The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
Home Alphabetical Files References
BARN - BB |
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] |
BARN BURNER'S POLKA. Polka. G Major. Standard tuning. AA'BB. Private collection, A. Kuntz.
BARN BURNER’S REEL. AKA – “Barnburner’s Breakdown.” Old-Time, Reel. Popularized in central
New York State by the influential regional fiddler Alice Clemens, according to
local fiddler Chad Miller.
BARN DANCE. A dance form for which the date 1885
is generally accepted for its introduction to fashionable circles in the
British Isles.
BARN DANCE SCHOTTISCHE. American, Schottische. USA, Arizona. C Major. Standard tuning. AB. Ruth (Pioneer Western Folk Tunes), 1948; No. 93, pg. 32.
X:1
T:Barn Dance Schottische
M:4/4
L:1/8
R:Schottische
S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:C
c>d|e2c2 cGcd|e2d2d2 de|f2B2 BABc|d2c2c2cd|e2c2 cBcd|e2d2d2e2|
f2B2 BdBA|G2c2 c4||{(D/}E2)C2 CCDE|F2D2D2A2|c2 BA GABc|
d2c2c2
BA|{(D/}E2)C2 CCDE|F2 FE D4|{(^A/}B)dBA GABc|d2c2c2||
BARN DOOR (JIG), THE. AKA ‑ "The Old Barndoor Jig."
AKA and see "Fagamaoid sud
mar ata se" (Let Us Leave That As It Is), "Rakes of Kildare," "The Galbally Farmer," "The Cranbally Farme]," "Get Up Early." English, Irish; Jig. A
Minor. Standard tuning. AABB. Raven (English
Country Dance Tunes), 1984; pg. 120.
X:1
T:Barn Door, The
M:6/8
L:1/8
K:A Minor
EAA A^GA | Bcd e2^f | g^fg ege | dBG
G2 | EAA A^GA | Bcd e2f | g^fg edB | A3A3 :|
|: aea aea | aea b2a | gdg gdg | gdg
g3 | aea aea | aea b2a | efe dcB | A3 a3 :|
BARN ELMS. English, “Old” Hornpipe (3/2 time). G Minor. Standard tuning. AABB. The
tune appears in an early 18th century edition of Playford’s Dancing Master. Barnes (English Country Dance Tunes), 1989. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price –
“Ashburnham.”
BARN OWL. Irish, Jig. D Major. Standard tuning.
AABB. Dervish – “Live in Palma” (appears as third tune
in Killavil set).
X: 1
T: Barn Owl
M: 6/8
L: 1/8
R: jig
C: Paddy Fahy?
N: unnamed #3 in Killavil set - track 21,
"Dervish: Live in Palma"
Z: Transcribed by Bill Black
K: D
A | DFA dfe | dcA GFG | AFD =cBc | ed^c A/2B/2cA
|
DFA dfe | dcA GFG | AdB cAG | E2 D D2 :|
A | d2 e fed | c2 A A2 B | =cBc edc | B2 G GAB |
d2
e fed | c2 A EFG | AdB cAG | E2 D D2 :|
BARNA LICA STONE, THE. Irish.
The tune is 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).
BARNACLE (WALTZ), THE. Irish, English; Waltz or Redowa. D Major.
Standard tuning. AABBCC: AABBC (Kennedy). A version of this tune is known in
County Down, Ireland, as “Jackie
Donnan’s Mazurka.” Kennedy (Fiddlers
Tune Book), vol. 2, 1954; pg. 33. Raven (English Country Dance Tunes), 1984; pg. 132. Roche Collection, 1982; vol. III, pg. 50, No. 152.
BARNARD'S WILL. English, Reel. England, Northumberland. G Major or G Mixolydian.
Standard tuning. AABB. "Title unchanged (from Vicker's original), probably
a corruption of 'St. Bernard's Well'" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 428.
Johnson, Scottish Fiddle Music, 1984;
No. 73.
BARNDANCE. A two-hand dance form in Ireland, thought to have been originally
introduced from England, where they still exist.. Caoimhin Mac Aoidh says:
“Barn dances and Germans - These are the same thing. The term German seems to
be restricted to west and central Donegal. They are in 4/4 time and played at
the speed of a hornpipe. Their characteristic is in the rhythm of the tune.
Typical barn dances have a recurring set of two or sometimes three crochets
(quarter notes) at the end of a number
bars which give it a very determined rhythm. Hornpipes can be easily pared down
to make a German. As for their geographic spread, see my comments above of
highlands though barn dances are appearing to be on the increase outside
Ulster.”
BARNDANCE POLKA. American, Polka. C Major (‘A’ part) & G Major (‘B’ part). Standard
tuning. AB. A Midwestern tune, apparently. County
CO-CD-2729, Art Stamper – “Goodbye Girls I’m Going to Boston” (2000). Sunbeam
MFC-10, Hoosier Hot Shots – “Are You Ready Hezzie?” (c. 1975).
X:1
T:Barndance Polka
M:C|
L:1/8
R:Polka
S:Art Stamper
N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:C
B2 | c2E2E2 EF | G2E2E2 EG | FEDC D2
DE | FEDE D2B2 |
c2E2E2 EF | G2E2E3(D | D)EGA BcdB |
c2c2c2B2 | c2E2E2 EF |
G2E2E2 EG | FEDB, G,B,DE | FEDB,
G,B,DB | c2E2E2 EF |
G2E2E3(D | D)EGA BcdB | c2c2c3 (D ||
K:G
D)EDC B,CDE | G2A2B3c | d2 (3dcB A2
(3ABc | e2d2B3 (D |
D)EDC B,CDE | G2A2 B3c | d2 cB AG F2
| G4G4 | DEDC B,CDE |
G2 Bc d3(D | D)FAd cAFD | G2 Bd g4 |
DEDC B,CDE | G2 Bc d3(D |
D)F A2 dAFD | G2 BA G4 ||
BARNDOOR JIG, THE. AKA and see "The Barn Door (Jig)." Irish, Double Jig. A
Major/Mixolydian. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 939, pg. 174.
X:1
T:Barndoor Jig, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 939
Z:AK/Fiddler’s Companion
K:A Major
EAA AGA|Bcd e2f|{a}gfg ege|dBA G2
A/G/|EAA AGA|Bcd e2f|gfg edB|cAA A2:|
|:aea aea aga b2a|=gdg gdg|=gdg g2
f/^g/|aea aea|aga b2a|efe dcB|cAA A2 z:|
BARNERS OF FALKIRK, THE. English, Reel. England, Northumberland. D
Dorian. Standard tuning. AABB. The title refers perhaps to the famous Falkirk
Tryst, or cattle market at Falkirk, Scotland, which drew Highlanders from all
over the Highlands. As a focal point of Highland culture during the period of
the Tryst, a bagpipe competition developed, first held in 1781 and won in that
year by one Patrick MacGregor, with second place honors going to a MacArthur.
The third place finisher was old John MacGregor, once personal piper and
attendant to Bonnie Prince Charlie Stuart. Although the old man had been
wounded at the Battle of Culloden in 1745, his piping skills remained intact
and he became the piper to Campbell of Glenlyon. The next year, at age 74, he
tried again and won second prize (Collinson, 1975). Seattle (William Vickers), 1987, Part 3; No. 451.
BARNES’S MARCH. AKA and see “Baker’s March.”
American, March. G Major. From Redfield, central New York state fiddler Alice
Clemens, who obtained it from older family members . The first part of the tune
has been compared to the bridal chorus “Per Te Immenso Giubilo” from the second
finale of Dinizetti's opera "Lucia di Lammermoor." The second section
of the tune features a plucked part. The tune became popular among older
regional fiddlers according to Chad Miller.
BARNESS GAP. AKA and see “The Bride’s
Favourite,” “King of the
Pipers.”
BARNEY BRALLAGHAN (Bernard Ua Brolcain). AKA and see "Blewitt's Jig," “The Master Tailor’s Lilt,” “Miss Blewit’s Jig,” "Mrs. Barney Brallaghan," "'Twas on a windy night."
Irish, English, American; Hop or Slip Jig (9/8 time). D Major. Standard tuning.
One part (Raven): ABBCC (White): AABBC (Roche, O'Neill/1850 & 1001): AABBCC
(Cole, Kerr, Tubridy): AABBCC' (O'Neill/Krassen). The tune was set to the words
"Barney B(r)allaghan's Courtship" by Hudson, c. 1850. Cole (1000 Fiddle Tunes), 1940; pg. 57. Emmerson (Rantin’ Pipe and Tremblin’ String),
1971; No. 69, pg. 155. Giblin (Collection
of Traditional Irish Dance Music), 1928; 98. Kerr (Merry Melodies), vol. 2; No. 229, pg. 26. O'Neill (Krassen), 1976;
pg. 83. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1145, pg. 216. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 429, pg. 84.
Raven (English Country Dance Tunes),
1984; pg. 131. Roche Collection,
1982; vol. II, pg. 26, No. 259. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 42. White’s Unique Collection, 1896; No. 17, pg. 3. Cottey Light Industries CLI-903, Dexter et al - "Over
the Water" (1993).
X:1
T:Barney Brallaghan
M:9/8
R:Slip Jig
S:White’s Unique Collection (1896), No. 17
K:D
F2A ABA ABA | F2A ABc def | F2A ABA
ABA | Bcd (ef)d cBA |
F2A ABA ABA | F2A ABc def | F2A ABA
ABA | Bcd (ef)d cBA ||
|: f2a f2a (gf)e | f2a f2a (gf)e |
f2a f2a (g2)e | f2a f2a (gf)e |
cde (ef)d cBA :: f2z a2zd2z | g2f
e2d cBA | f2ze2zd2z | B2B A2G FED :|
X:2
T:Barney Brallaghan
M:9/8
L:1/8
R:Slip Jig
K:D
F2A ABA ABA|F2A ABA Bcd|F2A ABA
ABA|B2e e2d cBA:|
|:f2a f2a fed|f2a f2a gfe|f2a f2a
fed|g2f e2d cBA:|
|:f3a3d3|g2f e2d cBA|f2f efe d2A|Bcd
A2G FED:|
BARNEY IS IN PRISON. Irish, Air (6/8 time). G Mixolydian. Standard tuning. One part.
"There was a Ninety‑eight song to this air" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 594, pg. 309.
BARNEY LEAVE THE GIRLS
ALONE. AKA and see “Polly Put the Kettle On [1].”
Irish, Reel. C Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No 70, pg. 22.
X:1
T:Barney Leave the Girls Alone
M:2/4
L:1/8
R:Reel
S:Harding’s All-Round Collection, No.
70 (1905)
Z:AK/Fiddler’s Companion
K:C
g/a/a/f/ e/c/c/B/|A/d/d/c/
B/A/G|g/a/g/f/ e/c/c/B/|AB cz:|
|:e/c/f/d/ e/c/c/B/|A/d/d/c/ B/G/G/d/|e/c/f/d/
e/c/c/B/|AB cz:|
BARNEY O'FINNIGAN. Irish, Slow Air (6/8 time). G Major. Standard tuning. AB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1978; No. 46, pg. 8.
X:1
T:Barney O’Finnigan
M:6/8
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 46
Z:AK/Fiddler’s Companion
K:G
c|Bdc BAG|(D3 D2) c|Bdc BAG|B>C(d
d)zc|Bdc BAG|(c3 c2) c/c/|
c>BA BAG|FE(D Dz||D|G G/G/
GAG|(F3 F2)D|G2 G/G/ GAB|
c>B(A A)zd|G2 G/G/ GAG|(F3
F2)G|A2 A/A/ ABG|F>E(D D)z||
BARNEY O'NEILL (Brian Ua Neill). AKA and see “Doctor O’Neill [2].” Irish, Double
Jig. D Major. Standard tuning. AABB. A variant appears in the James Goodman
(1828-1896) manuscripts under the title “Doctor O’Neill.” O'Neill (Krassen),
1976; pg. 71. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1106, pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 296, pg. 64. Sweet (Fifer’s Delight), 1964; pg. 28.
X:1
T:Barney O’Neill
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
296
Z:AK/Fiddler’s Companion
K:D
d/B/|AFD DFA|B2d F2A|AFD DEF|GFG
EFG|AFD DFA|B2d F2A|Bdd F2E|FDD D2:|
|:g|fed dAd|efe efg|fed faa|agf
eag|fed B2d|A2d F2A|Bdd F2E|FDD D2:|
BARNEY'S BALMORAL. Scottish, Pipe Reel. Composed by Pipe Sergeant E. Macdonald, with third
and fourth parts by A. Macdonald. Tartan Tapes
CDTT1004, Aiden O’Rourke – “Heat the Hoose” (1998).
BARNEY'S GOAT. AKA and see "Óró, a Thaidhg, a Ghrá," "The
Peeler's Jig,," "Skin
the Peeler(s)," "The
Butterfly [3].” Irish, Slip Jig. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 69. Ryan’s Mammoth Collection, 1883; pg.
100.
X:1
T:Barney’s Goat
M:9/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
B2e e2fr g3 | B2d d2e dBG | B2e e2f g2a
| b2a g2e dBA | B2e e2f g3 |
B2d d2e dBG | B2e e2f g2a | b2a g2e
dBA || BcB B2A G2A | BcB B2e dBA |
BcB B2A G2A | B2d d2e dBA | BcB B2A
G2A | BcB B2e dBA | BcB B2A G2A |
B2d d2e dBA ||
BARNGANN GILL, THE. English, Country Dance (cut time). England,
Northumberland. G Major. Standard tuning. AAB. A 'gill' is a type of liquid
measure. Hall & Stafford (Charlton
Memorial Tune Book), 1974; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 182.
BARNS OF CLYDE, THE. Scottish, Reel. D Minor. Standard tuning. AAB.
Composed by Joseph Campbell. Glen finds the tune first published in Joshua Campbell's 1778 collection (pg.
77). Glen (The Glen Collection of
Scottish Dance Music), vol. 1, 1891; pg. 22.
X:1
T:Barns of Clyde, The
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:Dmin
^c|d2 DE FGA=B|c>dcG
ECGE|F>EDE FGAe|fde^c dDD:|
e|f>gag f>ede|c/c/c ec
Gceg|f>ga>g f>efd|gece dDDe|
f>gag fgab|agfe gedc|d^cdA
=cGAE|CEcE D/D/D D||
BARNYARD SERENADE. A version of “Old Hen
Cackle(d) [1]” recorded by fiddler G.B. Grayson (with guitarist Henry
Whitter) for Victor in the late 1920's.
