The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
BILL BAILEY. American, Song Tune. Recorded by
BILL BLACK'S HORNPIPE (Crannciuil Liam Duib). Irish, Hornpipe. G Major. Standard
tuning. AABB. Source for notated version: Winston Fitzgerald (1914-1987,
X:1
T:Bill Black’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
d>c|B>GB>d
g>dc>B|A>cb>g f>ed>c|B>GB>d g>dB>G|(3ABG (3FGE D2
d>c|
B>GB>d
g>dc>B|A>cb>g f>ed>c|(3BdB G>B (3AcA F>A|G2G2G2:|
|:B>c|d>cB>A
G>Bd>g|e2c2c2 c>d|e>dc>B A>ca>g|f2 d>d d2 e>f|
(3ggg g>e (3fff
f>d|e>fg>e d>cB>A|(3BdB G>B (3AcA F>A|G2G2G2:|
BILL BROWN. Old‑Time, Breakdown.
BILL CHARLTON'S FANCY. English. Composed by Northumbrian smallpipes player Billy Pigg.
Northumbrian Piper's Tune Book. Front Hall FHR‑08,
Alistair Anderson ‑ "Tradtional Tunes" (1976). Leader LER 4006,
Billy Pigg ‑ "The Border Linstrel."
BILL CHEATUM [1]. AKA ‑ "Bill Cheatem," "Bill Cheatham,"
"Cheatum," "Cheat 'Em." Old‑Time, Breakdown.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Bill Cheatum [1]
L:1/8
M:C|
S:Jay Ungar
Z:Transcribed by Andrew Kuntz
K:A
[A,2E2] [E2A2] [E4c4]|cBAc BAFE|DFAc
d2 de|fgaf ecBc|[A,2E2] [E2A2] [E3c3]B|
cBAc BAcA|dcde fgaf|1 ecBc A4:|2ecBc
A3|:af|ecea fdfa|gefg a2 af|ecea fdfa|
ecAc B2 af|ecea fdfa|gefg a2
(3efg|agae faed|cABc A3:|
BILL CHEATHAM [2].
BILL CLANCY'S DELIGHT (Taitneam Uilliam Mic Flanncada). AKA and see “Pretty Peggy” [5]. Irish, Reel. D
Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen).
The tune is the same as “Pretty Peggy [5]," with the parts reversed. See
also “Milestone in the Garden.”
O'Neill (Krassen); pg. 144. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1465, pg. 271. O'Neill (Dance Music of
X:1
T:Bill Clancy’s Delight
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
d2 fd AFDF|d2 fd egfe|d2 fd
AFDF|GEFD EDB,A,|d2 fd AFDF|d2 fd egfe|
d2 fd AFDF|dfeg fd d2||(3FED AD
BDAD|(3FED AD CEEG|(3FED AD BDAD|
GEFD A,DDG|(3FED AD BDAD|(3FED AD
CEEG|Agdf cedB|Agfe fd d2||
BILL COLLINS'. AKA and see “Collins’ Jig,” “Dan Collins’ Father’s Jig.”
Irish, Double Jig. D Major. Standard tuning. AABB. Irish musician Bill Collins
came from Gort,
X:1
T:Bill Collins' Jig
T:Dan Collins’s Father’s Jig
S:Session, Green Tree,
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
d2 A BAB|def a2 f|aba f2 e|dBB BAB|d2 A BAB|def a2 f|aba f2 e|fdB d3:|]
faa faa|afe f3|aaa f2 e|dBB BAB|d2 A BAB|def a2 f|aba f2 e|fdB d3:|]
X:2
T:Bill Collin’s Jig
M:6/8
L:1/8
R:Jig
K:D
dAA BAB|def a3|aba f2e|dBB gfe|dAAB|def a3|aba f2e|1 edc d2A:|2 edc d2e||
|:faa fab|afe f3|aba f2e|dBB gfe|dAA BAB|def a3|aba f2e|1 edc d2e:|2 edc d2A||
BILL CRAWFORD'S FIDDLE.
Canadian, Jig.
BILL ELLIS' HORNPIPE. Irish, Hornpipe. A Major. Standard tuning. AABB. Source for notated
version: Chicago Police Sergeant James O’Neill, a fiddler originally from
X:1
T:Bill Ellis’ Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
c>d | e>^de>c a>ga>e
| c’>bc’>e a>ga>e | f>gf>e d>cB>A | (3EGB (3egb e’2
c>d |
e>^de>c a>ga>e |
c’>bc’>e a>ga>e | (3fag (3fed c>BA>G | B2A2A2 :|
|: B>c | d>cd>B (3bag (3fed
| c>Bc>A (3agf (3edc | B>AB>d (3gfe (3dcB |
A>ce>f e2 c>d |
e>^de>c a>ga>e | c’>bc’>e a>ga>e | (3fag (3fed
c>BA>G | B2A2A2 :|
BILL FULMER'S HORNPIPE. American, Reel.
BILL GRAY’S QUADRILLE. Old-Time, Quadrille.
BILL HALL’S NO. 1. English, Reel. G Major.
Standard tuning. AA’BB’. See note for “Bill Hall’s No. 2.” Callaghan (Hardcore English), 2007; pg. 29.
BILL HALL’S NO. 2. AKA and see “Miss Forbes’ Farewell to
Banff.” English, Reel. G Major. Standard tuning. AABB. This version of the
well-known Scottish tune “Miss Forbes’ Farewell to
BILL HARTE'S JIG [1] (Port Liam Uí Airt). AKA and see "Did you see my man
looking for me? [2]," “The Rookery
[2],” “Sonny Brogan’s [1],” AKA
– “Tom Hearte’s.” Irish, Double Jig. D Mixolydian. Standard tuning. AB
(Breathnach): AABB (Harker/Rafferty, Mallinson). Breathnach (1976) notes the tune
was not original with source Harte, and that it was related to “Bímid ag ól [1],” "Jackson's Humours of Panteen"
and "Huish the Cat." In
fact, the melody was used as an air, and Breathnach notes that
***
Bú dí bú sin, neataí nóinín,
Bú dí bú sin, was every bit of her;
See how she goes on the tip of her toes,
Bú dí bú sin, was every bit of her,
See how she dances, see how she prances,
See how she dances, every bit of her;
See how she goes on the tip of her toes,
Bú dí bú sin, was every bit of her.
(Breathnach, CRE II, 1976)
***
Harte was a
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bill Harte’s Jig
R:jig
H:Also played in Ador, #7
Z:id:hn-jig-337
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:Ddor
~D3 ~A3|BAG ABA|~D3 ~A3|BAG EGE|~D3
~A3|BAG ABc|
d2B cBA|1 BAG EGE:|2 BAG E2D||:d2B
c2A|BAG ABc|
d2B c2A|BAG E2D|d2B c2A|BAG ABc|ded
c2A|1 BAG E2D:|2 BAG EGE||
BILL HARTE’S (JIG) [2]. AKA and see “Humours of Dingle [2],” “Whelan’s Jig.”
BILL HARTE'S REEL (Ríl Liam Uí Airt). AKA – “Sarah Hobbs’.” Irish, Reel. G Major/A
Dorian. Standard tuning. AB. Bill Harte was a Dublin accordion player.
Josephine Keegan’s “Aughacashel” is a related
tune in the first part. Source for notated version: accordionist Sonny Brogan
(County Sligo/Dublin, Ireland), learned from Bill Harte [Breathnach].
Breathnach (CRÉ I), 1963; No. 110,
pg. 46. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 243(b) (Appears as untitled tune).
X:1
T:Bill Harte’s Reel
M:C|
L:1/8
R:Reel
K:G
DEGA BG3 | AGBG AGEG | D2 GA Bded | gedB ABGE |
DEGA
BG3 | AGAB AGEc| (3Bcd ed gedB | A3B G4 ||
BILL HOARE’S. Irish, Reel. G Major : D Major (Miller). Standard tuning. AABB. The
first part is similar to “The Road to Ballymac.” Source for notated version:
Baltimore button accordion player Billy McComiskey [Miller]. Miller (Fiddler’s Throne), 2004; No. 123, pg.
83. Green Linnet 1034, Billy McComisky – “Makin’ the
Rounds” (1981).
X:1
T:Bill Hoare's
R:reel
C:Bill Hoare
S:Billy McComiskey, "Makin' the
Rounds"
H:See CD notes
N:transcribed to G for flute
D:Billy McComiskey, "Makin' the
Rounds"
Z:Jeff Myers
M:C|
L:1/8
K:G
GE|D ~G3 BGGA|BGBd e2de|g ~d3
egde|gedB AB
GE|D ~G3 BGGA|BGBd e2de|g ~d3
egdB|cAFA G2:|
Bd|~g2 bg c'gbg|gabg agef|~g2 bg
c'gbg|abag efge|
~g2 bg c'gbg|gabg agef|~g2 fg
edBG|FA (3DEF G2:||
BILL JOHNSON. Old‑Time, Breakdown. Rounder Records,
Gid Tanner and His Skillet Lickers ‑ "The Kickapoo Medicine
Show" (appears as 6th tune of the Kickapoo Medecine Show skit).
BILL KATON'S TUNE. Old-Time, Breakdown. G Major. Standard tuning. AABB. Katon, or Caton,
was an influential black fiddler from Missouri who unfortunately never recorded
and is thus lost as a primary source. Source for notated version: Charlie
Walden (Mo.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 24.
BILL KEIM. Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard
tuning. AB. Bayard (1981) thinks the 'A' part reminiscent of Henry Clay Works'
"Kingdom Coming" (Year of
Jubilo). Named for the source's father's cousin, from whom it was learned.
