The Fiddler’s
Companion
© 1996-2009 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] |
BÍ AG BUAIDREAD, NA. AKA and see "Don't Be
Teasing."
BÍ AG TREABHADH LEAT. AKA and see "Speed
the Plow/Plough [1]."
BI FALBH ANNS A MHIONAID (Go Immediately).
AKA and see “Weary We Have Been.”
Canadian, Scottish; Reel.
BIADANAI, AN (The Cabin Hunter). AKA and see “The Cabin Hunter.”
BIB
X:1
T:Biby, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 5
Z:AK/Fiddler’s Companion
K:C
c>d | c>Gc>d | {d}e2 g>a | g>fe>d | {f}(e/d/c) c>d | c>Gc>d | {d}e2 g>a |
g>fe>d | c2 :: G>A | G>gg>f | “tr”f2 G>A | G>ff>e | “tr”e2 c>d | c>aa>g |
g2 {f}ed/c/ | BcGB| {d} c2 :|
K:C Minor
(e/d/c) | cG (e/d/c) | c2 G>A | G>FE>D | (E/D/C) (e/d/)c | cG e/d/c | c G>A |
G>FE>D | {D}C2 :|
K:C
G>B | B2 G>g | “tr” g2 G>A | G>g {g}f>e | {e}d2 c>d | c>aa>g | {a}g2 {f}ed/c/ |
BcGB
| {d}c2 :|
BICYCLE [1], THE. Irish, Slide.
***
If they were slow dancers they wouldn’t be able to do it then,
do you see. They’d be falling around the house. They couldn’t
get the double wheel at all. They’d be hitting against each
other. The one that could double could do it now, you could
do the double, swinging easy, like. But the one that couldn’t
do that is caught in that slide, if you play it fast.
(Moylan)
***
O’Leary associates the tune with a
particular figure of the Sliabh Luachra set, and usually reserves it for the
fifth figure and regards only fairly competent dancers can cope with it. Source
for notated version: recorded February, 1973, in Ballydesmond from the playing
of accordion player Johnny O’Leary (Sliabh Luachra), who had the tune from
Mickin Dálaigh [Moylan]. Moylan (Johnny
O’Leary) 1994; No. 15, pg. 10.
X:1
T:The Bicycle
M:12/8
L:1/8
Q:160
R:slide
D:Johnny O'Leary of Sliabh Luachra
D:Brendan Begley, "We Won't Go
Home Till Morning"
Z:Lorna LaVerne
K:E Aeolian
|:”Em”B2
“Em”B2 E E2 F G2 E E2 A | B2 A
“Bm”d2 B “Am”A3 “D”F2 A:|
|:”Em”B2e e2d “Bm”B2A “D”F2A|”Em”Bee
e2f “Bm”d3 B2A|
“Em”Bee e^de “Bm”B2A “D”=d2B|A^GA
“Bm”D2F “Am”A3 “D”F2A:|
"variation, bars 7 and 8"|
Bee efe B2A d2B|ABA D2F A3 A2F|
BICYCLE [2], THE. Irish, Reel.
BIDDLESTONE HORNPIPE, THE.
English, Hornpipe. G Major. Standard tuning. AABB. Composed by
Northumbrian piper Billy Pigg
(1902-1968). Biddlestone is a hamlet in Coquetdale, Northumberland, where Pigg
lived for a time. Miller (Fiddler’s
Throne), 2004; No. 275, pg. 165. Northumbrian
Pipers’ Second Tune Book, 1981. Pauline Cato –
“New
BIDDY BARRY. Irish, Schottische. G Major. Standard tuning. AB. Roche Collection, 1982; vol. 3, No. 158, pg. 53.
BIDDY
BIDDY EARLY (Brigidin Ni Maelmoceirige). Irish, Hornpipe. A Dorian. Standard
tuning. AABB. Early in the 20th century Irish immigrants from
X:1
T:Billy Early
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A Dorian
(3GAB|c2 cB cdeg|dedB GABd|cA (3AAA
ecAc|edBA GABd|
c2 cA cdeg|dedB GABd|cBAg
edcB|c2A2A2:|
|:ef|gfga gedc|BcdB GABd|agab
agea|gede cdef|
geaf gedB|cBAB cdea|gfge
dfed|c2A2A2:|
BIDDY FROM
X:1
T:Biddy From
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
F2D A2F def | F2D A2F GFE | F2D A2F
def | g2f e2d cBA :|
|:
BIDDY FROM
MUCKCROSS. Irish, Reel.
X:1
T:Biddy from Muckcross
C:from Robbie Hannan
O:Donegal
R:reel
B:J. Schiefner "Queen of Diamonds) p. 21
Z:id:js_638
M:4/4
K:D
BGB|ADDE FAAc|d2fd BGBd|ADDE FAed|BdAG FDDB|
ADDE FAAc|dgfd BGBd|ADDE FAed|BdAG FDDf||
a{b}afd Adfg|ad (3.g.f.d cdef|a{b}afa gfed|BdAG FDDf|
a{b}afd Adfg|adfd cdef|gbaf gece|dBAG FDDF|]
BIDDY FROM
BIDDY, I'M NOT JESTING. Irish (originally),
X:1
T:Biddy I'm Not Jesting
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
K:G
D2|DEGA B2 AG|AGAB d2 BG|E2 DB, DEGA|B2 A>A A2 D2|
DEGA B2 AG|AGAB d2 BG|E2 DB, DEGA|B2 G>G G2:|
|:D2|GABd e2 ge|dBGE c2 Bc|dBGE DEGA|B2 A>A A2 D2|
DEGA
B2 AG|AGAB d2 BG|E2 DB, DEGA|B2 G>G G2:||
BIDDY IS MY DARLING. Irish, Air (6/8 time). G Major. Standard. AA'BB. The unrelated, but
similarly-titled slide “Biddy the Darling” is below.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 564, pg. 99.
