[COMMENT1] [COMMENT2]  The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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BIOD - BIV

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

BIOD SE MAR SIN. AKA and see "Let it be so."

 

BIODAG AIN M' OMISH. AKA and see “Biodag Air Mac Thomais,” “Brodach Ain M’Omish.” Scottish, Reel. A Mixolydian. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; Set, 29, No. 2, pg. 18.

 

BIODAG AIR MAC ALASDAIR (MacAlister Wears a Dirk). Scottish, Reel. A Mixolydian. Standard tuning. AAB (Skye): AABB (Athole). MacDonald (The Skye Collection), 1887; pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 30.

X:1

T:Biodag Air Mac Alasdiar

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

Beed cAB2|cAAB =GAB2|Bee=g dgBd|cA A/A/A =GEE:|

e|cA A/A/A d=GdB|cAAc dB=GB|cA A/A/A d=GdB|cAAB =GEEe|

cA A/A/A d=GdB|cAAc dB=GB|cA A/A/A dB B/B/B|cA A/A/A =GEE||

 

BIODAG AIR MAC THOMAIS (Thomas' Son Wears a Dirk). AKA and see “Biodag Ain M’ Omish,” “Brodach Ain M’Omish.” Scottish, Reel. A Mixolydian. Standard tuning. AAB. MacDonald (The Skye Collection), 1887; pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 8.

X:1

T:Biodag Air Mac Thòmais

M:C|

K:1/8

S:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

e|cA c/d/e c2Ac|B=GdG B2GB|cA c/d/e c2Ac|dB=GB A2A:|

||g|a(eec a(eef|~=g2 dg Bgdg|a(eec a(eed|cABG A2Ag|

a(eec a(eef|~=g2 dg Bgdg|aebg aefd|cABG A2A:|

 

BIODAG DHO'ILL 'IC ALASDAIR. AKA and see "Glengarry's Dirk."

 

BIODAG DHÒMHNAILL ‘IC ALASDAIR. AKA and see "Glengarry's Dirk."

 

BIODG SUAS LIOM. AKA and see "Move Up to Me."

 

BIRCH. Canadian, Reel. D Major. Standard tuning. AB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 86, pg. 59.

 

BIRCHARD’S HORNPIPE.  Old-Time. A modern “old-time” composition by California fiddler Michael Springer, often mistaken as a traditional tune. The tune also has some currency among contra-dance musicians.

 

BIRD, THE.  English, Jig. D Major. Standard tuning. AABB. There was another popular period tune called “The Bird,” however, this particular melody is unique to Charles and Samuel Thompson’s Compleat Collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 173.

X:1

T:Bird, 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:D

A/G/|FAd ceg|fag fed|ceg fec|dBA GFE|FAd ceg|fa^g aec|fdB ecA|dB^G A2:|
|:A|Ace =gfe|dcB ^A2F|Bba gfe|d2c B2c|dfd gec|Bed c2G|FAd ceg|afc d3:||

 

BIRD ALONE [1], THE. Irish, Slow Air (2/4 time). F Major. Standard tuning. One part. "In Stanford‑Petrie there are two airs with this name, both different from the one given here.

If my Peggy leaves me for ever, I'll be a bird alone. (Old song)" {Joyce}. Joyce (Old Irish Folk Music and Song), 1909; No. 603, pg. 312.

 

BIRD ALONE [2], THE. Irish, Air (4/4 time). A Minor (O’Neill): A Dorian (Stanford/Petrie). Standard tuning. AB (O’Neill): One part (Stanford/Petrie). Source for notated version: “From Mr. J. Keane’s book, Kilrush” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 475, pg. 83. Stanford/Petrie (Complete Collection), 1905; No. 611, pg. 154.

X:1

T:Bird Alone, The [2]

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 475

Z:AK/Fiddler’s Companion

K:Amin

EG|A2 A>c BAGE|c2 c>A BAGE|A^GAB GE G>E|D2D2 D2 E^G|A2AB c2d2|

e2 eg f2d2|edcA G2 E^G|A6||AG|E2 AB c>dec|d2 eg f2d2|edcA G2 ED|E6 E^G|

A2 A>B cAGE|c2 d>c BAGE|A^GAB GEDB,|A,2 A,2 A,2||

 

BIRD ALONE [3], THE. Irish, Air (4/4 time). E Flat Major/Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 612, pg. 154.

X:1

T:Bird Alone, The [3]

M:C

L:1/8

S:Stanford/Petire (1905), No. 612

Z:AK/Fiddler’s Companion

K:Eb

G/A/ | BB B/A/B/c/ _d2 cA | B2 c/B/A/F/ EE E G/A/ | BB ef gg a/g/f/e/ |

e>g f/e/d/c/ B>B BG/A/ | BB ef g>g a/g/f/e/ | ed/e/ f/e/d/c/ BB BG/A/ |

BB B/A/B/c/ _d2 cA | B2 c/B/A/F/ EE E ||


 

BIRD DOG WALTZ. Old‑Time, Waltz. USA, Eastern Tenn. Recorded in 1929 by the Roane County Ramblers (East Tenn.).

 

BIRD IN THE BUSH, THE (An tÉan ar an gCraobh). AKA and see “Bird in the Tree,” “Bird on the Tree.” Irish, Reel. G Major. Standard tuning. AB (Mulvihill): AABB (Mallinson, O’Brien, Sullivan, Taylor, Tubridy). The reel was famously recorded for the Victor label by fiddler Michael Coleman, originally from County Sligo, in New York in March, 1927. See also the related tune "Two Birds in the Tree." Sources for notated versions: Jim Bly (County Roscommon) [Mulvihill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Lyth (Bowing Styles in Irish Music), vol. 1, 1981; 26. Mallinson (Essential), 1995; No. 74, pg. 32. Moylan (Johnny O’Leary), 1994; 151. Mulvihill (1st Collection), 1986; No. 198, pg. 53 (appears as “Bird on the Bush”). O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Sullivan (Session Tunes), vol. 3; No. 48, pg. 20. Taylor (Music for the Sets: Yellow Book), 1995; pg. 22. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 23. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Gael-Linn CEF 069, Paddy Glackin – “An Fhidil: Sraith II” (1980). 

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Bird in the Bush, The

M:C

L:1/8

K:G

|:d2ec dB~B2|cBAB G2 GG|EAAc BG~G2|BGBd ~g2ge|

d2ec dB~B2|cBAB G2 GE|DEGA B2eB|dBAc BGG2:|

|:(3Bcd ef~g2fb|agef gedc|(3Bcd ef~g2fb|agef g2 ga|

bg~g2 agef|~g2ge dBGE|DEGA B2eB|dBAc BGG2:|

X:2

T:Bird in the Bush

M:C|

L:1/8

R:Reel
S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:G

Bd | eB (3BcB eBdB | AGAB GEDE | GB (3BcB dB (3BcB | eBdB A2 Bd |

eB (3BcB eBdB | AGAB GEDE | GABd gedB | AGAB G2 :|

|: e2 | gd (3dgd gbaf | gfga gedB | dega b2 ag | eaab a2 ga |

baga egdB | gede gbaf | gfgd egdB | AGAB G2 :|

 

BIRD IN THE CAGE. AKA and see "The London Lasses [1]," "The Maid in the Rushes" (An Gearrchaile sa Luachair), "The Maid in the Bushes," "Gardiner's Favourite [1]," "The Turnpike Gate [2]."