Source for notated version: Harmon McCullough (Indianna County, Pa., 1959)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 368, pg. 360.
BILL LAMEY JIG. Cape Breton, Jig. Composed by fiddler Donald Angus Beaton (b. 1912). Rounder 7011, "The Beatons of Mabou: Scottish Violin
Music from Cape Breton" (1978).
BILL LAMEY’S DELIGHT. Canadian, Jig. Canada, Cape Breton.
Composed by Cape Breton fiddler John Campbell. WS
031703, Wendy MacIsaac – “Timeline” (2003).
BILL MALLEY’S
BARNDANCE. Irish, Barndance. G Major. Standard
tuning. AA’BB’. Bill Malley was a fiddler from Glandree, County Clare. The name
is sometimes given as Bill O’Malley. Green Linnett
GLCD 1155, Martin Hayes - “Under the Moon” (1995).
X:1
T:Bill Malley's Barndance
D:Calua: bo/thar gan briseadh/down
the line
M:4/4
L:1/8
Q:1/4=170
K:G
G3 A B2 GB | dedB G3 A | B2 G2 d2 G2
| BAGB A3 F |
G3 A B2 GB | dedB G2 Ac | B2 AG E2
(3DEF |1 GBAF GDEF :|
2GBAF G2 g2 |: e2 d2 g3 e | dedB G3
g | e2 d2 g3 d | BAGB A2 g2 |
e2 d2 gfge | dedB G2 Ac | B2 AG E2
(3DEF |1 GBAF G2 g2 :|2 GBAF G3 ||
BILL MALLEY’S
SCHOTTISCHE. Irish, Schottische. Bill Malley was
a fiddler from Glandree, County Clare. Recorded by Martin Hayes on his first
album.
BILL MATHES WAGONER. AKA and see "Wagoner,"
"Tennessee Wagoner." Old‑Time,
Breakdown. The title appears in a list of traditional Ozark Mountain fiddle
tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.
BILL McEVOY’S FANCY. Irish, Hornpipe. D Major. Standard
tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black in honor of Bill McEvoy. Black (Music’s
the Very Best Thing), 1996; No. 310, pg. 166.
X:1
T: Bill McEvoy's Fancy
C: © B. Black
Q: 325
R: hornpipe
M: 4/4
L: 1/8
K: D
de | f2 ed A2 AB | cABG EFDE | FAde fede | fagf e2 de |
faef dcBc | dBAF EFDE | FABA FDB,D | FAGE D2 :|
DF | ADFA d2 cd | eAce f2 fg | afge fdcd | edcB A2 DF |
ADFA d2 cd | eAce f2 fg | abaf gdBd | ceAc d2 :|
BILL McEVOY’S NO. 1. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), pg. 38.
BILL McEVOY’S NO. 2. Irish, Reel. Composed by fiddler Seán Ryan. Similar to Paddy O’Brien’s “The Nervous Man.” Interestingly, Sean Ryan and Paddy O’Brien knew each other and were related by marriage. Ryan (The Hidden Ireland), pg. 38.
BILL NICHILSON’S 67th.
Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed
by luthier, fiddler and composer Otis Tomas (Goose Cove, St. Ann’s Bay, Cape
Breton). Cook (Night in the Kitchen
collection), 1996; pg. 16. Cranford (Jerry
Holland’s), 1995; No. 266, pg. 77. Shanachie
SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).
BILL
NICHOLSON’S WELCOME TO THE NORTH SHORE.
Canadian, March (2/4 time). Canada, Nova Scotia. A Mixolydian. Standard tuning.
AABBCCDD’. Composed by Cape Breton fiddler, editor, publisher and composer Paul
Stewart Cranford, who is also a lighthouse-keeper. Cranford (The Lighthouse Collection). Shears (Gathering of the Clans Collection, Vol.
1), 1986; pg. 31.
BILL OF RIGHTS. English, Jig. G Major. Standard tuning. AABB. The melody was originally
published in Charles and Samuel Thompson’s Compleat Collection, vol. 3
(London, 1773). As with numerous other tune from the Thompson’s 1773
collection, it was entered into the 1788 music manuscript book of fiddlers John
and William Pitt Turner of Norwich, Conn. “Bill of Rights” is one of the
"lost tunes" of Northumbrian musician William Vickers' dance tune
manuscript, begun in 1770. The title refers not to the American Bill of Rights
(which, of course, the tune predated) but to the English Bill of Rights, passed
by Parliament in 1689 when they invited William and Mary to the throne of
England. It enumerates, among other important points, governance under a
constitutional monarchy. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 119.
X:1
T:Bill of Rights, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
g2f
e2d|efg d3|c2B A2G|ABG FED|g2f e2d|efg d2c|BGB AFA|G3 [G,3G3]:|
|:B2c d2=f|e2d c2B|A2B c2e|d2c B2A|G2A B2d|c2B A2G|
FAG FED|FAG FED|dBg ecg|dBg ecg|BGB AFA|G3 [G,3G3]:||
BILL O’KEEFFE’S [1]. Irish, Reel. B Minor. Standard tuning. AB. Source for notated version:
fiddler Bill O’Keeffe via his brother, fiddler Padraig O’Keeffe, via accordion
player Johnny O’Leary (all from the Sliabh Luachra region of the Cork-Kerry
border); recorded by the latter in recital at Na Piobairi Uilleann, March, 1987
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 162, pgs. 93-94.
BILL O’KEEFFE’S [2]. Irish, Reel. B Minor. Standard tuning. AABB’. Source for notated
version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, March, 1987
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 163, pg. 94.
BILL PATTEN'S JIG. Canadian, Jig. B Flat Major.
Standard tuning. AABB. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 159, pg. 108.
BILL POWELL'S WALTZ. Old‑Time, Waltz. USA, Nebraska. A Major ('A' part) & D Major
('B' part). Standard tuning. AABB. Source for notated version: Bob Walters
(Lincoln, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 195, pg. 151.
BILL SIMMONS. American, Reel or Breakdown. A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
115.
BILL SMITH'S HOEDOWN. American, Reel or Breakdown. C Major. Standard tuning. AABB. Composed
by Bill Smith. Smith was a Saskatchewan cattleman and rancher who moved to
South Dakota in 1913, and was a popular dance fiddler who played Canadian
style, according to Pancerzewski. Pancerzewski (The Pleasures of Home), 1988; pg. 21.
BILL SULLIVAN'S. AKA and see “Denis
Murphy’s (Polka),” “Micky
chewing bubblegum.” Irish, Polka. A Major (Mallinson, Taylor): G Major.
Standard tuning. AABB. Composed by Terry "Cuz" Teahan as a youngster
prior to leaving Ireland for America. Philippe Varlet says that Teahan composed
the tune while still taking lessons with the great Sliabh Luachra fiddler
Padraig O’Keeffe. O’Keeffe liked the
composition and continued to teach it after Teahan’s departure, and it
eventually circulated among local musicians; hence the name “Bill Sullivan’s,”
for a local player who popularized it. Teahan’s tune originally had a third
part, but it was dropped in popular playing in Ireland. Some have noticed
similarities with the Scottish tune “Stumpie/Stumpey.” Mallinson (100 Polkas), 1997; No. 66, pg. 25.
Taylor (Crossroads Dance), 1992; No.
61, pg. 47. Taylor (Music for the Sets:
Blue Book), 1995; pg. 7. CCF2, Cape Cod Fiddlers –
“Concert Collection II” (1999). Green Linnet GLCD 3009, Kevin Burke - "If
the Cap Fits" (1978. Learned from County Cork accordion player Jackie
Daly). Shaskeen ‑ "My Love is in America." CEF 057, Jackie Daly
& Seamus Creagh.
BILL THE WAIVER’S. AKA and see “Bill the Weaver’s.”
BILL THE WEAVER(‘S
JIG) [1].
AKA and see “Munster Seancahi,” “An
Seanchai Muimhneach.” Irish, Jig. Ireland, Slibah Luachra region of the
Cork-Kerry border. D Major. Standard tuning. AABBCC. The tune is named for the
father of the famous Sliabh Luachra fiddlers Denis Murphy and Julia Clifford,
Bill Murphy. The entire Murphy family, who lived in Lisheen near Gneeveguilla,
was known as “The Weavers” because Bill’s father was a linen weaver, and the
name stuck through the generations. Even Denis Murphy was known as ‘Denis the
Waiver’, and sometimes got letter addressed to him as Denis Weaver (Donal
Hickey, 1999). Hickey took the title of his book on Sliabh Luachra musicians
from a quote from Julia
Murphy, who, talking about her father, said he was “stone mad for music.”
Bill played several instruments and was even a leading member of the Lisheen
fife and drum band. Paul de Grae tells the story of Seamus Ennis recording Denis Murphy at home
in Sliabh Luachra:
***
Denis's father Bill ("The Weaver")
had been a noted fife player
in his youth, and had reverted to the tin whistle in later life when
his teeth fell out. After a while
Seamus, out of politeness, asked
Bill would he play a tune. "God
forgive me, I will", said Bill, reaching
into an alcove to produce a venerable old
whistle, all covered in dust
and cobwebs. Seamus started to brush off the whistle for him but Bill
cried "Stop, stop, leave it alone--'twill
make the music sweeter!"
***
Source for notated version: flute
and tin whistle player Bill Murphy via accordion player Johnny O’Leary (Sliabh
Luachra region), recorded in concert at Na Piobairi Uilleann, February, 1981
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 60, pgs. 34-35. GN1, Joe Thoma ‑
"Up the Track: Traditional Music from Kenmare."