X:1
T:Biddy is My Darling
M:6/8
L:1/8
R:Air
N:”Cheerfully”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
d|BzG czA|BdB Gzd|ezc ezf|{z}gfe d2f|gfe
dcB|edc BAG|1
FGA ABc BcB A2:|2 FGA ABA|G3 G2||
|:d|gzd Bcd|efg dzd|gzf efg|age
dzd|gaz bag|efg d2c|BAG FGA|G3 G2:|
BIDDY MALONEY (Brigidin Ni Maoldomnaig). AKA and see “Malowney's/Maloney’s Wife.”
Irish, Double Jig. D Major. Standard tuning. AABBCCDDEEFFGG. Source for notated
version: from the manuscript collection of retired businessman and Irish music
enthusiast John Gillan, collected from musicians in his home
X:1
T:Biddy Maloney
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
A/G/|FGA AFA|AFA AFA|BGG AGF|BGE
EGE|
FGA AFA|AFA d2A|B/c/dB Afd|AFD D2:|
|:c/d/|ecA AcA|ecA d2A|GBG FGA|BGE
E2 c/d/|ecA dfa|gfe d2A|dcB AFd|AFD D2:|
|:f/g/|a3g3|fed cBA|GBG FGA|BGE E2
f/g/|agf gbg|fed cBA|dcB AFd|AFD D2:|
|:f/g/|af/g/a/f/ dfg|af/g/a/f/
dga|bg/a/b/g/ ega|bg/a/b/g/ efg|af/g/a/f/ bgg|af/g/a/f/ d2A|
B/c/dB AFd|AFD D2:|
|:A|d/e/dc dAF|d/e/dc dAF|GBG
FGA|BGE E2A|d/e/dc dAF|d/e/dc dAF|dcd efg|fdd d2:|
|:g|f/g/ab afd|fdf/g/ afd|g2e f2d|efe
efg|f/g/ab afd|f/d/fg afd|gfg eag|fdd d2:|
|:g|fdf ece|dcB AGF|GBG FGA|BGE
E2g|fdf ece|dcB AGF|B/c/dB AFd|AFD D2:|
X:2
T:Biddy Maloney
R:jig
Z:id:hn-jig-243
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:D
F2A AFA|ABA FED|GBG FGA|BGE EAG|
F2A AFA|AFA d2A|Bcd edB|1 AFD D2E:|2
AFD D2d||
|:ecA Bcd|ecA AGF|GBG FGA|BGE E2d|
ecA Bcd|ecA d2A|Bcd edB|1 AFD D2d:|2
AFD D2f||
|:~g3 ~f3|gfe def|~g3 fga|bge e2f|
~g3 ~f3|gfe d2A|Bcd edB|1 AFD D2f:|2
AFD D2E||
BIDDY MARTIN (Bidí Mháirtín). AKA and see "(Hi) Betty Martin," "Tip Toe Fine." Irish, Polka. D Major.
Standard tuning. AB (Breathnach): AABB (Mallinson). Breathnach (1985) said his
source, Leahy, told him this tune was much referred to in dancing schools as
the steps of the reel set to it were easy for youngsters.
***
Hie, Biddy Martin, tip toe, tip toe,
Hie, Biddy Martin, tip toe, tie.
***
Source for notated version: accordion
player Tim Leahy, 1968 (Listowel, Co.
BIDDY MICKEY’S. AKA and see “The
Humours of Tuamgraney,” “Tuamgraney
Castle.” Outlet OAS 3002, Paddy Cronin -
"Kerry's Own Paddy Cronin" (1977),
BIDDY OATS. American, Quickstep (2/4 time). D Major. Standard tuning. AABB. In
1862 Bruce and Emmett’s Drummers’ and
Fifers’ Guide was published to help codify and train the hordes of new
musicians in Union Army service early in the American Civil War. George Bruce
was a drum major in the New York National Guard, 7th Regiment, and
had served in the United States Army as principal drum instructor at the
installation at Governor’s
X:1
T:Biddy Oats
M:2/4
L:1/8
R:Quickstep March
S:Bruce & Emmett’s Drummers’ & Fifers’ Guide (1862)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | df/d/ Ad/A/ | FA/F/ DA | d/c/B/A/ g/f/e/d/ | d/f/c/e/ d/c/B/A/ |
df/d/ Ad/A/ | FA/F/ De/f/ | g/e/f/d/ e/c/d/B/ | A/d/A/F/ D :: f/e/ | dF/G/ Ag/f/ |
eE/F/ Gf/e/ | d/A/F/A/ g/f/e/d/ | c/e/d/B/ Af/e/ | d/A/B/c/ d/A/g/f/ |
e/d/c/d/ e/A/a/g/ | f/e/d/c/ B/g/e/c/ | dfd :|
BIDDY OF BARNES.. Irish, Hornpipe. G
Major. Standard tuning. AABB. McGuire & Keegan (Irish Tunes by the 100), 1975; No. 74, pg. 20.
BIDDY OF
BIDDY ROWAN. Irish, Air (4/4 time). E Minor. Standard tuning. One part. "From a
MS. lent by
X:1
T:Biddy Rowan
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:E Minor
.e.e.e.e e3d | e3f g3e | edBA G2 EF
| G3A G2 zA | BBBA Bgfg | e3f d2 BA | G2 BE E3E | E6F2 |
GFED E3F | G3F EFGA | .B.BBA G3A |
B3A G3A | BBBA Bgfg | e3fd2BA | GB E2 E3E | E6 z2 ||
BIDDY THE BOWL WIFE. AKA – “Biddy the Boul Wife.” English, Irish; Jig. A Major. Standard.
AABB. Kennedy, Vol. 2, 1954; pg. 34. Kerr (Merry
Melodies), vol. 1; No. 15, pg. 37. Raven (English Country Dance Tunes), 1984; pg. 110.
