, pg. 29 (appears as “The Bag of Spuds”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 321. Sullivan (Session Tunes, vol. 3); No. 62, pg. 25
(appears as “The Bag of Spuds”). Cló Iar-Chonnachta
CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007.
Appears as “Bag of Spuds”). Coleman Music Center CHC 009, flute player Sonny
McDonagh (1925-1991) – “The Coleman Archive, vol. 2: The Home Place” (2005).
Green Linnet GLCD 1211, Kevin Crawford
– “In Good Company” (2001. Appears as “Bag of Spuds”). Intrepid Records,
Michael Coleman - “The Heyday of Michael Coleman” (1973). Talcon Records KG240,
Paddy Cronin – “The House in the Glen” (197?). Topic Records, Festy Conlon
& Tim Lyons – “The Breeze from Erin.”
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bag of Potatoes, The [2]
M:4/4
L:1/8
S:Session tape Augusta 2000, James
Kelly, Tony Smith, Mick O'Connor
R:Reel
Z:Transcribed by Steve Bennett
K:G
A2eA A2eA|ABcd ecdB|G2BG AGBG|GB
(3BBB GBdB|
A2eA A2eA|ABcd ecdB|ABcd efge|dBGA
BAGB:||
|:a2ea ageg|agbg agef|gedc BGBd|gfga
bgeg|a2ea ageg|
agbg ageg|dBde gage|dBGB BAA2:||
BAG OF PRATIES, THE. Irish, Country Dance Tune (4/4 time). D
Mixolydian. Standard tuning. AAB. Does not appear to be "The Bag of
Potatoes" [1] or [2]. Kerr (Merry
Melodies), vol. 1; No. 2, pg. 22.
BAG OF SPUDS, THE. AKA and see “The
Bag of Potatoes [2]." Irish, Reel.
BAG OF SUNDRIES, THE. Irish, Reel. C Major. Standard tuning. AB.
Joyce (Old Irish Folk Music and Song),
1909; No. 629, pg. 321.
BAG PIPE TUNE. Irish, March. B Minor. Standard tuning. AABB. Roche Collection, 1982; vol. II, pg. 62, #349.
BAGGING COTTON. Old‑Time, Breakdown. Tune in the repertoire of N.C. fiddler Osey
Helton.
BAGUN MUMAN. AKA and see "Munster Bacon."
BÁIDÍN FHEILIMI (Feilimi’s Boat). AKA and see “Phelim’s
Boat.”
BÁIDÍN FHEIDHLIMIDH (Feilimi’s Boat). AKA and see “Phelim’s
Boat.”
BAIEONNE (Auburn-Blonde). Cajun, Waltz. USA, Louisiana. G Major.
Standard tuning. ABC(Vocal)BCA(Vocal)ABC(Vocal)CAB. Raymond Francois (1990) illuminates
the title, from the French root 'Baie', meaning having a bay coloring (as in a
bay horse), married to the suffix -onne, the whole a nickname for a woman with
chestnut or auburn-blond hair. Source for notated version: Blind Uncle Gaspard
(vocal) & Dela Lachney (violin) [Francois]. Francois (Ye Yaille, Chere!), 1990; pgs. 25-27. Old
Timey Records OT-114, Blind Uncle Gaspard.
BAILE-AN-CULLAIG AR
MAIDIN. AKA
and see "Ballincollig in the
Morning."
BAILE AN MARGAID. AKA and see "The Market Town."
BAILE AN tSAMHRAIDH. AKA and see “Murphy’s,” “Padraig O’Keeffe’s Slide [6],”
“Terry Teehan’s (Slide).” Irish,
Slide (12/8 time). D Mixolydian. Standard tuning. AA'B. The title is a
placename. Breathnach previously printed the tune in CRÉ II (No. 92) as an untitled tune. Source for notated version:
accordion player Denis Doody (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 39, pg. 20. Mulligan RecordsLUN 019, "Denis Doody Kerry Music"
(1978).
BAILE-ATA HUBLA. AKA and see "Ballyhooley."
BAILE BHEACHAIN. AKA and see “The Ceanngulla
Slide.” Irish. Stanford-Petrie (Complete
Collection), 1905; No. 1431.
BAILE-CAISLEAN UI
CONCOBAIR. AKA and see "Castletown Conners [1]."
BAILE NA FINNE. AKA and see “Scotch Mary.” Irish,
Reel. Ireland, County Donegal. A Dorian. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 219, pg.
128.
BAILE NAN GRANNDACH. Scottish, Slow Strathspey. D Major. Standard tuning. AABBCCDDEE.
Stewart-Robertson (The Athole Collection),
1884; pg. 119.
X:1
T:Baile Nan Granndach
M:C|
L:1/8
R:Slow Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
B|A<D A>F A<D A>F|A<D A>F B<E E>F|A<D A>F d>ef>e|
d>B A/B/d/F/ A<DD :: f | d>BA>F d>ef>e | d>BA>F e<E E>e | d>BA>F d>ef>e |
d>B A/B/d/F/ A>DD :: B | A<D AG/F/ A<D AG/F/ | A<D AG/F/ B<E E>F | A<D AG/F/ d>ef>e |
d>B A/B/d/F/ A<D D :: f | d>fA>f d>fA>f | d>fA>f e<E E>e |d>fA>f d>ef>e | d>B A/B/d/F/ A>DD :|
|: F | A,>D FE/D/ A<D FE/D/ | A,>D FE/D/ B<E E>F | A,>D FE/D/ A>D FE/D/ | d>B A/B/d/F/ A<D D :|
|:
f/g/|a>ba>f d>ef>d | e<f d>f e<E E>f | a>b a/b/a/f/
d>ef>e | d>B A/B/d/F/ A<D D :|
BAILIE NICOL JARVIE. Scottish, Reel. D Minor. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 160, pg.
19.
X:1
T:Bailie Nicol Jarvie
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 160 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Dmin
A | f2 (ed) cAAc | defd eaag | f2
(ed) cAAd | AGFE D/D/D (DA) |
f2 (ed) cAAc | defd eaag | f2 (ed)
cAAc | AGFE D/D/D D ||
A | FGAF D/D/D d2 | E/E/E e2 fefa |
FGAF D/D/D d2 | AGFE D/D/D (DA) |
FGAF D/D/D d2 | E/E/E e2 fefa |fa df
Ad Fd | AGFE D/D/D D ||
BAILIFF'S DAUGHTER, THE. AKA and see "The Jolly Pinder," "The Baily's
Daughter of Islington." English, Air (4/4 time). G Minor. Standard tuning.
One part. The song appears in the ballad opera "The Jovial Crew"
(1731). The air appears to be considerably older, however, and appears in a
lute MS found by Dr. Rimbault.
***
There was a youth, and a well-belov’d youth,
And he was a Squire’s son;
He loved the bailiff’s daughter dear,
That lived in Islington.
***
Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 159.
X:1
T:Baliff’s Daughter, The
M:C
L:1/8
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:G Minor
D2|B2 AB c2 BA|d2G2^F2D2|B2B2
cd/e/dc|d6 D2|
B2 AB c2 BA|d2G2^F2D2|G2 AB
^F2D2|G6||
BAILIFF’S ONE DAUGHTER, THE. Irish, Air (2/4 time). G Major/E Minor/A
Dorian. Standard. One part. No relation to the English “The Baliff’s Daughter.”
Stanford/Petrie (Complete Collection),
1905; No. 595, pg. 150.
X:1
T:Bailiff’s One Daughter, The
M:2/4
L:1/8
S:Stanford/Petire (1905), No. 595
Z:AK/Fiddler’s Companion
K:G
E | G/E/D/E/ GA | G/E/D/E/ GE/G/ |
AA/B/ d/B/A/B/ | G3 E/A/ |
cc dc/d/ | e/d/g/d/ ed/B/ | A/B/d/e/
BA | A2 ||
BAILITHEOIR LONGPHOIRT
(The Longford Collector). AKA and see “The Longford Collector.”
BAIN TIGHEARNA CROFTON. AKA and see "Mrs. Crofton."
BAINE NA GABAIR'S E BEIRBTE. AKA and see "Boiled Goat's Milk."
BAINIR SEAIN. Irish, Air (3/4 time). G Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 1081,
pg. 274.
BAINIS. Irish, Hornpipe. Tara Records 4008, “Josephine
Marsh” (1996).
BAINIS AN PHÍOBAIRE. AKA and see "The Piper's
Wedding."
BAINPHRIONNSA
RIOGHAMHUIL. AKA and see “The Princess Royal [1].”
BAINRIOGAN AN AONAIG. AKA and see "The Queen of the
Fair."
BAINRIOGAN NA BEAL
TEINE. AKA and see "The Queen of May."
BAINTIGHEARNA
MACSBHELL. AKA and see "Mrs. Maxwell [1]."
BAINTIGHEARNA MHIC
SHIMI. AKA and see "Lady Lovat."
BAINTREABAC AN
IASGAIRE. AKA and see "The Fisherman's Widow."
BAINTREABAC NI
BRUAIDEADA, AN. AKA and see "The Widow Brady."
BAINTREABAC
TRUAIGMEILEAC, AN. AKA and see "The Woeful Widow."
BAINTREACH MNA, AN. AKA and see "The
Merry Wives (Highland)." Irish, Reel. Ireland, County Donegal. D
Major. In the repteroires of fiddler Francie Dearg O'Byrne (learned as a boy
from his father) and James Byrne (learned from his father John and uncle, Padai
Hiuidai), and well known in the Teelin-Kilcar-Glencolumbcille area, according
to Caoimhin Mac Aoidh (1994). It shows up in the collected works of Ed Reavy
(Phila., Pa.) as a highland entitled "The Merry Wives Highland," but
Mac Aoidh clearly demonstrates it was already in the tradition before Reavy's
time.
B(H)AINTREACH NA
RADAIREACHT (The Ranting Widow). AKA and see “The Ranting Widow.”
BAIRÉAD AN
MHÁIRNÉALAIGH (The Sailor’s
Bonnet). AKA
and see “The Sailor’s Bonnet.”
BAIRILLE BRAICHE, AN. AKA and see “The Barrel of Wash.”
BAISTEADH, AN. AKA and see "The
Christening."
BAITSILÉIR CÚTHAIL, AN. AKA and see "The
Bashful Bachelor [2]."
BAKASKIE. Scottish. Robin Williamson thinks the title may refer to Sir William
Bruce of Balcaskie, the architect of Holyrood Palace, which stands in Edinburgh
today (rebuilt between 1671 and 1679). The air appears in the Panmure MS #9454 Seventy‑Seven Dances, Songs and Scots
Airs for the Violin, c. 1675. Flying Fish, Robin
Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."
BAKE THAT CHICKEN PIE. Old‑Time, Song and Breakdown. County
542, Uncle Dave Macon & His Fruit Jar Drinkers ‑ "Nashville: the
Early String Bands, Vol. 2" (originally recorded in 1927).
BAKE THEM HOECAKES
BROWN. AKA and see "Boil Them Cabbage Down."
BAKER, THE. Scottish (originally), Canadian, Irish; Reel.
Canada, Cape Breton. A Major. Standard tuning. AA’B (Skinner): AABB
(Cranford/Fitzgerlad) . Written by Scottish fiddling and composing giant J. Scott Skinner (1841-1927) for George Gordon. The
tune has some currency in Irish circles, having been recorded by fiddlers Andy
McGann and Paddy Reynolds, and Sean Keane. Donegal fiddler John Doherty had a
version (see Larry Sanger’s “Gan Ainm” abc’s below) that Nigel Gatherer
identifies as an amalgam of two Skinner tunes, “The Baker” and “The 10£
Fiddle.” Some similarities to the Irish “Contradiction Reel.” Source for
notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford].
Cranford (Winston Fitzgerald), 1997;
No. 78, pg. 34. Skinner (The Scottish
Violinist), pg. 5. Skinner (Harp and
Claymore), 1904; pg. 102. Rounder CD 11661-7033-2,
Natalie MacMaster – “My Roots are Showing” (2000). Shanachie 14001, "The Early Recordings of Angus
Chisholm" (Cape Breton fiddler who recorded it in the 1930's a medley with
“The 10 Pound Fiddle”). Andy McGann and Paddy Reynolds. Seamus & Kevin
Glackin – “Northern Lights.”
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Baker, The
M:C
L:1/8
R:Reel
N:”Crisply”
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:A
(d | c)AED CEAc | dFBA GBed | cAED
CEAc | dfB[dg] [ca][AA][AA] :|
|| g | a/a/a Aa fedc | BFBA GBeg | a/a/a Aa e/e/e Aa |
fagb {g}aAAe |
.a.A.a.g .f.e.d.c | .B.F.B.A.
.G.B.e.d | .c.A .E.D .C.E.A.c | dfBg {g}aAA ||
X: 2
T:The Baker
T:Scott Skinner's
R:Reel
S:Sean Keane
Z:Adrian Scahill
M:4/4
L:1/8
K:A
cAED CEAc|dFBA GBed|cAED CEAc|1 dfBg aAAd:|2 dfBg aAAg||\
aAAa fedc|BFBA GBeg|aAA2 ecea|gebg aAAg|\
aAAa fedc|BFBA GBed|cAED CEAc|dfBg aAA2:||
X:3
T:Gan Ainm
R:reel
S:John Doherty
Z:Larry Sanger from a tape of a tape of a tape...of John Doherty. He just
Z:played it twice through, so this is more or less what he played. The
Z:second and fourth parts below are identical; it might just be a two-part
Z:reel with the second time through being a variation, but it sounds good
Z:as a four-part reel too. Yes, he played the second and fourth parts
Z:for sixteen bars, the first and third parts for eight bars.
M:4/4
L:1/8
K:A
[E3c3]B|:A/A/A ED CEAc|eAce fdBG|A/A/A {F}EC DFBA|
|1 GBeg aAAE:|2 GBeg aAAg||:aAga fedc|dFBA GABg|aAga fdfa|ecdB cAAg|
aAga fedc|dFBA GBed|cA{F}ED CEAc|1 dfBg aAAg:|2 dfBg aAAd||
cA (3FED CEAc|dFBA GBed|cA (3FED CEAc|1 dfBg aAAd:|2 dfBg aAAg||
|:aAga fedc|dFBA GABg|aAga fdfa|ecdB cAAg|aAga fedc|
dFBA GBed|cA{F}ED CEAc|1 dfBg aAAg:|2 dfBg aAAd||
BAKER NUMBER TWO. Old‑Time, Fiddle Tune. Recorded in the 1940's in the Ozark
Mountains for the Library of Congress by musicologist and folklorist Vance
Randolph.
BAKER'S BREAKDOWN. Bluegrass, Breakdown. USA, Ky. G Major & D Major. Standard tuning.
AABC. Composed by fiddler Kenny Baker and Bill Monroe, in whose band Baker
played for twenty years. Brody (Fiddler’s
Fakebook), 1983; pg. 32. County 750, Kenny Baker‑
"Grassy Fiddle Blues." MCA‑97 (Formerly Decca DI7‑4382),
Bill Monroe‑ " Bluegrass Special."
BAKER'S BUCK. American, March (2/4 time). G Major ('A' part) & E Minor ('B'
part). Standard tuning. AABB. Sweet (Fifer’s
Delight), 1964; pg. 55.
