The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BILL - BINS

[COMMENT3] [COMMENT4] 

 

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 Chatanooga, Tenn., fiddler Jesse Young for Columbia in the late 1920's.

 

BILL BLACK'S HORNPIPE (Crannciuil Liam Duib). Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald) , 1997; No. 50, pg. 20. O'Neill (Krassen), 1976; pg. 192. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1678, pg. 312. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 886, pg. 152.

X:1

T:Bill Black’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 886

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. USA; Magoffin County, Ky. A Major. AEac# tuning. AABB. An irregular tune (the ‘A’ part has eight repeated measures, the ‘B’ part four repeated measures) in repertoire of Kentucky fiddler John Salyer (Salyersville, Magoffin County). It was named for the fiddler who played the tune, perhaps because the real name was forgotten or unlearned, according to Bruce Molsky. Jeff Titon (2001) suggests it might have been named after William H. “Bill” Brown, who was executed by hanging for the murder of Irish peddler Morris Hagerty in Morgan County, Ky., in 1855. Bruce Greene likened the tune to “Sugar in the Gourd” according to Bruce Molsky. Source for notated version: a home recording of John Salyer, 1941 or 1942, by his sons, Grover and Glen [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 8, pg. 39. Berea College Appalachian Center AC003, “John Salyer: Home Recordings 19941-1942” (1993). Rounder 0361, Bruce Molsky - “Lost Boy” (1996).

                       

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. USA, widely known. A Major. Standard tuning. AABB (most versions): AA'BB' (Kaufman). Krassen and others note this is a common fiddle tune throughout the Southern part of the United States, where it probably originated (Christeson says he did not hear the tune in Missouri until the mid‑1940's). The tune was a fiddle contest "category" tune in 1899 in Gallatin, Tenn.--each fiddler would play a version, with the best rendition being awarded a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). The earliest sound recording of the tune is by Texas fiddler Eck Robertson, in 1922, played as part of his “Brilliancy Medley.” The Allen Brothers recorded it as “Cheat ‘Em.” Tennessee’s “Fiddlin’ Arthur Smith” recorded it in 1940. Sources for notated versions: Floyd Smith (Cole County, Missouri) [Christeson]: Max Collins (Pottawatomie County, Oklahoma) [Thede]: Krassen credits the Texas based Red Headed Fiddlers and Henry Reed (Va.) for the version he gives in his book: A.L. Steeley & the Red Headed Fiddlers [Kaufman]; Glen Bilyeu (1919-1977, Taney County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 171. Brody (Fiddler’s Fakebook), 1983: pg. 41. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 34, pg. 24. Kaufman (Beginning Old Time Fiddle), 1977; pg. 61. Krassen (Appalachian Fiddle), 1973; pg. 68. Lowinger (Bluegrass Fiddle), 1974; pg. 16. Phillips (Fiddlecase Tunebook), 1989; pg. 5. Phillips (Traditional American Fiddle Tunes), 1994; pg. 24. Reiner (Anthology of Fiddle Styles), 1977; pg. 31. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 5. Thede (The Fiddle Book), 1967; pg. 103 (appears as "Bill Cheatem"). Alcazar Dance Series ALC 202, Sandy Bradley ‑ "Potluck & Dance Tonite!" (1979). County 515, "Mountain Banjo Songs and Tunes." County 542, Blind Joe Mangrum (b. 1853, Paducah, Ky.) ‑ "Nashville: the Early String Bands, vol. 2" (originally recorded in 1928 for Victor). County 719, Kenny Baker ‑ "Portrait of a Bluegrass Fiddler" (1968). Front Hall 010, Fennigs All Star String Band ‑ "The Hammered Dulcimer Strikes Again." Kicking Mule 202, John Burke ‑ "Fancy Pickin' and Plain Singing." Library of Congress recording, 1939, W.A. Bledsoe, Meridian, Mississippi. Mountain 301, Kyle Creed ‑ "Blue Ridge Style Square Dance Time." Rounder 0016, Vasser Clements ‑ "Crossing the Catskills." Rounder 0093, Jerry Douglas ‑ "Fluxology." Rounder 7002, Graham Townsend‑‑"Le Violin/The Fiddle."