BILL THE WEAVER’S JIG
[2]. Irish, Jig. D Major. Standard
tuning. AA’B. Named for concert flute and tin whistle player Bill Murphy
(father of fiddlers Denis Murphy and Julia Clifford), called
“Bill the Weaver” because his mother and father were both weavers. Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 211, pgs. 121-122.
BILL THE WEAVER’S
(POLKA) [1]. Irish, Polka. D Major. Standard
tuning. AABB. Source for notated version: accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 219, pg. 126.
Topic 12T312, “Billy Clifford.”
BILL THE WEAVER’S
(POLKA) [2]. AKA and see “Din Tarrant’s.” Irish, Polka. D Major.
Standard tuning. AABB. Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 269, pg. 153.
Gael-Linn CEF092, Julia and Billy Clifford - “Ceol as
Sliabh Luachra” (appears as “Din Tarrant’s”). Globestyle Irish CDORBD 085,
Julia Clifford - “The Rushy Mountain” (1994. A reissue CD of Topic recordings
from Sliabh Luachra musicians). Topic 12T311, John & Julia Clifford -
“Humours of Lisheen.”
X:1
T:Din Tarrant's
D:Julia and Billy Clifford,
"Ceol as Sliabh Luachra"
R:polka
M:24
L:1/8
K:D
a>f df|Ad e2|e/f/e/d/ cA|Bc df|
a>f df|A/B/c/d/ ee/f/|g/f/e/d/
cA|1Bc d2:|2 Bc dB/c/|
|:dB fB|dB fe/d/|cA eA|BA ce|
fb ba|fb ba|f/g/f/e/ cA|1Bc dB/c/:|2
Bc d2||
BILL THE WEAVER’S
(POLKA) [3]. AKA and see “Din Tarrant’s,” “Lackagh Cross” [2]. Irish, Polka. B
Minor.
BILL THE WEAVER’S
(POLKA) [4]. AKA and see “The Cuban.”
BILL THE WEAVER
(SLIDE) [1]. AKA and see “The Trooper.” Irish, Slide.
BILL THE WEAVER
(SLIDE) [2]. AKA and see “The Lonesome Jig [1].” Irish, Slide.
BILL WILSON. See “Billy Wilson.”
BILLIACLETT. AKA and see "Robbie
Tampson's Smiddie," "Robbie Thompson's Strathspey."
Shetland, Reel. Shetland, Fetlar. The tune, "'Billiaclett' (or
'Baljaclett', after a place on Ronas Hill in Mainland Shetland), turns out to
be a variant of the Scottish tune 'Robbie Thompson's Strathspey'"
(Cooke, 1986). From the island of Fetlar in the Shetlands, and the playing of
octogenerian (in the 1980's) John Robertson.
BILL'S WALTZ. Old-Time, Waltz. G Major ('A' part) & C Major ('B' part). Standard
tuning. AB. Source for notated version: Rebecca Koehler [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 240.
BILLY BALLANTINE’S REEL. English, Reel. G Major. Standard
tuning. AABB. From fife player Billy Ballantine. Nigel Gatherer thinks this may
be a reworking of Angus Fitchett’s tune “J.B.
Milne Reel.” Topic Records, Billy Ballantine – “Holey Ha’Penny.”
X:1
T:Billy
Ballantine's Reel
C:Billy Ballantine
D:Holey Ha'penny
N:This could be Billy's version of
N:"J B Milne" by Angus Fitchett
O:Northumbria
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:2/4
L:1/8
K:G
d|d^c/d/ ed|BB B>A|GF/G/ AG|E3 A/B/|c/B/A/B/ cA|ff f>e|
d^c/d/ ed|cB B2|d^c/d/ ed|BB B>A|G>G Bd|e3 f|g>g fe|
e d2 d|d (3c/B/A/ EF|G3::B|dB/B/ eB/B/|dB/B/ eB|dB g/f/e/d/|
c3 A/B/|cA fA/A/|cA/A/ ff/g/|a/g/f/e/ d/^c/d/e/|B3 B/c/|dB/B/ eB/B/|
dB/B/ eB|d/B/A/G/ B/G/B/d/|e3 f|g>g fe|e d2 d|d (3c/B/A/ EF|G3:|
BILLY BANKER. See “Billy Brocker.” Irish, Reel. This is
the title for “Billy Brocker” on the Bothy Band LP.
BILLY BARLOW (Uilliamin Barlaig). AKA and see "All Alive [2]," "Day after the Fair [2]."
Irish, Double Jig. A Mixolydian (O'Neill/Krassen): A Major (O'Neill/1850 &
1001). Standard tuning. AABB. See also "An La i ndiaidh an Aonaigh,"
"The Wheels of the World [2],"
"His Home and (his)
Country, "I know
not whether to laugh or cry," "I would not give my Irish wife,"
"You're welcome to
Waterford." O'Neill (Krassen), 1976; pg. 32. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 840, pg. 156. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 102, pg. 32. Sweet (Fifer's Delight); No. or pg. 9.
X:1
T:Billy Barlow
L:1/8
M:6/8
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 102
Z:AK/Fiddler’s Companion
K:A
c/d/|ecA ecA|ecA ABc|dB=G dBG|dB=G
GAB|cBc dcd|efg aza|age edB|cAA A2:|
|:c/d/|e3 efd|ecA ABc|d2d d=ge|dB=G
GAB|cBc dcd|efg a2a|age edB|cAA A2:|
BILLY BOCKETT. AKA and see "Billy Brocker."
BILLY BOY [1]. English, Jig and Morris Dance Tune. F Major (Bacon, Carlin): G Major
(Mallinson). Standard tuning. AABB, x4. A truncated version of “Constant Billy.” From the Bledington,
Gloucestershire, area of England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 77. Carlin (Master Collection), 1984; No. 53, pg. 40. Mallinson (Mally’s Cotswold Morris Book), 1988,
vol. 2; No. 3, pg. 4.
X:1
T:Billy Boy [1]
L:1/8
M:6/8
S:Bacon (Bledington)
K:F
FAc BGA|BAB GEC|AGF DCB,|CDE F3:|
|:B2c dBG|A2B cAF|ABc d2B|GAB c3|
FAc BGA| BAB GEC|AGF DCB,|CDE F3:|
BILLY BOY [2]. AKA and see "Walk Jaw Bone [1],"
"Green Mountain [1],"
"Cake's All Dough,"
"Did You
Ever See the/a Devil, Uncle Joe," "Uncle
Joe," "Hop Light/High
Ladies," "Miss
McLeod's/MacLeod's Reel [1]."
BILLY BROCKER. AKA and see "Billy Bockett," “The Budgie on the Griddle,” "Charlie Lennon's." Irish,
Reel. D Major. Standard. AB. Editor Taylor reports the tune is a close relation
of "The Sunny Banks," "The Jolly Clam-Diggers," and
"The Dairymaid" and further
remarks "the phrases in the second part are stock‑in‑trade for
musicians on many instruments...the lack of C sharps on any main beats in our
tune indicates antiquity and a suitability for the flute." See also “Old Billy Brocker's,” which has a
different second part. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 32. Taylor (Crossroads Dance), 1992; No. 30, pg. 23. Green
Linnet SIF 3005, Bothy Band – “Old Hag You Have Killed Me” (1981, a reissue of
the 1976 Mulligan LP. Appears as “Billy Banker”). Shaskeen ‑ "My
Love is in America." Shanachie
79083, Mary Bergin – “Feodoga Stain II.”
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Billy Banker
R:reel
S:Kevin Burke
D:Bothy Band: Old Hag You Have
Killed Me
Z:Philippe Varlet
M:C|
K:D
dB|:AF~F2 A2dB|AF~F2 ~G3 B|AF~F2
ABdB|1 efge fddB:|2 efge fdde ||
~f3 a gafg|eA (3cBA eA (3cBA | ~f3 a
g2fg |1 gffe fdde:|2 gffe fddB||
X:2
T: Billy Brockers
R: Reel
Z:Transcribed by Jean Lewis
S: Mary Bergin
M: C|
K: D
dB|A~F3 AFdB|ADFA ~G3B|A~F3 ABde|f2
eg fddb|
A~F3 AFdB|A~F3 ~G3B| A2FA ABde|f2eg
fdd2||
dAdf ~a3f|eABA eABA|dAdf ~a3g|(fga
eg fdd2|
dAdf ~a3f| eABA eABA|~f3a g2
(3dfg|a2ge fdd2||
BILLY BUTLER. AKA and see "Pretty Little Girl
with the Blue Dress On."
BILLY BYRNE OF
BALLYMANUS. AKA and see "Billy Byrne's Lament," “Ormond’s Lament [1],” “The County of Mayo,” “A Lament for Thomas Flavell.”
Irish, Air or March Tune (2/4 time). C Major (Joyce/1909, Roche): D Major
(Joyce/1890, O'Neill). Standard. One part. "This rude ballad is one of a
class which were very common all over Ireland for half a century or so after
the rebellion of Ninety‑eight. I give it partly from memory, partly from
a printed ballad‑sheet in my possession, and partly from the copy
published 40 years ago by Father C.P. Meehan in his book 'The O'Tooles'. He
took his copy from a MS. written by a schoolmaster named MacCabe of Glenmalure.
There are other verses in which the informers' names are given in detail, but
they are as well omitted here. 'Billy Byrne of Ballymanus' (near Rathdrum, and nearer
to Greenan in Glenmalure, county Wicklow) was an influential and very popular
gentleman of the County Wicklow who was convicted and hanged on the evidence of
informers after the rebellion. Father Meehan gives an account of him in the
above‑mentioned book. The tune is well known and extremely popular in the
south‑eastern counties; and I think not without good reason, for it
appears to me a very beautiful melody and most characteristically Irish. I
printed it for the first time in 1872 in my Ancient
Irish Music. I have often heard it played by itinerant musicians in the
streets of Dublin. It was sometimes used as a march tune" (Joyce). In his
1873 work Joyce states the tune was extremely popular in the counties of
Dublin, Wicklow, Wexford and Carlow, and gives the Leinster setting.