X:1
T:Baker’s Buck
M:2/4
L:1/8
R:March
Z:AK/Fiddler’s Companion
K:G
G>B dd | c/B/A d2 | G>B dd |
c/B/A G/F/E/D/ | G>B dd | c/B/A d2 | G>B dd | ef gz :|
|: Be e/d/e/f/ | gf e2 | Ad
d/^c/d/e/ | f/d/e/c/ d>c | Be e/d/e/f/ | gf eg/a/ | bag f | e/d/e/f/ g2 :|
BAKER’S FLOWER, THE.
American, Waltz. E Minor. Standard tuning. AB. Composed by Bo Leyden in
2003. Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 73 (appears as “Lavender”, the title of a 2004 dance by
Brooke Friendly and Chris Sackett set to the tune).
BAKER'S JIG. Irish, Jig. G Major/Mixolydian. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 17.
BAKER’S MARCH. AKA and see “Barnes’s March.”
From New York hammered dulcimer player Paul Van Arsdale, learned from his
grandfather. Similarities to “Liberty [1].”
BAKER’S REEL, THE (Ríl an Bháicéara). AKA and see “Acrobat’s Reel,” “Whistler and His Dog.” Irish, Reel.
G Major. Standard tuning. AA’BB’. The melody is from Breathnach’s own manuscripts.
Paul de Grae finds variants in Ryan’s
Mammoth Collection (1883, pg. 137) under the title “Spit Fire (Reel).” Breathnach (CRE IV), 1996; No. 137, pg. 67.
BALANCE ALL. Old‑Time, Breakdown. C Major. Standard tuning. AABBCC. The title
comes from a square dance direction. Source for notated version: fiddler Howdy
Forrester from his Uncle Bob [Devil's Box].
Devil's Box, vol. 23, No. 1, Spring
1989; pg. 22.
X:1
T:Balance
All
L:1/8
M:2/4
S:Howdy
Forrester, learned from his Uncle Bob; transcribed by John Hartford
K:C
G|e2
e/g/e/d/|c/A/G/c/ A/c/c|e2 e/g/e/d/|ca g/a/g|e2 e>d|c/A/G/c/ A/G/c|
Ba g/a/g/e/
| c>d c :: G,/A,/ | C/D/E/C/ D/C/E/C/ | D(C CC)/D/ | E/C/E/C/ D/C/E |
G>A GA |
B/G/B/G/ Bd | B(G G2) | A/c/B/G/ AB | c>d c :: e | g/g/a/g/ e/g/e/d/ |
c(G
G>)(c | c/)e/g/e/ ga | g>a g(g | g/)g/a/g/ e/g/e/d/ | c(G G2) | A/c/B/G/
AB | c>d c :|
BALANCE THE/A STRAW [1].
AKA and see "From the Man I Love,"
"The Tulip," "Lads a Bunchum [1]," "The Captain and His Whiskers."
English (originally), American; Country and Morris Dance Tune (4/4 time). G
Major. Standard tuning. AABB (Bacon, Ascot‑Under‑Wychwood): AABCC
(Raven, Bledington version): AAB, CCB, CCB (Mallinson, Bledington versin). The
melody and title are derived from the chorus of the first and last stanzas of a
popular song by James Oswald (died c. 1769), sung in the opera The Reprisal and first performed in
London in 1757. The opening line contains the alternate title by which it was
known--From the Man I Love--and both
titles appear in period references from England and the United States. As a
morris dance tune it was collected in the Ascot‑under‑Wychwood,
Bledington, and Brackley England, areas during the latter 19th century (when
most morris tunes were sought out and recorded). Ernest MacMillan identifies a
tune having this title in an instrumental setting of 1759, though the melody is
unrelated to the one here referenced, being clearly a version of "Wearing
of the Green." Bacon (The Morris
Ring), 1974; pgs. 21, 93, & 104. Mallinson (Mally’s Cotswold Morris Book), vol. 2 (Bledington version), 1988;
No. 21, pg. 12. Raven (English Country
Dance Tunes), 1984; pg. 80.
BALANCE THE STRAW [2]. English, Morris Dance Tune (6/8 time). D Major (Bacon): G Major
(Mallinson). Standard tuning. AABA (Bacon): AABB (Mallinson). From the Field Town area of England's
Cotswolds. Bacon (1974) says this tune is a "new version of 'Balance the
Straw' (which) has appeared in post‑war years, and has become (an)
accepted and effective part of the morris man's repertoire. The tune is a
composed, or at least a modified one." Bacon (The Morris Ring), 1974; pg. 151. Mallinson (Mally’s Cotswold Morris Book), vol. 1, 1988; No. 29, pg. 20.
BALCAIS AN BLOMAIRE (Put on Your Clothes). Irish, Double Jig. D Major.
Standard tuning. AABB. Roche Collection,
1982; vol. I, pg. 49, #116.
BALCOMIE HOUSE. Scottish, Jig. F Major (Hunter, Martin): G Major (Miller). Standard
tuning. AB (Hunter): AABB (Martin, Miller). There is a Balcomie Castle, Fife,
that was begun in the 16th century and since has passed through
several hands. Mary of Guise stayed
there on her journey to marry King James V.
The building featured at one time fine plaster ceilings which were
removed and taken to Ayrshire where they were incorporated into Dean
Castle. Perhaps the most interesting
feature of Balcomie is that it is said to be haunted by the ghost of either a
young man who was either starved to death within its walls or a boy who was
hanged—the offence was the same in either case, because he would not stop
whistling! Presumably it was not this
tune that led to his demise, although this could perhaps be verified for it is
said one can clearly hear whistling when it is seen. Hunter (Fiddle Music of Scotland), 1988; No.
305. Martin (Taigh
na Teud), 1990; pg. 5 (appears as “Balconie House”). Miller (Fiddler’s Throne), 2004; No. 4, pg. 15.
X:1
T:Balcomie House
L:1/8
M:6/8
K:F
A/B/|c2c Acf|c2d cAF|G2G
G>FG|ABA GAB|c2c Acf|c2d cAF|CEG BGE|F2A F2:|
|:A,/B,/|C2C A,CF|D2D
B,DF|E2E CEG|F2F CFA|C2C A,CF|D2D C,DF| CEG BGE|F2A F2:|
BALD HEADED JUDGE. Old-Time, Breakdown. A banjo piece. Yodel-Ay-Hee
008, One Eyed Dog - "Traditional Mountain Tunes" (1993).
BALDHEADED BACHELOR, THE. AKA and see “The Galway Hornpipe [1],” “McDermott’s Hornpipe [1].”
Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg.
216. O'Neill (Music of Ireland: 1850
Melodies), 1979; No. 1776, pg. 331.
X:1
T:Baldheaded Bachelor, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No 1776
Z:AK/Fiddler’s Companion
K:G
(3DEF|GFGe fdAG|FGAB cBcA|GBdf
gfgb|agfe dcBA|
(3GGG Ge fdAG|FGAB cBcA|)3fgf df
ecAF|G2G2G2:|
|:ga|b2b2 bagf|e2 ee e2 fg|a2 aa
abag|f2 dd d2 ef|gfga bgdB|
cBAB cdef|afdf ecAF|G2G2G2:|
BALDOOSER, THE. This tune is a derivative of "The Campbells Are Coming [1],"
according to Bayard (1981).
BALDY. AKA and see "Old Ball."
BALDY HOLLER. Old‑Time, Fiddle Tune. Appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph in
1954.
BALENDALLOCH'S DREAM. Scottish, Reel. A Mixolydian. Standard tuning. AAB. AAB (Gow): AABB
(Bremner). One of the 'lost tunes' of William Vickers' 1770 Northumbrian dance
tune manuscript, called by him "Balemdilaks Dream." Glen finds the
tune first published in Bremner's
1757 collection. Bremner (Scots Reels),
c. 1757; pg. 33 (appears as “Balendaloch’s Dream”). Carlin (The Gow Collection), 1986; No. 495. Gow
(Complete Collection), Part 2, 1802;
pg. 28.
X:1
T:Balendallochs Dream
M:C
L:1/8
R:Reel
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
K:A
e | c2 A>c (ef/g/) af | =g2 gB
GB/c/ dB | c2 Ac (ef/g/) af | =gefd ~e2A :|
^ g | a2 ea cAaf | =g2 dg BGdB|a2 ea
cAaf | =gefd e2 A^g |
a2 ea cAaf | =g2 dg BGdB | cedf
e=gfa | =gefd ~e2A ||
BALET ANGLOIS. English, Country Dance Tune (cut
time). G Major. Standard tuning. AAB. Composed by J. Jischer (138). Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 29.
BALFE'S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated
version: Early [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903; No. 1736, pg. 323.
X:1
T:Balfe’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No.1736
Z:AK/Fiddler’s Companion
K:D
(3ABc | d>ec>d (3BAG (3AGF |
G2 f<b f>ba>g|(3fag (3fed (3egf (3edc |(3dfa (3d’c’b (3aba (3gfe |
d>ec>d (3BAG (3AGF | G2 f<b
f>ba>g|(3fag (3gfe (3egf (3edc | d2f2d2 :: ABc |
d>f (3abc’ d’>c’d’>c’ |
b>ab>c’ b>ge>d|c>de>f g>fg>b | a>^ga>b a2 (3ABc |
d>f (3abc’ d’>c’d’>c’ |
b>ab>c’ b2 a>g|(3fag (3fed (3ege (3edc | d2f2d2 :|
BALGENER'S BOWLING
GREEN. AKA and see "Balgeny's Bouling Green."
AKA ‑ "Bargenny Bowling Green."
BALGENY'S BOWLING
GREEN. AKA ‑
"Bargenny/Balgener's/Balginie's Bowling Green." Scottish, English;
Jig. England, Northumberland. D Aeolian or Dorian. Standard tuning. AABBCCDD
(Bremner, Glen, Gow): AABB (Vickers). Composition of the melody is credited to
Joseph/John Riddel (1718‑95) of Ayr by Glen, Gow, Seattle and others.
Seattle (1987) notes Riddell's (or sometimes, Riddle's) best known tune is
"Dumfries House," and the
composer was alive at the time the Northumbrian editor William Vickers was
compiling his collection. Glen finds the tune earliest in print in the
collections of Riddel (1766, pg. 46)
and Bremner (1757), and it also
appears in the Gillespie Manuscript,
1768. Bremner’s version is set in 12/8 time. Bremner (Scots Reels), c. 1757; pg. 39 (appears as “Balgeny’s Bouling
Green”). Carlin (The Gow Collection),
1986; No. 514. Glen (The Glen Collection
of Scottish Dance Music), vol. I, 1891; pg. 21. Gow (Complete Repository), Part 2, 1802; pg. 33 (appears as “Bargenny
Bowling Green”). Seattle (William Vickers),
1987, Part 2; No. 230.
X:1
T:Bargenny’s Bowling Green
M:6/8
L:1/8
R:Jig
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:Dmin
E|(DED D2)c|GEC C2E|(DED) D2f|e2 d
ecA|(fgf) e2f|cAc CDE|(DED) D2f|(e/f/g)e d2:|
|:A|(ded) d2a|gec c2e|(ded) d2a|g2f
gec|(fgf) e2d|cAc CDE|(DED D2)f|(e/f/g)e d2:|
|:A/4B/4c/|dAd cAc|GEC C2c|dAd
cAc|dAd cAc|fed cBA|GEC C2E|(DED D2)f|e/f/ge d2:|
|:^f/g/|a^fd afd|gec c2 (^f/g/)|a^fd
afd|a^fd e=fg|fgf e2d|cAc CDE|(DED D2)f|(e/f/g)e d2:|
BALINTORE FISHERMAN, THE. Scottish, Polka. D Major ('A', 'B' and 'D'
parts) & G Major ('C' part). Standard tuning. AA'BB'CC'DD'. Composed by
James Blue, 1956. Martin (Ceol na Fidhle),
vol. 1, 1991; pg. 47.
BALK, THE. AKA and see "The
Baulk."
BALKAN HILLS, THE. Scottish, March (2/4 time); Canadian,
Schottishe. D Major. Standard tuning. AABB'CC (Messer): AABBCCDD (Gatherer):
AABB'CCDD' (Bain, Martin). A well‑known Scottish march, often used for
couple dances such as "The Military Schottische." Bain (50 Fiddle Solos), 1989; pg. 14 (march).
Gatherer (Gatherer’s Musical Museum),
1987; pg. 44. Messer (Way Down East),
1948; No. 92 (appears as "Balkan Hills Schottische"). Martin (Ceol na Fidhle), vol. 2, 1988; pg. 15
(march). Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 190, pg. 135. F&W Records 4, "The Canterbury Country Orchestra
Meets the F&W String Band." Folkways FW 8827, Arbuckle, Mikkelson
& Clifton - "Old Time Couple Dances" (1961).
X: 1
T:Balkin
Hills Schottische
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
ag|fAfe
d2A2|BGdB A2de|fAAa gfed|f2e2 e2ag|
fAfe
d2A2|BGdB A2de|faga gecA|d2f2 d2:|
|:fg|adfa
f2ed|BGdB A2fg|adfa gfed|f2e2 e2fg|
adfa
f2ed|BGdB A2de|faga gecA|d2f2 d2:|
|:AB|d2e2
f2ed|BGdB A2de|fAAa gfed|f2e2 e2AB|
d2e2 f2ed|BGdB A2de|faga gecA|d2f2
d2:|
BALKAN HORNPIPE. American, Scottish; Hornpipe. D Major. Standard tuning. AABB (Cole):
AABB' (Kerr). The composition is credited to "Hayes" in Ryan’s Mammoth Collection, perhaps a tongue-in-cheek
reference to President Rutherford B. Hayes (1822-1893), elected in 1876, and
one of a few such jokes in Ryan’s. Although his opponent, Tilden, won the
popular vote, Hayes won the electoral vote and was confirmed in 1877. During the same year Russia went to war
against Turkey, and the Balkans were a main theatre of the war, however, the
connection with Hayes is obscure. Cole (1000
Fiddle Tunes), 1940; pg. 91. Kerr (Merry
Melodies), vol. 2; No. 359, pg. 339. Ryan’s
Mammoth Collection, 1883; pg. 125.
X:1
T:Balkan Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A | .d(f/d/) c/e/A/c/ | d/A/f/d/
e/g/c/e/ | .d(f/d/) c/e/A/g/ | f/d/e/c/ dA | .d(f/d/) c/e/A/c/ |
d/A/f/d/ e/g/c/e/ | .d(f/d/)
c/e/A/g/ | f/d/e/c/ d :: A/G/ | F/D/A/F/ d/A/B/G/ |
F/D/A/D/ E/c/A/G/ | F/D/A/F/
d/A/B/G/ | F/D/E/C/ .D(A/G/) | F/D/A/F/ d/A/B/G/ |
F/D/A/F/ E/c/A/G/ | F/D/A/F/
d/A/A/g/ | f/d/e/c/ d :|
BALL [1], THE. AKA – “The Bell.” English, Country Dance Tune
(6/8 time). A Major (Kidson, Trim): G Major (Callaghan). Standard tuning. AABB.
