The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
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BE - BELI |
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] |
BE
CAREFUL, YOU'RE BREAKING MY HEART. AKA and see "Attention, C'est Mon
Coeur Qui Va Casser."
BE DOING AWA, MY
YEOMAN. English. England, Northumberland.
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes which he wrote c. 1800.
BE EASY, YOU ROGUE (Fan Go Socair A Roguire). AKA and see "Phelim O'Neill [1]," "Priest with the Collar,"
"Sheelah in Sorrow,"
“Stay easy you rogue, stay, stay” (Stad Erro Rogura Stad Stad),"Stop, You Rogue, Stop!" “Tá
an Coileach ag Fógairt an Lae.” Irish, Double or Single Jig. A Major. Standard.
AABB (O’Farrell): AABBCCDD (O’Neill). “Be Easy, You Rogue” is O’Neill’s ‘free
translation’ of the Irish title “Stadh a Rogaire Stadh!” O’Neill also remarks
that his version is a “florid setting of an old jig or march in four strains.
Its relationship to ‘The Priest with the Collar’ in the Petrie collections is
plainly evident.” See also the related double jig “Stagger the Buck.” O’Sullivan and
McCandless (2005) identify the melody as a version of “When the Cock Crows it is
Day [1].” Source for notated version: from the manuscript collection of
retired businessman and Irish music enthusiast John Gillan, collected from
musicians in his home county of Longford and the adjoining Leitrim [O’Neill].
O’Farrell (Pocket Companion, Vol. 1),
c. 1805; pg. 31 (appears as “Stad Erro Rogura Stad Stad”). O'Neill (O’Neill’s Irish Music), 1915/1987; No.
165, pg. 92. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1109, pg. 209. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 299, pg. 64. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (299)
Z:AK/Fiddler’s Companion
K:A
E|A<cA BAF|d3 d2z|A/B/cA BAF|B3 B2z|AcA
BAF|ded dfa|ecA BAF|A3 A2:|
|:c/d/|ecA ecA|d3 dfa|ecA ecA|B3
B2z|AcA BAF| DFA dfa|ecA BAF|A3 A2:|
|:d|cAA BFF|AEE dfa|ecA BAF|B2z
B2d|cA/B/c/A/ BG/A/B/G/|AE/F/G/E/ dfa|
ecA BAF|A3 A2:|
|:e|aga f/e/d/c/B/A/|ddd d2f|aga
f/e/d/c/B/A/|BBB B2f/g/|aga f/e/d/c/B/A/|
DFA dfa|ecA BAF|A3 A2:|
BE MERRY AND WISE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB.
Source for notated version: the 1770 music manuscript collection of
Northumbrian musician William Vickers, about whom, unfortunately, nothing is
known [Seattle]. Seattle (William Vickers),
1987, Part 2; No. 225.
X:1
T:Be Merry and Wise
M:C|
L:1/8
R:Reel
S:William Vickers music manuscript
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:D
D/E/F/G/ AD BDAD|FABd B2E2|D/E/F/G/
AD BDAD|cefg “tr”f2d2:|
|:g|fdeA fdeA|FABd B2E2|fdeA
fdeA|cefg”tr”f2d2:|
BE N-EIRINN I. AKA and see “Who’er She Be.”
BE OFF MACINTOSH! See "As, a Thoiseach."
BE QUICK FOR I AM IN
HASTE. English, Jig. England, Yorkshire. G
Major. Standard tuning. AABB. Source for notated version: a MS collection by
fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather &
Seattle]. Merryweather & Seattle (The
Fiddler of Helperby), 1994; No. 80, pg. 47.
BE WISE--BEWARE!. Irish, Air (4/4 time). A Dorian. Standard tuning. One part. Source for
notated version: “From J. Tighe Junior” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 854, pg.
213.
X:1
T:Be Wise—Beware!
M:C
L:1/8
S:Stanford/Petrie – Complete
Collection (854)
Z:AK/Fiddler’s Companion
K:A Dorian
cB | AB AG E2 DE | G2G2G2 cd | e2 dc
d2 ed | c4 E2 cd | e2 dc d2 ec |
AB AG E2 DE | G2G2 GBdB | c3A Bd cB
| AB AG EDE^G | A4 A2 ||
BEA MAYE'S REEL. Irish, Reel. Ireland, County Sligo. D Major. Standard tuning. AABB.
Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing
in Dublin, Ireland) [Flaherty]. Flaherty (Trip
to Sligo), 1990; pg. 25.
BEACH GLASS BABES.
Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranforad (Jerry Holland: The Second Collection), 2000; No.
222, pg. 83.
BEACHA SA CHRANN
SILÍNÍ, NA. AKA and see “Bees in the Cherry Tree.”
BEADLE OF GRUBB STREET, THE. AKA and see "Burghee's Hole."
BÉAL BOCHT, AN (The Poor Mouth). Irish, Reel. E Minor. Standard tuning. AABB.
An early composition by Falmouth, Massachusetts, musician and writer Bill
Black. Black (Music’s the Very Best Thing),
1996; No. 83, pg. 43.
X:1
T: An Béal Bocht
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Em
D | E3 B GFGA | BABd e2 ef | gefd efdB | AcBA GFED |
E3 B GFGA | BABd e2 ef | gbge fafd | ABGF E3 :|
e | eBBe gBBg | fddf a2 ga | b2 ge b2 ge | AcBA GE E2 |
eBBe
gBBg | fddf a2 ga | bagf egfe | AcBG E3 :|
BEALAC MOR GO LUIMNEAC, AN. AKA and see "The Highway to
Limerick."
BEALACH AR FAD GO
GAILLIMH, AN. AKA and see "All the Way to Galway [1]."
BEALLTAINE (May Day). AKA and see “Butchers of Bristol [2],” “Five Miles From Town [2]”
(Pa.), “Geary’s Hornpipe,” "Mullingar Races [2]," "May Day [2],” “Rover through the Bogs,” “Taylor’s (Hornpipe)." Irish,
Hornpipe. G Major. Standard tuning. AABB. One Pennsylvania version of this tune
is called "Five Miles Out of Town" ("Five Miles From Town")
though there are other tunes by this name as the title is a "floater."
Bealltaine (pronounced ‘Beltina’) is was a major holiday of the Celtic peoples,
and in the agrarian culture signalled the time when the cattle were driven from
the low pastures to the higher ones to graze. Source for notated version:
learned by Joyce from his father, presumably as a boy in the 1840's in
Limerick; though he also heard it in 1853 among the minoers at the head of
Glenmalure, county Wicklow, “where I found it was well known and a favourite
dancing tune” [Joyce]. Howe (1000 Jigs
and Reels), c. 1867; pg. 30. Joyce (Ancient
Irish Music), 1873/1890; No. 32, pg. 34.
X:1
T:Bealltaine
T:May Day
M:C
L:1/8
R:Hornpipe
S:Joyce – Ancient Irish Music (1873)
Z:AK/Fiddler’s Companion
K:G
defd dcBA | B2d2 cAGF | DGGA G2 :: (3def | g2 eg f2 ed | g2 eg f2 ed |
defg
abag | f2 dd dedc | B2 BG AF D2 | BdBG ABcA | defd cAGF | DGGA G2 :|
BEAMISH'S GOAT (Gabar Beamais). Irish, Reel. A Dorian. Standard tuning. AB.
Collected by O'Neill from Beamish himself who was from an adjoining parish from
the one Captain Francis O’Neill was from in County Cork. Despite this, and that
they were contemporaries in age, the two men learned substantially different
musical repertoires from their respective birthplaces (see O’Neill, Irish Folk Music). The tune is a
two-part version of the tune family that includes “The Jolly Tinker [2]” and the “Timpan Reel.” O’Neill corrected the version
he printed in 1850 for his later 1001 Gems collection. Source for notated
version: Abram Beamish, originally from County Cork [O’Neill]. O'Neill
(Krassen), 1976; pg. 120. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1332, pg. 244. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 589, pg. 108.
X:1
T:Beamish’s Goat
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
589
Z:AK/Fiddler’s Companion
K:A Dorian
dB|A2 AB GFGB|AGAB e2 dB|A2 AB GFGB|dBGB d2 dB|
A2 AB GFGB|AGAB cBcd|edef gfge|dBGB
A2||
Bd|e2 ef gfgf|edcd efgf|e2 ef
gfge|dBGB d2 Bd|e2 ef gfgf|
efge a2 ef|gaba gfef|gedB A2||
BEAN A TI AR LÁR. See "Bean an Tighe ar Lár.”
BEAN A’ TIGH FAOI CHLAIR (The Woman of the House in the Closed Coffin). AKA and see “Bean an Tighe ar Lar,” “The Woman of the House [1].”
BEAN a'LEANNA (Woman of the Glen). AKA and see "Woman of the Glen."
BEAN A BAIN DILLEARE. Irish, Air (6/8 time). F Major. Standard tuning. AABB. The first part
is similar to “Connaughtman’s
Rambles [1].” Stanford/Petrie (Complete
Collection), 1905; No. 1516, pg. 379.
BEAN AG BAINT DUILEASC. Irish, Jig. Ireland, County Donegal. The Gaelic word ‘duileasc’ is
given to an edible form of seaweed, harvested and sold in many western Irish
villages; the English words ‘dulse’ and ‘dilisk’ are derived from it. A version
of “Connaughtman’s Rambles
[1].”
BEAN AN BHAINNE. AKA and see "The Dairymaid [4],"
"The Milkmaid [3]."
BEAN(N) AN FHIR
RUAIDH. AKA
and see "The Red Haired
Man's Wife."
BEAN AN TABHAIRNE. AKA and see "The
Landlady of the Tavern."
BEAN AN TIGHE AR
LÁR [1] (Woman of the House). AKA and see “Bean
a’ Tigh Faoi Chlair” (The Woman of the House in the Closed Coffin).
"Woman of the House." Irish, Reel. Ireland, County Donegal. D Major.
Standard. AA'BBC. The 'A' part is the same as "Bummer's Reel." A popular reel in
County Donegal. Caoimhin Mac Aoidh (1994) relates that the the name “Bean a’
Tigh Faoi Chlair” was said by Francie Dearg O’Byrne to have come from the time
that Bidi a’ Mhuc Ros, a renowned lilter from Muckros Head near Kilcar,
Donegal, died and was waked in an open coffin in her cottage, as was the custom
in the county. Toward dawn the lid was placed on her coffin and at that instant
the door flew open and two fairy fiddlers came in to pay their respects. They
walked up to the coffin, produced their instruments, and proceeded to play the
reel now known as “The Woman of the House” enough times through so that the
musicians in attendance could pick it up, then they walked over to the
fireplace and were whisked up the chimney, never to be seen again. A litteral
translation of the Irish title translated might be “The Mistress on the Floor,”
however, ‘ar lar’ (on the ground) is also used to describe something missing or
omitted, rendering the title “The Woman of the House is Missing.” Sources for
notated versions: collected from brothers and fiddlers Micky and John Doherty (Stranorlar,
Co. Donegal, Ireland), although not on the same date [Breathnach]; Donegal
fiddler Tommy Peoples [Bulmer & Sharpley]. Breathnach (CRÉ II), 1976; No. 199, pg. 72. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No.
39 (appears as “Bean A'Tí Ar Lar”). Flaherty (Trip to Sligo), 1994; pg. 52(b) (appears as untitled reel). Shanache Records, Tommy Peoples (1976). De Danann –
“Selected Jigs” (1978). Altan – “Another Sky” (appears as part of first
song).
X:1
T:Bean an Ti ar Lar
M:4/4
L:1/8
S:Roaring Mary
R:reel
Z:Barney
K:D
dB|AG FE D2 FD|GD FE Dd cd|
AG FE D2 FD|E2 =cA BG EG|
AG FE D2 FD|GD FE Dd cd|
AG FE D2 FD|E2 =cA BG Ed||
cd ec A3 d|cd ec AG Ed|cd ec A3 F|GE
=cA BG Ed|
cd ec A3 d|cd ec AG Ed|cd eg f2
ec|AB cA Bd cB||
AG FE D2 FD|GD FE Dd cd|
AG FE D2 FD|E2 =cA BG EG|
AG FE D2 FD|GD FE Dd cd|
AG FE D2 FD|E2 =cA BG Ed|
cd ec A3 d|cd ec AG Ed|cd ec A3 F|GE
=cA BG Ed|
cd ec A3 d|cd ec AG Ed|cd eg f2
ec|AB cA Bd cB||
BEAN AN TI AR LAR [2]. AKA and see “Woman of the House [1].” Irish, Reel. G
Major. Standard. AABB. Source for notated version: piper Maitiu Mac
Tighearnain/Mathew MacTiernan (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 86, pg. 38.
BEAN CAINSEORACT, AN. AKA and see "The Scolding Wife
[1]."
BEAN-CEILE UI
MAOILEOIN. AKA and see "Malowney's/Maloney's Wife."
BEAN DEARMADAC, AN. AKA and see "The
Absent-Minded Woman."
BEAN DO BI
CEADNA/CEANA AGAM, AN. AKA and see "My Former Wife."
BEAN
DUBH A’ GHLEANNA [1], AN (The Dark Woman
of the Glen).
AKA and see “The Maiden,” “Moll Dubh a' Gleanna,” ”The Dark Maiden of the Valley”
Irish, Slow Air (3/4 time). Ireland, Connemara. G Major. Standard tuning. One
part. The Irish is pronounced ‘Ban dhuv an glanna’. It is one of the great love
songs and airs in the Irish repertoire and has been identified as a Connemara
melody, a variant of "Seamas Og
Pluincead" (Young James Plunkett). “The Maiden” and “The Dark Maiden
of the Valley” are simpler forms of the tune. O’Neill’s tune version is also
known as “The Death of Staker
Wallace [1]," also published by Roche in 1912. Source for notated
version: fiddler “Daniel Sullivan of Boston, a native of Millstreet, County
Cork,” via ‘the celebrated Irish piper’ Patrick Touhey [O’Neill]. Ó Canainn (Traditional Slow Airs of Ireland), 1995;
No. 96, pg. 82. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 6, pg. 2. CCE Néillidh Mulligan - "The Leitrim Thrush" (learned
from Seamus Ennis). Green Linnet SIF 1045, Joe Burke – “The Tailor’s Choice.”
X:1
T:Bean Dubh an Ghleanna
T:Dark Woman of the Glen
M:4/4
L:1/8
Q:70
S:Seamus Ennis
R:Air
Z:Paul Kinder
K:G
D|G>AB>c d>>B G3
B/2d/2|g4 a/2g/2e/2f/2 d3 c/2A/2 B4|!
G3 A/2B/2 cB A4 A/2G/2F/2A/2
G6:|(3def g4 (3feg a4|!
(3bba g4 (3aag f/2 d2 c/2A/2 B4|G3
B/2d/2 g4 (3efg a4|!
bc' b2 a2 g4|(3aag f/2 d2 c/2A/2
B>cAF G4|!
(3ABd|g4 a/2g/2e/2f/2 d4 c/2A/2 B4|!
G4 A/2B/2 cB A4|A/2G/2F/2A/2|G6||!
