[COMMENT1] [COMMENT2] The Fiddler’s Companion

© 1996-2010 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, 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]

 

 

 

BLACK ALMAIN, THE. English, March or Processional (4/4). G Major. Standard tuning. AABBAB. The tune was written in the 1550's. Merryweather (1989) states the dance of the title is an English imitation of a dance style originally German, while the tune is, he believes, from Parisian publishers and printers Gervaise and/or Attaignant. Merryweather (English Bagpipe), 1989; pg. 25.

 

BLACK AND GREY [1]. AKA and see "A Trip to Kilburn." English, Country Dance Tune (cut time). A Minor. Standard tuning. AABB. Johnson (1997) remarks the alternate title “Trip to Kilburn” is in common use today for the melody, “from its use as a dance.” Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 5.

X:1

T:Black and Grey [1]

M:C|

L:1/8

K:A Minor

A2A2d2B2|c4 A2d2|B4 G2g2|B4G4|A2A2d2B2|c3B A2d2|B2G2 BcdB|A4e4:|

|:a2e2 fedc|a2e2 fedc|g2d2 BcdB|g2d2 BcdB|a2e2 fgag|agfe fedc|B2G2 BcdB|A4e4:|

 

BLACK AND GREY [2]. AKA and see "The Black and the Grey."

 

BLACK AND THE BROWN [1], THE/DA. Shetland, Shetland Reel. Shetland, Whalsay. AEae tuning. One of the tunes played by Shetland fiddler John Irvine for the "bedding of the bride" ceremony in the islands around the turn of the century (see also "Grieg's Pipes" and "But the House, Ben the House"). Cooke (1986) prints the following text to this dance tune, in oral tradition in the Shetlands in the 1970's:

***

The black and the brown gaed oot o the town

and John Paterson's mare gaed foremost.

 

BLACK AND THE BROWN [2], THE. AKA and see "The Horseman's Port," "John Paterson's Mare (Goes Foremost/Forewort)." Scottish.

 

BLACK AND THE GREY, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AB (Stokoe & Bruce): AABBCCDDEEFF (Peacock). The title, which is an English renaming of the Scottish melody "John Paterson's Mare," appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. The title comes from the first line of a song set to the melody (see note for “John Paterson’s Mare”). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 188. Peacock (Peacock’s Tunes), c. 1805/1980; No. 28, pg. 11.

X:1

T:Black and the Grey

M:6/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

d|BGd g2d|gaf g2d|BGd adc|(B3 G2)B|cAe a2e|ab^g a2e|

cAe aed|(^c3 A2) =c|BGd g2d|gaf g2d|BGd gdc|(B3 c2)d|

ece dBd|cAc BA^G|Aa^g aed|(^c3 a2)||=c|BGG dGG|

gGG dGG|BGG gdc|B3 G2B|cAA eAA|gAA eAA|

cAA aed|(^c3 A2) =c|BGG dGG|gGG dBB|BGd gdc|

B3 c2d|ece dBd|cAc BA^G|Aa^g aed|^c3 A2||

 

BLACK AND WHITE RAG. Texas Style, Western Swing; Breakdown. USA, Texas. G Major ('A' and 'C' parts) & C Major ('B' part). Standard tuning. ABACA (Phillips): AABBAACC (Brody): AA'A''A'''BCDD'EE'FF' (Reiner & Anick). Source for notated version: Terry Morris (Texas) [Brody]; Terry Morris & Mark O'Connor [Phillips]: Benny Thomasson (Texas) [Reiner & Anick]. Brody (Fiddler’s Fakebook), 1983; pg. 45. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 20-21. Reiner & Ancik (Old Time Fiddling Across America), 1989; pgs. 138‑139. County 724, Benny Thomasson ‑ "Country Fiddling from the Big State." Flying Fish FF 90468, Critton Hollow ‑ "Great Dreams" (1988). Omac 1, Terry Morris‑ "A Texas Jam Session." Stoneway 143, Ernie Hunter ‑ "All about Fiddling." String 801, Milton Brown and His Brownies ‑ "Beer Parlor Jive." Doc Watson and Chet Atkins ‑ "Reflectons."

 


BLACK ANNIE. Old‑Time, Breakdown and Song Tune. USA; North Carolina, north Georgia. GDgd tuning. Kerry Blech (writing in the Old Time Herald) says the tune is "seldom collected from other black old time musicians (beside Joe and Odel Thompson of the Piedmont region of N.C.), but is found in the repertoires of white musicians." Joe Thompson uses it as one of his tunes of choice for calling in a frolic. Charles Wolfe (1979) suggests that the Georgia Yellow Hammer's piece by this name was probably an old minstrel song. Global Village C217, Joe and Odel Thompson ‑ "Old Time Tunes From the Morth Carolina Piedmont." Folk Legacy Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist" (appears as first tune of "Banjo Group 1"). Rounder 1032, The Georgia Yellow Hammers ‑ "The Moonshine Hollow Band" (1979). Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

 

BLACK AT THE BANE. Scottish, Strathspey or Reel. G Major. Standard tuning. AAB. “Old” remarks Gow (1822). John Glen (1891) finds the earliest printed version of the tune in Alexander McGlashan's collection. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 26. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 25. Ross (Choice Collection of Scots Reels, Country Dances & Strathspeys), 1780.

X:1

T:Black at the Bane

M:C|

L:1/8

R:Reel/Strathspey

S:McGlashan – Strathspey Reels  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:G

D>E G<G G>G G>B | A<B G>D E2 E2 | D>E G<G G>G G<B | A>G B>A G2 G2 :|

e/g/ | a>eg>B A2 Ae/g/ | a>egB (B2 d) f | a>eg>B d>egd | egd>B G>ABG |

A>Bg>e dBGB| A>BG>D E2 E2 | D>E G<G G3B | A<G B>A G2 G2 ||

X:2

T:Black at the (Bane) Bone

M:C

L:1/8

R:Strathspey

N:”Slowly”

N:”It may not be unworthy of notice, that this Tune in

N:Second Stratin is a bar short. The Editors observe

N:the same irregularity in ‘Saw ye my Father’.”

N:The missing bar is the second of the 2nd strain, and

N:goes a>egB (B2 d)f|

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:G

D|D<E (.G.G) G<G G>B|A>B GD “tr”E3 {F}G|D<E (.G.G) G<G ~G>B|”tr”A>G AB G3D|

D<E (.G.G) G<G G>B|A>B GD E3{F}G|D<E (.G.G) G<G ~G>B|A>G AB G3||e/g/|

a>e g>B {B}A2 A e/<g/|a>e g>B ~d>e gd|(e<g) d>B “tr”G>A BG|

A<B g>e (dB) G>B|(AB) G>D ~E3G|D>E (.G.G) G<G G>B|”tr”A>G (AB) G3||

 

BLACK BAYOU. AKA and see "Bayou Noir."

 

BLACK BEAR, THE. English, Scottish; Hornpipe or Reel. D Major. Standard tuning. AABA. English Folk Dance and Song Society. Private collection (MS circulated among contra-dance musicians). Martin (Ceol na Fidhle, vol. 3), 1988; pg. 5.

X:1

T:Black Bear, The

L:1/8

M:2/4

K:D

(3A/B/c/|dd f/>d/a/>f/|dd f/>d/a/>f/|eB Be/d/|c/<d/B/c/ A/>B/ c/<A/|

dd f/>da/>f|dd f/>da/>f|e>e e/<g/f/<e/|df d:|

|:e|A/>A/A/>B/ dd/>e/|gf/>e/ f/<a/f/<d/|A/>A/A/>A/ dd/>e/|gf/>e/ f/<af/<d/|

a/<A/A/<A/ c/<A/A/<A/|d/>B/ B/<B/ e/>c/ c/<c/|d/>f/d/>f/ e/>g/e/>g/|a/>Aa a/>g/f/>e/||

 

BLACK BETTY. Old‑Time, Fiddle Tune. USA, Ozark Mountains. The title appears in a list of traditional Ozark Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph in 1954.

 

BLACK BLANKET, THE (An Susa Dubh). Irish, Air (6/8 time). G Major. Standard tuning. One part. Joyce (Old Irish Folk Music), 1909; No. 271, pg. 129.

X:1

T:Black Blanket, The

M:6/8

L:1/8

R:Air

N:”Staccato. Mod.”

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

Z:AK/Fiddler’s Companion

K:G

D|G>AG/F/ DEF/D/|G2G G2G|A>BA/G/ FGA|B2G A2A|

A<dB c2 d/c/|BAB c2 d/c/|BAG FDF|G2G G2||

 

BLACK BOTTOM STRUT. Old‑Time, Ragtime. Recorded by black string band The Three Stripped Gears. OKeh 45553 (78 RPM), The Three Stripped Gears. Old Timey 101, The Three Stripped Gears. Flying Fish 102, New Lost City Ramblers ‑ "20 Years/Concert Performances" (1978. Learned from The Three Stripped Gears recording).

 

BLACK BOY, THE. English, Country Dance Tune (2/4 and 6/8 times). A Major ('A' and 'B' parts) & D Major ('C' and 'D' parts). Standard tuning. AABBCCDD'. The tune appears in a music manuscript from the village of Ashover, Derbyshire, dated 1762. Barnes (English Country Dance Tunes), 1986.

X:1

T:Black Boy, The

L:1/8

M:2/4

S:Ashover MS (1762)

K:A

A2 c/B/A/G/|acea|gbed|c A2 B|ce^df|e g2 e|fa g/f/e/^d/|e2 E2:|

|:e =g2 f|f/e/d/c/ d2|B d2 f|e/d/c/B/ c2|A c2 e|d/c/B/A/ GB|Ed c/B/A/G/|A2 A,2:|

L:1/8

M:2/4

K:D

A|d2d c2d|efe efg|d2d c2d|ecA A2A|d2d c2d|efd efg|afd gec|d2d d2:|

|:e|f2f fdf|g2g geg|f2f fdf|ecA A2g|faf def|gbg efg|afd gec|d2d d2:|

 

BLACK BOY ALLEY. English, Country Dance Tune (6/8 time). E Minor. Standard tuning. AABA. The tune was published in 1744. Barnes (English Country Dance Tunes), 1986.

 

BLACK BURKE. AKA and see "Rocky Road to Dublin [1]," "Black Rock [3]."

 

BLACK BUT COMELY. AKA and see AKA and see “Black laddie my darling,” “For a’ that and a’ that,” “An Gille Dubh Mo Laochan,” "Lady Mackintosh('s Reel) [1]," “Mo Laochan,” “Strawberry Blossom [2],” “For Scottish, Reel. D Major. Standard tuning. AB (Gow, Surenne): AABB'. Gow (Complete Repository), Part 3, 1806; pg. 37. Kerr (Merry Melodies), Vol. 2; No. 152, pg. 18. MacDonald (The Skye Collection), 1887; pg. 52. Stewart-Robertson (The Athole Collection), 1884; pg. 97. Surenne (Dance Music of Scotland), 1852; pg. 159.

X:1

T:Black but Comely

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

A | d2 fd AAfd | eefd B2AB | defd AAfd | fedB A2A:|

|: f | adad feef | adad B2Bf |1 adad feef | dedB A2A :|2 adab afef | dedB A2A ||

 


BLACK CAT [1]. Old‑Time, Breakdown. USA, central New York State, New England. D Major ('A' part) & G Major ('B' part). Standard tuning. ABAB. The Hornellsville Hillbillies, an old‑timey band from central New York in the 1930's and 40's, used this song as their signature tune, opening and closing dances and shows with it. Tolman and Page (The Country Dance Book) state the tune was a standard at New England dances during the 1930's, and used as a vehicle for various quadrilles which they describe. Bronner (1987) identifies that this tune bears some resemblances to "The Cat Came Back" in Christeson (1973, No. 10), but has more similarity to "Black Cat Quadrille‑Part II" as recorded by the Henry Ford Orchestra in the 1930's on his private label Early American Dances (112‑B {78 RPM}).

***

A 1927 newspaper cartoon lampooned Henry Ford’s championing of “old-time” music and dance.

***

Source for notated version: Hornellsville Hillbillies, 1943 (New York State) [Bronner]. Bronner (Old-Time Music Makers of New York State), 1987; No. 22, pg. 92.

 

BLACK CAT [2], THE. American, Reel. A Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AA’BB’. Composed by Portland, Oregon, keyboard player Dave Goldman, who told Susan Songer “Our old house cat walked across my desk and the rest is history.” Songer (Portland Collection), 1997; pg. 30.

 

BLACK CAT [3], THE. American, Jig. D Minor. Standard tuning. AABB. A modern composition by Portland, Oregon, musician Daniel Compton. Songer (Portland Collection), 1997; pg. 31.

 

BLACK CAT IN THE BRIAR PATCH. Old‑Time, Breakdown. USA, West Virginia. G Major ('A' part) & C Major ('B' part). Standard tuning. AABB (Krassen): AA'BB (Phillips). Phillips reverses the two parts of the tune from Krassen. The melody is ‘crooked’, or irregular, as it has an extra beat at the end of the ‘A’ part.. Sources for notated versions: Melvin Wine, learned from his father (Braxton County, W.Va.) [Krassen]; Armin Barnett (Seattle) [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 49. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 28.

 

BLACK CAT SHIT IN THE SHAVINGS. Old-time, Breakdown. USA, West Virginia. The tune is from West Virginia fiddler Eddon Hammons.

                       

BLACK COCK O' WHICKHAM, THE. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Bayard (1981) believes that this tune is a version of "St. Patrick was a Gentleman [2]," or his Pennsylvania-collected version "St. Patrick was Your Patron Saint" (though these tunes are in the minor mode). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 164.

X:1

T:Black Cock o’ Whickham, The

M:2/4

L:1/8

R:Reel

S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:G

Bc|d2 dc|BGGB|d2 dc|B2 Bg|dedc|BGGB|cAFA|c2:|

|:dg|bgdg|Bgdg|bgfa|g2 ga|bgdg|BgdB|cAFA|c2 dg|

bgdg|Bgdg|bgfa|gfga|bgaf|gedB|cAFA|c2:|

           

BLACK COCKADE, THE.  American, March (2/4 time). D Major. Standard tuning. AABB. The melody was printed in Joshua Cushing’s Fifer’s Companion (Salem, Mass., 1805), Samuel Holyoke’s Instrumental Assistant (Exeter, N.H., 1800), and Alvan Robinson’s Massachusetts Collection of Martial Muscik (Hallowell, Maine, 1818). Litchfield, Connecticut, musician Morris Woodruff included “The Black Cockade” in his music copybook, dated 1803. The black cockade pinned to a tricorner hat was the badge of the Hanoverian faction, in response to, and, to some extent, to distinguish them from the Jacobite white cockade. The Continental Army also adopted the British use of the black cockade for their purposes, but when the Colonies became allied with France later in the war, they added a white cockade to their black one, known as the union cockade. Mattson & Walz (Old Fort Snelling…Fife), 1974; pg. 85.

X:1

T:Black Cockade, The

M:2/4

L:1/8

K:D

A|dfeg|fedc|dgfe|d2 cA|dfeg|faae|fef^g|a2 a:|

|:A|dfeg|fa fe|dABc|d2d2|fefe|fd g2|agfe|d2d:|

           

BLACK COW, THE. AKA and see "Druimin Dubh," "Dear Black Cow [1]."

                       

BLACK DANCE, THE. Scottish, English; Country Dance Tune. G Major. Standard tuning. AB (McGlashan): AABB (Sumner). John Glen finds the melody first printed in Joshua Campbell's 1778 collection (pg. 58), and it was published in Glasgow by James Aird in his Selections (c. 1782).  English printings predate Scottish ones, however; EASMES lists printings of “Black Dance” in R. Bride’s Twenty Four Country Dances for the Year 1769, David Rutherford in 1772, Charles and Samuel Thompson in their Compleat Collection of 200 Favourite Country Dances, vol. 3 (c. 1773), Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Longman and Broderip’s Compleat Collection of Two Hundred Favourite Country Dances (London, 1781). American publications containing “The Black Dance” are Edward Riley’s Flute Melodies, vol. 2, published in New York in 1817 and various period country dance publications. Perhaps the earliest printing was in M. Landrin’s Receuil d'Anglaise, published in Paris around 1760. The second part is half the length of the first in some versions (e.g. McGlashan’s). The 'B' part is the same as "Perry's Victory [1]."

***

The melody also appears in numerous late 18th century manuscript copybooks on both sides of the Atlantic, such as those of Luther Kingsley (Mansfield, Connecticut, 1795), Abel Shatuck (Colrain, Mass., 1801), flute player Henry Beck (1786), keyboard player Elizabeth Van Renssellaer (Boston, 1782), and Jeremiah Brown (Seabrook, N.H., 1782). It also appears in the copybook of flute player Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.  British manuscript sources include Joshua Gibbons (Market Rasen, Lincolnshire, 1823) and John Carter (1792).

***

Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 1), 1782; pg. McGlashan (Collection of Scots Measures), 177?; pg. 1. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 84. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 140. CDSL8284, Jimmy Shand – “The Legendary.”

X:1

T:Black Dance

M:2/4

L:1/8

R:Scots Measure

B:McGlashan – Collection of Scots Measures  (177?)

Z:AK/Fiddler’s Companion

K:G

GG A/B/c/A/|d/e/d/c/ Bd|GG A/B/c/A/|d/e/d/c/ Bd|GG A/B/c/A/|d/e/d/c/ Bd|

GG A/B/c/A/|d/e/d/c/ B||e/f/|gg gf/e/|dd dc/B/|GA/B/ cB/A/|GG G||

X:2

T:Black Dance

M:2/4

L:1/8

R:Reel

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

(d/B/) | GG A/B/c/A/ | d/e/d/c/ B(d/B/) | GG A/B/c/A/ | d/e/d/c/ B(e/f/) |

gg g(f/e/) | dd d(c/B/) | G(A/B/) c(B/A/) | GG G(e/f/) |

gg g(f/e/) | dd dc/B/ | G(A/B/) c(B/A/) | GG G :||

X:3

T:Black Dance, The

M:2/4

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:G

d/B/|GG A/B/c/A/|d/e/d/c/ B(d/B/)|GG A/B/c/A/|d/e/d/c/ B(e/f/)|gg g(f/e/)|dd d(c/B/)|

G(A/B/) c(B/A/)|GG G(e/f/)|gg g(f/e/)|dd d(c/B/)|G(A/B/) c(B/A/)|GGG||

                       

BLACK DIAMOND WALTZ. American, Waltz. USA, southwestern Pa. D Major. Standard tuning. ABB. Source for notated version: Harry Waugh (an elderly fiddler from Jefferson County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 643, pg. 565.

                       


BLACK DONALD (Domhnall Dubh). Scottish, Air and Strathspey. A Major/Mixolydian ('A' part) & E Minor ('B' part). Standard tuning. AABB. The air is a popular puirt‑a‑beul, or Gaelic mouth‑music, tune from the Scottish Gaidheltachd. The words tell of a boy who marries "slightly above his station." Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 4. Culburnie Records CUL102, Alasdair Fraser & Jody Stecher – "The Driven Bow" (1988). Green Linnet SIF 1077, Capercaillie ‑ "Crosswinds" (1987).

X:1
T:Domhnall Dubh
T:Black Donald
D:The Driven Bow, Alasdair Fraser [2]
Z:Nigel Gatherer
M:4/4
L:1/8
K:Amix
E2 FFA>F D>EF<D | E2 FFA>F E2 E2 :|

K:Edor
G>E E2 E>FG>A | F>GF>E D>EF<D |
G>E E2 E>FG>A | B<BA<F E2 E2 :|

                       

BLACK DONALD THE PIPER (Domnall Dub an Piobaire). AKA and see “Cameron Gathering,” “Lochiel’s March,” “The Pibroch of Donald Dhu/Domhnall Dubh/Donuil Dubh [1].” Irish, Double Jig. G Major. Standard tuning. AABB. The tune appears to be Scottish in origin, and the name certainly is, for Mac Dhomhnuill Duibh (Black {Mac}Donald) is the Gaelic patronymic of Cameron of Lochiel. O'Neill, 1976; pg. 44. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 946, pg. 176. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 172, pg. 43.

X:1

T:Black Donald the Piper

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 172

Z:AK/Fiddler’s Companion

K:G

dBB efg|dBB BAG|dBB efg|dBG A2G|dBB ecc|dBB BAG|A2B cde|dBG A2G:|

|:gdd gee|gdc BAG|gdd gee|dBG A2G|gdd gee|gdc BAG|A2B cde|dBG A2G:|

                       

BLACK DONALD’S MARCH TO THE ISLES (Píobaireached Dhomhnuill Duibh). AKA and see “Cameron’s Gathering.” Scottish, Pipe Pibroch. Mac Dhomhnuill Duibh is the Gaelic patronymic of Cameron of Lochiel. The alternate title “Cameron’s Gathering” comes from Gesto. The tune was copied by Alexander Campbell in 1815 for his book Albyn’s Anthology from Captain Neil McLeod of Gesto’s manuscript collection of pibrochs, as performed by the famous piping dynasty of the MacCrimmons of Skye.

                       

BLACK EYED BIDDIE (Brigidin Dub-Suileac). Irish, Double Jig. A Major. Standard tuning. AABB. O'Neill, 1976; pg. 28. A version of the “Captain Collins/Montrose’s March” family of tunes. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 819, pg. 153. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 86, pg. 30.

X:1

T:Blackeyed Biddie

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 86

Z:AK/Fiddler’s Companion

K:A

E|ABA Ace|eac B2A|cBA d2B|cAA aec|ABA Ace|eac B2A|cBA d2B|cAA A2:|

|:a|e2a f2a|e2a fec|efg aec|eac ecA|cBc dcd|eac B2A|cBA d2B|cAA A2:|

                       

BLACK-EYED DAISY. AKA and see "Oh Where Did You Come From." Old-Time, Breakdown. AEae tuning. From the repertoire of African-American fiddle/banjo duet Joe and Odell Thompson, although Joe played the tune in GDgd tuning. Similar to “Big Eyed Rabbit.”

                       

BLACK EYED GIRL. Old‑Time, Breakdown. USA, southwestern Va. A fiddle and banjo "band" tune and title characteristic of Patrick County, southwestern Va. (Tom Carter & Blanton Owen, 1976). 1

                       

BLACK-EYED LASSIE. AKA and see “Captain Keeler’s.” Scottish, Reel. G Minor. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 43. Gatherer (Gatherer’s Musical Museum), 1987; pg. 12. Ryan’s Mammoth Collection, 1883; pg. 70.

X:1

T:Black-Eyed Lassie

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Gmin

A | B2 (e/d/B) fBbB | B2 (d/c/B) AFcA | B2 (d/c/B) fBbB | cAFA BGGA |

B2 (d/c/B) fBbB | B2 (d/c/B) AFcF | B2 (d/c/B) fBbB | cAFA BGG ||

B | DGBG dGBG | DGBG AFcA | DGBG dGBG | cAFA BGGB |

DGBG dGBG | DGBG AFcA | DGBG dGBG | cAFA BGG ||

                       

BLACK-EYED PEAS AND CORNBREAD. Old-Time, Breakdown. D Major. From the playing of Bob Prater.

