The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
BELL COW [1], THE. AKA and see "Captain Collins," "Bob Ridley [2]," "The Belling Tune," "Montrose's March," "Rock and the/a Wee Pickle Tow,"
"The Highlander's March,"
"O'Sullivan Mor(e's
March) [1]."
BELL COW [2], THE. AKA and see "The Squirrel Hunters," "Squirrel Hunting." USA, Pa. Bayard (1981) collected this tune from southwester Pa. fiddler James Taylor who stated this was the name for this tune around the town of Rogersville, Greene County, Pa., and who supplied this rhyme, sung with the tune:
***
I had a little dog, and Spotty was his name,
And he used to run the bell cow up and down the lane.
I fed her in the mush pot and milked her in the pail,
And away went the bell cow, stickin' up her tail.
BELL PIANO REEL, THE. Canadian, Reel.
BELL REEL, THE. Scottish, Reel. Composed by Scottish fiddler
Johnny Cunningham from the strathspey "Heather Bells." Green Linnet SIF 1059, "Relativity" (1985).
BELLA
X:1
T:Bella Union
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E
(BA) | GzAz F2(AF) | GBeg fece |
GzAz F2 (AF) | cedf ecBA | GzAz F2 (AF) |
GBeg fece | GzAz F2(AF) | cedf e2 ::
(de) | .f(BAB) .g(BAB) | .a.B.g.B .f(BAB) |
.f(BAB) .g(BAB) | .a.f.d.f .e2(de) |
.f(BAB) .g(BAB) | .a.B.g.B .f(BAB) | E(GB) e(eg) | {g}fedf e2 :|
BELLADRUM HOUSE (Taigh Bhelladrum). Scottish, Strathspey. D Major. Standard
tuning. One part (Hunter): AB (Hardie): AAB (Athole, Fraser, Kerr). Belladrum
House is near Kiltarlity,
X:1
T:Belladrum House
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
F|D/E/F F<B A>F F<B|A<F F>D E2 E<F|D/E/F F<B A>F F>G|F<A A>C D2D:|
f|d>Af>A g>Af>A|d<A f>d e2 e>f|d>Af>A g>Af>A|(3fga (3gfe (3dAF D>f|
d>fA>f
d<f A>f|d/e/f A>f e2 e>f|d>f (3efd (3cdB (3ABG|F<A A>C
D2D||
BELLADRUM'S STRATHSPEY. Scottish, Strathspey. E Minor. Standard. AAB (Glen): AABB (Williamson).
Belladrum, Gaelic for 'ford‑mouth‑ridge', is a small town in the
region called the Aird near Loch Ness in the Scottish Highlands. Captain Simon
Frazer of Knockie composed the tune and included it in his book Thirty Highland Airs and Strathspeys,
published in 1816. Williamson (1976) notes: "Nearly all the pieces in the
book are his. He published several books and researched and collected a large
number of
X:1
T:Belladrum
M:C
L:1/8
R:Strathspey
S:Glen Collection (1895)
Z:AK/Fiddler’s Companion
K:E Minor
B|E/E/E E>F G>A B<d|D/D/D
AD FDAF|E/E/E E>F G>ABG|B,EE>^D E2E:|
e/f/|g>e f<^d e<B
e2|~d>Bad FDAF|e>fed B^def|g>eB^d e2 Be/f/|
g <ef<d e<B e2|f<^c
d>A F>DAf|gdeB dGAB|G<E B,>^D E2E||
BELLAMIRA. English, Country Dance Tune (2/2 time). G Minor. Standard tuning. AAB.
Bellamira was the title of a play written by Sir Charles Sedley, produced in
X:1
T:Bellamira
M:C|
L:1/8
S:Playford – English Dancing Master, 7th Edition, 3rd
supplement (1689)
Z:AK/Fiddler’s Companion
K:Bb
G2D4 AB|G4 B4|A2F2f2c2|A4
c4|B2G2d2g2|^f4 d4|
(ed)(cB) (AB) c2|B4 G4::G3 B/c/ d3
B/c/|d2B2G2B2|A3 A/B/ c3 A/B/|
c2A2F2f2|d3 g/a/ b3 a/g/|a2g2^f3
=e/f/|g2a2 a3g|g4 d3 B/A/:|
BELLE BERGERE. French, Valse (3/4 time).