X:2
T:Bean Dubh an Ghleanna
T:Dark Woman of the Glen
M:4/4
L:1/8
Q:70
S:O’Neill – Music of Ireland (1903), No. 6
R:Air
Z:AK/Fiddler’s Companion
K:G
GE|D2 EF DE/4F/4G/4A/4|BGE
D/4E/4F/4G/4A/4B/4c/4d/4 e>f|g2 fg/a/ g>e|
(3fed (3edB (3dBA|B>G/2B/4 A2
B/4c/4B/4c/4B/4c/4B/>A/|G/4F/4E/4F/4G/>A/ G4|
d>B A/B/c/d/ e>f|g2 f/e/d/e/
f(3e/f/g/|a2 bg f2|e>d d2g2|
a/4g/4f/4g/4 e/4f/4e/4d/4
B/4A/4B/4d/4 e/4d/4e/4f/4 g/4f/4g/4a/4 b/4a/4g/4f/4|
g2 fg/a/ g>e|(3fed (3edB (3dBA|B2
(3GBA G2|G/4E/4D/4E/4F/4G/4A/4B/4 c/d/e/f g>a|
g2 fg/a/ g>e|(3fed (3edB (3dBA|B2
(3GED (3EGB|A4B/4c/4B/4c/4B/4c/4B>A|
G/4F/4E/4F/4G/>A/|G4||
BEAN DUBH A’ GHLEANNA [2], AN (The Dark Woman of the
Glen). Irish,
Air. The song is different than “An Bean Dubh a’ Ghleanna [1]."
BEAN GAEDEALAC. AKA and see "The Irishwoman,"
"The Irish Washerwoman."
BEAN IAIN AONGHAIS NIC
ARTAIR (Mrs. John Angus MacArthur's). Cape Breton, Strathspey. D
Mixolydian (A). AEae tuning. AABB'. Source for notated version: Mary (Beaton)
MacDonald (Cape Breton, Nova Scotia) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape
Breton), 1986; pg. 31. Rounder 7011, "The Beatons of Mabou" (Mabou is a
town in Cape Breton).
BEAN NA BAINNSE. AKA and see "The Bedding of
the Bride [1]."
BEAN NA LIONNA. AKA and see “The
Alewoman.
BEAN NAN GABHAR. See “The Woman with the goats.”
BEAN PHADRAIG UI
MHURCHU. AKA and see "Paddy Murphy's Wife [1].quot;
BEAN PLANTING. English, Morris Dance Tune (6/8 & 9/8 times). G Major. Standard
tuning. AAB. From the village of Stanton Harcourt in England's Cotswolds. Bacon
(The Morris Ring), 1974; pg. 295.
BEAN
SETTING [1].
English, Morris Dance Tune ('A' part ‑ 12/16, 'B' part‑ 6/8
and 9/8 [Bacon, Raven]). G Major. Standard tuning. AABB (Bacon, Raven): AB, x4
(Mallinson). From the area of Headington in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 175.
Karpeles & Schofield (A Selection of
100 English Folk Dance Airs), 1951; pg. 32‑33. Mallinson (Mally’s Cotswold Morris Book), vol. 2,
1988; No. 56, pg, 27. Raven (English
Country Dance Tunes), 1984; pg. 74. Carthage CGLP
4406, Hutchings et al. - "Morris On" (1983/1972).
X:1
T:Bean
Setting [1]
L:1/16
M:12/16
K:G
G3 G2A B3
B3|A2B cBA G2A B3|G3 G2A B3B3|A2B cBA G6:|
L:1/8
M:6/8
|:B>AG
B>AG|B<dd d2B|A>BA A2B|c2d e>dc|B>AG B<dB|
L:1/8
M:9/8
A>Bc def
g3:|
BEAN SETTING [2]. AKA ‑ "Bean Setters." English, Morris Dance Tune (6/8
time). G Major. Standard. AAB (Bacon): AABB (Raven): AABBBB, x2 (Mallinson).
Collected from the village of Brackley, Northamptonshire, England, where the
morris dance "was always preceded by the entry of the Fool with cow's
tail, bladders (for whacking other dancers), and tin containing stones which he
rattled 'to scare away the birds'" (Bacon, 1974). See also note for “Bryan O’Lynn” for a similar dance in Irish
tradition. Bacon (The Morris Ring), 1974;
pg. 101. Journal EFDSS, Dec. 1955. Mallinson (Mally’s Cotswold Morris Book), vol. 2, 1988; No. 40, pg. 20
(appears as "Bean Setters"). Raven (English Country Dance Tunes), 1984; pg. 78.
BEAN TINCREARA. AKA and see “Johnny Allen’s Reel.
BEAN TOWN BLUES. AKA and see "Bean Vine Blues."
Presumably a Bostonian variation of the title.
BEAN UASAL AN LOCA. AKA and see "The
Lady of the Lake.quot;
B(H)EAN UASAL AR
AN OILEAN, AN. Irish, Reel. B Minor/D Major. Standard. AB. Breathnach (CRÉ I), 1963; No. 188, pg. 73.
BEAN UASAL AR CUL AN
BAID. AKA and see "The Lady Behind the Boat."
BEAN UASAL MA'S TOIL
LEAT, A. AKA and see "Madam If You Please."
BEAN VINE BLUES. AKA and see "Bean Town Blues."
Old-Time, Country Rag. D Major. Standard. ABCC'. Source for notated version:
fiddler Ruthie Dornfeld [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 17.
BEAN WALKER'S MILE. Old-Time, Reel or Polka. C Major.
Standard. AA'AA'BB. Phillips notes the 'A' part is the same as "Dominion Reel." Source for notated
version: Lynn ‘Chirps’ Smith [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 18.
BEANN AN FHIR RUAIDH. AKA and see "The
Red Haired Man's Wife [2]."
BEANNACHT AGUS CEUD
LEIS. AKA and see "A Hundred and One Farewells
to Him."
BEANNACHT AN IMIRCIGH. AKA and see “The
Emigrant’s Farewell [2].”
BEANNACHT AN
MHOINSÍNEORA. AKA and see "The Monsignor's Blessing," "Captain Kelly's Reel."
BEANPHRIONSA
RIOGHAMHUIL. AKA and see "Princess Royal [1]."
BEANS. American. Composed by Boston
fiddler Frank Ferrel. Great Meadow Music 2018, Frank
Ferrel & Joe Derrane – “Fiddledance” (2004).
BEANS IN THE POT. Irish, Polka. C Major. Standard. ABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 198, pg. 105.
X:1
T: Beans in the Pot
C: © B. Black
Q: 300
R: polka
M: 4/4
L: 1/8
K: C
cGGB c>ded | cGcG ED D2 | cGGB c>def | g>ecA AG G2 |
cGGB c>ded | cGcG EDDB | cFGF EcAF | E>FGE DC C2 ||
e>cea
g>dgb | abag ed g2 | affe eddc | Bcde cB A2 :|
BEAR CREEK. AKA and see "Bear Creek's Up,"
"Sally Goodin'." Old‑Time,
Breakdown. USA; Missouri, Oklahoma. G Major. Standard tuning. AAB. There are
some interesting directions for yells and laughing in this obscure variation of
the well‑known "Sally Goodin,'" though musically it lacks the
melodic content of other versions. Thede's source, W.S. Collins, came from a
musical Oklahoma family, whose modern representative was the fiddler Earl
Collins, who recorded several albums. Source for notated version: W.S. Collins
(Potawatomie County, Oklahoma) [Thede].
Bear Creek is up, Bear Creek is muddy,
Can't get across to see my honey.
***
Bear Creek is up, Bear Creek is swimmin,'
Hell's filled up with Buffalo wimmin.
***
Ha, ha, ha, ha, ha, ha, ha, ha, (on one pitch)
Ha, ha, ha, ha, ha, ha, ha, ha.
Thede (The Fiddle Book), 1967; pg. 108. Yodel-Ay-Hee
008, One Eyed Dog - "Traditional Mountain Tunes" (1993).
BEAR CREEK HOP. Old‑Time, Texas;
Breakdown. USA, Texas. A Major. Standard or AEae tunings. AABB (Christeson):
ABB’ (Silberberg). The melody feature pizzicato E notes in both parts. Sources for
notated versions: Texas swing fiddler Junior Daugherty (Texas) [Christeson];
Dale Potter [Phillips]; Roger Cooper [Silberberg]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; pg. 7. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 20. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg.
7.
BEAR
CREEK SALLY GOODIN'. AKA – “Walls of Jericho [2].” Old‑Time, Breakdown.
USA, Ozark region. A Major. AEac# tuning. AA’BB’. This melody may be an amalgam
of several tunes, and even the title may represent a collision in tradition. As
the title suggests there is a resemblance to "Sally Goodin'" or
"Old Sally Goodin." A melody called "Bear Creek" or
"Bear Creek's Up" is found in areas of the South and Southwest (Bear
Creek place-names are relatively widespread). This traditional Ozark Mountain
region fiddle tune was recorded by folklorist/musicologist Vance Randolph in the
early 1940's for the Library of Congress. Ozark fiddler Bob Holt’s father used
to play this tune under the title “Walls of Jericho,” although that name is
usually attached to a different tune, although both melodies feature plucked
strings (it may be that the titles were simply confused by the elder Holt).
Hildred Smith, writing in a 1929 issue of Ozark Life mentioned that
“Bear Creek Sally Goodin’” was a famous Ozark dance tune (Randolph, Ozark
Folksongs, pg. 350). Beisswenger & McCann identify “Old Charlie Deckard,” “White River” and “Broken-Legged Chicken” as
similar tunes. Source for notated version: Bob Holt (1930-2004, Ava, Missouri)
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 60. Rounder CD –0435, Bob Holt –
“Traditional Fiddle Music of the Ozarks, vol. 1 (1999. Various artists).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
BEAR CREEK'S UP. AKA and see “Bear Creek,” "Sally Goodin'," "Give me Chaw of Tobacco."
Old‑Time, Breakdown. USA, Mississippi. G Major. Standard tuning. A
regional variant of the well‑known "Sally Goodin" (according to
Tom Carter & Gary Stanton) with similar lyrics to Thede's "Bear
Creek." This version goes:
***
Bear Creek's up and Bear Creek's muddy
When a man gets drunk he can't stand steady.
***
The source for the tune, W.E.
Claunch, also played "Sally Goodin,'" and for him it was a different
tune, played in a different key. A Bear Creek does flow through Tishomingo
County, Mississippi, into the Tennessee River, though it is likely, says Tom
Rankin, that the title derives from the lyrics, not the location. Mississippi Department of Archives and History AH‑002,
W.E. Claunch ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle
Music from Mississippi" (1985?).
BEAR IN THE BUCKWHEAT. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABCCD.
First part of the tune resembles that of "New
Christmas or the Bass Reel" in MacDonald's Skye Collection. Buddy MacMaster is reported (by Dunlay &
Greenberg) to have heard Gaelic words to the tune. Source for notated version:
Buddy MacMaster (Cape Breton, Nova Scotia) [Dunlay & Greenberg, Dunlay
& Reich]. Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pg. 96. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape
Breton), 1986; pg. 64. ACC-4968, Kinnon Beaton - “A
Sprig of Ivy” (1989). University College of Cape Breton UCCBP 1007, Donald
MacLellan‑ "Celtic Music of Cape Breton, Vol. I" (1985).
BEAR ISLAND REEL (Ríl Bhéara). AKA – “Beare Island Reel,” “Béara Reel,” “Bearhaven Lasses.” Irish, Reel. E Dorian. Standard
tuning. Composed by West Cork accordionist Finbar Dwyer, though it has
sometimes been credited to Paddy Fahy (and is sometimes thus called—as all are
Fahy compositions—“Paddy Fahy’s”). The tune is named for Beara Island, which
lies just off the coast of Castletownbere, connected to the mainland by ferry.
The island itself takes its name from the O'Sullivan‑Beara clan, ancient
masters of that part of the country until the late 1600's, when they were
routed in battle by the English. The mode shifts between dorian and mixolydian,
and accompaniment chords can start on an E major. Cló
Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001. Learned from his
father). Green Linnet, Kevin Burke – “Portland.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bear Island
L:1/8
M:C|
K:Edor
“E”EB^GB A^GEc|dBcA Beec|”D”d2fd
AFDF|GEFD EDB,A,|
“Cmaj7”B,EEF GFGA|BdAd (3Bcd
ef|”D”g2fg efge|1 dBAF “E”E2ED:|2 dBAF “D”E4||
|:”Em”Be~e2 “C”gefd|”D”(3Bcd AG
FDD2|”Em”Be~e2 “C”gefd|”Bm”(3efe df “Em”e2ef|
edBc “D”dBed|BcdB AFDF|”Cmaj7”GB~B2
“Bm7”AGFA|1 GEFD “Em”E4:|2 GEFD “Em”E2ED||
BEAR PEN HOLLOW. Old-Time, Breakdown. G Mixolydian. Standard tuning. AABB (an irregular
measure in each part). Source for notated version: Lynn ‘Chirps’ Smith
[Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 20.
BEAR RIVER JIG. Canadian, Jig. Canada, Prince Edward Island. D Major. Standard tuning.
AABB. Composed by Bear River, North-East Kings County, Prince Edward Island,
piano player Kevin Chaisson (b. 1950), named for the district in which he
resides. Source for notated version: Kevin Chaisson [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 132. Rounder CD 7014, Anastasia DesRoches –
“Fiddlers of Western Prince Edward Island” (1997).
BEAR WITH THE SORE HEAD, THE. Scottish, Jig. A modern tune composed by
traditional musician, collector, editor and teacher Nigel Gatherer (Crieff,
Perthshire).
X:1
T:The Bear With a Sore Head
C:Nigel Gatherer
N:for Bracha
M:6/8
L:1/8
K:Em
E>EE G2 B|AFD AFD|E>EE G2 B|e2 f edB|d2 e dBG|E>EE G2 B|A>FD E2:|]
e>ee gee|bee gee|f>dd AdA|FAF DEF|e>ee gee|bee gee|fdB AFA|BGE E3|
e>ee
gee|bee gee|f>dd AdA|FAF DEF|G>BB F>AA|E2 e g>fe|fdB AFA|BGE E3|]
BEARDANCE. German. The beardance was once a popular
entertainment throughout Europe.
X:1
T:Beardance
T:Bärentanz
N:an old (mediveal?) German dance
tune
S:Bernd Unstaedt
Z:Hauke Steinberg
M:4/4
L:1/16
Q:160
K:Em
EFG2 EFG2|F2D2D4|EFG2 EFG2|A4A2GA|
B2B2A2F2|G2G2F2D2|EFG2 F2D2|E4E4:||
B2G2EFGA|B2G2E4|D3EF2A2|d2d2B2A2|
B2G2EFGA|B2G2E4|EFG2 F2D2|E4E4:||
BEARDED FIDDLER, THE. Irish, Jig. D Major. Standard tuning. AABB.
Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988). Ed’s son Joe explains the title refers to a tramp fiddler named
Farley who sold wares throughout Monaghan and Cavan on fair days, with the help
of his daughter. “One day Farley played so beautifully that the daughter threw
her arms around him in a burst of spontaneous joy. Ed never forgot...” Reavy (The Collected Compositions of Ed Reavy),
No. 84, pg. 92.
X: 84
T:The Bearded Fiddler
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Farley was a great tramp fiddler who roamed through Monaghan and
N:Cavan on fair days. His daughter sold the family wares as he played
N:to the delight of their customers. Ed recalled one day that Farley
N:played so beautifully that the daughter threw her arms around him
N:in a burst of spontaneous joy. Ed never forgot the wholesome feelings
N:expressed there, nor did he fail to recognize the life-warming
N:secrets shared by those who love the music of Ireland.
K:D
A/2G/2 |FAd fAF | GBd gAG | FAd fAF | GEF GFE | FAd fAF | GBd gag | fed edc | d3 d2 :||
f/2/g/2
| afd Adf | gec Afg | afd AGF | G3 GAG | FAd fAF | GBd gag | fed edc | d3 d2
:||
BEARDLESS BOY, THE. AKA and see "The Dissipated Youth [1],"
"Kate Kearney,” “Kate Martin,” "The Big Bow Wow," "Ta an Coileach ag Fogairt an
Lae [2]," "Seanbhean Chrion an Drantain," "When the Cock Crows it is
Day [3]." Irish, Waltz or Air. The tune appears under this title in
Bunting’s Ancient Irish Music (1796).
Bunting later (1809) printed it as “The Dissipated Youth.”