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]. Bluegrass, Breakdown. A Major. Standard tuning. ABB. Brody (Fiddler’s Fakebook), 1983; pg. 42. Brunswick 470 (78 RPM), Red Headed Fiddler. County 506, Arthur Smith & the Delmore Brothers ‑ "Old Time Fiddle Classics." Folkways 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964. Learned from recordings of the Red Headed Fiddler and Eck Robertson). Folkways FTS 31036, Roger Sprung ‑ "Grassy Licks." June Appal 030, Marion Sumner ‑ "Road to Home." Prize 498‑02, Carl Jackson‑ "Bluegrass Festival." Rounder 7002, Graham Townsend ‑ "Le Violin/The Fiddle." Vanguard VSD 9/10, Doc Watson ‑ "On Stage." Victor 40298A (78 RPM), Eck Robertson ‑ "Brilliancy Medley."

 

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 Ireland: 1001 Gems), 1907/1986; No. 696, pg. 123.

X:1

T:Bill Clancy’s Delight

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 696

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, County Galway, not far from Kinvara. He is the father of Shanachie records' Dan Collins. The tune is sometimes mistakenly called “The Hearty Boys of Ballymoate/Ballymote,” the name of another tune, after it was recorded by the group De Dannan in a set called “The Hearty Boys…”; “Bill Collins” was the untitled follow-up tune. See also “Johnny Dennehy’s.Source for notated version: Sean & Breda Smyth via Dan Compton (Portland, Oregon) [Songer]. Miller (Fiddler’s Throne), 2004; No. 7, pg. 17. Songer (Portland Collection), 1997; pg. 29. Sullivan (Session Tunes), vol. 2; No. 24, pg. 10. Treoir, vol. 37, No. 4, 2005; pg. 26. Fiddlesticks Music, Jerry Holland – “Lively Steps” (1988). Green Linnett SIF1144, Kevin Burke & Open House - “Second Story.” Nimbus NI5415, Martin O'Connor - "Across the Waters."

X:1

T:Bill Collins' Jig

T:Dan Collins’s Father’s Jig

S:Session, Green Tree, Edinburgh 5/9/95

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. Canada, Cape Breton. A Major. Standard tuing. AA'BB'. Composed by the popular Troy, Cape Breton, fiddler and step dancer Natalie MacMaster (b. 1972), grand-niece of master fiddler Buddy MacMaster. Cook (Night in the Kitchen Collection), 1986; pg. 26.

 


BILL ELLIS' HORNPIPE. Irish, Hornpipe. A Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen); pg. 203. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1722, pg. 320.

X:1

T:Bill Ellis’ Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1722

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. USA, southwestern Pa. D Major. Standard tuning. AB. Named after the fiddler from whom it was learned. Source for notated version: then elderly fiddler J. Morris (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 86, pg. 53.

 

BILL GRAY’S QUADRILLE.  Old-Time, Quadrille. USA, Iowa. Learned by Clarence Lamb, fiddler Dwight Lamb’s father, from a neighbour named Bill Gray who was a fiddler. Rounder 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005).

 

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 Banff” (composed by Isaac Cooper of Banff, 1754-1820) is sourced to a fiddler and concertina player named Bill Hall, from the Pennine area of Baldersdale [Callaghan, 2007]. This is a remote region in north Yorkshire, known for its harsh conditions. The tune came via Sam Fawcett, another Yorkshireman and a neighbour of Hannah Hauxwell. Hauxwell (b. 1926) is well-known to British audiences as the subject of two documentaries on the BBC, which chronicalled the almost unendurable conditions of farmers in the High Pennines in winter. Hauxwell ran the family farm singlehandley for many decades, without running water or electricity, but became a celebrity due to the documentaries. Callaghan (Hardcore English), 2007; pg. 29.

 

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 Sligo musician John Brennan used to sing “Did you see my man looking for me?" to it. The mother of Tom Barrett, from Knockbrack, Lyreacrompane, near Tralee, would sing to it this soothing song for a child:

***

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 Dublin accordion player and a member of the Dublin Garda, or police force, and a member of the Lought Gill Quartet with Sonny Brogan, John Hawley and Sarah Gill. Sources for notated versions: accordion player Bill Harte, 1968 (Dublin, Ireland) [Breathnach]; session at the Regent Hotel, Leeds, England [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 39, pg. 22. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 55. Harker (300 Tunes from Mike Rafferty), 2005; No. 208, pg. 64. Mallinson (Enduring), 1995; No. 39, pg. 17.

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:England

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

K:G

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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