BELLE
BELLE CATHARINE [1], LA. AKA "Lady Belle Catherine." AKA and see "Come (Let Us) Dance and Sing,"
“Grandmother’s Polka,” "The Rising Sun [4]," "The Sons of
William," "Inkle and Yarico
[1]," "Shrewsbury Quarry,” “The 16th of October."
***
“La Belle Catharine” appears in
several British music manuscripts of the late 18th/early 19th
century, including
***
The following passage is from A Contribution to the History of the
Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher.
It describes a country dance in
***
Nothing can be imagined more simple or more fascinating that those
Pineville balls.
Bear in mind, reader, that we are discussing old Pineville as it existed
prior to 1836.
No love of display governed the preparations; no vain attempt to
outshine a com-
petitor in the world of fashion. Refreshments were provided of the
simplest character,
such only as the unusual exercise, and sitting beyond the usual hours of
repose, would
fairly warrant. Nothing to tempt the pampered appetite. Cards were
usually provided
to keep the elderly gentlemen quite, and the music was only that which
the gentlemen’s
servants could produce. The company assembled early. No one ever though
of
waiting until bedtime to dress for the ball; a country-dance always
commenced the
entertainment. The lady who stood at the head of the dancers was
entitled to call for
the figure, and the old airs, Ca Ira,
Moneymusk, Haste to the Wedding, and La
Belle
Catharine were popular and familiar in Pineville long
after they had been forgotten, as
dances, everywhere else. Ah, well do we remember with what an exulting
step would
the young man, who had secured the girl of his choice, exhibit his
powers of the poetry
of motion, when his partner called for the sentimental air of La Belle Catharine….
***
Source for notated version: The Entire New and Compleat Tutor for the
Violin by 18th century Italian violinist Geminiani (who lived in the
T:La Belle
Catharine
M:2/4
L:1/8
S:Riley’s Easy Flute Duets (c. early 19th
century)
N:Publisher Riley was originally a
composer, music engraver and
N:publisher who worked in
N:1814 to
Z:AK/Fiddler’s Companion
K:D
d2 f/e/d/e/
| fddc | B2 e/f/e/d/ | cAAA | d2 f/e/d/e/ | fddc | Be {d}cB/c/ |
d/A/f/A/ D2
| FA A/B/A/G/ | FA A/B/A/G/ | FA d/e/f/d/ | e/d/c/B/ A/G/F/E/ |
Fa a/b/a/g/
| f/g/a/b/ a/b/a/g/ | f/g/a/f/ g/f/e/d/ | c/A/c/e/ a/g/f/e/ | d2 f/e/d/e/ |
f/g/a/f/
d/e/f/d/ | B/^d/e/f/ g/a/b/=d/ | c/d/e/d/ c/A/B/c/ | d2 f/e/d/e/ |
f/g/a/g/
f/e/d/c/ | B/(b/a/)g (f/e/)d/c/ | d/A/F/A/ D2 || f2 a/g/f/g/ a/d’/a/f/ d/a/f/d/
|
B/^d/e/f/
g/a/g/f/ | e/a/e/c/ A/g/f/e/ | f2 a/g/f/g/ | a/d’/a/f/ d/a/f/d/ |
g/b/a/g/
f/e/d/c/ | dd d2 | d/A/d/e/ f/a/f/e/ | d/A/d/e/ f/g/a/f/ | g/f/e/d/ c/B/A/G/ |
F/A/d/e/
f/g/f/e/ | d/A/d/e/ f/g/f/e/ | f/g/a/f/ b/a/g/f/ | e/d/c/B/ A/g/f/e/ |
f2 a/g/f/g/
| a/d’/a/g/ f/a/f/d/ | etc.