BARNYARDS OF DELGATY, THE. Scottish, Air ("Bothy Ballad"). A
Major. Standard tuning. AB. The ballad “Barnyards of Delgatie” refers to the
home farm of Delgatie Castle, Turriff, an impressive house built by the Hays of
Errol. See also note for William Marshall’s reel “Lady Duff of Delgaty.” Hunter (Fiddle Music of Scotland), 1988; No.
363.
BAROC, LA. French, Country Dance (2/4 time). G Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 36.
X:1
T:Baroc, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 36
Z:AK/Fiddler’s Companion
K:G
d2 (e/f/g) | fed=f | ecBc | d2d2 | d2 (e/f/g) | fed=f | ecBc | d2d2 :|
M:6/8
L:1/8
BGB BGB | cAc cAc | BGB BGB | {e}d3 d3 |BGB BGB | cAc cAc | BAG AGF | G3G3 :|
M:2/4
L:1/8
G2
G/A/B | A2 B/c/d | BGBc | d2d2 | G2 (G/A/B) | A2 (A/B/c) | Bg Af | g2G2 :|
BARON O’ BRACKLEY, THE.
Scottish, March (2/4 time). A Mixolydian. Standard tuning. AABB.
Composed by Scots fiddler-composer J. Scott Skinner
(1843-1927). Skinner (Harp and Claymore),
1904; pg. 34.
X:1
T:Baron o’ Brackley, The
M:2/4
L:1/8
R:Quickstep
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A Mix
A/B/ | “tr”ce”trdf | e/c/A/c/
“tr”eA/B/ | “tr”ced”tr”g | d/B/G/B/ “tr”de/d/ | “tr”ced”tr”f | e/c/A/c/
“tr”ef/g/ |
a/g/f/e/ g/G/B/d/ | ({d}e(AA) ::
(e/f/g) | ag/f/ ({f}”tr”g)f | e/cA/C/ ef/g/ | ag/f/ e”tr”g | d/B/G/B/ d(e/f/g/
|
ag/f/ ({f}g)f | e/c/A/a/ “tr”ef/g/ |
a/g/f/e/ g/G/B/d/ | ({d}e)(AA) :|
BARONY JIG [1], THE. AKA
and see "The Fisherman's Jig,"
"The Green Gates [2]," "Redican's Mother," "Trealock Lauder." Irish, Hop or
Slip Jig (9/8 time). D Major. Standard tuning. AABB. Roche Collection, 1982, vol. II; No. 260, pg. 26.
BARONY JIG [2], THE (Port An Baruntact). Irish, Long Dance (9/8 time). A
Minor. Standard tuning. AABB. No apparent relationship to Roche's "Barony
Jig" [1]. Carlin (English Concertina),
1977; pg. 51. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986; No. 970, pg. 166.
X:1
T:Barony Jig, The [2]
M:9/8
L:1/8
R:Set Dance
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 970
Z:AK/Fiddler’s Companion
K:A Minor
B|c2A c2A AGE|c2A ABd e2d|c2A c2A
AGE|GED DEG A2B|
c2A c2A AGE|c2A ABd e2d|c2A efd cBA|GED
DEG A2:|
|:B|c2d ecA AGE|c2d e/f/ed e2d|c2d
ecA AGE|GED DEG A2B|
c2d ecA AGE|c2d e/f/ed e2e|cde ged
ecA|GED DEG A2:|
BARR AIRGIODGA, AN. AKA and see "The Silver Tip
[1]."
BARR AN CHNUIC (The Hill Top). Irish, Air (6/8). F Major. Standard tuning.
One part. Roche Collection, 1982;
vol. III, pg. 4, #12.
BARR AN tSLEIBHE (The Mountain Top). AKA and see “The Mountain Top [2].”
BARR NA FEIRSTE. AKA and see “Behind the
Haystack [1],” “(An) Bhláthach
Mhuimhneach,” “Munster Buttermilk
[1],” “Squeeze Your Thighs,”
“Take Her or Leave Her.”
BARRACK HILL [1] (Cnoc an t-Sluaigteac). Irish, English; Single Jig or Slide
(12/8 time). Ireland, Munster. A Dorian. Standard tuning. AAB (Moylan, Sharp):
AABB (Karpeles, O’Neill, Raven, Roche, Stanford/Petrie). A slide-time version
of the melody known as “Haughs o’
Cromdale,” “O’Neill’s March [2]”
and “Tralee Gaol.” Editor Moylan notes
the melody has also been known as “The cat jumped into the mouse’s hole and
didn’t come down till morning.” Petrie (1855) identifies the melody as “a
Munster jig” and remarks that “it had a peculiar kind of dance.” He also adds
“Same as a Scotch tune.” Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Karpeles
& Schofield (A Selection of 100
English Folk Dance Airs), 1951; pg. 25. Moylan (Johnny O’Leary), 1994; No. 320, pg. 183. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 410, pg. 81. Raven (English
Country Dance Tunes), 1984; pg. 178. Roche
Collection, 1982, vol. II; No. 250, pg. 23. Sharp (Country Dance Tunes), 1909/1994; pg. 57.
X:1
T:Barrack Hill [1]
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 410
Z:AK/Fiddler’s Companion
K:A Dorian
e2A A2f|e2d Bcd|e2A A2B|G2A Bcd|e2A
A2f|e2d Bcd|e2d g2B|A3 A3:|
|:e2d efg|a2b g2e|d2e d2B|d2e dcB|1
e2d efg|a2b g2e|d2B g2B|A3 A2:|2
e2d e2f|g2a b2a|g2e d2B|A2a agf||
BARRACK HILL [2]. AKA and see "The
Breach of Killiecranky." Reel.
BARRACK HILL [3]. Irish, Slide. D Major. Standard tuning. AABB. Source for notated
version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor].
Taylor (Music for the Sets: Yellow Book),
1995; pg. 36.
BARRACK HILL [4]. Irish, Slide. G Major. Standard tuning. AABB. Source for notated
version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor].
Taylor (Music for the Sets: Yellow Book),
1995; pg. 36.
BARRACK STREET BOYS, THE. AKA and see "Birnie‑boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "The British Naggon," "Caledonean Hunt,"
"Cheese It," "Corney is Coming," "Crawford's Reel [1]," "D. Dick's Favourite," "I saw her," "Kelly's Reel," “The Lumberjack's Reel,” "Miss Grant of Grant [1],” "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House [1],”
"Shannon Breeze [1],"
"Six Mile Bridge.”
BARRAIDH NA G-CRAOBH. AKA and see "The Tops
of the Branches."
BARRANNA MORA CHLANN
DONNCHA. See "Humours of Whiskey [2]."
BARREL OF WASH, THE (An Bairille Braiche). Irish, Reel. D Major. Standard
tuning. AABB. Source for notated version: from fiddler Paddy Nugent (Pomeroy,
County Tyrone) via the mid-20th century collection of Liam Donnolly (County
Tyrone & Belfast) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 147, pg. 71.
BARREL O’RAFFERTY. See “Barrel Rafferty.”
BARREL RAFFERTY’S
(JIG). Irish, Jig. A Minor. Standard
tuning. AABB. The title comes from the nickname of the flute-playing father of
East Galway/New York flute player Mike Rafferty, whose lung capacity would fill
a barrel. Sources for notated versions: whistle player Tom Gaffey (east County
Galway) [Breathnach]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 82, pg. 44 (appears as untitled single jig).
Black (Music’s the Very Best Thing),
1996; No. 321, pg. 172. Harker (300 Tunes
from Mike Rafferty), 2005; No. 170, pg. 53. Kells
Music 9509, Mike & Mary Rafferty – “The Dangerous Reel” (1996).
X:1
T: Barrel Rafferty's
S: M. Rafferty
Q: 325
R: jig
M: 6/8
L: 1/8
K: Ador
D | E2 A AGE | A2 B c2 E | EDE GFG | A2 A GED |
E2 A AGE | A2 B c2 d | ege dBG | A3 A2 :|
d | e2 a aga | b2 a g2 e | ede g2 g | a2 e ged |
e2
a aga | b2 a g2 e | age dBG | A3 A2 :|
BARREL RAFFERTY'S REEL. AKA – “McDermott’s Reel [1].”
Irish, Reel. D Major. Standard tuning. AAB (Carlin): AABB’ (Harker/Rafferty).
The tune is similar to “Master
McDermott’s," composed or adapted by Michael McDermott in 1943, but
also self-credited to Sean
Maguire and Liam Donnelly. The title “Barrel Rafferty’s” refers to the
nickname of the flute-playing father of East Galway/New York flute player Mike
Rafferty, whose lung capacity would fill a barrel. See also the related “Boys of the Lough,” “Farewell to Erin/Eireann [2].”
Source for notated version: New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Carlin (Master Collection), 1984; pg. 118 (#198). Harker (300 Tunes from Mike Rafferty), 2005; No.
14, pg. 5. Ossian 109, Kevin Griffin (reissue of “Down
in Doolin”). Rounder Easy Disc EDIS 9011, Mike Rafferty – “Celtic Winds: Irish
Music in America.”
X: 1
T: Barrel Rafferty's
T: Master McDermott, McDermott's Reel, Josie
McDermott's
R: reel
D: Kevin Griffin: Down in Doolin
M: 4/4
L: 1/8
K: D
A | D2 ED FAAB | d2 fe dB B2 | AF ~F2 DF A2 |
BFAF EAFE |
D2 ED FAAB | d2 fe dB B2 | AF ~F2 D2 AF | EGFE
D3 :|
A | df~f2 dfaf | g2bf affe | dBBA Bcde | fdgf e2
de |
faaf
g2bf | affe dB B2 | AF~F2 D2 AF | EGFE D3 :|
BARREN ROCKS OF ADEN. AKA and see “Dan O’Leary’s [1],” “The Sailor’s.” Scottish; “Pipe Quickstep,” March (2/4 time). D Major (most versions): D Mixolydian (Bayard). Standard tuning. AB (Bayard): AAB (Hunter, Martin): AABB (Miller & Perron, Sannella, Skinner, Taylor): AABBCCDD (Sweet). Bayard (1981) says the tune is well known among bagpipers and fifers in modern times, but that the piece is not particularly old; he traces it to a possible source from a Highland regiment, which version was published in McDonald's Gesto Collection in 1895. Skinner (1904) and Hunter (1988) attribute the tune to one A. MacKellar of the 78th Seaforth Highlanders Regiment of the British army. David Murray, writing in his excellent volume Music of the Scottish Regiments (Edinburgh, 1994), dates the tune to the mid 19th century when the 78th was stationed in Bombay. A detachment was provided from the regiment to garrison Aden, and it was there that Piper James Mauchline composed the march, which has become one of the most familiar of Scottish martial airs. “The first two measures [Ed.—i.e. first two parts] went well on the flute,” writes Murray, “so the march was taken up by many corps of drums, eventually becoming a standby, played frequently by the drums of English regiments which had no idea of its provenance and who would accuse the pipers of stealing their tune. ‘The Barren Rocks’ has been played and whistled wherever Scots soldiers have been stationed. A former generation used to sing to the air of the first measure [ed.—i.e. first part]:
***
See the laddie ower there
Si; the tartan kilt and the twa legs bare,
And a’ the ladies they declare
‘She’s a fine braw chiel is her nainsel’
***
This is an example of the kind of fun which used to be poked at Gaelic speaking soldiers, always in the minority. The las line mocks the difficulty which native Gaelic speakers had with the English language. ‘She’s a fine braw chiel’ means a handsome sturdy lad; ‘her nainsel’, her own self, i.e. the speaker” (pg. 120).
***
The
Halifax Citadel Regimental Association records that Piper Mauchline’s tune was
un-named, and the Pipe Major Alexander Mackellar re-arranged it and gave it
its’ name. Pipers sometimes play the air in four parts, adding an additional
two to the sections given by Hunter, Martin, Miller & Perron and others.
See also note for “The
78th’s Farewell to Begaum” for another famous march to come out
of the 78’s station overseas at the time. Sources for notated versions: fifer
Hiram Horner (Western Pa. 1960) [Bayard]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor];
Mattie Toohy’s Irish Minstrels [Miller & Perron]. Bayard (Dance to the Fiddle), 1981; No. 374, pg.
363. Bulmer & Sharpley (Music from
Ireland), vol. 4; 76. Hunter (Fiddle
Music of Scotland), 1988; No. 343. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 11. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 2, No. 64. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 127. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 37, pg. 22. Moylan
(Johnny O’Leary), 1994; 44. Sannella,
Balance and Swing (CDSS). Skinner (The
Scottish Violinist), pg. 31. Skinner (Harp
and Claymore), 1904; pg. 54 (includes variation sets). Sweet (Fifer’s Delight), 1964; pg. 56. Taylor (Music for the Sets: Blue Book), 1995; pg.
21. Old Hat Music OH!02, "The Old Hat Dance
Band" (1992. Learned from melodeon player Cecil Pearl of Ipswich,
Suffolk).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Barren Rocks of Aden, The
M:C
L:1/8
R:March
B:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:D
e | fg f>e df A/<A/d | ce
A/<A/e f>A d>e | f>g fe df A/<A/d | ce A/<A/f/e/ (d2d) :|
|: f/g/ | a>f df ef A/<A/e/f/
| ~ge ce df A/<A/f/g/ | a>f df ef A/<A/e/f/ | {f}gAca {a}(D2d) :|
“variations”
d/e/ | f/e/f/g/ f/a/g/e/ d/e/f/d/
A/<A/d | c/d/e/c/ A/<A/e f/A/a/A/ B/c/d/e/ |
f/e/f/g/ f/a/g/e/ d/e/f/d/ A/<A/d
| c/d/e/c/ A/<A/f {f}d2 d :|
f/g/ | a/f/d/f/ f/a/d/f/ ef
A/<A/e/f/ | g/e/c/e/ e/g/c/e/ df A/<A/f/g/ |
a/f/d/f/ f/a/d/f/ ef A/<A/e/f/ |
g/e/c/e/ e/a/c/e/ (d2 d) f/g/ | a/f/d/A/ A/f/d/f/ a/f/d/A/ A/f/d/f/ |
g/e/c/A/ A/e/c/e/ g/e/c/A/ A/e/c/e/
| a/f/d/A/ A/f/d/f/ a/f/d/A/ A/f/d/f/ |
g/e/c/A/ A/e/c/a/ {f}d2 [Fd] ||
X:2
T:Barren Rocks of
M:2/4
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps, vol. II, No. 37 (c. 1882)
Z:AK/Fiddler’s Companion
K:D
e2 | f>g fe | df A/A/d | ce A/A/e
| f>e d>e | f>g f>e | df A/A/d | ce A/A/f | d2 d/e/f/g/ :|
a>f df | ef A/A/f | ge ce | df
A/A/f/g/ | a>f d>f | ef A/A/f/g/ | eA ca | d2d2 ||
{e/f/g/}a>f df | ef A/A/f/g/ | ge
ce | df A/A/f/g/ | af df | e/e/a/f/ A/A/f/g/ | eA c/d/e/a/ | d2d2 ||
BARRES D' LA PRISON, LES (Prison Bars). Cajun, Country Blues (3/4 time). USA,
Louisiana. G Major (Francois): D Major (Greenblatt). Standard tuning. One part
(Francois): AABB (Greenblatt). An earlier version of this song, a blues tune
from the black community between Eunice and Basile, Louisiana, is attributed to
Douglas Bellard, according to Raymond Francois (1990). Source for notated
version: Canray Fontenot (La.) [Francois]. R. Francois, 1990; pgs. 31-32.