 

BIRD IN THE TREE (An tÉan ar an gCrann). AKA and see “Bird in the Bush,” “Bird on the Tree.” (Dha Ean ar an gCrann). Irish, Reel. G Major. Standard tuning. AB (Breathnach, Moylan): AABB (Brody, Miller & Perron, O’Malley). A very popular Irish session reel that has gained currency in other genre’s, including American contra dance circles and Cape Breton sessions. See also the related tune "Two Birds in the Tree.” The tune was recorded on a 78 RPM by Michael Hanafin (1875-1970) under the title “Billy Hanafin’s Reel” (Billy {1885-1924} was his brother, and an associate of piper Patsy Tuohey’s). Sligo fiddle great Michael Coleman popularised the melody through his influential 1924 78 RPM recording for Victor Records. It was first recorded in Cape Breton by musicians Johnny Wilmot and Tommy Basker. Sources for notated versions: piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]; students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]; County Sligo fiddler Michael Coleman (1891-1945) [Miller & Perron]. Breathnach (CRÉ I), 1963; No. 87, pg. 38. Brody (Fiddler’s Fakebook), 1983; pg. 44. Cranford (Jerry Holland: The Second Collection), 2000; No. 185, pg. 70. McNulty (Dance Music of Ireland), 1965; pg. 5. Miller & Perron (Irish Tradtional Fiddle Music), 1977; vol. 3, No. 6. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 49. Moylan (Johnny O’Leary), 1994; No. 151, pg. 88. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 26, pg. 13. Globestyle Records, Michael Hanafin – “I’m Leaving Tipperary” (Reissue. Appears as “Billy Hanafin’s Reel”). IRC Records, Michael Coleman - “The Musical Glory of Old Sligo” (1967). Shanachie 33002, Michael Coleman ‑ "The Legacy of Michael Coleman." Legacy 120, Jean Carignan ‑ "French Canadian Fiddle Songs" (learned from the 1924 Coleman recording). Philo 2001, "Jean Carignan."

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

 

BIRD ON THE BUSH, THE. See “Bird in the Bush.”

 

BIRD ON THE TREE, THE. See “Bird in the Tree,” “Bird in the Bush.”

 

BIRD ON THE WING. AKA and see "Mechanics’ Hall Jig." American, Dance Tune (2/4 time). G Major. Standard tuning. AABB'. Tune is listed as a 'jig' in Ryan’s Mammoth Collection, meaning an old‑time banjo tune probably associated with the sand jig dance, a type of solo dance performed on a floor that had been sanded to reduce friction and facilitate the brushing of the shoes. See also parts 5 and 6 of “Kitty O’Neill’s Champion Jig.” Cole (1000 Fiddle Tunes), 1940; pg. 83. Ryan’s Mammoth Collection, 1883; pg. 117.

X:1

T:Bird on the Wing

M:2/4

L:1/8

R:”Sand Jig”

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

d^d e2 | z/d/c/A/ D2 | z_E (=E/c/)z/c/ | B/G/A/F/ G/A/B/c/ |  d^d e2 | z/ d/c/A/ D2 |

z_E (=E/c/) z/c/ | B/G/A/F/ Gz :: D/G/ z/ B/ A/G/B/G/ | D/B/ a/B/ A/G/B/G/ |

A/d/ z/f/ e/d/f/d/ | A/d/ z/f/ e/d/f/d/ | D/G/ z/B/ A/G/B/G/ | D/G/ z/B/ A/G/B/G/ |1

e/g/g/a/ g/e/d/c/ | B/G/A/F/ G/F/E/D/ :|2 (3d/c/B/ (3B/c/d/ c/B/A/c/ | B/G/A/F/ G/A/B/c/ ||

 


BIRDIE [1]. AKA and see “Put Me in My Little Bed.” Old‑Time, Breakdown. USA; Kentucky, West Virginia. C Major. Standard tuning. ABB. “Birdie” has been called “the state anthem” of West Virginia. Charles Wolfe (Mountains of Music, John Lilly ed., 1999) lists this as one of the West Virginia-Kentucky fiddle tunes learned by Kanawha County, West Virginia, fiddler Clark Kessinger (1986-1975) while growing up in the Kanawha Valley. John Hartford (1996) traces this tune to a song composed in 1870 by C.A. White and Dexter Smith called “Put Me in My Little Bed”; Alan Jabbour gives the composers names as White, Smith and Perry of the same date. There is some disagreement as to whether the “Little Bed” tune is ancestral. Ira Ford prints the following verse:

***

Oh Birdie I am tired now,

I do not care to hear you sing;

You’ve sung your happy songs all day,

Now put your head beneath your wing.

***

In addition to the Kessinger 78 RPM made for Brunswick in 1930, other early recordings were made by the West Virginia band The Tweedy Brothers, and by Jess Johnson and Roy Harvey (calling themselves the West Virginia Ramblers, and backing the tune with “O Dem Golden Slippers”). The Bing Brothers learned their version of the tune from the late Portsmouth, Ohio, fiddler Jimmie Wheeler leading to it being called “Wheeler’s Birdie” in some circles (Wheeler himself simply called it “Birdie”). Brody’s and Ford’s versions are quite distanced from each other. Kentucky fiddler J.P. Fraley shifts into the 3rd position to play some of the unison ‘e’ notes, and stays in that position for some succeeding notes. Brody (Fiddler’s Fakebook), 1983; pg. 43. Ford (Traditional Music in America), 1940; pg. 330 (Appears as “Put Me in My Little Bed”). Document DOCD-8053, Roy Harvey, Vol. 4 (reissue). Gennett 5635A and Gennett 6483 (78 RPM), 1925 and 1928, respectively, Tweedy Brothers (Charles, George, and Harry, W.Va. brothers who played twin fiddles and piano.). Rounder 0037, J.P. and Annadeene Fraley ‑ "Wild Rose of the Mountain" (learned by Fraley from the playing of his father). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)” (1996).

 

BIRDIE [2]. Bluegrass, Breakdown. C Major. Standard tuning. AAB (Phillips): AABB' (Brody). Source for notated version: Kenny Baker [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 44. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 19. County 762, Lyman Enloe ‑ "Fiddle Tunes I Recall." County 714, Kenny Baker and Joe Green ‑ "High Country."

