The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
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BONN - BONNY |
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] |
BONN DEIC-PINGINE. AKA and see
"The Tenpenny Bit."
BONN LEAT-REAL. AKA and see
"The Threepenny Bit."
BONNAIN
BUI, AN. AKA – “Bonnan Buidhe.” See note for "An Noinin Connachtach," a related
tune.
BONNAN BUIDHE, AN. AKA and see "The
Yellow Bittern."
BONNE-FEMME
NOËL, LA (Noёl’s Wife). French-Canadian, Reel. G Major.
Standard.AAAAABBB. Hart & Sandell (2001) say the tune comes from fiddler
Lucien Mirandette (1924-1993), from St-Cutbert in the Lanaudière region. The
tune is irregular: the first part is two measures of 6/4 time, repeated, while
the second is in 4/4 time. Hart & Sandell (Dance ce Soir), 2001; No. 61, pg. 95. Les
frères Labri – “Quand l’vent vire de côté” (1993).
BONNE
VALSE, LA. See "Grand
Mamou Blues."
BONNELL'S QUICKSTEP. AKA ‑ "Bonnell's March," "Virginia Quickstep," "The Dancing Mustang," "Major Crichton's Delight"
(Eng.), "Davy Knicknack" (Eng.), "Hoe Cake." American,
Quickstep or March. USA, southwestern Pa. G Major. Standard. AABB. The tune is
international in origin, according to Bayard (1981), in Britain and Europe, but
in Pennsylvania it is known as a tune for fife and drum bands. The Pennsylvania
versions are named for a renowned fifer from Geene County named "Doc"
Bonnell. Bayard found two Flemish versions, and says Dutch authority Florimond
van Duyse considered it a fife or flagolet tune dating to the latter 18th or
beginning 19th century. Sources for notated versions: Bayard's 'A' version is
from the Hoge MS; various other versions ('B'‑'H') were collected from
southwestern Pa. fifers and fiddlers. Bayard (Dance to the Fiddle), 1981; No. 210, pgs. 165‑167.
BONNET MAKERS OF DUNDEE, THE. AKA
and see “Corby and the Pyett,” “Sweet Molly [2].” Scottish, Reel or
Strathspey. Glen finds the earliest printing of the tune in Robert Bremner's 1757 collection.
However, Paul Cranford says it appeared earlier in James Oswald’s Caledonian Pocket Companion (1743-48)
under the title “The Corby and the Pyett” (The Raven and the Magpie”). Aird (1782) and Kerr (1887) print it as
“Sweet Molly.” The melody appears in the music manuscripts of Long Island, New
York, painter and fiddler William Sydney Mount (1807-1868) on a page dated May
8th, 1845, along with the tunes “Cameronian Rant” and “Mathewson’s
Hornpipe.” Bremner (Scots Reels), c.
1757; pg. 46.
T:Bonnet Makers
of Dundee
M:2/4
L:1/8
S:William Sydney
Mount Manuscripts, on a page dated May 8th, 1845
Z:AK/Fiddler’s Companion
K:G Minor
G/g/
(g/4a/4.g/4.^f/4 g=f/d/ | f/>g/ a/g/ f/^e/f/c/ | d/g/ (g/4a/4).g/4.^f/4
g=f/d/ |
c/>d/f/A/ (3.G/.G/.G/G
| G/g/ (g/4a/4.g/4.^f/4 g=f/d/ | f/>g/ a/g/ f/=e/f/c/ |
d/g/
(g/4a/4).g/4.^f/4 g=f/d/ | c/>d/f/A/ (3.G/.G/.G/G |: (3A/A/A/A/G/ F/G/B/c/ |
(3d/d/d/d/c/ d/f/g/a/ | f/d/c/A/ F/G/A/c/
| d/f/c/A/ (3G/G/G/G :|
X:2
T:Bonnet
Makers of Dundee, The
M:C
L:1/8
R:Reel
S:Bremner
– Scots Reels (c. 1757)
Z:AK/Fiddler’s
Companion
K:E
Minor
E(ee)f
“tr”e2 dB | defd eBdA | B(ee)f “tr”e2 dB | ABdF E/E/E E2 :|
|:
F/F/F F?E DEFA | B/B/B B>A Bdef | dBAF D>EFA | BdAF E/E/E E2 :|
BONNET TRIMMED IN BLUE. AKA and see "Jacket Trimmed in Blue."
BONNETS O' BLUE [1]. English, Morris Dance Tune (6/8
time). G Major (Mallinson): F Major (Bacon). Standard. AABB, AABB, AACC, AACC,
AA. From the village of Bledington, Gloucestershire, in England's Cotswolds.
Bacon notes there is some doubt about the modality of the tune: Cecil Sharpe
collected it in 1909 from Charles Benfield who played it with flattened 7th in
the third measure of the 'A' part and the 7th measure of the 'B' part, however,
around 1924, when collected by Dr. Kenworthy Schofield from the same informant,
the 7th was consistently flattened. The tune is not the same as "Bonnets
So Blue."
***
Charles Benfield, Bledington.
The portrait (by artist A. van Anrooy)
depicts Charles Benfield, the fiddler for the Bledington morris men in the
second half of the 19th century. Benfield started out by playing the
pipe and tabor, instruments he had ‘inherited’ from the renowned Sherbourne and
Northleach musician Jim ‘the laddie’ Simpson, who had succumbed to an overdose
of alcohol in 1856. The fiddler became a key figure in the Bledington morris
tradition, eventually leading the “junior side” of dancers born in the 1860’s,
men who survived to pass on their tradition to larger audiences when collectors
visited in the 1930’s.
***
Bacon
(The Morris Ring), 1974; pg. 85.
Mallinson (Mally’s Cotswold Morris Book),
1988, Vol. 2; No. 43, pg. 21.
BONNETS O' BLUE [2]. AKA and see "Bonnets So Blue."
BONNETS SO BLUE. AKA ‑ "Bonnets o' Blue [2]." English;
Country and Morris Dance Tune (6/8 time). G Major (Carlin, Mallinson, Wade): D
Major (Karpeles, Kennedy & Raven): C Major (Bacon, Barnes). Standard
tuning. AB (Carlin): AAB (Raven, Wade): ABC (Barnes, Sharp): AABC (Karpeles
& Kennedy): ABCBC (Bacon, Mallinson). The Cotswold morris version is from
the village Bucknell, Oxfordshire, area of England (a similar tune was
collected in Brackley, Northampton) area of England, where it is a solo jig
dance. Wade's version is from the North West (England) morris tradition and is
used for either polka or single step. The author of “English Folk-Song and
Dance” found the melody in the repertoire of fiddler William Tilbury (who lived
at Pitch Place, midway between Churt and Thursley in Surrey), who used, in his
younger days, to play the fiddle at village dances. He learned his repertoire
from an uncle, Fiddler Hammond, who died around 1870, and who had been the
village fiddler before him. The conclusion was that “Bonnets of Blue” and
similar old country dance tunes survived in the tradition (at least in
southwest Surrey) well into the second half of the 19th century. Bacon (The Morris Ring), 1974; pgs. 107 &
124. Carlin (Master Collection),
1984; pg. 36 (#46). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 41. Kennedy
(Fiddlers Tune Book), Vol.1, 1951;
No. 96, pg. 47. Kerr (Merry Melodies),
Vol. 2; No. 312, pg. 34 (appears as "Bonnets o' Blue"). Mallinson (Mally’s Cotswold Morris Book), 1988,
Vol. 2; No. 38, pg. 19. Raven (English
Country Dance Tunes), 1984; pg. 103. Sharp (Country Dance Tunes), 1909/1994; pg. 7. Wade (Mally’s North West Morris Book), 1988; pg. 9. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al -
"Son of Morris On" (1976/1994).
X:1
T:Bonnets so
Blue
L:1/8
M:6/8
K:D
A|ded def|ABA
ABc|dfb afd|efe e2A|ded def|ABA A2b|agf age|(d3d2):|
||e/d/|cde
efe|(A3A2)d|cde efg|a3a2g|f2e d2c|B2c d2e|fgf edc|(B3B2)||A|
def def|def d2A|dfb agf|egf e2A|def def|def
d2b|agf age|(d3d2)||
BONNIE... See
also "Boanie..." (Shetland).
BONNY ABOYNE. Scottish. One of the 30 or so surviving compositions
of Peter Milne(1824-1908),
one of J. Scott Skinner’s teachers and, later, fiddling partner. Milne managed to
make a living playing theater venues all over Scotland, but became addicted to
opium in the drug laudanum, which he originally took as a pain-killer. Milne ended his life in reduced
circumstances, busking on the ferry that crossed the Firth of Forth.
BONNIE ANGELA. New England, Reel. C major. Standard. AABB. A modern
composition by Jack Perron. Miller & Perron (Irish Traditional Fiddle Music), 1977; addenda.
BONNIE ANN [1]. Scottish, March (2/4 time). A Mixolydian. AABBCCDD.
Martin (Ceol na Fidhle), Vol. 2,
1988; pg. 12.
BONNY ANN [2]. AKA and see "Bonny
Annie [3].”
BONNIE ANN(IE) [1] (Áine Bhóidheach). Irish, Reel. D
Major. Standard. AABB. 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 is a
well-known session tune in Irish traditional music. Seán Keane says this tune,
together with “Jinnie Bang the
Weaver” are known as “The Longford
Reels.” Keane’s recording was influential, and the tune is sometimes called
“Seán Keane’s Reel, according to Sliabh Notes box player Dónal Murphy. Sources
for notated versions: fiddler Seán Keane (Ireland) [Breathnach]; set dance
music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]. Breathnach
(CRÉ III), 1985; No. 150, pg. 70.
Taylor (Music for the Sets: Blue Book),
1995; pg. 5. Treoir, 1x, 1. Claddagh Records CC17, Seán Keane ‑ "Gusty's
Frolics" (1975. Learned from two uncles on Keane’s mother’s side, James
Hanley and Peter Farrell). Ossian OSS CD 130, Sliabh Notes – “Along
Blackwater’s Banks” (2002).
BONNIE ANNIE [2]. AKA ‑ "Bonnie Anne." AKA and see “Astley’s Hornpipe.” Irish, Hornpipe. G
Major. Standard. AABB. 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 (Krassen), 1976; pg. 215. O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 1771, pg. 330 (appears as "Bonnie
Anne"). O’Neill (Waifs and Strays of
Gaelic Melody), 1922; 356.
X:1
T:Bonnie
Annie [2]
M:C|
L:1/8
R:Hornpipe
S:O’Neill
– Music of Ireland (1903), No. 1771
Z:AK/Fiddler’s Companion
K:G
G>AB>c
d>BA>G | g>fg>e d2 A>A | B>dB>G c>ec>A |
B>dB>G G>FE>D |
G>AB>c
d>BA>G | gfge d2 A>A | B>dB>G (3cde A>F | G2 G2 G2 z2 :|
|:
d>ef>g f>af>d | g>bg>e f>af>d | d>ef>g
a>fe>d | B>dB>G F>AF>D |
B>dB>G
c>ec>A | f>af>d g>bg>e | d>gf>e d>cB>A | G2G2G2
z2 :|
BONNIE ANNIE [3]. AKA and see "Bonny Ann," "Lethen's Reel,” “Flip McGilder’s Reel,” “Follow Me Down to Carlow [1],
"Follow Me Down to
Carlow [2]" (jig version), "The
Crooked Reel” (An Ríl Cam), "Miss Murphy [2]." Scottish,
Reel. A Minor or A Dorian. Standard tuning. AB (Surenne): AAB (most versions).
One of the more famous compositions by Edinburgh music teacher Daniel (or sometimes, Donald) Dow (1732‑83),
originally of Kirkmichael, Perthshire, who first published it about 1775 or
1776 (the earliest it appears in print, according to John Glen {1891}). It also
appears in Angus Cummings 1782 work Collection of Strathspeys or Old Highland
Reels. See also Irish versions under this and alternate titles. Glen (Collection of Scottish Dance Music),
1891; pg. 23. Gow (Complete Repository),
Part 1, 1799; pg. 22. Kennedy (Fiddler’s
Tune Book, vol. 1), 1951; No. 38, pg. 19. Kerr (Merry Melodies), vol. 2; No. 54, pg. 9. MacDonald (The Skye Collection), 1887; pg. 112.
Raven (English Country Dance Tunes),
1984; pg. 188. Stewart-Robertson
(The Athole Collection), 1884; pg.