***
Cazden (et al, 1982) found the tune
in tradition among ballad singers in the Catskill Mountains of New York, and
prints it for the song "Wild Americay." He finds, in addition to being a popular tune for Irish ballads
and songs, it has been found in the Northeast-Maritimes region (particularly in
lumbercamp repertory), and notes that Ron Edwards reports two songs from
Australia sung to a similar melodies. O’Neill (1913) records the melody being
used for songs entitled “A Lament for Thomas Flavell” and “The County of Mayo.”
See note for “The Enniskillen
Dragoons [1]” for brief discussion of structure and other tunes in this
class. O’Neill found (printed in Alfred Perceval Graves’ Irish Song Book) an old song called “The County of Mayo” sung to
the “Billy” tune, commencing “On the deck of Patrick Lynch’s boat I sit in
woeful plight.” Joyce (Ancient Irish
Music), 1890; No. 86, pg. 88. Joyce (Old
Irish Folk Music and Song), 1909; No. 374, pg. 179 (with lyrics). O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 117, pg. 21. Roche Collection, 1982; Vol. 3, No. 48, pg. 13.
X:1
T:Billy Byrne of Ballymanus
M:2/4
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:C
ed|cc EF|G>F ED/E/|F/E/D/E/ CC|
C3 E/F/|GG c>d|ef/e/ de/d/|c/>B/ G/F/ G/A/B/d/|
c3 E/F/|GG c>d|ef/e/
de/d/|c/>B/ G/F/ G/A/B/d/|c3 e/d/|cc EF|G>F ED/E/|F/E/D/E/ CC|C2||
BILLY BYRNE'S LAMENT. AKA and see "Ormond's
Lament [1]." Irish, Lament. Probably the same tune as "Billy Byrne of Ballymanus." The tune
to which the Billy Byrne words are set was borrowed from the Jacobite era song
"Ormonde's Lament."
BILLY CAPLES’ REEL. Irish, Reel. G Major. Standard tuning. AABB. The tune is named after
Boston accordion player Billy Caples, thought to be the source for the tune.
Source for notated version: Mike and Larry Reynolds [Black]. Black (Music’s the Very Best Thing), 1996; No.
50, pg. 26.
X:1
T: Billy Caples' Reel
S: Mike Reynolds
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
e | dG (3GFG cBce | dGGA GEDE | GFGA BABc | dega bage |
dG (3GFG cBce | dGGA GEDE | GFGA dcde | dggf g3 :|
e | (3gfg bg efge | dBGB AGED | (3gfg bg egdg | eaab agef |
(3ede
ge cdec | dBGB AGED | GFGA BABc | dggf g3 :|
BILLY CHURCH MEMORIAL
BREAKDOWN, THE. AKA and see “Cat on a Leash.”
BILLY FROM BRUFF. Irish, Jig and Air. A Dorian. Standard tuning. AABBCCDD. "From
Jack Sheedy: a very old man: 1849. Bruff in Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 37, pg. 21.
X:1
T:Billy from Bruff
M:6/8
L:1/8
R:Air and Jig
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Ador
E|EAB cBc|AdB GAB|EAB cBc|Aee e>cA/G/|EAB cBc|AdB GAB|Aag ede|cAA A2:|
|:A|Aab aga|ega gdB|Aab age|def g2 d/B/|Aab aga|ede gab|age dgB|cAA A2:|
|:c/d/|efe dcB|cAG EGB|AGA cBc|dcd e2 c/d/|efe dcB|cAG G2 e/g/|age dgB|cAA A2:|
|:c/d/|eag
a2e|gfe dBG|eag aef|gdB G2 c/d/|eag aef|g/f/a/g/e/f/ gab|age dgB|cAA A2:|
BILLY HARRISON’S FATHER’S POLKA. See “Father’s Polka.”
BILLY HOWARD'S TUNE. AKA and see "Sweet Ellen,"
"Sweet Ellum."
BILLY/BILLIE IN THE LOW GROUND [1]. AKA and see "Beaus of Albany [1]," "Billy in the Low Land [1]," "Braes of Auchtertyre [1]," "Fiddler's Drunk and the Fun's All Over," "Jinny in the Lowland," "Kerry Fulton's Schottishe," "The Kerryman's Daughter [1]." Old‑Time, Bluegrass; Breakdown. USA, known under this title throughout the American South, Midwest, and Southwest. C Major (most versions): D Major (Bayard‑Marr). Standard tuning. AB (Beissenger & McCann): AABB (most versions). Miles Krassen (1973) identifies an Irish version called "The Kerryman's Daughter" which may be cognate or ancestral, while R.P. Christeson suggests it can be traced to the Scottish "Braes of Auchentyre" in (Cole's 1000) {as John Hartford has supported} and "Beaus of Albany" in Howe. It has also been pointed out the the ‘B’ part of “Billy” is quite similar to the ‘B’ part of the Irish tune “The Sailor’s Bonnet.” Samuel Bayard (1981) agrees with Stenhouse‑Johnson in concluding that the tune originated in Britain as a slow 3/4 time song tune from c. 1710 or earlier, called "O Dear Mother (Minnie) What Shall I Do?" He sees the development of the tune as having then split into two branches, and that during the 1740's a 6/8 "giga" or jig form was composed called variously "All the Blue Bonnets Are Over the Border," "Blue Bonnets Over the Border [1]," "Over the Border [1]," or "Blue Bonnets [2]." Later in the century the second branch was fashioned from the original 3/4 tune into a fast duple time (4/4) dancing air which went by several titles including "The Braes of Auchtertyre/Auchentyre" (the oldest and most common title), "The Belles of Tipperary [1]," and "The Beaus of Albany [1]." These latter tunes are the immediate ancestor of the "Billy in the Lowground" group of tunes in America. See also related tunes "Apple Blossum," “Cranberry Rock,” “Rymer’s Favorite,” “Dunbar,” “Gilda Roy,” Rocky Pallet,” “Washroom Reel,” “Indian Eat the Woodpcker,” and the related part 'A' of "Shelvin Rock" (as played by Melvin Wine, for example).
***
Early American printings of the piece can be found from the early 19th century onwards. The melody appears under the "Billy/Low Grounds" title in George P. Knauff 's Virginia Reels," volume III (Baltimore, 1839)—see also note for “Billy in the Lowlands” [5]. Folklorist and fiddler Alan Jabbour finds that, in some sources, the title changed around 1800 to "Johnny in the Nether Mains."
***
The melody is widely disseminated through the United States, with the exception of the Northeast and north Mid-West. Bayard (1944) writes that when he collected the melody it was "current as a marching tune in Greene County, Pennsylvania, and is known to its 'Billy' form of the title farther south (as the tune resembles another Pa. tune called 'Jinny in the Lowlands'). The resemblances between this tune and 'Jinny in the Lowlands' may be fortuitous; but they have at any rate attracted enough notice from the players to cause confusion of the titles..." Tom Carter and Blanton Owen (1976) maintain the tune and title are characteristic of the Franklin, Floyd and Patrick County area of southwestern Virginia, and represent an older fiddle repertoire which predates the later development of stringband or fiddle/clawhammer banjo tunes. "Billy in the Lowground" was played by Arizona fiddler Kenner C. Kartchner for dances in the Southwest at the beginning of the twentieth century (the piece was identified by him as having come to that region from the American South, and assessed it as "a good one"). It was recorded from the playing of an Ozark fiddler for the Library of Congress by musicologist/folklorist Vance Randolph who collected in the early 1940's, and, likewise, by Herbert Halpert (also for the Library of Congress) in 1939 from Tishomingo County, Mississippi, fiddler John Hatcher. Texas fiddler Eck Robertson recorded it commercially for Victor records in 1923 in a medley with “Sallie Johnson” (the disc was backed with “Done Gone [1]”). Cauthen (1990) collected evidence from period newspapers and other accounts in Alabama and records that it was one of the tunes commonly played throughout every region of that state in the first part of the 20th century. The Marion Standard of April 30th, 1909, reported it was one of the tunes (along with "Miss McLeod") played at a housewarming in Perry County, Ala., in 1827. Elsewhere in the deep South, a Georgia fiddler named Ben Smith, serving with the 12th Alabama Infantry in the Civil War, played the tune in that conflict according to a memoir of the unit. According to Bell Irvin Wiley, writing in his book The Life of Johnny Reb (1943), “Billy in the Lowground” was a favorite tune of Confederate fiddlers.
***
It is also known to have been associated with Kentucky fiddlers (Wolfe, 1982). The famous Kentucky musician Dick Burnett related this improbable story about the origin of the tune and title:
***
You know how come them to make that? There
was a man a goin'
through an old field one time and he had his
fiddle with him and
he walked out on the bank of a sink hole and
it broke off and he
fell down in that hole and couldn't get out.
He just sat down there
and took his fiddle and played that tune.
