BLIN' JAMIE

The Fiddler’s Companion

_______________________________

BLIN - BLOW

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]

[COMMENT4]

BLIN' JAMIE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist); pg. 2.

X:1

T:Blin’ Jamie

M:C

L:1/8

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:D

A2 {A}B>A F<A {c}d2 | e/d/c {c}d>A B>E E>B |

A2 {c}B>A F<A {c}d2 | e/d/c {c}d>A F>D [A,2D2] :|

|| g | f>d c>d A/B/c d>f | g>e^d>e B/c/^d eg | f>d c>d A/B/c d>f |

e/d/c {c}dA FD[A,D] g | f>dc>d (3ABc (3def | g>e^d>e (3Bc^d (3efg |

(3fed (3edc (3dcB (3cBA | (3BAG (3ABc dD [A,2D2] ||

BLIND BEGGAR OF BETHNAL GREEN. English, Air (4/4 time). G Minor. Standard tuning. One part. Chappell (1859) reports that this tune was found under the title "The Cripple" by Dr. Rimbault in a lute MS. written by a celebrated lutenist named Rogers, who lived in the reign of Charles II. Percy dates the tune and ballad from the time of Elizabeth I, and since then numerous ballads have been written to it. Chappell notes that the air is sometimes called "Pretty Bessie" from the lyrics at the end of the first verse of "Blind Beggar," and another such ballad which appears in the Roxburghe Collection. There is an entry in Pepys' diary of June 25th, 1663, which records a dinner engagement at Kirby Castle, Sir W. Rider's home at Bednall Green: "This very house was built by the blind Beggar of Bednall Green, so much talked of and sang in ballads; but they say it was only some outhouses of it." Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 16.

BLIND BEGGAR OF THE GLEN. Irish, Air (2/4 or 4/4 time). A Minor/E Minor? Standard tuning. AB. Sources for notated versions: "From Mr. Flattely of Mayo" [Joyce]; “Set by J.E. Peigot, Esq., from Mr. Flatley’s singing” [Stanford/Petrie]. Joyce (Old Irish Folk Music and Songs), 1909; No. 490, pg. 270. Stanford/Petrie (Complete Collection), 1905; No. 680, pg. 171.

X:1

T:Blind Beggar of the Glen

M:C

L:1/8

S:Stanford/Petrie (1905), No. 680

Z:AK/Fiddler’s Companion

K:A Minor

e e2 e d d2 e/d/ | cB AG EC D>E | EA AB ed BA | GE E3 E ||

BLIND BILLY. Irish, Slip Jig. A Major. Standard tuning. AAB (O'Neill/1850): AABB (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 80. O'Neill (Music of Ireland: 1850 Selections), 1979; No. 1129, pg. 213.

X:1

T:Blind Billy

M:9/8

L:1/8

S:O’Neill – Music of Ireland (1903), No. 1129

Z:AK/Fiddler’s Companion

K:A

dec A2f ecA | dec A2g f2e | dec A2f ecA | fBB Bce f2e :|

|| a2a a2f ecA | ada a2e f2e | fga ada ece | fBB Bce f2e |

ada ada ecA | ada a2e f2e | fga ada ece | fBB Bce f2e ||

BLIND FIDDLER, THE. AKA – “More Noise than Work.” English, Old (or Triple) Hornpipe (6/4 time). B Flat Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s third country dance collection (London, 1773). It appears (as do several of the Thompson’s 1773 tunes) in the music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 50.

X:1

T:Blind Fidder, The, or more Noise than Work

M:6/4

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:Bb

“tr”B4 dBfd b2f2|”tr”B4 dBdB c2F2|”tr”B4 dBfd b2f2|gbag fedc (B2 B2):|
|:”tr”(F2 F2) cAcA cAcA|”tr”(F2 F2) dBdB dBdB|”tr”(F2 F2) cAcA cAcA|dBec gfed {d}(c2c2)|

“tr”B4 dBfd b2f2|”tr”B4 dBdB c2F2|”tr”B4 dBfd b2f2|gbag fedc B4:||

BLIND FIDDLERS, THE. AKA and see “Heathery Breeze.”

BLIND GUIDE, THE (An Caoch Eolaighe). Irish, Reel. G Dorian. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 546, pgs. 290‑291.

BLIND MAN’S DREAM, THE. Irish, Air (6/8 time). E Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 684, pg. 172.

