[COMMENT1][COMMENT2]
The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
BIOD - BIV |
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
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.
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 (
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.
***
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
BIRDIE [2].
BIRDIE [3]. Old-Time, Breakdown. C Major. Standard tuning. C Major. In the
repertoire of Fiddlin' Cowan Powers 1877‑1952? (
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).
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.
***
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].
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,
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
***
Poet Robert Burns set lyrics to the
melody inspired while standing under the
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>,
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
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.
X:1
T:
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 :|
BIRNAM WOOD. Scottish, Slow Strathspey. D Major. Standard tuning. AAB. Composed by
John Gow (1764-1826), who established a
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.
BIRNIE-BOUZLE. See "Braes of Tullymet."
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
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
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.
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 (
BISBEE'S WALTZ. Old‑Time, Waltz. C Major. Standard tuning. ABBCC. Jasper
"Jep" Bisbee was a fiddler from
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
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
BISHOP MACDONALD. Canadian, Slow Air (4/4 time).
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
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
X:1
T:Bishop of
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. "
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
BISIM IN THE KITCHEN, THE. AKA and see "The Dandies Gone a Roaming,"
"The Beesom.”
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 ||
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help
maintain the viability of the Fiddler’s Companion on the Web by respecting the
copyright.
For further information see Copyright and Permissions Policy or contact the author.
[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]Note: The change to pitch (12) and font (1) must be converted manually.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]This was Font/Pitch 1,10 - On.
[COMMENT5]This was Font/Pitch 1,10 - Off.
[COMMENT6]Note: The change to pitch (12) and font (1) must be converted manually.