BEARE ISLAND REEL. See “Ríl Bheara.”
BEARNA GAOITE (The Windy Gap). Irish, Reel. D Major. Standard tuning. AB. Roche Collection, 1982; vol. I, pg. 61,
#154.
BEARNA 'N AONAIG. AKA and see "Jug of Punch [2],"
"The Custom Gap." Irish, Reel. D
Dorian. Standard tuning. AB. Roche
Collection, 1982; vol. I, pg. 58, #146.
BEARNA NA GAOITHE (The Windy Gap). AKA and see "Ah Surely," "Killabeg's House." Irish, Reel. G
Major. Standard tuning. AABB. Breathnach (1963) says there is a setting of this
tune under the name “Killabeg’s House” in Irish
Folk Dance Music (185). Source for notated version: accordion player Sonny
Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 81, pg. 36.
BEARR AN VEILBHIT. AKA and see "Trim the
Velvet," "The Humours
of Flip," "Sally Kelly
[2]," "Kiss
the Maid Behind the Barrel(s)," "Kiss the Maid Behind the
Bar," "The Maid Behind the
Bar," "Green Garters [2],"
"Geehan's Reel," "The Grazier."
BEARSMOUTH COLLIERY
STRATHSPEY. English, Strathspey. England,
Northumberland. G Major. Standard tuning. AABB. Source for notated version: the
T. Carruther’s 20th century manuscript, in the Beamish Museum [Dixon].
Dixon (Remember Me), 1995; pg. 43.
BEASTIES IN THE SUGAR. Old-Time, Breakdown. A modern composition by Seattle, Washington,
fiddler Hank Bradley.
BEATON’S DELIGHT. Canadian, Reel. Canada, Cape
Breton. Composed by fiddler Donald Angus Beaton (1912-1982). Smithsonian Folkways Records, SFW CD 40507, The Beaton
Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004).
BEATON’S LAST. See “Cuir sa’ Chiste Mhoir
Mi,” “Put Me in the Big Chest.”
BEATON FAMILY
RECORDING, THE.
Canadian, Strathspey. Canada, Cape Breton. Composed by Cape Breton
fiddler Glenn Graham on the occasion of the 2004 recording by Burt Feintuch for
Smithsonian Folkways Records. Smithsonian Folkways
Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and
Piano Music” (2004).
BEATONS OF MABOU. Cape Breton, Reel. Arhoolie C‑334, Joe
Cormier ‑ "Masters of the Folk Violin" (1989).
BEATRICE. AKA and see "Reel Beatrice."
BEATRICE HILL'S THREE HANDED REEL. English, Reel. D Major. Standard tuning. AABB.
The tune is sourced to melodeon player Beatrice Hill, of Bromsberrow Heath,
Forest of Dean, Worcestershire, who recorded it in 1952 for collector Russell
Wortley. Hill’s father was the village publican and was ‘King’, or leader, of
the Bromsberrow Heath Morris Dancers. The tune was also in the repertoire of
East Anglia hammered dulcimer player Walter Geary (Norfolk) and harmonica
player Dennis Crowther (south Shropshire), and has even surfaced in folk
tradition in Australia, played by fiddler Charlie Bachelor as a schottische. It
is also known by the title “Late Kelly’s Wake” in Australia. Callaghan (Hardcore English), 2007; pg. 28. Raven (English Country Dance Tunes), 1984; pg.
157. EFDSS CD13, Old Swan Band – “Hardcore English”
(2007. Various artists). Music Club, “Traditional Morris Dance Music Album”
(1998. Various artists). Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship”
(2004). Grand Union Morris – “Can’t Get the Buggers Out” (1999).
X:1
T:Beatrice Hill’s Three Handed Reel
M:4/4
L:1/8
K:D
FG | B2A2 AFAd | c2 BA B2 ed | cdef
gece | edcB A2FG | B2A2 AFAd |
c2 BA B2 ed | cdef gece | e2d2d2 ::
A2 | B2 AF DF A2 | A2 GF G2 EF |
GFED C2E2 | G2F2F2A2 | B2 AF DF A2 |
A2G2G2EF | GFED C2E2 | E2D2D2 :|
BEATTIE'S FROLICS. AKA and see "The Humors
of Trim." Irish, Double Jig. This alternate title is given in O'Neill's 1001 Gems.
BEATTY WALLACE’S PIANO. Canadian, Jig. Canada, Cape Breton.
C Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer
Dan R. MacDonald (1911-1976). Cameron (Trip
to Windsor), 1994; pg. 51.
BEAU
STRATAGEM, THE. AKA – “The Beaux’ Stratagem.”
English, Country Dance Tune (2/2 time). A Minor. Standard tuning. AABB. The
French word 'beau' became a nickname for eighteenth century dandified men,
especially after a rage for English fashions swept the Continent. The tune was
printed in later editions of Playford. The
Beaux’ Strategem was a play by George Farquhar, published in 1707, that
presents a “terrible indictment on love and marriage” in a era when divorces
were difficult or impossible to gain, and in which women could be left
destitute because of property laws. The melody (as “Beaus Stratagem”) was
published in the 1718 and 1728 editions of John Young’s The Dancing Master (London). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 35.
BEAUFORT CASTLE. AKA ‑ "Caisteal Dùnaidh." Scottish, Reel and Air. A
Major. Standard tuning. AA'B (Fraser): AABB’ (Martin): AA'BB' (Kerr).
"Beaufort Castle, since General Fraser's death, in 1872, has not been the
scene of much festivity, though perfectly the reverse upon any occasion of his
residence there. Every memorial of so
estimable a public character should by preserved" (Fraser). There are
several famous Beaufort Castles, notably in Luxemourg and a Crusader fortress
in the Holy Land; the title, however, refers to a structure in Inverness,
Scotland, formerly in the hands of the Fraser family. The current Beaufort
Castle was built in the 1880’s and resembles a large and grand manor house.
Source for notated version: Hector MacAndrew
[Martin]. Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 103, pg.
39. Kerr (Merry Melodies), vol. 2;
No. 36, pg. 7. Martin (Traditional
Scottish Fiddling), 2002; pg. 123.
X:1
T:Beaufort Castle
T:Caisteal Dùnaidh
M:C
L:1/8
R:Reel and Air
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:A
C|A,CCE cAAc|BAGF ECCE|1 ACCE cAAe|eAEC (B,2 B,):|2 A,CCE cAeA|
cAEC (B,2 B,)||f|ecaf eccb|agaf eccf|ecaf eccb|agac B2 Bf|ecaf eccb|agaf efce|
cABG
AcBc|AFEC (B,2 B,)||
BEAULIEU. French‑Canadian, Reel. Beaulieu =
‘beautiful place’. Varrick VR‑038, Yankee
Ingenuity ‑ "Heatin' Up the Hall" (1989. Learned from the first
record of the band Eritage).
BEAUMONT RAG. Old‑Time, Bluegrass, Texas, Western Swing; Country Rag. USA,
Texas. F Major. Standard tuning. AB (Brody): ABBC (Phillips/1989): ABC
(Phillips/1995): ABCD (Silberberg): AA'BB'CC'D (Reiner). Named after the town
of Beaumont, Texas. “Beaumont Rag” was first recorded by Cleburne, Texas,
fiddler Samuel Morgan Peacock in 1929, under the name Smith’s Garage Fiddle
Band (Wolfe, 1997). Peacock was a barber by trade who died after collapsing on
the sidewalk in front of his barber shop in 1932. Sam ran a large, 12 seat,
barbershop in Corsicana, Texas, from around the turn of the 20th
century. The tune was popularized by Texas swing fiddler Bob Wills, though an
influential version was recorded by Terrell, Texas, fiddler Oscar
Harper--another barber. The parts are variable in length, some versions having
12 measures while others have sixteen. A fourth part is sometimes added to the
tune which features double-shuffle bowing. See the related “Bob Mitchell,”
"Oklahoma Rag," “Possum Rag” and "White River Stomp." Sources for
notated versions: Bill Driver (Missouri) and Red Williams (Texas) [Christeson];
Bill Boyd [Brody]; Vivian Williams (Seattle, Washington) [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 38. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 1), 1973; pg. 149. Phillips (Fiddlecase
Tunebook), 1989; pg. 4. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 18. Reiner (Anthology of Fiddle Styles), 1977; pg. 65. Silberberg (Tunes I
Learned at Tractor Tavern), 2002, pg. 6. County
202, "Eck Robertson: Famous Cowboy Fiddler." County 410, "East
Texas Serenaders ‑ 1927‑1936" (1977). County 517, Smith's
Garage Fiddle Band‑ "Texas Farewell." County 703, Vernon
Solomon‑ "Texas Hoedown." Folkways FTS31098, Ken Perlman ‑
"Clawhammer Banjo and Fingerstyle Guitar Solos." Gusto 104, Bob Wills‑
"30 Fiddler's Greatest Hits." June Appal 015, Plank Road String Band‑
"Vocal and Instrumental Blend." June Appal 030, Marion Sumner‑
"Road to Home." Omac‑1, Mark O'Conner‑ "A Texas Jam
Session." Omac‑2, Berline, Bush and O'Conner‑ "In
Concert." RCA AXM2 5503 (Bluebird Reissue), "Bill Boyd's Cowboy
Ramblers." Rounder 0117, "Blaine Sprouse." Rounder RO7023, Natalie MacMaster - “No
Boundaries” (1996). Vanguard VSD 45/46, Doc Watson‑ "The Essential
Doc Watson."
BEAUS OF ALBANY [1]. AKA ‑ "Beaux of
Albany." AKA and see "Billy/Billie in the Low
Ground [1]," "Belles
of Tipperary [1]," "Braes of Auchtertyre [1]."
BEAUS OF ALBANY [2]. AKA and see "Spitfire." New England, Reel. B
Flat Major. Standard tuning. AB. Burchenal also prints a dance of the same name
to the tune. Burchenal (American Country
Dances, vol. 1), 1917; pg. 32.
BEAUS OF ALBANY [3].
Old-time, Breakdown. Rounder CD 0529, Dwight
Lamb – “Hell Agin the Barn Door” (2005. Learned from Nebraska fiddler Uncle Bob
Walters).
BEAU’S RETREAT, THE.
English, “Old” or Triple Hornpipe (3/2 time). A Minor. Standard tuning.
AABB. The tune appears with longways dance instructions in John Young’s 1718
and 1728 editions of The Dancing Master
(London), and in Walsh’s Second Book of
the Compleat Country Dancing Master
(London, 1719). Barnes (English Country
Dance Tunes, vol. 2). 2005; pg. 8.
X:1
T:Beau’s Retreat, The
M:3/2
L:1/8
R:Triple Hornpipe
S:John Young – The Dancing Master (London, 1728, pg. 305)
Z:AK/Fiddler’s Companion
K:Amin
A4E2 c2B2A2|G2E4 D2C2B,2|A,2A4
B2cd2e2|e2A2c2 BA ^G2 E2|
A4E2 c2B2A2|G2E4
D2C2B,2|C2E2D2F2E2e2|^G2 E4 G2 A4:|
|:e4c2 g2f2e2|d2B2c2 BA G2E2|A2G2A2 B2c2d2|e2
dc BcdB c4|
e4c4f4|e4a4^g4|e4 A2 Bc dcBA|^G2E4
G2A4:|
BEAUTEOUS FAIR MOLLY. AKA and see "I Have a Wife
of My Own."
BEAUTIES OF IRELAND, THE (Ailne Na h-Eireann). Irish, Single or Double Jig (12/8
time). D Major. Standard tuning. AA'BB'. The melody also appears in the Alex
Sutherland manuscript of County Leitrim. O'Neill (O’Neill’s Irish Music), 1915; No. 210, pg. 112 (listed as a single
jig). O'Neill (Dance Music of Ireland:
1001 Gems), 1907/1986; No. 384, pg. 77 (listed as a single jig). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 980, pg. 182 (listed as a double jig). Drumlin Records, Brian McNamara – “A Piper’s Dream.”
X:1
T:Beauties of Ireland, The
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 384
Z:AK/Fiddler’s Companion
K:D
BEAUTIES OF THE
BALLROOM. AKA and see “The Lads of Leith [1].” Canadian, Jig.
Canada, Cape Breton. A Minor (Cranford/Holland): A Mixolydian/Dorian (Dunlay
& Greenberg). Standard tuning. AA’BB’CC’. Originally a Scottish tune called
“The Lads of Leith” set in G Minor in James Oswald’s c. 1747 The Caledonian Pocket Companion, remarks
editor Paul Stewart Cranford (1995), who says the A Minor setting was introduced
to Cape Breton repertoire by Little Jack MacDonald. Dunlay and Greenberg (1996)
find that in modern times the jig appeared in J. Scott
Skinner’s Beauties of the Ballroom
as the third figure of “Ettrick Vale Quadrille” with no name; on Cape Breton it
took its name from Skinner’s volume. The more demanding parts of Skinner’s
setting were omitted by Cape Breton fiddlers, but his fourth part became the
third part of the island settings, played an octave lower than Skinner’s.
Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay &
Greenberg]. Cranford (Jerry Holland’s),
1995; No. 209, pg. 60. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 108. BM-91, Buddy MacMaster - “Glencoe Hall.” Boot Records BOS
7231, Jerry Holland - “Master Cape Breton Fiddler” (1982). Marquis ERA-181,
David Greenberg - “Bach Meets Cape Breton”(1996. Appears as “The Lads of
Leith”).
BEAUTIFUL ARAGLIN (Gleanntan-araglin Aoiginn). Irish, Air (6/8). A Aeolian.
Standard tuning. AB. Roche Collection,
1982; vol. III, pg. 4, #13.
BEAUTIFUL BELLS. American, Waltz. Composed by George Cooper and originally published in
Boston by Oliver Ditson & Co., 277 Washington St., in 1870. Document DOC-8030-CD, The Leake County Revellers. Missouri
Old Time Fiddlers Association, Casey Jones (appears as “Unnamed Waltz”).
BEAUTIFUL GOLDFINCH, THE. Irish,
Waltz. G Major. Standard tuning. AABB. Composed by flute player Marcus Hernon
(Connemara), a seven-time All-Ireland champion on the instrument. Feenish Sound GLCD 1200, P.J. & Marcus Hernon – “The
Grouse in the Heather”
X:1
T:Beautiful Goldfinch, The
M:3/4
L:1/8
R:Waltz
C:Marcus Hernon
K:G
ge|d3B BA|B4 GE|D3E GA|B4 dB|A3G
AB|A3B dg|
e2d2B2|d3 g ge|d3B BA|B4 GE|D3 E
GA|B4 dB|
A3G AB|A3 B dg|e2d2 BA|G4::ga|b2 ba
ge|age g ge|
d2 dB AG|AB G2 ga|b2 ba ge|age g
ge|d2 dB AG|A3 B GE|
D4 BA|G4 GA|B3 d dg|e4 G2|A3G AB|A3B
dg|e2 d2 BA|G4:|
BEAUTIFUL GORTREE. AKA and see “Tommy
Peoples’ (Reel) [3].” Irish, Reel. E Major/Mixoydian. Standard tuning.
AA’BB’. Composed by Donegal fiddler Tommy Peoples.
X:1
T:Tommy Peoples'
T:Beautiful Gortree
M:4/4
L:1/8
C:Tommy Peoples
Z:transcribed by Ted Hastings
S:Alistair McCulloch (GFW)
R:reel
K:E
e‑c|BE (3EEE E2 F(B|~cB)GB
{f}g2 b‑g|f‑e(gf e)c‑Be|(~fgf)e c(BGF)|!
{D}E3‑F G‑FEG|(3BBB G‑B
g2 b‑g|f3‑e (gfe)c(|1 B)(GFG) E2:|2 B(GFG) E(e~fe)||!