43. Surenne (Dance Music of Scotland), 1852; pg. 114.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Alan Ng’s Irishtune.info |
X:1
T:Bonnie
Annie [3]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:A M inor
B/c/ | A/A/A AG
EGGc | A/A/A AB cded | cBcG EGGc | A/A/A e^g aAA :|
g|e/f/g ce ecge
| BGdG Bcdf | ecgc egca | gede cAAg | agea gced | cAGc EcGc |
AcGA cdea | gede cAA ||
BONNIE ANNIE [4]. Scottish,
Clog. E Major. Standard tuning. AABB. Cole (1000
Fiddle Tunes), 1940; pg. 119. Ryan’s
Mammoth Collection, 1883; pg. 158.
X:1
T:Bonnie
Annie [4]
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E
(g>.a)
| (b>.g)(a>.f) e>gf>e | d>ef>d B>cB>A | G>Be>^d
c>fa>f | e>(f/2e/4) d>fg>a |
b>ga>f
e>gf>e | d>ef>d B>cB>A | G>Be>^d c>af>^d | egE ::
(d>.e) |
(f>.B)(B>.B)
B>fg>a | g>ee>e e>fg>a | b>ge>g a>gf>e |
d>bc>^a b>ed>e |
f>BB>B
B>fg>a | g>ee>e e>fg>^a | b>fg>e d>fe>c | B2d2B2
:|
BONNIE ANNIE ANDERSON. Scottish, Strathspey or
Schottische. D Major. Standard tuning. AB. Composed by Scottish fiddling giant J. Scott Skinner, first appearing in print near the
end of his life in his "Cairngorum Series," No. 1 (1922). Hardie (Caledonian Companion), 1986; pg. 19. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to
the Floor” (1992).
BONNY AT MORN. English, Air (6/4 time). England, Northumberland. G
Minor. Standard tuning. AB.
***
The sheep's in the meadow,
The kye's in the corn,
[Thou's ower land in they bed]
Bonny at morn.
Canny at night,
Bonny at morn,
[Thou's ower lang in thy bed],
Bonny at morn. (Bruce &
Stokoe).
***
"The
song 'Bonny at Morn' gives us a pretty picture of family life. The baby awakes
a little too early, but the big lad and the big lass are loath to rise; hence
the interjaculatory phrases 'Thou's ower lang in thy bed' in the midst of the
song" (Stokoe). The title appears in Henry Robson's list of popular
Northumbrian song and dance tunes, which he published c. 1800. Bruce &
Stokoe (Northumbrian Minstrelsy),
1882; pgs. 88‑89.
X:1
T:Bonny at Morn
M:6/4
L:1/8
R:Air
S:Bruce & Stokoe – Northumbrian Minstrelsy
(1882)
Z:AK/Fiddler’s
Companion
K:G Minor
A2 | d3e dc d2G2 AB | c>B AG F2G2A2 |
d3e dc d2G2A2 | c2A2F2 G4A2 |
d3e dc d2G2 AB | c3B AG F2G2A2 | GF GA Bc
d2g2f2 | d2f2A2G4z2 ||
G2g2g2 G4b2 | A2f2f2F4A2 | G3A Bc d2g2f2
| d2f2A2 G4 ||
BONNIE BANCHORY. Scottish, Reel. A Major. Standard. AABB. The melody
was first published in Skinner's Hirn
Collection, and composed by Skinner for his
birthplace in Scotland. Skinner directs the tune be played for the dance the
Circassian Circle. Hunter (The Fiddle
Music of Scotland), 1988; No. 225. Skinner (The Scottish Violinist), pg. 46. Olympic
6151, The Scottish Fiddle Festival Orchestra ‑ "Scottish Traditional
Fiddle Music" (1978). Tradition 2118, Jim MacLeod & His Band ‑
"Scottish Dances: Jigs, Waltzes and Reels" (1979).
X:1
T:Bonnie
Banchory
Z:
John Chambers < jc@ecf-guest.mit.edu
http://eddie.mit.edu/~jc/music/
M: C|
L: 1/8
R:Reel
K:A
Major
|: AB
| "A"cBAG ABcd | e^def "(E7)"e2AB | "A"cBAG
"F#m"Acec | "Bm"B2E2 "E7"E2AB |
|"A"cBAG
ABcd | e^def "(E7)"e2cB | "D"AFBA "E7"GEed |
"A"c2A2 A2 :|
|: cd
| "A"ecfe "E7"dBed | "A"c2A2 A2cd | ecfe
"B7"^dBba | "E7"g2e2 e2cd |
|"A"ecfe
"E7"dBed | "F#m"cAdc | "C#m"BGcB |
"D"AFBA "E7"GEed | "A"c2A2 A2 :|M:4/4
BONNIE BANKS OF AYR. Scottish, Air (4/4 time). D Major.
Standard tuning. AB. MacDonald notes: "(Scots
poet) Robert Burns composed this beautiful air after dining with a few friends
the day before his intended voyage to the West Indies. His heart having been
always in the Highlands, I have much pleasure in placing this to his
memory." Hunter
(The Fiddle Music of Scotland), 1988;
No. 14. MacDonald (The Gesto Collection).
X:1
T:Bonnie Banks of Ayr, The
C:Robert Burns
B:The Gesto Collection
Z:Nigel Gatherer
M:4/4
L:1/8
K:C
G2| FEDC GEGA | c>de>d c3 B | A>BA>c GA/B/ cA | G<E
DC D2 G2 |
FEDC GEGA | c>de>d c3 B/A/ | GEDC A,3 A |
G>AGE C2|]
BONNY BANKS OF CLYDE, THE. Scottish. John
Glen (1891) finds the tune first printed in John
Riddell's 1754 collection (pg. 54).
BONNIE BANKS O' LOCH LOMOND.
Scottish, March or Air (4/4 time). G Major. Standard. AB (Neil): ABC (Kerr).
The tune is one of the most famous of Scots airs and appears to be based
melodically on "Kind Robin
(Lo’es Me)." It is thought to date from the year 1746, and the lyrics
are supposed to refer to one of Bonnie Prince Charlie's ill‑fated
followers who was about to be executed for rebellion. His sweetheart had come
to Carlisle, perhaps to seek his release, but he told her he would be taking
the 'low road', or grave, back to Loch Lomond, where they had spent their
happiest hours.
***
O, ye'll tak' the high road
And I'll tak' the low road,
And I'll be in Scotland afore ye;
But I and my true love will never meet again,
On the bonnie, bonnie, banks o' Loch Lomond.
***
Kerr (Merry Melodies), Vol. 3; No. 407, pg.
45. Neil (The Scots Fiddle), 1991;
No. 113, pg. 151.
X:1
T:Bonnie
Banks of Loch Lomond, The
B:Allan's
Violin Gems
Z:Nigel
Gatherer
M:4/4
L:1/8
K:G
D2|G2
GA B2 AG|A2 AG E2 D2|G2 G2 G2 Bd|e4 d2 d2|e2 ed B2 Bd|
cBAG
E2 DE|G2 Bd e2 dB|A4 g2 D2|G2 GA B2 AG|ABAG E2 DE|
G2 G2
G2 Bd|e4 d2 d2|e2 ge d2 Bd|cBAG E2 DE|GGBd e2 dB|A4 G2|]
BONNIEST LASS IN A’ THE WORLD, THE. Scottish, Air
(cut time). G Major. Standard. AA’BB’. Source for notated version: Sterling
Baker (b. Mid-1940's, Morell, North-East Kings County, Prince Edward Island;
now resident of Montague) [Perlman]. Gow (Vocal
Melodies of Scotland), c. 1800. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 206.
BONNY BARBARA MACPHERSON. AKA and see "Barbara Nic a'
Phearsain." Scottish, Slow Air (6/8 time). F Minor. Standard tuning. AB.
Fraser (The Airs and Melodies Peculiar to
the Highlands of Scotland and the Isles), 1874; No. 97, pg. 37 and No. 96
(from the 1816 edition), pg. 95.
X:1
T:Bonny Barbara
MacPherson
T:Barbara Nic a’
Phearsain
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:F Minor
A/>G/|FC=E
F>GA|c>BA G2 A/>G/|FC=E FAG|(F3F) z A>G|
FC=E
F>GA|c>BA G2 G/>F/|EC=E FAG|(F3 Fz||F/G/|Acc cAc|
BAG F2 f/e/|cfg
agf|(c3c)z F/>G/|Acc cAc|BAG F2 G/>F/|EC=E FAF| (F3F)z||
BONNY BAY MARE AND I, THE. English, Jig
(9/8 time). England, Northumberland. G Major. Standard tuning. AABB. Peacock (Peacock’s Tunes), c. 1805/1980; No. 11,
pg. 3.
BONNIE BESSIE LEE. Scottish, Strathspey. G Major. Standard tuning. AA'B.
Kerr (Merry Melodies), vol. 3; No.
69, pg. 9.
X:1
T:Bonnie
Bessie Lee
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 3, No. 69 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
e|d>BG>B
d2 d>e|g>f (g<b) e2 (e>f)|g>ag>e (d<B) g>d|1
c>BA>G A3:|2 c>BA>G A2 (g>a)||
b>ag>B
d>eg>a|b>ag>B d2 (B>A)|G>A(B>d) g2 (3gab|c’>ba>g a2
g>a|
b>ag>B
d>eg>a|b>ag>B d2 (3gab|c’>Ba>g e>fg>e|d<b a>b
g3||
BONNY BLACK EAGLE, THE. AKA and see "Black Eagle," "High Way to Edinburgh."
Scottish, Air (4/4 time). D Major. Standard tuning. AABB. The tune bears a
‘general resemblance throughout’ to "Turkey in the Straw," although
Bayard (1981) thinks it is not a precursor. I think the resemblance is slight
at best. McGibbon (Scots Tunes, book III),
1762; pgs. 74-75.
X:1
T:Bonnie
Black Eagle, The
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, book III, pgs.
74-75 (1762)
Z:AK/Fiddler’s Companion
K:D
d |
(AF)(A>B) A3d | (AF)(D>F) A2 (A>G) | F2 (B>c) B2 (d>e) | (d/e/f)
“tr”(e>d B3d |
(AF)(A>B)
A3d | (AF)(D>F) A2 (Bc) | d2 (ef) a3b | af”tr”e>d ({d}B2) :: A |
(d>e)(f>g) a3b |
(af)”tr”(e>d)
a2 (ag) | f2 b>c’ b3c’ | (d’c’)”tr”(b>a) b3a | (ba)(bc’) ({b/c’}d’2)
“tr”(c’b) |
(af)”tr”(e>d)
e3d | (ef)(ab) (af)”tr”(e>d) | ({A}B6 :|
BONNY BLACK IRISH MAID, THE. Irish, Air (3/4
time). G Mixolydian/Major. Standard tuning. ABB. The melody appears in Cooke’s Selection of Favourite Original Irish Airs
arranged for Pianoforte, Violin or Flute (Dublin, 1793). The second half of
the tune is “The Munster Cloak.” Howe (c.
1867) attributes to tune to (Turlough O)‘Carolan’. Howe (1000 Jigs and Reels), c. 1867; pg. 94.
X:1
T:Bonny
Black Irish Maid
L:1/8
R:Air
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
(GA)(Bc)(de)
| =fedcBA | GABcde | (=fe)d2(ef) | g2e2g2 | =f2d2B2 |
c2A2f2
| dcBAG^F |: G2 (GABG) | A2 (ABcA) | G2 (GABG) |
{d}c2
{B}A2 F2 | G2 GABG | A2g2e2 | f2 {f}e2{c}B2 | c2A2G2 :|
BONNY BLACK LADDIE, THE. Scottish. Glen
finds the tune first published by Neil
Stewart in his 1761 collection (pg. 70).
BONNIE BLUE-EYED LASSIE. D Major. Standard tuning. ABC.
X:1
T:Bonnie Blue Eyed Lassie
M:C|
L:1/8
Z:Henrik Norbeck
Q:1/2=90
K:D
A8 | B4{cB} A2F2 | A6B2 | d4 e2f2 |
g6 f2 | e2{fe}d4 e2 | f2 A6- | A4 d2c2 ||
B6c2 | B2{cB}A2 A2{BA}F2 | A6B2 | d8- | d4 e3f |
gg7 | a6 {fe}d2 |e6{fe}d2 | d8- | d4 f4 ||
g6g2 | b2 g4{ag}f2 | f2 f6 | a8- | a4 f2a2 |
g6 f2 | e4{fe} d2e2 | f2 A6- | A4 d4 ||
B6c2 | B2{cB}A2 A2{BA}F2 | A6B2 | d8- | d4 e3f |
gg7 | a6 {fe}d2 | e6{fe}d2 | d8- | d8 ||
BONNIE BLUE FLAG. AKA
and see “Coleman’s March [2],” “Whistle On Your Way.” American,
March and Song Air (6/8 time). USA; Alabama, Pa. G Major. Standard tuning. AB
(Bayard): AABB (Kerr, Sweet). A popular Southern Civil War composed song and
show tune that quickly became the national anthem of the Confederacy and later
entered fiddle and dance folk repertory (especially through discharged
soldiers). Besides being an anthem, it was also used as a march air in the
Confederacy and, after the war, in other areas of the country (such as
southwestern Pennsylvania for one) in martial (i.e. fife and drum) repertory.