X:2
T:La Belle
Cathrine
M:2/4
L:1/8
R:Country
Dance Tune
B:Gow – 2nd Collection of Niel Gow’s
Reels, 3rd ed., pg. 36
(orig. 1788)
Z:AK/Fiddler’s Companion
K:C
G|c2
(e/d/)c/d/|ec~cB|A2 (d/e/)d/c/|BG “tr”G2|c2 (e/d/)c/d/|eccB|Ad (c/B/)A/G/|
c2 C:||G/F/|EG”tr”G>F|EG
Gc/B/|AA (d/e/)d/c/|BG “tr”G>F|EG GA/B/|
ce/c/
Bd/B/|cc {f}ed/c/|[G,3D3B3g3] G|c2 (e/d/)c/d/|ec”tr”cB|A2 (d/e/)d/c/|
BG
“tr”G2|c2 (e/d/)c/d/|ec~c>B|Ad {c}BA/G/|”tr”c2 C||
BELLE CATHERINE [2], LA. AKA and see “Braes of Mar [1],”
“Joe’s Toes,” "Reel des Noces,"
"Reel de Pius Boudreau."
French-Canadian, Reel. A Major. Standard tuning. AABB (Songer). According to
Quebec musician Benoit Bourque, “La Belle Catherine” is a colloquial
French-Canadian term meaning an old maid, or an unmarried woman over the age of
25 (Songer). La Belle Catherine is also the name of a longways formation dance
that was popular in Québec, one of the ‘grandes danses’ of the region. The
dance itself may date from the 1700s and has
been attributed by Marius Barbeau to French origins, according to Anne Lederman
(Encyclopedia of Music in Canada,
1992). The tune, which can vary greatly from version to version, was in the repertoires of fiddlers Joseph
Bouchard and Louis "Pitou" Boudreault (
X:1
T:Belle Catherine, La
D:Nightingale, "The Coming Dawn"
S:Quebecois
R:reel
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
K:C
EGce d2 c2|EGce d2 c2|Bcde
fefg|ag^fg ec c z|
EGce d2 c2|EGce d2 c2|Bcde
fefg|ag^fg c2 z2:|:
eg-ge gagf|egeg a2 z2|g2 ^fg
bagf|ag^fg ec c z|
gggg gagf|egeg a2 z2|g2 ^fg
bagf|ag^fg c2 z2:|
BELLE
X:1
T:La
Belle Catherinette
M:4/4
L:1/8
K:D
FAdf
edd2|FAdfe2(3ded|cdef gfga|ba^ga fada|FAdf edd2|FAdfe2(3ded|
cdef
gf ga |1 bgecd2d2:||2 bgecd2de || faaa abag| fafab2aa | aa^ga c'ba^g |
ba^ga fad2|faa a abag|fafab2aa|aa^ga c'ba^g
|1 bagcd2de :||2 bagcd4 ||
BELLE C'EST ENDORMIR, LA. French. Green Linnet SIF‑3050
Blowzabella ‑ "Vanilla" (1990).
BELLE ELECTION. See "Belle of Lexington."
BELLE
BELLE ISLE'S MARCH. AKA – “Belisle March,” "Bellisle's March." AKA and see "Monk's March," "General Monk's March," “(Lewis) Proudlock’s Hornpipe,”
"The Review [2]." English, March
and Morris Dance Tune (cut or 4/4 time). G Major (Bacon): D Major (Keller).
Standard tuning. AABA (Bacon): AABB (Keller, Sumner). This very popular melody
was published by Playford (see note for “Monk’s March”). The morris dance
version was collected from the
X:1
T:Belle Isle’s March
M:4/4
L:1/8
S:Bacon – The Morris Ring
K:G
D | G2 G>B A2 A>c | B2 ge d3c
| BdBG AcAF | G2 G>G G2 :|
|| d>edc B2B2 | c>dcB A2A2 |
d>edc B2B2 | c>dcB A2 |
G2 G>B A2 A>c | B2 ge d3c |
BdBG AcAF | G2 G>G G2 ||
X:2
T:Belisle March, The
M:C
L:1/8
R:Reel
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
A2|d2 d>f e2e>g|f2 c’>b
{b}a3g|f2 (3afd e2 (3gec|d2d>d d2 :|
|:A2|a>bag f2f2|g>aff
{f}e4|a>ba>g f>gf>g|ab (ag/f/) {f}”tr”e3A|
z8|z2 d>d c2 c>e|d2 b>g
{g}”tr”f3e|d2(3Adf A2 (3ecA|F2 F>F F2 :|
BELLE
BELLE JARDINIERE, LA. French, Single Jig. From
BELLE LIEGEOISE, LA. French, Country Dance (2/4 time). G Major. Standard tuning. AABB. 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. 29.
