The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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BLAIR - BLEW

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

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

 

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

 

 

 

BLAIR ATHOLE [1]. Scottish, Reel. B Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 63, pg. 23.

 

BLAIR ATHOLL [2]. Scottish, Reel. A Minor/Dorian. Standard tuning. AB (Kerr): AABB (Lerwick, Songer). Blair Castle is the seat of the Duke of Athole, and lies just northwest of the village of Blair Athole, in the parish of Blair Athole, district of Athole, Perthshire. Still a functional residence, some of its buildings are open to the public. The castle dates to the 13th century when its oldest part, Comyn’s Tower, was constructed. It was occupied by the Marquess of Montrose in 1644, and again garrisoned by Claverhouse in 1689 (Claverhouse was killed in the battle of Killiecrankie, and his body brought to Blair Castle where his cuirass can be seen today). Bonnie Prince Charlie and his troops rested at the Castle on their journey south during the Jacobite rebellion of 1745, and the castle was damaged the next year in a bombardment. It was restored as a manor house at the end of the century, minus all fortress-like vestiges, but these were restored in the Victorian era.

***

In the autumn of 1787 the poet Robert Burns, at that time on a tour in the Highlands, came to Blair Athole with a letter of introduction to the Duke.  His Grace was not a home when Burns arrived, but he was cordially welcomed by the Duchess of Athole and stayed a few days at the castle, with the Duke returning before the poet left. He found staying at the same time the Duchess sister, Mrs. Graham along with their youngest sibling, Miss Cathcart, then in her seventeenth year. Burns declared later that the two days he spent there were among the happiest days of his life. He wrote from Inverness soon after to Mr. Walker (later a Professor of Humanity) of Glasgow, who was then residing at Blair Athole, and enclosed his composition “Humble Petition of Bruar Water.” In the letter he says:

***

The "little-angel band"—I declare I prayed for them very sincerely

 today at the Fall of Fyers. I shall never forget the fine family-piece

I saw at Blair: the amiable, the truly noble Duchess, with her smiling

 little seraph in her lap, at the head of the table; the lovely "olive-plants,"

as the Hebrew bard finely says, round the happy mother; the beautiful

Mrs. Graham; the lovely sweet Miss Cathcart, &c. I wish I had the

power of Guido to do them justice.'

***

As fate would have it, the three sisters, known for their beauty all passed away when relatively young. The Duchess survived Burns's visit only three years, and Mrs. Graham five. Miss Cathcart, who was singularly amiable as well as beautiful, was cut off at twenty-four.

***

Detail from David Allan’s painting “A Highland Wedding at Blair Atholl” (1780). The fiddler is thought to be the famous Niel Gow.

***

Kerr (Merry Melodies), vol. 3; No. 146, pg. 17. Lerwick (The Kilted Fiddler), 1985; pg. 25. Songer (Portland Collection), 1997; pg. 32. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

 

BLAIR DRUMMOND. AKA and see “Maddam Blar’s Reel [sic],” “Madam Blair’s,” “Rob an Lugi.” Scottish, Canadian; Pipe Reel or Strathspey. Canada, Cape Breton. A Mixolydian (Bremner, Dunlay & Greegberg, Gow, Kerr): G Mixolydian (Athole). Standard. AABB (Bremner): AABCCD (Gow): AABBCD (Kerr): AABBCCDD (Athole, Dunlay & Greenberg/D. MacLellan): AABBCCDDEEFF’ (Dunaly & Greenberg/T. MacLellan). The tune appears in the Gillespie Manuscript (1768), but it was first published by Bremner in his 1757 collection (Vol. 1, pg. 87), according to Glen (1891). Another early printing is in MacKintosh, vol. 3 (1796). Two part settings of the melody can be found under the title “Rob an Lugi;” four part settings can be found in pipe collections and some fiddle collections under the “Blair” title.  Paul Cranford says that Cape Breton musicians usually play a four turn setting.

***

Blair Drummond is located in Perthshire, less than five miles northwest of Stirling and some 40 miles southwest of Perth. Drummond means ‘at the ridge,’ thus Blair-Drummond is a ‘level clearing (blar) at the ridge.’ The original mansion was built between 1715-17, created by Alexander McGill, but was replaced in 1868-72 by a three-story baronial house designed by J.C. Walker. In modern times the estate is in trust, and Blair Drummond is chiefly known as Scotland’s only safari park (near Stirling).