Samuel Bayard (1981) states it was a favorite in that region of Pennsylvania,
although its Southern origins were not always known. Some editors, such as
Sigmund Spaeth in History of Popular
Music in America, have claimed this tune is derived from a 6/8 time Irish
air "The Irish Jaunting Car,"
although that ditty is also sung to other melodies. Others do not see the
connection, and Paul Wells, for one, seems to think a more likely candidate for
origins of “Bonny Blue Flag” is the Irish tune “Wearin’ o’ the Green.” It was
the repertory of northwest Alabama fiddler D. Dix Hollis, as listed in the Opelika Daily News of 4/17/26. The
chorus refers to the official flag of the Confederacy:
***
Hurrah,
hurrah, for Southern rights, hurrah!
Hurrah
for the Bonnie Blue Flag that bears the single star.
***
O’Neill (1922)
says: “Not less popular that "Johnny I hardly knew ye" in the North,
was ‘The Bonnie Blue Flag’, the Southern National Air, which was to the boys in
grey what ‘Yankee Doodle’ was to the boys in blue. In Adair Fitzgerald's Famous Songs we are told the words of
‘The Bonnie Blue Flag’ were written in 1862 by Mrs. Annie Chambers Ketchum to
an Irish melody adapted or composed by Henry McCarthy. After a fruitless search
in several old time collections for the now very rare strain it is presented as
noted from the author's memory.” See also the cognate tune “Coleman’s March [2].” Source for
notated version: George Fisher (Somerset County, Pa., 1962) [Bayard].Bayard (Dance to the Fiddle), 1981; No. 547, pg.
489. Kerr (Merry Melodies), Vol. 3;
No. 292, pg. 32. O’Neill (Waifs and
Strays of Gaelic Melody), 1922; No. 70. Sweet (Fifer’s Delight), 1964; pg. 28. Homestead
Records 103, Hoyt Ming and His Pep Steppers - "New Hot Times!"
X:1
T:Bonnie Blue
Flag, The
M:6/8
L:1/8
S:Capt. F.
O'Neill
Z:Paul Kinder
R:March
K:G
D/2G/2|B2 B
BAB|c2 c cBc|dcd B2 G|A3-A2 B/2d/2|
g2 g f2 g|e2 d
B2 G|A2 G G2 F|G3-G2||
(3d/2e/2f/2|g2 g
gfe|f2 f fed|ede gfe|d3 def|
g2 g f2 g|e2 d
B2 G|A2 G G2 F|G3-G2||
BONNIE BLUE WALTZ. Old‑Time, Waltz. USA, Ky. "A fast waltz
also known to Dick Burnett (Ky.) and a favorite in area coal camps" (Bobby
Fulcher). Perhaps a reference to the "Bonnie Blue Flag" of the
Confederacy? In the repertoire of African-American Kentucky fiddler Cuje
Bertram, it appears on a home tape he made in 1970 for his family.
BONNY BOAT. Scottish, Air (2/4 time). C Major. Standard tuning.
AAB. Howe (Complete Preceptor for the Accordion),
1843; pg. 4.
X:1
M:2/4
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordion
(1843)
Z:AK/Fiddler’s Companion
K:C
C | EG G>A |
Gc d/c/B/A/ | GE D>C | ED zC | EG G>A | Gc e/d/c/A/ |
G>E DE | C2 z
:| G | cGGB | cGGc | A>G AB/c/ | d2 zB | c<e A<c |
G<A GE |
D>C DE | C2 z ||
BONNY BOATMAN, THE. Scottish. The air appears in Thomson's Orpheus Caledonius (1725), where it is ascribed to Queen
Mary's secretary David Rizzio, a renowned lutenist and singer (murdered at the
hands of his political rivals). Thomson removed the ascription from his second
edition and it is in some doubt whether Rizzio had anything to do with the
tune.
BONNY BONNIE RIDEOUT.
Scottish, Air (3/4 time). D Minor. Standard tuning. AB. Composed by Scottish
fiddler Arthur S. Robertson (Lerwick, Shetlands, born 1911) in honor of U.S.
National Scottish Fiddle Champion Bonnie Rideout (Alexandria, Va.).
X:1
T:Bonny
Bonnie Rideout
M:3/4
L:1/8
R:Air
C:Arthur
S. Robertson
K:D
Minor
A,2|(D2F2E2)|D2F2A2|(d2f2e2)|(d2A4|B4
cd|A4 de|
(f2e2d2)|^c6|(d2D2E2)|F2E2D2|(G2A2B2)|d6|(^c4A2)|
(f4e2)|(d6|d4)||c2|a6|(a3ba2)|a2g2f2|(f2e2d2)|(c4d2|
f4(a2|g4f2)|g6|[c6a6]|[c2a2][B2g2][A2f2]|[B6f6]|
[F6d6]|[E4c4][E2c2]|[B4e4][b2g2]|[A6f6]|[A4f4]||
BONNY BONNY BIRD. AKA and see "Cupid's
Trepan."
BONNIE BOY [1], THE (An Buacaill Deas). Irish, Reel. A
Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen).
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 (Krassen), 1976; pg. 139. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1438, pg. 267. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 675, pg. 120.
X:1
T:Bonnie
Boy, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 675
Z:AK/Fiddler’s Companion
K:A
ed|cBAa
(3fga ec|dfec B2 Bd|cBAa (3fga ec|dfec A2 Ad|cBAa (3fga ec|dfec B2 Bd|
cefg
agbg|afed cAAd||(3cBA ec fAeA|(3cBA ec B2 Bd|(3cBA eA fAeA|
dfed
cAAd|(3cBA eA fAeA|dfec B2 Bd|cefg agbg|afec A2||
BONNY BOY [2], THE. Canadian, Reel. Canada, Cape Breton. G Major.
Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cameron (Trip to
Windsor), 1994; pg. 39.
BONNY BOY [3], THE. AKA and see “The
Longford Collector.”
BONNY BRAES OF SKELMORLY, THE. AKA – “Bonny
Braes of Skelmorlie.” Scottish, Reel. D Major. Standard tuning. AAB. Glen finds
the tune first published in John Riddell's
1782 collection (pg. 44). Skelmorlie/Skelmorly is in Ayrshire. Kennedy (Traditional Dance Music of Britain and
Ireland, vol. 2: Reels and Rants), 1997; No. 9, pg. 4.
BONNY BREAST KNOT(S) [1], THE.
AKA and see "The Breast Knot,"
"Bonny Breist Knots," "Daddy
Shot a Bear" (Pa.), "Jaybird"
(Pa.), "Ladies
Briest/Breast Knot(s)," "Looking
Glass," "The
Pennsylvania Fifers" (Pa.).
English, Reel or Country Dance Tune (2/2 time). England, Northumberland.
D Major. Standard tuning. AAB (Barnes): AABB (Kennedy, Raven). The country
dance "Bonny Breast Knots" has been known since about 1770, according
to Flett & Flett (1964), and long had a special place at Scottish weddings.
Up until about 1900 in Roxburghshire and West Berwickshire, Scotland, it was
always performed as the first dance after the wedding supper, with the bride
and groom leading off with the best man and bridesmaid. Its status in the
wedding rituals may be what is referred to in the song "The Briest
Knots," quoted by Flett & Flett:
***
'Syne
off they got a' wi' a fling,
Each
lass unto her lad did cling,
And
a' cry'd for a different spring,
The
bride she sought the breast-knot.
***
There are versions of “Bonny Breast Knot” from Sussex and from Devon,
both dissimilar to each other. Barnes (English
Country Dance Tunes), 1986. Kennedy (Fiddlers
Tune Book), Vol. 1, 1951; No. 47, pg. 23. Raven (English Country Dance Tunes), 1984; pg. 166. Antilles (Island) AN-7003, Kirkpatrick & Hutchings -
"The Compleat Dancing Master" (1973).
X:1
T:Bonny Breast Knot
M:C|
L:1/8
K:D
|: D | GBBG FAAF | Ee ed =c2 BA | GBBG
FAAc | dAAG F2 D :|
|: g | fdfd fa ag/f/ | ecec eg gf/e/ |
fdfd faac | dAAG F2 D :|
BONNY BREASTKNOTS [2], THE. English, Country Dance Tune (4/4 time). England,
Sussex. G Major: C Major (Barnes). Standard tuning. AABB. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 13.
X:2
T:The Bonny Breastknots (Sussex) [2]
M:4/4
L:1/4
Q:112
K:G
|: BGGA/2 B/2 | c/2B/2A/2G/2FD | GBGB/2A/2 | Gdd>c|
BGGA/2B/2 | c/2B/2A/2G/2FD | GBAd/2c/2 | BGG2 :|
:d>ed>e | d/2c/2B/2A/2G2 | ABc/2B/2c/2d/2 | eAAB/2c/2 |
d>ed>e | d/2c/2B/2A/2G2 | AADE/2F/2 | GBG2 :|
BONNY BREASTKNOTS [3], THE. English,
Country Dance Tune (4/4 time). England, Devon. G Major. Standard tuning. AAB.
X:1
T:The Bonny Breastknots (Devon) [3]
M:4/4
L:1/4
Q:112
K:G
|:GA/2G/2FG/2F/2|Eed/2c/2B/2A/2|GA/2G/2FA|d/2^c/2d/2A/2FD:|
fdfa|e/2d/2^c/2d/2 e/2f/2g/2e/2|fdfa|a/2g/2f/2e/2A2|
fdfa|e/2d/2^c/2d/2 e/2f/2g|ffef/2e/2|dfd2||
BONNY BROOM [1]. Scottish, Strathspey. E Minor. Standard tuning.
AABB’. Kerr (Merry Melodies), vol. 4;
No. 131, pg. 16.
X:1
T:Bonny
Broom [1]
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 4, No.
131 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:E
Minor
B<e
B>A G>F E2|A<d A>G F>E D2|E>FG>A B<B e>f|g>e
g/f/e/^d/ e3B:|
|:B<e
g>f e>fg>b|a>gf>e d>e g/f/e/d/|B<e e>f g>fg>b|1
a>f b/a/g/f/ e3B:|2 a<f b>^d e3z||
BONNY BROOM [2]. The air appears in Luke Wadding's (the Bishop of
Ferns) 1680 work entitled A Pious Garland
of Godly Songs for the Solace of his Friends and Neighbours in their
Afflictions.
BONNY BUNCH OF FERNS, THE. AKA and see “Keady Piper,” “Maire Bhan’s Wedding,” “Nellie Donovan,” “An Piobaire a’ Cheidigh,” “Piper of Keadue.” Irish, Reel. As “Piobaire
an Cheidigh” the tune was a favorite of the famous Donegal piper Tarlach Mac
Suibhne, claim the Doherty’s. Both Donegal fiddling brothers John and Mickie
Doherty played the tune in pipe imitation in scordatura tuning. Similar in
parts to the Sliabh Luachra tunes “Doon
Reel” and “Callaghan’s” or “O’Callaghan’s Reel.” Clare piper Willie Clancy
had a setting of the tune called “Nellie Donivan.” Shanachie
79093, Paddy Glackin and Robbie Hannon – “Whirlwind” (1995).
BONNY BUNCH OF ROSES [1]. Irish, Reel. A Minor. Standard
tuning. AABB. Carlin (Master Collection),
1984; pg. 121 (#204).
BONNIE BUNCH OF ROSES [2].
Irish, Air (4/4 time). D Major. Standard tuning. AAB. The 'bonny bunch of
roses' were the prize Napoleon strove for, but could not conquer--England,
Wales, Ireland and Scotland. One of the most widespread of Napoleonic songs, it
takes the form of a conversation between Marie Louise and her son and gives the
highlights of Napoleon’s life, though emphasizing the retreat of the Grand Army
from Russia. The ambitions of the young Napoleon reflect that of his father. It
begins:
***
By the margins of
the Ocean, one morning in the month of June,
Where feathered,
warbling, songsters, their charming notes did sweetly tune.