“The Ball” appears in several publications and musicians’ manuscripts from the
late 18th and early 19th centuries. It can be found in
Longman and Broderip’s Twenty-Four
Country Dances for the year 1790, and in The Entire New and Compleat Tutor for the Violin by Geminiani, via
a MS collection by Dorset writer Thomas Hardy and his family. Frank Kidson
(1890) finds it in Fourteen favourite
Cotillion and Country Dances...The Fifteenth Book, for the year 1786...Thomas
Budd.” An English manuscript, John Ball’s music copybook of 1792, contains the
melody on page 24 set in the key of G. It also appears in John Carter’s 1792
British manuscript, John Clare’s music manuscript (c. 1820, Helpston,
Northants, appears as “The Bell”), and the 19th century Welch family
manuscripts (Bosham, Sussex). William O. Adams had the tune in his music
commonplace book, and although Adams was American, it appears that the book was
perhaps originally purchased in London for it is inscribed “London, September 4th,
1795” and contains both English and American tunes. John Carr’s 1801 American
publication First Book of Cotillions
contains the melody, as does Norris & Sawyer’s Village Fifer (Exeter, N.H., 1808, pg. 29), Edward Murphy’s
(Newport, R.I., 1790) copybook, William Patten’s (Philadelphia, Pa., c. 1800) manuscript, Samuel Holyoke’s The
Instrumental Assisstant (Exeter, N.H., 1800), and J. Hewitt’s Fashionable Repertory…of Country Dances
& Waltzes (New York, c. 1807). Finally, dance instructions for “The
Ball” are contained in several American dance publications and manuscripts.
[Preceding information from Keller, Camus, Cifraldi: Early American Secular Music and Its European Sources, 1589-1839,
2002]. Callaghan (Hardcore English),
2007; pg. 56. Kidson (Old English Country
Dances), 1890; pg. 13. Mattson & Walz (Old Fort Snelling), 1974; pg.
49. Trim (Thomas Hardy Collection),
1990; No. 87. Maggie’s
Music MMCD216, Hesperus - “Early American Roots” (1997).
X:1
T:Ball, The [1]
M:6/8
L:1/8
R:Jig
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:A
e|c2A B2G|AcA E2E|F2F
d2B|(A3 G2)e|c2A B2G|
AcA E2E|F2d B2G|A3
A,2::c|B2E d2B|cec A2c|B2E d2B|
(c3 B2)e|f2d B2g|a2e
c2A|F2d B2G|A3 A,2:|
X:2
T:Ball, The [1]
M:6/8
L:1/8
R:Jig
S:Edward Murphy music
manuscript (1790)
K:G
dB2G A2F|GBG D2D|E2E
c2B|(B3 A2)d|B2G A2F|
GBG D2D|EcB AGF|G3
G2:||B|A2D c2A|BdB G2B|
A2D c2A|(c3 B2)d|e2c
A2f|g2d B2G|E2c A2F|G3 G2z||
BALL [2], THE. English, Reel. G Major. Standard tuning. One
part. A duple-time setting of “The Ball [1].” Source for notated version:
contained in the 19th century Joseph Kershaw Manuscript—Kershaw was
a fiddle player who lived in the remote area of Slackcote, Saddleworth, North
West England, who compiled his manuscript from 1820 onwards, according to Jamie
Knowles [Kershaw]. The Joseph Kershaw Manuscript, 1993; No. 65.
BALL AND CHAIN
HORNPIPE.
Old-Time, Breakdown. A Major. Standard tuning. AABB. Source for notated
version: Kenny Baker [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 3.
BALL AND PIN HORNPIPE. AKA and see "Ariel Hornpipe."
American?, Hornpipe. A Major. Standard tuning. AABB (Cole, Miller, Ryan): AABB’
(Cranford/Holland). There is some speculation the title may have been the name
of a pub in London, although both pub and tune may simply have their names
inspired by the activity of bowling. Christeson's (1973, pg. 30) notation of a
Bob Walter's (Burt County, Nebraska) tune, entered as "Breakdown
#40," is a modification of this tune with an added third part. The “Ariel
Hornpipe,” also published in Ryan’s Mammoth Collection (1883), is the
same tune with different endings. Perhaps the earliest recording is from 1904 by
violinist Charles D’Alamaine, born in 1871 in England, who died in 1943.
D’Alamaine emmigrated to the United States in 1888, and by 1890 had established
himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed
to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul
Gifford). Source for notated version: Cape Breton fiddler Jerry Holland
(1955-2009), who learned the tune in Boston, from his father [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 98.
Cranford (Jerry Holland: The Second Collection), 2000; No. 20, pg. 9.
Miller (Fiddler’s Throne), 2004; No.
274, pg. 165. Ryan’s Mammoth Collection,
1883; pg. 133. Green Linnet SIF 3046, Skylark – “All
of It” (1989. Learned from Rose and Pat McKenna).
See also listings at: Alan
Snyder’s Cape Breton Fiddle Recording
Index Alan Ng’s
Irishtune.info |
X:1
T:Ball and Pin
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A,/C/E/A/ c(B/A/) | B/E/G/B/ d(c/B/)
| c/A/e/A/ a/e/c/A/ | B/c/d/B/ A/G/F/E/ |
A,/C/E/A/ c(B/A/) | B/E/G/B/ d(c/B/)
| c/e/A/c/ B/A/G/B/ | AaA :|
|: (3e/f/g/ | a/e/c/e/ a(g/a/) |
f/d/B/d/ f(e/d/) | c/A/e/A/ a/e/c/A/ | B/c/d/B/ A/G/F/E/ |
a/e/c/e/ a(g/a/) | f/d/B/d/ f(e/d/)
| c/A/e/c/ d/B/G/B/ | AaA :|
X:2
T:Untitled Breakdown
M:2/4
L:1/8
S:Bob Walter (Nebraska)
S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 40 (1973)
Z:AK/Fiddler’s Companion
K:A
E/F/|AA/B/ c/B/c/d/|ea/f/
e/d/c/A/|B/c/d/B/ G/A/B/G/|A/B/c/d/ ea/a/|
AA/B/ c/B/c/d/|ea/f/
e/d/c/A/|B/c/d/B/ G/A/B/G/|A/c/B/G/ A||
f/g/|a/e/c/e/ aa|f/e/c/e/
f/e/c/A/|d/e/f/e/ d/c/B/A/|G/A/B/c/ Be|
a/e/c/e/ aa/e/|f/e/c/e/
f/e/c/A/|d/e/f/e/ d/c/B/A/|G/A/B/G/ A||
A,|A,/C/E/A/ cB/A/|G/A/B/c/
dc/B/|c/e/c/A/ B/A/G/B/|A/G/A/c/ B/A/E/C/|
A,/C/E/A/ cB/A/|G/A/B/c/
dc/B/|c/e/c/A/ B/A/G/B/|AaA:|
BALL AT THE HOP, THE. Irish, Jig. G Mixolydian. Standard tuning. AB.
"Taken down about 1850 from John Hickey of Ballyorgan Co. Limerick"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 29, pg. 17.
X:1
T:Ball at the Hop, The
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
DGG DGG|A>BA/G/ =F3|DGG
DGG|A>BA/G/ FDC|DGG DGG|
A>BA/G/=F2G|Add cAG|AGG G3||dcB
cBA|BAG AFD|DDD =F3|
DDD =FDC|DGG DGG|A>BA/G/ =F2G|Add
cAG|AGG G3||
BALL NA GRANDACH. AKA ‑ "Miss
Lucia Campbell." Scottish, Strathspey. D Mixolydian. Standard tuning.
AABBCCDDEEFF. Carlin (The Gow Collection),
1986; No. 9. Gow (The First Collection of
Niel Gow’s Reels), 1784 (revised 1801); pg. 17.
BALL OF BALLYNAFEIDH, THE. AKA and see "The Humours of Ballynafeidh,"
"The Banks of Lough Gowna,"
"The Clare Jig [1]," "Delaney's Drummers," “John Naughton’s (Jig),” “The Jug of Brown Ale,” "The Kitten and the Frog,"
"Kitty in the Fog," “Lough Gowna [2],” “The Mug of Brown Ale [2],” “Old Man Dillon,” "One Bottle More [2]," "Paddy in London [2]," "Paddy O'Brien's (Jig) [3],” “The Raffle Jig,” "The Rambler From Clare [1],"
“The Shores of Lough Gowna [1],”
“The Slopes of Sliabh Luachra,”
"The Stonecutter's Jig,"
"Tom Billy's {Jig} [1],"
“Winter Apples [2],” "Young Tom Ennis."
BALL SEIRCE, AN. AKA and see “The Beauty Spot.” Irish, Reel. D Mixolydian. Standard tuning. AB. Source for notated
version: fiddler Thomas Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 135, pg. 54.
BALL UA DIA AR DO
BIREAD-OIDCE. AKA and see "Good Morning to
Your Night Cap [1]."
BALLAHABOY
FAIR (Aonac Baile-ata-buide). Irish, Double Jig. D Major. Standard. AABB. Related to the “Billy O’Rouke’s
the Buachaill [1]” and “The South Road to Aran” family of tunes. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 790, pg. 147.
X:1
T:Ballahaboy Fair
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 790
Z:AK/Fiddler’s Companion
K:D
f/e/|d2A AFA|BGB A2 f/e/|d2A AFA|~g3 f2e| d2A AFA| Bdg b2 b/b/ |
aba gfe|e3 d2 :: a | fga bag|fga bag|fga fga|efg gfe|fga bag| fga
baa|aba agf|e3 d2:|
BALLAÍ LIOS CHEARBHAILL. AKA and see "The Walls of Liscarroll [1]." Also "The Merry Old Woman [1]," "The Walls of Enniscorthy," "The Rakes of Newcastle West," "Repeal of the Union [2]," "Wollop the Potlid," "The Mouse in the Cupboard."
BALLAIDE LIOS-CEARBAILL. AKA and see "The Walls of Liscarroll."
BALLATAR
CASTLE. Canadian, Reel. Canada, Cape
Breton. B Flat Major. Standard. AB. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 10.
BALLECHIN
RANT. Scottish, Rant. D Major. Standard
tuning. AB. Composed by William MacLeish. Stewart-Robertson (The Athole Collection),
1884; pg. 96.
X:1
T:Ballechin Rant
M:C|
L:1/8
C:William MacLeish
R:Reel
B:Stewart-Robertson –
The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:D
A|F2DF G2EG|F2DF Afec| dD D/D/D G2EG | FABc dcdA |
F2DF G2EG|F2DF Afec|dAFA G2EG|FABc d3 || g | fddc d2Ag | fddB ceeg |
fddc d2AF|GBAF Addg|fddc d2Ag| fddB ceeg| fdcd BgAf | GBAF Add ||
BALLENDALLOCH CASTLE. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Ballindalloch has been the home of the MacPherson-Grans since 1546, and has been
called The Pearl of the North.
Marshall, Fiddlecase Edition, 1978;
1822 Collection, pg. 8.
X:1
T:Ballendalloch Castle
M:C
L:1/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Bb
d/c/|B>c B<F
d<(B B)d/c/|B>c B<F d>(c c)d/c/|B>cBF (dc) (ed)|f>g f/g/f/e/
dB B:|
d/e/|~f>gfd (ed) (gf)|~B>dfd (g/f/)(e/d/) c(d/e/)|~f>gfd
c>Bd>c|
B>G (F/G/)(B/c/) d>(B B)d/e/|~f>gfd (ed)(gf)|B/c/d/e/ f/g/a/b/
g/f/e/d/ c/d/e/f/|
~(gf)(ed)~(cB)(dc)|B>G F/G/B/c/ d>B B||
BALLET HOLLANDOISE, LA . English, Country Dance Tune (6/8 time). G
Major. Standard tuning. AABBCC. The EASMES site lists the first appearance of
this melody in B. Andrez’s periodical L’Echo,
ou Journal de Musique francoise, published in Leige, Belgium, in 1758. The
melody next appears in Charles and Samuel Thompson’s Compleat Collection,
vol. 3 (London, 1773), followed by Straight and Skillern’s Two Hundred and
Four Favourite Country Dances, vol. 1 (London, 1775) and Skillern’s Compleat
Collection of Two Hundred and Four Reels…Country Dances (London, 1780).
EASMES also found a printing in M. Landrin’s Potpourri Francois de Contre Danse
Ancienne (Paris, 1780). “Ballet Hollandoise” was entered into the music
manuscript copybooks of fiddlers George White (1790, Cherry Valley, N.Y.), and
John and William Pitt Turner (1788, Norwich, Conn.). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 113.
X:1
T:Ballet Hollandoise, La
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:G
d2c BAG|AGF G2D|d2c BAG|AGF G3::ABG ABG|ABG A2A|c2B A2G|F2E D3|
ABG ABG|ABG A2A|c2B A2G|AGF G3::g2g f2f|e2e
def|gag fed|ed^c d3:|
|:dBG dBG|dBG A2B|c2B A2G|F2E D3|GBd GBd|GcB dgf|g2c BAG|AGF G3:||
BALLETERACH STRATHSPEY. Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Balleterach
was once the residence of Lord Byron. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 106, pg. 36.
BALLIN
A MONE. AKA and see "Ballinamona."
BALLINA
HEROES, THE. Irish, Single Reel and Highland. D Major.
Standard tuning. AAB. Ballina is a town in County Mayo. Kennedy (Traditional Dance Music of Britain and
Ireland: Rants & Reels), 1997; No. 3, pg. 3.
BALLINA
LASS. AKA- “Ballina Lasses.” AKA and
see “Come Up in the
Room I Want You,” “Paddy’s Gone to France,” Irish, Reel. G Major. Standard tuning. AB. “Ballina Lasses” was the
title used by Sligo fiddler Paddy Killoran and His Pride of Erin Orchestra when
he recorded the melody in New York in the 78 RPM era. The reel is related in
its first strain with “Over the Moor to Peggy.”
X:1
T:Ballina Lass(es)
M:C|
L: 1/8
R: reel
K: Gmaj
d2BG DGBd|egdg eage|d2BG DGBd|e/g/edc BGBc|
d2BG DGBd|egdg eage|d2BG DGBd|e/g/edc BGBd||
g2bg dgbg|g/a/gbg eaaf|g2bg efge|dega bggf|
g2bg dgbg|g/a/gbg agab|g/a/g f/g/f e/f/e dB|dega bage||
BALLINA
LASSES. See “Ballina Lass.”
BALLINA LASSES [2].
Irish, Jig. D Major. Standard tuning. AABB. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 2, pg. 3.
BALLINADERREEN POLKA, THE. AKA and see “The Ballyvournie Polka,” “Cuil Aodha (Polka),” “Lackagh Cross [1].”
BALLINAFAD POLKA, THE. Irish, Polka. G Major. Standard tuning. ABCC.
Paddy Ryan notes the McDonaghs were Larry (1911-1984) and Michael Joe
(1904-1988), a flute and fiddle brother duo who had an extensive repertoire of
rare tunes inherited from past generations of local musicians, and an ‘old’
style of playing. Source for notated version: the McDonagh brothers
(Ballinafad, County Sligo) [Treoir]. Treoir, No. 2, vol. 33,
2001; pg. 28. CCE, “The McDonaghs of Ballinafad and
Friends” (1988).
X:1
T:Ballinafad Polka, The
M:2/4
L:1/8
R:Polka
S:Treoir
K:G
B2 B/c/B/A/ | BG G>B | AG FG | AB cA |
B/c/B/A/ B/c/B/A/ |
BG G>B | AG FE | D2 DB/c/ || d>e dB | cA
Ad/c/ | BG EF | GF ED |
B/c/B/A/ B/c/B/A/ | BG G>E | DG F/G/A |
G2G2 |: b2 b/a/g/f/ |
g3d | f2 f/e/d/B/ | c3 d/c/ | BG gd | cA B/c/d
| e2 fa | g2g2 :|
BALLINAFAD REEL [1], THE. AKA and see "P.J. Conlon's," "Kitty in the Lane [1]."