                       

BLACK-EYED SAILOR. AKA and see “Joe O’Connell’s Reel,” “Lord Wellington [2],” "Sheehan's Reel," “Wellington’s Reel [1].” Irish, Reel. G Major. Standard tuning. AB. Source for notated version: Tobin [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1475, pg. 273.

X:1

T:Black-Eyed Sailor

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1475

Z:AK/Fiddler’s Companion

K:G

G2 BG DGBG|ABcA BGGB|AGAB cBcA|EAAG FDEF|

G2 BG DGBd|cBAB cdef|gedB dBce|dBcA BG G2||

g2 bg dgbg|f2 ag fdde|f2 af dfaf|gbag fdef|

g2 bg dgbg|f2 ag fddf|gedB cBce|dBcA BG G2||

                       

BLACK EYED SUSAN [1] (Suban na sul dub). Irish, Slow Air (6/8 or 3/4 time). G Minor (O'Neill, 1st Setting): C Minor/Dorian (O'Neill, 2nd Setting): D Dorian (Darley & McCall). Standard tuning. One part (Darley & McCall): AB (O'Neill). The collector William Forde says:‑‑"O'Beirne swears that this is Irish." Sources for notated versions: piper Hugh O'Beirne, 1846 (Mohill, Co. Leitrim) [Darley & McCall]; Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 52, pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 53, pg. 10 and No. 54, pg. 10.

X:1

T:Black Eyed Susan [1]

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 53

Z:AK/Fiddler’s Companion

K:Gmin

D|G2A BAG|^F2G D2D|G2A BAG|^F2G A2d|d2A GFD|D2C B,2C|D2G GBA|G2^F G2||

z|G2F F2D|B2A G3|B>cd c<AG|(F3 F2)D|G2A B>AB/c/|d3 e2c|B2A G^FA|G2^F G2||

X:2

T:Black Eyed Susan [2]

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 54

Z:AK/Fiddler’s Companion

K:Cmin

G|c2d edc|=B2c G2G|_B2A AGF|E2F G2G|c2d e2B|e2f g3|fdB B2 d/e/|f2d e2||B|

G2e f2d|edc =B2c|(G3 G2)F|E>FG/A/ BG z/G/|c2d egf|e>dc Gc=B|(c3 c2)||

 

BLACK EYED SUSAN [2]. AKA and see "Sweet William's Farewell to Black‑ey'd Susan." English, Air.

 

BLACK-EYED SUSAN [3]. AKA and see “Cape Clear.” Irish, Air (3/4 time). B Minor. Standard tuning. AB. Petrie (1855) calls this the “Irish setting” of the piece. See also Petrie's untitled No. 79 for a nearly identical version. Stanford/Petrie (Complete Collection), 1905; No. 729, pg. 183.

X:1

T:Black Eyed Susan [3]

M:3/4
L:1/8

S:Stanford/Petrie (1905), No. 729

Z:AK/Fiddler’s Companion

K:Bmin

FBc | d2 c>B BA | F3E DE | F>E DF E>D | B3 FBc | d2 cB AF |

f3 edc | B>d cB ^Ac | {c}B3 || ffe | d>e fd ed | c>d ec d>c |

B>d cB B^A | F3 EDE | F^G AF B^A | Bc f>e dc | B>d cB ^Ac | B3 ||

                       


BLACK EYED SUSIE [1]. AKA and see variant "Hop Up, Kitty Puss [1]" (northeast Ky.), “Kitty Puss,” “Possum Up a Simmon Tree [1],” “Puncheon Camp(s).” Old‑Time, Breakdown. USA; southwestern Virginia, Alabama, Mississippi, Arkansas, Nebraska, Kentucky. D Major. Standard tuning. AB (Christeson, Krassen/1983, Silberberg): AABB (Brody, Krassen /1973): AA'BB' (Phillips). "One of the most popular breakdown tunes," note the New Lost City Ramblers (1964), widespread throughout the South and Southwest.

***

Bayard (1981) traces the history of the tune, beginning in the British Isles with a melody called "Rosasolis," set by Giles Farnaby (c. 1560‑ c.1600), which appears in the the Fitzwilliam Virginal Book. Another version of the melody is called "Morris Off" and appears in Jehan Tabourot's Orchesographie (1588); it is still used for English morris dances and has been called the earliest recorded morris tune. Still another version appears as a Welsh harp tune, "Alawon Fy Ngwlad." Later developments of the tune were popular in England and Scotland from the early 17th century through the 18th, under the title "Three (Jolly) Sheep Skins [1];" while in Ireland a variation became known as "Aillilliu mo Mhailin" (Alas My Little Bag) {a humorous lament for a stolen bag of sundries}.

***

Transported to the United States from various overseas sources the melody developed into an old-time standard, "Black Eyed Susie," well-known throughout the South and Midwest. It was mentioned in reports from 1926‑31 of the De Kalb County, northeast Alabama, Annual (Fiddler's) Convention, and at a 1929 Grove Hill, southwest Alabama, contest (Cauthen, 1990). It appears in the lists of tunes played at the 1924 Berea, Kentucky, fiddle contest, and in tune lists dating from 1915 from Berea fiddlers. Musicologist Vance Randolph collected and recorded the breakdown in the early 1940's for the Library of Congress from Ozark Mountains fiddlers, and it was similarly waxed in 1939 from the playing of Tishomingo County, Mississippi, fiddler John Hatcher for the same institution. Sources for notated versions: John Hilt (Tazewell County, Virginia) [Krassen, 1983]; Bob Walters (Lincoln, Nebraska) [Christeson]; New Lost City Ramblers [Brody, Kuntz]; John Tustin & S. Clark (southwestern Pa., mid‑1900's) [Bayard]; Uncle Tom West (Boyd County, Ky., 1911) [Thomas & Leeder]; Doc Roberts, 1927 (Ky.) [Phillips, Titon]; Luther Strong (Hazard, Perry County, Ky.), 1937 [Titon]. Bayard (Dance to the Fiddle), 1981; No. 185A‑B, pg. 142. Brody (Fiddler’s Fakebook), 1983; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, vol.1) , 1973; No. 71, pg. 54 (appears as "Black Eyed Susan"). Krassen (Masters of Old Time Fiddle), 1983; pg. 110. Krassen (Appalachian Fiddle), 1973; pg. 51 (appears as "Blackeyed Susan"). Kuntz (Ragged but Right), 1986; pg. 327. Phillips (Traditional American Fiddle Tunes), 1994; pg. 28. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 12.Titon (Old-Time Kentucky Fiddle Tunes), 2001; Nos. 11A & 11B, pg. 44. Thomas & Leeder (The Singin’ Gathering), 1939; pg. 61. Berea College Appalachian Center AC002, Clyde Davenport – “Puncheon Camps” (1992). Anachronistic 001, John Hilt ‑ "Swope's Knobs." Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001). Columbia 15332, Lowe Stokes (1928). County 405, "The Hill‑Billies." County 712, Lily May Ledford – “The Coon Creek Girls” (1968). County 713, Cockerham, Jarrell, and Jenkins ‑ "Down to the Cider Mill." County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Davis Unlimited 33015, Doc Roberts ‑ "Classic Fiddle Tunes." Document DOCD-8042, Doc Roberts – “Fiddlin’ Doc Roberts” (1999). Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue). Folkways FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964. Learned from J.P. Nestor & Whitter's Virginia Breakdowners). Gennett 6257 (78 RPM), Doc Roberts (Ky.), c. 1928. Marimac 9009, Rafe Stefanini ‑ "Old Time Friends" (1987). Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountains" (1992). Okeh 40320 (78 RPM), Whitter's Virginia Breakdowners (Henry Whitter, John Rector, James Sutphin). Rounder 0032, Buddy Thomas (northest Ky.) ‑ "Kitty Puss: Old Time Fiddle Music From Kentucky." Rounder 0194, John W. Summers – “Indiana Fiddler” (1984). Victor 21070 (78 RPM), J.P. Nestor and Edmonds (Galax, Va.) {1927}. Victor 40127 (78 RPM), Jilson Setters (as Blind Bill Day; b. 1860, Rowan County, Ky.) {1928}.

X:1

T:Blackeyed Susie [1]

M:2/4

L:1/8

S:Kuntz – Ragged but Right

K:D

(a>b) a(e/f/)|(g>a) ga|fd/d/ [d/e/][d/e/]d|BA FA:|

|:dd/d/ f/d/e/d/|dc/c/ Bc|dd/d/ f/d/e/d/ BAFA:|

 

BLACK EYED SUSIE/SUSAN [2]. Old-Time, Breakdown. USA, Indiana. G Major. Standard tuning. AABB. No apparent relation to version #1. Source for notated version: John Summers (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 28. Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984).

                       

BLACK FANAD MARE, THE. AKA and see “The Nine Points of Roguery.” Irish, Reel. Ireland, County Donegal. The name “Black Fanad Mare” is the Donegal name for the tune usually known as “The Nine Points of Roguery.” Caoimhin Mac Aoidh (1994) explains the title comes from a supernatural vision of a druid of old to the famous Fiddler Doyle of Fanad. Another Donegal fiddler, John Doherty, told a tale about the origins of the tune. It seems that Fiddler Doyle was returning home on horseback after playing at a dance party when he came to a crossroads, a place where visions had lately appeared of an old druid. As they approached the crossroads the horse, seeing the apparition when the man didn’t, shied away, and Fiddler Boyle, unaware of what might be wrong, had to exert mastery of the animal to get it to approach the road again. As horse and rider arrived at the intersection once again the vision reappeared, and this time the horse halted and threw back its head. Boyle managed to stay on the mount, but the horse’s gaze was fixed to the side, and he finally broke into a gallop. The vision stayed at the horses side and Boyle finally saw what it was. Though frightened, the fiddler and his mount finally made it home. After retreating to bed and sleep, the next morning Boyle was inspired by the rhythm of the horse’s hooves on the road and heard a reel in his mind, which he called “The Black Mare of Fanad.” Source for notated version: John Doherty (1895-1980, Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979 (another version appears in the same volume under the title “The Kiltyfanad Reel of Francie Dearg and Mickey Ban O’Byrne”).

                       

BLACK FIDDLE, THE. Irish, Hornpipe. G Major. Standard tuning. AABBCC. Keegan says her father talked of a black fiddle he heard occasionally at threshing sprees or while ‘on his ceili’. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 68.

                       

BLACK FOOT WALTZ. American, Waltz. USA, central Missouri. Composed by Clark Kessler. Howard Marshall says the popularity of the tune derives from the playing of central Missouri fiddlers Cleo Persinger (Midway, Mo.), Charlie Cook and Taylor McBaine (Columbia, Mo.). Howard explains: “Black Foot is a small geograhic region of farm and timber land in western Boone County, about 5 miles west of Columbia and near Midway, where Cleo Persinger's farm was located and where he grew up. Black Foot encompasses roughly the area of Perche Township. The name comes from local oral tradition which has it (as told to me by various older people through the years) that they had old-time square dances outside in the summer, and many of the dancers danced bare foot, and by the end of the evening, their feet were "black."  (So far as we know, the genesis of the place name has nothing to do with Indian tribes or with black people.)  "Black Foot Waltz" is a good tune and hard to get right, typical of the carefully-mounted waltzes rendered by fiddlers like Persinger, Charlie Cook, and Leroy Canaday that offer ample opportunity to show off one's abilities with powerful bowing and powerful, articulate double stops. Waltzes like that have double stops just about all they way through which is they way Mr. Canaday likes it.” Voyager Records VCD353, Leroy Canaday (Missouri) – “Old Dan Tucker Was A Fine Old Man" (learned from fellow Missourian Cleo Persinger). 

                       

BLACK FRIAR'S REEL. English, Reel. G Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 194.

                       

BLACK GIRL IS NOT CHEERFUL, THE (Cha n eil fonn aira n ighean duibh). Scottish, Slow Strathspey. G Minor. Standard. AAB. An anonymous composition from Donald Dow's (1732‑1783) Collection of Ancient Scots Music. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 43, pg. 66.

                       

BLACK HAIRED DARLING [1], THE. AKA and see "Black Headed Dearie" (Ceann Dubh Dilis).

 


BLACK HAIRED DARLING [2], THE. Irish, Air (6/8 time, "spirited"). D Minor/Dorian. Standard tuning. AABB. A minor key version of "Black Headed Dearie" (Ceann Dubh Dilis). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 454, pg. 79.

X:1

T:Black Haired Darling, The [2]

M:6/8

L:1/8

R:Air

N:”Spirited”

S:O’Neill – Music of Ireland (1903), No. 454

Z:AK/Fiddler’s Companion

K:Dmin

A2^c d2e|f>gf f<ed|c<Af f>ed|c<Ad D2 D/E/|

F>GF cAc|d>ef fed|c<AF G<AG|F<DD D2:|

|:d>DD D2E|FGA Ac=B|c>CC CDE|FGA Ad^c|

d>DE F2G|A>GA f2d|c<AF G<AG|F<DD D2:|

                       

BLACK HAIRED GIRL/LASS [1], THE (Cailín Na Gruaige Duibhe). See also "The Dark Gate Girl," "The Dark Haired Lass [2]." Irish, Air (2/4 time). G Major (O'Neill): E Flat Major (O'Sullivan/Bunting). Standard tuning. AAB (O'Neill): AABB (O'Sullivan/Bunting). O'Sullivan (1983) thinks the a song goes to this tune but can find no words with this title. Source for notated version: according to the index of the Irish collector Edward Bunting's 1840 collection, the melody was obtained from another collector, George Petrie, in 1822. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 509, pg. 89. O'Sullivan/Bunting, 1983; No. 31, pg. 49.

X:1

T:Black Haired Girl, The [1]

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 509

Z:AK/Fiddler’s Companion

K:G

D|G2 GE|G2 AB|c2 d/c/B/A/|c/B/A/G/ E/z/ z|G2 GE|G2 AB|

c2 d/c/B/A/|(B2 B):||:A|G>A Bc|d>d ef|g>f a/g/f/e/|d>B e/d/c/B/|

c>A d/c/B/A/|G/D/E/F/ ~GG/B/|{B}A/G/A/B/ GG|(G2 G)||

 

BLACK HAIRED LASS [2], THE (Cailín na Gruaige Duibhe). AKA and see "The Dark Gate Girl," "The Dark Haired Girl," "An Cailín Donn" (The Brown Girl). Irish, Reel. Ireland, County Donegal. A Mixolydian (Breathnach): A Dorian (O'Neill/Krassen, 1001 & 1850): G Dorian (O'Neill/1915). Standard tuning. AB (O'Neill/1850 & 1001): AAB (O'Neill/Krassen & 1915}): ABB (Breathnach). A popular reel in County Donegal. Source for notated version: accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 114, pg. 47. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 66. Giblin (Collection of Traditional Irish Dance Music), 1928; 25. Ó Baoillm, Sean og & Manus: (Ceolta Gael), Book 1; pg. 27. O'Neill (1915 ed.), 1987; No. 253, pg. 132. O'Neill (Krassen), 1976; pg. 119. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1326, pg. 248. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 585, pg. 107. Ryan’s Mammoth Collection, 1883; pg. 32. Treoir, vol. 33, No. 1, 2001; pg. 29. Gael-Linn CEF 114, Noel Hill & Tony MacMahon - "I gCnoc na Graí."

X:1

T:Black Haired Lass, The [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1326

Z:AK/Fiddler’s Companion

K:Amix

ed | c2 AB cdec |d2 gd BGGB | {d}cBAB cdec | dfec Aced | {d}cBAB cdec | d2 gd BGGB |

{d}cBAB cdec | dfec A2 || AB | cdef {a}g2 eg | fddf {a}gfed | cdef {a}gfeg |

fdec A2 AB |cdef {a}gfeg | fddf e2 fg | af{a}ge fdec | dfec A2 ||

 

BLACK HAIRED FAIR ROSE (Rois Gheal Dubh). AKA and see "Rois Bheag Dhubh."

 

BLACK HAIRED LAD, THE. Scottish, Reel. A Dorian. Standard tuning. AABB'. Pipe tune. MacDonald (The Skye Collection), 1887; pg. 81.

X:1

T:Black Haired Lad, The

M:C

L:1/8

R:Reel

S:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Ador

Aeaf gefd|g2 dB GBdB|Aeaf gefd|g2 dB e2 Az:|

|:AaeA fAeA|g2 dB GBdB|1 AaeA fAeA|g2 dB e2 Az:|2

Aeag gefd|g2 dB e2 Az||

 

BLACK HAIRED LASS. AKA - "Blackhaired Lass." AKA and see “The Dark Haired Lass.” Irish, Reel. A Mixolydian (Feldman & O’Doherty, O’Neill/1001 Gems, Treoir): G Dorian (O’Neill/1915). Standard tuning. AB (O’Neill/1001 Gems): AAB (O’Neill/1915): AA’B. “The Blackhaired Lass” was recorded on a Brunswick 78 RPM record in New York in March, 1928, by the fiddle duet of Michael Coleman (1891-1945) originally from Knockgrania, Killavil, County Sligo) and Packie Dolan (1904-1932, originally from Aughadowry, Ballinamuck, County Longford). Dolan tragically died at age 28 one week before he was due to return to Ireland to live. Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 66. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 585, pg. 107. O’Neill (O’Neill’s Irish Music), 1915; No. 253, pg. 132. Treoir, vol. 33, No. 1, 2001; pg. 29.

X:1

T:Black Haired Lass, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 585

Z:AK/Fiddler’s Companion

K:Amix

ed|c2 AB cdec|d2 gd bGGB|{d}cBAB cdec|dfec Aced|{d}cBAB cdec|d2 gd BGGB|

{d}cBAB cdec|dfec A2||AB|cdef {a}g2 eg|fddf {a}gfed|cdef {a}gfeg|fdec A2 AB|

cdef {a}gfeg|fdec A2 AB|cdef {a}gfeg|fddf e2 fg|af{a}ge fdec|dfec A2||

 

BLACK HAIRED NYMPH FORSAKE ME NOT (Mo nighean dubh na tréig mi). Scottish, Slow Air (4/4 time). E Minor. Standard tuning. AAB. "There are various sets of words to this air. When delicately sung it forms one of the prettiest songs belonging to the Highlands.  The best words to it, the editor thinks, are by the Reverend Mr. Morrison, late Minister of Petty, in Inverness‑shire, then missionary at Ambleree, in Perthshire, and addressed to a Miss Haggart, whom he afterwards married.  It was extremely well sung by the editor's father.  General S. Fraser, late second in command in Scotland, had a black servant who sung it so well that his master frequently called him in for that purpose when there were Highlanders present" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 142, pg. 57.

X:1

T:Black haired Nymph forsake me not

T:Mo nighean dubh na tréig mi

M:C

L:1/8

R:Slow Air
S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Emin

(E/4^D/4E/4F/4|G>)EG>A B>(A/4B/4c/4d/4e/4f/4 g>)e|d>B c>A B2 E (E/4^D/4E/4F/4|

G>)EG>A B>(A/4B/4c/4d/4e/4f/4 g>)d|B<G A>G F2 D:|

E/>f/|g>af>g e>^dB>f|g>ef>^d e2 B (g/4f/4g/4a/4|b>)ag>f e>(g/f/a/) g>e|

d>Bc>A B2 E (E/4^D/4E/4F/4|G>)EG>A B>(A/4B/4c/4d/4e/4f/4 g>)e|

d>B c>A B2 E (E/4^D/4E/4F/4|G>)EG>A B>( A/4B/4c/4d/4e/4f/4 g>)d| B<G A>G F2 E||

                       

BLACK-HAIRED WOMAN, THE. See “An Bhean Dubh.”

                       


BLACK HAT, DA. Shetland, Shetland Reel. Shetland, Unst. D Major. Standard tuning. AAB. A traditional tune from the Tingwall area of the Shetlands, and named for the fiddler who played it who always donned a black hat when he played the instument. Source for notated version: W. Manson and A. Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 23. Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland" (learned from Tom Anderson). Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996).

                       

BLACK HAWK WALTZ [1]. American, Waltz. G Major. Standard tuning. One part. “The Black Hawk Waltz” was composed by Mary E. Walsh and was published in New York by the Conservatory Publication Society, Broadway & 37th St., in 1902. The tune was recorded by Clark Kessinger (1896-1975, Kanawha County, W. Va.) and J.P. Fraley (Rush, Ky.). County 747, Clark Kessinger – “Sweet Bunch of Daisies.” Document DOC8011CD, The Kessinger Brothers.

 

BLACK HAWK WALTZ [2]. Old-Time, Waltz. Recorded on a number of 78 RPM recordings. A different tune than “Black Hawk Waltz [1].”