X:1
T:Belle Liegeoise, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 29
Z:AK/Fiddler’s Companion
K:G
B/c/d {e}d2 | B/c/d {e}d2 | e/f/g fe | dcBG | B/c/d {e}d2 | B/c/d {e}d2 |
e/f/g fe | {e}d2 D2 :: f/g/a {b}a2 | A/B/c {d}c2 | BG ec | A2D2 |
f/g/a
{b}a2 | A/B/c c2 | BGcF | G2 G,2 :|
BELLE OF BOSTON. American, Reel. D Major. Standard tuning. AABB. Composed by E.
Christie, who was not the Edwin P. Christy of black-face minstrel fame. Rather,
E. (also Edwin?, but note the difference in spelling of the last name) was
apparently a minor composer of light music from the Boston, Massachusetts, area
in the mid-to-latter 19th century, although very little is known
about him. Several of his compositions appear in Ryan’s Mammoth Collection (1883), printed in Boston by Elias Howe’s
company. Cole (1000 Fiddle Tunes),
1940; pg. 42. Ryan’s Mammoth Collection,
1883; pg. 69.
X:1
T:Belle of
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/A/F/A/ d/f/a/A/ | (3B/c/B/G/B/
e/g/b/B/ | (3c/d/c/A/c/ e/g/c’/b/ | b/a/^g/a/ b/a/f/d/ |
(3A/B/A/F/A/ d/f/a/A/ | (3B/c/B/G/B/
e/g/b/B/ | (3c/d/c/(A/c/) e/b/a/c/ |1 dcB_B :|2 dfdz |:
(3b/c’/b/g/d/ B/d/g/b/ |
(3a/b/a/f/d/ A/d/f/a/ | (3g/a/g/e/c/ A/c/f/e/ | e/d/c/d/ f/a/d’/c’/ |
(3b/c’/b/g/d/ B/d/g/b/ |
(3a/b/a/f/d/ A/d/f/a/ | (3g/a/g/e/c/ A/c/f/e/ |1 dfga :|2 dcB_B ||
BELLE OF CLAREMONT
HORNPIPE. AKA and see "Dolly Brown." See "Wagoner [1]," "Tennessee Wagoner." American,
Hornpipe. C Major (Cole, Ford, Ryan): D Major (Kerr). Standard tuning. AABB
(Cole, Ford): AA'BB' (Kerr). The tune that R.P. Christeson believes "Wagoner"
is derived from. Bayard (1981) agrees, in part, but says both come from older
tunes. See my summary of Bayard's research under "Tennessee Wagoner."
***
The origins of the title are
unclear. If was assume an American provenance for the title, the most famous
‘Claremonts’ are Robert Fulton’s original steamship of that name (spelled
somewhat differently, The Clermont),
and the mansion it was named for, Claremont, New York, on the banks of the
river (the Hudson) that his steamship
plied. The mansion stood north of Grant’s Tomb and was built soon after the
American Revolution by one Michael Hogan, who had once been a fellow midshipman
with Prince William, King George III’s third son. Hogan entertained the Prince
at Claremont when the latter visited America. Later, when Joseph Bonaparte,
Napoleon’s elder brother, was in America after the Battle of Waterloo, he lived
at Claremont. Fulton’s steamship had its first trials on the river opposite the
mansion. An 1893 account entitled “Sunday in Greenwich Village” (see http://www.oldandsold.com/articles11/new-york-history-16.shtml) records that “Two of the company on Fulton’s
first steamboat voyage down the Hudson have but lately passed to the other side
of the sea of time. Dr. William Perry, who lived at Exeter, New Hampshire, and
who survived his ninety-eighth birthday, rode from Albany to Kingston on the
return trip of the steamboat, and had a vivid remembrance of the incidents of
that eventful voyage. He declared that the name of the boat was not the
Clermont, and has been generally accepted, but Katharine of Claremont, so
called in honor of Fulton’s wife, who was a daughter of Chancellor Livingston,
and her family, to whose liberality he owed the money to carry out his idea of
a vessel propelled by steam.” It is possible, then, that the ‘belle’ of the
title was Katharine.