 

BIRDIE [3]. Old-Time, Breakdown. C Major. Standard tuning. C Major. In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (Russell County, southwest Virginia) and Glen Lyn, Viriginia, fiddler Henry Reed. Reed’s tune is identified by Alan Jabbour as the customary “Bridie” tune (the second and third parts) coupled with a strain from the tune usually known as “Fourteen Days in Georgia” (the first part of Reed’s “Birdie”). Folkways FTS‑31039, "The Red Clay Ramblers with Fiddlin' Al McCandless" (1974) {learned from Henry Reed, Glen Lyn, Va., via Alan Jabbour}. Recorded by Fiddlin' Cowan Powers (b. 1877, S.W. Va.) for Victor in 1924, though the side was not issued.

X:1

T:Birdie [3]

M:4/4

L:1/8

S:The playing of Henry Reed, from a transcription by Alan Jabbour

K:C

c(cA)c (G>E) Gc|(^d<e) [e2e2][e3e3] c|A/(c/d/B/) d>(e d)B (AG)|

(d<e) (ed) (d<e) e)(e/d/|c)(cA)c (G/A/G/E/) G(A {e/f/g/})|

a a2 (e/f/ g) g2 ((3A/E/F/|G)[GB]AB [c2e2][c2e2]||

(d>e) [e2e2] [e3e3] (e/d/|c)(cA)c (G/A/G/E/) Gc|(^d<e) [e2e2] (d<e) ec|

(A/c/d/c/) (d>e d)B (AG)|(de) (e^d) (d<e e)(e/d/|c)(cA)c (G/_A/G/E/) G [A/e/]f/4g/4|

a) a2 (e>f g) g2 ((3A/E/F/|G)[GB]AB [Ec][Ec]||(G|G)c c/d/c/A/ Gc c/d/c/A/|

GB B/c/B/A/ GB B/c/B/A/|Gc c/d/c/A/ Gc c/d/c/A/|

M:5/4

L:1/8

GB (B/A/)(B/c/) dc3||Gc|

M:4/4

L:1/8

(e<g) G2 (a<g) (a/g/e){A/}|(GA A)(A/B/ A) (A/<d/ d/)(e/d/c/)|

B2b2 (a>g e)(a/g/)|

M:3/4

L:1/8

a)(ge)c (Gc)

M:4/4

L:1/8

(g/<e/ g) g2 (a<g) (a/g/e/A/)|(GA) (A>B) A ((3A/B/c/ d/)(e/d/c/)|B2b2a2g2|

M:2/4

L:1/8

c3||(G|

M:4/4

L:1/8

G)c c/d/c/A/ Gc c/d/c/A/|GB B/c/B/A/ GB B/c/B/A/|Gc c/d/c/A/ Gc c/d/c/A/|

GB (B/A/)(B/c/) d c3||

 

BIRDIE [4]. Old-Time, Breakdown. G Major. Standard tuning. AA’BB. Source for notated version: Mel Durham [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 10.

           

BIRDIE IN THE SNOWBANK. AKA – “Birdie in a Snowbank.” Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning AA’BB’. From the playing of Lee Stoneking and his son Fred. The tune is derivative of the Irish “Boys of Bluehill,” or “Beaux of Oak Hill [1].” A similar Ozark region tune, points out Drew Beisswenger (2008), is Vesta Johnson’s “She Ought to Been a Lady.” Source for notated version: Fred Stoneking (b. 1933, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; gp. 134. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996).

                       

BIRDS-A-BUILDING. English. The second half of the tune is the same as the 'B' part of "Flowers of Edinburgh." JEFDSS, I, 82.

 

BIRDS IN THE BROOK. American, Schottsche. F Major ('A', 'B', and 'D' parts) & D Minor ('C' part). Arizona fiddler Kenner C. Kartchner said: "Best of them all. Learned from sheet music summer of 1911 when we moved back to Snowflake (Ariz.) from three years in Salt Lake City" (Shumway).

 

BIRDS IN THE BUSHES. AKA and see “Bright Star of Munster,” “The Eight O’Clock Train,” “Kitty’s Wishes,” "Star of Munster."

 


BIRD'S NEST. AKA ‑ "Put Out the Fire." Scottish, Canadian; Reel. Canada; Cape Breton, Prince Edward Island. A Dorian. Standard tuning. AB (Dunlay): ABB (Shears): AA’B (Perlman). Dunlay and Greenberg (1996) find that the second part of “Ratha Fair” bears some resemblance to the first part of “Birds Nest;” similarly, the first part to “Feargan” (in Kerr’s) is also close to the first of “Bird’s Nest.” Angus Chisholm and Winston Fitzgerald paired the tune with “The Bonnie Lass of Fisherrow” in recordings which have become classic. Gaelic words for the tune were obtained from Lorrie MacKinnon from Archie Neil Chisholm:

***

Tha nead na h-eoin anns a’choille (x3)

Far an d’fhuair an smeorach.

(The bird’s nest is in the woods (x3)

Where the thrush is gotten.)

***

Sources for notated versions: fiddler Angus Chisholm, learned this tune from the Gaelic singing of his mother (Cape Breton, Nova Scotia) [Dunlay & Reich]; Peter Chaisson, Sr. (b. 1929, Bear River, North-East King’s County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 75, pg. 22. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 66. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; No. 65, pg. 66. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 99. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 60 (pipe setting—the second part is altered somewhat to fit the pipe scale). Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). CX 009, CX 1, SCX 57, and Shanachie 14001, Angus Chisholm ‑ "The Early Recordings of Angus Chisholm." CX 40, Winston Fitzgerald. Decca 14006, The Inverness Serenaders (appears as "Put Out the Fire"). Green Linnet GLCD 1117, Altan - "Harvest Storm" (1992. Learned from accordion player Paddy O'Brian from Co. Offaly, now living in Minneapolis). PKMMCD-17, Peter Chaisson (P.E.I.) - “Road to Rollo Bay.” Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

 

BIRDY IN THE TREETOP. AKA and see "Sparrow in the Treetop," "Rochester Schottische [2]," "Jack Clumb Up the Plum Tree," "The Cat Clumb Up the Plum Tree Schottische," "What the Devil Ails You [2]."

 

BIREAD OIDCE, AN. AKA and see "The Night Cap."

 

BIRGITTAS VALS. Scandinavian, Waltz. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AABA. Composed by Ivar Barentsen. Private collection, A. Kuntz.

X:1

T:Birgittas vals

M:3/4

L:1/8

R:Waltz

C:Ivar Barentsen

K:D

Ad|:”D”f3 gfe|d2 D3F|Ad cd ed|”A7”c4 Ac|e3 fec|B2 A4|a^g ab a=g|”D”f4 Ad|

“D”f3 gfe|d2 D3F|Ad cd ed|”G”G4 ef|g2f2e2|”A7”a2 a^g a2|ba g2 c2|”D”D4:||

K:A

ef||”A”e2 ag af|e2A3 B|c2B2A2|E2B2c2|”E7”e4 dc|B2c2d2|e2 a2 g2{ag}|”A”e4 ef|

“A”e2 ag af|e2 A3B|c2B2A2|E2 B2c2|”E7”dc Bc de|fe fe fg|”A”a3 bag|a4||

 

BIRK AND GREEN HOLLIN. Scottish. "A most distinctive Border melody, to which a version of 'The Wife Wrapt in a Wether's Skin' was sung (Williamson)." Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

 

BIRK HALL. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB'. Pipe Tune. "From Ross's Collection (Skye)." MacDonald (The Skye Collection), 1887; pg. 10.