 

BLACK HEADED DEARIE ("Ceann Dubh Dilis" or "Cean Dub Oilir"). AKA - "Black Haired Darling." AKA and see "The Auld Jew," "The Old Jew," "Love and the Novice," "The Irish Round,"  "Kennington Wells." Irish, Air or March (3/4 or 6/8 {"airily"} time). D Mixolydian (O'Sullivan/Bunting): D Major (O'Neill): D Minor/Dorian (O'Neill): E Minor (Gow). Standard tuning. AB (most air versions): AAB (Gow, O'Neill--march version). This beautiful air is thought to have been composed in Ireland during the first decade of the 17th century or earlier, and early versions were often set in a minor key (though the great Irish collector Edward Bunting maintains "it was sung by the peasantry to this day" {i.e. around 1840} in the mixolydian mode). In England it was known as "The Irish Round" or "Kennington Wells" and was printed by Playford in the 1713 edition of his Dancing Master (pg. 146); in Scotland it was called "The Auld Jew." In addition to the printed sources listed below, Bunting finds the tune in a "small collection of Irish airs, published about 1726 by Neal, of Christ Church Yard, Dublin...and by Burke Thumouth as well as Oswald in his Caledonian Pocket Companion." O'Neill (1850 collection) prints the air in major and minor keys and then renders the tune as a major key march. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection states the piece was noted from "T. Conlan in 1831." Brysson (Curious Selection of Favourite Tunes), No. 19{a} (appears as "The Old Jew"). D'Urfey (Pills to Purge Melancholy), volume II, No. 14 (appears as "A Consolatory Ode to Her Majesty"). Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 30 (3rd ed. Appears as “Ceann Dubh Dileas”). Holden (Collection of Old-Established Irish Slow and Quick Tunes), volume II, No. 13 (appears as "Ceann Dubh Deelish"). McFadden (Repository of Scots and Irish Airs), c. 1796. Neal (Collection of the most Celebrated Irish Tunes), pg. 16 (appears as "Can dubh dilish"). O’Farrell (Pocket Companion, vol. 1), c. 1805; pgs. 34-35 (appears as “Curra Koun Dilish”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; Nos. 453, 454 & 1836, pgs. 79 & 345. O'Sullivan/Bunting, 1983; No. 101, pgs. 146-148. Stanford-Petrie (Compete Collection), 1905; No. 1062. Thompson (Hibernian Muse), No. 20 (appears as "Curri Kown Dilich"). Walker (Historical Memoires of the Irish Bards), No. 31 (appears as "Cur do cheann dilis -- Lay the dear head"). Wright (Aria di Camera), No. 62 (appears as "Can dubh dilich"). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

X:1

T:Black Haired Darling

T:Black Headed Dearie

L:1/8

M:6/8

N:”Airily”

S:O’Neill – Music of Ireland (1903), No. 453

Z:AK/Fiddler’s Companion

K:D

A/A/Bc ddg|f>ef/g/ fed|cAg fed|cAd D2 D/E/|FF/G/A/B/ cAA|d>ef/g/ fed|

c<A {A}G/F/ G>BA/G/|FDD D3||dd/e/f/g/ a2a|aag f2e|f/f/fg a2g|fef D2 D/E/|

FF/G/A/B/ cAA|dd/e/f/g/ f>ed|c<A {A}G/F/ G>BA/G/|FDD D3||

X:2

T:Curra Koun Dilish

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:Dmin

A | A4^c2 | d4e2 | f2 (gf)(ed) | e4d2 | c2A2e2 | f2e2d2 | c2A2d2 | D4E2 | F3G AB |

c2A2 GF | G2A2d2 | f4 ed | c2A2 GF | G3B (AG) | F2D2D2 | D4 :: d/e/ | f4g2 |

a4 g2 | a2g2f2 | e2d2c2 | f2e2d2 | g2f2e2 | a2g2f2 | e2d2c2 | f4g2 | a4g2 | a2g2f2 |

e2d2c2 | f2e2d2 | g2f2e2 | a2g2f2 | e2d2c2 | f4g2 | a4g2 | a2g2f2 | e2d2c2 |

f2e2d2 | g2f2d2 | a2g2f2 | e2d2c2 | a2 (ba)(gf) | g2 (ag)(fe) | f2 (gf)(ed) |

e2d2c2 | a2 (ba)(gf) | g2 (ag)(fe) | f2 (gf)(ed) | e2 (fe)(d^c) | d2D2D2 | D4E2 |

F3GA2 | A2c2B2 | c2G2E2 | c2G2E2 | F3G A2 | A2d2c2 | d2D2D2 |

D4E2 | F2G2A2 | A2G2A2 | D4E2 | (FE)(FG)(AB) | c2A2 (GF) |

G2A2 (eg) | f2e2d2 | c2A2 (GF) | G3B A2G2 | F2D2D2 | D4 || 

X:1

T:Ceann Dubh Dileas

M:6/8

L:1/8

R:Slow Air

N:”Irish”

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 30  (orig. 1788)

Z:AK/Fiddler’s Companion

K:Emin

“tr”B2d e2f|~g>ag {g}f2e|dBg {g}”tr”f2e|{e}dBe E2”tr”F|G>AG dBd|(e/d/)e/f/g/a/ {g}”tr”f2e|

{e}d{c}B{A}G A>cB/A/|{A}GEE ~E2:||g2”tr”a b2c’|bag fed|~g.f.e .a.g.f|.b.a.g .f.e.d|g2”tr”a b2c’|

bag f/g/e/f/d|(3g/a/g/ (3f/g/f/ e (ea/b/a/ (3g/a/g f|/b/a/g/ (3f/g/f/ (3e/f/e/ d|”tr”b(c’/b/)(a/g/) “tr”a(b/a/)(g/f/)|

“tr”g(a/g/)(f/e/) (f/a/)(g/f/)(e/d/)|”tr”b(c’/b/)(a/g/) “tr”a(b/a/)(g/f/)|”tr”g(a/g/)(f/e/) (f/a/)(g/f/)(e/^d/)|

eEE “tr”E>FG|”tr”G>AB B^cd|dDD D>EF|”tr”G>AB B^c^d|eEF ~G>AB|”tr”B>AB E3||

 


BLACK HILLS WALTZ. American, Waltz. USA, Arizona. A Major. AEae tuning. AB (Silberberg): AABB (Shumway). Kartchner said, "it goes at least back to 1890." Source for notated version: Kenner C. Kartchner (Arizona) [Shumway]. Shumway (Frontier Fiddler), 1990; pg. 265. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 11. County 2730, Rafe Stefanini – “Glory on the Big String.” Okehdodee OK75003, Kenner Karchner – “The New Beehive Songster vol. 1: Early Recordings of Pioneer Folk Music.” Rounder CD 0359, Skip Gorman - "Lonesome Prairie Love" (1996).

 

BLACK HOE, THE. See “The Castlebar Jig,” “Castlelan Races,” "Morrison's Fancy," “The Rakes of Castlebar,” “The Thrush in the Strand, “Thrush in the Straw [1].” Canadian, Jig. Canada; Prince Edward Island, Cape Breton. G Major. Standard tuning. AABB. Kate Dunlay (1986, 1996) states that this jig is very likely of Irish origin and that Paul Cranford found a variant entitled "Morrisson's Fancy” in O'Neill's Waifs and Strays of Gaelic Melody. Perlman (1996) gives its origin as “Irish.” Source for notated version: Reuben Smith (b. 1931, Blooming Point, Queen’s County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 120. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; No. 81, pg. 77. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 130. Shears (The Gathering of the Clans Collection, vol. 1), 1986; pg. 65. DAB4‑1985, Donald Angus Beaton -”A Musical Legacy“ (1985). JC 126, John Campbell - “Cape Breton on the Floor” (1981). Cape Breton Magazine's Tape ‑ Mike MacDougall. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music of Cape Breton" (1978). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

 

BLACK HORSE [1], THE. Irish, Hornpipe. D Major. Standard tuning. AABB. Although it has no known connection with Roche’s tune, The Black Horse was a famous 19th century inn at Birdlip, Gloucestershire, that featured an interesting collection of fossils, ancient flint weapons, old coins, pictures and other curiosities in its public rooms. In an era with few museums, establishments like this were sure to draw patrons. Roche Collection, 1982; vol. 2, No. 237, pg. 19.

 

BLACK HORSE (HORNPIPE) [2], THE. English, Hornpipe. B Flat Major. Standard tuning. AABB. Source for notated version: the c. 1845-47 music manuscript collection of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 24.

 

BLACK HORSE [3]. Canadian, Reel. Canada, Cape Breton. Composed by John Morris Rankin. WS 031703, Wendy MacIsaac – “Timeline” (2003).

 

BLACK JACK [1]. AKA and see "Black Joke [1]."

 

BLACK JACK [2]. AKA and see "Texas Quickstep [1]," "Texas Gallop." See also the related “Cherokee Polka.”

 

BLACK JACK [3]. English, Country Dance Tune (6/8 time). F Major. Standard tuning. AB (Sharp): AABB (Karpeles, Raven). Published before 1730. According to Grose’s The 1811 Dictionary of the Vulgar Tongue a ‘black jack’ was “a jug to drink out of, made of jacked leather.” Karpeles & Schofield (100 English Country Dance Airs), 1951: pg. 14. Raven (English Country Dance Tunes), 1984; pg. 21. Sharp (Country Dance Tunes), 1994; pg. 25.

X:1

T:Black Jack [3]

L:1/8

M:6/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:F

d|c2A F>GA |B2G G2d|c>dc A>GF|c3 A2d|c2A F>GA|B2G G3d|c>dc A>GF|c3 A2||

A|d2e f>ed|c>BA G2d|c>dc A>GF|c3 A2A|d2e f>ed|c>BA G2d|c>dc A>GF|c3 A2||

 

BLACK JACK DAVY [1]. Old‑Time, Breakdown. USA, Oklahoma. A Major. AEae tuning. One part. “Black Jack Davy” is the name of a ballad, a variant of “The Gypsy Laddie” (Child No. 200), which has been collected in the United States in the Appalachians and Midwest. However, as a fiddle tune (collected in the Midwest) only the title appears to be related, while the music does not seem to be based on any ballad air. Source for notated version: Ace Davis (Lincoln County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 51.

 

BLACK JACK DAVY [2].  Old-Time, Breakdown. USA, Arkansas. G Major. Standard tuning. AB. No relation to “Black Jack Davy [1].” An idiosyncratic (perhaps family—source Mize learned many of his tunes from his grandfather) version. Source for notated version: Seth Mize (1901-1977, Searcy County, Arkansas) [Beissenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 90. Rimrock LP 279, Seth Mize – “The Rackensack, vol. 2” (1972).

                       

BLACK JACK GROVE. AKA – “Blackjack Grove.” Old-Time, Breakdown. USA, Kentucky. A Mixolydian ('A' part) & A Dorian ('B' part) {Phillips, Titon}: A Mixolydian (‘A’ part) & A Major (‘B’ part) {Silberberg}.  Standard tuning. AB (Silberbert): AABB (Phillips, Titon). Phillips notes that his source, Walter McNew, tended to blur the 'C' notes in the 'B' part of his unaccompanied version, resulting in a tonality somewhere between minor and major. Jeff Titon (2001) finds the title in tune lists from Berea College in 1915 and in the 1919 Berea fiddle contest list. Source for notated version: Walter McNew (Mt. Vernon, Rockcastle County, Ky.) [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 21. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 12. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 13, pg. 47. Berea College Appalachian Center AC005, Walter McNew – “Black Jack Grove” (1993). Yodel-Ay-Hee 003, “Dirk Powell and John Hermann” (1992). Appalachian Center AC 005, Walter McNew (Rockcastle County, Ky.) - "Blackjack Grove" (Learned from his father, John McNew, who had it from a Wildie, Ky., area fiddler named Uncle Garret Bow).

                       

BLACK JESTER, THE (A staraidh dubh). See "An bhFaca Tu an Starraidhe Dubh?"

                       

BLACK JOAK, THE. AKA and see "Black Joke [1]."

                       


BLACK JOCK [1]. AKA and see "Black Joke [1]." Shetland, Scotland; Jig. The Scottish name for the popular English tune "Black Joke."

 

BLACK JOCK [2]. Scottish, Waltz. G Major. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 136, pg. 83.

 

BLACK JOKE [1]. AKA and see "Black Joker," "Black Jack," "Black Jock," "The Black Joak," "But the House and Ben the House" (Shetland), "Sprig of Shillelah [1].” English, Scottish, Shetlands; Country Dance, Jig and Morris Dance Tune (6/8 time). England; Northumberland, Yorkshire. G Major (Aird, Bacon, Carlin, Cooke, Mallinson, O’Farrell, Raven, Sumner, Thompson, Vickers): A Major (Bacon, Gow, Merryweather & Seattle). Standard or AEae (McLean) tunings. AB (Bacon {Stanton Harcourt}, Gow, Thompson): AAB {x6} (Aird, Bacon {Ilmington}, Carlin, Cooke (two versions), Mallinson {Adderbury version}): AABB {x4} (Hall & Stafford, Mallinson {Bledington version}, Merryweather & Seattle, Raven, Sumner, Vickers): AABBCCDDEE (O’Farrell). "The Black Joke" was a widely popular street song in England in the early 1700's. That it was extremely vulgar and bawdy probably in no small way contributed to its continued popularity into the 19th century in that country and its colonies (including America). Irregular in form in many versions, its opening phrase has six measures, while the second has ten. “The Black Joke” was heard in London as early as 1734 in Henry Carey's burlesque stage piece Chrononhotonthologos where it was called "that lowbrow little tune that has been used as an interval tune for years," referring to the music for dances performed in the entr'acte interval at the playhouses. Early English collections (London publishers) that contain the tune are Walsh (Third Collection of Lancashire Jiggs, Hornpipes, Joaks, etc., c. 1730), Johnson's Wrights Collection (London, c. 1742) and Charles and Samuel Thompson’s 200 Country Dances Volume II (1765). John Kirkpatrick (1976) dates the tune to 1715 without citing his source.

***

It is played today as the tune for the Lichfield Morris Dance called The Barefooted Quaker, and for dances from other morris traditions. Mallinson's morris dance tune versions, for example, are from the Adderbury and Bledington areas of England's Cotswolds, while Bacon's are from the Adderbury, Ascot‑under‑Wychwood, Bledington, Ilmington, and Stanton Harcourt. A version of the tune from Badby, Northhamptonshire, is known as "Old Black Joe [1]," and lacks the distinctive two measure ending to both parts typical of most "Black Joke" versions. John Kirkpatrick (1976) is of the opinion that the Badby dance “flows more perfectly than any in the Cotswold Morris. No jumps, no jerky backwards movements, no need to fiddle the feet to get them right. An absolute joy.” The tune collected with the dance in Bucknell (under the title “Old Black Joe”) is perhaps nearest the original.

***

The tune is known as "But the House and Ben the House" in Shetland, and Cooke says some informants gave the first lines as:

***

But your house and ben your house

This house is like a bridal house.

***

The tune played by his source from the islands was the one commonly known throughout Britain and Ireland during the 18th century as "The Black Joke" (or Jock). A variety of songs were set to it, all of them bawdy and all concerned with sexual intercourse, usually with the burder “Her black joke and belly so white” (where the ‘black joke’ refers to female genitilia. "Some of the texts are the creations of music‑hall hacks, such as the earliest published verses, entitled 'The Original black Joke, Sent from Dublin', which begin: 'No mortal sure can blame ye man/Who prompted by nature will act as he can'...(song sheet, c. 1720 Mitchell Library, Glasgow). Simple and more direct 'folk' versions were well-known in Scotland. The poet Robert Burns wrote a parody beginning 'My girl she's airy...'" (Cooke, 1986). The lyrics appearing below are taken from Andrew Crawford's 1826‑28 Collection of Ballads and Songs:

***

A wee black thing sat on a cushion

Was hairy without and toothless within

Wi' her black Jock and her belley so white

***

A piper and twa little drummers came there

To play wi the wee thing well covered o'er wi hair

***

The piper went in and he jigged about

The twa little drummers stood ruffling without

***

But when he came out he hang doon his head

He look'd like a snail that was trodden to dead

***

Say's he thay wa'd need to hae something to spare

That meddle wi you or your wee pickle hair. (Cooke)

***

Cooke's informant, John Irvine, played it as a middle tune between two reels for the ceremony of the "bedding of the bride" around the turn of the century. This ceremony, in which the women of the community escorted the bride to her bed, was performed to fiddle music. "The use of the 'Black Joke' in this context is intriguing, Robert Irvine's knowledge of part of the chorus suggests that in earlier days the whole song might have been known and, unless the fiddler was having his own private joke by playing this piece, possibly even sung by the bride's attendants. Genuine bawdry is often found in such situations elsewhere in the world. According to Legman (1964), 'the purpose of such songs...was and is evidently apotropaic, being intended to ward off the evil eye...dangerously present at all moments of happiness, or of success and victory' (The Horn Book, 1964, p. 388). It is likely, too, that such humour served to release anxiety on the part of the young initiate. Finally, if the text were anything like the Crawfurd text, the explicit detail could have served also as a piece of last‑minute sex education‑‑an example of how music is sometimes used in a situation that allows one to sing what might be too embarrassing to say" (Cooke, 1986).

***

The Scotch versions are based on an English tune that was known as "Black Jock" in Scotland from about 1735 (Johnson). It was often played in Scotland in scordatura tuning (AEae), as directed, for example, in James Gillespie’s A Collection of the Best and Most Favourite Tunes for the Violin (Perth, 1768). James Oswald printed a “Burlesque on Black Joak” in his Caledonian Pocket Companion (Book 7, c. 1756), and, a year later set it in ¾ time (as “Black Jock”) in his Collection of Scots Tunes (1757). Johnson thinks the name was changed either on purpose, to 'Scottisize' it (it was known as "Black Jack" in Northumberland), or to distance it from the extremely obscene lyrics. If the latter, the distancing was largely hypocriphal, for the lyrics were well-known throughout the country. The Scots poet Robert Burns (who was no stranger to ribaldry) penned to the melody, in September, 1784, the words “My girl she’s airy, she’s buxom and gay,” one of his earliest bawdy songs:

***

Her slender neck, her handsome waist,

Her hair well buckl’d, her stays well lad’d,

Her taper white leg with an et, and a, c,

For her a,b,e,d, and her c,u,n,t,

And Oh, for the joys of a long winter night!!!

***

The tune appears in the McFarlane Manuscript (1740) in a long variation set (18 strains) by Charles McLean, in Bremner's Scots Tunes (1759) in 30 strains, the Gillespie Manuscript (1768), the Sharpe Manuscript (c. 1790) with 18 strains, and a flute MS. of c. 1770; all have basically the same variations, though in different order.

***

In Ireland, Flood (1906) reports that Madame Violante set off a furor in Dublin's Smock‑Alley Theatre in December, 1729, when Cummins danced the "White Joke," a set off to the then‑popular "Black Joke." In fact, there soon appeared a number of ‘Joke’ tunes in country dance collections such as Walsh’s, of all the colors of the rainbow.

***

American audiences heard the melody as the tune for air 13 in Andrew Barten's ballad opera The Disappointment (New York, 1767). A New York City fire company, Volunteer Engine Company No. Thirty Three was popularly known as the Black Joke in the mid-18th century. In light of the bawdy words, a connection undoubtedly not lost on the immigrant Irishmen who made up the bulk of the company, men running around with hoses clutched in their hands probably well-enjoyed the in-joke being called the Black Joke. It is interesting to note that many early New York fire companies were filled with brawlers, and held allegiances to various urban gangs and politicians. The Black Joke, in fact, were in the forefront on some of the notorious New York City draft riots during the Civil War. After one of the company’s leaders had been picked in the draft lottery the firemen, at the head of a mob, rushed the lottery headquarters, scattered the policemen and soldiers guarding the lottery wheel, and destroyed it (Herbert Asbury, The Gangs of New York, 1927).

***

New York City fire engine The Black Joke, a hand pumper.

***

Sources for notated versions: Bremner (Scots Tunes, 1759) [Johnson]; John Mason via Cecil Sharpe (Stow on the Wold, England) [Bacon]; a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Aird (Selection), vol. II, 1782; No. 73, pg. 27 (appears as “Black Jock”). Bacon (The Morris Ring), 1974, pgs. 15, 95, 210, 295. Carlin (The Master Collection of Dance Music for Violin), 1984; No. 47, pg. 37. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; pgs. 86‑87. Gow (Complete Repository), Part 4, 1817; pg. 10 (appears as “Black Jock”). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 20 (appears as "Black Jack"). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 32, pgs. 86‑89. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 1, pg. 8 and No. 35, pg. 24. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 81, pgs. 48-49 (includes six sets of variations). O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 92-93. Offord (John of Greeny Cheshire Way), 1985; pg. 107. Raven (English Country Dance Tunes), 1984; pg. 116 (Black Jack), 81 & 95. Seattle (William Vickers), 1987, Part 2; No. 206. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 4. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 183. Gourd Music 110, Barry Phillips – “The World Turned Upside Down” (1992). Music Club MCCD376, Chris Bartram (et al) – “The Traditional Morris Dance Music Album.” Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Black Jock [1]

M:6/8

L:1/8

R:Jig

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:A

E|E2A AGA|BcB BAB|c>dc cBA|BcB BAF|A3 F2E|EFA A2 E/D/|

(CE)A AGA|(Bd)c BAG|(Ac)e edc|Bdc {c}BAG|~A>Bc ~F>GA|

EFG A2||d|(c2d e2)e|fdf {f}e2d|c2d e>fe|f>ga edc|d2b c2a|BcB {c}BAB|

~c>dc cBA|B>cB BAF|A3 ~F2E|EFA A2d|(cA)c (ec)e|(fd)f e2d|

(cA)c (ec)e|(fd)f {f}e2c|ddd ccc|Bdc B2A|(Ac)e (ed)c|(Bd)c {c}BAG|

~A>Bc ~F>GA|EFG A2||

X:2

T:Black Joak

B:Walsh – Lancashire Jigs, Hornpipes, Joaks, etc (c. 1730).

M:6/8

L:1/8

K:G

D| D2 G G2 G| A2 A AGA|BcB BAG| ABA AGF| G3 E2 D | DEF G2::B| B2 d ded|\

efg d2 B| B2 d ded| efg d2 B| cca BBg| ABA AGA |BcB BAG |ABA AGF |\

G3 E2 D|DEF G2:|

X:3

T:Black Jock

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

D | D2G GFG | ABA AGA | BcB AGF | ABA AGE | G3 E2D | DEF G2 :|

|| c | B2c ded | ece d2c | BGB def | gfe dcB | c2a B2g |

ABA ABA | Bdg dBG | AGA BGE | G3 E2 D | DEF G2 ||

X:183

T:Black Joke

M:6/4

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:G

D3EF2 G4G2|A3BA2 A2G2A2|B3cB2 B2A2G2|A3BA2 A2G2F2|G6 E6|D3E F2 G6||

B4c2 d4d2|e3fe2 d4c2|B3cd2 d3ed2|e3fg2 f3ed2|c4g2 B4g2|

A3BA2 A2G2A2|B3cB2 B2A2G2|A3BA2 A2G2F2|G6 E6|D3E F2 G6:||

 

BLACK JOKE [2], THE. AKA and see "The Black Rogue [1]," "Life is All Chequered," "Johnny/Johnnie McGill/MacGill." Irish, Double Jig. D Major. Standard tuning. AB. “As in an old Kerry MS.” Source for notated version: “From Father Walsh” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 574, pg. 145.

X:1

T:Black Joke, The [2]

M:6/8
L:1/8

S:Stanford/Petrie (1905), No. 574

Z:AK/Fiddler’s Companion

K:D

d | (cA)(A A)GA | (cA)A A2d | (cA)(A A)GA | (FD)D D2d | (cA)(A A)GA |

(cA)(A A)GF | G2(A B)GA | (FD)D D2 || d/e/ | f3g3 | (fa)d (cB)A |

f3g3 | afd def/g/ | (af)(a g)eg | (fe)(d d)fd | (cA)(A A)GA | (FD)D D2 ||

                       

BLACK KNIFE, THE.  AKA and see “Sgian Dubh.” Scottish, Jig.

 

BLACK LADDIE MY DARLING.  See “Black but Comely,” “For a’ that and a’ that.”

 

BLACK LEGS.  AKA and see “Bonny Kate (Polka) [2].” English, Country Dance Tune (4/4 time). G Major. Standard tuning. AABB. ‘Black Legs’ was a term for “a gambler or sharper on the turf or in the cockpit: so called, perhaps, from their appearing generally in boots; or else from game-cocks whose legs are always black” [Grose, The 1811 Dictionary of the Vulgar Tongue]. The tune is well-known to English trad. musicians in modern times as the polka “Bonny Kate,” popularized by New Victory Band and others. The tune appears as “Black Leggs” in the Thomas Hammersley manuscript (1790, London) and as “Black Leggs or Bonny Cate” in the William Clarke manuscript (1770, Lincoln). See note for “Bonny Kate.”

 

BLACK LETTERED LIST, THE. Irish, Air (6/8 time, "animated"). G Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 214, pg. 37.

X:1

T:Black Lettered List, The

M:6/8

L:1/8

R:Air

N:”Animated”

S:O’Neill – Music of Ireland (1903), No. 214

Z:AK/Fiddler’s Companion

K:G

D/D/ | GDB B>AG | Adc c>BA | d>BG G>AB | A>GF/E/ D2 D/D/ |

GDB B>AG | A<Dc c>BA | dBG DEF | GDB G2 || B | BFd d>cB |

ABc cBA | G>AB BAG | A>GF/E/ D2D | GDB BAG | c>De e>dc |

B>dG GAF | GDB G2 ||


                       

BLACK MARE, THE. Scottish, Reel. A Mixolydian. Standard tuning. AABBCCD. McGlashan (A Collection of Reels), c. 1786; pg. 19.