There I beheld a
female, she seemed to be in great grief and woe,
Conversing with
young Bonaparte,
Concerning the
bonny bunch of roses, O.
***
Although popular in England, it is considered that the
song originally was Irish in origin. See also “Bunch of Roses" and Joyce’s
(1909) “The Blackbird.” Source for
notated version: Chicago piper and flute player John Ennis, originally from
Kildare. Ennis was a policeman and sometime journalist and became president of
the Chicago Irish Music Club after Francis O’Neill [O’Neill]. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 126, pg. 22. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy,
vol. 1” (1980). Island ISLP9432, The Chieftains - "Bonaparte's
Retreat" (1976).
X:1
T:Bonnie
Bunch of Roses [2]
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill
– Music of Ireland (1903), No. 126
Z:AK/Fiddler’s Companion
K:D
A2|d3e f2e2|d3c A2F2|G2 AB cABG|A2D2D2:|
||FG|A2A2 c>AG>B|A2 A>G A2 d>e|f2g2 a>g
fe|d>c AG A2 d>e|
f2g2 a>g fe|d3e f2 AF|G2 AB cABG|A2 D2D2|
BONNIE
CATE. See "Bonnie Kate [2]."
BONNY CATHERINE. Irish, Reel. D Major. Standard tuning. AA’. Composed
by Boston musician Brendan Tonra in 1990 to celebrate the birth of Catherine
Mary Joyce. Black (Music’s the Very Best
Thing), 1996; No. 175, pg. 92.
X:1
T: Bonny
Katherine
C: Brendan Tonra
Q: 350
R: reel
Z:Transcribed by
Bill Black
M: 4/4
L: 1/8
K: D
df f2 edBc |
dfed BFDE | F3 E DEFD | E2 DF ED B,2 |
df f2 edBc |
dfed BFDE | F3 E DFBd | efde fd d2 ||
f3 e defg | adfa
dfec | f3 e dfaf |1 defd edeg |
f3 e defg | adfa
dfec | (3dcB cA BcdB | (3efe de fd d2 :|
|2 defd eg (3efg | afeg f3 e | dcBA BAFA
| BdAF DEFD | (3EFE DE FD D2 ||
BONNIE CHARLIE [1]. AKA and see “King of the Fairies,” “King William of Orange.”
Scottish, Scottish Measure (4/4 time, "Slowish"). D Minor (Gatherer,
Gow, Martin, Songer): E Minor (Aird). Standard tuning. AAB (Gatherer, Gow,
Martin, Songer): AABB (Aird, Harding). Gatherer credits the tune to the famous
Scots fiddler and composer Niel Gow (1727-1807), born in Inver. Its printing in
James Aird’s Selection of Scots, English, Irish and Foreign Airs, vol. II
(1782), however, predates the Gows’ printing by more than 20 years. Source for
notated version: Eileen Witler via Lanny Martin [Songer]. Aird (Selection), vol. II, 1782; No. 109, pg.
40. Carlin (Gow Collection), 1986;
No. 13. Gatherer (Gatherer’s Musical
Museum), 1987; pg. 30. Gow (Complete
Repository), Part 3, 1806; pg. 5. Harding’s
All Round Collection, 1905; No. 151, pg. 48 {Reel}. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 41.
Songer (Portland Collection), 1997;
pg. 34. Philo 1031, Boys of the Lough - “Lochaber No
More.”
X:1
T:Bonny
Charlie [1]
M:C
L:1/8
R:Scots
Measure
S:Gow
– 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:D
Minor
A,2|D2
(DE) F2FG|(AB) (GA) F2 (3GAB|A2D2 D3F|(EF) (GE) C2 F>E|D2 (DE) F2 (FG)|
(AB)
(GA) F2 (3GAB|A2D2 (FE) (D^C)|(D4d2):|
A2|d>edc
A2A2|d>edc A3f|(ef) ge c2c2|(efg)e c2 f>g|(a2 f>)a (g2 e>)g|
{g}(f2
d>)f (fe) (d^c)|~d3e (fe) (d=c)|(A2 d2) d3A|d>edc A2A2|f2f2A3c|
(BA)
(GF) (GF) (ED)|(EFG)E C2 F>G|A2 F>A c2 A>c|(de) fg (fe) (d^c)|
(d>=c) (BA) (AG) (FE)|(D4 d2)||
X:2
T: Bonny Charlie [1]
M:C
L:1/8
S:Aird, vol. II
(1782)
Z:AK/Fiddler’s Companion
K:E Minor
E2 EF G2 GA | BcBA G2 GA | B2 E2 E2 G2 | FGAF D4 |
E2 EF G2 GA |
BcBA G2 GA | B2 E2 GFED | E4 e4 :|
|: efed B2B2 |
efed B4 | fgaf d2g2 | fgaf d2 ga | b2 gb a2 fa |
g2 eg f2 df | e2
ef gfed | e2 e(f g4 | e)fed B2B2 | g2 ab B4 |
dcBA cBAG | FGAF
D4 | GFGA BABd | edef gfed | dcBA BAGF | E4 e4 :|
BONNIE CHARLIE [2]. Scottish, March (2/4 time). D
Major. Standard tuning. AB. "James Hogg, 'The Ettrick Shepherd', poet,
collector, singer, and contemporary of Sir Walter Scott, set the words of his
Jacobite song, 'Cam Ye by Atholl' to this tune," though he slowed it down
for that purpose. Boys of the Lough,
1977, pg. 15. Transatlantic TRA 311, Boys of the
Lough, "Lochaber No More." Peg McGrath (et al) – “Cherish the
Ladies.”
BONNIE CHARLIE [3]. Scottish, Strathspey. A Major
(Kerr, vol. 3): G Major (Kerr, vol. 4). Standard tuning. AAB. Kerr (Merry Melodies), vol. 3; No. 87, pg. 11.
Kerr (Merry Melodies), vol. 4; No.
127, pg. 16.
X:1
T:Bonnie
Charlie [3]
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 3, No. 87 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A>Bc>A
(F<A) E2 | e>fe>c c<B B>c | A>Bc>A (F<A) E2 |
e>fe>c {c}B2 A2 :|
|:
(c<e) e>e (c<e) e2 | a>gf>e f/e/d/c/ Bc | A>Bc>A
(F<A)E2 | e>fe>c {c}B2 A2 :|
BONNIE CHARLIE'S GONE AWA'. AKA and see "Will Ye No' Come Back Again."
Scottish, New England; March (4/4 time). A Major. Standard tuning. One part.
The tune is not related to "Bonnie Charlie" [1] or [2]. Laufman (Okay, Let's Try a Contra, Men on the Right,
Ladies on the Left, Up and Down the Hall), 1973; pg. 11.
BONNY CHRISTY. Scottish, Air (cut time). G Major. Standard tuning.
One part. The melody appears in Munro's Scots
Tunes, 1732. McGibbon (Scots Tunes,
Book II), c. 1746; pg. 33.
X:1
T:Bonny
Christy
M:C|
L:1/8
R:Air
N:”Brisk”
S:McGibbon
– Scots Tunes, Book II, pg. 33 (c. 1746)
Z:AK/Fiddler’s Companion
K:G
ge |
dB”tr”(AG) DEGA | B2G2G2(c_B) | “tr”A2GF =f3g | a2A2A2g>e | d(B”tr”AG) DEGA
|
B2G2G3B | “tr”(AGA)B dega | g2d2d3B | “tr”(AGA)B dega | b2d2d2(c_B) |
“tr”A2(G=F)=f3g |
a2A2A2G>A
| B2AB c2Bc | d2ef g2”tr”(fe) | dgBg (AB)(cd) | B2(GA) G2 :: g>e |
dB”tr”(AG) DEGA |
(B/A/B/c/
B/c/B/A/) G2(c_B) | (A/_B/c) =Fc A=FcA | (=f/e/f/g/) (f/g/a/)A/ AGAg |
d(B”tr”AG) DEGA |
(B/A/B/c/)
(B/c/B/A/) GABG | “tr”(AGA)B dega | g>a (g/a/g/e/) (d/c/d/e/) (d/e/d/B/) |
(AGA)B
(dega) | (b/a/g) (g/f/e) “tr”d2 (c_B) | Ac=Fc A=FcA | (=f/e/f/g/) (=f/g/a/)c/
AcAF |
(B/A/B/c/
B)G (c/B/c/d/ c)A | (d/c/d/e/ d)B (g/f/g/a/ g)(f/e/) | (d/g/f/g/) (B/g/f/g/)
(A/G/A/B/) (c/e/d/c/) | B2 (GA) G2 :|
BONNY
CUCKOO, THE (An chuaichin mhaiseach). AKA and see
"Sheebeg, Sheemore," "Si
Bheag, Si Mohr," "Hills
of Habersham." Irish, Air (3/4 or 6/8 time). D Major. Standard tuning.
One part. The great Irish harper Turlough O'Carolan was supposed to have taken
his song "Si Bheag, Si Mohr" from this air.
***
My bonny cuckoo, I tell you true,
That through the groves I'll rove with you;
I'll rove with you until the spring,
***
And then my cuckoo shall sweetly sing.
Cuckoo, sing girls, let no one tell,
Until I settle my seasons well.
***
Source
for notated version: according to the index of his 1840 collection, Irish
collector Edward Bunting noted the tune from "Ballinascreen (Co. Derry)
and from the late H(enry) Joy (one of the founders of the United Irishmen) Esq.
Belfast, 1793." Mulholland (Ancient Irish
Airs), 1810; pg. 59. Neale (Celebrated
Irish Tunes), c. 1726; pg. 14. O'Sullivan/Bunting, 1983; No. 125, pg. 181.
BONNIE
DOON. AKA and see “Ye Banks and Braes.” Scottish, Jig.
G Major (Kerr, Sweet): C Major (Howe). Standard tuning. AABB. A waltz setting
is in Kerr’s Merry Melodies, vol. 1,
pg. 25. Howe (Complete Preceptor
for the Accordeon), 1843; pg. 8. Kerr (Merry Melodies), vol. 4;
No. 259, pg. 28. Sweet (Fifer’s Delight),
1964; pg. 25.
T:Bonny Doon
M:6/8
R:Air
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
G | c2c d2d | ege dcd | edc cAG | GAc d2 e/d/ | c2c d2d | ege dcd |
edc cAG | GAB c2 :: e/f/ | g2a gec | g2a gec | gec gec | age d2 e/d/ |
c2c d2d | ege dcd | edc cAG | GAB c2 :|
BONNIE DUNDEE [1]. AKA and see "Adew Dundee," “Adieu Dundee,” “The Hearty Boys of
Ballymote,” "The Laccarue
Boys,” “Mary of Castlecary,”
"Saw Ye My Wee Thing."
Scottish, Jig. G Minor. Standard tuning. AAB. "Bonnie Dundee" is also
the name of a Scottish country dance. Carlin (Master Collection), 1984; No. 167, pg. 98.
BONNIE DUNDEE [2]. Scottish, Air
and Jig. G Major (Howe, Jarman, Kerr, Miller & Perron, Sweet): A Major
(Perlman). Standard tuning. AB (Howe): AABB (most versions): AABB’ (Perlman).
The tune was once known in Scotland as “The Band at a Distance,” played on the
pianoforte in decreasing volume to give the impression of a unit with a band
marching away in the distance. It became associated sometime around the 1840’s
with Sir Walter Scott’s poem “Bonny Dundee,” and the new title stuck, probably
due to the singer Miss Dolby (later Madame Sainton Dolby), according to
Reginald Nettle (Sing a Song of England,
1954, pg. 203). It became well known in north Britain, says Nettle, as an
accompaniment to a children’s game, and was collected to Loch Awe by Anne Gilchrist,
who heard it sung by girls from Loanhead and Lossiemoutrh at Lochchan,
September, 1900:
***
My name is sweet Mary, my age is sixteen,
My father’s a farmer on yonder green;
He’s plenty of money to dress me in silks,
For there’s nae bonny laddie to tak’ me awa.
***
At
Southport, Lancashire, girls also sang the song, albeit without some of the
Scottishisms (see abc below):
***
Queen Mary, Queen Mary, my age is sixteen,
My father’s a farmer in yonder green;
With plenty of money to dress me in silk,
Come along, bonny lassie, and give me a waltz.
***
Nettle
then records: “Some of us may remember Hemy’s
Pianoforte Tutor, which had an enormous vogue for over a century, though
few of us ever tried to find out who Hemy was. Henry Hemy was organist at a Roman
Catholic Church in Newcastle upon Tyne, and he wanted a tune for the hymn, Hail, Queen of Heaven, the Ocean Star.