X:1

T:Blind Man’s Dream, The

M:6/8
L:1/8

R:Air

N:”Allegretto”

S:Stanford/Petire (1905), No. 684

Z:AK/Fiddler’s Companion

K:Eb

G2F FEF | E2E EGB | c2d e2c | BcG FEF | (E3 E2) ||

BLIND MAN’S RAMBLE. AKA and see “Chips and Shavens,” “Jackey’s Fancy.” English, Reel. The tune appears under this title in the 1779 music manuscript book of James Biggins (Leeds, west Yorkshire) and as the alternate title (to “Chips and Shavins”) in William Vickers’ 1770 Northumbrian manuscript book.

BLIND MAN'S REEL [1] (Reel de l’Aveugle). AKA and see "Reel of the Blindmen." French‑Canadian, Reel. D Major. Standard tuning. AABB. Welling’s version features irregular measure at ends of 'A' and 'B' parts as well as double-tonic tonality. The tune was recorded in the 1920's on a 78 RPM disc by Québecois fiddler Joseph Allard. Sources for notated versions: Gretchen Koehler [Phillips]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 51, pg. 60. Cranford (Winston Fitzgerald), 1997; No. 133, pg. 54. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 29. Welling (Welling’s Hartford Tunebook), 1976; pg. 1. Philo 2001, "Jean Carignan."

X:1

T:Blind Man’s Reel [1]

M:C|

L:1/8

S:Caremelle Begin – from a transcription of Ontario fiddler Dawson Girdwood

K:D

A2 zG |: FD (3DDD (ED)B,G, | A,>DF>(A B>A)F>D | C>EG>(B c>B)A>G|

F>Ad>(e f>d)A>G | F2 (3DDD E>DB,>G, | A,>DF>(A BA)FD |

C>EG>B c(BA>G |1 F>(dA>F D2 A>G:|2 F>(dA>F D2 d>e ||

|: f>dA>c d>A(F>A) | B/B/AG>B e>dc>B | A>cd>e f>dg>f |

e>cd>f e>cd>e| f>dA>c d>A(FA) | B/B/AG>B e>dc>B|

A>fe>d c>AB>c|1 d2 ({e/}d>)c [D3d3]e :|2 d>ed>c d2 A>G ||

BLIND MAN'S REEL [2]. French-Canadian, Reel. Canada, Quebec. F Major. Standard tuning. AABB (Messer, Songer): AA'BB' (Phillips). Sources for notated versions: Gerry Robichaud (Nova Scotia & Boston) [Phillips]; Denis Rothrock (Portland) [Songer]. Messer, 1980; No. 74, pg. 49. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 29. Songer (Portland Collection), 1997; pg. 33. Jean Carignan's version? Henri Landry - “Henri Landry, Fiddler from the Eastern Townships.”

BLIND MARY (Maire Dhall). Irish, Planxty ("very slow" air in 2/4 time, O'Neill: 4/4 time, Joyce & Vallely). D Major (Johnson; Ó Canainn, O'Neill {2 editions}, O’Sullivan, Vallely): F Major (Joyce): G Major (Sing Out). Standard tuning. One part (Ó Canainn, Sing Out): AB (Johnson, Joyce, O'Neill, O’Sullivan, Vallely). The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), although Donal O’Sullivan, in his definitive work on the bard, could find no incontrovertible evidence of its origin. It was copied by Chief Fancis O’Neill from Forde’s two-volume Encyclopaedia of Melody (c. 1845), which carried the attribution to O’Carolan. Unfortunately, only the first volume survives (in the O’Neill papers donated to Notre Dame University), and it is presumed that “Blind Mary” is in the second, a copy of which has not been located in Ireland, Britain or the United States. Donal O’Sullivan (1958) does not think the piece characteristic of O’Carolan’s melodies, and “But for Forde’s high authority we should hardly be justified in including it” in his collected O’Carolan works. If Carolan did compose the tune, it was probably for another blind harper named Maire Dhall (Blind Mary) who lived in his locality, and whom he undoubtedly knew. Maire Dhall was a professional harper (one of the few women recorded as being in the profession) who taught another blind woman, Rose Mooney, who appeared at the Belfast Harp Meeting of 1792, one of the last gatherings of ancient Irish harpers (Sanger & Kinnaird, Tree of Strings, 1992). Harper Charles O’Conor’s diary mentions that in October, 1726, his two younger brothers were learning harp from a woman harper named Maire Dhall. The tune appears to have been recently popular with flute players. Source for notated version: Miss Ellen Phelan, Cork (Joyce). Complete Collection of Carolan's Irish Tunes, 1984; No. 182, pg. 127. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 8. Joyce (Old Irish Folk Music and Song), 1909; No. 814, pg. 396. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 56, pg. 50. O'Neill (Krassen), 1976; pg. 233. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 655, pg. 117. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 182. Sing Out, vol. 35, No. 2, Spring 1990; pg. 24. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 24. Claddagh Records CC18, Derek Bell - "Carolan's Receipt" (197?). Island ISLP9432, The Chieftains - "Bonaparte's Retreat" (1976). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Blind Mary