Greenblatt, 1985; pg. 36. Arhoolie Records AR-1070,
Canray Fontenot.
BARRHEAD. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
42.
BARRING OF THE DOOR, THE. English, Jig. G Major. Standard tuning. AA. Aird (Selection of Scotch, English Irish and Foreign Airs), vol. II, c. 1785; pg. 3, No. 8.
X:1
T:Barring of the Door, The
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
D
| G2G G2G | GAG G2G | G2g g2f | e3d3 | def g2e | dcB A2D | GAB A2G | E3G2 :|
BARRINGTON
HORNPIPE. English, Hornpipe. England,
Northumberland. G Major. Standard tuning. AABB. From A Tutor for the Northumbrian Small‑pipes by J.W. Fenwick, published
in the late 1800's; composed by Thomas Todd. Raven (English Country Dance Tunes), 1984; pg. 98.
X:1
T:Barrington Hornpipe
M:C|
L:1/8
R:Hornpipe
K:G
Bc|d>bg>d
B>gd>B|G>ec>A F>dB>G|D>EF>G ABcd|ed^cd A2Bc|
d>bg>d
B>gd>B|G>ec>A F>dB>G|DEFG A>ed>F|G2B2G2:|
|:Bc|d^cdB
G>Bd>g|e^de=c A>ce>g|dbca BgAG|F>ed>^c d2Bc|
d/e/d/^c/dB G>Bd>g|e^de=c
Aceg|dgfe (3ded (3cBA|(3GBd (3gdB G2:|
BARRINGTON POLKA. English, Polka. England,
Northumberland. C Major. Standard tuning. AABBCC. Composed by musician, teacher,
composer, dancing master and fiddler Robert Whinham (1814-1893), originally
from Morpeth. Dixon (1995) notes that Barrington Colliery was in the area of
Ashington, Northumberland. Source for notated version: the 19th
century R. Davidson manuscript, in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 42.
BARRONSTOWN RACES, THE (Coimleanga Baile-Barroin). Irish, Double Jig. G Major.
Standard tuning. AABBCCDD. The first meeting of the Tipperary races was at
Barronstown Course in March, 1848. These races were abandoned in 1871/72 due to
an outbreak of smallpox, but were revived in 1881. The first race meeting on
the present site of Limerick Junction was in September, 1916, and subsequently
the name of the course was changed from Limerick Junction to Tipperary in 1986.
O'Neill (Krassen), 1976; pg. 59. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1038, pg. 194. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 248, pg. 55.
X:1
T:Barronstown Races, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
248
Z:AK/Fiddler’s Companion
K:G
F|DGG GFG|BGc BAF|DFE FEF|A2d
cAF|DGA GFG|BAG Bcd|fed cAF|AGG G2:|
|:d|dgg gfg|abg fed|cBc fef|abg
fed|dgg gdc|BAG Bcd|fed cAF|AGG G2:|
|:F|DGA BAG|d/c/Bd cAG|FGA cAF|c/B/Ac
BAF|GFG BAB|cBc dbg|fed cAF|AGG G2:|
|:d|gdg gbg|fdf f/g/af|ede
e/f/ge|dBG Gac|BAB cBc|dcd eag|fed cAF|GGG G2:|
BARROW BOATMAN'S SONG. Irish, Air (3/4 time). E Minor (G
Major)/A Dorian. Standard tuning. One part. "Taken down by Mr. O'Leary while
the man was rowing and singing" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 286, pg. 136.
BARROW CASTLE, THE. AKA and see "Lamont's Reel," "O'Connell in Clare," "Johnny Shooting in the Glen,"
"Jackson's Welcome to
Cork [1]," "The Four
Courts of Dublin," "The
White‑haired Piper," "The Blea‑berry Blossom,"
"The Dandy Girl/Lass/Lasses,"
"Stormy Weather," "The Kerry Star," "The Green Fields to America,"
"The Connacht Lasses,"
"The Belles of Tipperary [2],"
"Miss Mona(g)han(‘s
Reel)."
BARROWBURN. AKA – “Barrow Burn Reel.” Scottish,
Irish; Reel. D Major. Standard tuning. AABB. A modern composition by fiddler,
bandleader and composer Addie Harper of Wick, Scotland. ‘Burn’ is a Scots word
for stream. The tune is identified as a traditional Shetland reel on Sharon
Shannon’s album, who was apparently unaware that it is a modern composition.
Martin (Ceol na Fidhle, vol. 3),
1988; pg. 13. Miller (Fiddler’s Throne),
2004; No. 116, pg. 79. Taylor (Where’s
the Crack?), 1989; pg. 14. CCF2, Cape Cod Fiddlers
– “Concert Collection II” (1999). Culburnie Records CUL 121D, Alasdair Fraser
& Natalie Haas – “Fire and Grace” (2004). Green Linnet GLCD 3107, Aly Bain
& Phil Cunningham – “The
X:1
T:The Barrowburn reel
C:Addie Harper
M:4/4
L:1/8
R:Reel
Q:1/4=150
Z:Transcribed by Paul de Grae
K:D
A2|:D2 DE FAAd|B2 BA BddB|A2 AB d2 de|fedB AFEF|
D2 DE FAAd|B2 BA Bdde|f2 af egfe|1dBAB d2 D2 :|
2 dBAB d2|:cd |
e2 ef ecBA|f2 fg fdBA|g2 ga gecA|a2 ag f2 ef|
g2 ga gecA|a2 ag f2 ef|g2 ag f2 ed|BAAB d2 :|
X:2
T:Barrowburn Reel, The
R:Reel
C:Addie Harper
M:C|
L:1/8
K:D
|:A2|"D"D2DE "D7"FAAd|"G"B2BA BddB|"D"A2AB "Bm"d2de|"Em"fedB "A7"AFEF|
"D"D2DE "D7"FAAd|"G"B2BA Bdde|"D"f2af "A7"egfe|"D"dBABd2:||:cd|"A7"e2ef
ecBA|"D"f2fg fdBA|"Em"g2ga gecA|"D"a2agf2ef|"A7"g2ga gecA|"D"a2ag "D7"f2
ef|"G"g2ag
"D"f2ed|"A7"BAAB "D"d2:|
BARRY’S DELIGHT.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
The melody also appears in John Johnson’s 200 Favourite Country Dances,
vol. 8 (London, 1758). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 158.
X:1
T:Barry’s Delight
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
D2 (3FGA|BGAF|D2 (3FGA|BGEd|D2 (3FGA|BGAg|fdec|dAFA:|
|:{g}fedf|gfeg|eAgA|fAaA|{g}fedf|gfeg|fdec|dAFA:||
BARRY'S FANCY. AKA and see "Ballyket Courthouse," "Kathleen's Fiddle," "Micho Russell's Favorite [1],"
"Rattigan's," "St. Andrew's,"
"The Swallow [2]." Irish, Reel. G
Major. Standard tuning. AABB. Named for fiddler Kathleen Barry. McNulty (Dance Music of Ireland), 1965; pg. 5.
BARRY’S TRIP TO
BARS DE LA PRISON, LES. See "Barres d' la Prison, Les."
BARTENDER, THE. AKA and see “Maid Behind the Bar [1]."
BARTHOLOMEW FAIR. AKA and see "The
Dutchwoman's Jigg." English, Air (6/8 time). E Flat Major. Standard
tuning. AB. Bartholomew Fair was a fair held in
West Smithfield, London, on St. Bartholomew’s Day, the 24th of
August (moved to September 3rd with the initiation of the new
calendar in 1753), from 1133 to 1855. According to Chappell the melody can be
found in Pills to Purge Melancholy
(vol. i., 1699‑1714, and vol. iii., 1719), The Dancing Master (1695 and later editions), The Quaker and other Ballad Operas. Chappell has identified the
air's use in another ballad entitled "'Roger in amaize' or, 'The
Countryman's Ramble through Bartholemew Fair'" (Pepys Collection).
Chappell (Popular Music of the Olden
Times), vol. 2, 1859; pg. 77.
X:1
T:Bartholomew Fair
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:Eb
B/A/|G>FE EFG|A2G F2E|DFF
F2G|A>Bc BGE|A>GA FBA|GEE E2||
G|A>Bc/d/ edc|BAG F2E|DFF F2
G/A/|B3 A3|G>AG FBA|GEE E2||
BARWICK BILLY. AKA and see "Go to
Berwick, Johnny," "Berwick
Johnny," "Berwick Jockey
[2]," "The New Road to
Berwick." English, Double Hornpipe (3/4 time).
BAS OSGAR. Scottish. Beltona BL2096, Edinburgh Highland
Reel and Strathspey Society (1936).
BÁSAÍTEAR NA LACHAIN
LÁ NOLLAG. AKA and see “The Ducks Die on Christmas Day.”
BASCADH THOMÁIS MHIC
AN BHÁIRD (Tom Ward’s
Downfall). AKA
and see “Tom Ward’s Downfall.”
BASHFUL BACHELOR [1], THE. AKA and see "Courting Them All,” "Don't bother me," "The Moving Bog of Allen," "The
Moving Bog(s) [2]" (Na Portaigh Chreathacha), "Rachel Rae.” Irish, Reel. D Major. Standard
tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen). 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 (Krassen), 1976; pg. 140.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1443, pg. 267. ‘Ón tSean-Am Anall’ (Danny
O’Donnell).
X:1
T:Bashful Bachelor, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1443
Z:AK/Fiddler’s Companion
K:D
D2 FA d2 AF|d2 fd ecAc|d2 Ad
BAGF|EFGE FD D2|D2 FA d2 AF|
D2 fd ecAc|defg a2 af|bgeg fd d2||d2 dg (3fga fd|g2 bg
e2 cA|
d2 dg
(3fga fd|ecAc d2 FA|d2 dg (3fga fd|g2 bg e2 fg|afge fdec| dBAG FD D2||
BASHFUL BACHELOR [2], THE (An Baitsiléir Cúthail). AKA and see “Obelisk Hornpipe,” “Shaw’s Reel,” “Where Did You Find Her? [2]”
"The Wily Old Bachelor."
Irish (originally), Canadian; Hornpipe. Canada, Prince Edward Island. G Major.
Standard tuning. AABB. A different tune than O’Neill’s “Bashful Bachelor [1].”
“Where Did You Find Her? [2]” is related to “Bashful Bachelor [2]” only in the
second part. See also the related “Men
from Ulster.” Sources for notated versions: fiddler Paddy Cronin (Ireland)
[Breathnach]; Wilfred Gotell, b. 1927 (Georgetown, Central Kings County, Prince
Edward Island) [Perlman]. Allan's Irish
Fiddler, No. 83, pg. 21. Breathnach (CRÉ
III), 1985; No. 214, pg. 98. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 60. Outlet Records OAS 3002, Paddy Cronin ‑ "Kerry's
Own Paddy Cronin" (1977).
BASHFUL BACHELOR [3], THE (An Baitsiléir Cúthail). Irish, Hornpipe. G Major. Standard
tuning. AABB. Only generally similar to version #2. Source for notated version:
flute player Seamus Tamsey (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 215, pg. 99. Outlet Records OLP 1007, "The Best of Seamus
Tansey" (1971).
BASHFUL BEAU, THE. AKA and see “Queen of May [2].” Irish, Reel. G Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 224.
X:1
T:Bashful Beau, The
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:G
defg fcdB|AD (3FED FAdc|BEEF GABc|dBAc BE E2|
Bdef d2 dB|AD (3FED FAdc|BEEF GABc|dBAc BE E2||
e2 ef g2 fe|defg afdf|e2 ef gfge|dBAc BE E2|
e2
ef g2 fe|defg afdf|gabg fagf|(3efg fa gfge||
BASHFUL LOVER, THE. Irish, Slow Air (3/4 time). G Major. Standard
tuning. AB. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 550, pg. 96.
X:1
T:Bashful Lover, The
M:3/4
L:1/8
N:”Slow”
R:Air
S:O’Neill – Music of Ireland (1903), No. 550
Z:AK/Fiddler’s Companion
K:G
G>A|B>B B2 A>G|G2 D2
G>A|B2B2 g>e|{e}d4 g>e|ed dB A>G|G2D2 G>A|
B2B2 {B}A>G|G4||d>e|g3a
ba|{a}g2d2 d>e|gd cB AG|{G}A6 B>d|g2 g>a ba|
G2d2 B>c|dg b2 {b}a>g|g4
f>g|gd cB AG|G2D2 G>A|B2 B2 {B}A>G|G4||
BASHFUL MAID, THE (An Og-bean Cutail). AKA and see “Malowney’s/Maloney’s Wife.”
Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; Pg.
59. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1037, pg.
194. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 247, pg. 55.
X:1
T:Bashful Maid, The
M:6/8
L:1/8
R:Jig
S: O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
247
Z:AK/Fiddler’s Companion
K:D
A|FAA AFA|AFA d2B|GBB FAA|EFE
E2A|FAA AFA|AFA d2B|ABc dcB|AFD D2:|
|:d|ecA ABA|ecA d2A|GBB FAA|EFE
E2d|ecA ABA|edc d2B|ABc dcB AFD D2:|
BASHFUL SWAIN, THE. English, Country Dance (2/2 or cut time). D
Minor. Standard tuning. AABB. The melody was first published in Playford's Dancing Master (3rd vol.) of
1728, then published by John Young. Barnes (English
Country Dance Tunes), 1989. Kidson (Old
English Country Dances), 1890; pg. 5. Raven (English Country Dance Tunes), 1984; pg. 17.