X:1

T:Birk Hall

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

a|c2 (Ae) A<AeA|c2 (Ae) dB=Ga|c2 (Ae) A<AeA|B=GdB AAA:|

B|A<AeA a2 ef|=g2 ed B=GGe|1 A<AeA a2 ef|=g2 dB AAA:|2

A<AeA c2 (Ae)|=g2 (dB) AA A2||

 

BIRKHALL REEL. AKA – “Birkhall.” Scottish, Reel. D Major. Standard tuning. One part (Martin & Hughes): AABB (Phillips). Composed by J. Robertson (copyrighted in 1948). Source for notated version: contra dance and Québecios-style fiddler Donna Hébert (Amherst, Mass.) [Phillips]. Martin & Hughes (Ho-ro-gheallaigh), 1990; pg. 15. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 26.

X:1
T:Birkhall
C:John Robertson
S:Sheet published by Rae MacIntosh, Edinburgh, early 1950s (?)
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
A | d2 fd A2 dA | FAFD  A2 FA | B2 dB A2 d2 | e3 f e2A2 |

defd  A2 dA | FAFD  A2 FA | Bcde  fA e2 | d4 d2fg |

a3 b a2 f2 | df A2 d2 ef | g3  a g2 e2 | ce A2 e2fg | a3 b a2 f2 |

df A2 d2 ef | gage A2 Bc | dd d2 d2 :|

 


BIRKENBURN. Scottish. Shanachie 79017, John & Phil Cunningham ‑ "Against the Storm" (1980).

 

BIRKS. AKA and see “Birks of Abergelde,” "Berks of Abergelde."

 

BIRKS OF ABERGELDIE. AKA and see “Bonny Lassie, Will You Go,” “Cast a Bell,” “The De’els Dead.” AKA – “Birks of Aberfeldy.” Scottish, Strathspey. D Major (Kerr, Neil): F Major (Athole, Bremner, Gow): G Major (Howe, Jones, Kennedy, O’Farrell). Standard tuning. One part (Howe): AAB (Athole, Gow, Jones, O’Farrell): AABB (Bremner, Kennedy, Kerr, Neil). The usual meaning of the Scots word birk is of a birch tree, or a small wood of birch trees. In this case, the ‘birks of Abergeldie’ (or Aberfeldie) is in Perthshire, Scotland. The tune appears in a notebook of six pages of country dances called the Holmain Manuscript (1710‑50) and in Walsh’s Third Book of the Compleat Country Dancing-Master (1735). Somewhat later it appears in Bremner's 1757 collection (pg. 35), the Caledonian Pocket Companion of 1760, and the Gillespie Manuscript (1768). Neil (1991), however, remarks that the melody first appears in Playford's Dancing Master of 1657 under the title "A Scotch Ayre” (it also appears in later editions). It was later republished by Playford in his 1700 collection of Scottish dance tunes under the title “Berks of Abergeldie.” As with many fashionable tunes it attracted other titles: London publishers Charles and Samuel Thompson included it in their Compleat Collection of 200 Favourite Country Dances, Vol. 2 (1765) under the title “The De’els Dead;” it was printed by Wright in his Compleat Collection of Celebrated Country Dances (1740) as “Cast a Bell”; and as “Bonny Lassie, Will You Go” in the Scots Musical Museum, vol. 2 (1788).

***

Poet Robert Burns set lyrics to the melody inspired while standing under the Falls of Moness on a 1787 Highlands excursion with his friend William Nicol. The classical composer Franz Joseph Haydn fashioned an arrangement of the tune, although Purser (1992) is of the opinion that his effort fails, as do those of other non-Scottish classical composers of the time who try to set Scottish music: “…it seems that they gild lillies with great skill, intrusive harmonies, and foolishly fussy harpsichord accompaniment.” Aird (A Selection of Scotch, English, Irish and Foreign Airs), vol. III, 1788; pg. 166. Bremner (Scots Reels), c. 1757; pg. 35. Gow (Complete Repository), Part 1, 1799; pg. 26. Howe (1000 Jigs and Reels), c. 1867; pg. 127. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12. Kennedy (Traditional Dance Music of Britain and Ireland: Rants & Reels), 1997; No. 5, pg. 4 (appears as “Birks of Aberfeldy”). Kerr (Merry Melodies), vol. 3; No. 7, pg. 4. Neil (The Scots Fiddle), 1991; No. 104, pg. 140. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 18. Petrie (Second Collection of Strathspey Reels and Country Dances), 1796; pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 209. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 189 (appears as “The De’el’s Dead”).

X:1

T:Birks of Abergeldy

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

FGAc ~f2 f>c|~f2 fa gfga|FGAc ~fgag|~fdcA G2d2:|

FGAd dFAF|cFAc d/c/B/A/ GA|FGAc ~fgag|~fdcA G2d2|

FGAf cfAf|cfAc d/c/B/A/ GA|FGAc ~fgag|~fdcA G2d2||

X:2

T:The Birk's of Abergeldy

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 18

% Gore's Index gives earliest publication as Neil Stewart's

% "Collection of the Newst & Best R. or C.D.s for VnÉ." Edinburgh 1761

L:1/8

M:C|

R:Reel

K:F

FGAc f2(fd)|f2(fd) (e/f/g) (f/g/a)|FGAc (f/e/f/g/) (ag)|f(dTcA) G2d2:|

(FGA)f cFAF|cFAc (d/c/B/A/) GA|FGAc fgag|f(dTcA) G2d2 |

(FGA)f cfAf|cfAf (d/c/B/A/) GA|FGAc (f/e/f/g/) ag |f(dTcA) G2d2|]

X:3

T:De’el’s Dead, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:F

FG Ac|f2 ed|f2 ed|f2a2|FG Ac|f>ga>g|fdcA|G2d2:|

|:FGAB|cF (A/B/c/A/)|cF (A/B/c/A/)|d/c/B/A/ G2|FGAc|f>ga>g|fdcA|G2d2:||

                       

BIRKS OF DELHANDY, THE. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 84, pg. 29.

 

BIRKS OF INVERGARY, THE. Scottish. The tune first appeared in print in Robert Ross's 1780 collection (pg. 4).