***
Alternatively, there were
connections in Ryan’s Mammoth Collection
with mid-18th century musicians from around Claremont, New
Hampshire, from whom this title possibly derived. Michael McKernon has
uncovered through his researches a musical northern New England family named
Densmore who are credited in Ryan’s
with a couple of tunes. Michael identifies the Densmores from old accounts as
“probably O. Densmore from Chelsea, Vermont, who led a dance band in the 1840’s
and 1850’s, and/or a relative of C. Densmore, Claremont, New Hampshire, a
musician/band leader of the same era. Though I have no record of a T. Densmore
per se, the Messrs. Densmore’ from Chelsea (along with a Densmore [probably C.]
from Claremont), joined more than two dozen musicians who played at a
Musicians’ Annual Ball in Lebanon, New Hampshire, in 1847. O. Densmore was (at
least) once listed as playing the ‘clarionet’ (clarinet).” [Fiddle-L archives,
20 Feb, 2001). Although there is no date of publication for the Kerr’s Merry Melody collections, they were
published around the same time as Ryan’s Mammoth (1883) and share many of the
same tunes. It is hard to tell which was published first, although a review of
titles suggests Ryan’s was the earlier publication.
***
Cole (1000 Fiddle Tunes), 1940; pg. 106. Ford (Traditional Music in America), 1940; pg. 121 (appears as
"Dolly Brown"). Kerr (Merry
Melodies), vol. 2, c. 1880’s; No. 352, pg. 39. Ryan’s Mammoth Collection, 1883; pg. 142.
X:1
T:Belle of
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
C/C/C C/E/G/E/ | c/E/G/E/ c/E/G/E/ |
D/D/D D/F/A/F/ | d/F/A/F/ d/F/E/D/ | C/C/C C/E/G/E/ |
c/E/G/E/ c/E/G/E/ | D/f/e/f/
e/d/c/B/ | [Ec][Ec][Ec]z :: e/c/.c e/c/g/c/ | e/c/c/e/ .gd/c/ |
B/G/.G B/G/d/G/ | B/G/G/B/ d/f/e/d/
| e/c/.c e/c/g/c/ | e/c/c/e/ gG | A/a/g/f/ e/d/c/B/ | [Ec][Ec][Ec]z :|
BELLE INCONNUE, LA. French, Bouree a Deux Temps (2/4 time). E Dorian. Standard tuning.
AABB. Composed by J. Blanchard. Stevens (Massif
Central), 1987; No. 89.
BELLE OF LEXINGTON. AKA and see "Belle Election"
(John Patterson’s title), “The Hauling Home,”
"Kitty's Wedding [1],"
“Mrs. Smith’s Reel,” "Smith's Delight," "Smith's Reel." Old‑Time,
Breakdown. USA; western Virginia (Grayson and Carroll Counties). D Major.
Standard tuning. AABB. The tune, related to "Smith's Reel" and
apparently derived from the Irish hornpipe “Kitty’s Wedding,” was recorded by
legendary southwestern Virginia fiddler Emmett Lundy. Sources for
notated versions: Emmett Lundy (Galax, Va.) [Krassen]; Skip Gorman [Phillips];
Peter Boveng [Silberberg]. Krassen (Masters
of Old Time Fiddling), 1983; pg. 34. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 22.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 7. Rounder Records 0058, John Patterson ‑ "Old Originals,
Vol. 2" (1978. Also issued under Heritage 5).