His name was Billy
something but I forgot his full name. (Charles Wolfe)
***
“Billy in the Lowground” was a popular fiddle tune among Kentucky musicians. African-American fiddler Cuje Bertram claimed to have taught it to Leonard Rutherford (Monticello, Ky.), and in Jeff Titon’s (2001) opinion the two versions are in fact quite similar, although Bertram’s is more intricate. Kentucky fiddler John Salyer’s version (see Titon, Old Time Kentucky Fiddle Tunes, 2001) was an uncommon rendition and shares similarities in the high part with another Kentucky fiddler, Doc Roberts, notes Titon. “Billy Lost in the Lowlands” is what fiddler Darley Fulks called the tune, the substitute word “Lowlands” in the title also being found by Bayard employed by some Pennsylvania fiddlers. Both the “Billy in the Lowground” and “Billy in the Lowlands” titles appear in the Berea, Ky., 1919-1928 contest tunes list, finds Titon.
***
The tune was in the repertories of Uncle Jimmy Thompson 1848‑1931 (Texas, Tenn.), Fiddlin' Cowan Powers 1877‑1952? (Russell County, southwest Virginia) [and recorded by him in 1924 for Victor, though the side was unissued], Bob Wills (Texas), black Kentucky fiddler Cuje Bertram, and Alabama fiddlers Monkey Brown (1897‑1972) and D. Dix Hollis. North Georgia fiddler Lowe Stokes recorded “Billy” in 1930 with guitarist Riley Puckett; his rendition features an extra beat (as does Ozark fiddler Seth Mize’s version—see Beisswenger & McCann). Other early recordings include Georgia’s Fiddlin’ John Carson (1923) and the Kessinger Brothers (1929).
***
Sources for notated versions: African-American fiddler Bill Driver (Miller County, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen]; David P. Gilpin, 9/22/1943 (played at Connellsville, Fayette County, Pa. but learned at Dunbar, Pa., though Gilpin did not have the title) [Bayard, 1944]; Irvin Yaugher, John Meighen, Frank Lowry, John Filby & Wiley Jobes (from Greene or Fayette Counties, southwestern Pa.) [Bayard, 1981]; James Marr (Mo., age 93 in 1949) [Bayard]; Howdy Forrester via John Hartford [The Devil's Box]; Lowe Stokes (Ga.) [Kaufman]; Billy Baker & Forest Daugherty (Texas) [Phillips]; John Johnson [Phillips]; Clyde Davenport (Monticello, Kentucky) [Phillips]; Leonard Rutherford (Monticello, Kentucky) [Titon]; John Salyer (Salyersville, Magoffin County, Kentucky) [Titon]; African-American fiddler Cuje Bertram (Indianapolis, Indiana), who claimed he taught the tune to Leonard Rutherford [Titon]: Glenn Berry [Silberberg]; Cathy Sisco [Silberberg]; Seth Mize (1901-1977, Searcy County, Arkansas) [Beisswenger & McCann].
***
Print
Sources: Adam, 1938; No. 42. Bayard (Hill
Country Tunes), 1944; No. 5 (appears as "Reel"). Bayard (Dance to the Fiddle), 1981; No. 234A‑E,
pgs. 192‑194. Bayard (Dance to the
Fiddle), 1981; Appendix No. 23, pg. 581. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 92. Brody (Fiddler’s
Fakebook), 1983; pg. 42‑43. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 54, pg. 41. The Devil's Box, pgs. 51‑53. Fiddler Magazine, vol. 3, No. 2, Summer
1996; pg. 30. Ford (Traditional Music in
America), 1940; pg. 65 (as "Billy in the Low Land"). Kaufman (Beginning Old Time Fiddle), 1977; pgs.
68‑69. Krassen (Appalachian Fiddle),
1973; pg. 74 (an irregular version with nine measure parts instead of eight).
Lowinger (Bluegrass Fiddle), 1974;
No. 21. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 65, pg. 39. Phillips (Fiddlecase Tunebook), 1989; pg. 6. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 25 (three
versions). Ruth (Pioneer Western Folk Tunes), 1948; No. 74,
pg. 27. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 10
(two versions). Thede (The Fiddle
Book), 1967; pg. 78. Titon (Old Time
Kentucky Fiddle Tunes), 2001; 9A,B,C (three versions), pgs. 40-41. Welling
(Welling’s Hartford Tunebook), 1976; pg.
1.
***
Recorded
Sources: Berea College Appalachian Center AC003,
“John Salyer: Home Recordings 1941-42” (1993). Berea College Appalachian Center
AC005, Walter McNew – “Black Jack Grove” (1993). Brunswick 239 (78 RPM), Dr.
Humphrey Bate and His Possum Hunters {1928) (Nashville, Tenn. Columbia 15209‑D
(78 RPM), Burnett and Rutherford (1927). Columbia 15620 (78 RPM), Lowe Stokes
(1930). County 202, "Eck Robertson: Famous Cowboy Fiddler." County
507, Lowe Stokes (North Ga.) {1930} ‑ "Old Time Fiddle Classics."
County 512, The Fiddlin' Bootleggers ‑ "A Day in the Mountains"
(orig. rec. in 1928). County 703, Benny Thomasson ‑ "Texas
Hoedown." County 733, Clark Kessinger ‑ "The Legend of Clark
Kessinger." Davis Unlimited 33014, W. L. Gregory – “Monticello: Tough
Mountain Music from Southern Kentucky” (1974). Davis Unlimited 33015, Doc
Roberts (Ky.) ‑ "Classic Fiddle Tunes" (One of the first tunes
recorded by this fiddler). Document DOCD-5631, Cuje Bertram – “Black Fiddlers”
(1999). Document
8045, “Lowe Stokes, Vol. 1: 1927-1930” (1999 reissue). Folkways 2337, Clark Kessinger (Va.) ‑ "Live at
Union Grove" (1968). Gennet 3235 (78 RPM), Doc Roberts (1925). Gennet 6390
(78 RPM), Doc Roberts (1927). Library of Congress 1010A2, Jilson Setters,
recorded for Alan Lomax and the Library of Congress in June, 1937. Marimac
9110, Dr. Humphrey Bate and his Possum Hunters ‑ "It'll Never Happen
Again: Old Time String Bands Vol. 1." Missouri State Old Time Fiddlers'
Association, Casey Jones (1910-1967) - "Rocky Road to Jordon." Missouri
State Old Time Fiddlers' Association, Cyrill Stinnett - "Plain Old Time
Fiddling." Okeh 40020 (78 RPM), John Carson. Okeh 45397 (78 RPPM), Oscar
and Doc Harper. Omac 1, Thomasson, Shorty, Morris, and O'Connor ‑ "A
Texas Jam Session." PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996. From Bruce Greene). Rounder 0046, Mark O'Connor ‑
"National Junior Fiddle Champion." Rounder 0351, J. P. Fraley –
“Mayville: Old Time Fiddler Tunes from Northeast Kentucky” (1995). Rounder
1004, "Ramblin' Reckless Hobo: The Songs of Dick Burnett and Leonard
Rutherford" (originally recorded 1927). Rounder CD0262, Mike Seeger -
"Fresh Oldtime String Band Music" (1988. Appears as part of
"Billy in Waynesboro"). Sonyatone 201, Eck Robertson (Texas) ‑
"Master Fiddler." Vanguard VSD 9/10, Doc Watson ‑ "On
Stage." Vetco 102, Jilson Setters, 1928 (under the name Blind Bill Day)
{b. 1860, Rowan County, Ky.}, originally recorded on Victor 21407 (78 RPM) in
1928 (as "Billy in the Low Land"). Victor 19372 (78 RPM), Eck
Robertson (Texas) {1922}. Recorded by Burnett and Rutherford (Ky.), 78 RPM, and
Uncle Am Stuart (b. 1856, Morristown, Tenn.) in 1924 for Vocalion. Voyager 309,
Benny and Jerry Thomasson ‑ "The Weiser Reunion: A Texas Jam
Session" (1993).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Billy in the Lowground [1]
L:1/8
M:C|
S:Jay Ungar
Z:AK/Fiddler’s Companion
K:C
CA,|:G,A,CD EGAB|cBcd cAGB|ABAG EGAB|1 cAGE DCA,C:|2 cAGE D C3||
|:e g2 e g3 (g|g)age d c3|e a2 e a3 (a|a)bag edcd|
e g2 e g3 (g|g)age d c3|ABAG EGAB|cBGE D C3:|
BILLY IN
THE LOWGROUND [2].
Old-Time, Breakdown. USA, West Virginia. A Major. AEae tuning. A version of
“Billy in the Lowground” by West Virginia fiddler Frency Carpenter. On a 1963
recording Carpenter can be heard saying that the "old-timers" he knew
considered “Bonaparte's Retreat
[1]” and “Billy in the Lowground” as companion tunes that were often played
together, and that older musicians in his area played “Billy in the Lowground” in the ‘Italian key’ (i.e. AEae tuning).
Carpenter also played a version of “Bonaparte’s Retreat,” usually in DDad
tuning, in the same AEae tuning.
BILLY IN THE LOW LAND [1]. See "Billy in the Low Ground [1]."
BILLY IN THE LOWLANDS [2]. English, Reel. E Minor. Standard tuning. AAB.
Kennedy (Fiddlers Tune Book), vol. 2,
1954; pg. 12. Raven (English Country
Dance Tunes), 1984; pg. 164.
BILLY IN THE LOWLANDS [3]. AKA and see "Jinny in the Lowlands [1]."
BILLY IN THE LOWLANDS [4]. AKA and see "Sweet Ellum."