X:1
T:Bashful Swain
M:2/2
L:1/8
K:Dmin
|: DE | F2A2A2 =B^c | d2A2A2f2 | e2d2e2 d^c | d6 :: fg | a2f2f2a2 |
g2c2c2e2 | f2d2d2 (d/e/f) | e2A2A2FG | AGAB AGFG | AGAB A2f2
| e2d2e2 (d^c) | d6 :|
BASILE WALTZ. See "'Tit Maurice."
BASKER’S DELIGHT. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’.
Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova
Scotia), presumably in honor of musician Eddie Basker. Cranford (Brenda Stubbert’s), 1994; No. 119, pg.
42. Brenda Stubbert - “House Sessions” (1992).
BASKET OF EGGS, THE. AKA and see “Páinneach na nUbh [1].”
BASKET OF OYSTERS [1]. AKA and see "Paddy the
Weaver." English. G Major. Standard tuning. AABB. Appears in Aird's Selection
of 1788. Kidson (English Folksong and
Dance), 1915; pg. 30.
BASKET
OF OYSTERS [2]. Irish, English; Jig. D Major
(Kidson, Levey): F Major (Vickers): G Major (Kennedy). Standard tuning. One
part (Kidson): AB (Levey): AABB (Vickers): AABBCCDDEE (Kennedy). This tune was
used by Thomas Moore as the vehicle for one of his songs in Irish Melodies (1834). The tune is
actually made up of the first strain of ""Greensleeves" coupled with
the second strain of "Paddy the
Weaver." It appears in Northumbrian musician William Vickers’ 1770-72
music manuscript collection (pg. 22) under the title “Basket of Oysters or
Green Sleeves.” See also the related “Bunch of Currents [1],” “The Bunch of Roses [3],” "Christmas Comes but Once
a Year," "I've
got one daughter to marry," "I'm a Silly Old Man,” “The Little Bogtrotter,” “Shady Lane,” “Spring in the Air.” Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 4, pg. 3. Kidson (English Folksong and Dance), 1915; pgs. 29‑30. Levey (Dance Music of Ireland, 2nd
Collection), 1873; No. 78, pg. 35.
X:1
T:Basket of
Oysters, The [2]
M:6/8
L:1/8
R:Jig
S:Levey – Dance Music of Ireland, 2nd
Collection (1873)
Z:AK/Fiddler’s Companion
K:D
A | d>dd def | e2d c2c | (d2c) Bcd | c2^A F2c | d>dd def | e2d cde |
d2B c2^A | B3B2 || B | (A2F) FEF | A2F F2B | (A2F) FEF |
D2B, B,2B | (A2F) FEF | A2F F2d | dcB (c2^A) | B3 B2 ||
X:2
T:Basket of Oysters or Green Sleeves
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscript (1770-72)
Z:AK/Fiddler’s Companion
K:F
e|f2f fga|ge c2e|f2d ded|e2A A2e|f2f fga|g2e c2e|f2d gec|d3 d2:|
|:e|f2c AFA|c2A A2e|f2c AFA|B2G G2e|f2c AFA|c2A A2f|afd
gec|d3 d2:|
BASKET
OF OYSTERS [3]. Irish, Jig. G Major. Standard
tuning. AABBCCDD. Source for notated version: copied from O’Farrell’s Pocket
Companion (1804-10) [O’Neill]. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 123. O’Neill (Waifs
and Strays of Gaelic Melody), 1922; No. 152.
X:1
T:Basket of Oysters, The
M:6/8
L:1/8
S:O'Farrell's Pocket Companion 1804-10
Z:Paul Kinder
K:G
(3def|gag gab|abg fga|gfg eag|fdB BAB|
gag gab|abg fga|gfe afd|e3 e2:|
|:g|dec BcA|GBd gfe|dec BcA|BGE E3|
dec BcA|GBd g2 a|bge afd|e3 e2:|
|:g/2a/2|bgg dgg|af/2g/2a/2f/2 dfa|gfg efg|fdB B2 g|
bgg dgg|af/2g/2a/2f/2 dfa|gfe afd|e3 e2:|
|:g|dBB GBB|dBB gBB|dBB GBA|BGE E2 e|
dec
BcA|GBd g2 a|bc'b agf|e3 e2:||
BASKET OF TURF (An Cliaban/Cliabh Móna).
"Bundle and Go [1],"
“The Creel of Turf,” "The Disconsolate Buck,” "The Lass from Collegeland,"
"The Unfortunate Rake [1],"
"The Wandering Harper,"
"The Wee, Wee Man,” “Winter Garden Quadrille."
Irish, Double Jig. E Minor. Standard tuning. AABB (most versions):
AABB’CC’DD’EE’ (Breathnach/CRÉ V). A turf basket was used to haul home peat for fuel. Some
versions are set in the dorian mode, and it is sometimes played with the parts
reversed from the order given in Breathnach’s CRÉ II (1976). In CRÉ V,
Breathnach prints a five-part version, while fiddlers P.J. and Martin Hayes
have a three part version they have recorded as “The Castle [2]” (corresponding roughly to
Breathnach’s parts 1, 2 & 5). The song “The Wandering Harper” is set to
this air. Holden (Collection of the most
esteemed old Irish Melodies, Dublin, 1807) gives it as “The Unfortunate
Rake.” The melody compares with “Winter Garden Quadrille” in O’Neill’s Waifs and Strays of Gaelic Melody (No.
97). “The Basket of Turf” was recorded in New York in the late 1920’s by
accordion player Frank Quinn, from North Longford, and fiddler player Joe
Maguire, from County Fermanagh. It was famously recorded by Sligo fiddler
Michael Coleman in New York in 1924, the first of a pair of jigs under the
title “Up Sligo.” Sources for notated versions: accordion player Bill Harte,
1968 (Dublin, Ireland) [Breathnach]; Frank McCollam (Ballycastle, County
Antrim) [Mulvihill]; fiddler Con Cassidy (County Donegal) [Feldman &
O’Doherty]. Breathnach (CRÉ II),
1976; No. 52, pg. 28. Breathnach (CRÉ V),
1999; No. 18, pg. 11. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 152 (appears as 1st
“Untitled Jig”). Mulvihill (1st
Collection), 1986; No. 12, pg. 67. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 735, pg. 137. O'Neill (Dance Music of Ireland:
1001 Gems), 1907/1986; No. 32,
pg. 22. Ryan’s Mammoth Collection,
1883; pgs. 83 & 89. Treoir, vol.
32, No. 3, 2000; pg. 19. Gael-Linn/Viva Voce CEFCD
161, “Michael Coleman 1891-1945: Ceoltóir Mórthioncaur na hAoise.”
X:1
T:Basket of Turf, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 32
Z:AK/Fiddler’s Companion
K:Emin
E|EBB BAG|FDF AGF|EBB Bcd|AGF
E2E|EGB BAG|FDF AGF|GAB Bcd|AGF E2:|
|:B|Bee efg|dcB AGF|Eee efg|f^df
e2e|Eee efg|dcB AGF|GAB Bcd|AGF E2:|
X:2
T:Basket of Turf, The
L:1/8
M:6/8
K:Edor
D|GBB BAG|FAA AFD|GBB Bcd|AGF
E2D|GBB BAG|FAA AFD|BAB Bcd|AGF E2:|
|:A|Bee efg|fef dBA|Bee eag|fdc
d2A|Bee efg|fef dBA|BAB Bcd|AGF E2:|
BASKET OF YARN. American, Reel. G Major. Standard tuning. AAB (Miller): AA’BB’
(Songer). A modern compostion from East Alstead, New Hampshire, pianist and
fiddler Randy Miller. Source for notated version: George Peck (Portland, Ore.)
with Jigsaw [Songer]. Miller (Fiddler’s
Throne), 2004; No. 117, pg. 80. Songer (Portland
Collection), 1997; pg. 23. RM-1C, Randy Miller -
“The Lore of the Fingerboard” (1990). George Penk, Clyde Curley & Susan
Songer – “A Portland Selection: Contra Dance Music in the Pacific Northwest”
(2000).
BASS REEL. AKA and see "New Christmas,"
"New Christenmiss Day."
BASS RIVER. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 80.
X:1
T:
C: © B. Black
Q: 325
R: hornpipe
M: 4/4
L: 1/8
K: D
A | dcdA (3Bcd AF | GFGB AFDB, | A,DFA dcdA | (3Bcd AF E3 A |
dfec dAFA | GBAF EDB,E | DF (3FFF EAce | dBAF D3 :|
A | fdfa gB (3BAB | cBce dF F2 | GBAc Bdce | dfaf e3 g |
fdfa
gB (3BAB | cBce dF F2 | GB (3BBB Acec | dBAF D3 :|
BASSE'S CAREER. AKA and see "Mr. Basse, His
Career," "The Hunter in
His Career."
BASTRINGUE, LA. Canadian (originally), American; Air and Reel. Canada; Quebec, Prince Edward Island. USA, New England. D Major ('A' part) & D Mixolydian ('B' part). Standard tuning. AABB (Miller & Perron, Perlman, Sweet): AABB' (Brody). “La Bastringue” has its origins in an old French tune from the 17th or 18th century. It appears set in 6/8 time in a number of English collections in the 19th century, such as Wilson’s Companion to the Ballroom, under the title “Voulez-vous danser, Mademoiselle.” In French Canada it became a "party song" which tells of an older man who wants to dance "La Bastringue" with a girl. He soon finds he isn't up to the pace, however, and to save face tries to beg off by feigning concern for the woman's stamina. She proves equal to the task, though, and he finally just has to give up. The first verse goes:
***
Mademoiselle, voulez‑vous danser La
Bastringue,
Mademoiselle, voulez‑vous danser,
La Bastringue est commencee.
***
The song has become as close to being an unofficial
French-Canadian national folk anthem as any, though it is perhaps better known
now as a dance tune, especially in New England. Transplanted French-Canadian
fiddler Omer Marcoux {1898-1982} (Concord, N.H.) recalled it as one of the
first dance tunes he learned, and related that his father played it for the
first tune of the evening, to get everyone moving in the house. A third part is
infrequently played after the familiar first two parts—Vermont fiddler Louis
Beaudoin played the first strain of “Moneymusk” as his third part, points out
Paul Tyler. There is a similarly titled, but unrelated reel called “La Bistringue.” Sources for notated versions:
Jean Carignan (Montreal, Canada) [Brody]; Omer Marcoux (Concord, N.H.) [Miskoe
& Paul]; Louise Arsenault (b. 1956, Mont Carmel, East Prince County, Prince
Edward Island; now resident of Wellington) [Perlman]. Brody (Fiddler’s Fakebook), 1983; pg. 36.
Miller & Perron (New England Fiddlers
Repertoire), 1983; No. 141. Miskoe & Paul (Omer Marcoux), 1994; pg. 37. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Sweet (Fifer’s Delight), 1964/1981; pg. 59.
Welling (Welling’s Hartford Tunebook),
pg. 12. Folkways FG 3532, "Alan Mills and Jean
Carignan." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire
- "Buttons and Bows" (1984). Legacy 120l, Jean Carignan‑
"French Canadian Fiddle Songs." Philo 2002, "Beaudoin
Family." Smithsonian
Folkways Recordings SFW 40116, Les Franco-Américains - “Mademoiselle,
voulez-vous danser?” (1999. Various artists). Varrick
VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989).
Voyager 320‑S, Frank Ferrel‑ "Fiddle Tunes." Jackie Daly (et al) –
“The Big Squeeze.”
X:1
T:La Bastringue
M:C|
L:1/8
K:D
f2ff
f2gf|e2c2d3d|c2d2efec|d2e2f2d2|f2ff f2gf|e2c2d2A2|
g3fe2d2|B2c2d2A2:|
|:d2fd ad
fd|=c2ec gc ec|d2fd ad fd|bg ec dc BA|
d2fd ad fd|=c2ec gc ec|d2fd ad fa|bg
ec d2 (3ABc:|
X:2
T:Madamoiselle Voulez Vous Dancer
T:La Bastringue
M:4/4
L:1/8
K:D
f2fff2gf | e2e2d4 | c3de2c2 | d2e2f2a2 | f2fff2gf | e2e2d2(3Adf | g3fe2A2 |B2c2d4 :: d 2df afdA |
=c2=ce
gecA | d2df afda | gfec d3A | d2df afdA | =c2ce gecA | d2df afda | g fec d4 :||
BATA BUIDE, AN. AKA and see "The Yellow
Wattle [2]."
BATA DROIGEAN, AN. AKA and see "The
Blackthorn Stick [2]."
BATAFRE. French, Polka. G Major. Standard tuning. AABB. Stevens (Massif Central), 1988; No. 105.
BATCHELDER'S (REEL). AKA and see "Atlanta
Hornpipe," "Quigley's Reel."
American, Canadian; Reel. F Major. Standard tuning. AABB. The tune has
sometimes been credited to the fiddler of the title, Alvah Batchelder, but is
also associated with Albert Quigly under a title with his name; they were both
noted New England fiddlers. It appears in Ryan's
Mamouth Collection (1883) and Coles
1000 (1940) as the "Atlanta Hornpipe." The tune is a popular
number among North American contra dance circles and can be found in the
Pacific Northwest as well as New England. Sources for notated versions: Jane
McBride with Strathspey [Phillips]; accordion player Laurie Andres (Seattle)
[Songer]. Miller & Perron (New
England Fiddlers Repertoire), 1983; No. 130. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 19. Songer (Portland Collection), 1997; pg. 24.
Tolman (Nelson Music Collection),
1969; pg. 9. Alcazar Dance Series FR 203, "New
England Chestnuts" (1980). Kicking Mule KM216, Strathspey ‑
"New England Contra Dance Music" (1977).
X:1
T:Batchelder’s Reel
L:1/8
M:C|
K:F
f2af ef ge|f2c2c2=Bc|dc BA BA GF|EF GA Bc de|
f2af ef ge|f2c2 (3cdc =Bc|dc BA BA GF|EF GE F4:|
|:A2cA cA cA|B2dB dB dB|A2cA cA cA|BA GF EF GB|
A2cA
cA cA|B2dB dB dB|Ac fa bg eg|f2a2f2c2:|
BATEUSE, THE. English, Jig. England, Shropshire. G Major.
Standard tuning. AB. The 'B' part has nine measures. Source for notated
version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No.,
100a, pg. 41.
BATH, THE. English, Country Dance ("Longways for as
many as will"). Playford, The
English Dancing Master (1651). Raven (English
Country Dance Tunes), 1984; pg. 42.