{f}g ~f‑e b(e~ge)|e(f~fe)
ceBe|(~fgf)e b(e~ge)|(Bc‑c)(B‑ ‑Bc)e(f‑|‑fg)(~feb)(e~ge)|!
e(f~fe) ceBe|(~fgf)e cee(c|1 BG)FG
E(e~fe):|2 B‑GFG E2||
BEAUTIFUL
HEAD [OF HAIR] IS MY BROWN-HAIRED GIRL. AKA ‑ "Molly, You Have a Cunning
Smile," "Cul Aluinn Mo Chailin Donn." Irish, Air (2/4 time).
C Dorian. Standard tuning. AB. Joyce (Old
Irish Folk Music and Songs), 1909; No. 604, pgs. 312‑313.
BEAUTIFUL ISLAND, THE. Canadian, Pipe
March (6/8 time). A Mixolydian. Standard tuning. AA’BB’. Composed by piper
Barry W. Shears in honor of Cape Breton. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 38.
BEAUTIFUL LAKE AINSLIE. Canadian, Slow Air (3/4 time). Canada, Cape Breton. F Major. Standard
tuning. AAB. Composed by Cape Breton fiddler Elmer Briand. Cranford (Jerry Holland’s), 1995; No. 280, pg. 82.
Atlantica Music 02 77657 50222 26, Jerry Holland -
“Atlantic Fiddles” (1994). Fiddlesticks cass., Jerry Holland - “A Session with
Jerry Holland” (1990). Fiddlesticks Music CD1, Jerry Holland - “The
Fiddlesticks Collection” (1992). Green Linnett, Jerry Holland - “The
Fiddlesticks Collection” (1995).
BEAUTIFUL LIGHTS OF
BURLINGTON, THE.
American, Waltz. G Major. Standard tuning. AABB. Composed by Vermont
fiddler Pete Sutherland, referencing Burlington, Vermont. Sutherland (Bareface), 1984; pg. 17. Flying Fish FF-336, Pete Sutherland – “Poor Man’s Dream”
(1984).
BEAUTIFUL LITTLE VALE
OF ARAGLIN, THE (Glounthaun
Araglin Eeving).
Irish, Air (6/8 time). A Minor. Standard tuning. AB. "The Araglin is a
small river in the Co. Waterford flowing through a very pretty glen, the
subject of an Irish song to this air, of which I have a full copy: written by a
Waterford man living in England" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 92, pg. 48 (Joyce
includes one verse in both Gaelic and English).
X:1
T:Beautiful Little Vale of Araglin,
The
L:1/8
R:Air
M:6/8
N:”Moderate”
Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:A Minor
E|A2A AGA|c3 d2d|ede dcA|(G3
G2)E|A2A AGA|c3 d2d|ede d2c|A3 A2||
e|ged ceg|a3 g2 a/g/|eee dcA|(G3
G2)E|A2A AGA|c3 d2d|ede d2c|(A3 A2)||
BEAUTIFUL MARY. See “Mairi Bhoidheach.”
BEAUTIFUL MARY/MOLLY
McKEON. AKA – “The Dance by the Old Sally Tree.”
Irish, Air (6/8 time, "gaily"). Ireland, County Derry. A Major
(O’Neill): A Minor (Stanford/Petrie). Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 434, pg. 76. Stanford/Petrie (Complete Collection), 1905; No. 325, pg. 82.
X:1
T:Beautiful Mary McKeon
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 434
Z:AK/Fiddler’s Companion
K:A
c/B/|Ace edB|AAB cEA|GG/E/D C2D|E=cB
A2 ^c/B/|Ace edB|
AA/G/A/B/ cEA|GG/E/D C2 C/D/|EAA
A2||c/B/|A>cd eef|=gec d2 e/d/|
ccA dcB|AGE E2 c/d/|Eec dBG|AAB
cEA|GG/E/D C2 C/D/|EAA A2||
BEAUTIFUL OHIO. American, Waltz. C Major ('A' part) & A Minor ('B' part). In the
repertoire of Arizona fiddler Kenner C. Kartchner, who said "All the go in
1915. Likely dates to before that" (Shumway, 1990).
BEAUTIFUL POINT ACONI. Canadian, Slow Air (6/8 time). Canada, Cape Breton. E Major. Standard tuning.
AABB. Composed by Scottish-style fiddler Lauchie Stubbert (1926-88), uncle of
Brenda Stubbert. Source for notated version: fiddler Brenda Stubbert (b. 1959,
Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 63, pg. 23
(arranged by Kyle MacNeil of the Barra MacNeills).
BEAUTIFUL SWANEE RIVER
HORNPIPE. American (originally), Canadian;
Hornpipe. Canada; Prince Edward Island, Cape Breton. G Major. Standard tuning.
AABB (Cole): AA'BB' (Kerr). Composition credited to Harry Carleton in Ryan’s Mammoth Collection (1883).
Apparently, the tune was picked up by the Scot Kerr from Ryan’s Mammoth Collection (the progenitor of Coles 1000), and from either source was picked up by Prince Edward
Island fiddler MacDonald. Sources for notated versions: Francis MacDonald, b.
1940 (Morell Rear, North-East Kings County, Prince Edward Island) [Perlman];
Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 107.
Cranford (Winston Fitzgerald), 1997;
No. 52, pg. 20. Kerr (Merry Melodies),
Vol. 2; No. 362, pg. 40. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 60. Ryan’s Mammoth Collection, 1883; pg. 144. WMT002,
Wendy MacIsaac – “That’s What You Get” (1998?).
X:1
T:Beautiful Swanee River
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/ | GG/D/ B,/D/G/A/ | BB/G/
D/G/B/d/ | e(e/f/) g/e/d/B/ | e/d/B/G/ A/G/E/F/ | GG/D/ B,/D/G/A/ |
BB/G/ D/G/B/d/ | e(e/f/) g/e/d/c/ |
B/A/G/F/ G :: d/c/ | B/G/B/d/ B/G/B/d/ | c/A/c/e/ c/A/c/e/ | d/B/d/g/ a/g/d/B/
|
f/e/c/A/ F/D/d/c/ | B/G/B/d/
B/G/B/d/ | c/A/c/e/ c/A/c/e/ | d/g/b/a/ g/f/e/f/ | g{a}g/f/ g :|
BEAUTIFUL WALTZ. English, Waltz. A Major. Standard tuning. AABBCC. Source for notated
version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby,
Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 89,
pg. 51.
BEAUTY, CHARMING, FAIR
AND YOUNG (Ribhinn àlainn
eibhinn og).
Scottish, Slow Air (4/4 time). D Major. Standard tuning. AB. This tune "is
the air of Robert Donn, the Sutherland's poet's song, to Miss Sally Grant, and
is in his printed volumes of Gaelic songs and poems; the air is given as sung
by the editor's father" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 170, pg. 69.
X:1
T:Beauty, charming, fair and young
T:Ribhinn àlainn eibhinn og
M:C
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Bmin
d2 (cd) (fe)dc|f2B2^A2 GF|E2E2F2^A2|B2 B^A [D4B4]|d2 (cd) fedc|
f2B2^A2 (GF)|E2E2F2^A2|B2 B^A [D4B4]||d2dd e2ee|f2 f^e f2F2|
(Fd)(cd) (fe)dc|f2B2^A2^GF|f>edf e>dce|f2B2^A2 (GF)|E2E2F2^A2| B2 B^A [D4B4]||
BEAUTY IN TEARS. Irish, Air (3/4 time). D Major. Standard tuning. AAB. Attributed by
O’Neill to harper Turlough O'Carolan (1670-1738). O'Neill (Krassen), 1976; pg.
230. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 635, pg. 113.
X:1
T:Beauty in Tears
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 635
Z:AK/Fiddler’s Companion
K:D
A2 | d2f2a2 | f2d2B2 | efgfed |
fedcBA | d2 fdec | d2B2G2 | A2B2c2 | d6 :|
|| d2e2a2 | d’2a2f2 | edefga |
b2g2e2 | dcdefg | a2 gfed | e2a2^g2 | a4f2 |
f2e2B2 | B2c2d2 | efgfed | fedcBA |
d2 fdec | d2B2G2 | A2B2c2 | d4 ||
BEAUTY OF THE NORTH, THE (Mais' An Taobh Tuath). Scottish, Slow Strathepey. E Flat
Major. Standard tuning. AB (Hardie): AAB (Athole, Fraser, Hunter, Martin,
Skye). The melody, composed by Captain Simon Fraser, first appeared in his
collection published about 1816, also known as the "Fraser Knockie"
collection. It was a great favorite of Scottish violinist James F. Dickie
(1886-1983) of New Deer, Buchan, renowned for his skill at slow strathspey
playing. Christine Martin (2002) remarks it is often used as a showcase tune
among modern Scottish fiddlers. Source for notated version: Hector MacAndrew
[Martin]. Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 181, pg.
74. Hardie (Caledonian Companion),
1986; pg. 45. Henderson (Flowers of
Scottish Melody), 1935. Hunter (Fiddle
Music of Scotland), 1988; No. 179. MacDonald (The Skye Collection), 1887; pg. 195. Martin (Traditional Scottish Fiddling), 2002; pg. 140. Stewart-Robertson
(The Athole Collection), 1884; pg.
267. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird”
(1996). Olympic 6151, Angus Cameron ‑ "Scottish Traditional Fiddle
Music" (1978).
X:1
T:Beauty of the North, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Eb
E|G,<E E>F G>A B<c|C<C F>E D<B, ~B,2|G,<E E>F G>A B<g| f>d e/d/c/B/ e2e:|
g|e>g B<g e<g b>g|a>gf>e d<BB<g|e<g B>g e/f/g/a/ b<g|a>f e/d/c/B/ e2 e>f|
g<eB<G
e<BG<E|A>GF>E D<B, ~B,2|G,<EE<A G<eB<g|f>d
e/d/c/B/ e2e||
BEAUTY SPOT, THE (An Ball Seirce). AKA and see “Colonel Taylor’s,” “Johnny Gorman’s.” Irish, Reel. D
Mixolydian (Breathnach, Feldman & O’Doherty): D Dorian (Mulvihill).
Standard tuning. AB (Breathnach, Mulvihill): AA’B (Feldman & O’Doherty).
The tune was recorded by piper Bernard Delaney on cylinder recordings for
Edison. Delaney was the brother-in-law of Captain Francis O’Neill, and O’Neill
found him a job on the Chicago police force. O’Neill was critical of Delaney,
however, not for his piping ability, which he respected, but for his
miserliness with tunes which O’Neill feared would by lost when Delaney died. A
version, called “Johnny Gorman’s,” honors a professional uilleann piper and
fiddler from County Roscommon. Gorman, or Jack the Piper as he was
known, was from Derrylahon, and became an itinerant musician who roamed the
counties of Mayo, Sligo, Roscommon and Leitrim, playing and teaching until his
tragic death outside Drumshanbo, Co. Leitrim in 1917. Gorman was also an
influence on the great Sligo fiddler Michael Coleman, who incorporated the
piper’s ornamentation into his own fiddle playing. The tune was recorded on a 78 RPM by Dublin
piper William N. Andrews in 1930. See also the related “Last Night’s Joy” and “The Tailor’s Thimble [3].” Sources for
notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; L. Donnelly
[Mulvihill]; fiddler Simon Doherty (County Donegal) [Feldman & O’Doherty].
Breathnach (CRÉ I), 1963; No. 135,
pg. 54. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 105 (appears as “Untitled Reel”). Mulvihill (1st Collection), 1986; No.
152, pg. 41. Piping Pig Productions PPPCD001, Jimmy
O’Brien-Moran – “Seán Reid’s Favourite” (1996).
X:1
T:The Beauty Spot
R:Reel
Z:Adrian Scahill
M:4/4
L:1/8
K:G
A2GB A2dB|c3G EFGB|A2GB A2dB|c3G EDEG|\ A2GB A2dB|c3G EFGB|
A3c B3d|c3G EDD2||\ edd2 ed(3Bcd|edd2 egg2|edd2 edcB|ABcd edd2|\
e2dg ed(3Bcd|edd2 egg2|afge fded|ABcd edd2||
BEAUX... See also "Beaus..."
BEAUX ARTS, LES. English, Quadrille Set. C Major. Standard
tuning. AB. The second part of a quadrille set, in 2/4 time. See entries for
individual tunes in the set: “The Commerce,”
“(Les) Beaux Arts,” “(Le) Industrie,” “(Le) Union,” and “Manchester Quadrille, Part 5.”
Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a
musician from Lancashire, England [Plain Brown]. Plain Brown Tune
Book, 1997; pg. 51.
X:1
T:Manchester Quadrille p2 Les Beaux Arts
C:Ellis Knowles
A:Lancashire
B:Plain Brown Tune Book
M:2/4
L:1/16
Q:100
N:Posted to Tradtunes 01/01/03 by Tony Doyle
K:C
c3d dcBA | G6 cB | A2Bc G2ed | c4 B2g2 | \
G2e2d2c2 | G6 cB | A2Bc G2AB | c2e2c2 z2 ||!
g3e Bege | f4 d2f2 | eceg eceg | d2G2G2 z2 | \
g3e Bege | f4 d2f2 | egfe dfed | c2e2c2 z2 ||
BEAUX OF ALBANY. See "Beaus of Albany."
BEAUX OF LONDON CITY
[1]. (AKA ‑
"Shooting"?) English, Morris Dance Tune (9/8 time). F Major (Bacon,
Raven): G Major (Mallinson). Standard tuning. AABB (Bacon, Raven): AABBB, x6
(Mallinson). From the Adderbury area of England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 7. EFDSSS
News, 1950; pg. 74. Mallinson (Mally’s
Cotswold Morris Book), vol. 2, 1988; No. 7, pg. 5. Raven (English Country Dance Tunes), 1984; pg.
78.
X:1
T:Beaux of London City [1]
M:9/8
L:1/8
K:F
C|F>FF A>GF A<cC|F2F A2G
F2C|F>FF A>GF A<cC|F>CF A2G F2:|
|:z|c2B AGF Ac2|G2F G2A B3|c2B AGF
A<cC|F>CF A2G F2:|
BEAUX OF LONDON CITY
[2].
English, Morris Dance Tune (irregular rhythm). A Major (Bacon): G Major
(Mallinson). Standard tuning. AABB, x5. From the Badby area of England's
Cotswolds. Bacon (The Morris Ring),
1974; pg. 30. Mallinson (Mally’s Cotswold
Morris Book), vol. 2, 1988; No. 46, pg. 23.
BEAUX OF OAK HILL [1]. AKA ‑ "Beaux of Oak Hall." AKA and see "The Boys of Bluehill," “Boys of North Tyne,” "Silver Lake [4]" (Pa.), "Jennie Baker," "The Two Sisters [1]." English,
Scottish, American; Hornpipe (usually) or Reel. D Major. Standard tuning. AABB
(Cole, Kennedy, Jarman, O'Neill): AA'BB (Kerr). The tune appears as "The
Two Sisters" in George P. Knauff's Virginia
Reels, volume I (1839), though it usually appears as "Beaux of Oak
Hill" in mid-nineteenth century collections. Paul Tyler finds a tune
called the “Bows of Oak Hill”
mentioned in an old issue of the Dallas Morning News as having been played
by Col. William Hopkins of Kansas City on WFAA-Dallas on Dec. 1, 1922. Cole (1000 Fiddle Tunes), 1940; pg. 28 (reel setting). Jarman (Old Time Fiddlin' Tunes); No. or pg. 28.
Kennedy (Fiddlers Tune Book), vol. 1,
1951; No. 14, pg. 7 (Hornpipe). Kerr (Merry
Melodies), vol. 2; No. 328, pg. 36. Kerr (Caledonian Collection). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; pg. 316 (as "Boys
of Bluehill"). O'Neill (Krassen); pg. 197 (as "Boys of
Bluehill"). Ryan’s Mammoth
Collection, 1883; pg. 52.