BALLINAFAD REEL [2], THE. Irish, Reel. D Major. Standard tuning. AAB. Treoir.
X:
1
T:
Ballinafad (Reel) [2]
S:
Treoir
M:
4/4
L:
1/8
R:
reel
Z:
Transcribed by Bill Black
K:
D
A
|: dfec A2 AB | cdef gfec | dfec A2 AB | cAGE ED D2 :|
d2
fd adfd | Aceg fdec | d2 fd adfd | efge fddc |
d2 fd adfd | cdef g2 fe | defg abaf | gfeg fd
d2 ||
BALLINAHULLA POLKA [1]. Irish, Polka. G Major. Standard tuning. AA'BB'. Taylor (Where’s the Crack?), 1989; pg. 30.
BALLINAHULLA POLKA [2]. Irish, Polka. G Major. Standard tuning. AA'BB'. Taylor (Where’s the Crack?), 1989; pg. 30.
BALLINAKILL. Irish, Reel. D Major. Standard tuning. AA’B. Ballinakill is in East
County Galway. Source for notated version: Brendan Mulvihill (Baltimore , Md.)
[Mulvhilll]. Mulvihill (1st
Collection), 1986; No. 21, pg. 6.
BALLINAKILL HORNPIPE. AKA and see “The Fort at Kincora.”
BALLINAKILL SHASKEEN, THE. AKA and see “The Shaskeen (Reel) [1].” The name Ballinakill Shaskeen differentiates the version of the tune
as played in East Galway from the Sligo version.
BALLINALACKEN.
Irish, Reel. E Dorian. Standard tuning. AB. Treoir.
X:
1
T:
Ballinalacken
S:
Treoir
M:
4/4
L:
1/8
Q:
350
Z:
Transcribed by Bill Black
R:
reel
K:
Edor
BE
E2 BE E2 | DEFD ADFD | BE (3EFE B3 z | AFDE FE (3EFE |
BE
E2 BE E2 | defd Adfd | GBAF G2 (3ABc | dBAF FEEF ||
G2
AG dGBG | GABG AFDE | G2 AG d2 Bd | AFDE FEEF |
G2 AG dGBG | G2 BG AF D2 | GABc d2 e2 | dBAG
EGGA ||
BALLINALARKEY MAIDS (Gearrchailí Bhaile
na Leargadh). Irish, Reel. G Major. Standard
tuning. AA’BB’. Source for notated version: the mid-20th century collection of
Jack Wade (County Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 152, pg. 73.
BALLINAMERE JIG. AKA and see "Father Morrison's Delight,” “Molloy’s Favorite (Jig),” “Molloy’s Jig,” “Moss Martin’s,” “O’Connell’s Welcome to Dublin,” “Tongs by the Fire [2]." Irish, Jig. “Ballinamere Jig” has been attributed to Irish fiddler Dan Cleary (1918-2004), of Ballinamere, County Offaly. Cleary played a number of instruments, including the uilleann pipes, piano and tin whistle, and was a member of a number of céili bands in the mid-20th century, notably the Ballinamere Céili Band, which won All-Ireland titles in the mid-1950’s (see Treoir, vol. 38, No. 2, 2006, pgs. 37-38).
BALLINAMONA. AKA and see "Ballinamona Oro," "Balin a mone," "The Wedding of Ballyporeen," "The Wedding of Ballinamona," "You Know I'm Your Priest." Irish, Air (6/8 time). Ireland, Munster. G Major. Standard
tuning. One part. Clinto calls it "The Wedding of Ballinamona." Flood
(1906) notes the air was mentioned as being popular in a 1665 account by
Archbishop Talbot. It appeared later in Brouke's 1748 Jack the Giant Queller (Killer) and O'Keffe's 1783 Poor Soldier operas, and Burke Thumath's
Collection. Joyce (1909) says his air
was familiarly known all over Munster, and was in often the vehicle for songs
(frequently of a satiric and comic character) whose choruses were always
something like this:‑
***
With my Ballinamona Oro, Ballinamona
Oro,
Ballinamona Oro, the girl of sweet
Cullen for me.
***
Joyce (Old Irish Folk Music and
Songs), 1909; No. 49, pg. 27 (appears as "Ballinamona Oro").
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 52, pg. 35.
X:1
T:Ballinamona Oro
M:6/8
L:1/8
N:The chorus begins with the pick-up notes at the end of measure eight.
S:Joyce – Old Irish Folk Music and
Songs (1909)
Z:AK/Fiddler’s Companion
K:G
D|GAG =fef|gag =f2d|gdd dcB|cBc A2F|GBd =fef|gag =f2 e/f/|gdd dcB|cBc A2
B/c/|
ded dBc|d3B2d/B/|cAG FGA/B/|c3 A2 B/c/|dBG GBd|g3 d2c|BGB cAF|(G3 G2)||
X:2
T:Ballinamona
T:Wedding of Ballyporeen, The
M:6/8
L:1/8
R:Air
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
G | G>AG g>fg | a>gf g2a | b>ag efg | d>ec B2 B/>A/ |
G>AG g>fg |
a>gf g2a | bag efg | d>ec B>cd | e>cA> A>BA | e3
c>Bc | d>BG G>AG |
d3 B>cd | e>cA A>BA | a3 f2 (3d/e/f/ | g>dB c>AF | (G3G2)
||
BALINAMONA
ORO. AKA and see "Ballinamona."
BALLINAMORE REEL. Irish, Reel. E Dorian. Standard tuning. AABB. Source for notated
version: Gus Collins (Bronx, N.Y.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 23, pg. 6.
BALLINASLOE. Irish, Reel. B Flat Major. Standard tuning. AABB. Not "Ballinasloe
Fair." Hardings All-Round, 1905;
No. 118, pg. 37.
X:1
T:Ballinasloe
M:2/4
L:1/8
R:Reel
B:Harding’s All-Round Collection, No. 118 (1905)
Z:AK/Fiddler’s Companion
K:B Flat
b/a/b/a/ b/f/d/f/|g/a/b/a/
gf|b/f/d/f/ g/e/c/e/|d/f/F/d/ cB:|
|:F/c/A/c/ F/d/B/d/|F/c/d/e/ df|b/f/d/f/
g/e/c/e/|d/f/F/d/ cB:|
BALLINASLOE FAIR ("Aonach Bhéal Átha na Sluaighe" or
"Aonac Bel-Ata-Na Sluaigead"). AKA and see “The
Blackpool,” "The Fair of Ballinasloe,"
"The Miller of Glanmire,” “Rita Keane’s." Irish, Reel. A Dorian
('A' part) & C Major ('B' part) [O'Neill/Krassen]: A Minor ('A' part) &
C Major ('B' part) [Breathnach, Miller & Perron, O'Neill/1850 & 1001].
Standard tuning. AB (Breathnach): AAB (Miller & Perron/1977,
O'Neill/Krassen): AA'B (O'Neill/1850 & 1001): ABB’ (Miller &
Perron/2006, Vallely). Famed County Sligo fiddler Michael Coleman (1891-1945)
recorded the tune in 1927 in New York, in a medley as the second tune with
“Lord McDonald’s.” Source for notated version: fiddler Michael Coleman (County
Sligo, Ireland/Bronx, New York, USA) [Breathnach, Miller & Perron].
Breathnach (CRÉ III), 1985; No. 89,
pg. 44. Lyth (Bowing Styles in Irish
Fiddle Playing), vol. 1, 1981; 52. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 2, No. 48. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 47. O'Neill
(Krassen), 1976; pg. 111. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1285, pg. 241. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 550, pg. 102. Vallely (Learn to Play the Fiddle with Armagh
Pipers Club), 197?; No. 51, pg. 44. CBS 36401, The
Chieftains – “Boil the Breakfast Early.” Columbia Legacy CK 48693, "The
Best of the Chieftains" (1992). Green Linnet SIF‑1110, "My Love
is in America: The Boston College Irish Fiddle Festival" (1991). Intrepid
Records, Michael Coleman - “The Heyday of Michael Coleman” (1973). Shanachie
Records, "The Classic Recordings of Michael Coleman." Tara 3026, Davy
Spillane - "Pipedreams."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T: Ballinasloe Fair
R: Reel
M: C|
L:1/8
K: Ador
~A3B c2BA|GFGA GED2|~A3B cBca|1 gedB
c2Bc:|2 gedB cdef||
gc~c2 gcac|gc~c2 Bcde|gc~c2
a2af|gedB cdef|
gc~c2 gcac|gc~c2 B2Bc|~A3B cBca|gedB
cdef||
g2gf g2ef|gc~c2 Bcde|gc~c2 a2af|gedB
cdef|
gc~c2 gcac|gc~c2 B2Bc|~A3B cBca|gedB
c2Bc||
[d2f2]{fg}e/<c/|e<<AB/<c/|[E3B3]|[E2B2]c/<[c/e/]|[d2f2]f/{gfef}>g/|\
[c2a2]a/{bag}>f/|e<<AB|c<<a{ab}a/f/|e<<AB/<c/|\
{Bd}[E2B2]{Bd}[E/B/][D/A/]|[E3A3]|[E2A2]|]
BALLINASLOE JIG. AKA and see “The Lilting
Banshee,” “"Boholla Jig [1],"
“Ryan’s Favorite.” Irish, Jig. E Minor.
Standard tuning. AABB.
X:1
T:Ballinasloe Jig
T:Lilting Banshee, The
T:Miller of Glenmire, The
T:Boholla Jig [1]
M:6/8
L:1/8
C:Trad
S:Bridget Delaney, Athy, Co.
Kildare, Ireland
R:Jig
K:Em
EAA EAA|BAB G>A|Bee edB|dBA GED|EAA
EAA|BAB G>A|Bee edB|dBA A>d:|
eaa age|dBA G>A|Bee edB|def
gfg|eaa age|dBA G>A|Bee edB|dBA A>d:|
BALLINCOLLIG IN THE
MORNING (Baile-an-Cullaig Ar
Maidin). Irish,
Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 195.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1691, pg. 314. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 890, pg. 153.
X:1
T:Ballincollig in the Morning
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 890
Z:AK/Fiddler’s Companion
K:G
Bc|dBAB G2 AB|cBAG F2 Bc|dBge
dBGA|B2A2 A2Bc|
dBAB G2 AB|cBAG F2 Bc|dBge dBAB|G2
GG G2:|
|:Bc|dBge dBGB|dBge d2 Bc|dBge
dBGA|B2A2 A2ge|
dcBA G2 AB|cBAG F2 Bc|dBge dBAB|G2
GG G2:|
BALLINDALLOCH CASTLE [1]. Scottish, Slow Strathspey. B Flat
Major. Standard tuning. AAB. Composed by William
Marshall (1748-1833). Ballindalloch Castle is located on the east bank of
the River Avon. In Marshall’s time the structure was occupied by General James
Grant, a soldier who fought in the American Revolution, became Governor of East
Florida, and travelled extensively—although not without his chef. The General loved fine food, and took his
French chef with him when he journeyed and when he retired to the Castle.
X:1
T:Ballindalloch Castle [1]
L:1/8
M:C
C:William Marshall (1748-1833)
K:B_
d/c/|B>c B<F {B/c/}d<B
Bd/c/|B>c B<F {B/c/}d>c cd/c/| B>cBF dc ed|f>g f/g/f/e/ dB B:|
||d/e/|f>gfd ed gf|B>dfd
g/f/e/d/ cd/e/|f>gfd cBdc|B>G F/G/B/c/ {B/c/} d>B Bd/e/|
f>gfd ed gf|B/c/d/e/ f/g/a/b/
g/f/e/d/ c/d/e/f/|gf ed cB dc|B>G F/G/B/c/ {B/c/}d>B B||
BALLINDALLOCH CASTLE
[2]. Scottish, Pipe Quickstep. A Major. Standard
tuning. AABB. Composed by Scots fiddler-composer J.
Scott Skinner (1843-1927). Skinner (Harp
and Claymore), 1904; pg. 48.
X:1
T:Ballindalloch Castle [2]
M:C
L:1/8
R:Pipe Quickstep
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
c/B/ | Ac/d/ (eA) (df) ({f}e)c/B/ |
AB/c/ (df) ({f}e)c ({c}B)c/B/ | Ac/d/ (ea) (df) ec/B/ |
AB/c/ (d/f/B/e/) ({d}c)(AA) :: e |
({g}a)A a/g/f/e/ ~fd/f/ ec/B/ | AB/c/ (df) {f}(ec) {c}(Be) |
({g}a)A a/g/f/e/ fd/f/ ec/B/ | AB/c/
(d/f/B/e/) ({e}c)(AA) :|
BALLINDALLOCH'S DREAM. Scottish, Reel. A Dorian. Standard tuning. AABB'. Stewart-Robertson
(The Athole Collection), 1884; pg.
51.
X:1
T:Ballindalloch’s Dream
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
e|~c2 A>c e^f/g/ af|g2 gB GB/c/ dB|~c2Ac e^f/g/ af|ge^fd e2A:|
|:^g|a2ea cAa^f|g2dg BGdB|1 a2 ea cAa^f|gefd e2A:|2 cedf egfa| gefd e2A||
BALLINDALLOCH'S RANT/REEL. AKA and see “Cambdelmore.” The title probably honors Ballindalloch Castle, Banffshire, a ‘great-house’ and the ancestral home of the MacPherson-Grants since 1546, or the famous Ballindalloch whiskey.
BALLINDERRY (AND
CRONAN). Irish, Air (6/8 time). B Flat Major
(O’Sullivan/Bunting): G Major (Heymann). Standard tuning. AB. Ballinderry,
O'Sullivan (1983) remarks, is on the edge of a small lake close to Lough Neagh,
the largest lake in Ireland, and Bunting states the words to the tune refer to
locations within the region. The tune also appears in Clairseach na nGaedheal, part III, 1903. The air is really a simple
folk air with a second part attached (which Bunting termed the “cronan”); this
second part is somewhat curious and was explained by Professor Eugene O’Curry
in 1862. Curry identified the crónán as “the low murmuring accompaniment or
chorus, in which the crowd took part at the end of each verse,” and that the
sound was produced in the throat “like the purring of a cat” (quoted in
Heymann, 1988). George Petrie, writing in Bunting’s 1840 volume, states that
the peasantry of Counties Down and Antrim sang “many rude and ludicrous verses”
to the air, one of which goes:
***
Its purty to be in Ballinderry,
Its purty to be in George’s Island
Sitting under an Ivy tree
***
Source for notated version: air and
words were noted by the Irish collector Edward Bunting form Dr. Crawford of
Lisburn in 1808. Heymann (Secrets of the
Gaelic Harp), 1966; pgs. 75, 77 & 78. O'Sullivan/Bunting, 1983; No. 56,
pgs. 86-87.
BALLINDOWN BRAES. Irish, Air (3/4 time). Ireland, Ulster. G Minor. Standard tuning. AB.
"I have known this air and part of the song from boyhood days, when I
learned them from an Ulster girl. But Mr. McKenzie's setting is better than
mine" (Joyce).
***
Being young like myself—O, he said he would be
Both father and mother and all things to me;
He would dress me in silks and in satins so fine,
And the bright gold and silver in my tartan should shine.