X:1

T:Black Mare, The

L:1/8

M:C|

S:McGlashan – Reels (c. 1786)

Z:AK/Fiddler’s Companion

K:A Mixolydian

B | A/A/A e2 d>BBd | A/A/A e2 d>AAB | A/A/A e2 d>BBd | A/A/A e2 d>AA :|

|: a | f/f/f fe d>BBa | f/f/f fe d>AAa | f/f/f fe d>BBa | f/f/f f>e d>A A :|

|: B | c>Aec d>BBd | cAeB cAAB | cAec dBBd | cAeB cA A :| a | faef d>BBa | faef d>AAa |

faef d>BBa | faef d>AAa | faef d>BBa | faef d>AAa | faef dfBb | faef d>A A ||

 

BLACK MARE OF FANAD, THE. AKA - “Black Fanad Mare.” AKA and see “Nine Points of Roguery.” Irish, Reel. D Major/Mixolydian. Standard tuning. AABBCCD. The melody under this title is the County Donegal version of “The Nine Points of Roguery.” See note for “Black Fanad Mare.” Source for notated version: John Doherty (1985-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 65.

 

BLACK MARY. AKA and see “Melvil House.” Scottish, Air (whole time). C Major. Standard tuning. AABB. "A very old Gaelic air" (Gow). Carlin (The Gow Collection), 1986; No. 533. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pt. 14.

X:1

T:Black Mary

M:C

L:1/8

R:Air

N:”Slow”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:C

c4 c4|~c2 BA G4|f4 e2d2|e2g2 a4|g3a (ag) fe|(fd)(ec) A2 {B}c2|G4 A2c2|{e}”tr”d4 c2:|

|:c>d|e2 e4 dc|f4 f2 “tr”c>d|e2 e4 dc|~d4 d2 “tr”c>d|e2 e4 dc|”tr”d(cd).e d(fe)d|

{B}c3A G3A|”tr”(cBc).d (cd)(ed)|[E4c4] [E4c4]|~c2 BA G4|f4 e2d2|

e2g2a4|g3a (ag)(fe)|(fd)(ec) ~A3c|G4 A2c2|{e}”tr”d4 c2:|

 

BLACK MARY HORNPIPE [1]. AKA and see "Butcher's Hornpipe [2],” “The Piping Pie Man,” “Wright’s Whim.” English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. The melody appears under the “Black Mary” title in the 1770 Northumbrian music manuscripts of musician William Vickers, about whom unfortunately little is known. It is unrelated to the “triple hornpipe” (3/2 time) of the same name. However, it is related to the Yorkshire tune "Butcher's Hornpipe [2],” which appears in the Yorkshire manuscript collections of Lawrence Leadley, George Spencer and Joshua Jackson. Although it is not known to whom the “Black Mary” title refers (and there could be endless possibilities), there was a famous Black Mary of the formerly marshy countryside north of London, now absorbed by the metropolitan sprawl. This Black Mary was a black woman named Mary Woolaston, who rented a well and a pleasure-grounds called Black Mary’s Hole in the days of Charles II. Spring place, adjoining Exmouth Street, marks the locality now  (R. L. Chambers, Book of Days, vol. 2, 1863). Seattle (William Vickers), 1987, Part 3; No. 431.

 

BLACK MARY(‘S) HORNPIPE [2]. AKA – “Black Mary’s Hole.” AKA and see "The Shields Hornpipe." English, “Old” Hornpipe (3/2 time). D Major. Standard tuning. AABB. This melody, republished in Offord’s John of the Greeny Cheshire Way and The Plain Brown Wrapper Tune Book, is a variant of "Shields Hornpipe," which appears in William Vickers' 18th century Northumbrian dance tune collection. Vickers’ title is a reference to English composer, violinist and violist, William Shield (1748-1829), and who, like Vickers, was from the northeast of England. It also appears in the Thomas Hammersley music copybook (London, 1790). The original appears in Walsh’s Third Collection of Lancashire Jiggs, Hornpipes, Joaks etc. (London, 1735), Walsh’s Compleat Country Dancing Master, vol. 3 (London, 1749), and Daniel Wright’s Compleat Collection of Celebrated Country Dances (London. C. 1740), published by Johnson, where it appears as “Black Mary’s Hole.” The tune appears in a few American musicians’ manuscripts, including those of Whittier Perkins (Massachusetts, 1790) and Edward Murphey (Newport, 1790). Source for notated version: Ellis Knowles (Plain Brown).  Plain Brown Tune Book, 1997; pg. 4.

X:1

T:Black Mary's Hornpipe

B:Walsh

M:3/2

L:1/8

K:D

AFDF AFDF G2 E2| AFDF ABcd e2 E2| AFDF AFDF G2 E2| afdf ecAc d2 D2::\

ecAc ecAc d2 B2| ecAc efge a2 E2| AFDF AFDF g2 e2| afdf gecA d2 D2:|

 

BLACK MATHEW. Irish, Air (6/8 time, "with spirit"). G Dorian. Standard tuning. One part. Source for notated version: O’Brien [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 551, pg. 96.

X:1

T:Black Mathew

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 551

Z:AK/Fiddler’s Companion

K:G Minor

F|F>=EF DE^F|GGG G2A|BAG AFD|D=E^F G2A|BAG FDC|DDC B,2 B,/D/|

BAG FDC|DDC B,2 B,/C/|DGG G2 ^F|DGG G2||

 

BLACK MILL, THE. See "Muileann Dubh."

 

BLACK MOUNTAIN, THE. English, Jig. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 209.

 


BLACK MOUNTAIN RAG. Old‑Time, Bluegrass; Rag. A Major (Brody): G Major. AEac# or GDac tuning. AA'BB'CC'. "One of the most popular fiddle tunes in modern history..." (C. Wolfe). The piece became popular in the late 1930's. It was claimed by fiddler Leslie Keith (who is featured on the very first recordings of the Stanley Brothers), who said he wrote it in the early 1940's after taking "a little bit of" 'The Lost Child', and " a little of two or three of the Carter Family's tunes." He named it "Black Mountain Blues" after the name of a mountain in Cumberland County, Tenn., however, "The Lost Child" is the basic melody for the tune. Curly Fox changed the name from "Black Mountain Blues" to "Black Mountain Rag" on his 1947 recording for King, which eventually sold over 600,000 copies (Charles Wolfe, The Devil's Box, Dec. 1982, pgs. 3‑12). Several ‘black mountains’ have been suggested as the one referred to in the title, including one of the tallest peaks east of the Mississippi, Mount Mitchell. Mitchell was apparently called by various names in the past, beginning with Grey Eagle (due to a rock formation on its side). Later it became known as Black Mountain because of the dark appearance of the balsams at the top. The tune appears in a list of "traditional" fiddle tunes common to the Ozark Mountains, compiled by musicologist/folklorist Vance Randolph in 1954. It was also a favorite "trick" fiddling tune in the Texas tradition. Brody (Fiddler’s Fakebook), 1983; pg. 48. United Artists 9801, "Will the Circle Be Unbroken" (various artists). Rounder 0073, "The White Brothers, Live in Sweden." Vanguard VSD 45/46, "The Essential Doc Watson." Vanguard VRS 9152, "Doc Watson." County 703, Benny Thomasson ‑ "Texas Hoedown." Elektra 7285, The Dillards with Byron Berline ‑ "Pickin' and Fiddlin.'" Antilles 7014, "Country Gazette, Live." Mercury SRM 1‑1058, Vassar Clements ‑ "Superbow." County 730, Kenny Baker ‑ "Baker's Dozen." Folkways FA 2398, "New Lost City Ramblers, vol. 3." Folk Star 613(2764) ‑ "Glen Neaves and the Grayson County Boys (Va.)." Mercury 6246 ‑ Tommy Jackson. King Records 562, Curly Fox (Ga.) {1946}. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites."

X:1

T:Black Mountain Rag

M:4/4

L:1/8

K:G

GA |: B2 eB dedB | B2 eB d2 GA | B2 eB dedB | _BAGE G4 :|

|: d4 [G4B4] | d2B2E2D2 | d4 [G4B4] | DEDB, A,D G,2 :|

|: (A,B,)[B,G]G (A,B,)[B,G]G | G,2 [D2B2g2] A,2B,2 | C2 [c2e2] (DE) [ce]e |

[=F2c2]E2 DG C2 |1 (A,B,)[B,G]G (A,B,)[B,G]G | G,2 [D2B2g2] B,2C2 |

D2 [d2f2] A,D [Af]f | D2 [d2f2] G,2A,2 :|2 (A,B,) [B2g2] (B,A,) G,2 |

A,2 [A2f2] B,A, D2 | G,2 [D2B2g2] DG [Bg]g | G,8 ||

                       

BLACK MUSTACHE. Fiddler Gene Clardy was one of the older Mississippi fiddlers to record in the 78 RPM era. It is said he taught Mississippi fiddling great Willie Narmour to play. Document 8028, Gene Clardy & Stan Clements – “Mississippi String Bands, vol. 2” (reissue).

 

BLACK MY BOOTS AND GO SEE THE WIDOW.  Old-time, Breakdown. A version of “Rye Straw [1].”

                       

BLACK NAG [1], THE.  AKA – “The Galloping Nag.” English, Jig (6/4 time). D Major. Standard tuning. AABB. An early version of the jig “Black Nag” that became popular with English country dancers and American contra dancers in the 1970’s. The tonality is major, according to Jeremy Barlow’s (1985) notation. The melody first appears in print as a new tune to the 3rd edition of Playford’s English Dancing Master (1657). As “The Galloping Nag” it appears in Walsh’s Compleat Country Dancing Master, vol. 1, 1718 (28), and again in his 1731 edition (14). John and William Neal also published the tune (as “Galloping Nag”) in their Choice Collection of Country Dances (Dublin, 1726). See also the similar (both dance and tune) “Millison’s Jegge” published in Playford’s first edition of the Dancing Master (1651). Barlow (Complete Country Dances from Playford’s English Dancing Master), 1985; No. 116, pg. 39.

X:1

T:Black Nag or The Galloping Nag [1]

M:6/4

L:1/8

R:Jig

S:Playford – English Dancing Master (3rd edition, 1657)

K:D

A2|d3 ed2 e3 de2|(f6 f4) g2|a3 gfe f2 e4|(d6 d4):|

|:d2|e2c2A2e2c2A2|e2c2A2e2c2A2|a2f2d2a2f2d2|a2f2d2a2f2d2|

e2c2A2e2c2A2|e2c2A2 e4fg|a3 gfe f2 e4|(d6 d4):|

 

BLACK NAG [2], THE. English, Jig and Country Dance Tune (6/8 time). D Minor (Barnes, Karpeles, Raven, Sharp, Spandaro): A Minor (Brody, Carlin). Standard tuning. ABB (Sharp): AABB (most versions). The tune was first published in 1657 by Playford (see “Black Nag [1],” above). The melody has gained some currency in modern times in American countra dance cirles where as a jig it is the vehicle for a set dance for three couples, as well retaining popularity with English country dance enthusiasts. Source for notated version: Fennigs All Star String Band (N.Y.) [Brody]. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler’s Fakebook), 1983; pg. 48. Carlin (English Concertina), 1977; pg. 19. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 6. Karpeles & Schofield (.  A Selection of 100 English Folk Dance Airs), 1951; pg. 13 & 46. Raven (English Country Dance Tunes), 1984; pg. 24. Sharp (Country Dance Tunes), 1909/1994; pg. 22. Spandaro (10 Cents a Dance), 1980; pg. 22. CDS 6 (Country Dance & Song Society), Merril & Barron‑‑"By Popular Demand." Front Hall 015, Jack Walton and Roger Nicholson ‑ "Bygone Days." Front Hall 010, Fennigs All Star String Band ‑ "The Hammered Dulcimer Strikes Again." Front Hall 017, Michael and McCreesh ‑ "Dance, Like a Wave of the Sea" (1978). North Star NS0031, "Dance Across the Sea: Dances and AIrs from the Celtic Highlands" (1990).

See also listing at:

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

X:1

T:Black Nag, The  [2]

L:1/8

M:6/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:D Minor

A|d>ed e>de|f>ef efg|a>gf e>de|(d3 d2)A|d>ed e>de|f>ef efg|a>gf e>de|(d3 d2)||

|:d|ecA ecA|ecA ecA|afd afd|afd afd|ecA ecA|ecA e2f/g/|a>gf e>de|(d3 d2):|

 

BLACK PAT’S. Irish, Reel. Composed by Irish fiddler Tommy Peoples (originally from County Donegal). Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999). Tommy Peoples – “The Quiet Glen.”

X:1

T:Black Pat's

C:Tommy Peoples

S:Tommy Peoples

D:The Quiet Glen

Z:Juergen.Gier@post.rwth‑aachen.de

L:1/8

R:Reel

M:C

K:F

D3E|:F3A d2cA|G2AG FDDE|F3A dccA|Acfa g2fg|\

af~f2 gfdc|(3ccA cA GFDE|FEFA dccA|1GcAG F4:|2GcAG F3 D|]\

CF~F2 FDCD|~F3G Ad ~d2|c2AF ~c2AF|G2AG FDDE|\

F3G FDCD|FEFA d2fg|af~f2 gfdf|cfag f4|c3A AGFD|\

CDFG Ad~d2|~c2AF cFAF|~G2AG FDDE|F3G FDCD|\

FEFA d2fg|af~f2 gfdf|cfag f4|:~a3f cdcd|\

fdcA F4|a2fc acfc|dggf g2fg|~a3f dfcd|\

fdcA (3Bcd fg|a2gf dccA|GFFD F4:|

X:2

T:Black Pat’s

M:4/4

L:1/8

R:Reel

K:G

G3B e2 dB|ADBA GEDE|GFGB edBA|(3Bcd gba2 ga|bg g2 aged|B2 dB AGED|
G3B eddB|AdBA G2 BA:||G3A GEDE|G3A Be e2|d2 BG dGBG|AGBA GEDE|

G3 A GEDE|G3A (3Bcd ga|bg g2 ageg|dgba g4|d3B BAGE|DEGA Be e2|

d2 BG dGBG|AGBA GEDE|G3A GEDE|G3A (3Bcd ga|bgg2 ageg|dgba g4||

|:b3g egdg|gedB G4|b2 gd b2gd|eaag abga|b3g egdg|gedB dega|bgag eddB|AGGF G2:|

 


BLACK PHANTOM, THE. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. Source for notated version: “From the Rev’d Father Walsh” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 579, pg. 146.

X:1

T:Black Phantom, The

M:3/4
L:1/8

S:Stanford/Petrie (1905), No. 579

Z:AK/Fiddler’s Companion

K:E_

EF | G4 cB | B4 GB | c2B2 G>B | B4 cd | e4 (dc) |

B2G2 (cd) | B2G2 (cd) | B2G2 EF | G2B2 cd | e3 (edc |

BA GF) EF | {G}e4 (3Bcd | e2d2 c>B | G4 (AG) | F2E2 EF | E6 ||

 

BLACK PIG, THE. Canadian, Reel. Canada, Cape Breton. E Minor. Standard tuning. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 138, pg. 40.

                       

BLACK POINT WALTZ. AKA and see "Valse de Pointe Noire."

                       

BLACK RIVER. Old-Time Breakdown. See note for “Ladies in the Ballroom [2],” and “Rattlesnake Bit the Baby.” Liner notes to Gene Goforth’s album say that Ken Curtis, who played the character Festus on American TV’s long-running Gunsmoke, whistled the tune and called it “Cherokee Square Dance.” John Hartford calls it a ‘cousin’ to Howdy Forrester’s “Ladies in the Ballroom,” and Bill Monore’s “Boston Boy.” Rounder RO-0388, Gene Goforth –“Emminence Breakdown” (1997. Learned in 1958 from a tape of ‘old man’ Walter Alexander, of Leasburg, Mo.). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001. Learned from Walter Alexander of Leasburg, Missouri).

                       

BLACK ROAD, THE (An Bothar Dubh). Irish, Air (3/4 time). C Major. Standard tuning. AB. Source for notated version: copied by P.W. Joyce from the Forde manuscript, which were coped in turn from a manuscript lent to Forde by piper Patrick Carey of County Cork (who is probably the Patrick Carew who supplied Petrie with so many tunes) [Joyce]. Joyce (Old Irish Folk Music and Songs), 1909; No. 451, pgs. 253‑254.

X:1

T:Black Road, The

T:An Bothar Dubh

M:3/4

L:1/8

N:”With expression”

R:Air

B:Joyce – Old Irish Folk Music and Songs, No. 451  (1909)

Z:AK/Fiddler’s Companion

K:C

g>f|e2 cedc|A2G2E2|F3 AGE|ED C2C2|C4||

CE|G2A2c2|d4 cd|e3 dcA|AG F2E2|G4 CE|G2A2c2|d4 cd|

e3 dcA|AG F2E2|G4 g>f|e2c2 d>c|A2G2E2|F3 AGE|ED C2C2|C4||

                       

BLACK ROAD TO LOUGHREA. Irish, Reel. D Dorian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black (as “a salute to the musicians of East Galway and their great D-minor tunes”), named for a lonely stretch of road in the mountains between Ballinakill and Loughrea. Black (Music’s the Very Best Thing), 1996; No. 132, pg. 69.

X:1

T: Black Road to Loughrea

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ddor

A,DGF DdcA | aged cAGF | A,DGF DdcA | aged cd d2 |

A,DGF DdcA | aged cAGA | defe dcAd | cAGE D4 :|

a3 g f3 e | dedc Adde | f2 ed e2 dB | cdeg fdde |

af (3fef ge (3ede | dedc Adde | f2 ed e2 dB | cAGE ED D2 :|

 

BLACK ROCK [1], THE. Irish, March (4/4 time). G Major. Standard tuning. AAB (Kennedy): AABB (O’Farrell, O’Neill). There are numerous ‘black rock’ placenames in Ireland, in, for example, County Sligo and County Mayo. Peter Kennedy adds ‘black rocks’ in Cork, Dublin, Louth and Wexford. Kennedy (Traditional Dance Music of Britain and Ireland: Rants & Reels), 1997; No. 7, pg. 4. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 83. O'Neill (O’Neill’s Irish Music), 1915; No. 115, pg. 64.

X:1

T:Black Rock [1]

M:C|

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:G

G/>A/ | B2 AG E2D2 | GBdB eAAB | cBAG E2D2 | GbdA BG G2 :: c Bdd(e/f/) gBdB |

eBgB eAAc | Bdde/f/ gBdB | ef/g/dc BGG>c | Bdd(e/f/) gBdB | eBgB eAAc |

{c}B2 AG “tr”E2D2 | GBdA BG G2 :|

 

BLACK ROCK [2]. AKA and see "Gilderoy [2]." Old‑Time, Breakdown. USA, southwestern Pa. A Mixolydian. ABB'. Source for notated version: J. Smalley (Westmoreland County, Pa., 1944; a favorite of this father's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 169B, pgs. 119‑120.

 

BLACK ROCK [3]. AKA and see "Black Burke," "The Rocky Road to Dublin [1]." Irish, Jig (9/8 time). Ireland, County Mayo. A Minor (Petrie): A Mixolddian (Colclough). Standard tuning. AB (Petrie): AABB (Colclough). A variant of “Rocky Road to Dublin.” Source for notated version: “A Mayo jig. From Denis H. Kelly Esq., Mar. 15th 1856" [Stanford/Petrie]. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 13. Stanford/Petrie (Complete Collection), 1905; No. 950, pg. 242.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Black Rock [3]

M:9/8

L:1/8

R:Slip Jig

S:Colclough – Tutor for the Irish Union Pipes (c. 1830)

Z:AK/Fiddler’s Companion

K:A Mix

e2f d2e c2A | B2e e2A Bcd | e2f d2e c2A | B2G G2A Bcd :|

|: d | c2A ABA c2A | B2e e2A Bcd | c2A ABA c2A | B2G G2A Bcd :|

X:2

T:Black Rock [3]

M:9/8

L:1/8

R:Slip Jig

B:Stanford/Petrie, No. 950 (1905)

Z:AK/Fiddler’s Companion

K:A Minor

ecA A2A A2z|E2A A2B cBA|ecA A2A A2z|B2G G2A Bcd|ecA A2A A2z|

E2A A2B cBA|e2a aba g2z|dBG G2A Bcd||e3 ecA ecA|e2z ecA Bcd|

e3 ecA ecA|dBG GAG Bcd|e2z ecA ecA|e2z ecA Bcd|e2a aba g2e|dBG GAG Bcd||

 

BLACK ROCK [4], THE.  American (?), Hornpipe. E Dorian. Standard tuning. AABB. Source for notated version: the 1938 manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life.” In the ms. Taggart mentions the tune was “a great favourite of my father” [Miller]. Taggart, born and raised in Sharon, New Hampshire, and was a onetime orchestra leader and composer. Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity.” Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Miller (Fiddler’s Throne), 2004; No. 277, pg. 166. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

 

BLACK ROGUE [1], THE (An Rógaire Dub). AKA and see "Bunch of Green Rushes [2],” "The Bark is on the Swelling Shore" "Before I Was Married," "Billy O'Rourke's Jig [1]," "The Black Joke [2],” "Come Under My Plaidie," “Donnybrook Fair,” "God Bless the Grey Mountain," "Humors of Donnybrook Fair," "Inishowen," "Irish Lady [2]," "Irish Lass [2]," "Johnny/Johnnie McGill/MacGill," "Life is All Chequered," "Little Bench of Rushes," "Michael Malloy/Molloy/Mulloy," “Miss Thornton’s Jig,” "Nature and Melody," "O Pleasant Was the Moon," “Paddy McNicholas’,” "Shane/Shaun Glas," "Sublime Was the Warning," "Shandrum Boggoon," "This Life is All Chequered,” "’Tis a bit of a thing," "What sounds can compare." Irish, Double Jig. G Major (Levey, O’Neill): D Major (Taylor). Standard tuning. AABB. The provenance for the tune is unclear as it is claimed by both Irish and Scots. It has been said to have been composed by Ayrshire, Scotland, musician Johnny McGill (whose name is attached to Scottish versions), and indeed, “Johnny McGill” can be thought of as a modal version of “Black Rogue.” O’Neill’s setting is essentially the same as that given by O’Farrell, who included many Scottish melodies in his collection of Irish tunes. An early recording of the jig was by John Sheridan and his Boys on 78 RPM disc in 1928. It was in the repertoire of Cape Breton fiddler Bill Lamey, whose playing of it at Cape Breton dances in Boston was remembered by a young Jerry Holland. Lamey may have picked it up from Irish sources, such as Leitrim flute player John McKenna’s influential 78 RPM recording. Source for notated version: set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Allan’s Irish Fiddler, pg. 33. Cranford (Jerry Holland: The Second Collection), 2000; No. 266, pg. 96 (appears as “An Rógaire Dubh”). Giblin (Collection of Traditional Irish Dance Music), 1928; pg. 99. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 13, pg. 6. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 40 (appears as “Rogue Erra Duff. The Black Rogue”). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 915, pg. 170. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 302, pg. 65. Ryan’s Mammoth Collection, 1883; pgs. 81 & 103. Stanford/Petrie (Complete Collection), 1905; No. 1265. Taylor (Music for the Sets: Yellow Book), 1995; pg. 27. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Shanachie 79093, Paddy Glackin and Robbie Hannon – “Whirlwind” (1995. Learned from Donegal fiddler John Doherty). Jerry Holland – “Crystal Clear” (2000).

