[COMMENT1] [COMMENT2]  The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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

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

 

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

 

 

 

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. 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. 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. AB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 86, pg. 59.

 

BIRD ALONE [1], THE. Irish, Slow Air (2/4 time). F Major. Standard. 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. 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:A Minor

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. 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:E_

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. 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). 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). 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. 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 (orig. recorded for Victor in 1924) - “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. 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. 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. 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. AA’BB. Source for notated version: Mel Durham [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 10.

           

BIRDIE IN THE SNOWBANK. Old-Time, Breakdown. From the playing of Lee and Fred Stoneking. The tune is derivative of the Irish “Boys of Bluehill,” or “Beaux of Oak Hill [1].”

                       

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. 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. Standard. AABB. Composed by Ivar Barentsen. Private collection, A. Kuntz.

 

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. 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: Thompson included it in his 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.

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|]

 

BIRKS OF DELHANDY, THE. Scottish, Slow Air (4/4 time). D Major. Standard. 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. Scottish, Air (4/4 time). B Flat Major (McGibbon): G Major (Jones). Standard. AABB. 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). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 5. McGibbon (Scots Tunes, Book II), c. 1746; pg. 36.

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:B_

(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 HORNPIPE. American, Hornpipe. D Major. Standard. 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. Carlin (The Gow Collection), 1986; No. 11. 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.