Cho:
But false was his heart—O, and false were his ways;
He decoyed me far far from sweet Ballindown Braes.
***
Source for notated version: “Mr. J.
McKenzie of Newtownards, a great lover of Irish Music and of the corresponding
folk songs, sent me the (air) about 30 years ago” (i.e. 1875). Joyce (Old Irish Folk Music and Songs), 1909;
No. 322, pg. 150.
X:1
T:Ballindown Braes
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909), No. 322
Z:AK/Fiddler’s Companion
K:Gmin
GA|B2B2G2|F2F2G2|B2B2c2|d4
Bc|d2f2c2|d3 cBG|c3B G2|G4 GA|
B2B2G2|F2F2G2|B2B2c2|d4 Bc|d2g2c2|d3
cBG|c3B G2|G4||
GA|B2D2D2|F2D2D2|B2B2c2|d4
Bc|d2f2c2|d3 cBG|c3B G2|G4||
BALLINLOUGH BOY. AKA and see “Mayo Lasses.”
BALLINTORE FANCY, THE. Irish, Single Jig (12/8 time). G Major.
Standard tuning. AABB’ (Mitchell): AA’BB’ (Sullivan). Sources for notated
versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; Bothy Band [Sullivan]. Mitchell (Dance Music of Willie Clancy), 1993; No. 79, pg. 74. Sullivan (Session Tunes), vol. 3; No. 15, pg.
6. Green
Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue
of the 1976 Mulligan LP).
BALLNADALLACH. AKA and see “Gordon Castle [2].”
Scottish. John Glen finds the tune first published in Neil Stewart's 1761 collection (pg. 55).
BALLOCHYLE. Scottish, March (6/8 time). D Major. Standard tuning. AABB'CCDD'.
Composed by Peter MacLeod (Jr.). Martin (Ceol
na Fidhle), vol. 2, 1988; pg. 3.
BALLOCHMYLE BRIG [1]. Scottish, Strathspey. A Major. Standard tuning. AA'B. Composition
credited to A. McAlpine in Kerr. Kerr (Merry
Melodies), vol. 3; No. 83, pg. 11.
X:1
T:Ballochmyle Brig [1]
M:C
L:1/8
C:A. McAlpine
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 83
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(E2 E>)F E<C C>E|A<c
B>A F<A E<C|(F2 F>)(G F>)E C<E|1 F<A G<B A2 (A<c):|2
F<A G<B A2A,2|| c<e d>c
B>A G<B|(3Ace a>c’ a>e c<A| d>fb>c’ d’>c’b>a|
g>ag>f (3efe (3dcB|e<c
a>e d>cB>A|f<d b>a g>ed>B|e<c a>e f>d
b>a|(3gfe (3dcB A2 (A<c)||
BALLOCHMYLE BRIG [2]. Scottish, Reel. A Major. Standard tuning. AAB. Composition credited to
A. McAlpine in Kerr. Kerr (Merry Melodies),
vol. 3; No. 84, pg. 11.
X:1
T:Ballochmyle Brig [1]
M:C
L:1/8
C:A. McAlpine
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 84
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
e2|dcBA EAcd|efec B2 (ec)|dcBA
EAcd|cdBG A2:|
(ed)|c2 ea d2fb|gagf efed|c2 ea d2
fb|gagf e2 (dc)|
dddb ccca|BcBA GFED|CEAc dfaf|edcB
A2||
BALLOCHMYLE BURN. Scottish. Written by J. Scott Skinner. for
a place he visited in Scotland.
BALLOON, THE. Scottish, Strathspey. A Major. Standard
tuning. AAB. McGlashan (A Collection of Reels), c. 1786; pg. 32.
X:1
T:Bolloon (sic), The
M:C|
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:A
A<EA<c B>A B<c|e<c B>A B>A F2|A<EA<c B>AB>c|e<c B>c A/A/A A2:|
A/a/g/a/ f/e/d/c/ d/e/f/e/ d/c/B/A/|B/c/d/c/ d/c/B/A/ B>G F2|
A/a/g/a/ f/e/d/c/ d/e/f/g/ ac|B>ABc A/A/A A2|A/a/g/a/ f/e/d/c/ d/e/f/e/ d/c/B/A/|
B/c/d/c/
d/c/B/A/ B>A F2|A<EA<c B>ABc|e<c B>c A/A/A A2||
BALLROOM FAVOURITE NO. 1. Irish, "Barn Dance" (4/4 time). D
Major. Standard tuning. AABB. Source for notated version: from a 1934 Decca 78
RPM recording of flute player John McKenna (Co.
Leitrim) and banjo player Michael Gaffney, via accordion player Charlie Harris
(County Galway) [Taylor]. Taylor (Through
the Half‑Door), 1992; No. 67, pg. 48. Shaskeen
‑ "The Joys of Life."
BALLROOM FAVOURITE NO.
2. Irish, "Barn Dance" (4/4 time). D
Major. Standard tuning. AABB. The tune is a distanced variant of “Mrs. Kenny’s Barndance” (also known
as “Woodland Flowers [1]”), recorded
by Michael Coleman. Source for notated version: from a 1934 Decca 78 RPM
recording of flute player John McKenna
(1880-1947) and banjo player Michael Gaffney, both originally from County
Leitrim, via accordion player Charlie Harris (County Galway) [Taylor]. Taylor (Through the Half‑Door), 1992; No.
68, pg. 48. Shaskeen ‑ "The Joys of
Life."
BALLROOM REEL, THE. Irish, Reel. According to Jean-Michel Veillon,
Jamie McMenemy came up with this name. The tune is a version of “John Grady’s Downfall.”
X:1
T:Ballroom Reel, The
R:reel
D:Jean‑Michel Veillon: E Koad Nizan
Z:id:hn‑reel‑779
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
DF (3ABc d2Ac|df~f2 ecAc|dcBA
{c}BAGF|{A}GDEF {A}GFEF|
DF (3ABc d2Ac|df^ef =ecAc|dcBA
{c}BAGF|GABc dAFA|
DF (3ABc d2Ac|df~f2 ecAc|dcBA
{c}BAGF|{c}BA{c}AG {A}GF{A}FE|
DF (3ABc d2Ac|df^ef =ecAc|dcBA
{c}BAGF|GABc d3A||
defg {b}afdf|~g2fg ecAc|defg
{b}afdf|{a}ge{b}ag {a}fddc|
defg a2fd|gafd ecAc|dcBA
{c}BAGF|GABc d3A|
defg {b}afdf|~g2fg ecAc|defg
a2{b}af|(3gab ag {a}fdce|
defg ~a3f|g2{a}fd ecAc|dcBA
{c}BAGF|GABc d2AF||
BALLS HORNPIPE. AKA and see “March, W.S.
Royals,” “Quick Step 25th
Regiment.” English, Hornpipe. G Major. Standard tuning. AABB. According to
the late Barry Callaghan, the tune takes its name from its appearance in Balls Gentleman’s Amusements Book
(1815). However, as a military march it predates that printing, having been
included twice by James Aird, as
“Quickstep 25th Regt.” in
vol. 2 of his Selections (1785, pg.
9), and again as “March, W.S. Royals” in his vol. 6 of the same series. It
appears under the “Quickstep 25th Regt.” title in the John Fife
(Perth, Scotland) music manuscript copybook of c. 1780, now housed in the
National Library of Canada. As “Ball’s Hornpipe” it is in the George Spencer
(Leeds, W. Yorkshire) manuscript of 1831. Callaghan (Hardcore English), 2007; pg. 13.
X: 1
T:Balls Hornpipe(?). GS.035
M:4/4
L:1/8
S:George Spencer m/s, Leeds,1831
R:Undotted Hornpipe
O:England
A:Leeds
N:Title looks like 'Balbs' Hornpipe.
H:1831
Z:vmp.Cherri Graebe
K:G major
D2 | G2 BG A2 cA | B2 dB G2B2 | c2
ec B2 dB |ABAG GFED |
G2 BG A2 cA | B2 dB c2 ec | cBAG
D2f2 | g2 G2G2 :|
|:z2| gfge edcB | dfge edcB | ca2 c
B g2 B | A2 BG GFED |
G2 BG A2 cA | BcdB c2 ed | cBAG D2 f2 | g2G2G2 :||
BALLSLOUGHGUTTHERY
FLUTER, THE. Irish, Reel. G Major. Standard
tuning. AABB. Tolman (Nelson Music
Collection), 1969; pg. 15.
BALLYBOLEY. Irish, Hornpipe. A Major. Standard tuning. AA’BB’. Source for notated
version: a recording by George Wilson [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music),
1976; No. 120, pg. 60.
X: 1
T: Ballyboley
M: 4/4
L: 1/8
Q: 325
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: Hornpipe
K: A
cd |: eagf edcB | ABcA F2 cd | eaga ecAc | B^ABc
B2 cd |
eagf edcB | AB (3cBA F2 AB | caec BEGB |1 AGAB
A2 cd :|2 AGAB A2 ab ||
c'ac'b agef | cefg f2 cd | eaga ecAc | BEGA BdcB
|
eagf
edcB | ABcA F2 AB | caec BEGB |1 AGAB A2 ab :|2 AGAB A2 z2 ||
BALLYBUNNION, THE. AKA and see “The Five Servants.” Irish, Polka. D
Major. Standard tuning. AABB. .” Ballybunnion is located in north County Kerry.
Sources for notated versions: learned from session musicians in Newmarket,
County Cork [Sullivan]; set dance music recorded at Na Píobairí Uilleann,
mid-1980’s [Taylor]. Sullivan (Session
Tunes), vol. 3; No. 41, pg. 17. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 34.
BALLYBUNNION HOP. AKA and see “The Curlew Hills
(Polka),” “The Glenbeigh Hornpipe,”
"James Gannon's
Barn Dance [1]." Ballybunnion is located in north County Kerry.
BALLYBUNION REEL. Irish, Reel. Composed by County
Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 9.
BALLYCARRICK SLASHERS. English, March. A traditional march
of the British 86th Regiment, the Royal Irish Rifles.
BALLYCOWAN CASTLE. Irish. “Ballycowan
Castle” has been attributed to Irish fiddler Dan Cleary (1918-2004), of
Ballinamere, County Offaly. Cleary played a number of instruments, including
the uilleann pipes, piano and tin whistle, and was a member of a number of
céili bands in the mid-20th century, notably the Ballinamere Céili
Band, which won All-Ireland titles in the mid-1950’s (see Treoir, vol. 38, No. 2, 2006, pgs. 37-38).
BALLYDESMOND, THE. Irish, March (4/4 time). G Major. Standard
tuning. AABB. Taylor (Where’s the Crack),
1989; pg. 32.
BALLYDESMOND POLKA [1]. AKA and see “Donncha Lynch’s,”
“Johnny O’Leary’s.” Irish,
Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D
Major/Mixolydian. Standard tuning. AAB (Miller & Perron, Moylan): AABB
(Cowdery): AABB’ (Mallinson). Ballydesmond, County Kerry, lies in the heart of
the Sliabh Luachra region. It was formerly known as Kingwilliamstown, and was a
‘planned village’ established in the 1830’s at the junction of two new roads.
Until then there were few roads in that region of south Ireland. The “Ballydesmond
Polkas”, numbers 1-3, are usually played as a group and are known collectively
as “The Ballydesmond Polkas.” Cowdery (1990) finds this first melody is a form
of the A and A' sections of the old ballad "The Boyne Water." Sources for
notated versions: accordion player Johnny O’Leary (Sliabh Luachra region),
recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]; Kerry
fiddlers (and siblings) Julia Clifford (1914-1997) and Denis Murphy (1912-1974)
[Miller & Perron]. Cowdery (Melodic
Tradition of Ireland), 1990; Ex. 43, pg. 116. Mallinson (100 Polkas), 1997; No. 41, pg. 16.
McLullough (Complete Irish Tinwhistle
Tutor), 1976; pg. 33. Miller & Perron (101 Polkas), 1978; No. 6. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
126. Moylan (Johnny O’Leary), 1994; No. 57. Mulvihill (1st Collection), 1986; No. 2 in polka section (appears
as untitled polka). Perlman (Melodic
Clawhammer Banjo), 1979; pg. 60. Vallely (Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 20(a). Flying Fish FF‑009, Red Clay Ramblers ‑
"Stolen Love" (1975. Learned from Irish fiddler Denis Murphy).
Claddagh CC5, Denis Murphy & Julia Clifford (both from Sliabh Luachra
region) ‑ "The Star Above the Garter" (1973). Topic 12T310,
John, Julia and Billy Clifford - “The Star of Munster Trio.”
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Ballydesmond Polka [1]
M:2/4
L:1/8
K:D
A>B AG|EF GE|A>B AG|Ad
d/e/d/c/|A>B AG|EF G2|AB cE|ED D2:|
Ad d>d|ed c>d|ed cd|ea
a/b/a/g/|ed c>d|ed c2|A>B cd|ef g>f|
ed ^cd|eA B/^c/d|ed ^cd|ea
a/b/a/g/|e/f/g d>B|ce dB|AB cE|ED D2||
BALLYDESMOND POLKA [2]. AKA and see “Maurice
Manley’s Polka,” “O’Keeffe’s
(Polka) [3]." Irish, Polka. Ireland, Sliabh Luachra region of the
Cork-Kerry border. A Dorian. Standard tuning. AABB. A polka version of “Maurice Manley’s,” a slide.
Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra
region), recorded in concert at Na Píobairí Uilleann, February, 1981 [Moylan];
Kerry fiddlers (and siblings) Julia Clifford (1914-1997) and Denis Murphy
(1912-1974) [Miller & Perron]. Cotter (Traditional
Irish Tin Whistle Tutor), 1989; 18. Breathnach (CRÉ II), 1976; No. 117. Cranitch (Irish Fiddle Book), 1988; pg. 139. Cranitch (Irish Session Tunes: Red Book), 2000; 35. Jordan (Whistle and Sing), 1975; 45(a).
Mallinson (100 Polkas), 1997; No. 42,
pg. 16. Miller & Perron (101 Polkas),
1978; No. 7. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 126. Moylan (Johnny O’Leary), 1994; No. 58, pg. 34.
Mulvihill (1st Collection),
1986; No. 10 in polka section (appears as untitled polka). Perlman (Melodic Clawhammer Banjo), 1979; pg. 61.
Vallely (Play Tin Whistle with the Armach
Pipers Club), vol. 2; 20(b). Claddagh CC5, Denis
Murphy and Julia Clifford - “The Star Above the Garter” (1973).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Ballydesmond Polka [2]
M:2/4
L:1/8
R:polka
K:A Dorian
E2A2 A2B2|c2d2 e2g2|G3F G2A2|G2E2 E2D2|E2A2 A2B2|c2d2
e3f|g2e2 dedB|A4 A4:|
a3g a2b2|a2g2 e2f2|g3f g2a2|g2e2
d2e2|a3g a2b2|a2g2 e3f|g2e2 dedB| A4 A4:|
BALLYDESMOND POLKA [3]. AKA and see “Gneevequilla
Polka,” “Tom Billy’s Polka [1].”
Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. A
Mixolydian: A Dorian (Harker/Rafferty, Mallinson, Taylor/Tweed). Standard
tuning. AABB. The last of the trio of tunes known as “The Ballydesmond Polkas.”
Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra
region), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan];
New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Breathnach (CRÉ III); No.