BATH CARNIVAL. AKA and see "Keppel's
Delight." English, Country Dance Tune (6/8 time). A Major. Standard
tuning. AABB. The melody under this title first appears in Thompson’s Compleat Collection of 200 Country Dances, vol. 4
(1780). The Roman name for Bath was Aquae Sulis, the ‘waters of Sulis’ (Sulis
was a Celtic goddess with affinities to Minerva), referring to the hot springs
found there, but when the English conquered the territory they called it simply
‘the baths,’ later simply Bath (Matthews, 1972). For many years it was part of
the Anglo-Saxon kingdom of Mercia, and its abbey was chosen by Dunstan as the
site of the first major coronation in 973 when Edgar was crowned King of the
English with his queen Elfrida. Bath regained notoriety as a spa in the 18th
century when much of the town center was rebuilt, and received patronage from
George III and his queen, Charlotte, and after, George IV, and it is to this
era that the title speaks. The Assembly Rooms at Bath, part of the spa, were
built in the 1740’s and were in the form of a long, rectangular space to
accommodate country dancing. The melody was published in London in 1776 (by
Longman, Lukey and Broderip) as “Keppel’s Delight” (probably a reference to
Admiral Augustus Keppel) in Bride’s
Favourite Collection of 200 Country Dances, Cotillons. This title seems to
predate the “Bath Carnival” title, which, in any case, has appeared in period
publications as “Bath Carnival, to the tune of Keppel’s Delight.” Barnes (English Country Dance Tune), 1989.
Johnson (Twenty‑Eight Country
Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 1.
BATH FROLICK. AKA and see "Successful
Campaign."
BATH HORNPIPE. English, Hornpipe. G Major.
Standard tuning. AABB. The tune appears as an untitled hornpipe in Helperby,
Yorkshire, fiddler Lawrence Leadley’s (1827-1897) music manuscript copybook,
compiled primarily in the 1840’s and 1850’s. It also appears in the G.
Huddeswell manuscript, Leeds, Yorkshire. There was a “New Bath Hornpipe” in
William Vickers 1780 Northumbrian manuscript, and, while some tunes with the
appellation “New…” are sometimes written in response (or to ride the coattails
of) a popular tune, Leadley’s “Bath Hornpipe” does not sound like it predated
the 19th century. Callaghan (Hardcore
English), 2007; pg. 14. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 3, pg. 28 (appears as Untitled
Hornpipe I).
X:1
T:Bath Hornpipe
M:C
L:1/8
R:Hornpipe
S:G. Huddswell manuscript
(Yorkshire), via Frank Kidson
K:G
dc|B2G2G2 dc|BGBd gdBG|c2A2A2
ag|f2d2d2 dc|B2G2G2d2|
BGBd g2e2|ABcA dcBA|B2G2G2::d2|g2dB
g2dB|gfga g2d2|
g2dB g2fg|a2A2A2d2|g2 dB g2dB|gfga
g2d2|ABcA dcBA|B2G2G2:||
BATH HOUSE BLUES. Old-Time, Country Blues. USA, Arkansas. C Major. Standard tuning.
AA’BB’. Composed by Anson Fuller and Homer Treat. Fuller (c. 1907-1936) was one
of the two fiddlers who played for the group Ashley’s Melody Men, an ensemble
put together by Hobart Ashley of Marshall, Arkansas. They recorded several
sides in the late 1920’s and early 1930’s in both Dallas and Memphis. Source
for notated version: Anson Fuller [Beisswenger & McCann]. Beisswenger &
McCann (Ozarks Fiddle Music), 2008; pg. 185. Recorded
by Ashley's Melody Men on Victor Vi V-40158 (78 RPM). County Records
CO-CD-3506, “Echoes of the Ozarks, vol. 1” (1995). Marimac 9006, Major Contay
& Canebrake Rattlers - "When the Yankees Came Down.”
BATH MEDLEY. AKA and see “Humours of the Bath,” “The Spring’s a-Coming.” English, Irish; Country Dance Tune (6/4 time). G Major. Standard tuning. AABB. O’Farrell (c. 1806) gives its provenance as “Irish,” perhaps because of its appearance in Neal’s A Choice Collection of Country Dances, printed in Dublin in c. 1726. However, it has also been printed in Scottish collections and is sometimes recorded as originating in that country. English printings seem to predate all, however. Some of the earliest appearances of the tune are in Watt’s Musical Miscellany (vol. 1, 1729), and the ballad operas The Country Wedding (1729), The Wedding (1729), Charles Coffey’s The Devil to Pay, or the Wives Metamorphos’d (1731) and Anthony Aston’s Fools Opera (1731). It appears in several musician’s commonplace books on both sides of the Atlantic from the mid-18th century on. The title may have derived from a song by Anthony Aston entitled “The Pleasures of the Bath,” one version of which was published in 1721. Bruce Olson finds evidence of a song by Aston called “The Bath Medley” published on single sheets dating from 1715, which begins: “The spring’s a coming,” often an alternate title. Aston, who died in 1731, was an actor and dramatist who came to the stage after attempting law and other professions with little success. His writing for the stage, however, met with some success in the early 18th century, especially Love in a Hurry (performed in Dublin, c. 1709), and the opera Pastora, or the Coy Shepherdess (1712). Aston toured the English provinces with his family (and even visited America in 1702), producing his own plays or medleys from various plays fitted together with songs and dialogues of his own. Wiley Housewright of Florida State University, in his article “Music and Change in Florida” records:
***
Anthony Aston,
alias Mat Medley, a notable English musician, came to join English Governor
James Moore of South Carolina in his pillage of St. Augustine in 1702. He
remained in the ancient city for fifty-four days, returned to Charleston, then
joined opera and theatrical companies in New York and Boston. He sang bass,
danced, and acted. He returned to England, where he wrote The Fool’s Opera; or
the Taste of an Age. He wrote a drama about Florida, but the script has never
been found. Aston achieved renown in England as a songwriter for singers who
performed on the leading stages of London. In 1743 he advertised his collection
of "Negro Songs" at Goodman’s Fields. It is a collection of tunes
that he probably heard in Florida and South Carolina. He may have heard some of
them in Jamaica or the Bahamas, where he visited in his early days. These
songs, along with those of Charles Dibdin, were forerunners of the American
Minstrel show songs, which would appear more than a hundred years later.
***
Elsewhere it is recorded that Aston played just
enough performances in Charleston and New York to earn his passage back home.
***
The title honors Bath, England, an ancient town popular as a resort in the early-to-mid 18th century. The Roman name for Bath was Aquae Sulis, the ‘waters of Sulis’ (Sulis was a Celtic goddess with affinities to the Roman Minerva), referring to the hot springs found there, but when the English conquered the territory they called it simply ‘the baths,’ later simply Bath (Matthews, 1972). For many years it was part of the Anglo-Saxon kingdom of Mercia, and its abbey was chosen by Dunstan as the site of the first major coronation in 973 when Edgar was crowned King of the English with his queen Elfrida. Bath regained notoriety as a spa in the 18th century when much of the town center was rebuilt. It received patronage from George III and his queen, Charlotte, and after, George IV. The Assembly Rooms at Bath, part of the spa, were built in the 1740’s and were in the form of a long, rectangular space to accommodate country dancing. Allison Thompson, in her forward to an excerpt on fashionable dancing from Tobias Smollet’s The Expedition of Humphrey Clinker (1769), explains:
***
Tobias Smollet (1721-1771) was a practicing physician but found the
time to write a number of popular
novels, including Roderick
Random (1748) and Peregrine Pickle (1751). His epistolary novel, The
Expedition of Humphrey Clinker,
appeared in 1771 and describes Bath in its early phase of popularity
as a social hot spot of eighteenth century England. A sleepy, run-down
spa frequented only by valetudinarians
in the early part of the century, it had been brought to prominence by
Richard ‘Beau’ Nash (1674-1762),
who arrived in Bath in 1705. There he took over the management of the
Assembly Rooms and drew up a
strict code of etiquette and dress, becoming the unquestioned autocrat
of fashionable society. Assemblies
began at six p.m. with minuets. These ran until eight o’clock, and were
followed by country dances from
eight until tea was announced at nine. More country dances followed the
tea and, under Beau Nash’s
autocratic rule, dances in the Rooms concluded at eleven sharp—even if
the musicians were in the middle
of a tune. Nash’s popularity waned after 1745, but his influence
lingered throughout the century.
(Allison Thompson, Dancing Through Time: Western Social Dance in Literature, 1400-1918: Selections, page 103. 1998)
***
Aird (Selection of English, Irish, Scotch and Foreign Airs, vol. 1),
1782; pg. 69. Barnes (English Country
Dance Tunes), 1989. Breathnach (CRÉ V),
1999; No. 22, pg. 13 (untitled jig). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 128.
X:1
T:Bath Medley
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:G
D | G2g fed | efg dBG | ecA dBG | F2G AFD | G2g fed | efg dBG |
ecA dBG | DEF G2 :: g | f2g afd | e2f g3 | B2c dBG |
BATH MINUET [1]. AKA – “New Bath Minuet.” English, Minuet (3/4
time). D Major. Standard tuning. AABB. “Bath Minuet [1]” was published by
London publisher Robert Bremner in his Compleat
Tutor for the Flute (c. 1765), actually a primer for the recorder, and in
David Rutherford’s Art of Playing the
Violin (London, 1755). The tune was transcribed by John Ormsby (as “New
Bath Minuet”) in Annapolis, Maryland, dated around 1758, in a music manuscript
now at the New York Public Library. See note for “Bath Medley” for more on
Bath. Source for notated version: the music manuscript of Captain George Bush
(1753?-1797), a fiddler and officer in the Continental Army during the American
Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution),
1992; pg. 11.
BATH MINUET [2]. English, Minuet (3/4 time). G
Major. Standard tuning. AABB. The melody appears in the music manuscript
copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known of
Burks, although he may have been from the north of England. Burks included a
bass line underneath the melody.
X:1
T:Bath Minuet [2]
M:3/4
L:1/8
R:Minuet
S:John Burks’ music manuscript
copybook, dated 1821
N:A bass part is included in the
manuscript
K:G
d3 cBA|G2B2d2|c3 BAG|F2A2B2|G>G
G2A2|B>B B2c2|
d2 g>d c>B|(B2 A4)::d2 dddd|d2
e2z2|f2 ffff|f2 g2z2|
E2e2d2|D2c2B2|ec B2G2|FE/F/ D2 z2|d3
cBA|
GB dg b2|c3 BAG|FA df a2|gd B2c2|dB
G2g2|(3edc B2A2|G6:|
BATH MINUET [3].
AKA and see “Lord Cathcart’s.”
BATH ROAD HORNPIPE. AKA and see “Brendan’s Fancy,”
“Concertina Hornpipe [2].”
Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg.
193. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1682, pg.
313.
X:1
T:Bath Road Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1682
Z:AK/Fiddler’s Companion
K:G
G/A/B/c/ de/f/|gd/c/
(B/d/B/G|F/G/A/B/ c/e/d/c/|BA/G/ (3FAFD|
G/A/B/c/ de/f/|gd/c/ (3BdBG|F/G/A/B/
c/e/d/c/|B/G/A/F/ G:|
|:dd/d/ dd|d/e/f/g/ a/f/d/B/|cc/c/
cc|c/B/A/G/ F/A/F/D/|
G/A/B/c/ de/f/|gd/c/
(3B/d/B/G|F/G/A/B/ c/e/d/c/|B/G/A/F/ G:|
BATH TOY, THE. English, Jig. England, North‑West. B
Flat Major. Standard tuning. AABBCC. Knowles (Northern Frisk), 1988; No. 52.
BATH WALTZ, THE. English, Waltz (3/4 or 3/8 time). England;
Shropshire, Sussex, Lincolnshire, Northamptonshire. G Major (Ashman, Raven): A
Major (Sumner): E Flat Major: B Flat Major. Standard tuning. AABBCC. This
English waltz appears to have been known throughout the country. It appears in
the 1823-26 collection of papermaker and musician Joshua Gibbons (Lincolnshire,
1778-1871), where it is given in the key of ‘C’ major. It is also printed in
the Welch MSS (Sussex) and John Clare's MSS (Northamptonshire). See note for “Bath Carnival” for more on Bath. Sources for notated
versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Joshua
Gibbons 1823-26 MS [Sumner]. Ashman (The
Ironbridge Hornpipe), 1991; No. 35a, pg. 11. Raven (English Country Dance Tunes), 1984; pg. 138. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 1.
X:1
T:Bath Waltz
M:3/4
L:1/8
R:Waltz
K:G
D2|G2G2G2|G4 DG|B2B2B2|B4 GB|d4
BG|e4 cA|F2F2F2|G4:|
|:Bd|dc c2 AF|AG G2 Bd|dc c2 AF|G4
Bd|dc c2 AF|AG G2 Bd|ed fc AF|G4:|
|:D2|G2F2G2|A4
B2|c2E2A2|G2F2D2|G2F2G2|e2f2g2|dcBAGF|G4:|
BATHA BUIDE. AKA and see “The Yellow Wattle
[2].” Irish. This tune was popular in 1779 as its playing is mentioned by
Berringer in an account of a "cake" dance (where a cake was a prize)
he attended in Connacht.
BATHEING MACHINE.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to Charles
and Samuel Thompson’s third country dance collection (London, 1773). A bathing
machine was a kind of shack on wheels that could be let into the surf at
beaches. This would allow preservation of modesty (primarily for women) while
wading or swimming in the ocean. Some attribute the invention of the bathing
machine to Benjamin Beale, around 1750, at Margate, Kent. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 65.
X:1
T:Batheing Machine
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
d|BGd
BGd|BGd “tr”d2g|ecg ecg|eca “tr”a2b|gea fdg|ecd “tr”d2c|BGB cAc|BGG “tr”G2:|
|:d|egd fad|gbd fad|egd fad|gbf e2g|dBg eca|fdb e2g|dBg cAc|BGG G2:||
BATHGET BOYS. AKA and see "Pease
Strae/Straw."
BATT HENRY’S FAVOURITE. Irish, Barndance. G Major (‘A’
and ‘B’ parts) & D Major (‘C’ part). Standard tuning. ABC. The tune was
recorded in New York in May, 1922, by South Sligo fiddlers Paddy Killoran
(1904-1965) and Paddy Sweeney (1894-1974). Treoir,
vol. 36, No. 1, 2004; pg. 28. Ben & Maurice Lennon
– “The Natural Bridge” (1999).