The word ‘star’ made him think of the Latin stella,
and Stella was the name of a village four miles from Newcastle, where Hemy had
heard children singing the tune Sweet
Mary or Queen Mary, and with Mary
he associated the Virgin Mary; Ave maris
stella—the circle was complete. He adapted the children’s tune to the hymn
and named the tune Stella.
***
The
dance version of “Bonny Dundee” was cited
as having been frequently played at country dances in Orange County, New York,
in the 1930's (Lettie Osborn, New York
Folklore Quarterly). Source for notated version: Johnny Joe and Foncey
Chaisson (b. 1918 & 1929, Bear River, North-East Kings County, Prince
Edward Island) [Perlman]. Howe (1000 Jigs
and Reels), c. 1867; pg. 126. Jarman (Old
Time Fiddlin' Tunes); No. or pg. 17. Kerr (Merry Melodies), vol. 2; No. 307, pg. 34. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 37. Perlman (The Fiddle Music of
Prince Edward Island), 1996. Sweet (Fifer’s
Delight), 1964; pg. 40.
X:1
L:1/8
R:Jig
K:G
ded dBd|gfe
d2c|BdD BdB|ABA ABc|ded dBd|gfe d2c|BdG AdF|GAG G3:|
|:GGG GcB|ADD D3|AAA ABc|cBA B2G|BAB
cBc|dcd edc|BdG AdF|GAG G3:|
X:2
T:Queen
Mary, Queen Mary
M:6/8
L:1/8
K:D
A |
AFA AFA | dcB A2A | AEF GFG | B2A A2A | AFA AFA | dcB A2A/A/ | AEF GFE | Ddd d2
||
BONNY DUNDEE [3]. AKA and see
"Jockey's Escape from
Dundee," "Adew Dundee." Scottish, English; Jig (6/8) or Air
(6/4 time). A Minor. Standard tuning. This popular tune appears in several
early 18th century ballad operas, according to Pulver (1923), such
as John Gay's ballad opera The Beggar's
Opera (1729), where it is parodied under the title "The charge is
prepared." The ballad's subject is "The Jockey's Escape from
Dundee," but the title is taken from the ending line, which runs
"Adieu to bonny Dundee." The original song appears in the various
editions of D’Urfy’s Pills to Purge
Melancholy, however, the air itself was first published in the second
appendix to the 7th edition of 1686 (printed in 1688) of Henry
Playford's Dancing Master. Kidson
(1922) identifies the air as Scottish (but not the "Bonnets of Bonny
Dundee" in Orpheus Caledonius,
1725‑6); he earlier wrote for Groves
that he thought it likely a version of “Adew Dundie” of the Scottish Skene
Manuscript. Chappell believed the melody was English, or “at least a spurious
Scottish one,” as John Glen in Early
Scottish Melodies, 1900, writes, basing the claim on the appearance of the
tune in Playford, “and because of some absurd and indelicate verses which had
been written to the tune by some Grub Street scribbler, and inserted in
D’Urfey’s Pills to Purge Melancholy.”
Glen himself is of the opinion that the melody is truly Scottish, and
conjectures it was brought south by courtiers of James II, who resided in
Scotland prior to 1682, when he was Duke of York.
***
At the
end of the 18th century the air was generally used for H. MacNiel’s
song “Mary of Castlecarey,” which begins: “Saw ye my wee thing.” See also the
related jig version "Bonnie Dundee [1]"
—curiously, O’Farrell prints the tune with the time signature in 6/8, but the
notation in 6/4 time. A jig version appears in the music manuscript book of
James Findlay, dated 1841. Findlay was originally from Penpont, Dumfrieshire,
Scotland, but emigrated with his brothers to Australia, where he settled on a
farm in the Upper Murray at Towong Upper. His manuscript was found in an old
sea chest at the family homestead by his grand-daughter, Ada Findlay. Chappell
(Popular Music of the Olden Time),
1859; pg. 611. McGibbon (Scots Tunes,
book II), c. 1746; pg. 39. O’Farrell (Pocket
Companion, vol. II), c. 1806; pg. 114. Raven (English Country Dance Tunes), 1984; pg. 68.
X:1
T:Bonny Dundee [3]
M:6/4
L:1/8
R:Air
S:O’Farrell – Pocket
Companion, vol. II (c. 1806)
Z:AK/Fiddler’s
Companion
K:A Minor
G2B2d2 g3ab2 |
B3A G2B2d2d2 | e2a2a2 a2g2a2 | b2a2g2 e4g2 |
d3e f2g3ab2 |
B3A G2 Bd3d2 | e2f2e2 d3e g/a/ | (ba)(ge)(dB) A4 ||
X:2
T:Bonny Dundee
[3]
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book II, pg. 39 (c. 1746)
Z:AK/Fiddler’s Companion
K:A Minor
AG | E2A2A>B
| ({B}A4) GA | B2 (cB)(AG) | B2d2g2 | e3g(e/d/B) | d2e2(ga) |
(ba)(ge)(dB) |
A4 :: B>A | G2B2d2 | g3a (g/a/b) | B2(cB)(AG) | B2d2”tr”(cB) |
A2a2a>b |
a4(ga) | b2(d’b)(ag) | e3 gdB | d2e2^f2 | “tr”(g^fg)a (g/a/b) | B2(cB)(AG) |
B2d2(g/b/a/g/) |
e3g(e/d/B) | (dB)(de)(ga) | (b/a/g) (a/g/e) dB | ({B}A4 :|
X:3
T:Bonny Dundee
[3]
M:6/8
L:1/8
R:Jig
S:The music
manuscript of James Findlay (1841)
Z:AK/Fiddler’s
Companion
K:A Minor
(A/G/)|EAA
(AB)c|(BA)G B<dg|ege deg|(ed).B A2:|
|:B/A/|G>AB
(gf).e|(dB)G A<Bd|eaa a2 (g/a/)|(ba)g e2g|
(GA)B
(gf).e|(dB).G A<Bd|(eg).e (de)g|(ed).B A2:|
X:4
T:Adew Dundee
M:3/8
L:1/8
R:Air
S:Skene
Manuscript
Z:AK/Fiddler’s Companion
K:G Minor
F|DGG|G2G|F2G|Ac2|d2f|d2f|dcA|G2G||dff|f2f|F2G|Ac2|
dgg|g2g|gf=e|d3|dff|f2f|F2G|Ac2|d2f|d2f|dcA|G3||
BONNIE DUNDEE [4]. Scottish, Reel.
A Major. Standard tuning. AA’B. Kerr (Merry
Melodies), vol. 4; No. 10, pg. 4.
X:1
T:Bonnie
Dundee [4]
M:C|
L:1/8
R:Reel
S:Kerr
– Merry Melodies, vol. 4, No. 10 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(cd)|e2
ee e2 fg|bagf e2 (ed)|1 cecA cecA|cBBB B2:|2 cecA BdBG|A2c2A2||
E2|AGAB
dcBA|(BE)EE E2 EG|B^ABc edcB|(dc)cc c2 AB|
cABc
dBcd|ecde gfed|cecA BdBG|A2c2A2||
BONNY EARL
OF MURRAY.
Scottish, Air (3/4 time). G Major. Standard tuning. One part. A 16th
century ballad appearing in Thompson’s Orpheus
Caledoneus (1733), Thomas Percy’s (1729-1811) Reliques of Ancient English Poetry (1765), Francis Child’s
collection (No. 181), and others. Percy notes: "In December, 1591, Francis
Stewart, Earl of Bothwell, had made an attempt to seize on the person of his
sovereign James VI., but being disappointed, had retired towards the north. The
king unadvisedly gave a commission to George Gordon, Earl of Huntley, to pursue
Bothwell and his followers with fire and sword. Huntley, under cover of
executing that commission, took occasion to revenge a private quarrel he had
against James Stewart, Earl of Murray, a relation of Bothwell's. In the night
of Feb. 7, 1592, he beset Murray's house, burnt it to the ground, and slew
Murray himself; a young nobleman of the most promising virtues, and the very
darling of the people.” The ballad begins:
***
Ye Highlands and ye Lawlands,
Oh! Where ha'e ye been:
They ha'e slain the Earl of Murray,
And hae laid him on the green.
***
The last line
was miss-heard by someone (perhaps Sylvia Wright in a 1954 article) as “And
Lady Mondegreen,” sparking the new nomenclature of a ‘mondegreen’ as any
garbled line in oral transmitting of song lyrics. Howe (1000 Jigs and Reels), c. 1867; pg. 134.
X:1
T:Bonny Earl of
Murray
M:3/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
DE | G3A BA |
G2D2d2 | B3A Bd | {d/e/}=f4 ed | g3e ed | e2g2DE |
G3d AG | {=F}E4
de | {ga}b3a ed | e2g2DE | G3d A>B | G4 ||
BONNY FISHER LAD, O THE. English, Air (4/4 time). England, Northumberland. D
Major/B Minor. Standard tuning. AB.
***
O the bonny fisher lad,
That brings the fishes frae the sea,
O the bonny fisher lad,
The fisher lad gat had o' me.
On Bamboroughshire's rocky shore,
Just as you enter Boumer Raw,
There lives the bonny fisher lad,
The fisher lad that bangs them a'.
***
Stokoe
& Bruce (Northumbrian Minstrelsy),
1882; pgs. 100‑101.
BONNIE GAY'S REEL. American, Reel. G Major. Standard tuning. AABB. Ford
(Traditional Music in America), 1940;
pg. 115.
X:1
T:Bonnie
Gay’s Reel
M:2/4
L:1/8
R:Reel
B:Ford
– Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:G
BONNIE GLEN TANAR. Scottish. Composed by Peter Milne (1824-1908), a Scottish fiddler, one of J. Scott
Skinner’s teachers and, later, a fiddling partner. Milne managed to make a living
playing theater venues all over Scotland, but became addicted to opium in the
drug laudanum, which he originally took as a pain-killer. Milne ended his life in reduced
circumstances, busking on the ferry that crossed the Firth of Forth. The tune
is considered a companion piece to Skinner’s “Bonnie Lass o’ Bon Accord,” and
among the best of Milne’s compositions.
BONNIE GLENFARG. Scottish, Jig. A Major. Standard tuning. AB. Composed
by J. Scott Skinner. Hunter (Fiddle Music of Scotland), 1988; No. 22.
BONNY GREEN GARTERS [1]. AKA
and see "The Rollicking Irishman,"
"Top Of Cork Road [1],"
"Cork Road," "The Yorkshire Lasses [1],"
"Father O'Flynn." English,
Morris Dance Tune (6/8 time). G Major. Standard tuning. AB (Karpeles, Raven):
AAAAB ad lib (Mallinson): ABCBC (Barnes). The traditional farewell tune during
a morris dance performance. This version was collected from the village of
Headington, in England's Cotswolds, and is commonly played following the Bampton
version (#2) in the processional off the dance site (‘morris off’). Bacon (The Morris Ring), 1974; pg. 193. Barnes
(English Country Dance Tunes, vol. 2),
2005; pg. 13. Karpeles & Schofield (A
Selection of 100 English Folk Dance Airs), 1951; pg. 38. Mallinson (Mally’s Cotswold Morris Book), 1988,
vol. 2; No. 55, pg. 27. Raven (English
Country Dance Tunes), 1984; pg. 74.
X:1
T:Bonny Green Garters [1]
L:1/8
M:6/8
K:G
G|d>cB AGF|G>AB cde|d>ed dcB|B3 A2d|d>cB
AGF|
G>AB cde|d>ed dcB|A3G3||d>cB AGF|G3A3|d>cB
AGF|
G3A3|d>cB AGF|G>AB cde|d>ed dcB|A3 G2||
BONNY GREEN GARTERS [2]. English, Morris Dance Tune (6/8
time). D Major. Standard tuning. One part. This version is from the village of
Bampton, Oxfordshire, in England's Cotswolds and was used as a morris dancers'
processional off the site of the dance at the end of a performance. It is
commonly played preceding a
tune from the village of Headington. Bacon (The
Morris Ring), 1974; pg. 50. Mallinson (Mally’s
Cotswold Morris Book), 1988, vol. 2; No. 59, pg. 28. Veteran VT111, Francis Shergold - "Greeny Up"
(1988. Recorded from Bampton morris musicians).
BONNY GREEN (GARTERS) [3]. English, Morris Dance Tune (6/8
time, with irregular measures). D Major. Standard tuning. AABBC. Bacon (The Morris Ring), 1974; pg. 116.