M:2/4

L:1/8

R:Air

N:”Very Slow”

S:O’Neill – Music of Ireland (1903), No. 655

Z:AK/Fiddler’s Companion

K:D

A|d2 d>c|{c}B2 AF/G/|A>B AF|E3 F/G/|Af f>e|dB AD/E/|F>G {F}E>D|D2||

d/e/|f>g fB|e>c AB/c/|d>D DE/F/|E3 A/G/|F>G Ad|f>e dD/E/|F>G {F}E>D|D2||

BLIND MAUNSIE. Shetland, Reel. D Major. Standard tuning. AABB. Blind Maunsie was a noted fiddler from the area about Delting, Shetland. The tune, however, note Anderson & Georgeson, may have been composed in his honor by their source, James Goudie. Source for notated version: James Goudie (Shetlands) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 27.

BLIND NORA O’NEILL. AKA and see “Blind Norry’s,” “Lady Louden(‘s Strathspey).” Scottish, Reel. C Major. Standard tuning. AABB (Cole): AA’B (Cranford). The melody is also known as “Lady Louden,” attributed to William Gow. Cole (1000 Fiddle Tunes), 1940; pg. 11 (appears as “Blind Norry’s”). Cranford (Jerry Holland’s), 1995; No. 71, pg. 21. Ryan’s Mammoth Collecton, 1885 (appears as “Blind Nora”). Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

X:1

T:Blind Norry’s

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

g{a}g/^f/ g/e/c/e/ | g/a/g/e/ f/d/d/e/ | g{a}g/^f/ g/e/c/e/ | (f/a/)g/f/ e/c/c | g{a}g/^f/ g/e/c/e/ | g/a/g/e/ f/d/d/f/ |

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

BLIND NORRY'S. AKA and see “Blind Nora O’Neill.”

BLIND PHILLIP'S DEAD. English, Reel. England, Northumberland. G Major. Standard tuning. AABB'. Seattle (William Vickers), 1987, Part 2; No. 389.

BLIND RIVER BREAKDOWN. Canadian, Reel. D Major. Standard tuning. AABB. Credited to John Durocher. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 23, pg. 25.

BLIND STEER IN A MUDHOLE. Old-Time, Breakdown. A Major. Standard tuning. AABB. The accompaniment chord begins on the fifth of the key. Source for notated version: Jeff Goering with the Red Mule String Band (Ohio) [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 2), 1994; pg. 30.

BLINK BONNIE. Scottish, Reel. D Mixolydian. Standard tuning. AB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1841-1927). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 135, pg. 55.

BLINK O'ER THE BURN, BESSIE (AND I'LL FOLLOW THEE). AKA – “Blink o’re the Burn Sweet Betty.” Scottish, English; Air (3/4 time). England, Northumberland. D Major. Standard tuning. AABBCCDD. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, compiled and printed c. 1800. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 15.

X:1

T:Bink o’re the Burn Sweet Betty

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1762)

Z:AK/Fiddler’s Companion

K:D

a2 | “tr”{g}f3e (f/g/a) | A3 f”tr”e>d | B4 (f/g/a) | “tr”{g}f3e (f/g/a) | A3 fe>f | d4 (f/g/a) |

“tr”{g}f3e (f/g/a) | A3 f”tr”e>d | B4 fg | a2 (ba)”tr”(gf) | g2 (ag)”tr”(fe) | d4 :: AG |

A2 (d/e/f) “tr”e>d | B4 (f/g/a) | “tr”{g}f3e (f/g/a) | Af/g/ ag”tr”(fe) | d4 (f/g/a) |

“tr”{g}f3 e (f/g/a) | A2 (g/4f/2<e) (f/4e/2<d) | B4 f>g | “tr”(ag/a/) (b/a/)”tr”(gf) |

(F/4E/2<D) (A/4/G/2F) (d/4c/2<B) | A2 (a>g)”tr”(f>e) | d3 BA>G |

(F/4E/2<D) (A/4G/2<F) (d/4c/2<B) | A2 (e/f/g/f/) “tr”e>d | B4 (A/B/4c/4d/4e/4f/4g/4) |

ag/a/ ba”tr”(gf) | (g/4f/2<e) “tr”e3d | d4 :|

BLITHE HAVE I BEEN. AKA and see "Merrily Danced/Kissed the Quaker('s Wife)." Irish?, Jig. C Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 159, pg. 50.

BLIETHEST LASS THAT E’ER WAS SEEN, THE. English, Jig. G Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 65.