BILLY IN THE LOWLANDS [5]. Old-Time,
Breakdown. G Major. Standard tuning. Allen Jabbour collected this tune from
Glen Lyn, Virginia, fiddler Henry Reed who called it "the old
Franklin County Billy in the Low Land,” and distinguished it from the “Billy”
tune played in the key of C (Reed played the latter tune, but called it
“Shelving Rock”). Reed’s family had originally lived in Franklin County in the 19th
century before moving to Monroe County, as had some neighbors. The melody
appears in Knauff's Virginia Reels (1839) as "Billy in the Low
Grounds: A Virginia Reel,” and Jabbour finds another Virginia/North Carolina
regional set under the same title in Person’s Collection of Popular Airs
(1889). Jabbour characterizes the tune stylistically as having origins in
Britain or similar-sounding American tunes from that tradition, but could not
trace any direct antecedents. Jabbour also collected the tune from modern
fiddlers Joe Anglin (Martinsville, Va.) and Malvin Artley (central West
Virginia). Kerry Blech adds that Artley, who wrote a dissertation on regional
traditional music, prepared a recording to illustrate his project that contained
a version of “Billy in the Lowlands [5]" played by West Virginia fiddler
Emery Bailey. Rounder 0024, “Hollow Rock String Band”
(1974. Learned from Henry Reed, Glen Lyn, Va. as “Billy in the Low Land”).
BILLY IN THE WOODS.
American, Reel. C Major. Standard tuning. AABB. The melody was published
in George P. Knauff’s Virginia Reels, vol. III (Baltimore, 1839).
X:1
T:Billy in
the Woods
M:2/4
L:1/8
R:reel
B:George
P. Knauff – Virginia Reels, vol. III (Baltimore, 1839)
Z:AK/Fiddler’s
Companion
K:C
G|ce/c/
(g/c/e/c/)|(f/c/a/c/) (g/c/e/c/)|(G/c/e/c/) (g/c/e/c/)|(B/d/c/e/) dG|ce/c/
(g/c/e/c/)|
(f/c/a/c/)
(g/c/e/c/)|(d/a/g/B/) (d/a/g/B/)|(d/a/g/B/) c::g|ge/g/ (d/g/e/g/)|(c’/b/c’/g/)
(f/e/d/c/)|
(E/G/c/E/) (F/A/d/c/)|(B/G/A/B/)
cG|(c/e/g/e/) (d/f/a/f/)|(e/g/a/b/) (c’/b/c’/g/)|(a/g/e/c/) af/d/|(B/G/A/B/
c:||
BILLY MACKINNON. Scottish, Strathspey. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 30, pg. 6.
X:1
T:Billy MacKinnon
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 30
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
f | e<c c<e f2 (f<a) |
e<c B>A G<B B>f | e<c c<e f2 (f<a) | e<c B>c A3 :|
|: d | c<e e>a (f<d) d2 |
e<c B>A (G<B) B>d | c<e e>a (f<d) (f<a) | e<c B>c
A3 :|
BILLY MALLEY’S
SCHOTTISCHE. Irish, Schottische. Green Linnet GLCD 1127, “Martin Hayes” (1993).
BILLY McCORMICK('S
JIG) {"Port Liam Mhic Cormaic" or "Uilliam Mac
Cormac"}.
AKA and see "The New Lesson." Irish,
Double Jig. A Dorian. Standard tuning. AABB. Source for notated version:
fiddler Paddy Cronin (Boston) [Breathnach]. Breathnach (CRÉ III), 1985; No. 7, pg. 5. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 341, pg. 71. Green Linnet, Patrick Street – “Corner House.” Outlet
Records OAS 3002, Paddy Cronin ‑ "Kerry's Own Paddy Cronin"
(1977).
X:1
T:Billy McCormick’s Jig
R:Jig
L:1/8
M:6/8
K:A Dorian
ABA ABd | edB gdB | G3 BAB | dBG AGE
| ABA ABd |
edB def | gfe fdB | ABA A3 ::\ e|aga
age|aba age|gag gdB |
GBd gdg | aba age | edB def | g2e
fdB | ABA A3 :|
X:2
T:Billy McCormick’s
R:double jig
Z:lesl
M:6/8
L:1/8
K:Ador
d|:A~A2 A2g|ede geB|G~G2 BAG|dBG AGE|
A~A2 A2g|edB def|g2g (3efg e|1 dBG A2E:|2 dBG A2e||
a3 age|a3 age|g3 gdB|GAB deg|
a3 age|edB def|g2g (3efg e|dBG A2e:|
BILLY
O'ROURKE'S JIG [1]. AKA and see "Johnny/Johnnie
McGill/MacGill" (Pa.), "Come Under My Plaidie,” "Before I Was Married," “Black Rogue [1].” Irish, Jig. G Major
(Cole, Ryan, White): D Major (Shields/Goodman). Standard tuning. AABB. The
melody was included three times in the music manuscripts of Church of Ireland
cleric James Goodman (1828-1896), notes Paul de Grae. Goodman was an Irish
speaker and uilleann piper who collected in tradition in County Cork and
elsewhere in Munster, and who also gleaned tunes from other musicians’
manuscripts and printed sources. See also his “Droichead Loch Gearr” and “Black Rogue [2].” Cole (1000 Fiddle Tunes), 1940; pg. 71. Ryan’s Mammoth Collection, 1883.
Shields/Goodman (Tunes of the Munster
Pipers), 1998; No. 435, pg. 170. White’s
Unique Collection, 1896; No. 20, pg. 4.
X:1
T:Billy
O’Rourke’s Jig [1]
M:6/8
L:1/8
R:Jig
S:White’s Unique Collection (1896), No. 20
Z:AK/Fiddler’s Companion
K:G
g/e/ | dBB B>AB | dBB B>(gf/e/) | (dB)B B>(cB/A/) | GEE E2 g/e/ |
dBB B>AB | (dB)B g(fe) | dBB BAB | (GE)E E2 :: f | g3a3 | bge dcB |
g2g
aga | bge e>f(g/a/ | b)ag agf | gfe (e/f/g)e | dBB BAB | (GE)E E2 :|
BILLY O'ROURKE [2]. Irish, Jig. D Major. Standard tuning. AABA. Some similarity to version
#1. Kerr (Merry Melodies), vol. 1;
No. 36, pg. 39.
X:1
T:Billy O’Rourke [2]
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 1, pg. 39
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
f/e/|d2B BcB|A2A A2A|B2B BcB|g3
(f2e)|d2B BcB|
A2A A2A|Bcd ecA|d3 d2:||A|d2e
f2g|a2b a2f|
d2e f2g|a3 (f2a)|b2b a2a|g>ag
f2e|d2B BcB|g3 (f2e)||
BILLY O'ROURKE IS THE
BOY. See "Billy O'Rourke's the Buachaill [1]."
BILLY O'ROURKE'S THE
BUACHAILL [1] (Se Liam Ua Ruairc an
Buacaill). AKA
- "Billy O'Rourke is the Boy." AKA and see "Beidh ril againn,” "An Bóthar ó thuaidh go dtí
Árainn" (The South Road to Aran), "The Day I Married Susie/Susan,"
"Fair of Windgap," “Mrs. Casey,” “The
North Road to Aran,” "Paddy's
Experience," "Roudlum Randy," "St. Patrick was a Gentleman [3],"
“Ta Mo Mhadra.” Irish, Air and Single Jig. D
Major. Standard tuning. AABB. This comic song dates from the early 19th
century. It begins:
***
I greased my brogues and cut my stick,
In the latter end of May, Sir,
And up to Dublin I did sail,
To walk upon the sea, Sir,
To England I resolved to go,
To cut the hay and corn;
And among the Cockney girls to dance
From nigh until the morn.
With my Killy ma crue, no heart more true,
For Billy O'Rourke is the boukal.
***
Breathnach (CRE II, 1985) also says “Beigh ríl againn” (We’ll have a reel) is
sung to this air:
***
Ó, beidh ríl againn,
Beidh ríl againn,
Beidh ríl againn Dé Domhnaigh;
Beidh ríl againn,
Cois taobh an chnoic,
Is cailín deas im theannta.
***
Oh, we’ll have a reel,
We’ll have a reel,
We’ll have a reel on Sunday;
We’ll have a reel,
By the side of the hill,
And a pretty girl along with me (lit. trans. Paul de Grae)
***
See also related tunes “Arra Kitty Be Easy,” “Tristram Shandy” and “Ballahaboy Fair.” O'Neill (Dance Music of Ireland: 1001 Gems), 1986;
No. 987, pg. 170 (appears as "Billy O'Rourke is the Boy").
X:1
T:Billy O’Rourke is the Boy
M:6/8
L:1/8
R:Air and Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 987
Z:AK/Fiddler’s Companion
K:D
e|d2B BcB|A2A A2A|B2B BcB|g3 f2e|d2B
BcB|A2A A2c|Bcd ecA|d3 d2:|
|:A|d2e f2g|aba a2f|d2e f2g|a3
f2a|bab a2f|gag f2e|d2B BcB|g3 f2e|d2B BcB|
A2A A2A|B2B BcB|g3 f2e|d2B BcB|A2A
A2c|Bcd ecA|d3 d2:|
BILLY O'ROURKE THE
BOUCHAL [2]. Irish, Air (4/4 time). D Major. Standard
tuning. One part. Source for notated version: fiddler Brigid Kenny (Dublin,
Ireland) [Darby & McCall]. Darby & McCall (The Darley & McCall Collection of Traditional Irish Music),
1914; No. 1, pg. 1.
BILLY PATTERSON('S FAVORITE). AKA and see "The Blackthorn Stick [1],” "Boys of Bockhill/Rockhill,"
"The Catholic Boys [2],"
"Eagle's Nest," "Fire on the Mountain(s) [2],"
"Fire in the Valley,"
"Humors of Bantry,"
"The Hare on the Mountain,"
"The Maid(en) on the Green,"
“The Rose on the Mountain [1].” Irish, Double Jig. G Major. Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 54. Ryan’s Mammoth Collection,
1883; pg. 83.