X:1
T:Batt Henry’s Favourite
M:C
L:1/8
R:Barndance
S:Treoir, vol. 36, No. 1, 2004
Z:AK/Fiddler’s Companion
K:G
(3def | g2B2d2G2 | B2D2A2A2 | fedc
B2GB | Adfe d2 (3def | g2B2d2G2 |
B2D2A2A2 | fedc (3BcB AF | G2F2G3B |
d2B2d2B2 | d2e2 ed^ce |
abag fdef | gfgb ageg | d2B2d2B2 |
d2e2 ed^ce | abag fdef | g2f2g2 (3Bcd ||
e2d2d2 (3efg | a2g2g2ag | (3fgf
(3efe (3ded (3=cdc | BABc dcBd | e2d2d2(3efg |
a2g2g2ag | (3fgf (3efe (3ded (3=cBc
| (3BcB (3ABA G3e ||
K:D
fgfe f2a2 | d2 dc d2f2 | fe^de geBc
| dcdf abag | fgfe f2a2 | d2 dc d2f2 |
fe^de geBc | d2c2d2 ||
BATTERING RAM [1], THE. Irish, Double Jig. G Major. Standard tuning.
ABC (Flaherty): AABBCC (most versions): ABCD (Miller). Doolin, north County
Clare, tin whistle player Micho Russell saw the melody as a programmatic piece
which reminded him of the battering ram which the English used to evict poor
people in Ireland in the 19th century. Each succeeding part represented the
increasing force of the ram as it demolished the house. Ciaran Carson, in his
book Last Night’s Fun (1996)
describes flute player Seamus Tansey’s rendition of the melody:
***
He soars into ‘The Battering Ram’—not the standard version, but the
one he got from Jim Donoghue, the great Sligo tin-whistle-player who
perversely played a ‘C’ whistle (‘D’ is standard) out of the side of his
mouth, and produced a great strong flute-like tone full of wood and
embouchure and breath, jumping octaves; and he put a funny twist
into this jig; reversing it and generally standing phrases on their
heads. Tansy imputes many of his stylistic traits to Donoghue, and
this tune is a tribute, an hommage, a dedication, Tansey
playing it
beautifully as he can because he loves the playing of Jim Donoghue,
and he is beholden to him. (pgs. 60-61)
***
Much further a-field (and admittedly
irrelevant to the tune), ‘Battering’ has another meaning in the context of
Irish music and dance, however, signifying the production of rhythm to the beat
of the music. John Kerr (Irtrad 3/03) explains:
***
"Battering", in relation to dancing
of Irish country sets (e.g. Caledonian,
Lancers, etc.), is the pounding out of rhythm with the feet that is done by
the dancers as they execute the figures of the set. Traditionally,
battering was typically done by the male dancers, and often in the old house
dancing days a flagstone was specially placed with no earth underneath it
in front of the fireplace so as to better pick up the rhythms pounded out by
the dancer at the top of the set. I have seen demonstrations of older
dancers in Clare dancing sets and battering in the traditional style, and
it's a truly beautiful thing. Even without the music, you could hear the
rhythms of the tune being played, be it a reel, jig or hornpipe, and almost
be able to ascertain what tune it was by name.
***
Nowadays, in "modern" set dancing, everybody batters, and the
sky's the
limit. There's no subtlety at all, no nuance, no art or music to it
whatsoever. To gain a sense of it, think of the finest, most artful bodhran
playing you have ever heard. Then think of a room full of bodhran players
pounding away at will, as loud as they can. The gulf between what battering
once was and what it has now been reduced to is a thousand times greater
than that.
***
Sources for notated versions:
‘Clarke's whistle’ {i.e. a conical whistle} player Jim Donoghue, 1910-1990
(Drimacoo, Monasteraden, Co. Sligo, Ireland) [Flaherty]; the Tulla Ceili Band
[Mulvihill]; sessions in the Regent Hotel, Leeds, England [Bulmer &
Sharpley]; the 1968 Topic recording of Lucy Farr (1911-2003, Co. Galway), Jimmy
Power (1918-1985, Co. Waterford) & Andy O’Boyle (Co. Mayo) [Miller &
Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]; from a recording of Sean Ryan [O’Malley]. Brody (Fiddler’s Fakebook), 1983; pg. 36.
Bulmer & Sharpley (Music from Ireland),
1974, vol. 1, No. 54. Flaherty (Trip to
Sligo), 1990; pg. 178. Harker (300
Tunes from Mike Rafferty), 2005; No. 227, pg. 70. Mallinson (Essential), 1995; No. 95, pg. 41. Miller
& Perron (Traditional Irish Fiddle
Music), 1977; vol. 1, No. 32. Miller & Perron (Traditional Irish Fiddle Music, 2nd Edition), 2006; pg.
14. Mulvihill (1st Collection),
1986; No. 77, pg. 81. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 97, pg. 49.
Russell (The Piper’s Chair), 1989;
pg. 12. Sullivan (Session Tunes),
vol. 2; No. 29, pg. 12. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 35. Front
Hall, How To Change a Flat Tire‑ "A Point of Departure."
Shanachie 79021, “Chieftains #1.” Topic Records 12T176, Jimmy Power, Lucy Farr
& Andy O’Boyle – “Paddy in the Smoke: Irish Dance Music from a London Pub”
(1968).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Battering Ram, The [1]
L:1/8
M:6/8
K:G
B|dBG BAG|dBG G2B|dBG AGE|GED D2B|
dBG BAG|B/c/dG BAG|A3 BAB|GED D2:|
|:B|deg aga|bge edB|deg aga|bge e2b|bag
age|ged e/f/ge|dBG AGE|GED D2:|
|:d|B/c/BG A/B/AG|B/c/BD D2B|BAG
AGE|GED ded|
B/c/BG A/B/AG|B/c/dG BAG|AGA BAB|GED
D2:|
X:2
T:Battering Ram, The
R:jig
M:6/8
L:1/8
Z:Jeff Myers
N:Based on the playing of Billy McComiskey
N:Lesl
Harker says it is nearly identical to Mike Rafferty’s setting
K:D
B|dBG BAG|dBG G2B|dBG AGE|GED D2 B|\
dBG BAG|B/c/dB BAG|AGA BAB|GED D2:|*
B|deg aga|bge edB|deg aga|bge e/f/ga|\
bag age|ged e/f/ge|dBG AGE|GED D2:|*
d|B2G A2G|B2D D2d|BAG AGE|GED D2d|\
B2G A2G|B/c/dB BAG|AGA BAB|GED D2:|**
BATTERING RAM [2]. AKA and see “Queen of the Rushes.”
Irish, Jig. D Mixolyidan. Standard tuning. AA'BB'CC'. See also "Banrion na Luachra," "The Ladies March to the Ballroom."
Taylor (Where’s the Crack), 1989; pg.
19.
BATTEUX, LE (The Grain Mill). French-Canadian, Jig (3/2 or 6/4 time). A
Major. AEae tuning. AA’BB’. Hart & Sandell note the tune was an
accompaniment for a dance that was performed at grain-threshing ‘bees’
(parties). Source for notated versions: Louis ‘Pitou’ Boudreault (1905-1988,
Saguenay region, Québec) [Hart & Sandell, Remon & Bouchard]. Hart &
Sandell (Dance ce Soir), 2001; No.
35, pg. 66. Remon & Bouchard (25
Crooked Tunes, Vol. 1: Québec Fiddle Tunes), vol. 1, 1996; No. 5. Green Linnett GLCD 3042, La Bottine Souriante - "Chic
& Swell" (1988. Learned from Louis "Pitou" Boudreault). 30
Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked
Tunes” (1998).Voyager 322, Louis Boudreault - "Old Time Fiddler of
Chicoutimi, Québec" (1977, 1993).
BATTLE CALL OF THE
FIANNA. AKA and see "Bonaparte Crossing the Alps,"
"Oro, Welcome Home." Irish,
Air. Scanlon, 1923; pg. 63.
BATTLE EVE, THE. AKA and see "Contented I Am," "Thy
Welcome, O'Leary," "Down in the Meadow." Irish, Air (4/4 time).
G Minor. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 253, pg. 44.
X:1
T:Battle Eve, The
M:C
L:1/8
R:Air
N:”Animated”
S:O’Neill – Music of Ireland (1903), No. 253
Z:AK/Fiddler’s Companion
K:Gmin
D2|G3^F G2A2|G4 B3B|A F3 F3F|F4
^F3F|D2G2G2A2|
B4 A2G2|D4 E4|D6 f2|f3d B2d2|f4
=e2d2|c3A F2A2|
c4 B3c|d3B c3A|D4 G3^F|G4 A4|B4
B2c2|d3d c2B2|f4 F3F|B4||
BATTLE OF ARGAN MORE, THE. AKA - "Argan
Mor." Irish, March or Air (4/4 time). D Dorian (?). Standard tuning.
One part. A pentatonic tune. Source for notated version: the Irish collector
Edward Bunting's MS notes indicate he was given the melody by "a Cushendall
man in 1809, tenant to Dr. McDonnell." O'Sullivan/Bunting, 1983; No. 155,
pg. 212. RCA 09026-61490-2, The Chieftains - "The
Celtic Harp" (1993).
BATTLE OF AUGHRIM [1],
THE (Cath Eachroma). AKA and see “Lament
for the Battle of Aughrim,” “Loch
Torridon, Irish, March (2/4 time), Polka or Lament. E Aeolian (Brody): A
Dorian (most versions). Standard tuning. One part (Brody, O'Neill): AABB
(Cowdery, Mallinson, Mitchell, Sullivan, Tubridy): AA'BB (Breathnach,
Harker/Rafferty, Miller & Perron). The piece is descriptive of the last
great defeat of the native Gaelic army in Ireland, on July 12th,
1691, following the defeat of the Stuart forces at the Battle of the Boyne.
Aughrim is located near Ballinasloe, County Galway, about 30 miles from Galway
city, and is a small village. Micho Russell (1989) related a bit of folklore
which had the battle seeming to go one for days and days. There is a hollow or
small valley on the road outside the village which Russell maintained was
“filled up with blood from the people that were killed, and ever since then it
is known as Bloody Valley.” The victory of the Williamite forces over the Irish
under St. Ruth and Sarsfield marked the end of the old Gaelic aristocracy and
is commemorated in the present-day Orange celebration of July the 12th.
***
Cowdery (1990) finds the melody
another expansion/contraction of the central musical motifs of the old ballad
air "The Boyne Water."
“Lament for the Battle of Aughrim” was printed in the appendix to Walker’s Historical Memoirs of the Irish Bards
(1786). In 19th century Ireland the piece was a piper’s tour-de-force (along
with a programmatic tune called “The Fox Chase”), and notable renditions were
played by such famous musicians as County Galway’s Martin O’Reilly. Breathnach
(1985) says the tune was played for the last figure of the (County Clare polka)
set.
***
The “Battle of Aughrim” was the
signature tune for the famous Aughrim Slopes Ceilidhe Band, originally
consisting of the trio of fiddlers Jack Mulkere and Paddy Kelly and accordion
player Joe Mills, who first recorded around 1936 or 1937 (Reg Hall). The tune
was taught to them by accordion player Jack Fahy (fiddler and composer Paddy
Fahy’s father), who hosted their thrice-weekly practice sessions (and in whose
house Jack Mulkere lived). Jack’s son Paddy and daughter Jennie joined the band
in the 1940’s.
***
The second strain was borrowed for
the Québecois tune “En Fumant Ma Pipe.”
***
Sources for notated versions:
Chieftains (Ireland) [Brody]; a Clare version from flute and whistle player
Micko Russell (Doolin, Co. Clare, Ireland) [Breathnach]; piper Leo Rowsome
[Cowdery]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; fiddler Mártíin Byrnes [Miller & Perron, Sullivan]; New Jersey
flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Breathnach (CRÉ II), 1976; No. 188,
pg. 64 (appears as "Cath Eachroma"); Walker (Historical Memoirs of the Irish Bards) [O’Neill/Waifs]. Breathnach
(CRÉ II), 1976; No. 118. Brody (Fiddler’s Fakebook), 1983; pg. 37.
Bulmer & Sharpley (Music from Ireland),
1974, vol. 2, No. 68. Cowdery (The Melodic
Tradition of Ireland), 1990; Ex. 52, pg. 121. Harker (300 Tunes from Mike Rafferty), 2005; No. 275, pg. 87. Mallinson (100 Polkas), 1997; No. 32, pg. 13.
Miller & Perron (Irish Traditional
Fiddle Music), 1977; vol. 1, No. 65. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 149. Mitchell (Dance
Music of Willie Clancy), 1993; no. 119, pg. 98 (a march setting). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1845, pg. 347. O’Neill (Waifs
and Strays of Gaelic Melody). Russell (The
Piper’s Chair), 1989; pg. 20. Sullivan (Session
Tunes), vol. 3; No. 37, pg. 15. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 4. Claddagh CC 1, Leo Rowsome - "Ri na bPiobairi"
(1969). Claddagh CC14, "Chieftains 4" (1974). Leader LEACD 2004,
“Martin Byrnes” (1969). MKM 7590, Mike
McHale – “The Schoolmaster’s House” (2000. Learned from a recording by the
Aughrom Slopes Ceili Band). Shanachie 79024, "Chieftains 4"
(1974/1983).
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:Battle of Aughrim, The [1]
M:4/4
L:1/8
K:Ador
G | E2 A2A2 Bd | e2d2c2A2 | B2G2 GF
GA | BG AG E2D2 |
E2A2A2 Bd | e2 ed e2 ag | e2d2 Be dB
| A4 A3 :|
|: e | a2 ag e2 e/f/g | a2 ag e2 fg |
a2 af g2 ge | de dB G4 |
a2 ag e2 e/f/g | a2 ag e2d2 | B2
e/f/e d2B2 | A4 A3 :|
BATTLE OF AUGHRIM [2], THE. Irish, March (2/4 time). A Dorian.
Standard tuning. One part. O’Neill (1922) says: “To the musical
antiquary war cries and battle pieces may not be without interest. To the
modern ear they possess but little attraction; yet when Martin O'Reilly, the
blind piper from Galway, at the Dublin feis in 1901 played a descriptive
selection entitled "The Battle of Aughrim 1691" in which the blare of
trumpets, battle onslaught, and wailing of the women were imitated, his
performance was rapturously applauded. Source for notated version: copied from Walker’s Historical Memoirs of the Irish Bards (London, 1786) [O’Neill].
O’Neill (Waifs and Strays of Gaelic Melody),
1922.