X:1

T:Blithest Lass that e’er was seen, The

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:G

|:gdg bgb|ada gaf|gdg bdb|ada gaf|gdg bdb|ada gaf|gfe dcB|”tr”A3 G3:||

BLITHSOME BRIDAL. AKA and see “An the Kirk Would Let Me Be,” “Bremner and the kirk would let me be,” “Blythesome bridal,” “Come fy, let's a' to the bridal,” “Come Let's A’ to the Bridal.” “Come to the Bridal,” “I’m the Boy for Bewitching Them,” “Let us waa to the wedding.” “The Jolly Pedler’s [4],” “Silly Old Man [2].” Scottish, Air and Jig.

BLIVEN'S FAVORITE. AKA and see “Butchers of Bristol [1],” "By your leave, Larry Grogan," "Coppers and Brass [2]," “The County Limerick Buckhunt," "Finerty's Frolic," “Green Sleeves [3],” "Hartigan's Fancy," “The Humours of Ennistymon [1],” "The Humours of Milltown [2],” "Larry Grogan(‘s) [1]," "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynny's Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Double Jig. G Major/Mixolydian/Dorian. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 68.

BLOCKERS, THE. Irish, Reel. G Mixolydian (Ryan). Composed by fiddler Seán Ryan.

X:1

T:Blockers, The

R:reel

M:C|

L:1/8

K:Dmix

FGAG FD~D2|CA,G,A, CDEG|Ad~d2 ^cded|^cAG=F E=C~C2|

FGAG FD~D2|CA,G,A, CDEG|Ad~d2 ^cded|1 ^cAGE D2DE:|2 ^cAGE DEFA||

d2d^c dAFA|~G3A GE^CE|A,D~D2 ^CDEG|1 FDE^C DEFA:|2 FDE^C D2DE||

BLOCKHOUSE DUTCHMAN. AKA and see "Box (the) Fox," "Double Hornpipe." Old‑Time, Breakdown. USA, Southwestern Pa. D Major. Standard tuning. AA'B. The second part of Bayard's 'A' version is the same as "Dogs in the Dishes." Sources for notated versions: Samuel Losch (Juniata County), Issac Morris (Greene County), and Walter Ireland (Greene County) {all southwestern Pa. fiddlers, collected 1930's to 1944} [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 299A‑C, pgs. 253‑254.

BLOCKS DANCE. English. England, Northumberland. One of the "lost tunes" of Vickers' 1770 Northumbrian Dance Tune manuscript.

BLODAU’R DRAIN (The Flowers of the Thorn). AKA- “Blodam Drain.” Welsh, Air (3/4 time). A Minor. Standard tuning. AAB.

X:1

T:Blodam Drain

T:The Flowers Of the Thorn

S:Dick Rutter, Edinburgh

Z:Nigel Gatherer

M:3/4

L:1/4

R:Air

K:Am

E|A2B|cBA|e d/c/B/A/|B2 B|A A/c/B/d/|cBA|^G G/B/A/c/|B2:|]

B|c2 c|d2 d|e e f|e2 d|c/B/c/d/ c|d/c/d/e/ d|e/f/e/f/e/f/|g3 f/e/d/|

c/B/c/d/e/c/|d/c/d/e/f/d/|e e a|^g2 a|a e c|f e d|c d/c/B/c/|A4|]

BLODGETT’S REEL. AKA and see “Dublin Reel,” “Jackson’s Reel [2],” “Miss Daly’s Reel.” Irish, American; Reel. One of the few tunes that was excised when Ryan’s Mammoth Collection was reprinted as Cole’s 1000 Fiddle Tunes in 1940. Ryan’s Mammoth Collection, 1883.

BLOOD-RED ROSE (To Daunton Me). AKA and see “Moran’s Return.” Irish, Slow Air (4/4 time). D Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 383, pg. 67.

X:1

T:Blood-Red Rose, The

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 383

Z:AK/Fiddler’s Companion

K:Dmin

A>BG>A F2 f>g|a>gfd fdcA|G2 F>F F2||A>G|F2 f>g f3g|a>gfd c2 f>e|d2 g>a g2 a|

bagf d2 f>g|a2 b>a g2 a>g|f>gfd c>dfg|a>gfd fdcA|G2 F>F F2||

BLOODY FIELDS OF FLANDERS, THE. A Great Highland pipe tune dating to World War I. It is the vehicle for Hamish Henderson’s famous song “Freedom Come All Ye.”

BLOODY HOLLOW. Irish, Jig. G Major. Standard tuning. AABB’. Composed by Joe Mills.

X: 1

T: Bloody Hollow

R: jig

C: Joe Mills

M: 6/8

L: 1/8

N: Thanks to Philippe Varlet for the name.

