The Fiddler’s Companion

© 1996-2008 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#. 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. 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). 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]. 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. 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. 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:D Dor

~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. 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. 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. England, Northumberland. One of the "lost tunes" of William Vickers' 1770 dance tune manuscript.

           

BILL O’KEEFFE’S [1]. Irish, Reel. B Minor. Standard. 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. 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. 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. 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. 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