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:Black Rogue, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 302

Z:AK/Fiddler’s Companion

K:G

G | dBB BAB | dBB B2g | dBB BAB | GEE E2g | dBB BAB | dBB BAG |

ABc BAB | GEE E2 :: d | gfg aga | bge edB | gfg aga |

bge e>f/g/a/ | bag agf | gef g2e | dBB BAB | GEE E2 :|

 

BLACK ROGUE [2], THE (An Rógaire Dub). Irish, Jig. D Major: D Mixolydian (Shields/Goodman). Standard tuning. AABB. A variant of “Black Rogue [1].” Widely known throughout Ireland. The title is derived from a old song still sung in Irish to the melody. The melody was included three times in the music manuscripts of Church of Ireland cleric James Goodman (1828-1896), notes Paul de Grae. Goodman was an Irish speaker and uilleann piper who collected in tradition in County Cork and elsewhere in Munster, and who also gleaned tunes from other musicians’ manuscripts and printed sources. See also his “Billy O’Rourke” and “Droichead Loch Gearr.” The tune was a great favorite of Donegal fiddlers Mickey and John Doherty. Compare this tune with “Paddy the Weaver” in O’Neill’s Waifs and Strays of Gaelic Melody (No. 134). Sources for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, Co Sligo, Ireland) [Flaherty]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]; James Goodman (1828-1896) [Shields]. Bulmer & Sharpley (Music from Ireland, vol. 2); No. 35. Flaherty (Trip to Sligo), 1990; pg. 121. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 160a (appears as untitled jig). O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Russell (The Piper’s Chair), 1989; pg. 28. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 368, pg. 146.

X:1

T:Black Rogue, The [2]

M:6/8

L:1/8

R:Jig

K:D

d|cAc BGB|cAA A2d|cAc BGB|AFD D2d|cAc BGB|cAA AGA|

GFG BGB|AFD D2e:||:~f3 gfg|afd ede| ~f3 gfg|

afd d2f|agf gfe|fed ecA| ~G3 BGB|AFD D3:|

 

BLACK ROGUE [3] (Rogara Duff). Irish, Jig. G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 43.

X:1

T:Black Rogue [3]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

B | gfe edB | gfg GAB | gfe edB | dBA A2B | gfe edB | gfg a2b |

gfg e/f/ge | dBA A2B :: d>ed/B/ dBB | gfg GAB | d2B e2B |

dBA A2B | d>ed/B/ dBB | gfg a2b | gfg e/f/ge | dBA A2B :|

           

BLACK ROSE. See “Little Black Rose [1].

 

BLACK ROSIE. Irish, Jig. G Major. Standard tuning. AABB. Composed by Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. The tune is named for a woman who was Keegan’s nearest neighbour when she first moved to Mullaghbawn, remembered for the warmth of her welcome and her interest in the schooling and activities of the community youngsters. Keegan (The Keegan Tunes), 2002; pg. 56.

                       

BLACK SALLY GOODIN. Old‑Time, Breakdown. USA, Missouri. G Major (Christeson): D Major (Pete McMaham). Standard or GDad tuning. ABCC. On Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Source for notated version: African-American fiddler Bill Caton via Vee Latty (Callaway County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 134, pg. 95. Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain Waltz."

 

BLACK SATIN. Old-Time, Breakdown. G Major. GDad tuning. AA’BB’. The tune was in the repertoire of the Perry County (Tenn.) Music Makers—Nonnie Presson and Bulow Smith on zither and gtr., who recorded several sides for Vocalion Records in 1930. Nonnie learned the tune from a local banjo player, Will Warren.

X:1

T:Black Satin

M:C|

L:1/8

R:Reel

S:Brad Leftwich

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

B(d |: d)Dde d2 BA | GABc d2 B(d | d)Dde d2 BA |1 GBAF G2 B(d :|2 GBAF G2 (G, ||

|: G,)A,B,A, G,2 BA | GBAG E2 GE | DB,A,B, G,2 BA |1 GBAF G2 (G, :|2 GBAF G2 ||

 

BLACK SHEEP. American, Dance Tune (2/4 time). D Major. Standard tuning. AABB. Composed by fiddler Dick Myers, whose stage name was “Ole Bull,” after the famous Norwegian violin virtuoso who famously toured America in the mid-1800’s. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives this entry:

***

“Ole Bull” Myers (J. Richard Myers) was one of the earliest and best violinists in minstrelsy. He entered

the profession in 1833, and was with numerous black-face companies, notably the Virginia Serenaders in

1843; this organization, a photograph of which will be found elsewhere, played an engagement at the

Chatham Theatre, New York, January 24, 1844. “Ole Bull” Myers was born in Baltimore, Md., May 9,

1909; he died in Philapelphia, September 10, 1874.  (pg. 23)

***

Billy Whitlock, an original member of the seminal Virginia Minstrels (Dan Emmett’s group), recalled in his 1878 autobiography that he played his banjo with fiddler Dick Myers in Philadelphia in 1840, performing a show as a fiddle-banjo duo. It was this pairing that he remembered a few years later when he developed the first minstrel troupe (a four member group, with Emmett on the fiddle).

***

The tune is listed as a ‘jig’ in Ryan’s Mammoth Collection (1883), referring not the 6/8 time Irish jig, but rather a type of syncopated duple-time American solo dance form, like the sand jig (so-called because the stage was sanded to facilitate brushing of the shoes). Cole (1000 Fiddle Tunes), 1940; pg. 79. Ryan’s Mammoth Collection, 1883; pg. 112.

X:1

T:Black Sheep

M:2/4

L:1/8

R:Sand Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

z/g/ | f/d/e/c/ d(A/c/) | B/E/B/d/ c/A/ z/g/ |f/d/e/c/ d(A/G/) | F/D/E/G/ F/<D/ :|

|: z/D/ | DF A>c | B/E/B/d/ c/A/ z/g/ | f/d/e/c/ d(A/G/) | F/D/E/G/ F/<D/ :|

 

BLACK SHEPHERDESS, THE. Scottish, Reel. A Dorian. Standard tuning. AABB. Pipe tune. MacDonald (The Skye Collection), 1887; pg. 88.

X:1

T:Black Shepherdess, The

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Ador

AA ag f2 ef|ef g2 dBBd|a>ba>g f2 ef|gedB AA A2:|

|:g/|f2 A2 f>e de|g2 dB GB d>g|f2 A>f e2 de|gedB AA A>g:|

 

BLACK SLENDER YOUTH. AKA and see "Dark Slender Boy [2]."

 

BLACK SLENDER BOY [1] (An Buacaill Caol Dub). Irish, Air (3/4 time, "tenderly"). G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 24, pg. 5.

X:1

T:Black Slender Boy, The [1]

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 24

Z:AK/Fiddler’s Companion

K:G

G/A/ Bc | d/4c/4B/4c/4d/4e/4f/4g/4 fdc>B |

{B}AG/F/ GDGA | Bd c/A/G/F/ A>G | G3 :|

|| de/f/ ga | b2 ag b/>a/4a/g/ | fd de/f/ g>a | b2 agba |

a2 a/g/ fd | f/g/a/g/ fd cB | B/>A/4G/F/ GDGA | Bd c/A/G/F/ A>G | G3 ||

 

BLACK SLENDER BOY [2] (An Buacaill Caol Dub). Irish, Air (3/4 time, "tenderly"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 25, pg. 5.

X:1

T:Black Slender Boy [2]

M:3/4

L:1/8

R:Air

N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 25

Z:AK/Fiddler’s Companion

K:G

G/A/ Bc | d>g g/f/d/c/ Bc/A/ | B>A GF/G/ A/B/c/A/ | dg g/f/d/c/ A>G |

G3 G/A/ Bc | dg g/f/d/c/ Bc/A/ | B>A GF/G/ A/B/c/A/ | dg g/f/d/c/ A>G |

G3 || B/c/ dd | b2 ab/a/ g/f/b/a/ | g>f dc dd/e/ | =fa g/f/d/c/ d/g/^f/a/ |

g2 (9G/A/B/c/d/e/f/g/a/ ba | ga (3b/a/g/ (3f/d/c/ Bc/A/ | B>A GFG A/B/c/A/ |

dg g/f/d/c/ A>G | G3 ||

 

BLACK SLENDER BOY [3] (An Buacaill Caol Dub). Irish, Air (3/4 time, "tenderly"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 26, pg. 5.

X:1

T:Black Slender Boy [3]

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 26

Z:AK/Fiddler’s Companion

K:G

c/A/ G/A/B/c/ | d>g {g/a/}ba g/f/d/c/ | B>A GG G/A/B/c/ |

d>A c/A/G/A/ GG | G3 c/A/ G/A/B/c/ | dg {g/a/}ba g/f/d/c/ |

BA GG G/A/B/c/ | dA c/A/G/A/ GG | G3 || de/f/ g/a/ | ba/g/ gg a/g/f/d/ |

d3 d/e/ =f/d/c/B/ | c3 B/c/ dg | g3 g/a/ b/g/=f/e/ | =f2 ag g/^f/d/c/ |

B>A GG G/A/B/c/ | dA c/A/G/A/ GG | G3 ||

 

BLACK SLENDER BOY [4]. AKA and see "Dark Slender Boy." AKA ‑ "An Bouchail Caol Dubh." Irish, Slow Air (3/4 time). D Major. Standard tuning. AB. "Dr. Petrie gives three settings of this beautiful air in his Ancient Music of Ireland: all instrumental. I give here, from memory, the Munster vocal rendering‑‑very much simpler‑‑as I heard it from the old singers hundreds of times" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 102, pg. 52.

X:1

T:Black Slender Boy [4]

T:An bouchail caol dubh

M:3/4

L:1/8

R:Air

N:”Slow and with great expression”

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

K:D

DE|FG A2 GA/G/|FG/E/ F>E DD/E/|FG A>G EF|DD D2 DE|FG A2 d/>c/A/G/|

FG/>E/ F>E DD/E/|F/E/F/G/ A>d c/A/G/E/|DD D2||FG|Ad/>e/ f2 ed|d/e/f/d/ e>d c/A/G/F/|

GA/B/ =c2 {A}d/c/A/G/|Ad/>{f}e/ d3 d/e/|fe d>c AG|FG/>E/ F>E DD/E/|F/E/F/G/ A>d c/A/G/E/|DD D2||

 

BLACK SLOVEN. AKA and see “Colonel Pickering’s March to Lexington.” English, Scottish, Amercan; Jig. A Major (Johnson): G Major (Winstock). AEac# (Johnson) or Standard tuning. AABB. The tune was used for the "British Light Infantry Song" in the Revolutionary War by the British army and Tory sympathizers, but originally was a lullaby (or so identifies David Johnson). The original song and tune were printed in The Universal Magazine (1771, printed with text only in the similarly titled Universal Songster, 1825/26; pg. 99), and by Thompson in A Choice Collection of Favorite Hunting Songs (1770). The song begins:

***

Last Valentine’s day, bright Phoebus shone clear,

We had not been a hunting for the space of one year.

I mounted Black Clover, that horse of great fame,

For to hear the horn blow and the words “Tally ho! Ho!”

***

Despite the naming above of the horse as “Black Clover,” the song is titled “Black Sloven,” and it is believed Black Sloven was the name of a renowned hunting horse (sloven means a careless person in appearance or work). It was the name of a favourite hunting mare of legendary speed that belonged to a Mr. Charles Turner (died c. 1733), of Clegg Hall, Lancashire, although it is not known if this was the original Black Sloven or not. The ancient Clegg Hall is known for its boggart (ghost), and was itself turned into a tavern in the 19th century called the Horse and Hounds, but generally known as the Black Sloven in rememberance of Turner and his steed.

***

Several other subsequent songs were sung to the tune of “The Black Sloven,” which had proved to be popular. Printer Isaiah Thomas, of Worcester, Massachusetts, issued a broadside ballad in 1787 called “Pegasus of Apollo,” set to “Black Sloven”. Its lyric was pointedly in sympathy with the post-Revolutionary insurgency called Shay’s Rebellion (after its most famous leader, Daniel Shays (c. 1747-1825), which developed out from a deep post-war economic depression in the northern states. The song (echoing the sentiments of the just-concluded conflict with Britain) begins:

***

Come, come my bold boxers, ‘tis Liberty calls,

Hark, hark, how she lustily bawls and bawls!

It is high time, if ever for mobbin ‘twas time;

To mobbin, ye chicks of dame Liberty run;

Scour up the old whinyard, and brush the old gun;

Freedom we’ll chime,

While Tag, Rag, and Bobtail,

Lead up our decorum, Huzza!

***

Sure these are the plaguiest of all plaguy times,

When villains must hang for their crimes, their crimes,

And debtors a gauntlope of bailiffs must run;

When rulers will govern, and we must obey,

And low down our gullets is cramm’d every day—

Rap, Rap, ‘tis a dun!

The sheriff’s behind him

We’ll gag him, and bind him, Huzza!

***

The tune’s martial connections were confirmed by its appearance in the Revolutionary War era manuscripts of several fifers and musicians. “Black Sloven” is, for example in Henry Beck’s music book (1786) and the 1786 music manuscript copybook of John Quincy Adams (1767-1848), of Newburyport, Massachusetts. “Black Sloven” is one of the melodies in Hannah Dawes’ music copybook (bound with a harpsichord tutor) c. 1790, from Massachusetts.  It has been recorded as played by musicians attached to Colonel Pickering’s American regiment as it marched from Salem, Massachusetts to Lexington, on April 19, 1775.  The tune is preserved in an old manuscript music book that was kept at the turn of the 20th century at the Essex Institute at Salem, in which it is called “Col. Pickering’s March to Lexington.” It also appears, under the title “Black Seven,” in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. There was even an American privateer named Black Sloven, operating out of New London, captianed by James Young. On the night of May 8, 1782, the Black Sloven captured the British schooner Betsey, bound for New York with a cargo of gunpowder and lumber. Source for notated version: Brown MS. (Scotland) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 45, pg. 111. Winstock (Songs and Music of the Redcoats), 1970; pg. 76 (appears as "The Light Infantry Song").

X:1

T:Colonel Pickering’s March to Lexington

M:6/8

L:1/8

K:G

DEF|GAG AGA|BcB Bcd|GAG AGA|BcB B2G|BAB B2c|

ded dcB|cBA A3|z3 B2c|ded dcB|cAc c2e|cBG GAB|

GFD D3|G3A3|BcB AGA|BcB AGA|GGG G3||

X:2

T:Black Seven

M:6/8

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

|: A | ded “tr”e>de | fgf “tr”f2e | ded “tr”e>de | fde “tr”f2e | f2e f2g |

(a3 a2)a | a>gf gee | e3 z2 :: f/g/ | a>ba a>gf | gef “tr”g2a | f>ef dfa |

e>de A3 | Add d2e | f>(gf/e/) fde | f>gf “tr”e>de | (d3 d2)e | f2e f2g |

(a3 a2)g | f2e d2A | AAA A3 | Add “tr”d2e | f>(g/f/e/) fde |fgf “tr”e>de | (d3d2) :|

X:1

T:Black Sloven

M:6/8

L:1/8

R:Slow

S:Brown manuscript, Elgin  c. 1775

B:David Johnson – Scottish Fiddle Music in the 18th Century

N:Fiddle tuned A,EA^c, drones used throughout

N:Notation is as sounds, not as fingered in scordatura tuning

K:D

A>BA BAB|cdc “tr”c2B|AEA BEB|cdc “tr”c2B|

ABc cde|dBB “tr”B3|efe edc|dBc “tr”d2f|ecA A>Bc|

BFE “tr”E3|A>BA A2B|c>dc/B/ cAB|cdc B>AB|A2A A2:|

|:c2B c2d|e2e edc|.B2.B .B2.B|”tr”B6|

AEA A2B|c>dc/B/ cAB|cdc B>AB|A2A A3:|

                       


BLACK SNAKE BIT ME ON THE TOE. AKA - “Blacksnake Bit Me on the Toe.” Old‑Time, Breakdown. D Major. DDad tuning. The tune is a version of "The Pateroller Song" or "Run Johnny/Smoke/Nigger Run," which supposedly dates to the slave rebellions of the 1830's and the attempts of the plantation owners to establish organized patrols to prevent clandestine meetings and runaways. Source for notated version: learned by Indiana fiddler Clyde Davenport from his father [Carlin]. Rounder 0197, Bob Carlin ‑ "Banging and Sawing" (1985).

                       

BLACK SPOOL, THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 57.

                       

BLACK STRIPPER, THE. AKA and see "The Kilkenny Jig." Irish, Jig. As Paul de Grae points out, the ‘black stripper’ is a kind of cow, although the title generally provokes mirth. See also "Arthur McBride," "The Castle Street Jig," "The Maids of Glenroe," "The Milkmaid," "The Maid at the Well," "The Blackthorn Stick," "An Maide Draighin."

                       

BLACK SWAN. AKA and see “The Comet [2],” “Doctor Peter’s,” “Down the Glen,” “The Glengesh,”  Minnie Foster’s Clog,” “Mrs. Minnie Foster.” Irish, Hornpipe. F Major. Standard tuning. AABB. The tune was recorded several times under this title by Belfast fiddler Sean McGuire (b. 1928). It appears in Ryan’s Mammoth Collection (1883) as “Minnie Foster’s Clog.” The Black Swan was a not uncommon name for an inn in the British Isles. Source for notated version: fiddler Sean McGuire [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 52. McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 90, pg. 25. Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

X:1

T:Black Swan, The

M:C

L:1/8

R:Hornpipe

K:F

AB | cFAc dFBd | cFAc f2 ef | gceg bgag | (3fag (3fed c2 AB |

cFAc dFBd | cFAc f2 ef | gcbg ecBG | (3FGF EG F2 :: ef | gceg bceb |

acfg acfa | gc’ba gfed | (3ded c’2c2 A,B, | (3CDC A,C Fac^c |

(3ded Bd fdfb | acfa gceg | (3fgf eg f2 :|

                       

BLACK TAR ON THE STICK. American. Library of Congress recording, 1938, Patrick Bonner; St. James, Beaver Island, Michigan.

           

BLACK TOM’S REEL. American, Reel. B Flat Major (‘A’ & ‘C’ parts) & F Major (‘B’ part). Standard tuning. AA’BBCC’. Howe (1000 Jigs and Reels), c. 1867; pg. 55.

X:1

T:Black Tom’s Reel

M:2/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:B_

(3F/G/A/ | B/F/d/B/ c/F/c/B/ | A/c/b/f/ g/e/c/A/ | B/F/d/B/ A/F/c/A/ |1

_e/c/A/c/ B/F/G/A/ :|2 e/c/A/c/ B |: g/f/ |

K:F

e/f/c/f/ e/f/c/f/ | e/f/c/f/ b/a/g/f/ | e/f/c/f/ e/f/c/f/ | a/c/e/g/ f/a/g/f/ | e/f/c/f/ e/f/c/f/ |

e/f/c/f/ b/a/g/f/ | e/c/d/B/ A/c/e/g/ | b/g/e/g/ f :|

K:B_

g/f/ | f/e/c/A/ F/E/D/A,/ | B,/D/F/A/ B/d/g/f/ | f/e/c/A/ F/D/C/A,/ |1

B,/D/F/A/ B/d/g/f/ :|2 B,/D/F/A/ B ||

                                   

BLACK VELVET WALTZ [1]. AKA and see “Whiskey Waltz.” Canadian (originally), American; Waltz. USA, Mo. Canada; Ontario, Prince Edward Island. C Major. Standard tuning. AABB. Perlman (1996) notes that Fred Mann (who had the tune from Howard Beyer) named this tune for a brand of Canadian whiskey. It has also been attributed to Winnipeg radio fiddler Andy De Jarlis. Sources for notated versions: Hank Haley [Phillips]; Sidney Baglole (b. 1912, Southwest Lot 16, West Prince County, Prince Edward Island; now resident of Freetown) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 175. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 241. Marimac 9017, Vesta Johnson ‑ "Down Home Rag."

X: 1
T:The Black Velvet Waltz
C:as played by Sidney Baglole, P.E.I.
C:Fiddle Music of P.E.I., Ken Perlman
R:Waltz
M:3/4
F:http://www.tastysoftware.com/abc/BlackVelvetW.abc      2005-05-09 20:42:23 UT

F:Reposted to tradtunes 5/9/05
K:C
L: 1/8
G,2|"C" C2 CB, CE|"C" G2 E2 C2|"F" F2 FE FA| "F" c2 cd cA\
   |"C" C2 CB, CE|"C" G2 GA GE| "G7" D2 DC DE| "G" D2 DF ED|
|"C" C2 CB, CE|"C" G2 E2 C2|"F" F2 FE FA| "F" c2 (3(BcB) A2 \
   |"G"G2 G^F GB| "G" d2 A2 B2| "C" c2 cB cd| "C" (c2 c2) :|
|: ce| "C" g2 g^f ga| "C" g2 e2 d2| "F" c2 cB cd| "F" c2 cd ef \
   |  "C" g2 g^f ga| "C" g2 =f2 e2| "G7" g3 ^f gB| "G" d2 e2 =f2|
| "C" g2 g^f ga| "C" g2 e2 d2| "F" c2 cB cd| "F" c2 (3(BcB) A2 \
   |"G"G2 G^F GB| "G" d2 A2 B2| "C" c2 cB cd| "C" (c2 c2) :|

 

BLACK VELVET WALTZ [2]. Old-Time, Waltz. D Major. Standard tuning. AA'AA"B. Source for notated version: Stuart Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 242.

           

BLACK WALNUT DOUBLE SHUFFLE. American, Jig. A Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 59.

X:1

T:Black Walnut Double Shuffle

M:6/8

L:1/8

R:Jig

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:A

A | cAc dBd | cAc B2A | GEG B2B | GEG B2B | cAc dBd | cAC B2A |

GEG EFG | AAA A2 :: E | Acd e2e | aga e2e | cAc B2B | cAc B2B |

Acd e2e | aga e2e | cAc B2A | EFG A2 :|

                       

BLACK WATCH MARCH TO KUMASI. Scottish, Pipe Tune. The tune commemorates a march of the Black Watch, the 73rd regiment, during one of the African colonial wars of the 19th century.

 

BLACK WATCH'S FAREWELL, THE. AKA and see "Earl of Glencairn."

 

BLACK WATER.  AKA and see “The Cameronian(‘s) Rant.” Scottish, Reel.

 

BLACK, WHITE, YELLOW AND RED.  AKA and see “Lesley’s March [1].” English, March. The tune appears in Watts’ Musical Miscellany (London, 1731).

 

BLACK WIDOW ROMP. An old-time tune composed by Chris Romaine.