73. Cotter (Traditional Irish Tin Whistle
Tutor), 1989; 18. Cranitch (Irish
Fiddle Book), 1996; No. 36, pg. 139. Crantich (Irish Session Tunes: Red Book), 2000; 36. Harker (300 Tunes from Mike Rafferty), 2005; No.
284, pg. 91. Jordan (Whistle and Sing),
1975; 45 (b). Mallinson (100 Polkas),
1997; No. 43, pg. 17. Miller & Perron (101
Polkas), 1978, No. 8. Moylan (Johnny
O’Leary), 1994; No. 59, pg. 34. Mulvihill (1st Collection), 1986; No.11 in polka section (appears
as untitled polka). Taylor (Traditional Irish Music: Karen Tweed’s Irish
Choice), 1994; pg. 34. Vallely (Play
the Tin Whistle with the Armagh Pipers Club), vol. 2, 20 (c). Claddagh CC5, Denis Murphy and Julia Clifford - “The Star
Above the Garter” (1973). RTE CD174, “The Sliabh Luachra Fiddle Master Padraig
O’Keeffe” (appears as “Tom Billy’s”).
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:Ballydesmond Polka [3]
M:2/4
L:1/8
K:A Mixolydian
cd/c/ Bc/B/|AB/A/ G>A|Bd ed|ga/g/
ed|ea g>e|dB GA/B/|ce dB|A2 A2:|
|:ea ag/e/|dg gd|ea ab|ga/g/ ed|ea
g>e|dB GA/B/|ce dB|A2 A2:|
BALLYDESMOND POLKA [4]. AKA and see “Denis
Murphy’s Polka [1],” “Sweeney’s
(Polka) [1].” Irish, Polka. Ireland, West Kerry. A Major. Standard tuning.
AABB. Not related to “Ballydesmond Polka” [1-3]. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The
Set Dance Music of West Kerry), No. 8, pg. 15 (appears as “Gan Ainm”
{untitled}).
BALLYFIN LAKE. Irish, Reel. Composed by County
Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 22.
BALLYFIN (SLIDE), THE. AKA
and see “The Labyrinth [2],” “Padraig O’Keeffe’s Slide [8].”
Irish, Slide. D Major.
BALLYGAR HERMITAGE. Irish, Jig. G Minor (‘A’ and ‘B’ parts) & G Major/Mixolydian (‘C’
part). Standard tuning. AABB’CC. Composed by Joe Kelly. Ballygar, explains Bill
Black, is in the western part of Roscommon, close to the Galway border. Black (Music’s the Very Best Thing), 1996; No.
285, pg. 153.
X:1
T: Ballygar Hermitage
S: Joe & Willie Kelly
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: Gdor
A | BAG FDC | DGG DGG | BAG ABc | d^cd gd=c |
BAG FDC | DGG GAB | AGF DCA,- | A,G,G, G,2 :|
A | BGd BGd | BAB dcB | AFc fcB | AFA cBA |
BGd BGd | BAB dcB |1 AFA cBc | AG^F G2 :|
|2 AGF DCA,- | A,G,G, G,2 ||
K: G
B | dgg dgg | gfg bag | c=ff c=ff | cBc ag=f |
dgg
dgg | gfg bag | afd cAF | AGF G2 :|
BALLYGOUGHLIN JIG, THE. Irish, Jig. D Major/Mixolydian. Standard
tuning. AABB. Composed by the late
County Limerick/Bronx, N.Y., fiddler Martin Mulvihill. Black (Music’s the Very Best Thing), 1996; No.
338, pg. 180.
X:1
T: Ballygoughlin
S: M. Mulvihill
Q: 325
R: jig
M: 4/4
L: 1/8
K: D
A/G/ | FEF GE=C | Ddc Ade | fed cAG | FAF GE=C |
FEF GFG | Adc d2 e | fed cAG | Adc d2 :|
A | def gfg | aba ged | fef gfg | agf g2 e |
fef
gfg | afd cAG | FEF GFG | Adc d2 :|
BALLYGOW REEL, THE. Irish, Reel. Green
Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989).
BALLYHAUNIS. AKA and see "The
Humors of Ballyconnell [2]." Irish, Reel. A Minor. Standard tuning.
AAB. Stanford/Petrie (Complete Collection),
1905; No. 834, pg. 208.
X:1
T:Ballyhauness
M:C
L:1/8
R:Reel
S:Standford/Petrie (1905), No. 834
Z:AK/Fiddler’s Companion
K:A Minor
e>d | cBcd cBA^G | A^GAB c>dcB
| ABAG EDE^G | A4 {c/B/}A2 :|
|| A2 | ABcd e2 dc | dcde g2 e^d |
e2a2 age^g | a4 a2 e>d | c>Bcd cBA^G |
A^GAB cdcB | GBAG EDE^G | A4
{c/B/}A2 ||
BALLYHOOLEY (Baile-Ata Hubla). AKA and see "Hooly and Fairly." Irish, Double
Jig. G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 877, pg. 163.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 130, pg. 36.
X:1
T:Ballyhooley
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 130
Z:AK/Fiddler’s Companion
K:G
GAG Bcd|ABA cde|GAG dBD|gfe dcB|cec
BdB|AGA cde|dBG cAF|G3 G2:|
|:gfe dBd|edB GBd|gfe dBd|ecA A2
e/f/|gbg afd|ege dBG|BdB cAF|G3 G2:|
BALLYHOURA MOUNTAINS. AKA and see “Ballynahulla No. 1,” “Cuz Teahan’s [1],” “Lucy Farr’s (Polka) [1],” “Mike Buckley’s Favourite,” “Teahan’s Favourite Polka.” Irish,
Polka. G Major. Standard tuning. AABB. Source for notated version: learned from
session musicians in Newmarket, County Cork [Sullivan]. Sullivan (Session Tunes), vol. 3; No. 43, pg. 18.
X:1
T:Ballyhoura Mountains
T:Lucy Farr’s (Polka) [1]
M:2/4
L:1/8
R:Polka
K:G
Bc/B/ AG|EG GA|Bc/B/ AG|Bd ed|
Bc/B/ AG|EG GA|BG/B/ dB|AG G2:|
|:gd ed|Bd d2|gd ed|Bd A2|
gd ed|Bd ed|Bc/B/ AG/A/|BG G2:|
BALLYKANE, THE. Irish, Single Jig.
D Major. Standard tuning. AABB. Source for notated version: Joe Keegan, father
of fiddler and pianist Josephine Keegan, and himself a flute player, “from the
County Laois side of Partartington” [McGuire & Keegan]. McGuire &
Keegan (Irish Tunes by the 100, vol. 1),
1975; No. 98, pg. 27.
BALLYKEAL JIG (Port an Bhaile Chaoil). Irish, Double Jig. G Major (or A
Dorian/G Major). Standard tuning. AABB (Brody): AA'BB' (Breathnach). Source for
notated versions: fiddler Seán Keane (Ireland) [Breathnach, Brody]. Breathnach
(CRÉ III), 1985; No. 6, pg. 5. Brody
(Fiddler’s Fakebook), 1983; pg. 33. Claddagh CC17, Seán Keane‑ "Gusty's
Frolicks" (1975. Learned from John Byrt of Ennistymon who had the tune
from his father, a concertina player with the Kilfenora Ceili Band). Front Hall
018, How To Change a Flat Tire‑ "Traditional Music of Ireland and
Shetland" (learned from Sean Keane's recording).
BALLYKET COURTHOUSE.
AKA - "Ballynaket Courthouse." AKA and see "Barry's Fancy," “The Clogger’s Quilt,” "Kathleen's Fiddle," “Larry Redican’s [5],” "Micho Russell's Favorite [1],"
"Rattigan's," "St. Andrew's," "The Swallow [2]." Irish, Reel. Shanachie 79025, The Chieftains - "Chieftains
Five" (appears in "Knock on the Door").
BALLYKETT REEL, THE. Irish, Reel. D Major. Standard tuning. AB. Treoir, 1973.
X:1
T:Ballykett Reel, The
R:reel
S:Dermot McLaughlin
Z:Transcription by Larry Sanger
M:4/4
L:1/8
Q:124
K:D
"first time"
d/d/d AG FDDF|GG=cG EFGB|d/d/d AG FD
.E/.F/.G|Adce dgfe|
dcAG FDDF|GG=cG EFGB|dcAG FD
E/F/G|Adce dfed||
cdef gfge|a{b}afa gfed|cdeg .f/.a/.f
ec|[Ae]d{e}dc dfed|
cdef {a}g{f}gfg|abaf
{a}gefg|.a/.a/.A gA fAec|Ad d/d/d dgfe||
"second time"
dcAG FDDF|GG=cG EFGB|ddAG FD
E/F/G|Ad{e}dc defe|
dcAG FDDF|G/G/G BG EFGB|d/d/d AG FD
E/F/G|Ad{e}dc dfed||
cdef g2fg|abaf {a}gfed|cdeg .f/.a/.f
eg|fdec dfed|
cdef {a}g2fg|abaf gefg|a/a/a ga
faec|Ad d/d/d defe||
"third time"
dcAG FDDF|G/G/G BG EFGB|ddAG FD
.E/.F/.G|Ad{e}dc de{g}fe|
dcAG FDDF|E=ccE [dE]EcE|dBAG FD
E/F/G|Ad{e}dc dfed||
cA A/A/A g{a}gfg|abaf
{a}gfed|[ce]e[Ae]g faec|[Ae]d{e}dc dfed|
[ce]e[Ae]f {a}g2fg|abaf gefg|.a/.b/a
g/a/g f2ec|Ad{e}dc dgfe||
"fourth time"
dcAG FDDF|G/G/G =cG EFGB|ddAG FD
E/F/G|Ad{e}dc defe|
dcAG FDDF|G/G/G BG EFGB|dcAG FD
E/F/G|Ad{e}dc dfed||
cdef ggfg|abaf gfed|cdeg f/f/f
ec|Ad{e}dc dfed|
cA A/A/A gA A/A/g|abaf gefg|a/a/a ga
faec|Ad d/d/d [dD]gfe||
"fifth time"
dcAG FDDF|GABG EFGB|dcAG FD
.E/.F/.G|Ad{e}dc defe|
dcAG FDDF|G2=cG EFGB|d{e}dAG FD
.E/.F/.G|Ad{e}dc dfed||
cA A/A/A g{a}gfg|abaf gfed|cdeg
fdec|Ad{e}dc dfed|
cdef g{a}gfg|abaf gefg|a/a/a ga
faec|Ad d/d/d [dD]gfe||
"sixth time"
dcAG FDDF|GG=cG EF[GG,]B|d{e}dAG FD
.E/.F/.G|Adce dgfe|
dcAG FDDF|GE=cE [dE]EcE|dcAG
[FA]ADF|Adce dgfe||
[ce]e[Ae]f g2fg|aaaf gfed|[ce]e[Ae]g
faec|Ad d/d/d dgfe|
cdef gg f/f/g|abaf {a}g2fg|a/a/a gg
f2ec|Ad{e}[dG][cG] [d4G4]||
X: 2
T: Ballykett
S: Treoir
M: 4/4
L: 1/8
Q: 350
Z: Transcribed by Bill Black
R: reel
K: D
fe | dcAG F2 D2 | G2 AG EF G2 | dcAG F2 D2 |
Addc d2 :|
ed | cdef g2 fg | agfa g2 ed | cdef g2 ec | Addc
d2 ed |
cdef
g2 fg | agfa g2 fg | afge fdec | Addc d2 ||
BALLYLANDER’S REEL. AKA and see “The Long Chase,” “The Mountain Rose,” “Mulcahy’s,”
“Mulvihill’s (Reel) [3].”
BALLYLEE. AKA and see "The Little Red Lark."
Irish, Air. Cowdery (1990) gives this as the title air to a family of Irish
airs. The melody is itself an outlining correspondent of the hornpipe "Off
to California," according to Cowdery.
BALLYLOUGH RIACH. AKA and see "My Kathleen Dear."
BALLYMAHON REEL, THE. AKA and see “Capel Street,” "Mrs. Crehan's Reel." Irish, Reel. G
Major. Standard tuning. AB. Composed by the late James Hanly. Source for
notated version: flute player Pat Meehan (b. 1960, south County Sligo)
[Flaherty]. Flaherty (Trip to Sligo),
1990; pg. 107 (appears as “Unknown”).
BALLYMANUS/BALLYMANIS
FAIR. AKA and see “Alexander’s Hornpipe,” “The Sandlark.” Irish, Hornpipe. D Major.
Standard tuning. AABB. Cranitch (Irish
Fiddle Book), 1996; No. 85, pg. 160.
BALLYMOE. Irish, Air (2/4 time). E Flat Major/Mixolydian. Standard tuning. AB.
Source for notated version: “From J.E. Pigot, Esq.” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 695, pg. 175.
X:1
T:Ballymoe
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 695
Z:AK/Fiddler’s Companion
K:E_
c/e/ d/c/B/A/ | GB A/F/E/=D/ “tr”EF/D/ | E>F GA B/c/d/B/ |cB B/A/F/=D/
E/F/G/A/ |
B3 c/e/ d/c/B/A/ | GB A/F/E/=D/
“tr”EF/>D/ | E>F GA B/c/d/B/ | cB A/F/E/>F/ EE |
E3 || B Bc/d/ | e2 de f/e/d/c/ | _d2
ef d/c/B/A/ | “tr”GB A/F/E/D/ E/F/G/A/ |
B3 c/e/ d/c/B/A/ | GB A/F/E/D/
~EF/D/ | EF GA B/c/d/B/ | c>B A/F/E/F/ EE | E3 ||
BALLYMOTE. AKA and see “St. Mary’s.”
BALLYMUN REGATTA. Irish. Hemisphere 7243 8 31216 25, Bill Whelan
- “Celtic Graces” (1994).
BALLYNACALLY REEL. THE. Irish, Reel. Claddagh
Records CC17, Seán Keane ‑ "Gusty's Frolics" (1975. Learned
from his father, a native of Ballynacally, County Clare).
BALLYNAHULLA NO. 1, THE. AKA and see “Ballyhoura
Mountains,” “Cuz Teahan’s [1],” “Lucy Farr’s (Polka) [1],” “Mike Buckley’s Favourite,,” “Teahan’s Favourite Polka.” Irish,
Polka. A Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 44, pg. 17.
BALLYNAHULLA NO. 2, THE. AKA and see “Port Tom Mick [4].” Irish, Polka. G
Major. Standard tuning. AABB. Mallinson (100
Polkas), 1997; No. 45, pg. 17.
BALLYORAN HORNPIPE, THE. Irish, Hornpipe. There is a “Ballyoran
Hornpipe” by Tipperary fiddler Seán Ryan (d. 1985). Bulmer & Sharpley (Music from Ireland), 1976; Vol. 4, No.
69 (appears as “Gan Ainm”). Jordan (Whistle
and Sing), 1975; 56.
BALLYORAN POLKA [1]. AKA and see “(An) Gallope,” “Gallop Hey,” “The Kerry Polka,” “Paddy Spillane’s [2]," “Port Dalaig” [5] and [6]. Irish, Polka.
Ireland, West Kerry. D Major. Standard tuning. AABB. Source for notated
version: from the brothers Muris (1910-1990) and Tom (1907-1989) Ó Dálaigh
(West Kerry) [Mac Amhlaoibh]. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West
Kerry), No. 43. Pg. 30.