***

At the time the tune was first published, Blair Drummond was the home of Henry Home, Lord Kames (1696-1782), who set about improving the landed estate agriculturally. Kames was a Law Lord, philosopher and a leading member of the Scottish enlightenment of the second half of the 18th century, who published Elements of Criticism (1762). When asked how he was able to do his business as a judge and write on so many other subjects, he replied that “he took much time to do the smallest thing, and that everything was to be done by labor, and little by genius.” When he died, his last (and most remembered) public words were the same as those he uttered upon closing the courts for the Christmas holiday: “Fare ye a’ weel, ye bitches!” Benjamin Franklin was a correspondent with Lord Kames, and mentioned Scottish music in a letter to the elderly man, in which he opined that old Scottish airs needed no harmony:

***

Whoever has heard James Oswald play them on his violoncello, will be

less inclined to dispute this with me. I have more than once seen tears

of pleasure in the eyes of his auditors, and, yes, I think, even his playing

those tunes would please more, if he gave them less modern ornamentation.

***

A version appears in the 1770 music manuscript collection of Northumbrian musician William Vickers (of whom little is known), under the title “Maddam Blar’s Reel.” Sources for notated versions: Donald MacLellan and Theresa MacLellan [Dunlay and Greenberg]. Bremner (Scots Reels), c. 1757; pg. 87. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 30 (two versions). Gow (Complete Repository), Part 4, 1817; pg. 35. Kerr (Merry Melodies), vol. 1; Set 26, No. 4, pg. 16. Seattle (William Vickers), 1987, Part 3; No. 561 (appears as “Maddam Blar’s Reel”). Stewart-Robertson (The Athole Collection), 1884; pg. 200. DAB 3-26-1, Kinnon Beaton - “Cape Breton Fiddle 1" (1982). IMS-WRC1-759, Winnie Chafe - “Cape Breton Scottish Memories” (1979). Rounder 7006, Theresa MacLellan - “A Trip to Mabou Ridge” (1979. Appears as unlisted 2nd strathspey on 1st cut, side two).

X:1

T:Blair Drummond

L:1/8

M:C|

R:Reel

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

Z:AK/Fiddler’s Companion

K:G Major

G2 B/c/d BgdB|G2 B/c/d A=fAF|G2 B/c/d Bgde|=fadf AFcA:|

|:~g2 dB gBdB|~g2 de =fcAF|~g2 dB gBde|=fage =fcAF:|

|:BGGA BGBg|BGGB A=fAF|BGGA Bgde|=fadf AfcA:|

|:~g2 dB gBdB|~g de =fcAF|~g dB gBde|=fadf AfcA:|

X:2

T:Blair Drummond’s Reel

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757) 

Z:AK/Fiddler’s Companion

K:A Mixolydian

e | A/A/A “tr”c2 eaec | A/A/A “tr”c2 BgBG | A/A/A “tr”c2 eae(f | g)aef gdBG :|

|: a2 (e/f/^g) aecA | a2 ef gdBG | a2 eg fae(g | f)aef gdBG :|

X:3

T:Maddam Blar’s Reel [sic]

M:C|

L:1/8

S:William Vickers’ music manuscript collection (Nothumberland, 1770)

Z:AK/Fiddler’s Companion

K:Ador

A/A/A c2 BgBG|A/A/A c2 BgBG|A/A/A c2 eacA|dfce BgBG:|

|:a2 ef/g/ aecA|a2 ef/g/ gdBG|a2 ef/g/ aecA|dfce|BgBG:||

                       

BLAIRNANES RANT. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by J. Scott Skinner. MacDonald (The Skye Collection), 1887; pg. 65.

X:1

T:Blairnanes Rant

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

F | F<(A A>)B A>Bd>f | e>fe>d (B B<)d|F<(A A>)B A>Bd>b|a<f e>f d2d:|

D | D<d d>B B>AA>D | D<d d>B (B<A) (A>D)|D<d d>B B>AA>F|

G>A F>G (E2 E>)D | D<d d>B B>AA>D|D<d d>B B<A A>c|

(3dcd (3efg (3fed (cBA | (3cBA (3GFE (D2D||

                       

BLAIR’S FAVOURITE.  AKA and see “Loch of Forfar.”

 

BLÁITH NA g-CRAOBH (The Blossom of the Branches). Irish, Air (3/4 time). D Mixolydian. Standard tuning. AB. Moderate pace. Source for notated version: the manuscript of James Goodman (1828-1896) an Anglican cleric, collector, and uilleann piper, Cork, 1861 [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 5, pg. 6

                       

BLAIZE ET BABET. English, Jig. A Major. Standard tuning. AABA. From The Entire New and Compleat Tutor for the Violin by Geminiani, via the Hardy Collection. Trim (Thomas Hardy), 1990; No. 89.