X:1
T:Battle of Aughrim, The [2]
M:2/4
L:1/16
S:Walker's Historical Memoirs of the Irish Bards, London 1786
Z:Paul Kinder
R:March
K:G
"Moderato"ABAG ABAE|ABAG ABAE|ABAG ABAE|ABAG ABAE|!
(3AGA (3AGA (3AGA A>E|(3AGA (3AGA (3AGA A>E|
(3AGA (3AGA (3AGA A>E|{CDEGA}B3c d3e|!
d2e2 d2f2|d2e2 d2f2|d2e2 d2e2|d8|!
cBAG E4|ABAG ABAE|ABAG ABAE|ABAG A3E|!
(3AGA (3AGA (3AGA A>E|(3AGA (3AGA (3AGA A>E|!
GABc d3e|d2e2 d2f2|d2e2 d4|BAGF E4||
BATTLE OF AUGHRIM [3], THE. AKA and see “The Return from Fingal.” Irish,
March (4/4 time). D Major. Standard tuning. AABB. Vallely (Learn
to Play the Fiddle with Armagh Pipers Club), 197?; pg. 24.
X:1
T:Battle
of Aughrim, The [3]
M:C
L:1/8
B:Vallely
- Learn to Play the Fiddle with Armagh
Pipers Club (197_)
K:D
BAGF
EFGA | BAGF E4 | AGFA d2A2 | B2A2 Bcd2 |
BAGF EFGA | BAGF E4 | AGFA d2A2 | F2E2 E4 :|
f2 e2 e2 dc | B2A2d3A | B2A2d2A2 | B2A2 Bc de |
f2e2e2 dc | B2A2d3B | AG FA d2A2 | F2E2 E4 :|
BATTLE OF AUGHRIM [4], THE. Irish (?), March. D Dorian. Standard tuning.
AABBCCDDEEFF. The title in Geoghegan’s publication is “A Bagpipe Concerto
call’d the Battle of Aughrim, or the Football March.” Geoghegan (Compleat
Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 27.
X:1
T:Battle of
Aughrim [4]
M:C|
L:1/8
R:March
S:Geoghegan
– Compleat Tutor for the Pastoral or New
Bagpipes (c. 1745-46)
N:Title in
Geoghegan’s publication is given as “A Bagpipe Concerto call’d
N:the
Battle of Aughrim, or the Football March.”
Z:AK/Fiddler’s Companion
K:Ddor
D/D/D DD
D/D/D ED | D/D/D FD D/D/D GD | D/D/D FD D/D/D ED | D/D/D (G/F/E/F/) GC ED :|
|: D/D/D
G/F/E/F/ GD FD | D/D/D EC GC ED | D/D/D BD AD FD | D/D/D BDGC ED :|
|: D/D/D BD
D/D/D FD | D/D/D BD D/D/D ED | D/D/D BD D/D/D dD | D/D/D BD D/D/D ED :|
|: D/D/D
(d/c/B/c/) dD FD | D/D/D (c/B/A/B/) cC ED | dBcA BG AD | G/F/E/F/ GC ED D/D/D
:|
|: d>B
d>A d>B d>D | d>B d>A d>F d>D | d>B Ad Fd GD | B/d/A/d/
G/d/F/d/ B/d/A/d/ G/d/D/d/ :|
|: F/d/G/d/
F/d/E/d/ F/d/G/d/ E/d/D/d/ | E/d/F/d/ G/d/E/d/ | E/d/F/d/ G/d/E/d/ E/d/F/d/
G/d/D/d/ |
E/d/F/d/
G/d/E/d/ E/d/F/d/ G/d/D/d/ | E/d/F/d/ G/d/E/d/ E/d/F/d/ G/d/D/d/ :|
BATTLE OF BULL RUN. AKA and see "Abe's Retreat."
BATTLE OF CLONTARF, THE. Irish, March (2/4 time). G Mixolydian.
Standard tuning. AB. "Calling the clans to battle." "From a
piper named Fogarty of Carrick‑on‑Suir. I find an identical setting
of this in one of Mr. Pigot's books, which was copied from a MS. lent him by
Mr. Denny Lane of Cork. Petrie has a version of this fine old march in his Ancient Music of Ireland (p. 31), with
the name 'The Return From Fingal' (i.e. after the battle, Fingal being the
district in which Clontarf is situated); but he does not state the source from
which he procured it. The setting given here is somewhat simpler than Petrie's,
and I think better and more characteristic. It has a fine martial swing, tinged
with melancholy" (Joyce). Joyce (Old
Irish Folk Music and Song), 1909; No. 501, pg. 274.
BATTLE OF CREMONA, THE. AKA and see “The
Fearless Boys,” “The Lea Rig(ges).”
Irish, March. Standard tuning. At the Battle of Cremona in 1702 the píob mhór of the Irish Brigade was heard
to play this older air during their struggle against the Germans. Afterwards
the tune was only known by this name (Collinson, 1975). The hero of the battle
was Count Daniel O’Mahoney, an exiled Stuart supporter originally from County
Kerry, whose daughter married Richard Cantillon (for more on whom see note for
“Lamentation of Richard Cantillon”). O’Mahoney was in command of a battalion
from the Dillon regiment (in the service of Louis XIV) when the French at
Cremona were surprised in their sleep by the Austrians under Prince Eugene.
After nearly being overtaken, the French forces, given time to regroup by a
gallant stand by the Irish, drove out the Imperial troops. The Irish Brigade played
the melody again (along with “St. Patrick’s Day (in the
Morning)” and “White Cockade [1]”)
in 1745 at the Battle of Fontenoy when, again as part of the French forces,
they fought the English. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 81.
BATTLE OF CULLODEN, THE.
American(?), Reel. D Major/Mixolydian. Standard tuning. AABB. The melody
appears in the music manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust
Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major
in the 3rd New York Regiment, which participated in Montgomery’s
invasion of Canada in a failed attempt to wrest Montreal from British control.
An important land-owner in the Hudson Valley, and a member of the powerful
Livingston family, Henry was also a surveyor and real estate speculator, an
illustrator and map-maker, and a Justice of the Peace for Dutchess County. He
was also a poet and musician, and presumably a dancer, as he was elected a
Manager for the New York Assembly’s dancing season of 1774-1775, along with his
3rd cousin, John Jay, later U.S. Chief Justice of Governor of New
York.
X:1
T:Battle of Culloden, Them
M:C|
L:1/8
R:Reel
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
=c2|BGAG FGA=c|BGAF BEE=c|BGAG
FGAg|fdec dD D:|
|:f>gaf g>abg|f>gaf
beeg|f>gaf g>abg|1 fdec dD D :|2 fdec dD D=c||
BATTLE OF FALKIRK [1], THE. Scottish, Fiddle Pibroch. Composed by James
Oswald in the late 1750's, and published in his Caledonian Pocket Companion. A 'pibroch' is a ceremonial form often
used to celebrate or lament an event, and is usually meant for the Scottish
great‑pipes; in this case a fiddle was specified. The Battle of Falkirk
was fought in the year 1298 and marked the defeat of the Scottish hero William
Wallace by the forces of the English king Edward I.
BATTLE OF FALKIRK [2],
THE. Scottish, March (4/4 time). A Mixolydian.
Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore Collection), 1904; pg.
26.
X:1
T:Battle of Falkirk, The [2]
M:C
L:1/8
R:Quickstep
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:Amix
.c/.d/ | ({e/f/}e)A “tr”eA
(g/f/).e/.d/ ({d}e2) | ({f}e)A ({f}e)A (g/f/)e/d/ g/G/B/d/ | ({f}e)A”tr”eA
(g/f/).e/.d/ ({d}e2) |
a/g/f/e/ ({e}g)B ({B}e)(AA) :: e |
({e}a)A ({A}”tr”e)A (g/f/).e/.d/ ({d}e2) | “tr”aA”tr”eA (g/f/).e/.d/ gB |
“tr”aA “tr”eA (g/f/).e/.d/
({d}e)f/g/ |1 a/g/f/e/ gB (d}e)(AA) :|2 a/g/f/e/ g/d/B/d/ ({d}e)(AA) ||
BATTLE OF GARVAGH. AKA and see “Lass of Gowrie [1].” Irish. A
sectarian Orange tune in the manuscripts of Antrim fifer Jock Lecky, dating
from the 1930’s or 1940’s. According to Gary Hastings, the area around Ahoghill
and Cullybackey, County Antrim, was one of the last remaining areas where the
old style of fifing and Lambegs (large goatskin marching drums) was still
extent. Some of the present fifers had
learned from Lecky.
BATTLE OF HARLAW, THE. AKA ‑ "The Desperate Battle." Scottish,
Fiddle Pibroch (4/4 time). D Major. Standard tuning.
AABBCCDDEEFFGGHHIIJJKKLLMMNNOOPPQQRRSST (theme and variations). The Battle of
Harlaw took place on July 24th, 1411, and pitted the Lowlands lairds against
the followers of Donald of the Isles in the latter's claim as successor to the
Earldom of Ross. The battle established the territorial limits of the Lords of
the Isles and Highlanders still regard it as a victory, though the Lowland
ballad also claims victory due to the death of Red Hector, one of the leading
Highlanders.
***
Bagpipe music for the melody appears
in a manuscript of 1624-25, and “Battle of Harlaw” is mentioned as a bagpipe
piece in a c. 1650 poem (“Polemo-middinia”) by Drummond of Hawthornden. Collinson
(1975) is of the opinion that “the tune will hardly survive the test of píobaireachd requirements,” but concedes
when played at the proper adagio tempo there is a faint suggestion, in the
melodic progressions and repetitions, of the sound of the píobaireachd. This tune, or one by the same name, metamorphed into
several other dance and song airs‑‑see Bayard's extensive note for
"Over the River to
Charlie." Gratten Flood thought the piece did not bear the marks of a
15th century work but did think it bore all the characteristics of a
17th century tune [Ed.—which should be taken with a grain of salt,
as Grattan Flood is notoriously unreliable]. Johnson (1984) dates the fiddle
version of the tune which he prints to 1720 on stylistic grounds, however, he
believes the original melody was probably written as a harp piece
"immediately after the battle it commemorates, which took place in
Aberdeenshire in 1411" (Johnson, pg. 123). From the harp it may have been
transferred to the pipes, he posits, as the entire piece is in the range of the
bagpipes and is in modern pipe repertory (with small alterations) as "The
Desperate Battle." The title as a song appears in The Complaynt of Scotland (1548), and lyrics set to the tune appear
in Allan Ramsay's Ever Green (1724).
Stenhouse printed a tune he called “The Battle of Harlaw” as air his Illustrations (Edinburgh, 1853),
obtained from “a folio manuscript of Scots tunes of considerable antiquity”
(although his melody differed considerably from the “Harlaw” tune printed by
Dow, below). One version of the ballad, as sung by the late Lucy Stewart of
Fetterangus, was recorded by Scotland's Battlefield Band on their album
"At the Front" (Topic 12TS381, 1978).
***
Apart from manuscript collections,
the first published appearance of the tune is in Daniel Dow’s Ancient Scots Music (c. 1775), which is
certainly the earliest date for a setting of the melody for the fiddle. The
tune later appeared in Johnson’s Scots
Musical Museum, although that publisher altered the second strain from the
one printed by Dow. Johnson (1984) states it should be played on as many open
strings on the fiddle as possible to maximize the resonance.
***
Source for notated version: Ancient Scots Music by Dow [Johnson].
Johnson (Scottish Fiddle Music in the
18th Century), 1984; No. 57, pgs. 135‑137. Purser (Scotland’s Music), 1992; Ex. 8, pg. 76.
BATTLE OF KILLICRANKIE. AKA and see "Killicrankie,"
"Planxty Davis."
BATTLE OF KINLOCH
LOCHY, THE. AKA ‑ "Blar Leine." Scottish, Slow Air. G
Minor. Standard tuning. AABB. The event at Kinlochlochy (the head of Loch
Lochy) in 1544 was a fierce clan conflict between the MacDonalds of Lochaber
and Glengarry (aided by the Camerons) against the Clan Fraser, aided by the
Grants and Clan Chattan. It arose from a dispute regarding the chieftanship of the
Clanranald; the MacDonalds supported one Ian Moideartach (John Moydartach or
John of Moidart), while the Frasers promoted Ranad Gallda or Galda (Ronald
Gualda), the grandson of the chief of the Clan Fraser, Lord Lovat. The King's
agent in the north of Scotland, the Earl of Huntly, took the opporunity to
punish Clanranald for their plundering of the lands of the Grants, and marched
north with his army, joining with the Frasers, Grants, Clan Chatten and others.
This alliance succeeded in placing Ronald Gallda in charge of Moidart, but on
the return journey Huntly, who now led the force, divided them at a stream
flowing into Loch Lochy. One part of this divided force, comprised of the
Frasers under Gallda, along with men of Urquhart and Glen Morrison, was set
upon by Ian Moideartach and his men as they came to a narrow pass the the south
end of the Loch. A great defeat was
dealt to the Frasers and Gallda was slain, along with Lord Lovat and many of
the clan gentry. Neil (1991) says "it was probably one of the fiercest
battles that has ever been fought by the clans involved and many of the
traditions regarding it still persist in Highland song and story." Captain Simon Fraser, who composed the tune,
erroneously translated the alternate title as having to do shirts, but Neil
maintains the name "Blar Leine" came from the ground the battle was
fought on‑‑the Gaelic 'blar' being a plain or field, and 'leine'
signifying a wet plain, and, in fact, he says there are several place names in
the area of the battle such as Lianachan and Lianda which refer to marshy
ground. Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 8, pg. 3.
Neil (The Scots Fiddle), 1991; No.
153, pg. 197.
X:1
T:Battle of Kinloch Lochy
T:Blar Leine
M:3/4
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Cmin
G>^F|G2 B2 c>=B|c2 d2 e>c|d2 g2 fg|c2 BG e>c|d2 g2 b>d|c2 BG e>g|d2 c2 d/c/=B/c/|G4:|
|:E/F/G/B/|e4 f/e/d/c/|d2 c2 (3cdf|g4 g/f/e/d/|e2 G2
f/e/d/c/|d2 g2 b>d|c2 BG e>g|d2 c2 d/c/=B/c/|G4:|
BATTLE OF MARENGO, THE. Irish. Composed by Dubliner Tom Cooke (1782‑1848)
in 1804.
BATTLE OF NEW ORLEANS.
Old-Time, Breakdown. USA, Arkansas. G Major. Standard tuning. AA’BB’. A ‘crooked’
(irregular metre in both parts) tune in the repertoire of Arkansas fiddler
Absie (sometimes Apsie) Morrison (1876-1964), who recorded with family members
in the early 1930’s for Victor Records as the Morrison Twin Brothers Band.