X:1
T:Biddy the Boul Wife
M:6/8
L:1/8
R:Jig
K:G
DGB d2 e|dBG g2e|dBG DGB|cAA A2d|DGB
d2 e|dBG g2e|dBG DEF|AGG G3:|
|:ded g2f|agf efg|dBG DGB|cAA A3|ded
g2f|agf efg|dBG DEF|AGG G3:|
BIDDY THE DARLING (Bidí an Muirnín). Irish,
Single Jig (12/8 time). D Major. Standard. AA’BB’. See also the related “Rosie Finn’s Favourite,”
recorded by the Bothy Band. Source for notated version: fiddler Tom Barrett
(Listowel, County Kerry) [Breathnach]. Breathnach (CRÉ V), 1999; No. 68, pg. 35. Howe (500 Irish Melodies, Ancient and Modern), c. 1870.
BIDDY'S WEDDING (Posad Brigidin). Irish, Double Jig. C Major. Standard. AABB.
O'Neill (Krassen); pg. 56. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 985, pg. 183. O'Neill (Dance Music of
X:1
T:Biddy’s Wedding
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:C
c>dc c2c|ceg gec|c>dc
c2c|B>cd dBG|c>dc c2c|ceg gec|faf ege|B>cd dBG:|
|:c>dc g2c|e2c g2c|c>dc
g2c|B>cd dBG|c>dc bge|edc gec|faf ege|B>cd dBG:|
BIDE YE YET [1]. Scottish, Jig. C Major ('A' part) & A Minor ('B' part). Standard.
AAB. Carlin (Master Collection),
1984; No. 164, pg. 97.
BIDE YE YET [2]??? Scottish. AKA and see "Crowdie,"
"Three Times Crowdie
in One Day," "The Wayward Wife,"
"O That I Had Ne'er Been
Married." See notes for "Lost
Indian [7]" (G Major). Bayard thinks the 'A' strain resembles the 'A'
strain in his "Lost Indian [7].”
BIDE YE YET [3]. Scottish, Jig. G Major. Standard. AABB. Kerr (Merry Melodies), vol. 2, pg. 32.
BIDFORD TOWN MORRIS. English, Morris Dance Tune (6/8 time). C Major. Standard. AABB. A
'morris on' tune. Bacon (The Morris Ring),
1974; pg. 61.
BIDH CLANN ULAIDH (Men of
BIDÍ A’ MHUC ROS [1]. Irish, Slip Jig. One of the tunes learned from two fairy fiddlers by
Bidi a’ Mhuc Ros, a Donegal lilter who lived at Muckros Head near Kilcar. See
also note for “Bean a’ Tigh ar
Lar [1].”
BIDÍ A’ MHUC ROS [2]. Irish, March. One of the tunes learned from two fairy fiddlers by Bidi
a’ Mhuc Ros, a Donegal lilter who lived at Muckros Head near Kilcar.
BIDÍ A’ MHUC ROS [3]. Irish, Hornpipe. One of the tunes learned from two fairy fiddlers by
Bidi a’ Mhuc Ros, a Donegal lilter who lived at Muckros Head near Kilcar.
BIDÍ AN MUIRNÍN. AKA and see “Biddy the Darling.”
BIDÍ MHÁIRTÍN. AKA and see "Biddy Martin."
BIELBIE’S HORNPIPE. AKA and see “Curlew Hills (Polka).” English,
Hornpipe. From the playing of Borders musicians Willie Taylor and Joe Hutton.
The tune is a member of a large tune family that, in Northumberland, goes by
the name “Beilby’s Hornpipe,” or “Bielbie’s Hornpipe.” The name is used in the
early 18th century slang term “Beilby’s Ball,” referring to a
hanging: “He will dance at Beilby’s ball, where the sheriff plays the music” (A Dictionary of the Vulgar Tongue,
1811). It is perhaps possible that ‘to dance Beilby’s hornpipe’ meant the same
thing. At any rate, no one knows who Beilby/Bielbie was, although Noel Jackson
notes that one of the musical associates of Northumbrian musician Bewick the
Younger was named Bielbie. See also the related “Linehope Lope.” Also, “The Original Schottische” in the
Thomas Hardy manuscripts, and “The Original Schottische Polka” in Michael Turner’s
manuscript copybooks are close variants. MWM 1031, Joe
Hutton – “Music from Northumberland and the Border Country” (1983. Paired with
“Mrs. Anne Jamieson’s Favourite”).
X:1
T:Bielbie’s Hornpipe
C:(Curlew or
Q:1/4=140
I:abc2nwc
M:4/4
L:1/8
Z:Lewes Favourites Download (http://members.aol.com/lewesarmsfolk/LFTunes.html)
K:G
D2|:G3/2A/2 B3/2c/2 d3/2g/2
f3/2a/2|g2B2d2-d3/2B/2|\
c3/2e/2 A3/2B/2 c2c2|B3/2d/2 G3/2A/2
B3/2c/2 B3/2A/2|
G3/2A/2 B3/2c/2 d3/2g/2
f3/2a/2|g2B2d2-d3/2B/2|\
c3/2e/2 A3/2B2 c3/2B/2 c3/2A/2|\
[1G2B2G2D2:|[2G2B2G3/2A/2 B3/2c/2
|:d2b2c2a2|B2g3/2f/2 g3/2d/2
B3/2G/2|F3/2G/2 A3/2B/2 c3/2A/2 F3/2D/2|\
G3/2F/2 G3/2A/2 B3/2A/2 B3/2c/2|
d2b2c2a2|B2g3/2f/2 g3/2d/2
B3/2G/2|F3/2G/2 A3/2B/2 c3/2A/2 F3/2A/2|\
[1A3/2G/2 G3/2F/2 G3/2A/2 B3/2c/2:|\
[2A3/2G/2 G3/2F/2 G4|]
BIEN
X:1
T:Bien Aimée, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 39
Z:AK/Fiddler’s Companion
K:A
eaec | cecA | BE (B/c/d) | caec | cecA | (Bd) (EG) | A2 A,2 :|
|:
(.B.c.B.A) | (GBG).E | .e(fed) | .c(ecA) | {b}aeec | fdcB | (ce) (EG) | A2 A,2
:|
BIG ALEC’S JIG. Canadian, Jig.