                       

BLAKENEY BREAKDOWN, THE. Scottish, Hornpipe (?). G Major ('A' part) & D Major ('B' part). Standard tuning. AB. Carlin (The Gow Collection), 1984; No. 116, pg. 75.

 

BLAKE'S HORNPIPE [1]. English, Hornpipe. England, Northumberland. B Flat Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 386.

 


BLAKE'S HORNPIPE [2]. AKA and see "The Brewer's Horse." English, Hornpipe. England, Northumberland. B Flat Major. Standard tuning. AABB. "In his excellent study of James Hill's music (The Lads Like Beer, Random, 1987), Graham Dixon points out the similarity between the respective 1st parts of 'Stony Steps Hornpipe', attributed to Hill in Kohler's Violin Repository, and 'The Brewer's Horse', from a collection published by Chappell. Vickers' somewhat quirky 'Blake's Hornpipe' [2] is a version of the same tune, and the 2nd part follows that of 'The Brewer's Horse' closely (I am indebted to Mr. Dixon for a copy of the latter.). The attribution of the tune to Hill can be accounted for by a conjectural scenario: W.B. Laybourn, the editor of Kohler's, got the tune from Hill, who had it from a printed or aural source (versions of “Stoney Steps” are in Offord (John of the Greeny Cheshire Way), 1985, pg. 94, near identical to Kohler's, but in G Major, and A Sussex Tune Book, EFDSS, 1982), and, if he had not heard it elsewhere, assumed it to be Hill's, as it is stylistically like Hill's own compositions" (Matt Seattle). Seattle (William Vickers), 1987, Part 2; No. 387.

 

BLAKNEY.  English, Reel. D Major. Standard tuning. AABBCC. This country dance melody—not quite a reel—appears in the William Clarke (Lincoln) manuscript, dated 1770, where it is titled “Blackney Dance.” Callaghan (Hardcore English), 2007; pg. 30.

 

BLAME NOT THE BARD. AKA and see "O Blame Not the Bard," "Kitty Tyrrell [1]."

 

BLANCHARD RACE. AKA and see "Blanchland Races," "Timour the Tartar."

 

BLANCHARD'S HORNPIPE [1]. AKA and see “McCarthy’s Hornpipe,” "Roxborough Castle." American, Hornpipe. A Major. Standard tuning. AABB. Similarities with "Devil's Hornpipe" and “Speed the Plow [1].” Cole (1000 Fiddle Tunes), 1940; pg. 87. Ryan’s Mammoth Collection, 1883; pg. 120.

X:1

T:Blanchard’s Hornpipe [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | A/G/A/c/ e/c/A/c/ | d/c/d/f/ e/c/A/c/ | .d(f/d/) .c(e/c/) | B/A/B/c/ B/d/c/B/ | A/G/A/c/ e/c/A/c/ |

d/c/d/f/ e/c/A/g/ | a/g/a/f/ e/d/c/B/ | AAA :: (3e/f/g/ | a/e/c/e/ f/e/c/e/ | a/e/c/e/ f/e/c/e/ |

a/g/a/f/ f/e/d/c/ | B/A/B/c/ B/d/c/B/ | A/G/A/c/ e/c/A/c/ | d/c/d/f/ e/c/A/g/ | a/g/a/f/ e/d/c/B/ | AAA :|

 

BLANCHARD'S HORNPIPE [2]. AKA ‑ "Fisher's Hornpipe." Scottish, Hornpipe. D Major. Standard tuning. AABB. “Blanchard’s Hornpipe” appears in a violin player’s manuscript collection made by one William Goulding of Hammond Marsh, Co. Cork, dated 1818, set in the key of G Major. MacDonald (The Skye Collection), 1887; pg. 172.

X:1

T:Blanchard’s Hornpipe [2]

T:Fisher’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A(B/c/)|d>AF>A G>BA>G|F>AF>A G>BA>G|F>DF>D G>EG>E|F>DF>D E2 AB/d/|

d>AF>A G>BA>G|F>DF>D G>BA>G F>Ad>f g>ec>e d2[F2d2][F2d2]:|

|:(cd)|e>cA>c e>cg>e|f>dA>d f>da>f|e>cA>c e>cg>f|e>dc>B A2 FG/A/|

B>GE>G A>Fd>B|A>FD>F A>Fd>A|B>dc>B> A>GF>E|D2 [F2d2][F2d2]:|

 

BLANCHE SOPHOCLEOUS. Canadian, Jig. Canada, Cape Breton. D Major (‘A’ part) & D Mixolydian/Major (‘B’ part). Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 103, pg. 37. Brenda Stubbert - “Tamerack ‘er Down” (1985).