X:1
T:Billy Patterson’s Favorite
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
e/f/ | gfg efg | dBG AGE | DGG FAA |
GBB ABd | gfg efg | dBG AGE |
DEG ABc | BGG G2 :: g | edd gdd |
edd gdB | def gfe | dBG AGE |
gfg efg | dBG AGE | DEG ABc | BGG G2
:|
BILLY PIGG’S HORNPIPE. English, Hornpipe. D Major.
Standard tuning. AABB. Composed by Northumbrian piper Billy Pigg (1902-1968).
Miller (Fiddler’s Throne), 2004; No.
276, pg. 166. Northumbrian Pipers’ Second
Tune Book, 1981. BEJOCD-37, Sue Harris – “Pastorela.”
Fellside Recordings, Andy May –“The Yellow Haired Laddie.” Leader LEACD4006,
Billy Pigg – “The Border Minstrel” (2002). Saydisc Records CD-SDL 343, Kathryn
Tickell – “On Kielder Side” (1984).
BILLY PIT. AKA – “William Pitt.” English, Reel. England, Yorkshire. D Major.
Standard tuning. AABB. The title honors one of the William Pitts who was Prime
Minister of Britain. Pitt the Elder was in office from 1766-1768, while Pitt
the Younger held sway from 1783-1801 and again in 1804-1806. “Billy Pitt”
appears in Lawrence Leadley’s Yorkshire manuscript (mid-19th
century) and in the music manuscript copybook (1838) of Cumbrian musician
William Irwin. As “William Pitt” (Wm. Pitt) the tune appears in the c. 1825
music manuscripts (BF13.004) of the Browne family of Troutbeck, in the old
county of Westmoreland in the English Lake District. It now is located in the
relatively new county of Cumbria. The manuscripts are apparently the work of
different individuals over time, with the Browne family the last owners of the
book before they were collected and donated to the Armitt Library, where they
are kept today. Source for notated version: a MS by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 109, pg. 61.
X:1
T:Billy Pitt. HS.18
M:C|
Q:200
S:Henry Stables MS, Cumbria, late 19th
C.
R:reel
O:Walthwaite, nr. Ambleside
A:
Z:vmp.Chris Partington
K:D
d2dfa2af|g2ge
cecA|g2dfa2af|bgecd2D2::!
Adcd fdcd|Bgfg ea^ga|Adcd
fdcd|Bgecd2D2:||
BILLY RUSH’S JIG. Irish, Jig. Ireland, County Donegal. E Dorian. Standard tuning. AA’BB’.
Source for notated version: fiddler Danny O’Donnell (County Donegal) [Feldman
& O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 182.
BILLY
RUSH’S OWN. Irish, Jig. A Major. Standard tuning. AABB’. O’Brien
(Irish Folk Dance Music).
X: 1
T: Billy Rush's Own
S: J. O'Brien: "Irish Folk Dance
Music"
Z: Transcribed by Bill Black
M: 6/8
L: 1/8
Q: 325
R: jig
K: A
F | FEF ECE | FAA BAB | cec fdB | cAA BAF |
FEF ECE | FAA BAB | cec BAB | cAA A2 :|
B | cee ecA | dcB cAA | BcB BAB | cec dcB |
cee ecA | dcB cAA |1 BcB BAB | cBA BAF :|
|2 EFE ECE | FAA A2 ||
K:G %Transposed from A
E | EDE DB,D | EGG AGA | BdB ecA | BGG AGE |
EDE DB,D | EGG AGA | BdB AGA | BGG G2 :|
A |: Bdd dBG | cBA BGG | ABA AGA | BdB cBA |
Bdd dBG | cBA BGG |1 ABA AGA | BAG AGE :|
|2
DED DB,D | EGG G2 ||
BILLY TAYLOR'S FANCY. AKA and see “Micky
Connell’s Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB. See
also the related “Shanahan’s Hornpipe”
and “Seán Ryan’s (Hornpipe) [5].”
Source for notated version: Gillan [O’Neill]. Breathnach (CRÉ V), 1999; No. 216. O'Neill, 1976; pg. 204. O'Neill (Music of Ireland: 1850 Melodies), 1903;
No. 1726, pg. 321.
X:1
T:Billy Taylor’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1726
Z:AK/Fiddler’s Companion
K:G
D>F | G>AB>c d>Be>c |
d>gf>g b>gd>B | (3cBA e>c (3BAG d>B |
(3ABG (3FGE D>cB>A |
G>AB>c d>ce>c | d>gf>g b>gd>B |
(3cBA e>c (3BAG (3AGF |
G>BA>F G2 :: (f>g) | a>g (3fge d>ef>g |
(3agf (3gfe d>ef>g | (3agf
(3bag (3agf (3gfe | d>gg>c (3BAG (3AGF |
G>AB>c d>ce>c |
d>gf>g b>gd>B | (3cBA e>c (3BAG (3AGF | G>BA>F G2 :|
BILLY THE BARBER SHAVED HIS FATHER. Irish, Jig. G Major. Standard tuning. AABB. Although it is unknown as to
whom the title may refer to, the tune is Irish and appears earliest in print in
P.W. Joyce’s Ancient Irish Music (1873) and Howe’s 1000 Jigs and
Reels (c. 1867). Howe notes: “A little slower than jig time”
indicating perhaps that the melody was originally an air. Howe’s parts are
reversed from those printed in White. No doubt any barber named William was destined to be a ‘Billy the
Barber’. There was, however, a famous black American called Billy the Barber in the mid 19th
century, although probably having nothing to do with the tune. William de
Fleurville (also spelled Florville) was a Hatian immigrant who happened to make
Abraham Lincoln’s acquaintance in New Salem, Illinois, in 1831. The two became
life-long friends. In 1841 Florville opened a barbershop in Springfield in "a new building opposite
the north front of the State House," which
Lincoln used as a favourite meeting place for friends and cronies. William also
retained Lincoln’s services for business deals, including real-estate
transactions, and by the time of his death in 1868, he was one of the
wealthiest men in Springfield. He had
the honor to be an honorary pall-bearer at Lincoln’s funeral.
***
Cole (1000 Fiddle Tunes), 1940; pg. 73. Ford (Traditional Music in America), 1940; pg.
104 (appears as "Billy the Barber"). Howe (1000 Jigs and Reels), c. 1867; pg. 23. Joyce (Ancient Irish Music), 1873/1890; No. 95, pg. 97. Ryan’s Mammoth Collection, 1883; pg.
104. White’s Unique Collection, 1896;
No. 4, pg. 1.
X:1
T:Billy the
Barber
M:6/8
L:1/8
R:Jig
S:White’s Unique Collection (1896), No. 4
Z:AK/Fiddler’s Companion
c | BcA G2D
| E2D G2c | BcA G2A | Bdd edc | (Bc)A G2D | E2D G2A |
B2c A2c |
(BG)G G2 :: A | B2B BcA | B2d def | g2f e2d | dcB ABc |
B2B (Bc)A | B2d def | g2e a2g |
(fd)d d2 :|
BILLY THE HOOK. Canadian, Reel. Canada, Cape Breton. G Dorian. Standard tuning. AABB’.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 189, pg. 53.
BILLY THE KID'S. American, Dance Tune. A Major. Standard. AABB. The tune is listed in
Cole and Kerr as a 'jig' or 'sand jig'‑‑not the Irish jig, but a
type of mid-19th century banjo song to which a dance was performed.
The sand jig is so-called because sand was sprinkled on the floor to facilitate
some of the movements of the dance, which involved in part lightly brushing the
foot on the floor. The title may not refer to the famous Wild West outlaw who
died in Arizona in 1881 (Billy the Kid, born Henry McCarty, alias Kid Antrim,
alias William H. Bonney), as the sobriquet “Billy the Kid” was conferred on
many young men named William in the 19th century. Cole (1000 Fiddle Tunes), 1940; pg. 81. Kerr (Merry Melodies), vol. 2; Nop. 429, pg.
49. Ryan’s Mammoth Collection, 1883;
pg. 113.
X:1
T:Billy the Kid’s
M:2/4
L:1/8
R:Sand Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A,2 ^G,2 | z/3 A,/4(C/>.E/) A2 |
(B/>.A/)(G/>B/) (A/>.c/)(e/>.a/) | (3gfe (3dcB (3AGF (3EDB, |
z/3 A,/4(C/>.E/) A2 |
(B/>.A/)(G/>B/) (A/>.c/)(e/>.a/) | (3gfe (3dcB Az :: a/A/ z/a/ a/A/
z/a/ |
a/>=g/(e/>.f/) g2 | (3=G/B/d/
(g/>.a/) g2 | (3B/d/=g/ (a/>.b/) a2 | a/A/ z/a/ a/A/ z/a/ |
a/>=g/(e/>.f/) g2 |
a/>f/=g/>e/ f/>de/>d/ | B>ed>B A2 :|
BILLY TWIST HORNPIPE. AKA and see "Liddell's
Hornpipe." English, Hornpipe. England, Yorkshire. G Major. Standard
tuning. AABB. A slightly different version, from Northumberland, appears in the
Charlton Memorial Tunebook under the title "Liddell's Hornpipe."
Source for notated version: a MS by fiddler Lawrence Leadley, 1827-1897
(Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle
(The Fiddler of Helperby), 1995; No.
12, pg. 30.
BILLY WILSON [1]. AKA and see "Ace of Spades,”
"Little Billy Wilson,” “Old Bill Wilson.” Old‑Time, Breakdown.
A Major. Standard or AEae tunings. ABC (Silberberg): AABBCC (Kuntz, Phillips).