BALLYORAN POLKA [2]. Irish, Polka. Ireland, West Kerry. D Major. Standard tuning. AABB. Mac
Amhlaoibh & Durham (An Pota Stóir:
Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 28, pg. 24
(appears as “Gan Ainm” {untitled}).
BALLYPATRICK. Irish, Air (3/4 time, "with spirit"). G Major. Standard
tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill,
a fiddler originally from County Down and Francis O’Neill’s collaborator
[O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 235, pg.
40.
X:1
T:Bally Patrick
M:3/4
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 235
Z:AK/Fiddler’s Companion
K:G
D2|D2G2G2|G3 FGA|B2B2B2|B3
zBA|G2G2G2|G3 cBG|A2F2D2|D3 zBc|
d2d2d2|g2d2B2|B2A2B2|c3
def|d2B2G2|G3 ABG|F2D2D2|D4||DE|G4 GA|
B2B2 cB|A2G2 zB/c/|~d3 e=fe|dc B2
cA|{A/B/}A2G2G2|G3 EDC|B,2 C2D2|
G4 GA|B2B2 cB|A2G2 Bc|~d3 e=fe|dc B2
cA|{A/B/}A2G2G2|G4||
BALLYSHANNON. Irish, Jig. C Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 147, pg. 46.
X:1
T:Ballyshannon
M:6/8
L:1/8
R:Jig
S:Harding’s All Round Collection (1905)
Z:AK/Fiddler’s Companion
K:C
Gcc cBA | GAG GEG | Gcc c2d ecA A2G
| Gcc cBA | GAG GEG | cec dfd | ecc c2z :|
|: gec cBc | AFF F3 | afd ded | BGG
G3 | Gcc cBA | GAG GEG | cec dfd | ecc c2z :|
BALLYVAUGHAN. AKA and see "The Four-Hand
Reel."
BALLYVOILE HOUSE. Irish, Slip Jig. D Major.
Standard tuning. AABB. The River Dalligan enters the sea at the village of
Ballyvoile in County Waterford. This is another of O’Farrell’s ‘Waterford’
tunes, one of many with Waterford associations in his collection. O’Farrell (Pocket
Companion, vol. II),
c. 1806; pg. 149.
X:1
T:Ballyvoile
House
M:9/8
L:1/8
R:Slip
Jig
S:O’Farrell
– Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s
Companion
K:D
d
| AGF DED D2d } AGF E2F G2E } AGF DED D2d | e2E E2F G2E :|
|: ded dcB A2A | BcB d2e f2e | ded dcB AGF |
e2E E2F G2E :|
BALLYVOURNIE POLKA. AKA and see “The Ballinaderreen Polka,”
“Cuil Aodha,” “Lackagh Cross [1].” Irish, Polka. D
Dorian. Standard tuning. AA'BB'. Ballyvourney is in the west County Cork
gaeltacht. The accompaniment begins on the dominent seventh chord. Mallinson (100 Polkas), 1997; No. 47, pg. 18.
Taylor (Where’s the Crack?), 1989;
pg. 29.
X:1
T:Ballyvourney Polka, The
R:Polka
M:2/4
L:1/8
K:Edor
EF/G/ FE|FD F/G/A|EF/G/ FE|F2 A2|
EF/G/ FE|FD F/G/A|B>A B/c/d|1 e2 e2:|2 e2 eB/c/||
|:dA FA|DA FA|B>A GB|A2 AB/c/|dA
FA|DA FA|B>A B/c/d|1 e2 f>e:|2 e2e2||
BALMORAL CASTLE [1]. Scottish, March (4/4 time). A Major. Standard
tuning. AAB. Composed by J. Scott Skinner after he
visited the summer residence of Queen Victoria in Scotland, located between
Braemar and Ballater on the river Dee in the Grampians. Hardie (1992) states
that the Queen had commanded Skinner, who first gained considerable fame as a
dancing master, to include the tenantry of the castle among his pupils. The
word Balmoral is said to mean “the house of the laird,” the root being the
Gaelic baile, a homestead or, later,
village (Matthews, 1972). The estate belonged to the Earl of Huntly from the 15th
century, and was acquired from the Earl of Fife by Prince Albert and Queen
Victoria in 1852 at a price of £31, 500.
They demolished the old buildings and built a new castle in the
neo-Gothic Scottish baronial style. It
was not used much by Victoria after Albert’s death, but it has since become a
favourite abode of Prince Charles.
***
Balmoral Castle,
from an 1875 engraving.
***
Hardie (Caledonian Companion), 1992; pg. 124
(includes variations). Skinner (Harp and
Claymore), 1904; pg. 27 (includes variation sets). Olympic
6151, The Scottish Fiddle Festival Orchestra ‑ "Scottish Traditional
Fiddle Music" (1978).
X:1
T:Balmoral
Castle [1]
M:C
L:1/8
R:March
N:”Bold and
bright.”
Q:112
C:J. Scott
Skinner
S:Skinner –
Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E |
({G}[AA]) c>A .E.A.C.E | ({C}[D2D2]) (B>A) A/G/F/E/ .F.G | [A2A2] c>A
.E.A.C.A, | D/E/F/D/ B,G ({G}A2) A :|
e | ({g}a2)
ef/g/ .a.e.c.A | ({C}[D2D2]) (B>A) A/G/F/E/ [ee].f/.g/ | ({g}a2) ef/g/
({g}.a).e.c.A | D/E/F/D/ B,G ({G}[A2A2]) Ae |
({g}a2
ef/g/ .a.e.c.A | ({C}[DD] (B>A) A/G/F/E/ .F.G | ({G}[A2A2]) c>A EACA, |
D/E/F/D/ B,G ({G}[A2A2]) A ||
BALMORAL CASTLE [2]
Scottish, Strathspey. G Major. Standard. AABB'.
***
Balmoral Castle, by James Cassie (1819-1979)
***
Stewart-Robertson (The Athole Collection), 1884; pg. 168.
X:1
T:Balmoral Castle
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|G<G g2 d<gB<g|d<B g>a b/a/g/f/ g<e|d<B g2 d<fB<b|
D<B B>G A3::B|G>DB,>G, D>G,B,>G,|C>A,B,>G B,/C/D G>B|1
G>DB,>G D>G,B,>G,|c>A c/B/A/G/ A2 A>B:|2 G<G B2 d<B B>g|B<B B>G A2A||
BALMORAL CASTLE [3]. Scottish, Reel. F Sharp Minor. Standard
tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
158, pg. 54.
BALMORAL CASTLE [4]. Scottish, Strathspey. A Mixolydian.
Standard tuning. AAB. Martin (Ceol na
Fidhle), vol. 2, 1988; pg. 8.
BALMORAL HIGHLANDERS. Scottish, March (2/4 time). A Mixolydian. AB
(Skinner): AABBCCDD (Martin). The melody, composed by Highland Piper Angus
Mackay of Raasay, was included in one of J. Scott Skinner's concert sets (1921)
called "Warblings From the Hill's." Mackay’s father, John MacKay of
Raasay, had been among the last of the pupils at the famous ancient piping
college of the MacCrimmons at Boreraig. The younger Mackay wrote, while still
in his early twenties, a book called A
Collection of Ancient Piobaireachd, or Highland Pipe Music; a piper’s bible
for many decades after its appearance in 1838. Skinner (1904) calls him the
‘late’ Angus MacKay, and notes he was the “Queen’s Piper.” “Balmoral
Highlanders” was originally composed in six parts, although fiddle versions
usually only have four (Martin, 2002). The word Balmoral is said to mean
"the house of the laird," the root being the Gaelic baile, a
homestead or, later, village (Matthews, 1972) {see note on “Balmoral Castle [1]” for more on
Balmoral}. Paul Cranford says the first Cape Breton fiddler to record the tune
was Jimmy MacLellan. Influential County Donegal fiddler John Doherty played it
as a Highland, the piece being a mix of tunes he called “Angus Mackay’s” and
James Scott Skinner’s “The Queen’s Welcome to Invercauld.” Martin (Ceol na Fidhle), vol. 1, 1991; pg. 37.
Martin (Traditional Scottish Fiddling),
2002; pg. 13. Skinner (Harp and Claymore),
1904; pg. 39 (includes variation sets). Cairdeas CNF
002, Maurice Bradley (Co. Derry) – “The Fiddle Music of Donegal, vol. 2.” Cló Iar Chonnachta CICD
165, John Wynne & John McEvoy – “Pride of the West” (2007). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are
Showing” (2000).
See also listing at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
X:1
T:Balmoral Highlanders, The
M:2/4
L:1/8
R:Pipe March
Q:112
C:Angus MacKay
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A Mix
e/c/ | A/e/c/e/ A/e/c/e/ | e/A/f/A/
({f}e)d/B/ | G/d/B/d/ G/d/B/d/ | G/A/B/c/ d/B/e/c/ |
A/e/c/e/ A/e/c/e/ | e/A/f/A/
({f}e)d/c/ | B/d/G/B/ g/f/e/d/ | ({d}cAA || e/d/ |
c/e/({g}a) c/e/({g}a) |
c/e/({g}a/)f/ ({f}e)d/c/ | B/<B/g B/<B/g | B/<B/g a/g/f/d/ |
e/e/a/f/ g/e/a/f/ | g/e/f/d/
e/a/c/A/ | B/d/G/B/ g/f/e/d/ | ({d}c)AA ||
BALMORAL HORNPIPE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB'. Composed by
Alexander Walker. See note for “Balmoral
Castle [1]” for more on Balmoral. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1863; No.
52, pg. 19.
BALMORAL STRATHSPEY. Scottish, Strathspey. Parolophone 45 Single
R5188, Jimmy Shand.
BALMORAL'S RANT. Scottish, Reel. The tune appears in "A Collection of tthe best
Highland Reels written by David Young, W.M. & Accomptat."
BALQUHIDDER. AKA ‑ "Bochuidear." Scottish, Slow Air (4/4 time). F
Major. Standard tuning. AAB. "As performed by Major Logan." "The
dancing set alone of this air has as yet been handed to the public. It was performed with peculiar tatste by
Major Logan, whose set of it the editor was at pains to acquire, but scarcely
differing from a song to the same air, sung by the editor's father, composed by
Mrs. Fraser of Belladrum, expressing her regret at his continuing too long a
bachelor, and intimating, that if he waited till she became a widow, she would
by at his service" (Fraser). Balquhidder is a town in Stirling, Scotland,
the site of Rob Roy’s grave. Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 77, pg. 28.
X:1
T:Balquhidder, As performed by Major Logan
T:Bochuidear
M:C
L:1/8
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:F
c|d2 F>c A2 A>c|d2 F>c AGG>c|d2 F>c A2 Ac|d>ef>d cA A:|
~c|d>ef>d c<A a>g|f>c d/c/B/A/ AGG~c|d>ef>d c<A
a>G|
f<d f>d c>AA~c|d>ef>d c<A a>g|f>c d/c/B/A/ AGG A/G/|
F>ED>E
F>GA>c|d>ef>d cAA||
BALQUHIDDER LASSES. English, Country or Morris Dance Tune (4/4 time). England, Northwest. E
Minor. Standard tuning. ABCD. The tune was originally collected by Alfred
Moffet, according to the EFDSS publication. The tune is used for a polka step
dance in the Northwest England morris dance tradition. There is some
resemblance of this tune and the 'B' part of "Johnny Cope." The Ian Campbell
Folk Group used the tune for a song called “The Canny Miner.” Fleming-Williams
& Shaw (A Popular Selection of Traditional Dance Airs, Book 2). Wade
(Mally’s North West Morris Book),
1988; pg. 11. F&W Records 5, Canterbury Dance
Orchestra‑‑"Mistwold."
X:1
T:Balquidder Lasses
D:Swarbrick, Ceilidh Album
Z:Nigel Gatherer
M:4/4
L:1/8
K:Edor
BA | G2 E2 EFGA | B2 B2 e2 B2 | d2 A2 ABAF | DEFG A2
BA | G2 E2 EFGA | B2 B2 e2 B2 | d2 A2 BAGF | E6 :|
B2 | e^def e2 B2 | efgf e2 Bc | d2 d2 dAFA | DEFG A2
B2 | e^def e2 B2 | efgf e2 Bc | d2 A2 BAGF | E6
B2 | e^def e2 B2 | efgf e2 Bc | d2 d2 dAFA | DEFG A2
BA | G2 FG EFGA | B2 B2 e4 | d2 A2 BAGF | E6 |]
X:2
T:Balquhidder Lasses - 1st part
S:Jim Coon, internet
Z:Nigel Gatherer
N:Slightly modified by Erich Marschner, to reflect how I learned it.
N:Learned from Tom Benoit of the Old Guard Fife and Drum Corps (http://www.ogfdc.org/index.php).
N:As played by the Musick (fifes and drums) of the 1st Maryland Regiment, ca.
1975
M:4/4
L:1/8
K:Edor
BA | G2 FG EFGA | B2 B2 e3 e | d2 A2 ABAG | DEFG A2 |
BA | G2 FG EFGA | B2 B2 e3 e | d2 A2 BAGF | E6
:|
B2 | e2 ef e2 B2 | efgf e2 Bc | d2 de dAFA | DEFG A2 |
B2 | e2 ef e2 B2 | efgf e2 Bc | d2 A2 BAGF | E6
|
B2 | e2 ef e2 B2 | efgf e2 Bc | d2 de dAFA | DEFG A2 |
BA | G2 FG EFGA | B2 B2 e3 e | d2 A2 BAGF | E6
|]
X:3
T:Balquhidder Lasses - 2nd Part
S:Jim Coon, internet
Z:Erich Marschner
N:As played by the Musick (fifes and drums) of the 1st Maryland Regiment, ca.
1975
M:4/4
L:1/8
K:Edor
GF | E2 B,2 E2 EF | GAGE G3 G | F2 F4 (D2 | D)CDE F2 |
GF | E2 B,2 E2 EF | G4 GBAG | FD A,D E2 B,2 | E6 :|
EF | GABA G2 F(G/2A/2) | G2 E4 DE | FGAG F2 (D2 | D2) DEF2 |
BA | GABA G2 F(G/2A/2) | G2 E4 EG | FD A,D E2 B,2 | E6 |
EF | GABA G2 F(G/2A/2) | G2 E4 DE | FGAG F2 (D2 | D2) DEF2 |
GF | E2 B,2 E2 EF | G4 GBAG | FD A,D E2 B,2 | E6 |]
BALTER SVENS PARAPOLKETT. Swedish.