X:1
T:Belles of
T:Belle of
M:2/4
L:1/8
K:D
(a2|:a) f/a/ b/a/f/d/|e/f/d/f/ e/d/B/d/|A/B/d/f/ e/a/f/d/|e(e e)(a|a)f/a/ b/a/f/d/|
d/f/d/f/ e/d/B/A/|f/e/d/d/ d/B/A/F/|[DA] [DA] [D2A2]:|
f/e/|:dB/d/ A/A/F/D/|E/D/F/E/ D/B,/(3G,/4B,/4B,/4|A,/B,/D/c/ B/A/D/F/|
[E/A/][Ae][A/e/] [Ae]f/e/|dB/d/ A/A/F/D/|E/D/F/E/ D/B,/(3G,/B,/B,/|
A,/B,/D/D/ d/B/A/F/|[DA][DA] (D2A2]:|
X:2
T:Belle
of
M:C|
L:1/8
S:Bruce Molsky, based on Emmett Lundy’s original
Z:AK/Fiddler’s Companion
K:D
fe | d2 Bd A2 [F2A2] | {E/F/}EDFE D B,2 B, | A,B,DF dBAc | B(e e)e egfe |
d2 Bd A2 [F2A2] | {E/F/}EDFE D B,2 B, | A,B, D2 dBAF | D3 D D2 :|
|: fg | a2 fa bafd | efdf edBd | AB d2 eafd | e2 e4 fg | a2 fa bafd |
efdf
edBA | fe d2 dBAF | D6 :|
BELLE OF THE BALL [1]. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 107. Ryan’s Mammoth Collection, 1883; pg.
143.
X:1
T:Belle of the Ball [1]
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
B/A/B/G/ c/B/c/A/ | B/g/f/e/
e/d/c/B/ | c/d/e/f/ g/b/g/e/ | c/B/A/G/ F/A/F/D/ |
B/A/B/G/ c/B/c/A/ | B/g/f/e/
e/d/c/B/ | A/a/f/d/ g/d/A/F/ | GGG z :|
|: d/e/d/B/ g/f/e/d/ | e/f/g/e/
a/g/f/e/ | d/g/b/a/ g/f/e/d/ | e/d/c/B/ A(B/c/) |
d/e/d/B/ g/f/e/d/ | e/^d/e/f/
g/f/g/a/ | b/g/e/c/ B/A/G/F/ | GGGz :|
BELL(E) OF THE BALL [2]. Irish, Highland Fling (cut time). A Major. Standard tuning. AABB. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.
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See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Belle of the Ball [2]
M:C|
L:1/8
R:Highland Fling
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:A
E|A2 c>A d2 B>G|A2 c>A e>cd>B|A2 c>A d2 B>G|A>cB>A G>EF>G|
A2 c>A d2 B>G|A>ce>c d>cB>g|a>ef>d e>cA>c|B>EF>G A2:|
|:e2|a2 a2 A>B (3cBA|a2 a2 Bc (3dcB|e>fe>c A>Bc>A|F>BB>A G<E E>e|
a2a2
A>B (3cBA|a2 a2 B>c (3dcB|e<a e>d c>BA>c|B>EF>G A2:|
BELLE OF THE KITCHEN
[1]. AKA and see “Kitty of Coleraine,” “New York Jig [3],” “Paddy’s Resource [1],” "The Rover [2].” Irish, Jig. G Major. Standard
tuning. AABB. Don Meade remarks the tune was printed by O’Neill as “Paddy’s
Resource,” although it is best known now as the “New York Jig.” It may be that
the “Belles of the Kitchen” title of this tune was in some way associated with
the comic play Belles of the Kitchen,
performed in the United States at the Union Square Theatre in 1873 by the Vokes Family, three sisters and one brother, who were
popular in pantomimes and burlesques in London during the late 1860’s and
throughout the 1870’s. The Vokes had been a theater family for generations, and
the celebrated Vokes siblings had been onstage since toddlerhood. The success
of the play spawned a number of “Belles of the Kitchen” titles in 1870’s popular
music, including a galop, polka, and a schottische. Cole (1000 Fiddle Tunes), 1940; pg. 72. Ryan’s Mammoth Collection, 1883; pg. 102.
X:1
T:Belle of the Kitchen [1]
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
GBG EDE | GBd (e2d) | gBB B2A | GEE
E2D | GBG EDE | GBd (e2d) |
gBB B2A | BGG G2z :: GBd GBd | GBd
ede | GBd efg | dcB AGA |
GBd efg | dcB AGA | BGD D2d | BGG
G2z :|