“Billy Wilson” features pizzicato, or plucked notes. A three-part version was
synthesized by fiddler and musicologist Joel Shimberg and entered ‘revival’
tradition, although based on Uncle Jimmy Thompson’s “Billy Wilson.” Most modern
versions are based on Shimberg's tune, originally called “Old Bill Wilson.”
Sources for notated versions: Pete Sutherland (Vt.), and Tara Nevins via Liz
Slade (Yorktown, N.Y.) [Kuntz]; Jane Rothfield [Phillips]; Greg Canote
(Seattle) [Silberberg]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 78. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 90. County 2730, Rafe Stefanini – “Glory on the
Big Spring.” Marimac 9054, The Ill-Mo Boys - "Fine as Frog Hair"
(1993). Yodel‑ay‑hee #108327, The Critton Hollow Stringband ‑
"Poor Boy" (1979).
X:1
T:Billy Wilson
L:1/8
M:2/4
N:AEae tuning: written as fingered, not as sounded.
S:Liz Slade
K:A
(a|a)g/g/ a/f/e/e/|f/e/f/(e/ e/)A/c/A/|B(F F/)E/F/F/|A/B/c/d/ e(3e/f/g/|
ag/g/ a/f/e/e/|f/e/f/(e/ e/)A/c/c/|A/B/c/d/ e/f/e/d/|c/A/B/c/ A:|
|:(A|A/)B/c/d/ e/f/e/d/|c/A/c/(B/ B/)c/B/c/|A/B/c/d/ e/f/e/d/|c/A/B/c/ A:|
|:E/F/|G/E/G/G/ G/A/c/A/|E/D/C/(C/ C/)C/E/F/|A/ A/E/ A/B/c/d/|
e>(e e/)e/a/A/|B>(B B/)c/B/A/|E>(E E/)D/E|Ac/a/ f/e/f/a/|e/c/B/c/ A:|
X:2
T:Billy Wilson
L:1/8
M:C|
K:A
(3efg|a2 g2 afea|fedf ecBA|B2 G2 B2
G2|ABcd efge|a2 g2 afea|fedf ecBc|
ABcd efed|cABc A2:|
|:cB|ABcd efed|cABc B2 cB|ABcd
efed|cA B2 A2:|
|:EF|A2 AA AcBA|F2 FF F2 EF|A2 AA
ABcd|e2 ef e2 c2|
B2 BB BcBA|F2 FF F2 EF|A2 ae
faed|cABc A2:|
BILLY WILSON [2]. AKA - “Bill Wilson,” “Old Bill Wilson.” Old-Time, Breakdown. USA;
Texas, Tennessee. The tune is related to the Texas fiddle favorite “Bull at the Wagon” and the West
Virginia tune “Red Bird [1].” Texas
fiddler Eck Robertson used parts of this tune in his amalagmated tune named “Brilliancy.”
One of four sides recorded by 77 yr. old Texas/Tennessee fiddler Uncle Jimmy
Thompson for Columbia (15118-D) in 1929. Columbia
15118 (78 RPM), Uncle Jimmy Thompson (1926). County 542, Uncle Jimmy Thompson ‑
"Nashville, Early String Bands, vol. 2."
BILLY WILSON'S CLOG. AKA – “Wilson’s Clog.” AKA and see “Rustic Dance—Scottische [3],”
et al. Canadian, Clog. C Major. Standard tuning. Paul Gifford has recorded four
versions in tradition in Michigan of this tune (where it is known as “Wilson’s
Clog”), one in schottische rhythm and the rest in standard 2/4 time. Messer, Original Old Tyme Music; No. or pg. 23
(appears as "Clog in C Major").
BILLY’S JIGG. English, Jig. A Major. Standard
tuning. AABB. The melody is unique to London publishers Charles and Samuel
Thompson’s 1757 country dance collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 153.
X:1
T:Billy’s Jigg
M:6/8
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
cAc dBd|cAc BGE|cAc dBd|(c/d/e)G A3::cAc ece|dBd fdf|
cAc
edc|(B/c/d)B G2E|cAc ece|dBd fga|fdB ecA|(c/d/e)G A2:||
BÍMÍD AG ÓL [1]. AKA and see "Bemthe goal,"
"Humours of
Panteen/Parteen/Purteen," "Jackson's Humours of Panteen,"
"Whish, Cat from
under the Table," "Huish
the Cat," "Whip
the Cat From Under the Table," "Drive the cat, etc.," "Dance light
for my heart lies under your feet," "Peas on the Hearth." Irish,
Double Jig. A Minor. Standard tuning. AABB. Breathnach (1976) finds the tune
under the title “Bemthe goal” from the same district as his County Limerik
source, McEnery. As “Jackson’s Humours of Panteen” it appears in Jackson’s Celebrated Irish Tunes
(Dublin, 1780, pg. 3), and as “Peas on the Hob” it is given in Stanford/Petrie
(1905, No. 1356). Both Bunting and O’Neill print it as “Huish the Cat.”
Breathnach also finds the first part to be similar to that of Joyce’s “Foxy Mary” (1909, pg. 114), and says it
may be related to “Bímid ag Ól” [2] in CRE
I. Source for notated version: fiddler James McEnery, 1965 (Castlemahon,
Co. Limerick, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 49, pg. 27.
BÍMÍD AG ÓL [2]. See “Bímíd ag Ól Is ag
Pógadh na mBan.”
BÍMÍD AG ÓL IS AG
PÓGADH NA mBAN (Let’s be drinking
and kissing the Women). AKA and see “O’Sullivan’s
Frolic.” AKA - “Bímid ag Ól [2],” “Bímís ag Ól.” Irish, Double Jig. G
Major. Standard tuning. AB (Petrie): AABB (Breathnach, Mitchell). See also the
air "Let us be drinking,"
the single jig “Huish the Cat,”
"I court the fair Maidens,"
"My name is O'Sullivan,” and
“Paddy Fahy’s Jig." Breathnach (1963) states that the tune is named after
a song written by Eoghan Rua Ó Súilleabháin c. 1780. Paul de Grae believes the
name of the tune in the mid-19th century James Goodman collection,
“O’Sullivan’s Frolic,” may possibly be sourced to “Bímíd ag Ól…”. This jig is melodically related to (and
perhaps a version of) "Sean Reid's Reel"
(AKA "The West Wind") and the hornpipe "An Buachaill Dreoite [1]." In
CRÉ II (1976) Breathnach noted that
the reel "Gilibeart Mhac
Fhlannchadha" (Gilbert Clancy's Reel) was related to this tune. Joyce’s
and Breathnach’s parts are reversed from each other. The song was said to have
been sung by Captain Francis O’Neill in 1870 at Bloomington, Illinois, at his
wedding to Anna Rogers, also a lover of traditional music. The song was a
favorite of his father’s (Carolan, 1997).
O’Neill (who led an adventurous early life) was a seaman on the Great
Lakes at the time, some three years prior to his joining the Chicago police
force. O’Neill prints settings in Music
of Ireland (No. 479) and in Irish
Music (No. 9) under alternate titles. Breathnach finds versions in Petrie’s
Ancient Music of Ireland (pgs.
130-131) and in the Stanford/Petrie edition pgs. 1063-1064. Sources for notated
versions: piper Willie Clancy/Liam Mac Flannchadha (1918-1973, Miltown Malbay, west
County Clare, Ireland) [Breathnach, Mitchell]; from Father Walsh, parish priest
at Sneem, bordering on Kenmare Bay [Petrie]. Breathnach (CRÉ I), 1963; No. 17, pg. 8. Mitchell (Dance Music of Willie Clancy), 1993; No. 7, pg. 32. Stanford/Petrie
(Complete Collection), 1905; Nos.
1063 & 1064, pgs. 269-270. Claddagh 4CC 39, “The
Pipering of Willie Clancy vol. 2” (1983). Columbia 35612, "The
Chieftains" (1978. Played as a three-part tune, the third part not
normally played by musicians but sung as a chorus by by the singers of
Ballyvourney, West Cork).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bímíid ag ól is a’ Pógadh na mBan
M:6/8
L:1/8
R:Jig
K:G
F|DGG B3|cBc d3|DGA B2d|cAG AGF|DGG
B3|
cBc def|gbg afd|cAG G2:||D|GBd
g3|gfd =f^ff|
GBd g3|gfd cAG|GBd g3|gag f2g|abg afd|cAG
G2:|
BINN LISHIN AERACH A'
BHROGHA [1] (The Melodious Airy
Little Fort of Bruff). Irish, Air (3/4 time). D Major. Standard tuning. AB. Roche Collection, 1982; Vol. 1, No. 37,
pg. 19.
BINN LISHIN AERACH A'
BHROGHA [2] (The Melodious Airy
Little Fort of Bruff). Irish, Air (3/4 time). G Major. Standard tuning. AB. Roche Collection, 1982; Vol. 3, No. 60,
pg. 17.
BINN LISIN AERACH A
BHROGHA [3]. AKA and see "Nancy the Pride of the West,"
"For Ireland
I Won't Say Her Name [1]." Related to versions #1 and #2.
BINNY'S JIG(G). AKA and see "Dusty Miller [6]," “Hey the Dusty Miller.” Scottish,
Jig. C Major. Standard tuning. AABB. From the Blaikie Manuscript (usually dated 1692), and from the time before
the rise in popularity of the reel and strathspey, when "the English
thought of the jig as being the most representative type of Scottish
music" (Alburger, 1983). "Binny's Jig" resembles "Dusty
Miller" only in the first strain. The English collector Chappell sometimes
referred to the tune as “Benny’s Jig.” Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 6c, pg. 22.
BINSIN LUACHRA, AN. AKA and see “Beinsín Luachra,”
“The Little Bunch of Rushes.”
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.