 

BLACKAMOORE’S JIG, THE.  Scottish (?), Jig. D Minor. Standard tuning. ABB. In the olden days travellers were acquainted with two types of Africans, the tawny-colored people of North Africa, the Moors, and the black natives of the interior, whom they called ‘blackamoors’. The Blackamoor was a not uncommon inn sign in old Britain (Hackwood, 1985). McGlashan (Collection of Scots Measures), c. 1780; pg. 22.

X:1

T:Blackamoore’s Jig, The

M:6/8

L:1/8

R:Jig

B:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:D Minor

f|d^cd D2E|F>GA fgf|e3 c2e|f>ga gfe|f>ga Ad^c|d3 D2f|d^cd D2E|

FGA fgf|e3 c2g|a>ba gfe|f>ga Ad^c|d3 D2||E|F>G/A/=B/ cBA|

Gec C2D|E3 A,2 E|FED GFE|FED Ad^c|d3 D2:|

 


BLACKBERRY BLOSSOM/BLOSSUM [1] (Blat Na Smeur). AKA and see “Maud(e) Millar [2],” "The Strawberry Beds,” “Strawberry Blossom [3]." Irish (originally), Canadian, American; Reel. USA, southwestern Pa. Canada, Prince Edward Island. G Major (Harding, Kennedy, Kerr, O’Neill, Perlman, Sullivan): E Flat Major (Stanford/Petrie). Standard tuning. AB (Miller, Perlman, Stanford/Petrie, Sullivan): AAB (Hardings, Kennedy, Kerr, O’Neill). "The Magic Slipper" is a very similar tune. Familiar to Irish tradition, from at least the year 1850, if not earlier, according to Bayard (1981). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). It was recorded in the 78 RPM era in New York by Sligo fiddler James Morrison. Sources for notated versions: Planxty [Sullivan]; Shape (Greene County, Pa.; elderly when collected in 1930's) [Bayard]; Sterling Baker (b. Mid-1940's, Montague, North-East Kings County, Prince Edward Island) [Perlman]; Kerry fiddler Paddy Cronin [Miller]. Allan's Irish Fiddler, No. 71, pg. 18. Bayard (Dance to the Fiddle), 1981; No. 97, pg. 57. Cole (1000 Fiddle Tunes), 1940; pg. 8. Cotter (Traditional Irish Tin Whistle Tutor), 1989; pg. 76. Giblin (Collection of Traditional Irish Dance Music), 1928; 14. Harding’s Original Collection; No. 75. Kennedy (Traditional Dance Music of Britain and Ireland: Rants & Reels), 1997; No. 6, pg. 4. Kerr (Merry Melodies), vol. 1; pg. 34 (appears as "The Strawberry Beds"). Miller (Fiddler’s Throne), 2004; No. 124, pg. 83. O'Neill (Krassen), 1976; pg. 113. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1295, pg. 243. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 560, pg. 104. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 62. Ryan’s Mammoth Collection, 1883 pg. 31. Stanford/Petrie (Complete Collection), 1905; No. 475, pg. 120. Sullivan (Session Tunes), vol. 3; No. 52, pg. 21. Ainar ANR-001, Todd Denman – “Like Magic” (1995. Appears as “Maude Millar’s”). BM-91, Buddy MacMaster – “Glencoe Hall.” Edison 51041 (78 RPM), accordion player John H. Kimmel (appears as one of the tunes in the "Stack of Barley Medley"). Gael‑Linn 069, Kevin Burke ‑ "An Fhidil Straith II." Green Linnet CD 1069, Michael Cooney – “Happy to Meet, Sorry to Part” (1986). Shanachie 79006, Mary Bergin ‑ "Traditional Irish Music." Shanachie 33004, "The Pure Genius of James Morrison." Shanachie 79010, Planxty – “The Well Below the Valley.” Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. Learned from New York fiddler Andy McGann). Tara CD 3001, Planxty – “After the Break.” Seamus Tansey – “Jigs, Reels and Airs.” P.J. & Marcus Hernon – “Beal A' Mhurlaigh” In Safe Hands. Conal Ó Gráda – “The Top of Croom.” O'Aces – “From Night Til Morning.” Ben Lennon and Friends – “The Natural Bridge.” John O'Halloran – “But Why, Johnny?” Ceoltoiri Coleman – “The Killaville Sessions.” Mary Mac Namara – “The Blackberry Blossom.” Kevin Crawford – “The ‘D’ flute album.”

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:Blackberry Blossom, The [1]

R:reel

D:Mary Bergin: Feadoga Stain.

D:Planxty: The Well Below the Valley

Z:id:hn-reel-117

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

K:G

ge|:dBAd BG~G2|dBBA B2ge|dBAd BG~G2|1 eaag abge:|2 eaag agef||

~g3f gaba|~g3b agef|~g3f gbag|ea~a2 agef|

~g3f gaba|~g3b a2ga|agaf gfed|eaag abge||

X:2

T:Blackberry Blossom, The [1]

M:2/4

L:1/8

R:Reel

S:Stanford/Petrie (1905), No. 475

Z:AK/Fiddler’s Companion

K:E_

e/>c | B/G/F/A/ G/E/E/F/ | G/E/E/F/ G/B/e/c/ | B/G/F/A? G/E/E/G/ |

F/f/f/g/ fe/c/ | B/>G/F/A/ G/E/E/F/ | G/A/G/F/ G/B/e/c/ | B/G/F/A/ G/E/E/F/ |

G/c/c/=B/ c || c/d/ | e/d/e/f/ g/a/g/f/ | e/d/e/f/ g/c/c/d/ | e/d/e/f/ e/f/g/e/ |

c/f/f/g/ f c/d/ | e/d/e/f/ e/f/g/f/ | e/d/e/f/ g/c/c/a/ | g/e/f/d/ e/d/c/B/ | G/c/c/=B/ c ||

 


BLACKBERRY BLOSSOM [2].  AKA and see “Old Time Blackberry Blossom.” Old‑Time, Bluegrass; Breakdown. USA; Tennessee, Kentucky, Nebraska. G Major ('A' part) & E Minor ('B' part). Standard tuning. ABB (Christeson): ABB' (Berline): AABB (Brody, Krassen, Lowinger, Phillips). The tune is well‑known as a traditional Kentucky dance tune. Charles Wolfe and Barry Poss note that Kentucky fiddlers have played a tune by that name since before the Civil War and that Kentucky fiddler Dick Burnett recorded a version in 1930 which has been the model for many traditional southern Kentucky/northern Tennessee versions (see “Blackberry Blossom [4]"). This version however is not Arthur Smith's "Blackberry Blossum," which is different and may have been an original of his. Smith recorded his version with the Arthur Smith Trio in 1929. "A family story tells of Arthur's playing the tune over WSM and the station conducting a contest to name the tune; bushels of mail came in, and a woman in Arkansas won with the name 'Blackberry Blossom'" (Charles Wolfe & Barry Poss).

***

Western New York Sources for notated versions: Bob Walters (Lincoln, Nebraska) [Christeson]; Charlie Higgins (Krassen says his version is loosely based on Higgin's playing); Benny Thomasson (Texas) [Phillips]. Brody (Fiddler’s Fakebook), 1973; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 142, pg. 101. Frets Magazine, February 1988, "Byron Berline: The Fiddle;" pg. 56. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 16. Krassen (Appalachian Fiddle), 1973; pg. 60. Lowinger (Bluegrass Fiddle), 1974; pg. 14. Phillips (Fiddlecase Tunebook), 1989; pg. 7. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pgs. 26 & 27 (two versions). Reiner (Anthology of Fiddle Styles), 1977; pg. 32. County 705, Sonny Miller & the Southern Mountain Boys‑ "Virginia Breakdown." Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987. Learned from Eamonn O'Loughlin and played as a hornpipe). Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from legendary Galax, Va., fiddler Uncle Charley Higgins). Rounder 0092, Tony Rice ‑ "Manzanita." Rounder 0090, Mark O'Connor ‑ "Markology." Rounder 0073, "The White Brothers in Sweden." Rounder 0241, The Chicken Chokers ‑ "Shoot Your Radio" (1987. Learned from Mike Seegar, Judy Hyman & Bert Levy). Sugar Hill Records, Byron Berline & John Hickman ‑ "Double Trouble." Vanguard VSD 45/46, "The Essential Doc Watson." Omac 1, Mark O'Connor ‑ "A Texas Jam Session."

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:Blackberry Blossom [2]

L:1/8

M:2/4

K:G

e/f/|g/a/b/g/ f/g/a/f/|e/f/g/e/ d/B/A/B/|G/A/G/E/ D/E/G/A/|B/A/G/B/ Ae/f/|

g/a/b/g/ f/g/a/f/|e/f/g/e/ d/B/A/B/|G/A/G/E/ D/E/G/A/|B/G/A/F/ G:|

|:G/D/|Ee/B/ de/d/|Ee/B/ d/e/d/B/|Ee/B/ d/d/e/f/|g/a/b/g/ a/g/e/d/|Ee/B/ d/e/d/B/|

Ee/B/ dd/A/|B/d/g e>d|B/G/A/F/ G:|

 

BLACKBERRY BLOSSOM [3]. AKA and see "Off She Goes," "Off She Goes for Butter and Cheese," "Up She Got and Off She Went," "Peel the Willow."

 

BLACKBERRY BLOSSOM [4]. AKA and see “Garfield’s Blackberry Blossom.” Old‑Time, Reel. USA, Kentucky. G Dorian. Standard tuning. AABB: AABB’ (Silberberg): AABBCC (Ed Hayley). This tune is simply labelled “Blackberry Blossom” on older recordings, but has picked up the nomen (perhaps originating with John Hartford) “Garfield’s Blackberry Blossom” to distinguish it from the Arthur Smith tune (a related, later tune). Kentucky fiddler Dick Burnett said he learned his version "from a blind fiddler in (Ashland,) Johnson County, (eastern) Ky., named Ed Haley" (elsewhere Burnett said he actually learned the tune from northeastern fiddler Bob Johnson, who had it from Haley {1883‑1951}, who was a legendary fiddler in east Kentucky). The tune was in fact Haley's signature tune, much associated with him, although he never commercially recorded it (Mark Wilson & Guthrie Meade, 1976). A story about the origin of the Garfield title comes from Jean Thomas's Ballad Makin' in the Mountains of Kentucky, collected perhaps from several sources. It seems that a General Garfield named the tune during the Civil War after hearing a soldier playing it on the harmonica. He remarked to the musician that it was his favorite tune but said he couldn't remember the title, whereupon he expectorated a stream of tobacco juice onto a white blackberry bush blossom; this was noticed and the tune named. As improbable as that story sounds, the tradition of General Garfield's liking for the tune was insisted on by Fiddlin’ Ed Morrison on his Library of Congress recording (an influential version); he says Garfield used to whistle the tune frequently and it was Morrison’s harmonica-playing father who as a boy picked it up from the General. Betty Vornbrock and others have noted a similarity between “Garfield’s Blackberry Blossom” and the West Virginia tune “Yew Piney Mountain [1],” a variant. This version is also played by Kentucky fiddlers J.P. Fraley and and Santford Kelly, has been recorded by Owen “Snake” Chapman. Jean Thomas recorded the tune for the Library of Congress in 1930 from fiddler Ed Morrison (Boyd County, Ky.) at the American Folk Song Festival (AFS 300A). Sources for notated versions: (Buddy Thomas (Ky.) [Phillips]; a home recording of Ed Haley (Ashland, Boyd County, Kentucky) by his son Ralph [Titon]; Scott Marckx [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 27. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 11. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 10, pg. 43. Burning Wolf 001, Reed Island Rounders – “Wolves in the Wood.” Columbia 15567‑D (78 RPM), (Dick) Burnett and (Oscar) Ruttledge (1930). Document-DOCD-8025, Burnett & Rutherford. Heritage XXXIII, Buddy Thomas ‑ "Visits" (1981). Rounder 0378, Owen “Snake” Chapman – “Up in Chapman’s Hollow” (1996). Rounder 1004, "Ramblin' Rickless Hobo: The Songs of Dick Burnett and Leonard Rutherford." Rounder 1133, Ed Haley vol 2 – "Grey Eagle".

See also listing at:

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

 

BLACKBERRY BLOSSOM(S) [5]. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: fiddler Judy Hyman (N.Y.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 27. Songer (Portland Collection), 1997; pg. 32. Ray Bierl - “Cowboy Dancing.” County 547, "Arthur Smith, Vol. 2" (1978. Orig. rec. 1935).

                       

BLACKBERRY BUSH, THE. Scottish, Reel. D Major. Standard tuning. AABBCCDD. The first two part of the tune are traditional, while the latter two were composed by Donald MacLeod. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 45. Plant Life Records PLR 017, "The Tannahill Weavers" (1979).

                       

BLACKBERRY ONESTEP. Old-Time, One Step (cut time). USA, Missouri. F Major. Standard tuning. AB. Source Fred Stoneking learned the tune from his father, Lee Stoneking, who lived in the northern Ozarks in Missouri. It shares much melodic material with “Blackberry Waltz,” also played by the Stonekings. Source for notated version: Fred Stoneking (b. 1933, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 134. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996).

                       


BLACKBERRY QUADRILLE. Canadian, American, New England; Quadrille (6/8 time). USA; Central New York State, New England, Arizona. D Major (most versions): G Major (Ruth). Standard tuning. AABB. The tune is related to "Off She Goes" and "Rustic Reel;" there is also a "Blackberry Reel" that is quite close to the tune, collected by Cazden (1955) in New York's Catskill Mountain region. It has been reported that there is/was a dance called the Blackberry Quadrille danced at barn and contra-dances in New England and New York. The tune was even known as far afield as Arizona, where it was played by champion fiddler Viola “Mom” Ruth in the mid-20th century. Transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) played a version of this tune mixed up with "Little Burnt Potato" called "Burning Potatoes" (see "Little Burnt Potato"). Source for notated version: Woodhull's Old Tyme Masters, 1941 (New York State) [Bronner]. Bronner (Old Time Music Makers of New York State), 1987; No. 13, pg. 76. Cazden, 1955; pg. 13. Messer (Way Down East), 1948; No. 75. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 133, pg. 87. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 20. Ruth (Pioneer Western Folk Tunes), 1948; No. 107, pg. 37. Sweet (Fifer’s Delight), 1964; pg. 27. Victor 36403A (78 RPM), Woodhull's Old Tyme Masters, 1941 (released 1948).

X:1

T:Blackberry Quadrille

M:6/8

L:1/8

K:D

A2a ba^g|a2f d2f|e2c Afg|fdB Afg|a2a ba^g|a2f d2f|e2c ABc|dfe d3:|\

|:FG|A2B G2A|F2A def|g2e c2e|dfe dcB|A2B G2A|F2A def|g2e ABc|d2f d:|

X:2

T:Blackberry Quadrille

M:6/8

L:1/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion
K:G

d2d ed^c|d2B G2B|A2F D2D|B2A G2 (B/c/)|d2d ed^c|d2B G2B|

A2A DEF|G3 G3 (B/c/}:|

|:d2d e2d|B2d b2b|c’2d def|g2a b2 (B/c/)|d2d e2d|B2d b2b|c’2d def|g3g2:|

                       

BLACKBERRY REEL. American, Jig. USA, New York’s Woodland Valley, Catskill Mountain region. D Major. Standard tuning. AA’BB’. Cazden (Dances from Woodland), 1945; pg. 10.

X:1

T:Blackberry Reel

M:6/8

L:1/8

S:Cazden – Dances from Woodland

K:D

(3A/d/f/ |: a2a ba^g | a2f d2f | e2c A2g | fdB A2 (3A/d/f/ | a2a ba^g | a2f d2f |

e2c ABc |1 d3 z2 (3A/d/f/ :|2 (d3 d)cB ||: A2B G2A | F2A d2f | g2e cBc |

dfe dcB | A2B G2A | F2A d2f | g2e cBc |1 d3 dcB :|2 d3 z3 ||

                       

BLACKBERRY WALTZ. Old-Time, Waltz. F Major. Standard tuning. AB. Composed by Nonnie Presson, who, with her brother Bulow Smith, comprised the Perry County Music Makers. Presson played the a fretless zither (with five chords that she had custom-made), wrote songs, and sang, and the duo recorded a few sides before World War II. Source Fred Stoneking learned the tune from his father, Lee Stoneking, who lived in the northern Ozarks in Missouri. A companion piece played by the Stonekings (sharing much melodic material) is the “Blackberry Onestep.” Source for notated versions: Fred Stoneking (b. 1933, Missouri) [Beisswenger & McCann, Silberberg]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 135. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 6. Davis Unlimited DU 33024, Perry County Music Makers – “Going Back to Tennessee” (1976). Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996). Rounder Heritage Series 1166-11592-2, Fred Stoneking (et al) – “The Art of Traditional Fiddle” (2001).

                       

BLACKBIRD [1], THE (An Londubh). AKA and see "Once On a Morning of Sweet Recreation," “Bonny Lass of Aberdeen.” See "Napoleon Crossing the Rhine” for an American version of the same tune. Irish, English; Slow Air, Set, Long or Country Dance (4/4 time), Reel, Hornpipe. D Major (Allan, O'Neill/1850): D Major/Mixolydian (Cranitch, Moylan, Mulvihill, O'Neill/1001): D Mixolydian (Breathnach, Johnson, Kennedy, Kerr, O'Neill/1915 & Krassen, Raven, & Roche). Standard. AB (Moylan): AAB (Johnson, Kennedy, Raven, Roche): AABB (Allan, Breathnach, Cranitch, Mulvihill, O’Farrell, O'Neill {4 editions}): AABCBC (Roche). The original song from which the instrumental versions take the title was written c. 1707 in praise of the Old Pretender, according to Flood (1906), who found reference to it as early as 1709 and who noted its printing by Alan Ramsay in 1724 in his Tea Table Miscellany (Ramsey records that he took the song down from an Irish participant who took part in the 1715 revolt). Other sources date the words from the war of 1688-90. So well understood was the nickname The Blackbird as applied to James I, Flood says, that the Jacobite Earl of Thomond, in 1704, had a horse of that name.  Caoimhin Mac Aodha points out that the image of the blackbird, An Lon Dubh, is that of a melodious harbinger of joy in Irish folklore, unlike the raven, crow, rook or jackdaw, which are all associated with death and misfortune. In this spirit of hope the ‘Blackbird’ name was applied after the Old Pretender to the later James II and, in the 19th century, to Charles Stewart Parnell.

***

The melody itself became known as a harp air of the latter Jacobite period. Cooke included it in his Selection of Favourite Original Irish Airs arranged for Pianoforte, Violin or Flute (Dublin, 1793), but in 1806 O’Farrell was already printing it with the note “Very old.” O’Neill (1913) finds a simple setting of the melody in A Pocket Volume of Airs, Songs, Marches, etc., vol. 1, published by Paul Alday at Dublin about 1800-1803. Breathnach (1963) printed a verse of the song that was in his source’s (George Rowley) family:

***

The Maytime is come and the gay flowers are springing,

The wild birds are singing their loving notes o’er;

But all the day long through my lone heart is ringing,

The voice of my blackbird, I’ll never so more.

***

Later the melody gained currency as a set-dance tune, and the Scottish editor Kerr noted that the tune was the "Chef D'oeuvre of all the Irish fiddlers" in the latter 1800's, although he never heard any two of them play the tune exactly alike. He claims his version to be a composite of the styles and embellishments he heard. About the year 1930 an itinerant schoolteacher told a young John Kelly: "There are a lot of people playing 'The Blackbird' who can't play it right, but I'm warning you, my boy, never play 'The Blackbird' unless you have all the parts right and the proper tempo. It's the one tune you will always be picked up for if you play it wrong" (quoted in Dal gCais, 1979, pg. 35). James Cowdery (1990) states that it is one of the few tunes found in all parts of Ireland with the same title and the same melodic structure, though variations abound. Donegal fiddler Neillidh Boyle (1889-1961), for example, played an intricate version of "An Londubh" which included a birdsong imitation generated by playing the melody on the bottom strings with the bow and fingering and plucking chords on the top two strings with the left hand at the same time (Mac Aoidh, 1994). An interesting tracing of the aural tradition was outlined by Mac Aoidh who remarks that southwest Donegal fiddler Frank Cassidy learned the tune from the lilting of John Lyons or Teelin. The famous musician and collector Séamus Ennis learned this version, which in turn was passed onto fiddler Tommie Potts, who made a historic recording of the tune. Elsewhere Mac Aoidh states that in south Donegal the air/hornpipe is associated with John and Mickey Doherty and James Byrne as well as Cassidy.

***

In modern titles the song is seldom sung, though the tune is frequently played as a slow air as well as a set-dance and other settings. In Irish tradition “The Blackbird” is one of the four tunes called the Traditional Sets (i.e. set dances), along with “Job of Journeywork,” “St. Patrick’s Day” and “Garden of Daisies.” Breandan Breathnach (1971) states that the original set dance was "said to have been composed by Keily, a Limerick dancing master, over 150 years ago." Cowdry (1990) points out the set-dance's structure--fifteen bars for the 'A' part and thirty for the 'B'--is unique in Irish traditional music. Reel and hornpipe versions are not nearly so widespread in this century, "until some recent recordings (such as "The Bothy Band" in 1977) brought them to more prominence" (Cowdery). Cowdery provides extensive musical analysis of a number of different versions of this tune and tune family in his work The Melodic Tradition of Ireland. Sliabh Luachra fiddler Denis Murphy was renowned in Ireland for the way he could play “The Blackbird” on the fiddle and dance at the same time (Donal Hickey, Stone Mad for Music, 1999).

***

“The Blackbird” was famously recorded an a 78 RPM by piper Leo Rowsome (recorded with “St. Patrick’s Day”). Rowsome’s recording has a story associated with it, as told by Sean Reid in the sleeve notes to "Leo Rowsome Volume 1" (Ossian OSS 66), to the effect that “it was an impromptu studio session where Leo wrote out the music on the back of an envelope for two English musicians, who had no knowledge of Irish music, but who just happened to be there and ad-libbed their way through some truly great music” (communicated by Anthony Buffery). Buffery says that, according to Reg Hall, “in reality, Rowsome had been invited to London specifically to play at dance hall ceilis, and on those recordings the fiddle player and the two drummers were highly competent Gasra na nGael London-born Irish musicians who knew the tunes inside out.  They would have had plenty of opportunity to rehearse during the ceilis.  Sean Reid probably got the myth story from Rowsome after a few drinks back in Dublin.” Others corroborate at least part of the myth: Rowsome was known to have had the ability to quickly write out music in musical notation on the spot.