BONNY GREEN OF GLASGOW. Scottish. John Glen (1891) finds
the earliest appearance of this tune in print in John Riddell's 1782 collection (pg. 36).
BONNIE GREEN TREE, THE. Irish, Air (3/4). D Major. Standard tuning. AB. Roche Collection, vol. III, 1982; pg. 3,
No. 7.
X:1
T:The Bonnie Green Tree
Z:The Roche Collection of Traditional Irish Music
M:3/4
L:1/8
R:Air
Q:1/4=120
K:D
A2 | f4 ed | d4 cd | B4 {d}cB | A2 F2 z A | A4 BF | A4 de | f2 e2 d2 | e4 z A |
f4 ed | d3 c d2 | B4 {d}cB | A F2 z FF | A4 BF | A2 d2 e2 | f g3 e2 | d4 F2 |
B4 Bc | d4 F2 | d4 cB | A F3 A2 | A4 BF | A4 de | f2 e2 d2 | e4 A2 |
f4 ed |d4 cd |
B4 {d}cB | A F3 A2 | A4 BF | A2 d3 e | f g3 e2 d4 |
BONNY
GREY, THE. English, Air adapted to Reel by Williamson. G Major.
Standard tuning. AABB. Originally "the tune of a Midland broadsheet ballad
about cockfighting. Cockfighting was popular in ancient Greece and later among
the Romans, who probably introduced it to Britain. The 'sport' was highly bloody. Although it flourished well into
the eighteenth century, it was finally suppressed as being too conducive to the
gathering of rogues and to the trade of pickpockets, who found much to lift
from the pockets of gentlemen 'cockers'" (Williamson, 1976). Williamson (English, Welsh, Scottish and Irish Fiddle
Tunes), 1976; pg. 31.
BONNY GRAY-EYED MORN, THE. "Jockey
rous'd with love," "The Bonny Grey‑eyed Morn Begins to
Peep." English, Air (whole or 2/2 time). B Flat Major. Standard tuning.
AB. Chappell (1859) asserts the Scots appropriated "The Bonny Grey‑eyed
Morn" or "Jockey rous'd with love," composed by Jeremiah Clark,
for their tune, but that it was English in origin. He says Clarke’s composition
was sung in D’Urfey’s comedy of The Fond Husband, or The Plotting Sisters
(1676). Henry Playford published it in his Dancing
Master, Part II, 2nd Edition (1698) and in all subsequent editions until
the demise of the series in 1728. John Walsh published it in his Compleat Country Dancing Master (London,
1718). Kidson (1922) identifies it as an Anglo‑Scotch song, the music
being perhaps composed by Jeremiah Clark. Stenhouse doubted that Clark(e)
composed the melody, and Grove’s
Dictionary gives dates for Clarke that would make him only six or seven
years old when The Fond Husband was
produced. Oswald included it in the
collection of Scottish Tunes, calling
it “The Old Gray-ey’d morning.” A version also appeared in Oswald’s seventh
book of The Caledonian Pocket Companion as “The Gray Ey’d morning” albeit
in a different version of the tune, in ¾ time. It also appears in D’Urfey’s Pills to Purge Melancholy, vol. III
(1719), on half‑sheet music, and in John Gay's The Beggar's Opera (1729) under the title "'Tis woman that
seduces all mankind." It was a popular tune, much employed in ballad
operas, and also appears in Cibber’s Patie
& Peggy (1730), The Jew Decoy’d,
or the Progress of a Harlot (1733), The
Happy Lovers, or the Beau Metamorphos’d (1736), Ramsay’s The Gentle Shepherd, and others. Barnes
(English Country Dance Tunes, vol. 2),
2005; pg. 14. Raven (English Country
Dance Tunes), 1984; pg. 50. Wildgoose Records,
Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2000).
X:1
T:Bonny Grey-Ey’d Morn
M:C
L:1/8
S:Beggar’s Opera
(1729)
K:B Flat Major
F|BABc d2cB|defg f3g|fgfd edcB|ABcd c3d|edcB A2A|
BAGF =E3C|FAGB Acdc|BAGF F3::c|cAcA F3f|fdfd B3d|
eGcA ^F3d|cBAG G3D|FABG e3d|dGcB A3F|Bdce dfgf|edcB B3:|
BONNY GREY-EYED MORN BEGINS TO PEEP. AKA
and see "The Bonny Grey‑eyed Morn," "Jockey rous'd with
love."
BONNY HIGHLAND HILLS. Scottish, Strathspey. E Aeolian.
Standard tuning. AAB. Carlin (The Gow
Collection), 1986; No. 14. Gow (Fifth Collection of Strathspey Reels),
1809; pgs. 20-21.
X:1
T:Bonny
Highland Hills, The
M:C|
L:1/8
R:Strathspey
N:”Old”
B:Gow
– Fifth Collection of Strathspey Reels (1809)
Z:AK/Fiddler’s
Companion
K:Emin
g|B<B
“tr”B>A G<g B>(g|a>)A “tr”B>G Ee e>f|”tr”g>a b>a g>d
g>e|d>A “tr”B>G E<e e:||f|
“tr”g>ab>a
g<b b>g|~a>g b>g ~a>g e2|d>bb>a g>d “tr”B2|d>A
B>G E<e e>f|
”tr”g>ab>a
g<b b>g|~a>g b>g a>g e2|d<bg<b e<g “tr”B2|d>A B>G
E<e e||
BONNY HIGHLAND LADDIE. AKA and see "Cairney Mount." Scottish, Strathspey.
D Major. Standard tuning. AABB’. Carlin (Gow
Collection), 1986; No. 15. Gow (Complete
Repository), Part 3, 1806; pg. 6.
X:1
T:Bonny
Highland Laddie
T:Cairney
Mount
M:C
L:1/8
R:Strathspey
S:Gow
– 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:D
d>B|A3(D2F2A2)|(BA)(GF)
E2 d>B|A2(D2F2A2)|B>cdA F2A2|D2d2d3 (e/2f/2)|
e2E2E3D|F2A2
(BcdB)|A2(D2F2):| A|:d3e (de)(fd)|(gf)(ed) e2 f>e|d2A2F2A2|
B>c
dA F2A2|D2d2 d3 e/2/f/2|e2E2E3D| (F2A2) (BcdB)|1 A2D2F2A2:|2 (F2D2) F2||
BONNY HIGHLANDER. AKA
and see "Daniel of the Sun [1]"
(Dónall na Gréine), "Buck(e)y
Highlander," "O my Dear Judy,"
"Thady/Teddy you Gander,"
"I gave to my Nelly," "Girls of the West," "From the Court to the Cottage,"
"The Leg of (a) Duck,"
"Petticoat Loose [1],"
"She is/She’s
the Girl that can do it," "Nelly's
Jig," "The Western Jig,"
"The Bottle of Brandy,"
"Tie the Petticoat Tighter,"
“Yourself Along with Me [1],”
"Bully for You," "O My Dear Father, Pity Your
Daughter." Irish,
Jig. G Major. Standard tuning. AABB. O’Farrell gives the tune’s provenance as
Irish. O’Farrell (Pocket Companion, vol.
III), c. 1808; pg. 30.
X:1
T:Boney
Hilander, The (sic)
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
c | BGG AGG |
BGG AGG | EAA A2B | EAA A2c | BGG AGG | BGG FED |
DGG G2A | DGG G2 :: c | Bcd ABc | Bcd AGE | EAA A2B |
EAA A2c | Bcd
ABc | BAG AGE | DGG G2A | DGG G2 :|
BONNIE HOUSE OF AIRLY, THE. Scottish,
Strathspey. G Major. Standard tuning. AB. “Old,” states Nathaniel Gow, who also
says “The first eight bars are supposed the original.” He refers to a ballad
called “The Bonnie House of Airly” (see George Ritchie Kinloch, Ancient
Scottish Ballads, 1827, pg. 100) which tells of the Earl of Airly and his
son, clan Ogilvie, who sided with the Royalist forces of Charles I in the
English Civil War. Arily’s estates were plundered in 1639 or 1640 by the Earl
of Argyle as consequence. Francis James Child finds the ballad earliest in
Finlay’s Scottish Ballads. Gow (Sixth Collection of Strathspey Reels),
1822; pg. 14.
X:1
T:Bonnie House of Airly, The
M:C
L:1/8
R:Strathspey
N:”Old”
N:”The
first eight bars are supposed the original.”
B:Gow
– Sixth Collection of Strathspey Reels (1822)
Z:AK/Fiddler’s
Companion
K:G
G2 AB c2 d>c|(B<G) AB
c3c|(B2d2) g3=f|e2c2 z2 (c2|B2)d2 g3e|
(=fd)
(ec) f2 (eg)|d2 B>G c2 d>B|A2G2 z4||g2 AB c2 c>B|A>G AB G2 d>B|
G2 AB
c2 cd|e2d2z2c2|”tr”B>A(Bc) d2 d>d|(efg).B A2 d>B|~G2 AB (c<e)
d>B|”tr”A4 G4||
BONNY IRISH LASSIE-O.
Scottish (?), Single Reel. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and
Ireland, vol. 2: Reels and Rants), 1997; No. 10, pg. 5.
BONNIE ISABEL ROBERTSON (HORNPIPE). Scottish,
Hornpipe or Reel. D Major. Standard tuning. AABB. According to Paul Cranford,
this is a 19th century Scottish tune composed by James Daniel. Source for
notated version: Winston Fitzgerald (1914-1987, Cape Breton), who paired it
with “John Howatt” [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 37, pg. 13. Welling (Welling’s Hartford Tune Book), 1976; pg. 17. Breton Books and Records BOC 1HO, Winston “Scotty”
Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 44).
BONNIE ISLE O' WHALSAY. Shetland, Reel. A Major (‘A’ part)
& A Mixolydian (‘B’ part). Standard tuning. AAB. Brody (Fiddler’s Fakebook), 1983; pg. 52.
Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 32. Philo 2019, Tom Anderson and Aly Bain‑
"The Silver Bow."
X:1
T:Bonnie
Isle o’ Whalsay
M:4/4
L:1/8
R:Reel
K:A
edcA
B2 ed|cAAc BE E2|edcA B2 ed|1 cABG A4:|2 cABG A2 AB||
cde=g
fded|cAdc B(=G G2)|cde=g fded|cAB=G A3B|cde=g fded|
cAdc
B(=G G2)|cdef =gage|dB=GB A2 z2||
BONNIE JAMES CAMPBELL. Old-Time, Breakdown. G Major.
Standard tuning. AB. Some see this tune as a precursor to “Cumberland Gap.” Flying Fish FF247, "Fiddle Fever" (1981. Appears
as part of "Daybreak in the Mountains"). Folk Legacy Records FSA 001,
Frank Proffit – “Frank Proffit of Reese, North Carolina” (1962).
X:1
T:Bonny
James Campbell
M:4/4
L:1/8
K:G
D2 DE
G2G2|AGED G2 GE|DEDE GABG|AGEG D2D2|
D2 DE
G2G2|AGED G2 GE|DEDE GABG|AGEG D2D2||
d2ddB2B2|AGED
G2 GE|D2 DE G2 GB|AGEG D2D2|
d2ddB2BB|AGED
G2 GE|D2 DE G2 GB|AGEG D2 z2||
BONNY
JANE. See "Bonny
Jean."
BONNY JEAN [1]. An air, one of a supposed seven or eight hundred,
composed by the ancient harper Thomas O’Connellan (see note for “The Breach of Aughrim”).
BONNY JEAN [2]. See "Bonny
Jean of Aberdeen."
BONNY JEAN OF ABERDEEN. AKA ‑
"Bonny Jane," "Bonny Jean of Aberdeen." Scottish, Reel. G Major.
Standard tuning. AABB. Popular in the 18th and early 19th century, but does not
generally appear in collections later than that. There are six main text
versions of the tune: The Cumming
Manuscript (1723), Munro's Scots
Tunes (1732, as a sonata and Munro's "masterpiece"), the McFarlane Manuscript (1740), a flute MS.
of 1770, the McLean Collection
(1772), the Little Manuscript (c.
1775). Johnson (1983) clearly traces the transmission of the tune through these
manuscripts. Purser (1992) says of Munro’s sonata: “(The piece) shows how a
Scots song can, with a little rhythmic ingenuity and melodic gift, become as
lovely a minuet or as lively a gavotte as any thoroughbred classic.” A tune
called "Bonney Jean" is in the Gillespie
Manuscript of 1768, and as “Bonny Jean” it appears 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 Montreal 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. Versions were published in
America in Daniel Steele’s New and
Complete Preceptor for the German Flute (Albany, N.Y., 1815) and
Philadelphia publisher John Aitken’s edition of the Scots Musical Museum (1797). Howe
(1000 Jigs and Reels), c. 1867; pg.