 

BIRKS OF INVERMAY. AKA – “Birks of Endermay,” “Birks of Envermay,” “Scotland’s First James.” Scottish, Air (4/4 time). B Flat Major (McGibbon): G Major (Jones). Standard tuning. AABB. The air to the very popular song of the same name was first published in William Thompson’s Orpheus Caledoneus, vol. 2 (2nd edition, London, 1733), and subsequently appeared in many songsters and numerous song sheets. The melody appears in the McLean Collection, published by James Johnson in Edinburgh, 1772, ascribed posthumously to Mr. Charles McLean (though at strain 11 the gigue is credited to Robert McIntosh). It also appears in the McFarlane Manuscript (1740) without McIntosh's two strains, and in the "drawing room" style (Emmerson). In America, the melody was entered into numerous musicians’ manuscripts, including the 1782 music copybook of Jeremiah Brown (Seabrook, New Hampshire), flute player Henry Beck’s 1786 ms., among others. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 13. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 5. McGibbon (Scots Tunes, Book II), c. 1746; pg. 36. O’Farrell (Collection of National Irish Music for the Union Pipes), 1797; pg. 52.

X:1

T:Birks of Envermay

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book II, pg. 36 (c. 1746)

Z:AK/Fiddler’s Companion

K:Bb

(B/c/d/e/) | f3g (fd)”tr”(c>B) | (cB)(cd) G3B | F>GFD F2 B>F | D2(FG) (B/c/d/e/) |

f3g (fd)”tr”(cB) | “tr”(c>Bc)d G2 ({B/c/}d)c | (BG)(FD) (FG)(Bc) | (B/c/d) “tr”(c>B) B2:|

|: (F>E) | D3F (G>F)GB | “tr”(cBc)dG3g | f>gfd (ed)”tr”(cB) | ({c/d/}e2) “tr”d>c c2 fe |

d2(f/g/a) b2 “tr”(ag) | (fd)”tr”(cB) G2 “tr”d>c | (BG)(FD) (FG)(Bc) | ({B/c/}d2) “tr”(c>B) B2:|

X:2

T:The Birks of Invermay.

M:C

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:G

U:T=!trill!

N:Printed with :||: at the end replaced with :|]

%%graceslurs false

N:Also published in William Thomson's Orpheus Caledonius (1733). See  http://www.silverwhistle.co.uk/songs/birks.html

(Bc) | d3 e (d>B) (AG) | (TA>GA)B E3 G | (D>ED)B, D2 (GD) | B,2 (D>E) D2 (G/A/B/c/) | d3 e ({fg})(dBA) G |

(cB) (AG) E2 (B>A) | (GE) DB, D2 (G>A) | B2 (A>G) G2 :||: (DC) |

B,3 D (E>DE)G | (A>GA)B E3 e | (d>ed)B (cB) (AG) | (c>d) (e/d/)(c/B/) A2 (d>c) |

(Bd) (ef) g3 ({f/}e) | (dB) (AG) E2 (B>A) | (GE) (DB,) D2 (G>A) | B2 (TA>G) G2 :|]

 

BIRMINGHAM.  Old Time, Air. USA, Arkansas. A Major. AEae tuning. AA. The song is related to a number of other American folk songs, including “Froggie Went a-Courtin’,” “Sugar Babe,” “Sweet Child,” “Going Around the World,” and others.

***

I’m going down to Birmingham, darling,

I’m going down to Birmingham, darling;

I’m going down to Birmingham,

Shoes and stockings in my hand, darling.

***

Source for notated version: fiddler John Chism with Pope’s Arkansas Mountaineers, recorded 1928 [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 174.  

 

BIRMINGHAM HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 90. Ryan’s Mammoth Collection, 1883; pg. 125.

X:1

T:Birmingham Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(AG) | F2F2 FAdF | GFED CEAG | FAdf gfed | (3efe (3deB (3ABA (3FGE | F2F2 FAdF |

GFED CEAG | FAdA BGEC | D2D2D2 :: f2 | efgf edcA | defg a2a2 | (3gag e2 (3faf d2 |

(3efe (3cdB (3ABG (3FGE | F2F2 FAdF | GFED CEAG | FAdA Bgec | d2d2d2 :|

 

BIRMINGHAM MARCH, THE. English, March. England, Shropshire. G Major. Standard tuning. AABB. The 'B' part of the tune is the same as the 'B' part for the Adderbury stick dance tune "Lads a Buncham." The name Birmingham (Warwickshire) derives from the Anglo-Saxon place-name ‘Beorma’s ham’, meaning ‘the homestead of Beorma’. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 91a, pg. 36.

 

BIRNAM WOOD. Scottish, Slow Strathspey. D Major. Standard tuning. AAB. Composed by John Gow (1764-1826), who established a London publishing firm with his brother Andrew, and who distributed brother Nathaniel Gow’s publications. Paul Stewart Cranford characterizes it as a “Marching Air”. Birnam Wood was immortalized by Shakespeare in MacBeth, when the usurper believes he is safe until the very woods must march before he is defeated. The son of the King he assassinated, Malcolm, eventually gathers a force and stays a night in Birnam Wood on their march to battle with MacBeth. They gather bows in the morning and come to battle adorned with “the Wood”. Perhaps more to the point of Gow’s composition, the town of Birnam, Perthshire, sits on the River Tay, opposite the town of Dunkeld, home to Niel Gow and family. Carlin (The Gow Collection), 1986; No. 11. Cranford (Jerry Holland: The Second Collection), 2000; No. 304, pg. 109. Gow (Complete Repository), Part 3, 1806; pg. 6. Carl Mackenzie – “Welcome to Your Feet Again” (1977. Appear as unidentified “Scottish Air”)

X:1

T:Birnam Wood

M:C

L:1/8

R:Slow Strathspey

S:Gow – 3rd Repository   (1806)

Z:AK/Fiddler’s Companion

K:D

A|(d/e/f/)e/ d>A {Bc}d>B A/G/F/E/|(D/F/)(A/B/) (d/e/f/)d/ {f}e>d Be|

(d/e/f/)e/ d>A {B}d2 A>g|(g/f/)(e/d/) B/g/f/e/|fdd:|

z|(A,/D/)(F/D/) (G/D/)(F/D/) (B/D/)(F/D/) (A/D/)(F/A/)|

{e}d/>c/d/A/ (G/F/)(E/D/) B,EE D/B,/|

(A,/D/)(F/D/) (G/D/)(F/D/) (B/D/)(F/D/) (A/D/)(F/A/)|

d/f/B/d/ (F/A/)G/B,/ A,DD {E}E/C/4B,/4|

(A,/D/)(F/D/) (G/D/)(F/D/) (B/D/)(F/D/) A/D/F/A/|

{e} d/>c/d/A/ {A}G/>F/{F}E/>D/ BEE F/E/|

D/A/F/d/ A/f/d/a/ f/d’/a/f/ g/e/c/A/|B/G/d/B/ c/A/g/e/ fdd||

 

BIRNAN HALL. Scottish, Jig. D Major. Standard tuning. AAB. Composed by J. Steel. The Birnan Hall of the title is in Dunkeld. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 97, pg. 34.

 

BIRNIE-BOUZLE. See "Braes of Tullymet."