Z: Transcribed by Bill Black

K: G

DGG GFG | FEF DFA | ded cAF | G3 G2 :|

def gfg | agf gfe |1 ded cAF | G3 G2 :|2 fed cAF | G3 G2 ||

BLOODY OUL' HAG IS IT TAY YOU WANT? AKA and see "The Butcher's March [1]," "The Butcher's Jig," "The Boys of Clones," "The Bog of Allen [1]," "Along with the Girls I'd like to be."

BLOOM OF YOUTH, THE (Blat Na h-Oige). AKA and see "Tansey's Favourite [1]," “Doctor Taylor,” "The Downshire Reel," "Gardiner's Favourite [1]." Irish, Reel. G Major. Standard tuning. AB. The reel may have derived from the Scottish “Countess of Sutherland [1]” and “Glasgow Ladies Reel” (Aloys Felischmann). An influential recording was made on 78 RPM for the Decca label by flute player John McKenna in 1934. O’Neill’s source (as he writes in Irish Minstrels and Musicians), Robert Lawson, inherited an exquisite set of uilleann pipes from piper (and Chicago police sergeant) James Early. The pipes had been made by a famous pipe-maker, Egan, and had belonged to a Kerry piper named ‘Dan’ O’Keeffe (1821-1899). Unfortunately, Lawson was not the best care-taker of the valuable instrument, as he had them stolen from him after he had been fed ‘knock-out drops’ in a dive in New York City’s Bowery section. Source for notated version: piper Robert Lawson [O’Neill]; from a recording by Clare fiddler Bobby Gardiner [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 44, pg. 22. O'Neill, 1976; pg. 99. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1215, pg. 229. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 492, pg. 94.

X:1

T:Bloom of Youth, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 492

Z:AK/Fiddler’s Companion

K:G

G2 BG AGEF|G2 DG EGDc|dBAc BG G2||gd (3ddd edcA|BdAc BE E2|

gd (3ddd edcA|dcAc BG G2|gd (3ddd edcA|DBAc BE E2|cBcd efge|dBAc BG G2||

BLOOMING DEIRDRE, THE. Irish, Air. This was a song composed in 1409 for the marriage of Thomas Fitz John Cetu, Earl of Desmond, to Catherine, daughter of William Mac Cormac Mac Carthy; "a romantic wedding which cost the bridegroom his inheritance" (Flood, 1906, pg. 76).

BLOOMING LILY, THE. Irish, March {?} (4/4 time). D Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 608, pg. 153.

X:1

T:Blooming Lily, The

M:C

L:1/8

S:Stanford/Petire (1905), No. 608

Z:AK/Fiddler’s Companion

K:D

=c2 BA B2 GA | B2G2A2 GE | D4 D2 || FG | A2B2c2d2 | e2 de d3d |

dedc AGAc | dcAF G2 FG | A2d2d2 cd | e2 dc A2 GA | B2G2A2 GE | D4 D2 ||

BLOOMING MEADOWS [1] (An Moinfeur Fionnsgotac). AKA and see “Cover the Buckle,” "Down the Hill," "Down With the Tithes [1]," "Hag and Her Praskeen," "Humors of Mil(l)town [1],” “The Silver Tip.” Irish, Double Jig. G Major. Standard tuning. AAB (O'Neill/1915): AABB (Cole, Joyce, Roche): AABB' (O'Neill/1850 & 1001). Bayard believes the first strain of this tune group was developed from "Bung Your Eye." "Trip it Along," "Humors of Ballinafauna," and "Humors of Castle Comer" are variants. Charlie Piggott, in the essay on Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O’Loughlin in his book Blooming Meadows (1998), remarks on tunes being disseminated into local, isolated traditions in Ireland by visiting musicians. It is remembered that “Blooming Meadows” was introduced into O’Loughlin’s Kilmaley-Connolly, Clare, area by traveling piper Jerry O’Shea many generations ago. Cole (1000 Fiddle Tunes), 1940; pg. 56. Howe (1000 Jigs and Reels), c. 1867; pg. 21. Joyce (Ancient Irish Music), 1873/1890; No. 85, pg. 87. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 146, pg. 84. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 917, pg. 171. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 304, pg. 65. Roche Collection, 1982; Vol. 1, No. 115, pg. 48 (appears as "Down the Hill").