125. Johnson (Scottish Fiddle Music in
the 18th Century), 1983; No. 65, pg. 170‑179 (Munro's
sonata version). Mattson & Walz (Old
Fort Snelling), 1974; pg. 51. McGibbon (Scots
Tunes, book III), 1762; pg. 71.
X:1
T:Bonny Jean of
Aberdeen
M:4/4
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
(B>A) | G2
(GA/B/) D3E | G>FG>A {G/A/}B2 (A>G) |
c3e d>BA>G | A>BAG E2 B>A |
G2 (B^c/d/) D3E
| G2 A>B g2 f>e | d>edB
(cB)(cd) | B2 A>G G2 :|
|:de/f/ | g2 g(a/b/)
d3e | g>fga {g/a/}b2 g>a | (ba)(ge) d>egB | A>BAG E2
B>A |
G2
(B^c/d/) D3E | G2 A>B g2 (fe) | d>gB>g (AB)(cd) | {c}B2 A>G G2 :|
X:2
T:Bonny Jean of Aberdeen
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots
Tunes, book III, pg. 71 (1762)
Z:AK/Fiddler’s
Companion
K:G
BA | G2 (G/A/B) D3E | (GF)(GA) B2 “tr”(AG) | c3e
(dB)”tr”(AG) | A>BAG E2 (BA) |
G2 (Bc/d/) D3E | G2G2g2 “tr”(fe) | d>edB (AB)(cd) |
B2 “tr”(A>G) G2 :: (d/e/f) |
g2 (g/a/b) d3e | (gf)(ga) b2(ga) | (b/a/g) (a/g/e)
gedB | A>B”tr”AG E2 (BA) |
G2 (B/c/d)D3E | G2G2g2”tr”(fe) | d>edB (AB)(cd) |
({c}B2) “tr”(A>G)G2 :|
X:3
T:Bonny Jean
M:C
L:1/8
R:Air
S:Steele – New
and Complete Preceptor for the German Flute (Albany, NY, 1815)
K:G
BA|G2 (3GAB E2 EF|G2 GA B2 AG|BAGB dBAF|AGAB E2 BA|
G2 (3GAB E2 EF|G2G2 g3d|egde dBAG|ABEF G2:|
|:ef|gfed B2 ge|dBAG d2 ef|gfed BdBG|AGAB E2 BA|
G2 (3GAB E2 EF|G2G2 g3d|efde dcBA|GBEF E2:|
BON(N)IE JEAN MAKIS MELKILL OF ME. Scottish. The title translates as
"Bonny Jean makes much of me." The air appears in the Skene MS of
1610. Flying Fish, Robin Williamson ‑
"Legacy of the Scottish Harpers, vol. 2."
BONNY
JENNIE. Scottish? American?, Reel. G Minor. Standard tuning.
AB. White’s Unique Collection, 1896;
No. 61, pg. 11.
X:1
T:Bonney
Jennie Reel
M:C|
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 61
Z:AK/Fiddler’s Companion
K:Gmin
A | B2
(d/c/B) fBbB | B2 (d/c/B) AFcA | B2 (d/c/B) fBbB | cAFA BGGA |
B2
(d/c/B) fBbB | B2 (d/c/B) AFcA | B2 (d/c/B) fBbB | cAFA BGG ||
B|
DGBG dGBG | DGBG AFcA | DGBG dGBG | cAFA BGGB |
DGBG
dGBG | DGBG AFcA | DGBG dGBG | cAFA BGG ||
BONNY JOCKEY. AKA
and see "Kiss
Me Fast, My Minnie's (Mother’s) Coming."
BONNY JOLLY PLOUGHMAN, THE. English.
England, Northumbria. Title appears in Henry Robson's list of popular
Northumbrian song and dance tunes, which he published c. 1800. The "Jolly
Ploughman"??
BONNIE KATE [1] (Cait Deas). AKA ‑
"Bonny Kate." AKA and see "The
Boys of Limerick," "The
Bonny Lass of Fisherrow/Fishirron," "Cait Bhoidheach." Irish, English,
Canadian; Reel. Canada; Cape Breton, Prince Edward Island, Ontario. D Major.
Standard tuning. AB (Breathnach, Kerr, O'Neill): ABB’ (Moylan): AABB (Brody,
Allan, Cole, Phillips): AA’BB’ (Miller & Perron, Perlman): ABCD
(Breathnach, Miller). The tune, which appears to have been adapted in Ireland
from the Perthshire, Scotland, composer Daniel Dow’s C Major reel “The Bonnie
Lass of Fisherrow” (published in his Complete
Repository, vol. 3, c. 1773), was popularised by the famous Irish‑American
fiddler Michael Coleman whose setting has become a classic (paired with “Jenny’s Chickens”). Daniel Michael Collins
(in notes to Shanachie 29009) opines: "The reel has a great potential for
creating boredom because of the fact that it contains phrases that are repeated
over and over again. It is only through the use of variation and good
presentation of rolls and triplets can any musician make the tunes in anyway
interesting.” Regarding Coleman’s variation sets, Reg Hall (1995) says the
London fiddler Michael Gorman, a second cousin of Coleman’s, “attributed the
Coleman ‘Bonnie Kate’ setting to his teacher, Jamesey Gannon (born c. 1840) of
Crimlin, Chaffpool, County Sligo, while Lad O’Beirne, son of Philip O’Beirne from
Bunninadan, attributed them to John O’Dowd.” An untitled setting appears in
Joyce’s Old Irish Folk Music and Song
(1909), No. 126. O’Neill prints the melody as “Boys of Limerick,” and there is
a County Leitrim version in the local Kiernan manuscript (1844-46) under the
title “Sporting Kate.” The tune was picked up by Texas-style fiddler Benny
Thomasson, perhaps from Ryan’s Mammoth/Cole's 1000, or perhaps from the 1929
recording of ‘K. Scanlon’, whom Reg Hall identifies as a rather mysterious
fiddler, likely from County Sligo, recorded a set of reels (entitled “Medley of
Old Time Fiddling Reels”) for a label whose audience was for American old-time
music. Sources for notated versions: Chicago Police Sergeant James O’Neill, a
fiddler originally from County Down and Francis O’Neill’s collaborator
[O’Neill]; Kevin Burke (London/Co. Clare/Oregon) [Brody]; Benny Thomasson
(Texas) [Phillips]; accordion player Johnny O’Leary (Sliabh Luachra region of
the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984
[Moylan]; Kenny Chaisson (b. 1947, Bear River, North-East Kings County, Prince
Edward Island, now resident of Rollo Bay) [Perlman]; piper Seán Potts
(1871-1956) and fiddler Tommy Potts (Ireland) [Breathnach]; fiddler Dawson
Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; fiddler Seán Ryan [Miller
& Perron]. Allan's Irish Fiddler, No. 44, pg. 11. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 65, pg. 75.
Breathnach (CRÉ I), 1963; No. 174‑176,
pgs. 68‑69 {three versions}. Brody (Fiddler’s
Fakebook), 1983; pg. 53. Cole (1000
Fiddle Tunes), 1940; pg. 6 (appears as "Bonnie Kate's"). Kennedy
(Fiddlers’ Tune Book), vol. 1, 1951;
No. 37, pg. 19 (appears as "Bonny Kate"). Kerr (Merry Melodies), vol. 4; No. 41, pg. 7. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 3, No. 19. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pgs. 49-51 (two
versions). Moylan (Johnny O’Leary),
1994; No. 141, pg. 83. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1277, pg. 240. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 545, pg. 101. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 78. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 34. Raven (English Country
Dance Tunes), 1984; pg. 160. Roche
Collection (two settings), 1982; vol. I, pg. 70, #'s 182 and 183. Ryan’s Mammoth Collection, 1883; pg. 28.
Avoca 139, Sean Maguire‑‑"Music of
Ireland." Breton Books and Music BOC 1HO, Winston “Scotty” Fitzgerald -
“Classic Cuts” (reissue of Celtic Records CX17). Cló Iar-Chonnachta CICD 173,
Brian Conway – “Consider the Source” (2008). Copley Records EP9-20 (45 RPM),
Paddy O’Brien (195?). Edison 50604 (78 RPM), John H. Kimmel, 1918 (appears as
first tune of "Bonnie Kate Medley Reels"). Folkways FW 8876, Kevin
Burke‑ "Sweeney's Dream." Folkways FG 3531, Jean Carignan‑
"Old Time Fiddle Tunes" (1968). Gael-Linn Records 78 RPM, Tommy Reck (c. 1957). Legacy 120, Jean Carignan‑ "French Canadian Fiddle
Songs." Shanachie 29009, "Andy McGann & Paul Brady." Shanachie
33004, James Morrison‑ "The Pure Genius of James Morrison.” Topic TSCD 602, K. Scanlon –
“Irish Dance Music” (1995. A reissue of the 1929 original). 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).
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:Bonnie
Kate [1]
R:reel
M:C
L:1/8
K:D
dB|AFdB
ABAF|DFAF E2 EB|AFAd cde/f/d|cABc dcdB|
AFdB
ABAF|DFAF E2 EB|AFAd ((3Bcd) ((3efd)|cABc defg||
a2 fd
fafd|fafd e2 ef|gfef gbag|fedc defg|
a2 fd
fafd|gabg fgaf|gfef gbag|1 fedc dcdB:|2 fedc d2 d2||
BONNIE KATE (POLKA) [2]. AKA and see “Black Legs.” English;
Polka or Country Dance Tune (2/4 time). G Major (Carlin, Callaghan): A Major
(Barnes). Standard tuning. AABB. The tune was first published in John Johnson’s
Two Hundred Favourite Country Dances,
vol. 8 (London, 1758) under the title “Bonny Kate” (pg. 46). It was of course
not originally a polka but rather a common-time vehicle for a country dance,
however, it has been popularized in modern times as a polka by the New Victory
Band and others. “Bonny Kate” appears in several English musicians’ manuscripts
from the 18th century including the Harrison and Wall manuscript
from the village of Ashover, Derbyshire, dated 1762. It also appears in the
William Clarke manuscript (Lincoln, 1770) as “Black Leggs or Bonny Cate,” and
in the Thomas Hammersley manuscript (London, 1790) as “Black Leggs.” “Bonny Kate” appears in the American
commonplace book of flute player Henry Beck (1786), now housed in the Library
of Congress. Barnes (English Country
Dance Tunes), 1986 (appears as "Bonnie Cate"). Callaghan (Hardcore English), 2007; pg. 30. Carlin
(Master Collection), 1984; No. 2, pg.
15. Topic 12TS382, New Victory Band‑ "One
More Dance and Then" (1978. Learned from the Ashover Collection of
Harrison & Wall). Topic TSCD 752, New
Victory Band – “Stepping Up” (2004. Compilation CD).
X:1
T:Bonny Kate [2]
M:2/4
L:1/8
S:New Victory Band arr. Steve Mansfield
R:Reel
K:G
f|:gf gf|gd d2|c/d/e dc|BG GA|BG GA/B/|cA
Ac|B/c/d cB|1Ad ef:|2A2 A2||
|:BG GA/B/|cA dB|ec cd/e/|f2 de/f/|gf
ge|de/f/ gB|c/d/e dc|1BG GA:|2BG G ||
BONNY KATE [3].
English, Reel. D Major. Standard tuning. AB. No relation to “Bonnie Kate
[1]." The tune is contained in the 19th century
Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote
area of Slackcote, Saddleworth, North West England, who compiled his manuscript
from 1820 onwards, according to Jamie Knowles. The Jospeh Kershaw Manuscript,
1993; No. 34.
BONNIE KATE OF ABERDEEN. English,
Reel. D Major. Standard tuning. AABB. The melody was originally published by
John Walsh in his Compleat Country Dancing Master, vol. 5 (London,
1754), and later by Charles and Samuel Thompson in their Compleat Collection,
vol. 3 (London, 1773). “Bonny Kate of Aberdeen” can also be found in the music
manuscript collections of London musician Thomas Hammersley (1790), and
fiddlers John and William Pitt Turner (Norwich, Conn., 1780). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 3),
1773; No. 85.