***

Sources for notated versions: Chicago police sergeant and fiddler James O’Neill, Francis O’Neill’s collaborator, who learned the tune from his father in County Down [O’Neill]; fiddler George Rowley/Seoirse Ó Roghallaigh (Ireland) [Breathnach]. James Cowdery, in his book The Melodic Tradition of Ireland, has transcribed fifteen versions of the tune from Irish musicians (some contributed more than one version): New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; whistle player Cathal McConnell (a slow-air setting credited to a Fermanagh musician Pat McKenna), fiddler John Kelly (a slow-air setting learned from Donegal fiddler John Doherty), fiddler Denis Murphy, piper Paddy Keenan, piper Seamus Ennis, fiddler Tommy Potts, flutist Peter Broderick, fiddler Michael Coleman, piper R.L. O'Mealy, and piper Johnny Doran. The piece is a popular slow air in County Donegal. Allan's Irish Fiddler, No. 111, pg. 28. Breathnach (CRÉ I), 1963; No. 207, pg. 84. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 85. Cowdery (The Melodic Tradition of Ireland), 1990; pgs. 134-168. Cranitch (Irish Fiddle Book), 1996; No. 95, pg. 164. Harker (300 Tunes from Mike Rafferty), 2005; No. 296, pg. 97. Johnson (The Kitchen Musician No. 5; Mostly Irish Airs), 1985 (revised 2000); pg. 15. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 6. Kerr (Merry Melodies), vol. 1; pg. 41. Mallinson (Enduring), 1995; No. 100, pg. 42. Moylan (Johnny O’Leary), 1994; No. 230, pgs. 132-133. Mulvihill (1st Collection), 1986; No. 2, pg. 109. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 132. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 386, pg. 184. O'Neill (Krassen), 1976; pg. 222. O'Neill, 1910; No. or pg. 343. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1793, pg. 336. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 985, pg. 169 (set dance). O’Neill (1913), pg. 131. Raven (English Country Dance Tunes), 1984; pg. 172. Roche Collection, 1982; v7ol. 1, No. 56, pg. 28. Roche Collection, 1982; vol. 2, No. 270, pg. 29. Claddagh Records, James Byrne – “The Road to Glenlough.” Folktracks Records, John Doherty – “Pedlar’s Pack.” Folktracks Records, Neilly Boyle – “The Fairy Fiddler of Donegal.” Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet GLCD 3097, Joe Burke, Andy McGann & Felix Dolan – “A Tribute to Michael Coleman” (1994 reissue of the 1966 Shaskeen album). Intrepid Records, Michael Coleman - “The Heyday of Michael Coleman” (1973). Leader LEA 2004, Martin Byrnes. North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Sage Arts Records, Cathal McConnell & Len Graham – “For the Sake of Old Decency” (1993). Shanachie 34002, Denis Murphy – “The Star Above the Garter.” Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995. Slow air and set dance/hornpipe). Shaskeen Records OS‑360, Andy McGann, Joe Burke & Felix Dolan ‑ "A Tribute to Michael Coleman" (1966).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Blackbird, The [1]

M:2/4

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 985

Z:AK/Fiddler’s Companion

K:D

d=c|B2d2|=c2B2|ABAG|AB=cA|dcde|dcAF|GAGF|

D2 DE|F2FG|A2 fe|dcde|dcAF|GAGF|D2D2|D2:|

|:de|f2d2|f2g2|abag fgaf|g2 gf|gbaf|gagf|d2 de|fede|f2g2|

abag|fgaf|gagf|d2d2|defg|abag|fgaf|gage|f2 ed|c2AB|

c2 de|defg|a2 z2|A3G|FGAB|=c3e|d^cAF|GAGF|D2D2|D2:|

X:2
T:Blackbird, The [1]
R:set piece
C:Keily, a Limerick dancing master
S:Mike Rafferty
Z:Lesl
M:C|

L:1/8
Q:1/2=60
K:D mix
d3A|:[M:C|] BGBd cABG|AGFG ABcA|d2de fdAF|GAGF D2
DE|[1 FEFG ABcA|d2de fdAF|[M:3/2] GAGF D2DA d3A:|
[2 [M:C|] FEFG ABfe|d2de fdAF|[M:3/2] GAGF D2DA d3
"next part"
e||:[M:C|] fede ffg2|abag fgaf|g2gf gbag|fagf d2
de|fede ffg2|abag fgaf|[M:3/2]g~g2f d2d>^c d
"next part"
efg|[M:C|]abag fgaf|g2 ge fdeB|dcAG ABcd|ed (3EFG A4|
"next part"
ABAG FGAB|c2 ~e2 dcAF|[1[M:3/2]G~G2F D2 D>A d3e:|
[2[M:3/2]G~G2F D2 D>A D4||

X:3

T:Blackbird, The
T:An Londubh
R:slow air
M:
Z:Transcribed by henrik.norbeck@mailbox.swipnet.se
L:1/8
Q:1/4=160
K:Dmix
d2{ed}c2|:B6{cB}AB c6{dc}BG A8{B}A/G/A/B/c/A/
d4e>dc A4{BA}F2 G6AB A4{BA}F2 D8E2
F6GA f6{gf}e2 d4e2fd A6{BA}F2 G6AB A4{BA}F2 |1 D12 GA :|2 D12||
|:de f6{gf}e d2ef4g a6{ba}g f/g/a/f/ g3ab2 a6{ba}f2 d8eg|
f6{gf}ede f2g a6{ba}g fgaf g4f2 d8efg|
a6{ba}g fgaf g6{ag}e2 f6e{a} dcAB c4B/A/B/c/d/e/f/g/b/ a8|
A6{BA}GE F6{A}GE c4{d}cBc dcA6{BA}F2 G6AB A4{BA}F2 D12:|

 

BLACKBIRD [2], THE. Irish, Set Dance. E Minor. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 296, pg. 166.

 


BLACKBIRD [3], THE. AKA – “The Royal Blackbird.” Irish, Slow Air (4/4 time). C Major (Joyce): D Major (O'Sullivan/Bunting). Standard tuning. AB (Joyce): AABB (Bunting). The Irish collector Edward Bunting (1840) thinks the tune "bears evident marks of a much higher antiquity" than the Jacobite war of 1688-90, though O'Sullivan finds the earliest printed version to have been issued on a London broadside in 1718. O'Farrell (1804-10), too, marked it "very old." It is clear however, that the tune became immensely popular from the early 18th century to throughout the 19th century. "In the early half of the last century this song was known and sung all over Ireland. It was a particular favourite in Limerick and Cork, so that I learned it at a period too early for me to remember. An abridged copy of the song is given in Duffy's Ballad Poetry; but I give here the whole text, partly from memory, and partly from a ballad‑sheet printed in Cork by Haly, sixty or seventy years ago. Duffy tells us that the song‑‑i.e. the curtailed copy he has given‑‑is found in a Scotch collection of Jacobite Relics. But the words are Irish‑‑as much so as the splendid air, which is found in many Irish musical collections, both printed and MS., including Bunting's volume (1840), and which was, and still is, played everywhere by Irish pipers and fiddlers. My notation of the air follows the Munster musicians and singers of sixty yeas ago. The 'Blackbird' meant the Young Pretender, Prince Charles Edward Stuart. This custom of representing the Pretender‑‑and much oftener Ireland itself‑‑under allegorical names was common in Ireland in the 18th and the first half of the 19th century; the original object of which was concealment, so that the people might be able to sing their favourite Jacobite and political songs freely in the dangerous times of the Penal Laws" (P.W. Joyce). Zimmerman, in his Songs of Irish Rebellion (pg. 57) mentions the use of birds as metaphorical images and states that the blackbird was the first avian to be used in such a representational manner in Anglo-Irish songs (see Bayard's note quoted at length in version #4).

***

The song is not often sung in modern times but remains well-known as an instrumental throughout Ireland. Cowdery (1990) speculates this may be because of its ocatave-and-a-fifth range, with emphasis on the high notes as well as the low finals, or perhaps due to the "rather ambiguous feelings many Irish people have about James II's flight and exile."

***

One fair summer’s morning of soft recreation,

I heard a fair maiden a making great moan.

With sighing and sobbing and sad lamentation,

And saying my blackbird most royal has flown.

My thoughts they deceive me, reflection it grieves me,

And I am overburdened with sad misery,

Yet if death it should blind me as true love inclines me,

My Blackbird I’d seek out wherever he be.

***

Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection gives the source as "D. O'Donnell, harper, Co. Mayo, 1803." Bunting (The Ancient Music of Ireland), 1840; p. 72. Crosby (The Caledonian Musical Repository); pp. 138, 139. Joyce (Old Irish Folk Music and Song), 1909, Nos. 249, 250, 376 (with Jacobite words), 762, 768. O'Farrell (Pocket Companion), volume II, pg. 132. O'Neill (Irish Music), 1915; Nos. 295, 386; O'Neill (Irish Minstrels and Musicians); pg. 131 (two sets). O'Neill (Music of Ireland); Nos. 199, 200, 201 (see for this, version #4), 488, 1594, 1793. O'Sullivan/Bunting, 1983; No. 98, pgs. 142-143. Petrie, Nos. 292, 519, 672, 1379. Scanlon, pg. 87.

X:1

T:Blackbird, The [3]

M:C

L:1/8

S:Bunting

K:D

d/c/|B2 c>B A2 AB/c/|d>e d/cA/F/ G>FD>E|Fg f/g/e/f/ d>c A/G/F/A/|

GG/F/ DD D2z2:|

|:d/e/|ff/e/ d/e/f/g/ a2 a/g/f/a/|gfga g>f d d/e/|ff/e/ d/e/f/g/ a2 a/g/f/a/|

gg/f/ dd d3 f/g/|a/b/a/g/ f/g/a/f/ g2 fe/f/|d>c A/B/c/d/ f>g a2|

Ag f/g/e/f/ d>c A/G/F/A/|GG/F/ DD D2z:|

X:2

T:Blackbird, The [3]

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:C

F/G/|A>c _BA G>F G A/=B/|c>Bc/B/ G/E/F>E CC/D/|E>FG e/dc>B G/F/E/G/|

F>E CC C2 FG|A>c _BA G>F G A/B/|c>Bc/B/ G/E/F>E C C/D/|

E>F G e/d/ c>B G/F/ E/G/|F>E CC C2||G/A/B/|c>d ef g>f eg|f>e fg f>e cG|

c>d ef g>f eg|f>e cc c3 e/f/|g>f eg f2 g/f/e/c/|_BG Bc/d/ e>f gE/F/|

G>F GA/B/ c>B GE/G/|F>E CC C2||

 


BLACKBIRD [4], THE. American, "Piece" or Air. G Major. Standard tuning. One part. Originally an Irish air, preserved by Pennsylvania fiddlers ("to their credit", says Bayard {1981}, who seems quite taken by the tune). "In this region it is not played as a dance, although dance versions have been recorded elsewhere, but as a 'piece' (i.e. a folk instrumental tune with no function beyond that of entertainment), or a 'dead march', which is what the players of both versions (see also 'Napoleon Crossing the Rhine' [2]) given here understand it to be. Joyce, notes that the air 'was played everywhere by pipers and fiddlers' (Joyce, 1909, p. 181); and in the course of tradition it has split into several rather sharply differentiated versions, of which our A represents the one seemingly best known. Our B version gives the air its usual American title of 'The Blackbird'. It is under this name that most country musicians in western Pennsylvania known the tune. To judge from collected and printed versions, 'The Blackbird' has undergone more extensive re‑creation by some of its players in American than in the old country. It would appear that old‑country players generally keep the main outlines of the air in tact, even though they may alter mode, tempo and rhythm. In western Pennsylvania the editor has recovered more than one version in which variation has involved truncation, reversal of the order of parts, displacement of some phrases as to relative location or pitch, and even the introduction of new turns to replace the old, familiar ones. Such changes may be observed in 'The Blackbird' (Martin version). Sometimes they cause the fine qualities of a tune to evaporate. But apparently the majestic movement of this tune has not been impaired by the alterations which (this) version has undergone. The extent to which popular re‑creation may transform a tune without producing an entirely different melody could hardly be better exemplified than by these two sets. What has fixed the name of 'The Blackbird' upon the tune in this country, and made it a frequent name in Ireland, is the fact that, although it is primarily an instrumental tune here, it is also a vocal melody there, and is often set to a song of loyalty to the Young Pretender. In 1651 the royalist ballad‑printer Richard Burton issued a broadside entitled 'The Ladies Lamentation. For the losse of her Land‑lord', a song in two parts and eight stanzas lamenting the misfortunes and exile of Charles II. This ballad refers to Charles in the first stanza as the 'Black‑bird (most Royal)' {Zimmerman, in his "Songs of the Irish Rebellion," printes sex verses of a song entitled "The Royal Blackbird."} In Ireland at a later period, the song‑makers loyal to the house of Stuart seized on the piece with its symbolism so convenient to their necessities, and remade it‑‑cutting it down to five stanzas, deleting all specific reference to the career of Charles II, giving prominence to the Blackbird symbol, modernizing the language, and introducing other variations. Thus remade, the song was understood to refer to Charles Edward Stuart, the famous 'Prince Charlie'‑‑and in this guise it has persisted in tradition until the present day. It was also in Ireland, apparently, that this revision of the old Caroline ballad became attached to the tune represented by our version 'A' ‑‑a tune which Padraic Colum finds hard to associate with defeat, because of its beauty and pride. Along with this air, the song travelled to America, and the editor has recovered a fragment in Greene County. But the many instrumental versions of the tune in Pennsylvania doubtless reflect a tradition quite independent of the actual song, although its name has impressed itself upon the melody everywhere.

***

'The Blackbird' has had recent local tragedy associated with it as well as 'old, unhappy, far‑off things'. A persistent tradition in southwestern Pennsylvania asserts that in Washington County a man once shot his son for singing this tune. The shooting actually occurred; but whether this tune is the one which occasioned it is not so certain. In 1822 a man named William Crawford was living at Horseshoe Bottom in Fallowfield Township, Washington County. He had been in the British army during the War of 1812, and was so ardently pro‑English that he proudly styled himself 'Old Britannia.' He did not get along well with the rest of his family, and his son Henry used to snatch at every opportunity maddened the old man, and Henry sang it in his presence continually‑‑despite threats of murder, to which no one paid much attention. On July 30, 1822, Crawford had a 'manure‑hauling frolic' at his home. Henry appeared, and disregarding warnings, commenced 'The Blackbird,' when his father got his gun, took deliberate aim, and shot his son, killing him almost instantly. Crawford was hanged February 21, 1823. At his trial and thereafter he displayed an indifferent and contemptuous attitude toward the proceedings, and acted with what was taken for blasphemous levity and defiance. A full account of the tragedy‑‑from which the above abstract was made‑‑may be seen in Earle R. Forrest, 'History of Washington County Pennsylvania' (Chicago: S.J. Clarke Co., 1926), I 370, 374‑6. The source just cited acconts for the father's reaction by stating that 'The Blackbird' was 'a popular patriotic American song of the day' (p. 374). If so, it could hardly have been the Jacobite piece associated with our tune; but it is not impossible that there was a patriotic native song set to this air at one time. At any rate, tradition has definitely associated the tune with this tragedy, which is frequently mentioned when the air is played in southwestern Pennsylvania. Other Pennsylvania instrumental versions of the air are Bayard Coll., Nos. 38, 90, 278...An unusual vocal set appears in Walker, The Southern Harmony, No. 43, to 'Hark! don't you hear the turtle dove, The token of redeeming love'; and the same is in the James edition of The Original Sacred Harp (1911), No. 208, with a note stating that the air appeared also in the Sacred Harp of 1844, and was taken from Dover's Selection, p. 154" (Bayard, 1944). A ¾ time version appears in the John Carroll Manuscript compiled between 1804 and 1812 at Fort Niagra in New York. Musicologist Paul Tyler says Carroll was evidently a military fifer who was an aspiring fiddler. Paul Wells cites George Pullen Jackson (in his book Another Sheaf of White Spirituals) who finds the “Blackbird” melody used for American hymns prior to the Civil War, such as a piece called “Melody” from the Knoxville Harmony of 1838 and a more distanced variant for “Turtle Dove” from Southern Harmony (1835). Source for notated version: "Emery Martin, (near) Dunbar, Pennsylvania, October 14, 1943, learned from his father" [Bayard, 1944]: Numerous southwestern Pa. fiddlers [Bayard, 1981]. American Veteran Fifer, No. 91. Bayard (Hill Country Tunes), 1944; No. 88. Bayard (Dance to the Fiddle), 1981; No. 177A‑H, pgs. 131‑134.

 

BLACKBIRD [5], THE. Scottish, Pipe Tune. Composed by Dr. Charles Banntyne. Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum" (1994).

 

BLACKBIRD [6], THE. AKA – “The Old Blackbird.” Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Connolly & Martin (Forget Me Not), 2002; pgs. 84-85.  Taylor (Music for the Sets: Blue Book), 1995; pg. 19.

 

BLACKBIRD [7], THE. Irish, Reel. D Major. Standard tuning. AABB. A reel-time setting of the air given in “Blackbird [1]." Treoir. The Bothy Band – “Out of the Wind and Into the Sun” (learned from Donegal fiddler John Doherty, who had the tune from his father). 

X: 1

T: Blackbird

S: Treoir

M: 4/4

L: 1/8

Q: 350

Z: Transcribed by Bill Black

R: reel

K: D

dcAF G2 FG | Adde fded | dcAF G2 FG | AFGE FD D2 |

dcAF G2 FG | Adde fded | dcAF G2 FG | AFGE FDDA ||

defg agfa | gfga gfef | defg a2 (3efg | afge fddf |

agfe gfec | dcde f2 ec | dcAF G2 FG | AFGE FDDA ||

 

BLACKBIRD [8]. Old-Time, Breakdown. G Major. Standard tuning. AB. Source for notated version: Art Stamper [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 12.

 

BLACKBIRD AND THE HEN, THE. AKA and see "An Londubh Agus an Cheirseach."

 


BLACKBIRD AND THE THRUSH [1], THE (An londubh agus an ciarseach). Irish, Air (3/4 time). D Minor. Standard tuning. AB. The tune, reputedly by the legendary bard and Irish harper Turlough O'Carolan (1670-1738), is contained in Edward Bunting's General Collection of the Ancient Irish Music (1796). Bunting himself recorded the source of this air to "Charles Byrne's singing," but also states it was obtained "at Ballinrobe, Co. Mayo, 1792." Words to the air are printed in O'Sullivan/Bunting, collected in 1864 in County Derry, though sung to a different tune. O'Sullivan/Bunting, 1983; No. 3, pg. 5. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1994). Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

 

BLACKBIRD AND THE THRUSH [2], THE. Irish, Air (4/4 time). D Major/Mixolydian. Standard tuning. One part. Source for notated version: “Set in Cladagh, August 28, 1840" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 822, pg. 205.

X:1

T:Blackbird and the Thrush, The [2]
M:C

L:1/8

R:Air

N:”Set in the Cladagh. August 28, 1840.”

S:Stanford/Petrie (1905), No. 822

Z:AK/Fiddler’s Companion

K:D

de | f2 ed cA AG | FEFG A2 de | f2 ed cA GA | {G}F2 DD D2 GA |

B2 =cB AFGA | B2 =cB AB/c/ de | fg/f/ ed cd ef/e/ | d3D D2 GA |

B=c/d/ cB AFGA | B2 cB AA/B/ (3cde | f2 ed c>d ef/>e/ | d3D D2 ||

 

BLACKBIRD AND THE THRUSH [3], THE (An Londubh is an Cheirseach). Irish, Slow Air (4/4 time). G Major/Mixolydian. Standard tuning. AA’B. Not related to version #2. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 72, pg. 63.

                                

BLACKBIRD AND THE WOODLARK, THE (An Londubh Agus an Cheirseach). AKA and see "An Londubh Agus an Cheirseach," "The Blackbird and the Hen."

                                

BLACKBIRD SAYS (TO THE CROW). AKA and see “Shippensport.” Old‑Time, Breakdown. USA, Ky. A version of “Shippensport”/”Shippingport”. In repertoire of Kentucky African-American fiddler Cuje Bertram, it appears on a 1970 home tape he made for his family. Document DOCD 5631, Cuje Bertram – “Black Fiddlers” (1999).

                                

BLACKBIRDS AND THRUSHES. See "Blackbird and the Thrush."

                                

BLACKETT OF WYLAM. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 151.

X:1

T:Blackett o’ Wylam

M:6/8

L:1/8

R:Jig

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z: AK/Fiddler’s Companion

K:G

B/c/|ded d2c|Bgd B2c|ded d2c|BgB A2:|

|:e/f/|gfe dBG|Bgd B2 e/f/|gfe dBG|BgB A2:|

                                

BLACKEYED BIDDIE. See "Black Eyed Biddie."

                                

BLACKEYED SUZYANNA. Old-Time, Breakdown. A Major. AEae tuning. From Kentucky fiddler John Sharp.

                    

BLACKFOOT. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AABB. The ‘A’ part is ‘crooked’ with a measure of 3/2 time in a tune that is otherwise in 2/2 time. Titon says that his source, Clyde Davenport, is the only older musician he has heard play this tune in tradition. Source for notated version: a field recording of Clyde Davenport, 1990  (Monticello, Wayne County, Ky.), who learned it from his father, Will Davenport [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 12, pg. 45. 

                                

BLACKFOOT WALTZ. See “Black Foot Waltz.”

                    

BLACKHAIRED LASS, THE. See "Black Haired Lass."

                                

BLACKHALL HOUSE QUICK STEP.  Scottish, March. D Major. Standard tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie. It appears in his Second Collection of Strathspey Reels and County Dances, a volume dedicated to his patron and employer, Mrs. Garden of Troup.

X:1

T:Blackhall House Quick Step

C:R. Petrie

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

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 12

L:1/8

M:6/8

R:Quickstep

K:D

A/G/|F2(D D)FG|AFD DFD|E2A, A,2B,|=C2D E2G|F2(D D)FG|AFD AFD|E2e gec|d3 d2:|

g |f2d  d2f |d2f agf|e2=c c2e  |=c2e gfe|f2d  d2f |d2f agf|B2e gec|d3 d2g|

f2d  d2f |d2f agf|e2=c c2e  |=c2e gfe|f2d  g2e |a2f b2g|fed edc|d3 D2|]

 

BLACKHALL ROCKS. Scottish, Slow Air. A modern composition by Ged Foley, for a time guitarist for Scotland's Battlefield Band, based on a Northumbrian rant tune. Flying Fish FF‑250, Battlefield Band ‑ "Home is Where the Van Is" (1981).

                                

BLACKHAWK WALTZ, THE. American, Waltz. G Major. Standard tuning. AA'BB'. Source for notated version: Herman Johnson [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 239. Folkways FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances" (1961). Rural Rhythm Records, Vassar Clements – “20 Fiddle Tunes and Waltz Favorites” (1998).

                                

BLACKHEATH. AKA – “Black Heath.” English, Country Dance Tune (cut time). G Minor. Standard tuning. AA’BC. The melody was new to the 11th edition of Henry Playford’s The Dancing Master (London, 1701). It also appeared in John Young’s editions of The Dancing Master (London, 1709, 1713) and in Walsh’s Compleat Country Dancing Master (London, 1718). The name probably refers to the Blackheath area, now in London, straddling the boundary of Lewisham and Greenwich. In Playford’s day it was a desolate place, with poor soil and thus not cultivated. It was a favourite haunt of highwaymen in the 17th century, who preyed upon coaches traelling from the city on the Dover Road to north Kent and the Channel ports. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 11.