                       

BIRSAY BEACH. Scottish, Jig. Birsay Beach is in the Orkney Islands. The tune has been recorded by the Jim Cameron Band and the Wrigley Sisters.

                       


BIRTHDAY, THE. Irish, "Song Air, not so fast as a Jig." C Major. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 803, pgs. 390‑391.

X:1

T:Birthday, The

M:6/8

L:1/8

R:Air

N:”Moderate”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 803

Z:AK/Fiddler’s Companion

K:C

e/f/ | gfe dcB | dcc cBc | edd def | agg g2 e/f/ | gfe dcB | dcc cBc |

def/g/ fdB | dcc c2 || e/g/ | gfd d2 b/d’/ | d’c’c’ c’2 e/g/ | gfd d2 b/d’/ |

b’c’c’ c’2g | d’c’a gfe | afd dfa | age gfd | dcc c2 ||  

 

BIRTHDAY, 1790, THE. Scottish, Strathspey. D Major. Standard. AABB. Composed by Lord MacDonald, the melody appears in Nathaniel Gow's 1797 collection. While any birthday may have been referenced in the title, the King’s birthday was important to the Scottish gentry of the day.  Henry Cockburn (1779-1854), writing in his book Memorials of His Time (published posthumously in 1856), explains:

***

Another [test of loyalty] was keeping the King’s birthday. This day was the 4th of June,

which for the sixty years that the reign of George the III, lasted gave an annual

holiday to the British people, and was so associated in their habits with the idea of

 its being a free day, that they thought they had a right to it even after His Majesty

was dead. And the established way of keeping it in Edinburgh was, by the lower

orders and the boys having a long day of idleness and fireworks, and by the upper

classes going to the Parliament House and drinking the royal health in the evening,

at the expense of the city funds. The magistrates who conducted the banquet, which

began about seven, invited about 1,500 people. Tables, but no seats except one at

each end, were set along the Outer House. These tables, and the doors and walls,

were adorned by flowers and branches, the trampling and bruising of which increased

the general filth. There was no silence, no order, no decency. The loyal toasts were let

off, in all quarters, according to the pleasure of the Town Councillor who presided

over the section, without any orations by the Provost, who, seated in his robes, on a

high chair, was supposed to control the chaos. Respectable people, considering it all

as an odious penance, and going merely in order to show that they were not Jacobins,

came away after having pretended to drink one necessary cup to the health of the

reigning monarch. But all sorts who were worthy of the occasion and enjoyed it,

persevered to a late hour, roaring, drinking, toasting, and quarrelling. They made the

Court stink for a week with the wreck and the fumes of that hot and scandalous

night. It was not unusual at old Scotch feasts for the guests, after drinking a toast,

to toss their glasses over their heads, in order that they might never be debased by

any other sentiment. The very loyal on this occasion availed themselves of this

privilege freely, so that fragments of glass crunched beneath the feet of the walkers.

The infernal din was aggravated by volleys of musketry, fired very awkwardly by the

Town Guard, amidst the shouts of the mob, in the Parliament Close. The rabble, smitten

by the enthusiasm of the day, were accustomed, and permitted, to think license their

right, and exercised their brutality without stint. Those who were aware of what might

take place on the street, retired from the banquet before the spirit of mischief was

fully up. Those who come out so late as ten or even none of the evening, if observed

and unprotected, were fortunate if they escaped rough usage, especially if they

escaped being “Burghered,” or made to “Ride the Stang” [ed. to be carried on a pole on

men’s shoulders], a painful and dangerous operation, and therefore a great favourite with

the mob. I forget when this abominable festival was given up. Not, I believe, till the poverty,

 rather than the will, of the Town Council was obliged to consent. In 1798 these civic fathers

passed a self-denying ordinance, by which they resolved to ruin France by abstaining from

claret at this and all other municipal festivals. The vow, however, was not kept; and so the

French were not ruined.  (pgs. 63-65)

***

Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 8.

X:1

T:Birthday 1790, The

M:2/4

L:1/8

R:Strathspey

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>A|d>A B/A/G/F/|Ee e>d|c/d/e/c/ Ad|B>ABd|A<F E>D|

A,>B,D>E|FDDA,| D/E/F/D/ F>A|d/e/f/g/ a/f/d/f/|g>fed|c/d/e/c/ Ad|

BABd|B/A/G/F/ G/F/E/D/| E/A/c/e/ g/e/c/A/|dDD:|

|:f|d/e/f/g/ a>b|a/f/d/f/ a>b|a/b/a/g/ f/g/a/f/|gE Ee/d/|c/d/e/f/ g>a|

g/e/c/e/ g>a|g/f/e/d/ c/d/e/c/| dDD A/B/c/|d>D B/A/G/F/|BEEg|

f<ae<f|dDDA,|D>A d/c/B/A/|B/A/G/F/ E>g| f/g/a/f/ e/f/g/e/|dDD:|

              

BIRTHDAY OF PHYLLIS, THE. English, Jig. England, North‑West. G Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 79.

 

BIRTHDAY WALTZ, THE.  English, Waltz. G Major (‘A’ and ‘C’ parts) & D Major (‘B’ part). Standard tuning. ABC. A dance and tune composed in 1990 by folk dance caller and composer Colin Hume (Hertfordshire, England). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 11.

 


BISBEE'S WALTZ. Old‑Time, Waltz. C Major. Standard tuning. ABBCC. Jasper "Jep" Bisbee was a fiddler from Paris, Michigan, with New England roots. He was in his 80's when discovered by Henry Ford while playing at a Michigan dance in 1923. The tune's 'B' part recalls "Copenhagen Waltz" in Mr. & Mrs. Henry Ford's "Good Morning" collection, says Bronner (1987). Source for notated version: Henry Ford's Old Fashioned Dance Orchestra, c. 1926 [Bronner]. Bronner (Old-Time Music Makers of New York State), 1987; No. 7, pg. 35. Columbia 877 (78 RPM), Henry Ford's Old Fashioned Dance Orchestra, c. 1926.

 

BISHOP [1], THE. AKA and see "Miss Dolland's Delight." English, Country Dance Tune (4/4 time). A Major. Standard tuning. AABB. The tune is “Miss Dolland’s Delight,” but is known as “The Bishop” from its assocation with the dance called The Bishop (the two are printed together in the Apted book, for example). Barnes (English Country Dance Tunes), 1986. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 2.

 

BISHOP [2], THE. Scottish, Strathspey. A Minor. Standard tuning. AABB. The tune first appears in print in Angus Cumming's Collection of Strathspeys or Old Highland Reels (1780, pg. 11). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 52, pg. 78. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 24. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 44.