BIG BALL IN TOWN. "Roll On the Ground."
Old‑Time, Song Tune. The title composition was the result of The Skillet
Licker's marrying of the tune "Roll(ing) on the Ground" with new
words. The tune was recorded by J.E. Mainer's Mountaineers, and by
BIG BARNEY(‘S JIG)
{Port Bhriain Mhóir}. Scottish, Irish; Jig. G Major. Standard tuning. AA'BB. Breathnach (CRÉ IV), 1996; No. 7, pg. 4 (appears as
“Port Bhriain Mhóir”). Kerr (Merry
Melodies), vol. 3, No. 255, pg. 28.
X:1
T:Big Barney
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 255 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
GBd gfe|dec B2c|dBG G2A|BGE E2F|GBd
gfe|
dec B2c|dBG ABc|BGG G2||:d|gfg
efg|dec BAG|
gfg efg|fdd d2d|efg gfe|dec B2c|dBG
ABc|BGG G2:|
BIG BEN HORNPIPE. English, Hornpipe. B Flat Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 61.
X:1
T:Big Ben Hornpipe
M:4/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:Bb
F2 | B2 (FB) (3dcB (3AGF | E2g2g2
f>e | d>f d>B c>e c>A | B2 (3dfb A2 (3ceg |
B2 (FB) (3dcB (3AGF | E2g2g2f>e |
(3dba (3gfe (3ded (3cBA | B2d2B2 :: F2 |
B>d f>b (b>a) (b>a) |
g>^f g>f g2 c>B | A>B c>d e>g f>e | d>^c d>c d2
d>c |
B>d f>b (b>a) (b>a) |
F>A c>e g2 f>e | (3dfd B>d (3cec A>c | B2b2B2 :|
BIG
***
There’s no use in talking ‘bout the
That lives on the county line;
For Betsy Jane from the prairie plain
Just leaves them way behind.
You never would see such a likely woman,
If you searched out all creation;
She beats the gals from the flat creek bottom,
She’s the queen of the whole plantation.
***
She totes herself like a flying squirrel
[Carl Baron – “probably a reference to a motorcycle”]
And the men folk all come around;
And lord how the dewdrops get off the grass
When she puts her feet upon the ground.
She’s just as ripe as an apple on a tree,
And she looks so pretty and snug;
And her mouth’s just as sweet as a corncob stopper
That comes out of a molasses jug.
***
The calf comes a-loping when the old cow calls,
And the possum dog comes to the horn;
And the grape vine climbs up the tall oak tree,
And the morning glory wraps around the corn.
And a fellow will turn around and come pretty quick,
When he hears that pretty gal laugh;
She hangs on his arm like a bird on a tree
As they both go walking up the path.
***
Her eyes give light like a foxfire chunk,
And her teeth are white as snow;
And the fellers in the cotton patch keep looking back
When they see her come chopping down the row.
She’s gone crowd the hands where the crabgrass grows,
And kill the weeds as she goes;
She skippers up the furrow in a cloud of dust,
As she busts them clods with a hoe.
***
Blue Ridge Institute BRI
005, The Shelor Family – “
BIG BOTTOM RAG. Old‑Time, Fiddle Tune. The title appears in a list of
BIG BOW WOW, THE. AKA and see "The Beardless Boy," "The Dissipated Youth [1],"
"Giolla na Scriob," "Kate Kearney," "Priest avourneen," "Seanbhean Chrion an Drantain,"
“Stagger the Buck,” "Ta an Coileach ag Fogairt an
Lae [2]," "When
the cock crows it is day [3]." Scottish, Jig. The tune's earliest
appearance in print is in Robert Ross's
1780 collection (pg. 32), according to John Glen. Breathnach (1976) finds the
first part of Aird’s “Big Bow Wow” (Selections of Scotch, English, Irish and
Foreign Airs, vol. I, 1782, 104) to be the same as that of “An Cailín Deas Donn/The Pretty
Brown Girl.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
BIG BOY WALTZ. See "Valse de Famille,"
"Valse de Bayou Chene."
BIG CABIN. AKA and see "The
Appalachian Fiddler." Old‑Time, Breakdown.
BIG CAPTAIN OF
CARTLEHAUGH, THE.
Scottish,
X:1
T:Big Captain of Cartlehaugh, The
M:4/4
L:1/8
R:
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
({c}d>)A A2 d>B B2 | A>F
D>F E>C A,2 | ({c}d>)A A2 d>B B>d | (c/B/A) E>^G ({G}A2)A |
({c}d>)A A2 ({c}d>)BB2 |
AF>DF> E>CA,>A | d<A A2 ({c}d>B A>G | (F/E/D) A,>C
{C}[D2D2] D ||
g | (f/e/d) a>c’
({c’}d’>)af>d | (c/B/A) e>^g a>ec>A | f/e/d a>c’
({c’}d’>)af>d’ | (c’/b/a) e>^g ({g}a2) a>=g |
(f/e/d) a>c’ ({c’}d’)af>d |
(c/B/A) e>^g a>ec>A | .d/.c/.B .A/.B/.c .d/.c/.B Az/G/ | F/E/D A,>C
{C}[D2D2]Dz ||
BIG CHIEF, THE. Old‑Time, Breakdown.
BIG CHIEF SITTING IN
THE RAIN. AKA and see "Chief Sitting Bull."
BIG COFFIN REEL (Ciste Mhor). AKA and see “Put Me in the Big Chest.”
BIG DAN O'MAHONY (Domnall Mor Ua Matgamna).