X:1
T:Beaux of
Oak Hill [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s
Mammoth Collection (1883)
Z:AK/Fiddler’s
Companion
K:D
(d/B/) |
A/F/D/F/ .A(d/c/) | B/A/B/d/ .e(d/e/) | f/g/f/e/ f/g/f/e/ | d/e/f/d/ .B(d/B/) |
A/F/D/F/ .A(d/c/)
| B/A/B/d/ .e(d/e/) | f/g/f/e/ d/f/a/g/ | fdd :: (f/g/) | a/f/d/f/ ag/f/ |
g/f/g/a/
ba/g/ | f/g/a/f/ d/f/g/f/ | g/e/f/d/ Bd/B/ | A/F/D/F/ Ad/B/ | B/A/B/d/ ed/e/ |
f/g/f/e/
d/f/a/g/ | fdd :|
BEAUX OF OAK HILL [2]. AKA and see "Lonesome Katy."
Old‑Time, Breakdown. USA. Christeson's "Breakdown #109" (1973,
pg. 74) is taken from this tune, and is a distanced version of the “Beaux of
Oak Hill [1],” “Boys of Bluehill” melody. This was perhaps the tune that Vance
Randolph recorded in a list of traditional Ozark Mountain fiddle tunes compiled
in 1954.
BEAVER, THE. English, Jig. A Major. Standard
tuning. AABB. Could refer to a hat. Prior to Charles and Samuel Thompson’s
publication, the melody appeared in John Hinton’s Universal Magazine of
Knowledge and Pleasure (London, 1758). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 16.
X:1
T:Beaver, The
M:6/8
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:A
aed
cBA|aed cBA|aed cBA|GAB B3|aed cBA|aed cBA|dcB cBA|EFG A3:|
|:Ace ecA|Bdf fdB|Ace ecA|eac B3|Ace ecA|Bdf fdB|agf edc|dcB A3:||
BEAVER CREEK. American, Breakdown.
USA, Arizona. G Major. Standard tuning. AB. Ruth (Pioneer Western Folk Tunes),
1948; No. 50, pg. 19.
X:1
T:Beaver
Creek
L:1/8
M:2/4
S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s
Companion
N:”Arranged to fit call ‘Take a Peek’”.
K:G
(3D/E/F/|GGGG|EED>D|GG G/G/G/G/|BB A(3D/E/F/|
GGGG|EED>D|GG G/G/G/G/|BA G2||Bdd<d|Bd d2|
[Ec][Ec][Ec][Ec] [GB][GB][GB][GB]|A>(A/B/) A/F/E/D/|
GGGG|EED>D|GG [B,G][B,G][B,G][B,G]|AB G2:|
BEAVER VALLEY
BREAKDOWN. AKA and see “Chinese Breakdown.” Old-Time,
Breakdown. C Major. Standard. AA’BB’. The tune was originally recorded on
Champion (Gennett) 16269 (78 RPM) by Lonesome Luke and his Farm Hands
(sometimes Boys), a Kentucky string band. Source for notated version: Greg
Canote [Silberberg]. Silberberg (93
Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 5. Rounder 1037, Lonesome Luke and his Farm Hands/Boys –
“Kentucky Country: Old Time Music from Kentucky” (1983. Reissue).
BEBE CREOLE (Creole Baby). Cajun,
Waltz. USA, southwestern Louisiana. C Major. Standard. A(Vocal A)A(Vocal
B)B(Vocal A)A(Vocal B)B(Vocal A)A. Raymond Francois explains that the term
Creole refers to having origins in the French part of Louisiana. He notes the
term has shifted meaning along racial lines only in modern times, with blacks
from the region now referring to themselves as Creole while whites call
themselves Cajun (formerly a derogatory term). A related song is "C'est Pas la Peine Tu
Brailles." Source for notated version: Dennis McGee (La.) [Francois].
Francois (Yé Yaille, Chère!), 1990;
pgs. 43-46. Old Timey Records OT-108, Dennis McGee.
BECAUSE. See "Just Because."
BECAUSE HE/I WAS A
BONNIE/BONNY LAD (she bid him aye come
back). AKA and See "Boney (Bonny) Lad(s)," "Jack's Favourwright (Favorite) [2]."
Scottish, Shetland, English, Cape Breton; Country Dance (cut time) or Reel. G
Major (Aird, Cole, Raven): A Major (Athole, Gow, Hunter, Kerr, Skinner, Skye).
Standard tuning. AB (Cole, Hunter, McGlashan): AAB (Aird, Athole, Gow, Kerr,
Skinner, Skye): AABB (Bremner, Raven, Thompson). A popular country dance dating
back to at least 1752, according to Alburger (1983), when fiddler and dancing
master John McGill of Girvan wrote down the instructions for his pupils. Glen
finds its earliest appearance in print in Bremner's
1757 collection (pg. 14), in which year it also appeared in London publishers
Charles and Samuel Thompson’s first country dance collection (London). The tune
appears, however, in the somewhat earlier Drummond
Castle Manuscript, which is inscribed "A Collection of Country Dances
written for the use of his Grace the Duke of Perth by Dav. Young, 1734."
This was Young's MS was in the possession of the Earl of Ancaster at Drummond
Castle in the early 1970's, and hence its present‑day title. Nearly
simultaneously, the melody was printed in London by John Walsh in his Third
Book of the Compleat Country Dancing Master (1735). John Oswald included it in his Caledonian
Pocket Companion (London, 1760). It retained its popularity through that
century and into the next, for the title appears in Henry Robson's list of
popular Northumbrian song and dance tunes, which he wrote c. 1800./ The tune,
attached to an alternate 'B' parts, turns up in southwestern Pa. as 1) a fife
tune (4/4 time) in the repertory of Hiram Horner (1944) who had the tune from a
Scots fifer, and known simply as "Old Bagpipe Air" [Bayard, 1981; No.
252, pg. 216], and 2) as a jig called "Nancy Fat" played by fifers in
Greene County, Pa., and by one "crippled Jack Anderson" in particular
[Bayard, 1981; No. 566, pg. 503]. Source for notated version: copied from James
Aird’s Selection of Scotch, English, Irish
and Foreign Airs (1882-97) [O’Neill]. Aird
(Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1782; No. 122, pg. 45. Bremner (A Collection of Scots Reels), 1757; pg.
14. Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pg.
155. Cole (1000 Fiddle Tunes), 1940;
pg. 46. Gow (Complete Collection),
Part 1, 1799; pg. 23. Hunter (Fiddle
Music of Scotland), 1988; No. 118. Kerr (Merry Melodies), vol. 2; No. 10, pg. 4. MacDonald (The Skye Collection), 1887; pg. 9. McGlashan (A Collection of Reels), 1786; pg. 44. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 225. Raven (English Country Dance Tunes), 1984; pg. 183. Skinner (Harp & Claymore), 1904; pg. 92.
Stewart-Robertson (The Athole Collection),
1884; pg. 13. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 169. Rounder 7011, "The Beatons of Mabou: Scottish
Violin Music from Cape Breton" (1978). Smithsonian Folkways Records, SFW
CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music”
(2004).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Because He Was a Bonny Lad
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
e|c>BA>a (f/g/a (ec|d>fe>c B/B/B ~B>e|c>BA>a (f/g/a (e>c|dfec A/A/A A:|
e|cBAc defd|cAec B/B/B (Bd|cBAc defg|agac A/A/A (Ae|cAeA fA eA|
cAec B/B/B (Bg|afge efec|dfec A/A/A A||
X:2
T:Because He Was a Bonny Lad
L:1/8
M:C
S: Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
d|B>Agg e/f/g d>B|c>edB cAAc|B>Agg e/f/g d>B|c>edc BGG:|
|:d|BGdG eGdG|c>edB cAAc|BGdB eGdG|c>edc BGG:|
X:3
T:Because I Was a Bonnie Lad
M:4/4
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
R:Reel
K:A
e||"tr"c>BAa (3fga ec|d>fec B3 B|cBAa (3fga ec|d>fec A2 A:|
e|"tr"c>BAc defd|cAec (3BBB B2|c>BAc def^g|afec (3AAA A2|
cAeA fAea|cAec (3BBB Bf/2^g/2|af^ge fdec|dfec (3AAA A||
X:4
T:Because I was a bonny lad
M:C|
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:A
e|c>BA=g
f/g/a/ e>c|d>fe>c B/B/B Be|c>BA=g (f/g/a) ec|d>fec A/A/A A:|
|:e|cAeA fAeA|dfec B/B/B Be|cAeA fAeA|dfec A/A/A A:||
BECAUSE, JUST BECAUSE. See "Just Because."
BECKY MURRAY. Scottish, Strathspey. D Major/Mixolydian. Standard tuning. AABB. McGlashan (A Collection of Reels), c. 1786; pg. 7.
X:1
T:Becky
Murray
M:C|
L:1/8
R:Strathspey
S:McGlashan
– Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
A | F2
DB/c/ dA B/A/G/F/ | =CA/B/ =c>GE>A | F2 DB/c/ d>edA| F>E D<A
d/d/d d<f |
F2 DB/c/
d/c/B/A/ B/A/G/F/ | E2 =CA/B/ c>G E<A | F2 DB/c/ d<AB<G |F>E
D<A d/d/d d :|
|:e |d<d
f>d g>ef>d | e<e f>d g>e=c>e | d>ef>g a>ba>f |
g<e a>g f>ed>e |
d<d f>d g>ef>d | e<e
f>d ge =cg | a>fg>e f>de>c | d/c/B/A/ dA F>D D :|
BED OF FEATHERS AND
ROPES, A. Irish. A Pennsylvania fife tune was
collected by Bayard (1981, No. 40, pg. 33) with a similar 'A' part. Petrie‑Stanford
(Complete Collection), No. 1336.
BEDDING OF THE BRIDE
[1], THE. AKA ‑ "Bean na
bainnse." Scottish, Pipe Reel. D Mixolydian. Standard tuning. AABBCCDD.
The tune "is generally performed with great rapidity during the ceremonial
of bedding the bride, and as celebrated as 'Cuttymun and Treeladdle' in the low
country, for exciting the agility of the dancers" (Fraser). There is also
a song of the same name set to the tune. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 92, pg. 35. Stewart-Robertson (The Athole Collection), 1884; pg. 117. Gerald
Trimble – “Crosscurrents.”
X:1
T:Bedding of the Bride
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
F|D(AA)>G FDAF|D(AA)>G E=CCE|D(AA)<F GABG|AB=cG E=CC:|
|:g|fddA FDD=f|e=ccG E=CCg|fddA FAdB|=cBcG E=CC:|
|:f|d2da fdad|Adda e=cge|d2da fdad|AB=cG E=CC:|
|:g|fdAd FDD=f|e=cGc E=CCg|fdcd AdFd|E=cGc E=CC:|
BEDDING
OF THE BRIDE [2], THE. Scottish, Reel. A Mixolydian.
Standard tuning. AABBCCDD. McGlashan
(A Collection of Reels), c. 1786; pg.
15.
X:1
T:Bedding
of the Bride [2]
M:C|
L:1/8
R:Reel
S:McGlashan
– Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:Amix
a|A/A/A ec
Bcdf|A/A/A ec AAec|A/A/A ec B>cdf|edc>B A>cd:|
|:f|A/A/A
ac Bcdf|A/A/A ac AAac|A/A/A ac B>cdf|edc>B A>cd:|
|:f|Aece
Bcdf|Aece Aece|dfce B>cdf|edc>B A>c d:|
|:f|A/A/A ac B>cdf|A/A/A ac
AAac|a/^g/f/e/ ac B>cdf|edc>B A>c d:|
BEDEAU
DE l’ENFER, LE. French-Canadian, Reel. C
Major/Mixolydian. Standard tuning. AA’BB’. A ‘crooked’ tune. Guy Bouchard
relates the story that Landry’s source, itinerant fiddler Thomas “Queteaux”
Pomerleau, once had to promise a priest he would discard his fiddle in his wood
stove, in order to receive absolution. Pomerleau did, and, having received the
rite, pulled his instrument out once more having taken the precaution of never
lighting the stove in the first place! Source for notated version: Henri Landry
(Pontbriand, Québec, near Thetford Mines), who learned the tune around 1970
from Thomas Pomerleau [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 1: Québec Fiddle
Tunes), 1996; No. 13. 30 Below TB 001CD, Les têtes
de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).
X:1
T:Bedeau de l’enfer, Le
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum) http://tradquebec.over-blog.com/archive-2-2007.html
K:G Dorian
A/||:[E/=B/]E/(3E/E/E/
B/E/d/E/|=B/E/(3E/E/E/ B/E/d/E/|=B/E/B/E/ [F2c2]|A/F/(3F/F/F/
A/F/c/F/|A/F/(3F/F/F/ A/F/c/F/|1
M:3/4
L:1/8
A/d/c/A/ B/c/B/A/ [G,G>]A:|2
A/d/c/A/ B/c/B/A/ G/^F/G/A/|
M:2/4
L:1/8
BB/A/ B/d/e/d/|
M:3/4
L:1/8
c/d/c/A/ B/c/B/A/ G>G||Gg/a/
g/^f/g/a/ g<d|ff/e/ f/a/=b/a/ g/a/g/A/|
M:2/4
L:1/8
B/c/B/A/ G/^F/G/A/|BB/A/ B/d/e/d/|1
M:3/4
L:1/8
c/d/c/A/ B/c/B/A/ G>G:|2 c/d/c/A/
B/c/B/A/ G>A||
BEDFORDSHIRE ASSEMBLY. English. England, Northumberland. One of the "lost tunes" of
William Vickers' 1770 Northumbrian dance tune manuscript. The name
Bedford is an Old English name derived from a man’s name, Bedda, who was
associated with a ford in a river (Matthews, 1972).
BEDFORDSHIRE MARCH. English, March (4/4 time). England, Yorkshire. G Major. Standard tuning. AABB. The name Bedford is an Old English name derived from a man’s name, Bedda, who was associated with a ford in a river (Matthews, 1972). The march can be found in Longman & Broderip’s Entire New and Compleat Instructions for the Fife (London, 1780). Source for notated version: a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 107, pg. 60.
X:1
T:Bedfordshire March
M:C
L:1/8
R:March
S:Longman & Broderip’s Entire New and Compleat Instructions for the Fife (London, 1780)
Z:AK/Fiddler’s Companion
K:D
a2 a>a a2g2| f2f>f
f2e2|(d3e/f/) (e3f/g/)|f2 f>f f2 e>f|g2f2a2gf|
(g3a/b/)a2g2|(3fef (3gfe d2”tr”e2|d2
d>d (d2d2)::a2e>e e2f2|
e>d e>f e2f2|
g2f2e2d2|e2e>e e2f>g|a2 fg a2 bg|a2 fg a2bg|
a>f g>e(3fed (3agf|f2
e>ee2A2|d2(3def e2(3efg|f2(3fga g2(3gab|
(3ad’c’ (3d’ag
f2”tr”e2|d2d>d(d2d2):|
BEDOU’S REEL (Reel a’ Bedou). Canadian, Reel. Canada, Prince Edward Island.
D Major. Standard tuning. AABB. Perlman’s source, Robert Arsenault, learned
this tune from a Magdeline Islans fiddler named Bedou. The Magdelines are about
75 miles north of eastern Prince Edward Island. Source for notated version:
Robert Arsenault (b. 1938, Wellington, Prince County, Prince Edward Island)
[Perlman]. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 72.
BEDS OF ROSES. Scottish, Country Dance tune (2/4 time). A Major. Standard tuning. AAB. McGlashan (A Collection of Reels), c. 1786; pg. 40.