X:1

T:Bishop, The  [2]

M:C

L:1/8

R:Strathspey

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:A Minor

B|A/A/A e2 d>BB>g|G/G/G d2 B>AG>B|A/A/A e2 dBBg|G/G/G GB A/A/A A:|

|:a/a/a b>a g>^fe>f|g>ag>d B>AG>B|a/a/a b>a g>feg|d>BG>B A/A/A A:|

 


BISHOP BUTLER OF KILCASH. AKA and see "The Boyne Water." Irish, Air. E Minor. Standard tuning. AB. "More than a century ago, Bishop Butler of Kilcash, the Roman Catholic bishop of Cork, conformed to the Protestant religion (to which he had originally belonged). This naturally caused a great sensation in the South, and indeed all over Ireland; and many popular songs were composed to commemorate the event, most of them 'Lamentations'. The song I give here from memory is the best of them, and I learned it along with the air from hearing it sung in my home when I was a boyl So far as I am aware the words have never been printed before this in either book or broadsheet. In fact I never heard or say the song outside my father's house" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 378, pgs. 185‑186.

 

BISHOP MACDONALD. Canadian, Slow Air (4/4 time). Canada; Cape Breton, Prince Edward Island. C Major. Standard tuning. AB. Perlman (1996) thinks this irregular (in the ‘A’ part) tune originated on Cape Breton. Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 210.

X:1

T:Bishop MacDonald in D

M:4/4

L:1/8

Q:120

Z:Paul Mulvaney

R:reel

K:D

FG| A2 AF A2 Bc| d>e (3dcB (3AFB BA | B2 de f2 ed | BA FE FA AF |

M:2/4

L:1/8

Q:120

A2 Bc|

M:4/4

L:1/8

Q:120

| d>e (3dcB (3AFB BA | B2 (3Bcd F2 G<E2|

M:2/4

L:1/8

Q:120

D2-DG|

M:4/4

L:1/8

Q:120

A2 AF A2 Bc | de dB B2 BA | B2 de f2 ed | BA FE FA AF |

M:2/4

L:1/8

Q:120

A2 Bc|

M:4/4

L:1/8

Q:120

| d>e (3dcB (3AFB BA  | B2 Bd F2 E2 |

M:2/4

L:1/8

Q:120

D2-Dg |

M:4/4

L:1/8

Q:120

fa ab a2 fd | fb ba b2 (3abc' | d'2 fa b2 de | f2 ed BA FE |

fa ab a2 fd | fb ba b2 (3abc' | d'2 fa b2 de | f2 e2 d4||

%flute player PG Mulvaney from harper Elaine Fortin 

%from Rankin Family from K Burke? from Ed Pearlman

% from CB fdlr Paul MacDonald, whence?

 

BISHOP OF BANGOR'S JIGG (Esgob Bangor). Welsh, English; Jig. England, North‑West. E Minor. Standard tuning. AABB. The tune appears in the 11th edition of Playford's Dancing Master of 1701, a publication that marked Henry Playford’s taking over the series from John Playford. The word Bangor comes from the Welsh for a wattle fence, and referred to the fence that surrounded the monastic community founded there by St. Deiniol in the year 525. Deiniol was consecrated Bishop in 546 and his church became a cathedral, and the Bishopric dates continuously from that period. The most famous Bishop of Bangor (who never actually resided in Bangor) in Playford’s time was Benjamin Hoadley, who was involved in a semi-political controversy known as Bangorism, really simply a plea for Protestantism and tolerance.  Some suspect a popular song went to the tune. A simple dance for eight people is attached to the tune, generally used as a Sicilian circle. Knowles (Northern Frisk), 1988; No. 6. Phillips (Fiddlecase Tunebook), 1989; pg. 11 (appears as "The Bishop of Bangor"). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 45.

X:1

T:Bishop of Bangor’s Jigg

M:6/8

L:1/8

R:Jig

K:E Minor

efg fge|^def B2e|dcB AGA|BcB B3:|

|:dBG cAF|BGE AFD|GAB A2G|GAG Gef|

ge^c af^d|bgb af^d|efg Be^d|e3 e3:|

 

BISHOP OF CHESTER'S JIG. AKA and see "The Fit's Upon Me Now." English, Jig (9/8 time). D Major. Standard tuning. AABB. The melody is by English composer Henry Purcell for Thomas D’Urfey’s production of The Fool’s Preferment, or The Three Dukes of Dunstable (1688). It was published by John Playford (as “The fit’s come on me now or The Bishop of Chester’s Jig”) in the 7th edition of the Dancing Master (1686), and in subsequent editions through the 14th edition (1709). Walsh included it in his Compleat Country Dancing Master (London) editions of 1718, 1731 and 1754.  The tune has been recorded by the New Victory Band with a measure of 12/8 time included, apparently due to a mistaken reading of the original printing of the members, Chris Coe (according to Johnny Adams). Callaghan (Hardcore English), 2007; pg. 81. Raven (English Country Dance Tunes), 1984; pg. 14.

X:1

T:Bishop of Chester’s Jig, The

T:Fits Upon Me Now, The

M:9/8

L:1/8

K:D

D | D2A FDA B2A | D2A FDA d2A | D2A FDA B2c | dAB AFD E2 :|

|: D | d2A dAd e2f | d2A dfe e2A | d2A dAd e2f | dAB AFD E2 :|

 

BISHOP'S SONG, THE. Irish, Air (3/4 time). F Dorian. Standard tuning. AB. "Conn, Bishop of Galway, composed a song to this air" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 776, pgs. 379‑380.

X:1

T:Bishop’s Song, The

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:F Dorian

FG | AA GF FF | ed ef ec | cB GF EC | E2E2 FG | AA GF FF | ed ef ec | cB GF F>E | F2F2 ||

cd | e2 cB ce | f2 gf ec | cB GF EC | {C}E2E2 FG | AA GF FF | ed ef ec | cB GF FE | F2F2 ||

                       

BISHOPSWOOD MARCH. Irish, March (4/4 time). D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AAB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Bishopswood is a place near Portarlington in the Midlands region of Ireland, near Keegan’s father’s birthplace. In her book she includes a c. 1900 photo of the Bishopswood Band, apparently a fife and drum marching band, perhaps a school band to judge from the age of the individuals in the picture. Keegan (The Keegan Tunes), 2002; pg. 81.

                       

BISIM IN THE KITCHEN, THE. AKA and see "The Dandies Gone a Roaming," "The Beesom.”

                       

BISSETTE, LA. French, Country Dance Tune (2/4 time). G Major. Standard tuning. AABBCCDD. Aird (Selections), vol. II, 1782; No. 153, pg. 56.

X:1

T:Bissette, La

M:2/4

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

B2 cB/c/ | d2 zd | efge | eddc | B2 cB/c/ | d2 zd | ecAF | G2 G2 :|

|: Dd dc | cBAG | BAGF | G/F/G/A/ GG | Dd dc | cBAG | BAGF | G2 G2 :|

|: B2B2 | BA A2 | c2c2 | cB B2 | B.d.d.d | e/d/e/f/ gd | gdcB | B2 A2 :|

|: BdBd | cece | dfdf | g/f/e/d/ c/B/A/G/ | BdBd | cece | dfdf | g2 g2 :|

                       

BISTRINGUE, LA.  AKA and see “La Bellechasse,” “Reel Saint-Joseph.” French-Canadian, Reel. D Major. Not to be confused with the similarly entitled “La Bastringue”).