Irish, Hornpipe. A Mixolydian (O'Neill/Krassen): A Major (O'Neill/1850): A Dorian
(O'Neill/1001). Standard tuning. AAB. Donal “Dan” O’Mahony (c. 1777-1857) was
the maternal grandfather of compiler and collector Captain Francis O’Neill, and
a holder of extensive lands near Drimoleague,
X:1
T:Big Dan O’Mahony
M:C|
L:1/8
R:Hornpipe
S:O’Neill
– Dance Music of
Z:AK/Fiddler’s Companion
K:Ador
GB|AGAB A2 Bd|edBA G2 Bd|e2 ef
gfea|edBA G3B
AGAB A2 Bd|edBA G2 ed|B2 AG
gdBd|c2A2A2:|
||Bd|e2 ef g2 fe|a2a2g2 ea|edef
gfea|edBA G2 Bd|e2 ef gfge|abag e2 ea|
gedg edBd|c2 AA A2 Bd|e2 ef
gfge|(3aba ag e2 ea|edef gfea|
edBA G2 AB|c2 Bc d2 cd|efge
a2a2|gfea edBd|c2A2A2||
BIG DIPPER, THE. Old-Time. Composed by David Cahn,
BIG-EARED MULE [1]. AKA and see "Flop-Eared
Mule [1]." Old-Time, Breakdown. The tune was recorded by Kentucky-born
William B. Houchens (1884-c.1955), who waxed a dozen tunes for the Starr Piano
Company of
BIG-EARED MULE [2]. Old-Time, Breakdown.
BIG EYED RABBIT [1]. Old‑Time, Breakdown. The tune is a member of a group of similar
tunes which includes "John
Brown's Dream."
BIG-EYED RABBIT [2]. Old‑Time, Breakdown.
***
Yonder comes a rabbit,
Fast as he can run,
If I see another one,
Gonna shoot him with a double-barrel gun.
Gonna shoot him with my gun.
***
Yonder comes a rabbit,
Slippin' through the sand,
Shoot that rabbit, he don't care,
Fry him in my pan,
Fry him in my pan.
***
Chorus:
Rockin' in a weary land (x2)
or
Big-eyed rabbit's gone, gone
(x2)
***
Yonder comes my darlin',
How do I know?
Know her by her bright blue eyes,
Shinein' bright like gold,
Shinein' bright like gold. (
***
Bob Woodcock (
***
Coney on the island, coney on the run,
***
The tune, as recorded in the 1920’s
by the
X:1
T:Big Eyed Rabbit [2]
M:C|
L:1/8
K:A
c4 c3c |BA A2 A2cB | ABcA B2c2 | d3d
d4 | d2d2f2f2 | e2e2 d4 :|
|: c2 B2 A2 F2 | B3c B2BB | cBAc
BAFG | A2 AB A4 :|
X:2
T:Big Eyed Rabbit
M:C|
L:1/8
R:Reel
N:AEae tuning
S:Kirk Sutphin
N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
EF |: A2 AA cA B2 | A3B A2 (A2 |
A)BAc BAcA | f3e f2 (f2 |
f)gaa afed | ce2f e2 fe | cBcB AGFE
| B3 c BABc | AcBA FEFG |1
A3B A2 EF :|2 A3B A2 (A2 ||: A)cBA
FEFE | B3 c BABc |
AcBA FEFG |1 A3 B A2 (A2 :|2 A3B A2
||
BIG EYED RABBIT [3]. Old-Time. Sung to a different tune than the Tommy Jarrell version. Rounder 1029 and
BIG FANCY. Old-Time, Breakdown. AEae or ADae tunings. AB’ABCCCCCC’. The tonality
vacillates between A and D. In the repertoire of Pocahontas County, West
Virginia, fiddler Edden Hammons, who adds an extra beat in the first strain in
the repeat, but not at the end of the second time through the strain (i.e. just
before the second strain). The second part (played a variable number of times,
but usually six), is played by the source with an extra beat added as it goes
back to the first part. Alan Jabbour says he knows of “no other clear variants
of the tune, though it bears a general resemblance to many other older tunes
from the region.” West Virginia University Press SA-1,
“The Edden Hammons Collection, vol. 1” (1999).
BIG
FAT GAL'S GOOD I KNOW, BUT A LITTLE FAT GAL'S BETTER O! AKA and see "Shoehammer," "Paddy Got Drunk on Fish
and Potatoes." American, Jig.
BIG FAT LIZA JANE. Old-Time. In the repertoire of Cyle Creed.
BIG FISH. Old‑Time, Breakdown. This Clay County, West Virginia, tune is a
version of "Rye Straw [1]." Gerry Milnes (Play of a Fiddle, 1999) records that the tune was learned from legendary
fiddler Lewis Johnson “Uncle”
Jack McElwain (1856-1938) of White Oak (a tributary of
BIGFOOT. See “Bigfooted N....r in the Sandy
Land.”
BIG-FOOTED COON, THE. AKA and see "Big‑Footed N....r (in the
Sandy Land) [1]." Old‑Time, Breakdown.
BIG-FOOTED MAN (IN THE
SANDY LOT). See "Big‑Footed N....r (in the
Sandy Land) [1]."
BIG-FOOTED
NIGGER (IN THE SANDY LAND) [1]. AKA – “Bigfoot.” AKA and see "Big‑Footed N....r/Man (in the
Sandy Lot)," "Sandy Lot,"
"Big‑Footed Man," "Big‑Footed Coon," "Virginia Reel." Old‑Time,
Breakdown.
X:1
T:Bigfoot
M:2/4
L:1/8
S:Liz Slade
K:G
(3D/E/F/|G)A/A/ BA/(B/|B/)D/G/E/ D(3D/E/F/|G)A/A/ B/A/G/(D/|
E>)(D E/)(3D/E/F/|G)A/A/ BA/(B/|B/)D/G/E/ DD/D/|D/(E/D/)(D/ E)F|(G/ B) (G/ B:|
|:(e|g/)(a/g/)g/ (g/e/)d|e/f/e/(d/ B/)B/d|(e/ e) (e/ ef|e/(d/B/)B/ d(e|
g)g/g/ g/e/d|e/f/e/A/ G(A/(B/|B/)A/d/(A/ B/A/)G|(C/ E) (C/ E:|
X:2
T:Big Footed Man in the Sandy Lot
R:Reel
M:4/4
L:1/8
N:From Greg Canote
Z:Transcribed by Bruce Thomson
K:G
|:gage gagf|edBc d4|e3g adBc|[d3f3] [fd] [d4f4]|gage gagf|
edBc d4|BAGB AGED|[G3B3] [GB] [G4B4]:|
|:G2BG AGBG|AGEF G4|e3g edBc|d3d d4|
gage gagf|edBc d4|BAGB AGFD|[G3B3][GB] [G4B4]:|
BIG FOOTED
NIGGER [2].
