The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] 

[COMMENT2] 

BE - BELI

[COMMENT3] 

 

 

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]

 

 

[COMMENT4] 

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).

X:1

T:Be Easy, You Rogue

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

D | GABG ABcA | defd dcBA | BcBG ABAG | FGAB cAGF | GABG ABcA |

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

M:12/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 384

Z:AK/Fiddler’s Companion

K:D

F2 D DFD DFD DFD | E2A, A,CA, A,CA, A,CA, | F2D DFD DFD DFD |1

Bcd edc d2B A2G :|2 Bcd edc d2z d2z |: A | f2d def gag fgf | ecA AcA ecA AcA |

f2d def gbg faf |1 ecA ABc d2z d2z :|2 ecA ABc d2B A2G ||

                       


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).

X:1

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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 [COMMENT1]This was Font/Pitch 1,10 - Off.

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