Morrison, who linked many of his tunes with American military events, claimed
to have the fiddle that his Scottish great-grandfather emigrated with prior to
the American Revolution. He claimed that another ancestor, John Sidney
Morrison, fought with Andrew Jackson in the Battle of New Orleans in 1815 and
that John Sidney and a black man named Jack (or Bob) Johnson lay in wait,
sheltered behind a bale of cotton, until they spied British General Edward
Pakenham, whereupon the shot and killed him (actually, Pakenham was slain, by
all accounts, when hit by a cannonball) [see Judith Mculloh’s article “Uncle
Absie Morrison’s Historical Tunes,” Mid-America Folklore 3 (Winter,
1975, pgs. 95-104)]. Source for notated version: Absie Morrison (1876-1964,
Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 101.
BATTLE OF PENTLAND HILLS. See “Pentland Hills.”
BATTLE OF PRAGUE, THE. English. “The Battle of Prague” is
the title of several English dance tunes. See “March in the Battle of
Prague.”
BATTLE OF SHERIFFMUIR, THE. Scottish, Pibroch. A Major. Standard tuning.
AABBCC. This pipe pibroch is said to have been composed by John MacIntyre of
the brae Raunoch family (who was then Piper to Menzies of Menzies) after the
well-fought but indecisive victory of the Stewarts during the Jacobite rising
of 1715. Collinson (1975) maintains this piece gave the “Sherramuir March” its
name, but he says MacIntyre’s march was a previously existing melody identified
with the Stewart clan as their march tune. Not only was it played at
Sheriffmuir, says Collinson, but it had previously been heard at Pinkie (1547)
and Inverlochy (1645), and again post-Sheriffmuir at Prestonpans in 1745 during
the last Jacobite rebellion.
X:1
T:The Battle of Sherrifmuir
T:Here's a Health To Them Far Awa'
D:Billy Jackson & John Martin:
The Braes of Lochiel
Z:Nigel Gatherer
M:6/8
L:1/8
K:A
E|A>GF FEF|A3 A2B|c>BA dcd|e3
e2a|c'ba agf|e>dc def|
edc BAB|A3 A2::c|edc BAB|A3 A2c|edc
def|e3 e2a|
c'ba agf|e>dc def|edc BAB|A3
A2::e|a>ec a>ec|e3 efg|
agf edc|B3 B2a|c'ba agf|e>dc
def|edc BAB|A3 A2:|
BATTLE OF STIRLING, THE. Scottish, March (4/4 time). B Flat Major. Standard
tuning. AA'. The battle of Stirling Bridge was fought in 1297 by the Scots hero
William Wallace, aided by Andrew De Moray, against the English invaders under
Cressingham. The narrow bridge crossed the Forth of Firth and Cressingham
foolishly allowed his army to be strung out across its length, which had been
weakened by the Scots, and Wallace and De Moray slaughtered the vanguard and
sent the rest reeling in disarray, killing Cressingham in the process. Wallace
lost a subsequent more conventional battle, Falkirk, but then engaged in a
guerilla campaign which eventually led to Scottish independence, though he did
not live to see it. Neil (The Scots
Fiddle), 1991; No. 22, pg. 31.
BATTLE OF THE BOYNE (WATER). AKA and see "The Boyne Water [1]."
BATTLE OF THE NILE, THE.
English, Air or march (whole time). D Major. Standard tuning. AAB. The
melody, perhaps a song air, commemorates Admiral Nelson’s 1798 victory over the
French fleet under Admiral François-Paul Brueys, anchored in one of the mouths
of the Nile river. The battle was fought largely at night, unusual for the
time, and resulted in an overwhelming victory for the British. Nelson was made
Baron of the Nile as a consequence. Source for notated version: the 1823-26
music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; pg. 84.
BATTLE OF THE ROE, THE. Irish, Air (3/4 time). F Mixolydian: F Minor:
C Major. Standard tuning. One part. “By Gillan.” Stanford/Petrie (Complete Collection), 1905; Nos.
425-428, pgs. 107-108.
X:1
T:Battle of the Roe, The
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 425
Z:AK/Fiddler’s Companion
K:Fmix
ddd | c2 B>A BA | B2 A<F dd/e/
| f2 ff e>d | d3 ddd |
c2 BA Bc | B2 AF AA/B/ | c2 B>A
FF | F3 ||
BATTLE OF THE SOMME, THE. Scottish, Retreat March (9/8 time). D Major.
Standard tuning. AABB. This pipe tune, a retreat from Army Manual (Book 2) and composed by William Laurie (1882-1916)
commemorates one of the greatest and most terrible battles of World War I. Jack
Campin remarks that Laurie "just lived to see it become an immediate
success before dying of his wounds a few months later.” “The retreat march is
not necessarily a march time tune which would be marched to,” explains Stuart
Eydmann; rather, “as often as not it was played as part of the evening ritual
in military camps as day duties gave way to night ones. It was not linked to
the military manoeuvre of retreating in or from battle but was linked to the
idea of refuge and safety in the camp.” The tune is sometimes heard as a slow
air, after the fashion of the Albion Country Band’s interpretation, no doubt
engendered by the horrible human outcome in terms of loss of life. Gatherer (Gatherer’s Musicial Museum), 1987; pg.
20. Martin (Ceol na Fidhle), vol. 2,
1988; pg. 39. Front Hall FHR‑024, Fennig's All‑Star
String Band ‑ "Fennigmania" (1981. Learned from the Albion Country
Band).
X:1
T:The Battle of the
C:Willie Laurie
S:Forgotten
R:march
M:9/8
L:1/8
Z:Nigel Gatherer
K:D
A|f<af d3 d>cd|e>dG B3 A3| B<GB A3 d3|f<af e3 e2 A|f<af d3 d>cd|
e>dG B3 A3|B<GB A3 f3|e>fe d3 d2::z|d>cd e3 A3|e>fg f<af d3|\
f>ef g3 A3|
f<af
e3 e2 A|f<af d3 d>cd|e>dG B3 A3|B<GB A3 f3|e>fe d3 d2:|]
BATTLE OF TOMAI, THE. Scottish, Pipe Tune. The title commemorates a
battle during one of the British colonial wars in Africa in the 19th century.
BATTLE OF TRAFALGAR, THE.
English, Jig. D Major. Standard tuning. AABB. The naval battle of
Trafalgar was fought in 1805 off Trafalgar Cape, Spain, by the allied French
and Spanish forces against the victorious English under Lord Nelson. Nelson was
killed in the fight, but was enshrined as one of England’s greatest heroes. It
was the last great engagement of fleets of sailing ships, and established the
dominance of the English Navy for 100 years. Gibbons originally set the tune in
the key of ‘G’ major in his ms. The tune also appears in the music manuscript
copybook of fiddler John Burks, dated 1821, set for first and second violin in
the key of D. Source for notated version: the 1823-26 music mss of papermaker
and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen,
Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 66.
BATTLE OF WATERLOO, THE. AKA and see “Bonaparte Crossing the Alps,”
“Bonaparte Crossing the
Rockies,” “Bonaparte’s March
[3]." Scottish, March (4/4 time). A Minor. Standard tuning. AABB. A
variant of the (probably) Irish march tune usually known as “Bonaparte Crossing
the Alps” (though there is much confusion among the several ‘Bonaparte’
titles). Martin (Ceol na Fidhle), vol. 2, 1988; pg. 43. Flying
Fish FF 299, Battlefield Band ‑ "There's a Buzz" (1982).
BAULK, THE. AKA - "The Balk." English, American;
Country Dance Tune (4/4 time). USA, New England. G Minor. Standard tuning.
AABB. The melody appears in Johnson's Wright's
Collection (London, c. 1742), volume I, 49, and in Thompson's 200 Country Dances, volume II (London,
1765). Seattle (William Vickers),
1987, Part 2; No. 291. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2), 1765; No. 180.
X:180
T:Baulk, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Gmin
G2D4
=E^f|G4 B4|A2-F2f2c2|A4 c4|B2G2g2a2|^f4 d4|edcB ABcA|B2G2 G4:|
|:G3 B/c/ d3 B/c/|d2B2G2B2|F3 A/B/ c3A/B/|c2A2F2A2|G3 g/a/
b3a/g/|^f2g2a2^f2|d2g2 ^fgaf|g4 g4:||
BAULTHY OURA. AKA and see "Baltiorum,"
"Baltighoran [2]." Irish.
ABCD. A four-part variant of "Baltighoran" as printed by Bunting and
O'Neill, appearing in O'Farrell's Pocket
Companion, volume IV, pg. 108.
BAVANIA. AKA and see “The Rover Reformed.”
BAXTER’S BIG. AKA and see "The Fisherman's
Widow,” “The Friendly Neighbor,”
“The Rambling Pitchfork,” “St. Patricks Day in the Evening.”
BAXTER'S RANT. Scottish, Reel. The tune appears in
a MS inscribed "A Collection of the best Highland Reels written by David
Young, W.M. & Accomptant."
BAY AND THE GREY, THE. Irish, Jig and Air. G Major. Standard tuning.
AB. Joyce (Old Irish Folk Music and Songs),
1909; No. 146, pg. 74.
X:1
T:Bay and the Grey, The
M:6/8
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
GBd g3|agf g3|d2g fdc|B3A3|GBd
=f2|g=fe f3|d2g fdc|B3G3||
BGB ded/c/|BGB ded/c/|Bcd edc|B3
dcB|AFG cec|AFA cec|Bcd edc|B3G3||
BAY OF BANTRY, THE. AKA and see "The Gobby O."
BAY OF BISCAY O, THE. Irish, Air (4/4 time, "Quick and
spirited"). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 329, pg. 57.
X:1
T:Bay of Biscay O, The
M:C
L:1/8
R:Air
N:”Quick and spirited”
S:O’Neill – Music of Ireland (1903), No. 329
Z:AK/Fiddler’s Companion
K:D
A|Addf d2 Bc/d/|e>f a/g/f/e/ d2
cA|Addf a>f dd/e/|fdec d2||
d>c|BAGF E3 e|e>f g/f/e/d/
d{c/e/d/}c AB/c/|d2 Bc/d/ e2 de/f/|a/g/f/g/ fe d2 z||
BAY OF FUNDY. Canadian, Reel. D Major. Standard tuning. AABB. Composed by fiddler
Bill Guest, originally from Halifax, Nova Scotia, but a resident of
Goodlettsville, Tennessee, for many years prior to returning to Halifax. Guest
has composed a number of traditional sounding tunes and published several
collections of tune books of his and other famous fiddlers’ music. Guest, a
multi-instrumentalist, played piano for Canadian fiddle great Don Messar and
many other Canadian and Nashville musicians. The Bay of Fundy is located
between New Brunswick and Nova Scotia, and is the location of some of the most
dramatic tides in the world. Source for notated version: John Roberts
(Eng./Vt.) [Spandaro]. Fiddler Magazine, Summer 2008, vol. 15, No. 2;
pg. 49. Guest, A Hundred Favorite Fiddle
Tunes. Johnson, No. 1, 1991; pg. 5. Spandaro (10 Cents a Dance), 1980; pg. 15. Songer (Portland Collection), 1997; pg. 24. Audat
477-3002, Bill Guest – “50 Great Fiddle Hits” (c. 1970’s). Dorian Discovery
DIS-80103, Helicon - "Horizons" (1992). Rooster Records RSTR 117,
“Swallowtail.”
X:1
T:
C:Bill Guest
L:1/8
M:2/2
Q:420
K:D
fg |"D"a2 ab afdf |afbf a2
ef |"C"gfga ge=ce |geae g2 fg |
"D"a2 ab afdf |afbf a2 ef
|"A"gfeg "D"fedf |"A"ecAc "D"d2 :: cB |
"D"Adfd edfd
|"G"Bdgd Bdgd |"D"Adfd Adfd |"A"cAcd efec |
"D"Adfd edfd
|"G"Bdgd Bdgd |"D"fedf "A"edce |"D"d2
f2 d2 :|
BAY ROOSTER. See the related “Katy Hill [1].”
BAYHAM ABBEY. AKA and see “Duncan Davi(d)son,”
“The 1812 March,” “Gentle Ann,” “He is Long a Coming,” "Maggy's Weame Is Fu I Trow,"
“Welcome Here Again,” “Ye’ll Aye Be Welcome Here
Again." See note for “Ye’ll Aye be Welcome Back Again.”
BAYNE WATER. AKA and see "Boyne Water,"
"Praises of Limerick."
Old-Time, Breakdown. A Dorian. Standard tuning. AA'BB. An American version of
the famous Irish melody "Boyne Water." Source for notated version:
William Franklin George (W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 20.
BAYOU CHENE WALTZ. See "Valse de Bayou Chene."
BAYOU NOIR (Black Bayou). Cajun, Two-Step (4/4 time). USA, southwestern
Louisiana. A Major. Standard tuning. One part. Black Bayou is located west of
Hackberry, Louisiana, and empties into Sabine Lake. The original recording has
been credited to Lionel Cormier. Source for notated version: Felton LeJeune
(La.) [Francois]. Francois (Ye Yaille,
Chere!), 1990; pgs. 337-338. Bee Records BEE-104,
Felton LeJeune.
BAYOU POMPON. Cajun, Two-Step. USA, southwestern Louisiana. D Major. Standard tuning.
AAB(Vocal)ABB(Vocal)AAB(Vocal)A(Vocal)ABB(Vocal)AA. Angelas LeJeune, who
composed the song and recorded it in 1929, was one of the best Cajun musicians
and singers. There are many versions of this old song, according to Raymond
Francois (1990). Source for notated version: accordion player Angelas LeJeune
(La.) [Francois]. Francois (Ye Yaille,
Chere!), 1990; pgs. 36-38. Old Timey Records
OT-114, Angelas LeJeune.
BAYOU TECHE TWO-STEP. See "Jolie Catin [2]."
BAYOU TECHE WALTZ. See "Valse de Bayou Teche."
BB WALTZ. American, Waltz. B Flat Major ('A' part) & F Major ('B' part).
Standard tuning. AA'B. Source for notated version: transplanted French-Canadian
fiddler Omer Marcoux {1898-1982} (Concord, N.H.) learned this tune as the 1975
Festival of American Folklife in Washington D.C. from Georgia fiddler Jack Weed
[Miskoe & Paul]. Miskoe & Paul (Omer
Marcoux), 1994; pg. 53.
_______________________________
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