 

BLANCHLAND RACES. AKA – “Blackling Races,” “Blickling Races,” “Breckland Races.” AKA and see “Babes in the Woods [3],” "Blanchard Races," “Peter Street [1],” "Timour the Tartar." English, Reel. England, Northumberland. G Major (Bruce & Stokoe): A Major (Moore, Spencer). Standard tuning. AABB. The melody appears in the music manuscript books of John Moore (Tyneside, Northumberland, 1841), George Spencer (Leeds, 1831, where it appears as “Blickling Races”), John Rook (1840, Wigton, Cumbria, area as “Breckland Races”) and John Burks (as “Blackling Races”). Nothing is known of the latter fiddler, although he may have been from the north of England. The melody is better known as “Timour the Tartar” in Scotland and England, as “Peter Street” in Ireland; in either case it is usually played in the key of ‘A’ by fiddlers, most often as a reel, although sometimes in pronounced dotted rhythm.

***

The village of Blanchland was named for the Premonstratensian White Canons, and dates to the founding of the monastery by Walter de Bolbec in 1165. Parts of the old abbey guesthouse (and the later residence of the Forster family) can be seen today incorporated in The Lord Crewe Arms. In modern times it is a picturesque village in a wooded glen of the Derwent, surrounded by wild moorland, and features a medieval gatehouse barring the Hexham road and a 19th century stone bridge on the opposite side of the village. After the Dissolution the estate fell into decline, it was first owned by the Radcliffes and then bought in 1623 by the Forsters of Bamburgh. In 1699 Dorothy Forster married Lord Crewe, Bishop of Durham, who bought the debt-ridden estate in 1704. When Lord Crewe died he left his estates to trustees with the income to go to Oxford and various schools and almshouses. Bruce & Stokoe (Northumbrian Misnstrelsy), 1882; pg. 191.

X:1

T:Blanchard Races

M:C

L:1/8

R:Reel

S:Bruce & Stokoe – Northumbrian Minstrelsy   (1882)

Z:AK/Fiddler’s Companion

K:G

D|G2 B/A/G dGBG|dGgG fGeG|dG B/A/G dGBG|dGgG fGeG|

DedB dgdB|AGAB G2G:|

|:G|F2 F/E/D ADFD|ADBD cDAD|G2 B/A/G dGBG|dGgG fGeG|

dG B/A/G gGeG|dG B/A/G gGeG|dBed cBAG|FGAG FDEF:|

X:2

T:Breckland Races

M:C|

L:1/8

R:Reel

S:John Rook manuscript (Cumbria, 1840)

K:G

D2|G2 B/A/G dGBG|dGgG fGeG|dG B/A/G dGBG|FDAD BDAD|G2 B/A/G dGBG|

dGgG fGeG|dedB dgdB|AGAB G2::G2|F2 F/E/D FDAD|FDAD BDAD|G2 B/A/G dGBG|

dGgG fGeG|d2G B/A/G gGeG|dG B/A/G gGeG|dBed cBAG|FGAG FDEF:|

 

BLANKETS AND PINS. Northumbrian. One of the "lost tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

 

BLANTHANNA AN CHNOIC RUA. AKA and see "The Flowers of Redhill."

 

BLAR LEINE. AKA and see "The Battle of Kinloch Lochy."

 


BLARIS MOOR [1]. Irish, Slow Air. G Major. Standard tuning. One part. "In 1797 four young militiamen were tried by Court Martial in Belfast for connection with the United Irishmen, convicted, and immediately afterwards shot at a place called Blaris or Blaris Moor in the county Down, near Lisburn; an event that caused intense and widespread indignation in Ulster. To commemorate this, a spirited ballad of eight verses—of the characteristic peasant type—was composed, the author of which was believed to be Garland the 'Lurgan Poet'. It may by found, as published by Mr. T.D. Sullivan, in 'The Weekly Nation' of Dec. 11, 1897, where Mr. Sullivan gives the history of the whole transaction. He also gives the air, as he heard it sung in the County Cork by his father. But I have come across three other airs that claim partnership with the words; and as all four are good, I give them here. The first was given to Forde of Cork by MacDowell the sculptor, an excellent authority on Ulster popular music; and it is likely to be the proper air. Of this, there is another setting in Forde, and still another, different from both, in the Goodman collection; that the ballad should have been sung to so many different airs and settings, in Munster as well as in Ulster, indicates its widespread popularity" (Joyce). The last verse goes:

***

In coffins they were hurried,

From Blaris Moor were carried,

And hastily were buried,

While thousands sank with grief;

Crying, “Grania, we much wonder

You rise not from your slumber,

With voice as loud as thunder

To grant us some relief!