Old-Time, Breakdown. Related to “Streak o’ Lean, Streak o’ Fat,”
“Hell Broke Loose in Georgia,”
as recorded by the Skillet Lickers. Fiddlin’ John Carson (north
BIG FOOTED SORREL. Old‑Time, Fiddle Tune.
BIG FOUR. Old‑Time.
BIG (*) DEAL.
Irish, Polka. G Major. Standard tuning. AAB. Composed by
X: 1
T: Big (*) Deal
M: 2/4
L: 1/8
R: polka
C: B. Black
N: Dedicated to the Y2K Bug & its whimpering
disappearance into the
N: vast history of human folly. You can use (*)
to insert an adjective
N: of your choice.
K: G
B>A GA | Be dA | B>A GD | EG A2 | B>A
GA | Bg ed | (3Bcd cA | BG G2 :|
g>e de | gb af | g>e dg | eg a2 | g>e
de | gb af | gd cA | BG GB |
g>e
de | gb af | g>e dg | eg a2 | bg af | (3efg dB | Ac BA | BG G2 ||
BIG HEADED MAN, THE (Fear a’ Chinn Mhňir).
AKA and see “Lord Dunmore.”
BIG HOEDOWN. Old-Time, Breakdown.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Big Hoedown
M:C|
L:1/8
S:Edd’n Hammons, via David Bragger
N:AEae tuning
N:Written as it sounds, not as
played on bottom strings
Z:AK/Fiddler’s Companion
K:Amix
A,2(a2|a2)g2e2d2|cdef g2 eg |a2
(3gag e2d2|cABd cdeg|
a2 (3gag e2 d2|cdef g3^g|abag
e2d2|cABd cA A2||
|:ef g2 e2 d2|cABd c2d2|ef g2 e2
d2|cABd cA A2:|
|:A,2 A^G [A2A2] Ac|BABd c2c2|A,2
A^G [A2A2] Ac|BABd cA A2|
A,2 A^G [A2A2] Ac|BABd c2d2|efgg
e2d2|cABd cA A2:||
BIG-HORNED CATTLE. Old‑Time, Breakdown.
X:1
T:Big Horned Cattle
L:1/8
M:2/4
S:From
N:Stinnet was the only fiddler Walden heard play this tune
K:A
A,/C/E/F/ AA/c/|B/A/c/A/ e2|A,/C/E/F/ A>c|B/A/F/D/ E2| A,/C/E/F/ AA/c/|
B/A/c/A/ ee/g/|f/g/a/f/ e/c/B/G/|A/c/B/G/ A2:|
|:e/aa/4a/4 ab/a/|g/bb/4b/4 bb/g/|e/ag/ a/b/a/f/|e/c/B/G/ A/B/c/d/|
e/aa/4a/4
ab/a/|g/bb/4b/4 bb/g/|e/ag/ a/b/a/f/|e/c/B/G/ A2:|
BIG INDIAN. Old‑Time, Fiddle Tune. A traditional
BIG INDIAN HORNPIPE. Old‑Time, Hornpipe.
BIG JIG, THE. AKA and see "Irish Washerwoman" (An Bhean
Niochain Eireannach), "Paddy
McGinty's Goat," "Snouts
and Ears of America," "Jackson's
Delight [1]," "Corporal
Casey [1]," "Bhean Niochain."
BIG JOHN McNEIL(L)/McNEAL. AKA and see "John McNeil('s Reel)."
Canadian, American, Scottish; Reel.
***
Sources for notated versions: Max
Sexsmith (British Columbia), who learned this "classic" reel in the
1940's from radio broadcasts and records by Don Messer and His Islanders (who
recorded it in 1942) [Gibbons]; Jay Unger (West Hurley, New York) via Bud Snow
(Putnam County, New York) who also learned it from Canadian fiddler Don Messer
[Fiddle Fever]; Dawson Girdwood (Perth, Ontario) [Begin]. Francis MacDonald (b.
1940, Morell Rear,
X:1
T:Big John
McNeil
M:C|
L:1/8
R:Reel
K:A
A,2CE FE
CE|AE CE FE CE|A,2CE FE CE|FA GF ED CB,|
A,2CE FE
CE|AE CE FE CB,|A,C B,D CE DF|EF Bd cA A2:|
|:eA fA eA
cd|eA fA e2 (3agf|eA fA eA ce| de dc B2 cd|
eA fA eA cd|eA fA e2 fg|ag fe fe
dc|1 de fg a2 cd:|2 BA GF ED CB,|]
BIG JOHN’S HARD JIG. Irish, Jig. Compass 7 4287 2, Cathal McConnell
– “Long Expectant Comes at Last” (2000. Learned from
BIG JOHN'S REEL (Ríl Sheáin Mhoir). Irish, Reel. D Major. Standard tuning. AA’BB’.
The tune is named either after
X:1
T:Big John’s Reel
M:C|
L:1/8
R:Reel
K:D
DFAD fdAF | G3F GABc | d2fd ecAF | E3D EGFE |…
BIG KIRSTY. Scottish, Strathspey. E Minor ('A' part) & G Major ('B' part).
Standard tuning. AABB'. See also the related Scottish tunes “"A' the Way to Galloway&,quot;
"Ciorsdaidh Mhor” and "Miss Stewart Bun Rannoch,”
and the Irish family of tunes including “All the Way to Galway [1]” and
“Road to Lindesvoorna [1]."
Kerr (Merry Melodies), vol. 1; Set
19, No. 3, pg. 12.