X:1

T:Blooming Meadows, The [1]

M:6/8

L:1/8

R:Jig

K:G

D|(D2G) (G2A)|(B2d) cAG|(F2D) DED|~F3 {A}GED|

DGG (G2A)|BAG ABc|(d2B) cAF|G3 G2:|

|:{d/e/f/}|(g2d) def|(g2a) bag|(f2d) ded|(f2g) afd|

(g2 d) def|(g2a) bag|fed cAF|G3 G2:|

BLOOMING MEADOWS [2], THE. Irish, Double Jig. G Major. Standard tuning. AABBCC (O’Neill): AABB’CC (Harker/Rafferty, Mulvihill). A variant of “Blooming Meadows [1],” with a third part. This is the version commonly played in sessions today. Sources for notated versions: the Tulla Ceili Band [Mulvihill]; Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 239, pg. 74. Mulvihill (1^st Collection), 1986; No. 48, pg. 75. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 918, pg. 171. .” Piping Pig Productions PPPCD001, Jimmy O’Brien-Moran – “Seán Reid’s Favourite” (1996. Learned from Clare piper Willie Clancy).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Blooming Meadows, The [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 918

Z:AK/Fiddler’s Companion

K:G

BLOOMING MEADOWS [3], THE. AKA and see “Lark on the Strand [2],” “Lass on the Strand [3],” “Primrose Glen,” “Wicky Sears.” Irish, Double Jig. G Major. Standard tuning. AA’BB’. Breathnach (1963) says the tune is sometimes incorrectly called “The Lark on the Strand [2],” although this title seems to have stuck. The “Wicky Sears” title comes from J.O. O’Brien’s Irish Folk Dance Music (Roxbury, Mass.).

X:1

T:Blooming Meadows, The

T:Lark on the Strand, The

T:Primrose Glen, The

R:jig

D:Colm Murphy: An Bodhr\'an

Z:id:hn-jig-111

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

M:6/8

K:G

BA|:GEF ~G2A|BAG ABd|edd gdd|edB dBA|

GEF G2A|BAG AB/c/d|edd gdB|1 AGF GBA:|2 AGF GBd||

|:~g3 efg|afd edB|Add fdd|ed^c def|

~g3 ~a3|bag fgf|edc BcA|1 BGF GBd:|2 BGF G||

"Variations:"

BA|:GEF G2A|BAG AB/c/d|edd gdd|~e3 dBA|

GEF ~G2A|BAG ABd|edg edB|1 AGF GBA:|2 AGF GBd||

|:~g3 efg|afd edB|Add fdd|ed^c def|

~g3 abc'|bag fgf|edc BcA|1 BGF GB/c/d:|2 BGF G||

BLOOMINGDALE WALTZ. Old-Time, Waltz. A Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning. AABBAACAA. Source for notated version: Gilbert Ross [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 242.

BLOOMINGTON BREAKDOWN. Old‑Time, Breakdown. Rounder 0213, The Tompkins County Horseflies ‑ "Chokers and Flies" (1985. Learned from the late Indiana fiddler Strawberry McCloud).

BLOOMS OF BON ACCORD, THE. AKA ‑ "Cockers Roses." Scottish, Slow Air. A Major ('A' part) & E Major ('B' part). Standard tuning. ABB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). 'Bon Accord' was another name for the city of Aberdeen, Scotland. Skinner (The Scottish Violinist); pg. 32.

X:1

T:Blooms of Bon Accord, The

M:2/4

L:1/8

R:Slow Air

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A

E | czcz | {c}B/>A/B/>c/ (AE) | dzdz | {d}c/>Bc/>d BE | .e2 .=f2 | gf dB |

A/>E/^D/>E/ cB | B2A |: G/A/ | BE e2 | dc B2 | c2 B{d}c | BA G>A |

BE e2 | dc B2 | (cd/e/) ed |1 (e2e) :|2 (e2 =d) ||

BLOOMSBURY MARKET. English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The tune was first published by Henry Playford in The Dancing Master, 12 Edition (London, 1703), and continued to be published in the series (taken over by John Young) through the last edition, in 1728. Later editions of The Dancing Master give an alternate title of “Queensborough” for the melody. It was also published by John Walsh (and later his son) in three editions of his Compleat Country Dancing Master (London, 1718, 1731 & 1754). Bloomsbury is located in central London, in the Borough of Camden, and was developed by the Russell family in the 17^th and 18^th centuries into a fashionable residential area. Bloomsbury Market was established in 1662, although first called Southampton Market. It was “a long place with two Market houses, the one for flesh, the other for fish, but of small account, by reason the Market is of so little use and so ill served with provisions; insomuch that the inhabitants are served elsewhere” (Strype, quoted in Wheatley & Cunnintham’s London Past and Present, 1891). It is possible Playford knew it as the residence of Robert White, the engraver, who lived in Bloomsbury Market from about 1683 until his death in 1704. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; pg. 133, No. 504. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 12.