***

Joyce (Old Irish Folk Music and Song), 1909; No. 222, pgs. 107‑108.

X:1

T:Blaris Moor [1]

M:C

L:1/8

R:Air

N:”Slow and with expression”

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

Z:AK/Fiddler’s Companion

K:G

c2|B3A GEDE|G3A B2d2|edef g2B2|A3B G3B|d2 ef g2g2|

f3d e2d2|B2 AB d2d2|d4 z2B2|d2B2d2 ef|g3a g2e2|e2g2 BAGE|

G3A B2d2|efgf e2 dB|A3c B2A2|GEDE G2G2|G4 z2||

 

BLARIS MOOR [2]. Irish, Air. G Major. Standard tuning. One part. "From Mr. J. C. MacGowan, Newtownards" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 223, pg. 109.

X:1

T:Blaris Moor [2]

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

G2|c2c2 (BA) GE|G3A B2d2|e2e2 d2B2|A3c B2A2|G2g2g2g2|f3e d2B2|e3f d2d2|d4 z2d2|

e3d e2f2|g3a g2e2|d2g2B2B2|A4 G2B2|c2e2 ed B2|d3e B2B2|A3B G2G2|G6||

 

BLARIS MOOR [3]. Irish, Air. G Major. Standard tuning. One part. "From Mr. J.C. MacGowan of Newtownards: 1873" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 224, pg. 109.

X:1

T:Blaris Moor [3]

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

DE|G2E2D2E2|G3A B2d2|ef g2 edcB|A4G2E2|G2g2g2g2|f4 e2d2|

B2B2 d2d2|d4 z2ge|d2B2d2 ef|g2a2g2e2|d2B2 BA GE|G3A B2 de|

g2a2g2 ed|B4 A2G2|E2E2G2G2|G4||

 

BLARIS MOOR [4]. Irish, Air. G Major. Standard tuning. AB. "From Mr. T.D. Sullivan, as he learned it in Cork" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 225, pg. 109‑110.

X:1

T:Blaris Moor [4]

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

D2|G3A G2F2|E4 D3 z/d/|d3B ed c A|B3G E2F2|G2F2G2A2|B2G2e2d2|

C2B2G2A2|G4 z2||d2|e2B2e2f2|g4 d2g2|f2 gf ed ef|e3e B2d2|

e2B2e2f2|G4d2g2|f2 gf ed ef|e6 z(3GBd|e2B2 eg fa|g4 d2 gf|

e2d2c2B2|B3G E2F2|G3F G2A2|B2G2 e2d2|c2B2 G2A2|G6||

 

BLARNEY PILGRIM, THE (Turasa Blarnaig). AKA and see “Paddy O’Brien’s Jig,” “The Parish Girl [1].” Irish, Double Jig. D Mixolydian (‘A’ and ‘C’ parts) & G Major (‘B’ part). Standard tuning. AABBCC (S. Johnson, O'Neill {3 editions}): AABB’CC’ (Mallinson): AA'BB'CC' (Boys of the Lough, Spandaro). A modal tune (hexatonic) with tonal centers variously around the notes ‘D’ and ‘G’—there is some debate about the key of the melody (and thus the appropriate backing chords), but like many modal tunes there are different ways to accompany “Blarney Pilgrim” depending on the ear. The melody was popularized in the 1970’s and is considered somewhat hackneyed these days in many sessions. There are several places in Ireland all claiming to have the original Blarney Stone. The town of Blarney, County Cork, is the location of Blarney Castle, said to have been the seat of the McCarthy’s, the great kings of Munster. A pilgrimage to kiss the blarney stone, which is embedded in the wall of a castle and can only be reached by being dangled out of a window, bestows the gift of eloquent speech. Under the title “The Parish Girl [1]" the melody appears in Stanford/Petrie with the note: “Set about 1800 by Daniel McHourigan”—O’Neill (DMI) also gives “Parish Girl” as an alternate title. The “Blarney Pilgrim” was one of the tune played by the band (Gaelic Storm) in the scene of the Irish dancers in steerage in the 1990’s blockbuster film Titanic. Source for notated version: Metropolitan Opry [Spandaro]. Boys of the Lough, 1977; pg. 18. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 6. Mallinson (Essential), 1995; No. 90, pg. 39. O'Neill (Krassen), 1976; pg. 70. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1099, pg. 207. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 291, pg. 63. Spandaro (10 Cents a Dance), 1980; pg. 25. Vallely (Learn to Play Tin Whistle with the Armagh Piper’s Club, vol. 2), No. 7. Folkways FTS31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos." Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Mulligan LUN00H, "Paul Brady and Andy Irvine." Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned from the Mathews Brothers of County Kerry). Topic 12TS337, Jack and Charlie Coen – “The Branch Line” (1977). 