 

BIT OF GINGER. AKA and see “Fisherman’s Lilt [2],” “Joe Derrane’s Jig, “Lilting Fisherman.” G Major (‘A’ part) and D Major (‘B’ part). Standard tuning. AABB’ The tune is attributed to New York fiddler Paddy Killoran in Boston button-accordion player Jerry O’Brien’s Accordion Instructor (c. 1940). O’Brien was Joe Derrane’s mentor. The tune is sometimes called “The Lilting Fisherman.” O’Brien (Irish Folk Dance Music). O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.

X:1

T:Bit of Ginger

T:Lilting Fisherman

L:1/8

M:6/8

S:Jerry O’Brien’s Accordion Instructor (c. 1940)

Z:AK/Fiddler’s Companion

K:G

B/c/|dBG GBd|gfg efg|dBG GFG|AFD DFA|

dBG GBd|gfg efg|dBG FGA|BGG G2:|

K:D

F/G/|ABA AFA|fgf f2e|dfe dcB|AFF F2G|ABA AFA|

BcB Bcd|cec ABc|1 dfe dcB:|2 dfe d2||

                       

BITNAR. AKA and see "Bittner".

           

BITS AND PIECES.  Irish, Barndance. G Major. Standard tuning. AB. The tune was “assembled” by flute player Mike Rafferty, but is similar to “Maid of Ballinatra” or “Within a Mile of Dublin [1].” Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 300, pg. 99.

 

BITTER BATTER.  American, March (4/4 time). F Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 330, pg. 195.

           

BITTER CREEK. AKA ‑ "Bitter Creek Breakdown." Old‑Time, Texas Style, Bluegrass; Breakdown. USA; Texas, Kentucky. G Major. Standard tuning. AABB (Brody, Phillips): ABCDD (Devil's Box): AABBCCDD (Christeson). Popularized by fiddler Tommy Jackson. R.P. Christeson says it was apparently a local Texas tune. Texas fiddler Benny Thomasson also had an influential version, played in five parts. He told Gus Garelick that he himself had metaphorically “crossed many a-bitter creek in my life,” but maintained there actually was a Bitter Creek in Texas. Joel Shimberg notes the similarity with this tune and Henri Landry’s “Carnival Reel.” Sources for notated versions: Red Williams (Dallas, Texas) [Christeson]; Benny Thomasson (Texas) [Brody]; Howdy Forrester via John Hartford [Devil's Box]; Tommy Jackson [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 45. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 130, pg. 92. The Devil's Box, vol. 22, No. 4, Winter 1988, pg. 51. Martin (Benny Thomasson Fiddle Transcriptions), 1997; No. 2. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 26. County 724, Benny Thomasson – “Country Fiddlin’ from the Big State” (1970). County CD 2712, Art Stamper - "The Lost Fiddler" (c. 1982). County 3525, Oscar & Doc Harper (et al) – “Dallas Bound: Old-Time Texas String Bands, Vol. 2” (the four-part version of the tune). MCA 162, Tommy Jackson ‑ "Square Dances Without Calls." Rounder 0004, Clark Kessinger ‑ "Old Time Music." Voyager Records, Benny Thomasson – “Say Old Man Can You Play the Fiddle?”

X:1

T:Bitter Creek 

L:1/8

M:2/4

S:Howdy Forrester, transcribed by John Hartford

N:The first four bars is the introduction

K:G

g/a/g/e/ d/g/e/d/|g/d/e/d/ B/G/B/d/|g/a/g/e/ d/g/e/d/|B/G/A/F/ G||

g/b/||b/g/e/g/ e/d/B/c/|d/B/G/B/ A/G/E/G/|D/C/B,/A,/ G,/D/B/c/|

d/B/G/B/ A/d/g/a/|b/g/d/g/ e/d/g/a/|g/e/d/B/ A/G/E/F/|G/E/D/C/ B,/D/G/A/|B/G/A/F/ G||

G,/B,/D/B,/ G,/B,/D/G/|E/G/(E/G/) E/D/C/E/|D/B,/G,/B,/ D/G/B/c/|

d/B/G/B/ A/G/E/G/|D/B,/G,/B,/ D/F/G/F/|E/G/E/G/ E/D/C/E/|D/B,/G,/B,/ D/G/B/c/|

d/B/A/F/ G||:B/d/|g/a/g/e/ d/g/e/d/|g/d/e/B/ dB/d/|g/a/g/e/ d/g/e/d/|B/G/A/F/ G:|


                       

BITTERSWEET.  American, Waltz. D Minor. Standard tuning. AA’BB’. A 2003 composition by Chris Rua. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 11.

 

BITTERSWEET REEL. Irish, Reel. D Mixolydian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 45, pg. 24.

X:1

T: The Bittersweet

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

A2 | D2 FA Bdef | afef dBBA | BGBd AFAd | =cBAG E=CEG |

D2 FA Bdef | afge fdfa | bgaf eddB | AFGE D2 :|

AB | =cG (3GFG dA (3AGA | e=ceg afge | dAAB =cA G2 | Afed =c2 AB |

=cG (3GFG dA (3AGA | afge fd (3dcd | =cBAG E=CEG | AFGE D2 :|

 

BITTNER. AKA ‑ "Bitnar." AKA and see "Old Greene County," "Twelfth Virginia," "Old Wilkinsburg March." American, March. USA, southwestern Pa. D Major. Standard tuning. ABC. Bayard heard this tune played by both fifers and fiddlers, but thinks that this name for the tune came from a once‑famous old fifer named Ananias Bittner, from whom other fifers either learned it or associated it with. Source for notated version: Lloyd Grimm (southwestern Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 387E, pg. 372‑373.

 

BIVOUAC OF THE DEAD. AKA and see "Garryowen."

 

BLAB NOT WHAT YOU OUGHT TO SMOTHER.  English, Air (3/8 time). G Major. Standard tuning. AB. The melody appears in Calliope (1746) and on period songsheets. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 28.

X:1

T:Blab not what you ought to Smother

M:3/8

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46).
Z:AK/Fiddler’s Companion

K:G

GBd | e/d/c/B/A/G/ | Gdg | “tr”g2f | dgb | a/g/f/e/d/c/ | B/d/gB | BAz | GBd | e/d/c/B/A/G/ |

Fdg | “tr”g2f | ba/g/f/e/ | ag/f/e/d/ | gfe | “tr”A3 | Aab | ^c2d | (3g/f/e/ “tr”e2 | d3 ||

dfa | ag/f/e/d/ | cac | “tr”c2B | Bba | gfe | fg/a/f/e/ | e2 z | g/f/gd | e/d/eB | c/B/cd | e/f/g/e/d |

gde | dc/B/A/G/ | c “tr”d2 | e2z | zc’b | ag/f/e/d/ | e/a/”tr”f2 | g3 ||

 

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