X:1
T:Big Kirsty
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 1, No. 3
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Emin
B|e>fg>e d>B (3Bcd|c>A
(3ABc d>BB>d|e>fg>e d>B (3Bcd|c>AB>G (E2E):|
|:D|G>AB>c d>B (3Bcd|c>A
(3ABc d>BB>A|G>AB>C d>B(3Bcd|1 c>AB>G (E2E):|2
c>AB>^d (e2 e)||
|:(f|g2 f>e (d<B) (3Bcd|c<A
(3ABc (d<B) (B<d)|g2 f>e (d<B) (3Bcd|c>AB>G (E2E):|
|:D|G>AB>c (d<B)
(3Bcd|(c<A) (3ABc (d<B) B>A|G>AB>c (d<B) (3Bcd|c>AB>G
(E2E):||
BIG LIMBER. Old‑Time, Fiddle Tune. The title appears in a list of traditional
BIG LIZA JANE. Old-Time, Breakdown. D Major. Standard tuning. AABB’. Source for
notated version: Franklin George (
BIG MAC JIG. American, Jig. D Major ('A' part) & A Major ('B' part). Standard
tuning. AA'BB'. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 359.
BIG MAMOU (BLUES). AKA and see "Grand Mamou
Blues." As "Big Mamou", the song recorded by Link Davis
gained some national popularity.
BIG MEADOWS WALTZ. American, Waltz. A Major. Standard tuning. AABB. Composed by
BIG MUDDY. Old-Time, Breakdown. USA,
Missouri. D Major. Standard tuning. AA’BB’. A member of the large "My Love is/She's But a
Lassie Yet [1]" tune family, in the repertoire of Missouri train
engineer and dance fiddler Glenn Rickman. Rickman recalled that he often played
this tune for dancing, especially a memorable night in 1931 when a fight broke
out over a half-pint of moonshine. Source for notated version: Glenn Rickman
(1901-1982, Hurley, Missouri) [Beisswenger & McCann]. Beisswenger &
McCann (Ozark Fiddle Music), 2008; pg. 109.
BIG MULE, THE. Old-Time,
Breakdown.
BIG NOSED HORNPIPE. AKA and see "Fire
on/in the Mountain [1]." Old‑Time, Breakdown.
BIG OX, THE (An Bullán Mór). Irish, Air (3/4 time). D Dorian. Standard
tuning. AB. Joyce (Old Irish Folk Music
and Songs), 1909; No. 781, pg. 382.
X:1
T:An Bullán Mór (The Big Ox)
M:3/4
L:1/8
R:Air
N:”Rather slow”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Ddor
D>EFGAc | ddd>efd |
c>AAGF>G | F<D D3C | D>EFGAc | dd d2 d/e/f/d/ |
e>d cB/A/ GA/F/ | DF F3z ||
A/c/d/e/ f2 e/g/f/e/ | ddd>efd | c>AAGF>G |
F<D D3C | D>EFGAc | dd d2
d/e/f/d/ | e>d cB/A/ GA/F/ | DF F3z ||
BIG PAT'S (DANDY) REEL. AKA and see "Tie the
Ribbons [1]," "Trim the
Bonnet," "Jimmy the
Creelmaker," "Salamanca
[3]," "The Pigeon House,"
"The Dandy Reel," "The Hills of Clady," "The Clady Reel," "O'Connell's Trip to
Parliament [2]." Irish, Reel;
X:1
T:Big Pat's Reel
M:C|
L:1/8
R:Reel
K:G
(dc)|BGEF G2(BG)|G2(BG)
(FA)D2|BGEFG2(Bd)|g2(fg)e2(dc)|BGEFG2(BG)|
G2(BG)(FA)D2|BGEF
GAB^d|egfge2||(ef)|gfga bgag|(fa)ag (fd) dz|
gfga bgag|fe^dfe2(ef)|gfga
bgag|(fa)ag (fd) dz|g2(ge)f2(fd)|egfge2||
BIG PAT’S REEL [2]. Irish, Reel. D Major. Standard
tuning. AABB. Source for notated version: transcribed by Bernie Stocks, who
noted it in session in Derrygonelly, Co. Fermanagh in 1993 from the playing of
fiddler Ciaran Kelly [Miller]. Miller (Fiddler’s
Throne), 2004; No. 121, pg. 82.
BIG RED. Irish, Reel. A Major. Standard tuning. AABB tuning. A modern
composition by
X:1
T:Big
Red
M:C|
L:1/8
Q:220
C:Philippe Varlet
R:Reel
K:A
A,B, | CF~F2 {d}BAFA | ceef ecAc | B/2B/2B fB {d}cBfB | B/2B/2B fB
{d}cBAE |
FA{d}cA {d}BAFA | cAef ecAc | B/2B/2B fB {d}cAec | {d}BAGE F2 :||:
AB | cf~f2 defa | ec{d}cB A3 B | ceef ecAB | cB{d}BA GBEB |
cf~f2 defa | ec{d}cB A3 B | ceag fecA | {d}BAGE F2 :||
BIG REEL OF
BALLYNACALLY, THE. Irish, Reel. Shanachie SH-78010, Solas - “Sunny Spells and Scattered
Showers” (1997).
BIG REEL OF
CALLIGHTOWN, THE. Irish, Reel. Bulmer & Sharpley
(Music from
BIG
BIG SCOTCH. The name of a tune in the repertoire of Confederate veteran Arnold A.
Parrish of Willow Springs (Wake County, N.C.), as recorded by the old Raleigh News and Observer. Gail Gillespie points
out that Willow Springs is near the border of Wake and Harnett counties, and
that Harnett county, especially, had a number of Scots immigrants through the
1840’s.