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Blarney Pilgrim, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 291

Z:AK/Fiddler’s Companion

K:G

DED DEG|A2G ABc|BAG AGE|GEA GED|DED DEG|A2B ABc|BAG AGE|GED D2z:|

|:ded dBG|AGA BGE|ded dBG|AGA G3|g2e dBG|AGA BGE|B2G AGE|GAG G2z:|

|:A2D B2D|A2D ABc|BAG AGE|GEA GED|A2D B2D|A2D ABc|BAG AGE|GED D2z:|

 

BLASKET SOUND JIG, THE. AKA and see “Austin Barret’s,” “The “Dusty Windowsill,” “Harding’s Jig,” “Harland’s,” “Johnny Harling’s,” “The Howling Jig,” “Tim Harding’s.” Blasket Sound is off the coast of Dingle, County Kerry, home of the Blasket Islands.

 

BLAST OF WIND, A. AKA and see “The Clout,” “The Cock in the Heath [2],” “Drops of Spring Water,” “The Humours of Caledon,” “The Humours of Westmeath,” "Kiss in the Furz,” “The Rakes of Westmeath [1]." Irish, Slip Jig. D Mixolydian. Standard tuning. AAB. The oldest member of the tune family appears to be “The Clout,” printed by Neale in a collection of country dances, Dublin, 1726. Huntington (William Litten’s), 1977; pg. 32 (appears as "Kiss in the Furz"). O'Neill (Music of Ireland, 1850), 1903/1976; pg. 80. Green Linnet SIF 1057, Mick Moloney (with Liz Carroll) – “There were Roses.” Kells Music 9507, Dervish – “At the End of the Day” (appears as part of “Packie Duignan Set”).

 

BLAT AN t-SEAMAIR. AKA and see "The Clover Blossom."

 

BLAT AN SUBLAIR. AKA and see "The Strawberry Blossom."

 

BLAT NA h-OIGE. AKA and see "The Bloom of Youth."

 


BLAT NA SMEUR. AKA and see "The Blackberry Blossom."

 

BLATA AN EARRAIG. AKA and see "The Flowers of Spring."

 

BLATA DUIN-EUDAIN. AKA and see "The Flowers of Edinburgh."

 

BLATA DUN-GARBAIN. AKA and see "The Flowers of Dungarvan."

 

BLATA LUIMNIG. AKA and see "The Flowers of Limerick [1]."

 

BLATH DONN IS BAN (The brown and white blossom/garland). Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. There are no words extent for this air which Bunting states is related to "that peculiar class" of melodies called 'Lunigs' in Scotland and 'Lobeens' in Ireland, which appear to be folk songs sung first by a single voice followed by a repetition of the tune by a chorus (see "Luibin"). "The setting given here (in his 1840 collection), which is that of the air as popularly sung, seems irregular in the transposition of the first four bars, which ought to occupy the place of the second four, and vice versa, to make the arrangement correspond with the model on which Irish melodies are generally constructed." Source for notated version: the Irish collector Edward Bunting obtained the melody from another collector, George Petrie, in 1839. O'Sullivan/Bunting, 1983; No. 132, pgs. 189-190.

 

BLÁTHANNA AN CHNOIC RUA. AKA and see "The Flowers of Redhill."

 

BLÁTHANNA AN EARRAIGH. AKA and see "."

BLAW THE WIND SOUTHERLY. AKA and see "Blow the Wind Southerly."

 

BLAYDON FLATS.  English, Reel. D Major. Standard tuning. AABB. A tune often attributed to Tyneside fiddler and composer James Hill (c. 1811-1853), however, it was a composition of Scottish fiddler and composer Abraham Mackintosh (b. 1769) who called it “Miss Aubone Surtees’ Favourite.” The tune was originally a reel, however, hornpipe versions a common. Blaydon Flats in Northumberland was once the site of the famous sporting event the Blaydon Races.  Miller (Fiddler’s Throne), 2004; No. 278, pg. 167. Aly Bain – “1st Album” (1984).

X:1

T:Blaydon Flats

M:C|

L:1/8

R:Reel

N:Sometimes played as a hornpipe

K:D

A,2|D2FD CDB,D|A,DGB AGFE|DAFA DAFA|gfed dcBA|

D2df ecac|Bc (3dcB ADFD|G2BG FAdB|AFGE D2||

g2|fdaf eAcA|B2dB ADFA|BGBd Adfa|gfed dcBA|

d2df ecac|Bc (3dcB ADFD|G2BG FAdB|AFGE D2:|

 

BLAYDON RACES.  English, March. The melody alternated with “The British Grenadiers” as the march-past of the Royal Northumberland Fusiliers.