X:1
T:Balter Svens Parapolkett
S:Eliza Carthy \&Nancy Kerr
D:Shape of Scrape
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:3/4
K:Dm 0&2
z4&A3^c|:(F4F)E &
d3efa|~E3FED&g2gefd|\
^C2E2E2&^c2A2A2|E4A2&A4F2|G2&G2&&A2&GF&&A2&GA|\
A3AAD&B3dcB|E3FED&(A6|DDE2&A4)&&A2&^c2|\
F3&d3&&FFD&efa|DE&g2&&EFED&gefg|A2AGFE&a3gfe|\
EF2&d3&&ED^C&cBA|FGG2AG&B3dcB|AGF2E2&cBA2G2|1\
(D6&(F6|D4)&F4)&&E2&A2:|2D4E2&F6|A6&A4A^c|:\
A4(A2&e3e(3eee|A2)&e^c&&A2(A2&defg|\
A2)A2A2&a2afdf|A4&e2^c2&&A2&A2|A2A2(A2&e3~eed|\
A3)AAA&e^cdefg|A2A4&a2afdf|A4A2&e2e^cAG|\
D3FFD&F2dAFD|E2cAFD&E2ecA2|F2dAF2&F2afd2|\
A3EDE&A3GFG|A2FEDA&A2AGFB|A2FEDE&A2AGFE|\
F2FAGF&D2DFED|1A2A4&D4A^c:|2A3zA2&D3ED2|]
A4E2&D4A2|:D3^cdf&d3efa|e2e^cdA&g2gefd|\
A2E2(3AB^c&^c2A2A2|E4D2&A4F2|A2AGBc&G2GFGA|\
G4G2&B3dcB|A2E3F&(A6|EDE2&A4)&&(D2&A2|D3)cdf&d3efa|\
e2e^cde&g2gefg|d6&a2agfe|[D3A3]AGF&d3cBA|\
D3BAG&B3dcB|AGF2A2&cBA2G2|1c6&F6|c4E2&F4A2:|2\
c6&F6|c4E2&E4A^c|:A3A(3AAA&e3ge^c|\
^cADAde&e^cdefg|A2A2dA&a2afdf|\
^c2A2G2&e2^c2A2|E3^ccA&e3~eed|\
^cADAde & e^cdefg|A2A2dA&a2afdf|\
A2AGFE&e2e^cAG|D2A2D2&F2dAFD|E2A2&E2ec&&E2&A2|\
D2A4&F2afd2|c4A2&A3GFG|ABAGAB&A2AGFB|ABABAG&A2AGFE|\
A3BAG&D3FED|1A4E2&D4A2:|2A3zA2&D3ED2|]A4E2&D4A2|]
BALTIGHORAN JIG. AKA – “Baltyoran.” Irish, Slip Jig. D Major. Standard tuning. AABB (Kerr):
AABBCCDD (Kennedy, O’Farrell). Not Joyce's "Baltyoran" but
essentially the same as "Baltiorum" in
O'Neill and Bunting. Kennedy’s version appears to be identical to O’Farrell’s.
Kennedy (Fiddler’s Tune-Book: Slip Jigs and
Waltzes), 1999; pg. 3, No. 3 (appears as “Baltyoran”). Kerr (Merry Melodies), Vol. 3; No. 242, pg.
27. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 108 (appears as
“Baulthy Oura”).
X:1
T:Baltighoran Jig
M:9/8
L:1/8
R:Slip Jig
S:Kerr’s Third Collection (c.
1886), No. 242
Z:AK/Fiddler’s Companion
K:D
d2d BdB AFD | d2d BdB (c2A) | d2d
BdB AFD | E2d BdB (c2A) :|
|: FED GFE AFD | FED GFE A3D | FED
GFE AFD | E2e BdB (c2A) :|
X:2
T:Baulthy Oura
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:D
|: FGA AFd AFD | FGA AFd c2E | FGA AFd AFD | BGG AGF c2E :|
|: ded dcB AFD | ded def g2e | ddd fdB AFD | GFG EcB c2E :|
|:
FFF GGG AFD | FFF GGG c2E | FFF GGG AFD | BGG AGF c2E :|
BALTIGHORAN [2] (Baltigh Abhran). See "Baltiorum."
BALTIMORE [1]. AKA and see "Cassino," "Cacina," "Cacinameronian's Rant,"
"Hickity Crackity,"
"Cottillion Oats Peas
Beans," "French March [2]."
American, Quickstep or Jig. G Major. Standard tuning. AAB. “
X:1
T:
M:6/8
L:1/8
K:G
d|B2G A2F|GBG D2D|E2E c2B|(B3
A2)d|B2G A2F|
GBG D2D|EcB AGF|G3 G2:||B|A2D
c2A|BdB G2B|
A2D c2A|(c3 B2)d|e2c A2f|g2d B2G|E2c
A2F|G3 G2z||
BALTIMORE [2], THE. Old-Time, Rag? C Major. Standard
tuning. AA'BB'BB'. Source for notated version: fiddle Lotus Dickey (Indiana)
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 16.
BALTIMORE GIRL, THE. Irish, Reel. An untitled reel from the 1880’s
Stephan Grier manuscript in Breathnach’s Ceol
Rince na hÉireann IV (No. 124) is a related tune. “Lady South’s Reel” is also
cognate. Source for notated version: fiddler John Kelly (Dublin) [Ceol]. Ceol, vol. 1, No. 4.
BALTIMORE GLIDE. Old‑Time. USA. G Major. Standard tuning. AA (2/4 time), B (3/4
time). Source for notated version: Charles Pettis [Christeson]. R.P. Christeson
(Old Time Fiddlers Repertory), vol.
1, 1973; pg. 160.
BALTIMORE HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 61.
X:1
T:Baltimore Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
A,/C/E/C/ .A,/(A/c/A/) | E/G/B/G/
.A/(c/e/c/) | d/f/d/B/ c/e/c/A/ |
(3B/c/B/ (3A/G/F/ (3E/F/E/ (3D/C/B,
| A,/C/E/C/ .A,/(A/c/A/) | E/G/B/G/ .A/(c/e/c/) |
d/e/f/g/ a/g/a/f/ | (e/d/).c/.B/ A2 ::
c/e/a/e/ c/e/f/e/ | c/e/a/e/ d/c/B/A/ | a/g/a/e/ f/g/a/e/ |
(3g/b/a/ (3g/f/e/ (3e/f/e/ (3d/c/B |
c/e/a/e/ c/e/f/e/ | d/c/B/A/ G/A/B/c/ | d/e/f/g/ a/g/a/f/ | (e/d/).c/.B/ A2 :|
BALTIMORE MARCH, THE. AKA and see "The Irish Volunteer [1]," "Greene County."
BALTIMORE SALUTE, THE. Irish, Reel. G Major. Standard tuning. AABB.
Composed by Ballyfarnon, County Roscommon, flute player Josie McDermott (d. 1992),
who also was a lilter, singer and saxophone player. Treoir. Shanachie 29020, Seamus Egan –
(1985).
X:1
T:The Baltimore Salute
R:reel
C:Josie McDermott
S:Tionol
A:Co.
D:Seamus Egan, SHA 29020
M:C|
L:1/8
Z:transcribed by Jeff Myers
Q:250
K:G
GA|B2eB dBGA|B2GB ABGE|DGGF
GABd|e2dB A2GA|\
B2ge dBGA|B2GB ABGE |DGGF GABd|e2dB
G2:||:
GA|BG~G2 gG~G2|gdeg dG~G2|GFGA
BABd|eaag e2ga|\
b2ab gdde|g2eg dGGD|G2EG Dgge|dBAB
G2:||
X: 2
T: Baltimore Salute
C: Josie McDermott
S: "Treoir"
M: 4/4
L: 1/8
R: reel
Z: Transcribed by Bill Black
K: G
A | B2 eB dBAc | B2 GB AGEG | DG G2 GABd | egfB
ABGA |
B2 eB dBAc | B2 GB AGEG | DG G2 GABd | egdB G3
:|
A | BG G2 gG G2 | gdeg dG G2 | G2 GA BABd | eaag
a2 ga |
bgab
ge e2 | gdeg dG G2 | G2 EG DGge | dBAB G3 :|
BALTIORUM. AKA - "Baltighoran." AKA and see "Baltyoran,"
"Baulthy Oura." Irish, Slip
Jig (9/8 time). G Major (O'Neill): D Major (O'Sullivan/Bunting): C Major
(Heymann). Standard tuning. AB (O'Sullivan/Bunting): AABB (Heymann, O'Neill).
The title comes from the Irish "Baal Tighe Abhran" (Baaltigh abhoran) according to Edwasrd
Bunting who translated it as "The Song of the House of Baal." The
song was sung at the St. John’s Eve bonfire, and there is an implied connection
with the fire-god Baal.
***
O’Neill, in Irish Folk Music (1910, pgs. 198-199), says:
***
A very ancient Irish melody is ‘Baltiorum’, and oddly enough
it is known only by versions of that name. While euphonious, it
conveys no meaning to the reader, and it is commonly assumed
that notwithstanding its Latin termination it signifies something
in the Irish language. And so it does when understood. The first
writer who untakes to explain it is Edward Bunting. Baal tigh
abhoran, usually called ‘Baltiorum,’ is a tune which might perhaps
be assigned to the Pagan period, inasmuch as it is still customarily
sung at the bon-fires lighted on St. John’s Eve, the anniversary of
Baal-tinne, and has so been sung from time immemorial. He does
not give the translation in English, although his dissertation is
much more comprehensive than the extract above quoted. To the
writer it appears to be the song of praise or worship of Baal, the
Fire-God.
***
The Pagan festivals eventually were wisely turned into account
as Christian holidays, and in this instance the Baal-tinne, or fire
lighted to welcome the Samhain or summer solstice, was continued
as the celebration of St. John’s eve. The melody, Conran tells us in
his National
Music of Ireland (1850), may still be
heard from the
groups assembled around these bonfires. In the writer’s boyhood
days the melody was forgotten and so was the Pagan significance
of the celebration.
***
In O’Farrell’s
Pocket Companion, etc., before mentioned,
the name
of the tune is printed ‘Baulthy Oura’. In Aird’s Selection of Scotch,
English, Irish and Foreign Airs, it is ‘Baltioura.’ Haverty in 300
Irish
Airs calls it ‘Baltighoran,’ the same title given by Bunting over the
printed music, regardless of his explanations. The air, or rather dance
tune, as ‘Baltiorum’ is also one of the numbers in Bland and Weller’s
Annual Collection of Twenty-four
Country Dances for the Year 1798.
***
Ann Heymann (1990) thinks Bunting’s
translation is in error; rather than referencing Baal, the beginning of the
title she believes is simply a phonetic approximation of the common Irish noun Baile, meaning ‘townland’, ‘farmland’ or
‘place’. Thus the title would be better translated as “Place of the Song
House.” Source for notated version: the Irish collector Edward Bunting noted
the tune from T. Conlan in 1831, according to the index of his 1840 collection.
Heymann (Off the Record), 1990; pgs.
4-5. O'Neill (Krassen), 1976; pg. 80. O'Neill (Music of Ireland: 1850
Melodies), 1979; No. 1128, pg. 213. O'Sullivan/Bunting, 1983; No. 108, pgs.
155-156 (appears as "Baltighoran"). Temple
Records 013, Ann Heymann & Alison Kinnaird – “Harper’s Land” (1983).
X:1
T:Baltiorum
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Music of Ireland
(1903), No. 1128
Z:AK/Fiddler’s Companion
K:G
g2g ege dBG | g2g ege f2d | g2g ege
dBG | A2g ege f2d :|
|: BAG cBA dBG | BAG cBA d2G | BAG
cBA dBG | A2g ege f2d :|
BALTYORAN (Baaltigh Abhran). Irish, Slip Jig. C Mixolydian.
Standard tuning. AABB. "This is so different from the tune of the same
name in Bunting ("Baltighoran") that it can hardly be regarded as a
version: it is rather a different melody" (Joyce). There are rhythmic
similarities between the phrases of the two as well as some melodic echoings,
and O'Sullivan (1983) believes this to be a variant of Bunting's tune; but this
is stretching I think. Joyce (Old Irish
Folk Music and Songs), 1909; No. 697, pg. 349.
X:1
T:Baltyoran
M:9/8
L:1/8
S:Joyce – Old Irish Folk Music
and Songs (1909), No. 697
Z:AK/Fiddler’s Companion
K:Cmix
E2E F2F GEC | E2E ~F3 G2c | E2E F2F
GEC | D2D ~B3 F2D | E2E F2F GEC | E2E ~F3 G2c |
E2E F2F | GEC | D2D ~B3 F2D :: E2c
E2c GEC | E2c E2c F2D | E2c E2c GEC | D2D ~B3 F2D |
EGc EGc GEC | EGc EGc F2D | EGc EGc
GEC | D2D ~B3 F2D :|
BALTZELL'S TUNE. American, Jig. D Major. Standard
tuning. AABB. Named for Ohio fiddler John Baltzell, who recorded in the 1920's.
Source for notated version: Rollie Hammon [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 359.
BALÚN MÓR CHONCHUIR
MHIC CRUITÍN. AKA and see "Cornelius Curtin's Big
Balloon."
BALVENIE CASTLE. AKA and see "The Doctor [1]"
(Gow), "Gollochy's Farewel
(sic)". Scottish, Strathspey. B Flat Major. Standard tuning. AB. Composed
by William Marshall (1748-1833). The tune was
retitled "The Doctor" by Gow in this Repository, Part Third, 1806, althought the tune was first
published by Marshall under the “Balvenie Castle” title in his First Collection, 1781. Balvenie Castle, originally known as Balvery de
Serve, is in Glen Fiddich and dates from the 13th century when the
Earls of Buchan, the Black Comyns, held the region. The Comyns were destroyed
by Robert the Bruce and residence was next taken up by The Black Douglasses in the
1400’s, who in turn succumbed to King James II in 1455. James installed a kinsman to govern the
province, but by 1720 the castle had been abandoned. Mary Queen of Scots once
spent time at the castle on her way north to crush the powerful Gordon clan. Today
the castle, located near the Glenfiddich distillery, is in ruins.
***
Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 10.
X:1
T:
L:1/8
M:C
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:B_
B>GF>E D>CB,>d|e<c
f>d c/c/c c2|c/B/_A/G/ A/G/F/E/ D>CB,>d|
E<c f>d B/B/B ~B2|B>GF>E
D>CB,>d|e<c f>d c/c/c c2|c/B/_A/G/ A/G/F/E/ D>CB,>d|
e<c f>d B/B/B
~B2||B>fd>f B>fd>f|e>gd>f c/c/c ~c2|B>fd>f
B>fd>f|e<g f>d B/B/B ~B2|
B>fd>f
B>fd>f|e>gd>f c/c/c cg/a/|bgaf gefd|e<g f>d B/B/B ~B2||
BAMBOROUGHSHIRE BETTY. English. England, Northumberland. The title appears in Henry Robson's
list of popular Northumbrian song and dance tunes, which he wrote c. 1800.
BAMFORD HORNPIPE. American, Scottish; Hornpipe. B Flat Major. Standard tuning. AABB
(Cole): AA'BB' (Kerr). Cole (1000 Fiddle
Tunes), 1940; pg. 85. Kerr (Merry
Melodies), vol. 2; No. 385, pg. 43. Ryan’s
Mammoth Collection, 1883; pg. 119.
X:1
T:Bamford Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
(d/e/) | f/b/d/f/ e/d/c/B/ | A/c/.F
(F>E) |D/F/.B .dB/d/ | f/e/d/e/ c(d/e/) | f/b/d/f/ e/d/c/B/ |
A/c/.F (F>E) | D/F/B/d/ f/e/c/A/
| BdB :: (A/B/) | c/F/A/c/ e/F/A/c/ | B/D/F/B/ d/F/B/d/ | f/B/d/f/ b/B/d/f/ |
e/f/e/d/ c/B/A/B/ | c/F/A/C/
e/F/A/c/ | B/D/F/B/ d/F/B/d/ | f/g/f/e/ d/e/c/d/ | B/b/f/d/ B :|
_______________________________
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[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]Note: The change to pitch (12) and font (1) must be converted manually.
[COMMENT3]This was
Font/Pitch 1,10 - Off.
[COMMENT4]This was
Font/Pitch 1,10 - On.