X:1
T:Beds of Roses
M:2/4
L:1/8
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:A
c/d/|e>fea|fedc|BAdc|B/A/G/F/ Ec/d/|efea|fedc|d>f e/d/c/B/|A2 A2:|
cA
AA|cA c/A/c/A/|dB BB|dB d/B/d/B/|ec cc|ec e/c/e/c/|fa g/f/e/^d/|e2 e||
BEE HOUSE. English. England, Northumberland. One of the "lost tunes" of
William Vickers 1770 Northumbrian dance tune manuscript.
BEEBE'S HORNPIPE. American, Hornpipe. B Flat Major. Standard
tuning. AABB. See also the related “Calisthenic Hornpipe.” Cole (1000 Fiddle Tunes), 1940; pg. 85. Ryan’s Mammoth Collection, 1883; pg.
119.
X:1
T:Beebe’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
F|d/F/c/F/ B/(F/=E/F/)|d/F/c/F/
B/(F/=E/F/)|d/B/A/B/ .g/(f/=e/g/)|f/d/B/d/ c>F|
d/F/c/F/ B/(F/=E/F/)|d/F/c/F/
B/(F/=E/F/)|d/B/A/B/ f/b/a/b/|g/e/c/A/ B :|
|: (d/e/) | .f(f/g/) f/e/d/f/ |
g/a/g/f/ g/a/b/g/| f/=e/f/g/ f/d/B/d/ | c/B/A/G/ .F(d/_e/)|
f/=e/f/g/ f/_e/d/f/|g/a/g/f/
g/a/b/g/|f/b/a/b/ g/e/c/A/|BdB:|
BEECH TREE, THE. Irish, Reel. Source for notated version: banjo
player Neil Sharpley [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 42.
BEECHEN GROVE’S NEW
HALL.
English, Jig. G Major. Standard tuning. AA’B. A 1987 composition by
Playford-style dance caller and composer Charles Bolton (Market Harborough,
Leicestershire). Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 9.
BEEN IN THE PEN SO
LONG. Old‑Time, Fiddle Tune. The
title appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph and published in 1954.
BEEN TO THE EAST, BEEN TO THE WEST. AKA and see "Great Big Yam Potatoes."
Old‑Time, Breakdown. G Major. Standard tuning. AB (Phillips): AABB
(Kuntz, Songer). A similar tune is "Goin' to Chattanooga," in the
'A' part. The original is from the Leake County Revellers, recorded on a 78 RPM
in 1928.
***
Well, I've been to the east and I've been to the west,
And I've been to Alabama;
Prettiest girl I ever did see,
And her name was Susianna.
***
Hawk said, "I'll find me
something for to eat,
Gonna 'light on the
yellowhammer."
***
Sources for notated versions: Liz
Slade (Yorktown, New York) [Kuntz]; Mary Lea [Phillips]. Kuntz, Private
Collection. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 29. Songer (Portland Collection), 1997; pg. 26. Columbia
15318 (78 RPM), Leake County Revelers (1928). Varrick VR ‑038, Yankee
Ingenuity ‑ "Heatin' Up the Hall" (1989).
X:1
T:Been to the East, Been to the West
L:1/8
M:2/4
S:Liz Slade
Z:AK/Fiddler’s Companion
N:Sung to ‘A’ part ”I been to the east and I been to the west, and I been to Alabama,
N:Prettiest girl I ever did see, and her name was Susianna.”
K:G
B/c/|dd/A/ B/A/B/c/|dd B/A/B/c/|d/B/d/A/ B/A/B/B/|A/ G G/ GB/c/|
d/B/d/A/ B/A/B/B/|d/B/d/A/ B(g|g/)B/d B/A/B/B/|A/ G G/ G:|
|:B|g>e gg/(b/|b)(a a)(a|a)a/a/ a/b/a/g/|f/ d d/ dd|(e/ e) (e/ e)e/f/|
g/f/g/f/
f/e/e/f/|g/f/e/A/ B/A/B|A/ G G/ G:|
BEEPER, THE. Canadian, Reel. Canada, Cape Breton. E Major.
Standard tuning. AB. Composed by editor, fiddler and lighthouse keeper Paul
Stewart Cranford. Cranford (Jerry
Holland’s), 1995; No. 129, pg. 37.
BEER AND ALE AND
BRANDY. Irish, Air (6/8 time). G Major.
Standard tuning. AB. Joyce had the tune from the Pigot Collection. Joyce (Old Irish Folk Music and Song), 1909;
No. 692, pg. 347.
X:1
T:Beer and Ale and Brandy
M:6/8
L:1/8
R:Air
N:”Mod.: with spirit”
S:Joyce – Old Irish Folk Music
and Songs (1909), No. 692
Z:AK/Fiddler’s Companion
K:G
d | g>fg edB | g>fg G3 |
g>fe edB | {B/c/}d2B A3 | g>fg edB | g>fg a2 b/a/ | g>fe edB |
{B/c/}d2B2 A2 || B/c/ | d2B d2B |
g>fg G2 B/c/ | d2B d2B | edB A2 B/c/ | d2B d2B |
g>fg a2 b/a/ | g>fe edB |
{B/c/}d2B2 A2 ||
BEER BARREL POLKA. Czeck, Polka. USA; N.Y., Pa. C Major. Standard tuning. AA'BB'CD. The
tune was composed by Jaromir Vegvoda with Vasek Zeman and first published in
Prague in 1934 under the title "Skoda Lasky" (Lost Girl) or the
"Modranska polka." As "The Beer Barrel Polka" it was
published in New York in 1939, but as Fuld (1966) annecdotally reports, the
National Broadcasting Company refused to air the complete title as it made
reference to an alocholic drink, therefore, on NBC stations it was known as
"The Barrel Polka." Apparently from the eastern European and German
populations in the country, it entered the popular mainstream and was picked up
by fiddlers such as Harry Daddario, from Union County, Pa. Source for notated
version: Robert Wise [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 333. F&W
Records 1, "F&W String Band."
BEER DRINKER, THE. AKA and see “Jackson’s Stranger [1],” “Larry the Beer Drinker,” “Paddy "Go Easy",” “Wallop the Spot.” Irish, Double Jig. D
Major. Standard tuning. AABBCC (Kennedy, Kerr): AABCCDD (). Kerr identifies the tune as Irish. The tune appears
in Levey under this title. Kennedy (Jigs & Quicksteps, Trips
& Humours), 1997; No. 5, pg. 4. Kerr (Merry Melodies), vol. 1;
No. 52, pg. 40.
X:1
T:Beer Drinker, The
M:6/8
L:1/8
S:Kerr (I, 52)
K:D
F/E/|DEF FEF|AFF F2E|DEF FEF|AFE
E2F|DEF FEF|AFA d2d|cBA BAF|AFE E2:|
|:f|ecA ABA ecA A2f|ecA Ace|fdB
B2f|ecA fdB|ecA a^gf|ecA BAF|AFE E2:|
|:d|dFF FEF|AFF F2d|dFF FEF|AFE
E2d|dFF FEF|AFA d2d|cBA BAF|AFE E2:|
BEER STAINS, THE. AKA and see "Down the Wagon Way [1]."
BEES IN THE CHERRY
TREE (Na Beacha sa Chrann
Silíní). Irish,
Single Jig. G Major. Standard tuning. AABB. Source for notated version: from
County Fermanagh flute player James McMahon via Liam Donnelly (County Tyrone)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 58, pg. 30.
BEES IN THE HEATHER. Irish, Double Jig. Composed by the late North Kerry fiddler Paddy
O’Sullivan (Ardfert, Co. Kerry).
X:1
T: The bees in the heather
S: Paddy O'Sullivan
R: Double jig
M: 6/8
L: 1/8
P: AABB
Z: Paul de Grae
K: D
A | DED DFA | BdB BAF | ABA AFD |
EDE FDB, |
DED DFA | BAB A2 g | fed B2 A | Bdd
d2 :||
e | fef def | gfg efg | fef dBA |
Bee dBA |
f2 f def | gab efg | fef dBA | Bdd
d2 :||
BEE’S KNEES, THE. Canadian, Jig. Canada, Cape Breton. D Major.
Standard tuning. AABB. Composed by fiddler Robert Stubbert, father of musician
Brenda Stubbert. Source for notated versio: Brenda Stubbert (b. 1959, Point
Aconi, Cape Breton, Nova Scotia). Cranford (Brenda
Stubbert’s), 1994; No. 112, pg. 39.
BEE’S
WAX, SHEEP SKINS.
See "Sheep Skin and
Bee's Wax."
BEE'S WING HORNPIPE. AKA ‑ "The Bee's Wing."
English (originally), Scottish, Canadian, Irish; Hornpipe or Clog. Canada, Cape
Breton. B Flat Major. Standard tuning. AABB (Brody, Cole, Cranford/Holland,
McNulty): AABBCCDD' (Hunter). Composed by the 19th century Gateshead
(near Newcastle), northern England, composer James Hill, originally born in
Dundonia, Scotland (nicknamed the “Newcastle Paganini”). The “Bee’s Wing” has
become in modern times one of the most popular Scottish fiddle hornpipes. It is
attributed to Hill in Kohler’s Violin Repository and was named after a
famous Newcastle racehorse, a mare. Bee’s Wing was foaled in 1833, sired by Dr.
Syntax (1811-1838), a champion in his own right, and was bred by William Orde,
a former Member of Parliament who had inherited an estate at Nunnykirk, near
Morpeth, Northumberland. Bee’s Wing won
the Newcastle Gold Cup six times, the Doncaster Gold Cup four times, and the
Ascot Gold Cup in 1842—in her career she started 64 times and won an astounding
51 races. So great was her fame that when she retired in 1842, to be put to
pasture as a broodmare at Nunnykirk, Northumberland, the whole town of Morpeth
turned out to greet her on her return.
A local pub was renamed in her honor (and it is possible the tune was
named with the pub in mind, as well as the racehorse). [Ed: for more on Bee’s
Wing see http://www.tbheritage.com/Portraits/BeesWing.html].
A note in Ryan’s/Cole’s indicates the tune “can be used as a clog.” “The Bee’s
Wing” is one of the tunes sometimes requested of Shetland fiddlers because
"anything composed in a flat key is considered to be a real test of a
fiddler's ability" (Cooke, 1986). Irish fiddler Sean Maguire composed a
famous set of variations to Hill’s melody. See also O’Neill’s related “Southern Shore.” Brody (Fiddler’s Fakebook), 1983; pg. 39. Cole
(1000 Fiddle Tunes), 1940; pg. 91.
Cranford (Jerry Holland: The Second Collection), 2000; No. 55, pg. 23.
Hunter (Fiddle Music of Scotland),
1988; No. 337. Kohler’s Violin Repository (Edinburgh), 1881-1885.
McNulty (Dance Music of Ireland),
1965; pg. 23. Ryan’s Mammoth Collection,
1883; pg. 126. Olympic 6151, Arthur Robertson‑
"Scottish Traditional Fiddle Music" (1978). Rounder 7005, Carl
Mackenzie‑ "Welcome To Your Feet Again." Rounder RO 7023,
Natalie MacMaster - “No Boundaries” (1996. Learned from Dave MacIsaac). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s,
a reissue of “Sean Maguire Plays,” the first recording of McGuire that
Josephine Keegan accompanied on piano). Voyager 320‑S, Frank Ferrel‑
"Fiddle Tunes."
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:Bee's Wing, The
R:hornpipe
C:James Hill
A:Northumberland
O:England
S:Kohler's Violin Repository
M:4/4
L:1/8
K:Bb
FA|B>f d<B A>e c<A|F>d B<F D>B F<D|E>G c<e D>F B>d|(3cBA (3BAG F2 GA|
B>f d<b A>f c<a|E>B G<e D>B F<d|E>G c>e d>c B>A|c2B2 B2:|
fe|d<B f>d b>f d>B|c<A f>c a>f c>A|G<E B>G e>c d>B|(3cBA (3BAG F2 GA|
B>f
d<b A>f c<a|E>B G<e D>B F<d|E>G c>e d>c
B>A|c2B2 B2:|
BEESOM, THE. AKA and see "The Bisim in the Kitchen,"
"The Dandies Gone a Roaming."
Breathnach (1985) finds the first part similar to the second of "Why Didn't I Love Maire"
(Tuige gan Grá a'm do Mháire?).
BEESWING. English, Reel. England, Northumberland. D Major. Standard tuning. AABB.
Not the more famous "Bee's Wing Hornpipe."
Hall & Stafford (Charlton Memorial
Tune Book), 1974; pg. 2.
BEFORE I MET YOU. See "Traces de Mon
Boghei."
BEFORE I WAS MARRIED
[1] (Sul Ar Posad Me). Irish, Double Jig. D Major.
Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 51. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 999, pg. 186. O'Neill (Dance
Music of Ireland:1001 Gems), 1907/1986; No. 213, pg. 49.
X:1
T:Before I was Married [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 213
Z:AK/Fiddler’s Companion
K:D
A/G/|FGA Afe|dBB B2 A/G/|FGA Ade|fdd
d2 A/G/|
FGA Afe|dBB B2 A/G/|FGA Aag|fdd d2:|
|:d/e/|fef afe|dBc d2 d/e/|fgf ede
fdB B2 d/e/|
fef gfe|dBc d2 d/e/|faf ede|fdB B2:|
BEFORE I WAS MARRIED
[2]. AKA and see "Johnny/Johnnie
McGill/MacGill" (Pa.), "Come Under My Plaidie,"
"The Black Rogue [1],"
"An Rogaire Dubh," "Billy O'Rourke's Jig [1]."
BEFORE THE BARN DOOR
CROWING. AKA and see "All in/on a misty morning,"
"The Friar and the nun [1],"
"The Wiltshire Wedding."
The air appears under this title in John Gay's Beggar's Opera, 1729, by the first and/or third alternate title in Pills to Purge Melancholy, Vol. IV, and
with the second alternate title in Playford's Dancing Master of 1650 and later editions.
BEGGAR, THE. AKA and see "An Deirctheoir."
BEGGAR BOY, THE. English, Country Dance Tune (6/4 time). C
Major (Chappell): D Minor (Barlow, Johnson): G Minor (Barnes, Sharp). Standard
tuning. ABB (Sharp): AABC (Chappell): AABB (Barlow, es, Johnson). The air
appears in it's earliest printing John Playford's first edition of his English Dancing Master (1651). Chappell
(1859) notes several ballads were written to the tune, as was the convention of
the period with a popular melody. Barlow (Complete
Country Dance Tunes from Playford’s Dancing Master), 1985; No. 7, pg. 18.
Barnes (English Country Dance Tunes),
1989. Chappell (Popular Music of the
Olden Times), vol. 1, 1859; pg. 307. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th
Century), 1997; pg. 3. Raven (English
Country Dance Tunes), 1984; pg. 37. Sharp (Country Dance Tunes), 1909; pg. 21. Dorian 90238, The Baltimore Consort – “A
Trip to Killburn.” Harmonia Mundi 907101, The King's Noyse - "The King's
Delight: 17c Ballads for Voice and Violin Band" (1992).
X:1
T:Beggar Boy, The
M:6/8
L:1/8
S:Sharp – Country Dance Tunes
Z:AK/Fiddler’s Companion
K:G Minor
(GGG e2e | dB2 c2)(B | G E2 F2) (F |
G2_A B G2) |
(GGG e2e | dB2 c2) (B | GE2 F2)(F |
G2_A B G2) ||
|: (GGG e2) (e | dB2 c2)(B | GB2) (dcd
| eG2 F3) |
(GBB) (d>cB) | (cef/e/ dec) |
(BGE F2) (F | G2_A B G2) :|
BEGGAR MAN, THE. AKA and see "Gilderoy [2]," "The Little Beggarman," "The Red Haired Boy."
BEGGAR REEL. Scottish, Reel. The melody appears ia a manuscript entitled "A
Collection of the best Highland Reels written by David Young, W.M. &
Accomptant."
BEGGAR TREMBLAY’S DREAM. AKA and see “Rêve du Quêteux (Tremblay).”