BIG SCIOTY/SCIOTA, THE. Old‑Time, Breakdown.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Big Scioty
M:4/4
L:1/8
K:G
|:DE|GABG AGED|EDEF G2 ((3D/E/F/|G)ABG AGED|EDEF G2 ({DEF}G2)|
GFGA Bc d2|e3 f e2 d2|BAGB AGEG|E G2 F G2:|
|:z e|gfga gedg|egab a3 e|gfga gedc|Bdef e3 (e|e)fgf edBd|B e2 f e2 (e2|e)fgf edBd|
B e2 f e2 A2|BAGB AGED|D {EF}G2 F G2:|
X:2
T:Big Scioty
M:C|
L:1/8
N:The ‘B’ part is irregular
S:Bruce
Molsky, based on Burl Hammon’s version
Z:AK/Fiddler’s Companion
K:G
D(E|G)ABG AGEG|A G2 G G2 Ad|BAGB
AGEG|A G2 D G2 DE|
GBAd BGAG|B [e3e3] [e2e2]d2|{Bc}BABG
AGEG|A G2 G G2 (DE|
G2) BG AGEG|A G2 D G2 Ad|BAGB AGEG|A
G2 G G2 DE|(3GAB Ad BGAG|
B [e3e3] [e2e2]d2| {Bc} BABG AGEG|A
G2 A G2 D2||g3 g2a ba g2|e a2 b ag e2|
g3 (g e)dBA|B [e3e3] [e2e2]
e2|[ee][ee]fg e2 d2|B [e2e2] [ef] [e3e3][ee]|
[ee][ee]fg [e2e2] d2|B [e2e2] [ef]
e2 d2|BABG AGEG|A G2 A G2 D2|
g3 g2 a ba g2|e a2 b ag e2|g3 g
edBA|B [e3e3] [ef] [e3e3] [ee]|[ee][ee]fg e2 d2|
B [e2e2] [ef] e2 d2|BABG AGEG|A G2 A
G2||
BIG SHIP, THE. AKA and see "Glise de/a Sherbrooke."
English, Reel. G Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 25.
BIG SHIP COME OVER THE
BAY, THE. AKA and see “The Bouchaleen Buidhe,” “Kitty’s Wedding [2],” “McArdle’s Favorite,” “Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].”
BIG SNUG’S REEL. Irish, Reel. D Major. Standard tuning. ACCDD. Composed by accordion
player John Whelan for one of his students. Black (Music’s the Very Best Thing), 1996; No. 254, pg. 136.
X:1
T: Big Snug's Reel
C: John Whelan
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
f2 ed f2 ed | BdAd BdAd | f2 ed f2 ed | BABc dAFA |
f2 ed f2 ed | BdAd BdAd | f2 ed f2 ed | BABc dAFE ||
FA (3AAA FADd | cA (3AAA EFGE | FA (3AAA FADd | cded cAGE :|
FD
(3DDD A,DFA | GE (3EEE =CEGE | FD (3DDD A,DFA | (3Bcd ed cAGE :|
BIG SWEET TATERS IN
SANDY LAND. AKA and see "Great Big Tater(s) in
Sandy Land," "Sally Ann
[3]." Old‑Time, Breakdown.
BIG TATER. AKA and see "Molly Baker."
BIG TATERS IN THE
SANDY LAND. See "Great Big Tater(s) in
Sandy Land." In the repertoire of
BIG
BIG TIME IN OUR HOUSE. AKA and see "Fine
Times at Our House." Old‑Time, Breakdown.
BIG TOWN FLING. Better known under the title "Pigtown
Fling." Gennett 6088 (78 RPM), Uncle Steve
Hubbard and His Boys, c. 1928.
BIG WILLIE’S WEDDING. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by County
Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Big Willie was a
character in Barnagrove,
BIG WHEEL, THE. Irish,
Reel. D Major. Standard tuning. AAB. Source for notated version: transcribed by
Randy Miller from a broadcast of a Fleadh Cheoil in 1978 [Miller]. Miller (Fiddler’s Throne), 2004; No. 122, pg.
82.
BIGGERLO. Old‑Time, Fiddle Tune. The title, reminiscent of "Buggerboo," appears in a list of
traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954.
BIGGEST PRICK IN THE
NEIGHBORHOOD. Old‑Time, Fiddle Tune. The
title appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
BILE THEM CABBAGE DOWN. AKA ‑ "Boil
Them Cabbage Down," "Bake Them Hoecakes Brown." AKA and see
“Carve Dat Possum [1],” “Possum Pie.” Old‑Time, Breakdown.
***
African-American collector Thomas
Talley was the first to publish the text of the song in his book Negro Folk Rhymes (1922, reprinted in
1991 edited by Charles Wolfe). His lyric (No. 232, “Cooking Dinner”) goes:
***
Go: Bile dem cabbage down.
Turn dat hoecake ‘round,
Cook it done an’ brown.
***
Yes: Gwineter have sweet taters too.
Hain’t had none since las’ Fall,
Gwineter eat ‘em skins an’ all.
***
Modern
lyrics go:
***
Bile
them cabbage down,
Bake
that hoecake brown;
The only
song that I can sing
Is ‘Bile
Them Cabbage Down.’
***
Sources for
notated versions: Claude Thompson (Cotton County, Oklahoma) [Thede], John
Nicholson (Fayette County, Pa., 1949) [Bayard]; Roger Fountain (b. 1948, of
Pineville, Arkansas) [Beisswenger & McCann]. Bayard (Dance to the Fiddle), 1981; No. 219, pg. 173. Beisswenger &
McCann (Ozarks Fiddle Music), 2008; pg. 33. Reiner (Anthology of Fiddle Styles), 1977; pg. 8. Ruth (Pioneer Western Folk Tunes), 1948; No.
118, pg. 41 (appears as “Bake Those Hoe Cakes Brown”). Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 9. Sweet (Fifer’s
Delight), 1964; pg. 76 (includes variations, and appears as "Boil the
Cabbage Down"). Thede (The Fiddle
Book), 1967; pg. 69. Recorded by numerous North
Georgia bands: Riley Puckett and Gid Tanner (1924), The Skillet Lickers (1928),
Earl Johnson (1928), and the Georgia Wildcats (1937) {Clayton McMichen's band}.
County 723, Fred Cockerham, Tommy Jarrell & Oscar Jenkins ‑
"Back Home in the
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.