X:1

T:Bloomsbury Market

M:C|

L:1/8

S:Playford – Dancing Master, 12^th Edition (1703)

K:G

BLORON'S FANCY. AKA and see "The Aberdeen Lasses," “Bond’s (Reel),” "The Game of Love" (Cluiche an Bhra),

"The New Custom House."

BLOSSOM AND THE RAIN, THE. English, Waltz. E Minor. Standard tuning. AB. A modern composition by Brian Peters. Knowles (A Northern Lass), 1995; pg. 37.

BLOSSOM OF BALLISLAND, THE. Irish, Jig. Composed by fiddler James Kelly, originally from Dublin, in honor of his mother Frances who was born in Ballisland, south County Wicklow. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996).

BLOSSOM OF THE BRANCHES, THE. See “Bláith na g-Craobh.”

BLOSSOM OF THE NEW TREE, THE. AKA and see "Scotch Maggie," "The Ladies Tight Dress," "Granshaw Glens," "Roll out the Barrel," "The Rakes of Abbey," "The Tap Room," "Lord Edward," "Fitzgerald's Reel," "The Scotch Bonnet," "A Short Way to Heaven," "Miss Fargherson's New Reel," "Bhaintreach na Radaireacht."

BLOTE’R GORLLEWIN (Flowers of the West). Welsh, Air (4/4 time). E Minor. Standard tuning. AABB.

X:1

T:Blote'r gorllewin (flowers of the west)

R:march

Z:ceri rhys matthews

M:4/4

L:1/4

Q:1/4=200

K:Em

G3A/4G/4F/4G/4|A3B/4A/4G/4A/34|BBGF|E2-E:||

dedc|BABc|d2GF/E/|D3D|G2A/G/F/G/|A2B/A/G/A/|BEGF|E3:||

BLOW AWAY THE MORNING DEW. New England, Contra Dance Tune (4/4 time). G Major. Standard tuning. One part. This famous folk air was adapted for contra dancing by caller Dudley Laufman (Canterbury, New Hampshire) from the singing of Richard Dyer Bennett. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 3.

BLOW THE CANDLE OUT. Irish, Air (2/4 time). E Flat Major (Stanford/Petrie): G Major (O’Neill). Standard tuning. One part. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 330, pg. 57. Stanford/Petrie (Complete Collection), 1905; No. 634, pg. 159.

X:1

T:Blow the Candle Out

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 330

Z:AK/Fiddler’s Companion

K:G

d/c/|B>c BG|E>F GA|Bc {B}A>G|G3 G/A/|B>c BA|Be ef|ga f>e|(e2 e) G/A/|

B>c BA|Be ef|g>b (a/g/f/g/)|e>f ge|d>c B/A/G/F/|E>F GA|B>c B/A/G/F/|G3||

BLOW THE WIND SOUTHERLY (HOME TO MY DEAR). AKA and see "Kinloch (of Kinloch),” “Yellow John [1]." Scottish, English; Jig or Waltz. England, Northumberland. D Major. Standard tuning. AABB (Stokoe): AA'BB' (Carlin). The 'A' part of this tune is the 'B' part of "Over the Water to Charlie," while the second strain is new. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

***

Blaw the wind southerly, southerly, southerly,

Blaw the wind southerly, south, or south‑west;

My lad's at the bar, at the bar, at the bar,

My lad's at the bar whom I love best.

***

This is evidently a fragment of an older ballad, and is taken from Sharp's Bishoprick Garland. A variation of the last two lines has been sometimes heard from old songs:‑‑

***

Blaw the lad ti' the bar, ti' the bar,

Blaw the lad ti' the bar that I love best. (Bruce & Stokoe, 1882)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 183. Carlin (English Concertina), 1977; pg. 21. Topic TSCD 669, Billy Ballantine & Jimmy Hunter (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Piccolo player Billy Ballantine {born c. 1890’s} and harmonica player Jimmy Hunter were both from Northumberland).

X:1

T:Blaw the Wind Southerly

M:6/8

L:1/8

R:Jig or Waltz

S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion

K:G

g2g fed|fed Bgf|eBc d2:|

BLOW THE WINDS I-HO. English, Air (4/4 time). England, Northumberland. D Minor. Standard tuning. AB.

***

There was a shepherd's son, He kept sheep on yonder hill;

He laid his pipe and crook aside, And there he slept his fill.

And blow the winds, I‑ho! Sing, blow the winds, I‑ho!

Clear away the morning dew, And blow the winds, I‑ho!

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 81. Fellside Records FECD192, Spiers & Boden – “Tunes” (2005).

X:1

T:Blow the Winds, I-Ho!