X:1

T:Black Heath

M:C|

L:1/8

S:Playford – Dancing Master (11th edition, 1701)

K:Gmin

G2|B2d2d2g2|dcde d2G2|B2d2d2g2|agab a2d2|g2a2b2f2|

gfed c2f2|d2B2c2A2|B6 G2|B2d2d2g2|dcde d2G2|

B2d2d2g2|agab a2d2|g2a2b2f2|gfed c2f2|d2B2c2A2|1 B6:|2 B8||

d2 A2A2 dc|=BcBA G2d2|g2d2d2 gf|=efed c2e2|f4 g4|

agab a2 gf|=e2f2f2e2|f6 f2|b2d2d2 ef|gfed c2 de|

f2B2B2cd|edcB A2 Bc|d4 =e4|^f2B2 g2 ab|a2g2a2^f2|1 g8:|2 g6||

                    

BLACKJACK GROVE. See “Black Jack Grove.”


                                

BLACKLEY OF HILLSDALE. Scottish, Pipe Tune. Composed by M. Gray. Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum" (1994). Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997).

                                

BLACKLING RACES. AKA and see "Babes in the Woods [3],” “Blanchland Races,” "The Miller's Frolics [2]," “Peter Street [1],” "Timour the Tartar." English, Reel. A Major. Standard tuning. AABA. The melody appears in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known of Burks although he may have been from the north of England. Burks’ title may be a corruption of “Blanchland Races,” by which the tune is known in Northumberland (Blandland being a small village in south Northumberland).

                    

BLACKMOOR'S JIG, THE. Scottish. John Glen (1891) finds the tune first printed in Robert Ross's 1780 collection (pg. 35).

                       

BLACKPOOL, THE. AKA and see “Ballinasloe Fair,” “The Killaloe Boat.”

                       

BLACKROCK SHORE, THE. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The tune was named for the song “Maid of the Blackrock Shore,” which he remembered from his Aunt Ann’s singing when Reavy was a boy. Reavy (The Collected Compositions of Ed Reavy), No. 110, pg. 123.

                       

BLACK'S HORNPIPE [1]. English, Hornpipe. England, Yorkshire. B Flat Major. Standard tuning. AAB. The editors note that bars 1-4 of the 'B' part are reminiscent of "The Wonder Hornpipe," also known as "Miss Ferry's Hornpipe." Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 38, pg. 38.

 

BLACK’S HORNPIPE [2].  AKA and see "Back of the Haggard," “Duke’s Hornpipe,” “Kershaw’s Hornpipe,” "Lady Flashdash Hornpipe," “Loyalist Hornpipe,” “Miss Manner’s Hornpipe.” English, Hornpipe. See note for “Kershaw’s Hornpipe.”

                       

BLACKSMITH [1], THE. Irish, Jig. D Mixolydian. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 262, pg. 150.

 

BLACKSMITH [2], THE. Old‑Time, March? D Major. Standard tuning. AABB. "Tunes constructed like this one, with the second part consisting almost entirely of the first part repeated an octave higher, are not often encountered in the repertories of American country fiddlers" (Bayard). Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 5, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 69.

 

BLACKSMITH [3], THE. Scottish, Reel. Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979).

 

BLACKSMITH [4], THE. AKA and see “(Le) Forgeron.”

                       

BLACKSMITH AND HIS SON, THE. Irish, Air (2/4 time). A Dorian. Standard tuning. One part. "A jocular song was sung to this" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 486, pg. 269.

                          

BLACKSMITH O’ BOTRIPHNIE, THE.  Scottish, Reel. F Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 125.

X:1

T:Blacksmith o’ Botriphnie, The

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:F

B/ | A/F/ ({d}c/)A/ B/d/c/e/ | f/c/A/F/ E/G/G/B/ | A/F/ ({d}c/)A/ B/d/c/_e/ | d/f/e/g/ a/f/f/ :|

c/ | f/g/a/b/ c’/d’/e’/f’/ | d’/c’/b/a/ g/f/e/g/ | f/g/a/b/ c’/d’/e’/f’/ d’/b/g/c’/ .a/(f/f/).c/ |

f/g/a/b/ c’/d’/e’/f’/ | d’/c’/b/a/ g/f/e/g/ | (3a/g/f/ (3g/f/e/ (3f/e/d/ (3c/B/A/ | 3G/A/B/ (3c/d/e/ f/<F/F/ ||

                                            

BLACKSMITH REILLY’S REEL (Ríl an Ghabha Uí Raghallaigh).  Irish, Reel. D Major. Standard tuning. AAB. The tune was named by Brendan Breathnach after his source. Source for notated version: Frank ‘The Blacksmith’ O’Reilly, 1966 [Breathnach]. Breathnach (CRÉ V), 1999; No. 143, pg. 72.

                          

BLACKSMITH'S CHARM, THE. AKA and see “Bank of Turf [2],” “Concertina Hornpipe.” Irish, Hornpipe. The title comes from fiddler John Kelly Sr., recorded on his Topic Records album of 1975.

                                      

BLACKSMITH'S DAUGHTER. AKA and see "The Blacksmith's Reel [1],” "Green Garters [2]."

                                

BLACKSMITH’S FANCY, THE (Rogha an Ghabha). AKA and see “The Donegal Reel.” Irish, Reel. Ireland, County Donegal. D Major. Standard tuning. AA’BB’. This reel was recorded by Donegal fiddlers John Doherty (c. 1895-1980) and Frank Cassidy (d. 1961) playing duet for the Irish Folklore Commission. Caoimhin Mac Aoidh identifies the reel as coming from fiddler John James Connaghan, Mountcharles, County Donegal, a blacksmith by trade, hence the title. Doherty recorded it under the title ”The Donegal Reel.” Breathnach (CRÉ V), 1999; No. 193. Mac Aoidh (An Ceol, vol. 2). Gael-Linn CEF 072/073, John Doherty. Gael-Linn CEFCD 140, Séamus & Kevin Glackin – “Na Saighneáin/Northern Lights” (learned from fiddler Frank Cassidy, Teelin, County Donegal). Green Linnet GLCD 1078, Frankie Kennedy & Mairéad Ní Mhaonaigh – “Altan.”  


                                

BLACKSMITH'S HORNPIPE [1]. AKA and see “Fisher’s Hornpipe,” Irish, Hornpipe. G Major. Standard tuning. AABB. The tune is a variant of "Fisher’s Hornpipe." See also and “Slayley Bridge Hornpipe" for related melodic material. Joyce (Old Irish Folk Music and Song), 1909; No. 103, pgs. 52‑53.

X:1

T:Blacksmith’s Hornpipe

T:Rickett’s Hornpipe

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:G

d2|gdBd cedc|BGBd cedc|BGBG cAcA|BGBG AFDd|

gdBd cedc|(3BAG Bd cedc|Bdgd bagf|g2g2g2:|

|:fg|afdf afc’a|bgdg bgd’b|afdf a2 ab|agfe d2 dg|

ecGc ecge|dBGB dBgd|egfe dcBA|G2g2g2:||

 

BLACKSMITH’S HORNPIPE [2]. English, Hornpipe. An alternate title for the "Bristol Hornpipe", given by Peter Kennedy (1951). His source for the title is unknown.

                                

BLACKSMITH’S MORRIS.  English, March (4/4 time). G Major. Standard tuning. AB. A morris dance or processional tune from Daniel Wright’s Extraordinary Collection of Pleasant and Merry Humours (London, 1715).

X:33
T:Black smiths Morris
M:4/4
L:1/4
S:Wright 1713 (1715)
Z:Pete Stewart – Tradtunes 2/21/09
K:G
Ad2e/f/|ggf>e|d/e/f/g/ a g/f/|eAd2||
dd/e/BG|A/B/c/d/ BG|c/d/e/c/ GG|ADG2||

 

BLACKSMITH’S QUADRILLE. American, Quadrille (6/8 time). USA, Arizona. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB’. Ruth (Pioneer Western Folk Tunes), 1948; No. 48, pg. 17.

X:1

T:Blacksmiths Quadrille

L:1/8

M:6/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:D

[FA][FA][FA] [GB][GB][GB] | [FA][FA][FA] f2 (f/g/) | [ca][ca][ca] [ce][ce][ce] |

[ca][ca][ca] [d3f3] | [FA][FA][FA] [GB][GB][GB] | [FA][FA][FA] f(fg) |

[ca][ca][ca] e(fe) | [F3d3] [Fd](ef) :: (g3 g)(fe) | (d3 d)(=cB) | (AG=c) (ABc) |

f2e d2(ef) | (g3 g)fe | (d3 d)(cB) | ABc def |1 (g3 g)(ef) :|2 g3 g3 ||

                                

BLACKSMITH'S REEL [1] (Ríl an Ghabha). AKA and see "Blacksmith's Daughter," "Green Garters [2]." Irish, Reel. G Major. Standard tuning. AABB. A variant of “The Green Garters.” See also the related “Leslie’s Reel.” Source for notated version: piper Joseph Walsh/Saosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 73, pg. 34. Seamus Creagh and Aidan Coffey – “Traditional Music of Ireland.” Green Linnet SIF 1079, Buttons and Bows (Jackie Daly, Seamus and Manus McGuire) - "First Month of Summer."

X:1

T:Blacksmith's Reel

T:Blacksmith's Daughter

M:C|

L:1/8

Q:224

R:reel

B:CRE 1, No.73, "Ril an Ghabha"

N:Breathnach calls it a variant of "The Green Garters" from O'Neill's DMI

N:Possibly a variant of "Leslie's Reel"

D:Seamus Creagh and Aidan Coffey, Traditional Music of Ireland

Z:Lorna LaVerne

K:G

dB~B2 dBGB | dB~B2 ABcA | dB~B2 dB(3GAB | cABG ABcA :|

~G2BG DGBG | ~G2BG ABcA | ~G2BG DGBG | cABG ABcA :|

 

BLACKSMITH'S REEL [2] (Reel du Forgeron). AKA and see “(Le) Forgeron.” French‑Canadian, Reel. Folkways FG 3531, "Old Time Fiddle Tunes played by Jean Carignan" (1968)..

                    

BLACKTHORN CANE WITH A THONG, THE (An Cana Droighean Eille). Irish, Air. This song is similar to Bunting's and Joyce's "An Cailin Deas Rua," and can be found in Petrie's Ancient Music of Ireland (1855, pgs. 36-37).

                       

BLACKTHORN (REEL) [1], THE. AKA and see “The Blackthorn Stick [4]" et al. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Mallinson (Enduring), 1995; No. 1, pg. 1. Taylor (Music for the Sets: Yellow Book), 1995; pg. 18.

 

BLACKTHORN [2], THE. AKA and see “The Hills of Kesh,” “The Irishman’s Blackthorn.” Irish, Reel. A Dorian. Standard tuning. AABB. See also the related “The Scotch Hunt [2].” Miller (Fiddler’s Throne), 2004; No. 125, pg. 84. Green Linnet SIF 3018, “Molloy, Brady, and Peoples” (1985).

                       

BLACKTHORN STICK [1]. AKA and see "Billy Patterson(‘s Favorite)," "Boys of Bockhill/Rockhill," "The Catholic Boys [3]," "The Coach Road to Sligo [1]," "The Eagle's Nest," "Fire in the Valley,” "Fire on the Mountain(s) [2]," "The Hare on the Mountain," "Humors of Bantry," "The Maid(en) on the Green," "The Rose on the Mountain [1]," and "Joys of Wedlock [2].” Irish (originally), English, American; Jig. G Major (Allan, Kennedy, Miller & Perron, Spandaro, Sweet): A Major (Barnes, Kerr, Raven). Standard tuning. AAB (Kerr): AABB (most versions). This popular tune has been absorbed into several fiddling traditions, similar to the jig “Haste to the Wedding.” For example, it is one of the tunes (along with “Ten-Penny Bit” and “Connaughtman’s Rambles”) used to accompany English rapper sword dancing. Bayard (1981) thinks the tune "a thoroughly characteristic Irish jig, probably of no great age." Blackthorn, Prunus spinosa also known as the Europena spiny plum, is a hard wood tree or bush with small white flowers. It is reddish-black in color and has very sharp, vicious spines on the bark. Its wood is very hard, close grained and has numerous knots, and although it can be difficult to work with, it is the choice wood for canes. Modern day shillelaghs are made of blackthorn due to the long shortage of oak in Ireland, and tend to be short, stubby implements (as opposed to the old oak shillelaghs which were about three feet long). See also “Welcome Home, Royal Charlie,” which uses one part of “Blackthorn Stick [1].” “Daniel O’Connell’s Welcome to Parliament” shows some melodic contour similarities with the first strain. Source for notated version: David Street [Spandaro]. Allan's Irish Fiddler, No. 3, pg. 2. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 107. Giblin (Collection of Irish Traditional Dance Music), 1928; No. 97. Jarman (Old Tyme Fiddlin' Tunes); pg. or No. 16. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 7, pg. 4. Kerr (Merry Melodies), vol. 1; No. 13, pg. 37. Miller & Perron (New England Fidders Repertoire), 1983; No. 2. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Raven (English Country Dance Tunes), 1984; pg. 115. Ryan’s Mammoth Collection, 1883; pgs. 80 & 83. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 12. Spandaro (10 Cents a Dance), 1980; pg. 44. Sweet (Fifer’s Delight), 1964; pg. 38. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 30. Pibroch MacKenzie – “The Mull Fiddler” (1969). Bob Smith’s Ideal Band – “Better than an Orchestra” (1977).

X:1

T:Blackthorn Stick [1]

T:Coach Road to Sligo

L:1/8

M:6/8

K:G

gfg e/f/ge|dBG AGE|DEG AGA|BdB ABd|gfg e/f/ge|dBG AGE|DEG AGA|BGG G2:|

|:d|edd gdd|edd gdd|Bdd gfe|dBG A2d|gfg age|dBG AGE|DEG AGA|BGG G2:|

X:2

T:The Blackthorn Stick

D:Jimmy Shand 78: Beltona BL 2229 (1935)

Z:Nigel Gatherer

M:6/8

L:1/8

K:A

e|aga faf|ecA BAF|EAA GAB|cAc B2 e|aga baf|ecA BAF|

EAA GAB|cAA A2::e|cee aee|fee aee|cee agf|

edc B2 e|aga baf|ecA BAF|EAA GAB|cAA A2:|]

 

BLACKTHORN STICK [2] (An Bata Droigean). Irish, Set Dance (6/8 time). D Mixolydian (Roche): G Mixolydian (O'Neill). Standard tuning. One part. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 984, pg. 169. Roche Collection, 1982; Vol. 2, No. 274, pg. 30.

X:1

T:Blackthorn Stick [2]

M:6/8

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 984

Z:AK/Fiddler’s Companion

K:G

d|BAG E2G|D2D EGG|G2D GAB|c2c BAG|BdB A2D|GAB c2c|BAG Bdd|

edc BAG|EGE DB,D|EGG G2D|GAB c2c|BAG Bdd|edc BAG|E2G D2D|EGG G2||

 

BLACKTHORN STICK [3], THE. Irish, Air (6/8 time, "playfully"). D Minor. Standard tuning. ABC. O'Neill (Music of Ireland: 1850 Melodies), 1907/1979; No. 458, pg. 80.

X:1

T:Blackthorn Stick, The [3]

M:6/8

L:1/8

R:Air

N:”Playfully”

S:O’Neill – Music of Ireland (1903), No. 458

Z:AK/Fiddler’s Companion

K:Dmin

F/G/|A>DD DcE|EDD D2 d/e/|f>ed edc|AB^c d2 d/d/|e>dc {e}dcA|

GFE F2 G/G/|A>DD DcE|EDD D2||(3A/=B/^c/|d>ed {e}dcA|GFE F2 G/G/|

G>EC CEF|G>AG E2 (3A/=B/^c/|d>ed {e}dcA|GFE G2 G/G/|A>DD DcE|

EDD D2||(3A/=B/^c/|d2e {g}fed|ed^c d2 A/=B/|c>dc {d}cBA|

G>EC C2 (3A/=B/^c/|d2e fed|ed^c d2 A/=B/|{d}cBA GFG|A<FD D2||

 


BLACKTHORN STICK [4], THE. AKA and see “The Blackthorn,” "The Irishman's Blackthorn Stick," "Clear the Road," “The Countess of Louden(’s Reel),” "Inch of Garth" “Jack McGuire,” "The Jolly Clam-Diggers," “The Old Blackthorn,”  "The Rising Sun [2]," “Rising of the Sun” (Eiri na Greine). Irish, Reel. D Major. Standard tuning. AA’B (Mulvihill): AA’BB’ (O’Malley). Galway accordion player Joe Cooley helped to popuarlize this tune. An early recording of the melody was made by the Flanagan Brothers on 78 RPM. See also Mike MacDougall’s Cape Breton strathspey setting, “The Blackthorn Strathspey.” Sources for notated versions: Gus Collins (Bronx, NY) [Mulvihill]; New York fiddler and accordion player John McGrath (1900-1955, originally from County Mayo), via his student Tommy Ryan [O’Malley]. Mulvihill (1st Collection), 1986; No. 210, pg. 57. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 30, pg. 15. Gael-Linn CEF 044, Joe Cooley – “Cooley.” Gael-Linn CEF 161, “Michael Coleman 1891-1945.” Green Linnet SIF 1010, “Mick Moloney & Eugene O’Donnell.” Intrepid Records, Michael Coleman - “The Heyday of Michael Coleman” (1973). Shanachie 78030, Danú – “Think Before You Think” (2000). Shanachie 79083, Paddy Glackin and Robbie Hannan – "Whirlwind" (1995. A version handed down from the piping of Wexford/Liberties piper John Potts {1871-1956} through piper Tommy Reck).

X:1

T:Blackthorn Stick, The [4]

M:C|

L:1/8

S:O’Malley Collection

K:D

fe | d2 FB AFEF | D2 dc BABc | dF ~F2 AFED | (3EFG FE D>g fe |

dF ~F2 AE ~E2 | DF ~F2 BABc | d2 FB AFED | (3EFG FE D2 :|

|: Bc | d2 fd edfd | A2 (3cBA eA (3cBA | defd e2 fg | (3agf (3gfe fdec |

defd edfd | A2 (3cBA eA (3cBA | defg afbf | afef d2 :|

 

BLACKTHORN STICK [5], THE. AKA and see “The Christmas Jig,” "The Maid at the Well," "An Maide Draighin," “Maids of Glenroe,” “The Milkmaid [2],” “The Silver Tip [2].” Irish, Jig. G Major. Standard tuning. AABB.  “An Maide Draighin” (The Blackthorn Stick) is the title under which this version appears in Breathnach’s Coel Rinnce na hEireann, vol. 1.  It is unrelated to the “Blackthorn Stick” tunes printed by O’Neill though it does appear in his volumes as “The Milkmaid” and “The Maid at the Well.”

X:1

T:Blackthorn Stick, The [5]

L:1/8

M:6/8

K:G

GDD EDD|GAB c2d|edc BcA|BGE EDE|GDD EDD|GAB c2d|edc BcA|AGF G3 :|

|:gdd edd|gdB c2d|edc BcA|BGE EED|gdd edd|gdB c2d|edc BcA|AGF G3 :|

 

BLACKTHORN STICK [6], THE (An Bata Druin). Irish, Air. The air, which appears in the "Freeman Collection" (Journal of the (Irish) Folk Song Society, volume VI, No. 10), is a variant of "An Cailin Deas Rua" (The Pretty Red Girl).

              

BLACKTHORN STRATHSPEY, THE.  Candian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. AAB. The tune is a strathspey setting of the Irish “Blackthorn Stick [4].” Source for notated version: fiddler Mike MacDougall (Cape Breton) [Cranford/Holland]. Cranford (Jerry Holland: The Second Collection), 2000; No. 95, pg. 38. Jerry Holland – “Crystal Clear” (2000).

 

BLACKWATER. AKA and see “Avonmore.” Irish, Reel.

              

BLACKWATER (POLKA) [1]. Irish, Polka. G Major. Standard tuning. AA'BB'. The English name Blackwater is the exact equivalent of the Celtic Douglas. Numerous streams and rivers have been named ‘blackwater’ throughout England, Ireland and Scotland. In this case the title refers to the Blackwater River that divides Counties Cork and Kerry in southern Ireland, and which has its origins in the Sliabh Luachra region. Dónal Hickey (Stone Mad for Music, 1999) describes a local postman, the late Timmy Curney O’Sullivan, of Ballydesmond in the Sliabh Luachra region of County Kerry and Cork. O’Sullivan was known to sing and spin yarns in local pubs and, inspired by the river, would recite:

***

It rushes forth with its incarnation,

Through rocky cascades it rushes down

And ceases not its agitation

‘Till it reaches King Williamstown

***

Taylor (Where’s the Crack?), 1989; pg. 28. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

 

BLACKWATER (POLKA) [2]. Irish, Polka. D Mixolydian. Standard tuning. AA'BB'. Taylor (Where’s the Crack?), 1989; pg. 28.

                                      

BLACKWATER (REEL) [1], THE. AKA and see “Blackwater Foot.”

 

BLACKWATER (REEL) [2], THE. Irish, Reel. G Major. Standard tuning. AB. Source for notated version: students of New York fiddler John McGrath (d. 1955) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 8, pg. 4.

X: 1

T: Blackwater

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: Reel

K: G

DGBG A2BA | GEED cEE2 | DGBG AcBA | GEDB DEGA |

BcBG AcBA | (3GFE cE dEcE | DEGB AGBA | GEED EG G2 ||

G2 (3Bcd efge | dBB2 dBAB | GA (3Bcd edge | dBAG EG G2 |

GA (3Bcd edge | dBB2 dega | (3bag ag efge | dBAG EG G2 ||

                                      

BLACKWATER FOOT. AKA - “Blackwater Reel [1],” “Perrie Werrie.” AKA and see "The Avonmore,” “Banks of Avonmore." Irish, Reel. Ireland, Munster. G Major. Standard tuning. AB (Stanford/Petrie): AABB (Cole). “A Munster reel” (Stanford/Petrie). Cole (1000 Fiddle Tunes), 1940; pg. 15 (appears as “Blackwater Reel”). Ryan’s Mammoth Collection, 1883; pg. 39. Stanford/Petrie (Complete Collection), 1905; No. 897, pg. 227.

X:1

T:Blackwater Foot

M:2/4

L:1/8

N:”A Munster Reel”

B:Stanford/Petrie – Complete Collection, No. 897  (1905)

Z:AK/Fiddler’s Companion

K:G

d/>c/|B/G/G/G/ G>c|B/G/G/G/ B/d/g/d/|B/G/G/G/ G>B|A/G/F/G/ A/B/c/A/|

B/G/G/G/ G>c|B/G/G/G/ B/d/g/d/|B/G/G/G/ G>B|A/G/F/G/ A/B/c/d/||

B/d/d/d/ d>c|B/d/e/f/ g/f/g/d/|B/d/d/d/ d>B|A/G/F/G/ A/B/c/d/|

B/d/d/d/ d/>e/d/c/|B/d/e/f/ g/f/g/a/|b/g/a/f/ g/e/d/B/|A/G/F/G/ A/B/c/d/||

 

BLACKWELL COURT. Scottish. A modern composition by accordianist Phil Cunningham, named after his sister‑in‑law's new house. Green Linnet SIF 1076, Relativity ‑ "Gathering Place" (1987).

 

BLACKWELL HALL. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. The tune was first published in 1713. Blackwell Hall was London’s cloth market, held weekly. Barnes (English County Dance Tunes), 1986.

 

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