 

BLAZING COMET, THE. English, Jig. England, Yorkshire. D Major. Standard tuning. AABB. Halley's comet, the most visible returning comet, made its appearance in the Victorian era in 1834. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; pg. 44.

 

BLAZING STAR SCHOTTISCHE. Old-Time, Schottische. C Major. From the playing of Lynn “Chirps” Smith.

 

BLAZING TURF FIRE, THE (An Teine Mona Ar Lasad). Irish, Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 22. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 780, pg. 145. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 57, pg. 26.

X:1

T:Blazing Turf Fire, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 57

Z:AK/Fiddler’s Companion

K:D

A|ded df/e/d|cAA cBc|ded afd|ecA ABc|ded df/e/d|cAB cde|

fde dcA|GED D2:||:G|EDE/F/ GAG|EDE G2A|EDE/F/ GAc|

BAG A2G|EDE/F/ GAG|E2E Geg|fde dcA|GED D2:|

 

BLEA-BERRY BLOSSOM, THE. AKA and see "The White‑haired Piper," "The Four Courts of Dublin," "Jackson's Welcome to Cork [1]," "Johnny Shooting in the Glen," "O'Connell in Clare," "The Barrow Castle," "Lamont's Reel," "The Connacht Lasses," "The Belles of Tipperary [2]," "Miss Mona(g)han(‘s Reel)," "The Green Fields to America," "The Kerry Star," "Stormy Weather," "The Dandy Girl/Lass/Lasses."

 

BLECKYNDEN’S MAGGOT.  English, Jig. F Major. Standard tuning. AABB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758), and was again published by the Thompson’s in Complete Collection of 200 Favourite Country Dances, vol. 3 (London, 1773). A ‘maggot’ in this context was a bit of melody, akin to the term ‘fancy’ or ‘whim’, a trifle of a melody (from the French and Italian magioletta); the term was characteristic of the late 17th and early 18th century, however, and by mid-18th century was out of fashion. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 107.

X:1

T:Bleckynden’s Maggot

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:F

faf faf|gcc ccc|BdB BdB|AFF FFF|faf faf|gee fdd|ecc d=BB|cCC CCC:|

|:gbg gbg|aff fff|bag fed|^cde e^cA|bgg aff|bgg aff|f/g/af cfe|f3 F3:||

 

BLENHEIM HOUSE.  English, Country Dance Tune (4/4 time). D Major. Standard tuning. AAB. The melody appears with dance figures in publisher John Walsh and P. Randall’s Twenty Four New Country Dances for the Year 1711 (London), a volume “Humbly Dedicated to ye Honourable Henry Ld. Neuport.” The tune is attributed to dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. The melody is dated 1710. 120 of Kynaston’s melodies and dances appear in the surviving Walsh volumes (John Walsh was a London  publisher of country dances from 1705; his son, also John Walsh, took over the business and continued publishing until his death in 1766). Blenheim House, Woodstock, Oxfordshire, was the residence bestowed upon John Churchill, First Duke of Marlborough, in reward for his famous victory over the French at Blenheim, in Bavaria, during the reign of Queen Anne (1704). It was designed by the most celebrated architect of his day, Sir John Vanbrugh. Littleton’s Blenheim goes:

***

When Europe freed confessed the saving power

Of Marlborough’s hand, Britain, who sent him forth,

Chief of confederate hosts, to fight the cause

Of liberty and justice, grateful raised

This palace, sacred to the leader’s fame.   [Brewer, Dictionary of Phrase and Fable, 1898]

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 12. Callaghan (Hardcore English), 2007; pg. 29. Wildgoose Records SGS314CD, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2003). Wildgoose Records WGS345CD, The Askew Sisters – “All in a Garden Green.”