BEGGARMAN, THE. Irish, March or Reel. D Major. Standard
tuning. AB. "In my Ancient Irish
Music (pg. 45) there is a setting of this air: but the one I give here is
much better" (Joyce). Like Bunting's "An
Deirctheoir" (The Beggar), this appears to be yet another version of
"The Little Beggarman,"
popular and common throughout the British Isles. See the related “Duke of Aberdeen.” Joyce (Old Irish Folk Music and Songs), 1909;
No. 732, pg. 364.
BEGGARMAN’S REEL, THE (Ríl an Fhir Dhéirce).
Irish, Reel. G Major. Standard tuning. AB. Source for notated version:
fiddler and tin whistle player Paddy Ryan, originally from County Roscommon,
but living in Birmingham when he recorded the tune [Breathnach]. Breathnach (CRÉ V), 1999; No. 137, pg. 70.
BEGGAR'S BENNISON. Scottish. Glen finds the tune first published by Angus Cumming in his 1780 collection (pg.
14).
BEGGAR'S MARCH, THE. AKA and see "Oil City Quickstep [1],"
"Op'ry Star." USA, Pa.
BEGGAR'S MEAL POKE'S. Scottish, Slow Air. G Major. Standard tuning. One part. A slow air with
the character of a strathspey, says Emmerson (1971). It was composed (on
authority of Oswald's Caledonian Pocket Companion, 1758) by Scottish
King James VI, who became James I of England in 1603, but Emmerson believes
this ascription may be the result of some confusion with his ancestor James I,
who was the reputed author of the verses "The Jolly Beggar"
associated with this tune. Carlin (The
Gow Collection), 1986; No. 10. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 8, pg. 24. Gow (Fifth
Collection of Strathspey Reels), 1809; pg. 29.
X:1
T:Beggar’s Meal Pock’s
M:C
L:1/8
R:Slow Air
N:”Composed by King James the VI
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:G
G|~G>ABc (d2 G>)G|(G<g) ~g>f {f}e3d|(gb)ag
~e>deg|(d<B) “tr”A>G [F3A3]B|
~c>Bcd e2 e<f|~g>fga
{g}f3d|b>a gf e2 fg|(d<B) “tr”A>B G3||
BEGGING
WE WILL GO, A. English, Scottish; Air (4/4 time).
C Major. Standard tuning. One part. Chappell (1859) states that this tune was
the prototype of several "A...we will go" titles, including "A
Hunting we will go," "A fishing we will go," "A bowling we
will go", and "A hawking we will go." The song was introduced in
Brome's comedy The Jovial Crew or The
Merry Beggers performed in the Cockpit in Drury Lane, in 1641. It is
printed in Playford’s Choice Ayres
(1685), Loyal Songs (1685), and Pills to Purge Melancholy, and appears
in several ballad operas including The
Quaker's Opera. Verses were collected in the tradition in England in modern
times that are nearly identical to those in Choice
Ayres. They begin:
***
There was a jolly beggar, he had a wooden leg;
Lame from his cradle, and he was forced to beg.
***
Peter
Kennedy, in Folksongs of Britain and
Ireland (p. 497), gives a later verse to the tune, thought to reference the
habit of James V of Scotland travelling in disguise:
***
I fear no plots against me, I live in open
cell;
Then who would be a King, when beggars live so
well.
***
A Scottish
verse describes a typical beggar of the times:
***
Afore that I do gang awa, I’ll let my beard
grow strang,
And for my nails I winna pare, for beggars wear
them lang.
I’ll gang to some greasy cook and buy frae her
a hat,
Wi’ twa-three inches o the rim, a-glitterin’
ower wi’ fat.
***
Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 42.
BEGINNING OF THE WORLD, THE. AKA and see "Sellinger's/Sellenger's Round."
BEGONE DULL CARE. English, Scottish; Air and Country Dance Tune (6/8 time). England,
Northumberland. D Major (Kerr, O’Farrell): C Major (Howe). Standard tuning.
AABB. The title appears in Henry Robson's list of popular Northumbrian song and
dance tunes, which he wrote c. 1800.
***
Begone dull care, I prithee be gone from me!
Begone dull care you and I shall never agree.
Long time hast thou been tarrying here and feign thou wouldst me kill.
But in faith, dull care, thou never shalt have thy will.
***
O’Farrell’s version is set as a duet. Howe (Complete Preceptor for the Accordeon),
1843; pg. 8 (appears as “Kinlock”). Kerr (Merry Melodies), vol. 3;
No. 399, pg. 44. O’Farrell (Pocket
Companion, vol. II), c. 1806; pg. 159. Flying Fish FF425, Sally Rogers & Claudia Schmidt
- "Closing the Distance" (1987).
T:Be Gone
Dull Care
M:6/8
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
K:C
G | c3d3 | e3 z2f | gag fef | e3 z2G | c3d3 | e3 z2f | efe dcd | c3 z2 :|
|: e/f/ | g2g g2e | f2f f2d | e2e [eg][df][ce] | d2 z2 GG | c3d3 | e3 z2f | efe dcd | c3 z2 :|
BEHIND THE BUSH IN
PARKHANNA. Irish. Recorded by Mrs. Ellen
O'Dwyer, a concertina player.
BEHIND THE BUSH IN THE
GARDEN [1] (Taob-iar De'n Sgeac
Annsa Gairdin).
AKA and see “The Bargain is Over,”
"The Bush Below da Garden"
(Shetland), "Fy Buckle Your Belt,"
"I Won't Do the Work" (Cape
Breton), "I Sat in the Valley
Green," “The Kerry Jig,”
"Laistiar den Tom sa Ghairdín,” "More Power to Ye,” "Over the River to Charlie [2],"
"Royal Charlie," "Se'n
Righ atha ahuin is fear linn" (We
Prefer Our Own King), “A' Sníubh Ullan na gCaoire” (Spinning the
Wool of the Sheep), “The Tidy Woman,” "Times Are Mighty Hard,"
"We Have No King But Charley," "Wha'll (Who’ll) Be King
But Charlie." Irish, Single or Double Jig. A Minor or C Mixolydian (S.
Johnson, O’Neill, Songer, Treoir): D Minor (Stanford/Petrie). Standard
tuning. AAB (O'Neill/1915, Songer): ABB’ (Stanford/Petrie): AABB (Carlin, S.
Johnson, Sweet, Treoir): AABB' (O'Neill/Krassen, 1001 & 1850). The
tune was recorded on a 78 RPM disk by Packie Dolan in September, 1928, for
Victor Records in New York, according to Paddy Ryan (Treoir), under the
title “Royal Charley.” Dolan (1904-1932, was originally from Aughadowry,
Ballinamuck, County Longford, and died
tragically at age 28 one week before he was due to return to Ireland to live.
Kerry musician Tom Billy Murphy (father of fiddlers Denis Murphy and Julia
Clifford) used to play this slide, although it is not often heard in modern
times. P. W. Joyce prints the tune as “The Kerry Jig.” Seamus O’Sullivan was of
the opinion that the tune was from a song called “A’ Sníubh Ullan na gCaoire”
(Spinning the Wool of the Sheep), that Paul de Grae feels straddles the
boundary between jigs and slides, “or maybe just ignores it.” A variant is
published by Feldman & O’Doherty from the playing of Donegal fiddler Danny
O’Donnell as “The Bargain is Over” (Tá do Mhargadh Déanta), and in County Down
a version can be heard as “Who’ll be King but Charlie.” Breathnach (CRÉ III, 1985) prints a variant set as “Paddy Taylor’s Fancy” while Lyth
gives a variant as “Humours of
Kilclogher.” Ken
Perlman (1979) believes it is melodically related to the old‑time tune
"Kitchen Girl" and to the
Northumbrian jig "Elsie Marley."
Source for notated version: “As played by Pat Cunningham, a famous W. Meath
piper” [Stanford/Petrie]. Carlin ("Master Collection"), 1984; No.
266, pg. 151. Feldman & O’Doherty (The
Northern Fiddler), 1979; 181. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg.
12. O'Neill (O’Neill’s Irish Music),
1915; No. 203, pg. 109. O'Neill (Krassen), 1976; pg. 76. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1114, pg. 210. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 398, pg. 79. Songer (Portland
Collection), 1997; pg. 26. Stanford/Petrie (Complete Collection), 1905; No. 769, pg. 192. Sweet (Fifer’s Delight), 1964; pg. 33. Treoir,
vol. 33, No. 1, 2001; pg. 28. Cottey Light Industries
CLI-903, Dexter et al - "Over the Water" (1993. Learned from Andy
McGann and Paddy Reynolds). DHJDCD001, Dan Herlihy – “The Ballydesmond Polka.”
Gael-Linn CEF CD143, Mick Mulcahy – “Agus Cairde.” Globestyle Irish CDORBD 085,
John & Julia Clifford with Maurice O’Keefe- “The Rushy Mountain” (1994. A
reissue CD of Topic recordings from Sliabh Luachra musicians). Shanachie 29004,
"Andy McGann and Paddy Reynolds." Front Hall FHR029, Fourgone
Conclusions - “Contradance Music from Western Massachusetts.” Ossian OSS14,
“Humours of Lisheen.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Behind the Bush in the Garden [1]
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
398
Z:AK/Fiddler’s Companion
K:Amin
A/B/|c2A AGE|c2A AGE|G2G GAE|G3 E2B|c2d
e2a|g2e d2e|c2A BAG|A3 A2:|
|:A/B/|c2B c2d|efe e2d|c2B c2d|e3 G2G|1 c2B c2d|efe e2d|cBA BAG|A3 A2:|2
c2d e2a|g2e d2e|c2A BAG|A3 A2||
X:2
T:Behind the Bush in the Garden
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 769
N:”As played by Pat Cunningham, a
famous W. Meath piper.”
Z:AK/Fiddler’s Companion
K:Dmin
e | f2e fga | g2f efg | f2d def |
ecA A2e | f2e fga | g2f efg | f2d e2c | d3 d2 ||
d | c2A ABA | c2A A2d | c2A ABA |
F2D D2d |
c2A ABA | c2A A2e | f2d e2c |1 d2e
f2d :|2 d3 d2 ||
BEHIND THE BUSH IN THE GARDEN [2]. English, Jig. G Major. Standard tuning. AABB. Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, c. 1785; pg. 1, No.
3.
X:1
T:Behind the Bush in the Garden [2]
M:6/8
L:1/8
S:Aird, vol. II
Z:AK/Fiddler’s Companion
K:G
(d/c/) | B2G (B/c/d).B | A2F (A/B/c).A | B2G (B/c/d).B | d3 g2 (d/c/) |
B2G (B/c/d)B | A2G FED | G2c B/c/dB | G3G2 ::d/e/4f/4 | gag fgf |
e2d B3 | gag f2g | a3 d2 c/B/ | c2a B2g | ABG FED | GAB cAF
| G3 G2 :|
BEHIND THE DOOR. English, Reel. England, Northumberland. C Major. Standard tuning. AABB.
Seattle (William Vickers), 1987, Part
2; No. 313.
BEHIND THE HAYSTACK
[1]. AKA and see “Barr na Feirste,” “(An) Bhláthach
Mhuimhneach,” “Box the Monkey,” “Munster Buttermilk [4],” “Squeeze Your Thighs,” “Take Her or Leave Her.” Irish, Double
Jig. D Major. Standard tuning. AABBCC (Boys/Lough, Mallinson, Miller):
AA’BB’CC’ (Vallely). As a four-part melody called “Box the Monkey,” it appears
in the music manuscript collection of James Goodman (1828-1896). Source for
notated version: flute player Matt Malloy [Bulmer & Sharpley]. Boys of the Lough, 1977, pg. 4.
Breathnach (CRÉ II), No. 29. Bulmer
& Sharpley (Music from Ireland),
1974, vol. 1, No. 63. Mallinson (Essential),
1995; No. 83, pg. 36. Miller (Fiddler’s
Throne), 2004; No. 6, pg. 17. Vallely (Learn to Play the Fiddle with
Armagh Pipers Club), 197?; No. 36, pg. 34. Great
Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000). Green Linnet SIF
3018, “Molloy/Peoples/Brady.” Transatlantic TRA 296, Boys of the Lough,
"Recorded Live."
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Behind the Haystack [1]
M:6/8
L:1/8
R:Jig
K:D Major
A | d2e fdB | d2e fdB | AFE E2B |
AFE E2B | d2e fdB | d2e fdB |
AFD D2B | AFD D2A ::~B3 BAF | ABc d2B | AFE E2B | AFE E2A |
~B3 BAF | ABc d2B | AFD D2B | AFD D2f :: ~g3 fgf | ede fdB |
AFE E2B | AFE E2f | ~g3 fgf | ede
fdB | AFD D2B | AFD D3 :|
BEHIND THE HAYSTACK
[2] (Taob Siar De'n
Cruac-Feur).
AKA and see "The Munster
Buttermilk [3]." Irish, Jig. E Minor. Standard tuning. AABBCC. O'Neill
(Krassen), 1976; pg. 39. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 893, pg. 166. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 141, pg. 38.
X:1
T:Behind the Haystack [2]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 141
Z:AK/Fiddler’s Companion
K:E Minor
d|efe edB|def gfe|dBA ABA|dBA
ABd|efe edB|def gfe|dBG GAG|dBG G2:|
|:d|gbg faf|ege dBG|dBA ABA|dBA
ABd|gbg faf|ege dBG|dBG GAG|dBG G2:|
|:d|g2a bge|g2a bge|dBA ABA|dBA
ABd|g2a bge|g2a bge|dBG GAG|dBG G2:|
BEID MAOID AG OL. AKA and see "Let Us Be
Drinking."
BEID RIL AGAINN DE
DOMNAIG. AKA and see “Ta Mo Madra.” Irish, Slide (12/8 time). Ireland,
West Kerry. G Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (.An
Pota Stoir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No.
79, pg. 45.
BEIDH RÍL AGAINN. AKA and see "Billy O'Rourke's the
Buachaill [1]," "St.
Patrick Was a Gentleman [3]," "The Night I Married Susie," "Ballahaboy Fair," "Tristram Shandy," "Arra Kitty be Easy." Irish, Air. The song is sung in primary
school in parts of Ireland. See also note for “No
Surrender.” Colm Ó Cochlainn (An
Claisceadal), 1940.
BEIDMAOID AG OL’SA POGA
NA m-BAN. Irish, Air. A drinking song. See “Let us be drinking.”
BEILBY’S HORNPIPE. English, Hornpipe. The tune is
a member of a large tune family (see note for “Curlew Hills (Polka)”) that, in
Northumberland, goes by the name “Beilby’s Hornpipe,” or sometimes “Bielbie’s Hornpipe.” The name is used
in the early 18th century slang term “Beilby’s Ball,” referring to a
hanging: “He will dance at Beilby’s ball, where the sheriff plays the music” (A Dictionary of the Vulgar Tongue,
1811). It is possible that to dance ‘Beilby’s hornpipe’ meant the same thing.
At any rate, no one knows who Beilby/Bielbie was.
BEINNRIN LUACRA. AKA and see "The
Little Bench of Rushes [1]."
BEINSÍN LUACHRA [1], AN (The Little Bunch of Rushes). Irish, Slow Air (4/4 time). D
Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 89, pg. 77.
BEINSÍN LUACHRA [2], AN (The Little Bunch of Rushes). Irish, Slow Air (cut time). D
Major. Standard tuning. AB. Similar in contour to version #1. Source for
notated version: a manuscript collection dated 1861 by the Anglican cleric and
piper James Goodman (1828-1896), who collected primarily in County Cork
[Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 36, pg. 17.
BEIR MO DHÚTRACHT. Irish, Air. Begley & Cooney – “Celtic Voices.”
BEIR MO GHRADH (Take my love to that young man). AKA and see "Take My Love Unto the Young Man."