M:C

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:D Minor

e2d2d2A2|c2A2G2E2|c6||(BG)|F2D2D2E2|G2A2B2G2|

F2D2D2E2|G4 z4|A2d2d2c2|e2d2d2B2|c2A2G2E2|D6||

BLOW THY HORN, HUNTER. English, Air (cut time). C Major. Standard tuning. One part. This air was written by England's Henry VIII who, in addition to being King and a man of letters, was a composer and musician who played upon the virginal, recorders, flute and other instruments of his day. The air appears in B.M., Addl. MSS. 31,922 and MSS. Reg. Appendix 58. Chappell (Popular music of the Olden Time), vol. 1, 1859; pgs. 39‑40.

BLOWZABELLA. AKA - "Blouzabella," "Blousy Bella." English, Jig and Air. G Major. Standard tuning. AA'BB'CC'DD (Merryweather): AABBCCDDEE (Aird, Vickers). The song “Blowzabella, My Bouncing Doxie” tells of a bagpiper and his wife, who is affectionately known as Blowzabella but who nonetheless is employed as a prostitute. They banter about their respective livelihoods but come to agreement in the end, confirming their marital bliss. The song was apparently an 18th century elaboration of a 16th century Italian popular theme, according to Merryweather, and appears in Thomas D'Urfy's 1719 work called Wit & Mirth or Pills To Purge Melancholy under the title "The Italian Song Call'd Pastorella; made into an English Dialogue." D’Urfy was by that time thoroughly familiar with the character of the Blowzabella, who was a principle character in his 1699 play The Rise and Fall of Massaniello. D’Urfy’s song begins:

***

He. Blowzabella my bouncing Doxie,
Come let's trudge it to Kirkham Fair,
There's stout Liquor enough to Fox me,
And young Cullies to buy thy Ware.

She. Mind your Matters ye Sot without medling
How I manage the sale of my Toys,
Get by Piping as I do by Pedling,
You need never want me for supplies.

***

The air that D’Urfy printed is not the one later associated with the title “Blowzabella” as it appears in dance and country musicians’ manuscripts later in the 18^th century. However, “Blowzabella” proved a popular, and songs under the title found their way into ballad operas such as Ebenezer Forrest’s Momus Turn’d Fabulist, or Vulcan’s Wedding (London, 1729), Henry Potter’s The Decoy (London, 1733), Robert Drury’s The Mad Captain (London, 1733) and his later The Rival Milliners, or the Humours of Covent Garden (1737), and Matthew Gardiner’s The Sharpers (Dublin, 1740). It appears that the country dance version of “Blowzabella” derives from the air that Forrest employed in his 1729 stage work.

***

As "Blousy Bella" it appears in a c.1708 manuscript in the British Museum by G. B. Buononcini, for unaccompanied flute. Later, the jig appears in the music manuscripts of H.S.J. Jackson (Wyresdale, Lancashire, 1820), William Vickers (Northumberland, 1770) and Thomas Hammersley (London, 1790, as “Blousa Bella”). John Walsh, who published the melody in his Caledonian Country Dance volumes of the mid-18^th century (beginning 1735), identifies the melody as "Scotch." The jig also appears in print in Daniel Wright’s Compleat Collection of celebrated country Dances (published by Johnson in London, around 1740), Robert Bremner’s Delightful Pocket Companion for the German Flute (London, 1763), John Simpson’s Compleat Tutor for the Flute (London, 1745), An air called “Blouzibel” also appears in print in Watts’ Musical Miscellany, vol. 4 (London, 1730), set in ¾ time, but this appears to be an unrelated tune.

***

Blowzabella was taken as a band name by a Northumbrian "revival" musical group of the late 20^th century, one of the more successful touring groups of the era. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 123, pg. 45. Callaghan (Hardcore English), 2007; pg. 57. Merryweather, 1989; pg. 49. Seattle (William Vickers), 1987, Part 2; No. 392. Offord (John of the Greeny Cheshire Way), 1985; pg, 99.

X:1

T:Blow Zabella

M:6/8

L:1/8

S:James Aird, Selection of Scotch, English, Irish and Foreign Airs, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

d2c BAG | c2A B2G | d2c BAG | A2D G3 :|

|: g2d BGB | cAc BAG | g2d BGB |1 ADF G3 :|2 ADF G2 ||

|: G/A/ | BAB cBc | d3 d2c | BcB ABA |1 G3 G2 :|2 G3 G3 ||

|: g2G g2G | ABA B2G | g2G g2G |1 ABA G3 :|2 ABA G2 ||

|: G/A/ | BAB cBc | d3 d2c | BcB ABA | G3 G2 :|

_______________________________

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