X:1

T:Blenheim House

M:C|

L:1/8

S:Walsh & Randall – Twenty Four New Country Dances for the Year 1711

K:D

FG|(A4 A3)B|AGFE D2d2|c2B2c2d2|e6 f2|g4 f4|gfed cBAG|

F2A2E2c2|d6:||cd|(e4 e3)f|edcB A2c2|d2c2d2e2|(f4 f)edc|

B2f2^A2c2|BdfB ^A2f2|gfed c3B|B6 AG|FGAB A2d2|

AGFE D2 de|c2B2c2d2|e6 fg|afaf d2A2|dAdA F2A2|d3e e3d|d6||

                       

BLENHEIM POUND.  English, Country Dance Tune (4/4 time). D Minor. Standard tuning. AABB. The melody appears in London publisher John Young’s editions of The Dancing Master, beginning in 1713 through until 1728. It also appears in Walsh’s New Country Dancing Master, 2nd Book (London, 1710), and Walsh’s Second Book of the Compleat Country Dancing-Master (London, 1719, 3rd edition 1735 & 1749). The title may refer to a pond (“pound”) in Blenheim, as it does in the title “Packington’s Pound” which does refer to pond. Indeed, there is a pond at the foot of the grand lawn leading up to Blenheim manor, Oxforshire. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 12.

 

BLESS MY SOUL, WHY SHOULDN'T I? AKA and see "I Have a Wife of My Own."

 

BLESS TIPPERARY. Irish, Air (4/4 time). D Major. Standard tuning. AB. O’Farrell (Pocket Companion), c. 1805; pg. 8.

X:1

T:Bless Tipperary

M:C

L:1/8

R:Air

N:”Slow”

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

Z:AK/Fiddler’s Companion

K:D

fg | a/g/f/e/ dc d A>d | g2 g/b/a/g/ f2 (ef/g/) | a/g/f/e/ dc d2 B>d | c>A BA/B/ A3 ||

cd | eeef g2 gf | b>ab>c’ b>agf | bf fe/f/ g2 fe | dB d/c/B/A/ B3 f/g/ |

a/g/f/e/ dc d2 A>d | g2 g/b/a/g/ f2 e>A | dd/d/ dd/d/ dd/d/ fa | dd/d/ dd/d/ dd/d/ fa |

dd/d/ fa dd/d/ fa | b/a/g/f/ ba g2 f>d | e>f g/f/e/d/ cB/c/ A>g | fg/a/ A>g fg/a/ A>g | fg/a/ Ac d3 ||

                       


BLESSIN(G)TON MAID. AKA – “Maid of Blessington.” AKA and see "Castle Donovan [2]." Irish, Air (3/4 time). G Dorian. Standard tuning. ABB. Source for notated version: “From Mr. Pigot’s MSS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 539, pg. 136.

X:1

T:Blessington maid, The
M:3/4
L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 539

Z:AK/Fiddler’s Companion

K: Gdor

GF | D2G2 GA | B2 cB G>A | B2c2 (3de^f | g2d2c2 | B2G2 FD |

F4 DC | D2G2 GA | B2 cB G>A | B2c2 (3de^f | g2d3c | B2G2G2 | G4 ||

|: Bc | d2g2 {g}f2 | {d}f2d2dc | B2c2 d^f | g2d2c2 | B2G2 FD | F4 DC |

D2G2A2 | B2 cB G>A | B2c2 d^f | g2d3c | B2G2G2 | G4 :|

 

BLESSINGS OF SILVER, THE. Irish, Reel. G Dorian. Standard tuning. AABB’. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Ed’s son Joe remarks that the tune was written for the 25th wedding anniversary of Lou and Mary Quinn. Reavy (The Collected Compositions of Ed Reavy), No. 10, pg. 10.

X:1

T:Blessings of Silver, The

M:2/2

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Written for Lou and Mary Quinn's

N:twenty-fifth wedding anniversary. Ed loved the connotations of

N:the title: the blessings of twenty-five years of marriage, the

N:blessings of a couple growing old together, and the many rewards

N:of family life. Ed admired Lou not only because of his musical

N:talent, but also because he was a self-made man who set high standards

N:for other immigrants who followed him to the New World.

Z:Joseph Reavy

K:Bb

G/2A/2 | BdBF DGGF | (3D=EF CF DFCF | DGGA Bcdg | g^fdg fdcA |

Bdce dcBA | DGBG ^FDCA, | DGGA Bcdg | ^fdcA G3 :|| g | bfa^f gfdc |

=Bcd=e fdcd | bga=e f2 ge | fdcA BG[G,G]g | (3bag (3ag^f gfdc |

=Bcd=e fefa | gbag ^fag= e|1 =fdcA BGG :|2 =fdcA BGG ||

                                   

BLEW BELL HORNPIPE. See “Blue Bell Hornpipe [2]."

 

BLEW BREIKS. See "Blue Breiks (Britches)."

                       

BLEW-CAP. See "Blue Cap."

 

BLEW RIBBON AT THE ROUND ROD. See "Blue Ribbon at the Round Rod."

 

BLEWITT'S JIG. AKA and see "Barney Brallaghan."

 

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