BEIRNE’S FAVORITE. AKA and see “Pat Beirne’s Favourite,” “Sweet Biddy Daly.”
BEKKA HILL. Shetland, Waltz. E Major. Standard tuning. AABB. Composed by the late
Shetland fiddler, composer, teacher and collector Tom Anderson (1951). Anderson
(Ringing Strings), 1983; pg. 34.
BELAIR COVE. AKA and see "L'Anse de
Belair."
BELCHER'S REEL. AKA and see "Wake Up Susan [1]." Old‑Time,
Reel. USA, Catskill Region, New York. A Major. AEae tuning. AB. Alva Belcher
(1819‑1900) was a black fiddler and storekeeper from Delhi, New York, who
had a regional reputation in the nineteenth century. The tune named for him (it
is actually an unusual setting of "Mason's Apron"), and presumably
written by him, was a common dance tune in the Greene County, N.Y. area in the
early 20th century. Bronner (1987) says: "At a time when local musicians
rarely gained wide reknown, Belcher was a name called for in villages from the
Catskills well into central New York. Belcher formed a string band that
included white players, and his style incorporated the Anglo‑Celtic
influence on the area. Indeed...Belcher's tunes and phrasings passed into the
oral tradition beyond the county's borders" (pg. 16). Source for notated
version: Wordell Martin (Greene County, New York, 1948) [Bronner]. Bronner (Old-Time Music Makers of New York State),
1987; No. 2, pg. 17.
BEL(L)FAST ALLMANACK
(ALMANAC), THE. AKA and see “Planxty Connor,” “John O’Connor,” “Planxty Mrs. O’Connor.”
Scottish, Jig. G Major. Standard tuning. AABB (Gow): AABBCC (Athole). Gow notes
the melody is “A Favorite Irish Air,” and indeed, it originally was a
composition of Irish harper Turlough O’Carolan’s called “John O’Connor.” The
name Belfast means ‘crossing place by a sandbank’. The almanac was a long-running publication
quite popular in its day, stemming from the mid-18th century. Like
the modern-day Farmer’s Almanac, the Belfast Almanac contained a
wide variety of calendars, weather forecasts, advice, instructions, stories and
various and sundry other items. Carlin (Gow
Collection), 1986; No. 321. Gow (Fourth Collection of Niel Gow’s Reels),
2nd ed., originally 1800; pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 156. The Oyster Band – “Golden Tie-Slackeners” (1984). Jimmy
Shand – “The Bluebell Polka” (disc 2).
X:1
T:Belfast Almanac, The
M:6/8
L:1/8
R:Jig
B:Stewart-Robertston – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
D|G2G FED | E2F G2A | B2G c2A | B2G c2A | B>cd E2E | ABG FED |
E>FG AFD | G3 G2 :: c | Bcd def | g2g g3 | B2B Bcd | e2e e3 |dcB cde |
dBd D2 D | E>FG AFD | G3 G2 :: A | B2G c2A | B2G c2A | ~B>cd E2E |
ABG FED | B2G c2A | B2G ~B>cd | E>FG AFD | G3 G2 :|
BELFAST BOAT, THE (An Bád go Béal Feirste). Scottish, Irish; Double Jig. G
Major. Standard tuning. AABB. The name Belfast means ‘crossing place by
a sandbank’. Breathnach (CRE IV), 1996; No. 2, pg. 3. Kerr (Merry Melodies), vol. 3; No. 274, pg.
30.
X:1
T:Belfast Boat
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 274
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
GBd g2g|agf efg|GBd g2g|edB A3|GBd
g2g|agf efg|ded cBA|BGG G2:|
|:DGG BGG|dGG BAG|DGG BGG|EAA A3|DGG
BGG|dGG cde|ded cBA|BGG G2:|
BELFAST CHICKEN. Irish, Reel. D Mixolydian/Major. Standard tuning. AABB’. Although the
title probably does not reference them, there were a few bare-knuckle boxers
who went by the name ‘The Belfast Chicken’, among them John H. “Professor”
Clark, Johnny Marr (Deadwood, S.D., 1876), and Bill Clark. The latter, an
Australian, was in hundreds of bare-knuckle matches, and was still hurling
challenges about in America at the age of 82. “Just another fight, please,” the
old pugilist begged, “before the greatest referee of ‘em all counts me out.”
Kerr (Merry Melodies), vol. 4; No.
163, pg. 19.
X:1
T:Belfast Chicken
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 163
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
d2e2 dcAc|=cBcG EFGE| Dddc dcAd|dBAG
(FD)D2:|
|: efge e=cgc|e=cgc dccg|1 fgaf
gddg|fdag fddg:|2 abaf gedB|ABAG (FD)D2||
BELFAST HAM. Irish, Double Jig. D Major. Standard tuning. AABB. A Belfast ham is a
lean, smoked bacon from the leg of the pig, so there is no rind or waste. Kerr
(Merry Melodies), vol. 4; No. 196,
pg. 22.
X:1
T:Belfast Ham
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 196
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
AFA d2c|B2B e2f| gfe dcB|ABG F2G|AFA
d2c|B2B efg|fed Adc|(d3 d2)A:|
|:d2f afd|cec ABc|d2f afd|g3f2g|agf
gfe|fed efg|fed Adc|(d3 d2)A:|
BELFAST HORNPIPE [1]. AKA and see "Royal Belfast," "Millicent's Hornpipe," "Millicen's Favourite," "Sweep's Hornpipe [1]," "The Great Eastern (Hornpipe)." Irish, English, Scottish; Hornpipe. D Major. Standard tuning. AABBC (Martin): AABBCC (Allan, Kennedy, O'Neill). The name Belfast means ‘crossing place by a sandbank’. As “The Sweep’s Hornpipe” it is button accordion player Joe Derrane’s signature tune. Allan's Irish Fiddler, No. 88, pg. 22. Kennedy (Fiddlers Tune Book), vol.2, 1951; pg. 2 (appears as "The Lass on the Strand"). Martin (Ceol na Fidhle), vol. 2, 1988; pg. 17. O'Neill (Krassen), 1976; pg. 207.
X:1
T:Belfast Hornpipe (1)
M:C
L:1/8
K:D
a>g|(3faf d>f A>dF>A|D>FA>d f2 e>f|g>be>c d>fA>F|G>AB>G E2 a>g|
(3faf
d>f A>d F>A|D>FA>B f2 e>f|(3gag e>d c>AB>c|d2f2d2:|
|:(3DEF|G>FG>A B>cd>e|f>gf>e d>cd>B|A2f2 f>e f2|G2e2
e>de>F|
G>FG>A B>cd>e|f>gf>e d>cd>B|A>fe>d c>AB>c|d>fe>c d2:|
|:a>g|(3fgf (3efe (3ded (3cdc |(3BcB (3ABA G2 b>a|(3gag (3fgf (3efe (3ded|(3cdc (3BcB A2 a>g|
(3fgf
(3efe (3ded (3cdc|(3BcB (3ABA (3GAG (3FGF|E>ge>d c>AB>c|d2f2d2:||
BELFAST HORNPIPE [2]. AKA and see “"The Lass on the Strand [1],” Irish, Hornpipe. G Major ('A' part)
& D Major ('B' part). Standard tuning. AABB. The ‘A’ part is shared with "Royal Belfast," "Millicent's Hornpipe," "Millicen's Favourite," "Sweep's Hornpipe [1].” Source for notated version: Chicago
Police Sergeant James O’Neill, a fiddler originally from County Down and
Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1647, pg. 306.
X:1
T:Belfast Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1647
Z:AK/Fiddler’s Companion
K:G
g>a | b>gd>B G>Bd>g |
f>ec>A E2e2 | d>cA>F D>cB>A | G>AB>c d2 g>a |
b>gd>B G>Bd>g | f>ec>A E2e2 | d>cA>F D>cB>A | G2B2G2 :|
K:D
|: a2 | g>ec>A ^G>AB>c | d>ef>^g a2b2 | a>ge>c A>gf>e | f>dA>F D2a2 |
g>ec>A
^G>AB>c | d>ef>^g a2 b2 | a>ge>c A>gf>e |1 d2f2d2 :|2
d2c2=c2 ||
BELFAST JIG. Irish, Jig. D Major. Standard tuning. AABB. The name Belfast
means ‘crossing place by a sandbank’. The tune was one of the first sides recorded by ‘Down-East’ style
Canadian fiddler Don Messer with his group the Islanders, for Apex Records in
1942. Source for notated version: Elliot Wright (b. 1935, Flat River, Queens
County, Prince Edward Island; now resident of North River) [Perlman]. Kerr (Merry Melodies), vol. 4; pg. 22. Perlman
(The Fiddle Music of Prince Edward Island),
1996; pg. 134. Sannella, Balance and
Swing (CDSS).
BELFAST LASSES, THE (Cailini Belfeirste). AKA and see “Humours of Castlecomer [2].”
Irish, Reel. G Major. Standard tuning. AA'B (O'Neill/1001): AABB'
(O'Neill/Krassen). The name Belfast means ‘crossing place by a
sandbank’. The melody appears in
the music manuscript copybook of fiddler John Burks, dated 1821 as “A Scotch
Reel.” Unfortunately, nothing is known of Burks, although he may have been from
the north of England. The melody was contributed to Captain O’Neill’s
collection by fiddler and Chicago police sergeant James O’Neill, originally
from northern Ireland. O'Neill (Krassen), 1976; pg. 129. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1385, pg. 258. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 629, pg. 113.
X:1
T:Belfast Lasses, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 629
Z:AK/Fiddler’s Companion
K:G
G2 BG dGBG|EAAG FAFD|G2 BG dGBG|1
EcAF G2G2:|2 egfa g2g2||
gddc BdBG|FAAG FAFD|gddc BdBG|EFGF
G2G2|
gddc BdBG|EAAG FAFD|gdec BdBG|egfa
g2g2||
BELFAST LINEN. Scottish, Jig. A Major. Standard tuning. AABBCC. The name
Belfast means ‘crossing place by a sandbank’. Kerr (Merry Melodies), vol.
3; No. 217, pg. 25.
X:1
T:Belfast Linnen
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 217
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
d|cee e2a|faf ecA| cee e2a|fec
B3|cee e2a|faf ecA|EAA FAA|EAA A2:|
|:E|ECE ABc|BAB cde| fga edc|BcA
GFE|ECE ABc|BAB cde | fga edc|
BFG A2::e| efg agf | efg a2E|EFG AGF|EFG
A2e|faf ece|faf ecA|EAA FAA|EAA A2:|
BELFAST MOUNTAIN. Irish, Air (4/4 time). E Flat Major. Standard tuning. One part. A
variant of the air is claimed by one authority as a Sussex song. The
name Belfast means ‘crossing place by a sandbank’. Source for notated version: “From Mr. P.
MacDowell R.A., March, 1859" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 558,
pg. 141.
X:1
T:Belfast Mountain
M:C
L:1/8
S:Stanford/Petrie (1905), No. 558
Z:AK/Fiddler’s Companion
K:Eb
ed | c>d cB B2 Bc | E3F {G}c3z |
B2 (Bc) G2 (FA) | G2F2E3G | B2G2B2 (cd) |
(e<g) f=e (f2 {d}g>)f | e2d2
cd (3BGB | c6 z z/ G/ | B2G2B2 cd | e<g f=e f2 g>f |
e2d2 cd (3BGB | c6 (e>d) |
(c>d) (cB) {G}B2 (Bc) | E3F c3 z/d/ | B3c G2 (FA) | G2 (FE) E3 ||
BELFAST POLKA. Scottish, Irish; Polka. C Major ('A' part) & G Major ('B' and 'C'
part) {Kerr}: G Major (‘A’ part) & D Major (‘B’ part) {Breathnach}.
Standard tuning. AABB {Breathnach}: AABBCC (Trio) {Kerr}. The name
Belfast means ‘crossing place by a sandbank’. Breathnach’s two part polka is a distanced version to the three part
tune in Kerr. Breathnach (CRÉ IV),
1996; No. 87 (appears as untitled polka). Jordan (Whistle and Sing), 1975; 7. Kerr (Merry Melodies), vol. 3; No. 438, pg. 50.
X:1
T:Belfast Polka
M:2/4
L:1/8
R:Polka
S:Kerr – Merry Melodies, vol. 3, No. 438
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
eGeG|e/f/e/f/ ag|fdBG|c/G/A/B/
c/d/e/f/|eGeG|e/f/e/f/ ag|fdBG|cccz:|
|:bc’/b/ ab/a/|gG G/B/d/g/|^fA
A/c/d/f/|gG G/B/d/g/|bc’/b/ ab/a/|
gG G/B/d/g/|^fA A/c/d/f/|gggz:|
“trio”
|:d/d/d/d/ ed | b/b/b/b/
c’b|a/a/a/a/ ba|g/g/g/g/ ag|
d/d/d/d/ ed|b/b/b/b/ c’b|a/a/a/a/
ba|gggz:|
BELHELVIE HOUSE. AKA and see "Miss
Watson's Reel," "The
North Bridge of Edinburgh" (Gow). Scottish, Strathspey. C Minor.
Standard tuning. AAB. Composed by William Marshall (1748-1833), appearing in
his First Collection, 1781. The Gows'
title is "The North Bridge of Edinburgh," under which name it was
published in Repository, Part First,
1799. Belhelvie is a manor house located near the town of Newburgh in
Aberdeenshire, built in 1783 for Harry Lumsden, an advocate and tax collector
in Aberdeen. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 28.
X:1
T:Belhelvie House
L:1/8
M:C
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:C Minor
C|C>ccG c/c/c e2|d>cBd
f/e/d/c/ Bd|C>ccG c/c/c e2|d>cBd c2 [Cc]:|
d|e3g e/e/e e2|d>cBd f/e/d/c/
Bd|e3g e/e/e (ge)|dBfd c2 C2|e3g e/e/e e2|
d>cBd f/e/d/c/ Bd|e3g dBfd|ecd=B
c2C||
BELIEVE
ME IF ALL (THOSE ENDEARING YOUNG CHARMS). AKA and see “Irish Mad Song,” "My Lodging Is in/on
the Cold, Cold Ground." Irish, English; Air (6/8 or 3/4 time). A Major
(Roche): G Major (Hall & Stafford, Johnson). Standard tuning. AB (Johnson):
ABC (Roche): AABB (Hall & Stafford). Thomas Moore's (1779‑1852)
sentimental favorite written for his young wife to reassure her of his devotion
in the face of a ravaging illness (perhaps smallpox) which threatened her
beauty. It appears arranged as a duet by editor W.J. Stafford in the Charlton Memorial Tune Book. Moore’s
song is predated by the version known as “My Lodging’s on the Cold Cold
Ground,” printed on broadsides and song-sheets in the mid-18th
century. An Irish version is Petrie’s “Oh
Shrive Me, Father,” while an American shape-note hymn, “Chariot of Mercy” (Hesperian Harp, Philadelphia, 1848),
employs the air. Hall & Stafford (Charleton
Memorial Tune Book), 1974; pg. 51. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1,
1991; pg. 12. Roche Collection, 1982;
vol. III, pg. 11, #39. Sampler 8910, Mitzi Collins
& Roxanne Ziegler ‑ "St. Patrick's Day in the Morning."
Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country
Music” (2000. Originally recorded 1962).
BELIEVE IT OR NOT. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 93, pg. 27. A & M Records 79602 2000-2, Asheley MacIsaac - “Close to
the Floor” (1992).
BELISAIRE'S WALTZ. See "Valse a Belisaire."
BELISLE MARCH. AKA and see “Belle Isle’s March.” AKA - "Belile's March." Scottish. The tune appears in the Gillespie Manuscript, 1768. A dance by that title was mentioned by MacTaggart in an account in The Scottish Gallovidian Encyclopedia of 1824 as being taught at a country dancing school of the time.
_______________________________
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