X:1
T:Bonny Kate of
Aberdeen
M:C|
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:D
A<FE<D
A<FE<D|B2 Bc d2 cB|A<FE<D A<FE<D|E>FG>A G2
FE|A<FE<D A<FE<D|
fgaf e2 dc|dfdA BdBG|AFED
D4::e<cB<A|d2 cB c2 BA|B2 Bd c2 eg|
fdaf e2 fg|afed ecBA|BcdF E2 DC|DfdA
BdBG|AFED D4:||
BONNIE KATE OF EDINBURGH. Scottish, Slow Air (4/4 time). C
Major. Standard tuning. AABB. McGibbon (Scots
Tunes, Book 1), c. 1746; pg. 3. Neil (The
Scots Fiddle), 1991; No. 10, pg. 13.
X:1
T:Bonnie Kate of
Edinburgh
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, Book 1 (c. 1746)
Z:AK/Fiddler’s Companion
K:C
c |(GE)(G>A)
G2 (c/d/e) | “tr”d3c A3c | (GE)(Ge) “tr”d3c | {c/d/}e2 (g>a) g3a |
(ge)”tr”(dc) f2
(f/g/a) | A2 (e/dc) G3a | (ge)(dc) A>BAG | A2 (c>d) c2 :: (e/f/) |
(ge)(ga) g2
“tr”(fe) | ag (ab/c’/) g3e | “tr”(dc)(de) degG | A2 (GA) G3c |
(GE)(GA) c2
(c/d/e) | (dc)(de) f2 (f/g/a) | {a}g3e “tr”d3c | A2 (c>d) c2 :|
BONNY KATHERINE OGGY. AKA and see "Katherine/Catherine Oggie."
Scottish, Irish. The air is by Irish harper Rory dall O'Cahan, who lived
primarily in Scotland in the early 17th century. It was printed in 1686.
BONNY KEEL LADDIE. AKA and see "The
Bonny Pit Laddie." English, Jig and Air. England, Northumberland. Same
tune as "Bonny Pit Laddie," with these words:
***
My bonny keel laddie, my canny keel laddie,
My bonny keel laddie for me, O!
He sits in his keel as black as the deil,
And he brings the white money to me, O!
(Stokoe)
***
Stokoe
& Bruce (Northumbrian Minstrelsy),
1882; pg. 150.
BONNY KITTY. AKA and see “The Turtle.”
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The
melody under this title is unique to London publisher Charles and Samuel
Thompson’s 1765 country dance collection. However, the Thompson’s printed it
again in their third volume of 1773 under the title “The Turtle.” Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2),
1765; No. 109.
X:109
T:Bonny Kitty
M:2/4
L:1/8
N:See vol. 3,
No. 163. “The Turtle”
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
[G,D]|[G,G][G,G]
G/A/B/c/|[Dd][Dd]-d/g/f/e/|d/e/d/c/ B/c/B/A/|GGG::(g|g/)f/e/d/ c/B/A/G/|
[Ec][Ec][Ec][za]-|a/g/f/e/
d/c/B/A/|[GB][GB][GB][zg]-|g/f/e/d/ c/B/A/G/|[Ec][Ec][ce][zg]|ed/c/
B/c/A/B/|GGG:||
BONNIE LABORING BOY. Irish, Air (6/8 time,
"tenderly"). D Major/Mixolydian. Standard tuning. One part. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 195, pg. 34.
X:1
T:Bonnie
Laboring Boy
M:6/8
L:1/8
R:Air
N:”Tenderly”
S:O’Neill
– Music of Ireland (1903), No. 195
Z:AK/Fiddler’s Companion
K:D
D |
G2F G2A | d2c AGF | G2F D2D | (D3 D2) A | d2e =f2e | d2B cdc |
B2B
A2G | A3 ABc | d2e =f2e | d2 B cdc | B2B A2G | A3 AGF |
G2F
G2A | d2c AGF | G2F D2D | (D3 D2) ||
BONNY LAD, THE.
AKA – “Bonnie Lad.” AKA and see “Bonny Boy,” "Boney Lads," "Because He/I was a
Bonnie/Bonny Lad,” “Because He was a Bonny Boy." English, Reel.
England, Northumberland. G Major (Kennedy/Fiddlers,
Peacock): A Major (Cole, Kennedy/Dance
Music): D Major (O’Neill). Standard tuning. AB (Cole): AAB (Kennedy): AABB
(Peacock): AA’BB’ (O’Neill). There was a kissing dance by this (and a series of
other) names popular in Scotland in the 18th and early 19th centuries (see note
for "Babbity Bowster"). Cole (1000
Fiddle Tunes), 1940; pg. 16 (appears as "Bonnie Lad"). Kennedy (Fiddlers Tune Book), vol. 1, 1951; No.
36, pg. 18. Kennedy (Traditional
Dance Music of Britain and Ireland, vol. 2: Reels and Rants), 1997; No. 11,
pg. 5. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 226. Peacock (Peacock’s Tunes),
c. 1805/1980; No. 6, pg. 2. Ryan’s
Mammoth Collection, 1883; pgs. 40 & 73,
X:1
T:Bonnie Lad,
The
M:4/4
L:1/8
C:(Warpipe
Style)
S:Capt. F.
O'Neill
Z:Paul Kinder
R:Reel
K:D
G|FEDF
AdAF|(3GAB AF E2 EG|1FEDF AdAF|(3GAB AF D2 D:|
2dBcA
BGAF||:(3GAB AF D2 D||:G|(3FED AD BDAD|(3FED AF E2 EG|
1(3FED AD BDAD|(3GAB AF D2 D:|
2dBcA BGAF|(3GAB AF D2 D||
BONNY LAD TO MARRY ME, A. AKA and see “I’m Over/Owre young to
marry yet [1].” English, Reel. England, Northumberland. C Major. Standard
tuning. AABB. See also Bremner's "A
Bonny Lass to Marry Me." The melody appears in the 1770 music
manuscript book of Northumbrian musician William Vickers, about who
unfortunately little is known. Seattle (William
Vickers), 1987, Part 2; No. 270.
X:1
T:Bonny
Lad to Marry Me
M:C|
L:1/8
R:Reel
S:William
Vickers music manuscript book, pg. 78
(1770)
Z:AK/Fiddler’s Companion
K:C
D|EGGA
cded|cAGA dcde|EGGA cdeg|ecdB cC C:|
|:g|ecgc
efga|ecgc d/d/d dg|ecgc efga|ecdB c2 C:|
BONNY
LADDIE. AKA ‑ "High Caul/Caul’d Cap," "Highland Laddie,"
"Donkey Riding." English,
Reel (Country Dance). G Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No.
62, pg. 30. Kerr (Merry Melodies),
vol. 1; No. or pg. 21. Miller & Perron (101
Polkas), 1978; No. 95 (appears as "Highland Laddie"). Raven (English Country Dance Tunes), 1984; pg.
145. Welling (Hartford Tune Book),
pg. 8 (appears as "Donkey Riding").
X:1
T:Bonny Laddie
M:2/4
L:1/8
K:G
D/E/ |
G>A Bd | c/B/A/G/ BG/A/ | BA AG/A/ | BA AD/E/ | G/F/G/A/ Bd |
c/B/A/G/
B/c/A/B/ | GE ED/E/ | GEE :: B/d/ | ee/g/ dd/B/ | c/B/A/G/ BG/A/ |
BA AG/A/
| BA Ad | ee/g/ dd/B/ | c/B/A/G/ B/c/A/B/ | GE ED/E/ | GEE :|
BONNIE LADDIE HIGHLAND FLING. Scottish,
Fling. G Major. Standard tuning. AB. White’s
Unique Collection, 1896; No. 159, pg. 29.
X:1
T:Bonnie
Laddie Highland Fling
M:C|
L:1/8
R:Highland
Fling
S:White’s Unique Collection (1896), No.
159
Z:AK/Fiddler’s Companion
K:G
(e/f/g) (d<g)
(B<g) (A>B) | G<G G<G B>AB>d | G<G G>c (B/c/d) (A>B)
|
G<G G<G
B>AB>d | (e/f/g) (d<g) (B<g) A || c | (Bd) (de/f/)
(g>.d)(e>.d) |
(Bd) (de/f/)
(g>B)(A>.c) | (Bd) d(e/f/) (g>.B)(A>.c) | (Bd) d(e/f)
(g>d)(e>d) |
(c>a)(B>g)
(B>g)(A>c) | (Bd) (de/f/) (g>d)(e>d) | (Bd) (de/f/)
(g>B)(A>c) |
(Bd) (de/f/) (g/f/g/a/) (g>d) |
(c<a)(B<g) (B<g)A ||
BONNY LASS [1]. English, Reel. D Major. Standard tuning. AA'BB'. See
also the related “Smith’s a
Gallant Fireman.” Kennedy (Fiddlers’
Tune Book), vol. 2, 1954; pg. 15. Raven (English Country Dance Tunes), 1984; pg. 178.
X:1
T:Bonny
Lass [1]
M:C|
L:1/8
R:Reel
K:D
D2 DF
A2 AF | ABdF GFED | E2 EF B2 BA | dfed B2d2 |
D2 DF
A2 AF | ABdF GFED | G2 BG F2 | AF E2 FA B2d2 :|
|: d2
de d2 dA | BcdF GFED | e2 ef edef | gfed B2d2 |
d2de
d2dA | BcdF GFED | G2 BG F2 AF | E2 FA B2d2 :|
BONNY LASS [2]. AKA and see "Bonny
Lass of Our Town," "Ellingham
Hall," "The Merry Dancers."
English, Jig. England, Northumberland. G Major. Standard tuning. AABBCC. The
melody appears in the 1770 music manuscript collection of Northumbrian musician
William Vickers (about whom, unfortunately, nothing is known). Vickers gives
the alternate titles “Ellingham Hall” and “The Merry Dancers” with the tune.
London musician Thomas Hammersley called the tune “Bonny Lass of our town” and
gave “Merry Dancers” as an alternate title in his c. 1790 copybook. Ellingham
Hall is a Gothic-Revival manor near Alnwick, Northumberland, originally built
upon a 17th century house. It was enlarged by Edward and Mary
Haggerton in 1703 (their initials still appear carved into a lintel over the
then front door. There are secret tunnels on the ground which aided in the
harbouring of Catholic priests during the turmoil of the Reformation. Seattle (William Vickers), 1987, Part 2; No. 302.
X:1
T:Bonny
Lass [2]
T:Ellingham
Hall
T:Merry
Dancers, The
M:6/8
L:1/8
R:Jig
S:William
Vickers’ manuscript collection (Northumberland, 1770)
K:G
C|B>AB
cGE|G>AG G2c|B>AB cGE|D>ED D2c|B>AB cGE|
G>AG
G2c|BdB c2B|AFD D2::c|BdB GBG|BdB G2c|
BdB
G2B|AFD D2c|BdB GBG|BdB G2e|dcB c2B|
AFD
D2:||:g|fef gdB|gdB G2g|f>ef gdB|
AFD
D2g|fef gdB|def gdB|cac BgB|AFD D2:|
BONNY LASS [3], THE. English,
Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody first
appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London,
1756). Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 1), 1757; No. 84.
X:1
T:Bonny Lass,
The [3]
M:2/4
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
BGcA|dBeg|dB GB|dB
A2|BGcA|dBeg|bgeg|dB G2:|
|:af ge|fdeA|af B^c|d2
d2|afge|fdeA|afge|B^c d2:||
BONNY LASS OF ABERDEEN. Scottish, Reel. D Major. Standard
tuning. AABB. This title has infrequently been used for the tune also known as
"The Blackbird [1]," as, for
example in Giles Gibbs’ 1777 American flute MS. Morrison gives it as a dance and tune popular in
post-Revolutionary War America, perhaps with additional evidence other than
Gibbs. The melody appears is James Oswald’s Caledonian
Pocket Companion (1743-59). Morrison, 1976; pg. 21.
BONNY LASS OF BALLANTRAE. AKA and see “The Lass of Ballintrae.”
Scottish, Reel. F Major. Standard tuning. AAB. The tune is credited to “Captain
Fraser” (probably Simon Fraser) by Lowe in his 1844 collection, however, it
does not seem to appear in the Fraser collections. It was printed by the Gows
in their 4th Repository as “The Lass of Ballintrae,” with no
attribution. Stewart-Robertson (The
Athole Collection), 1884; pg. 206.
X:1
T:Bonny Lass of
Ballantrae
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|cFAc dfef|cFAF
GDDd|cFAc dfeg|afce ~f2f:|
c|fcfa gceg|(f/g/a)
gf ecce|fcfa gcgb|afce f2 fc|fcfa gceg|
f/g/a gf eccf|dBfd cFAc|dfeg ~f2f||
BONNIE LASS O' BALLOCHMYLE, THE. Scottish, Air
(4/4 time). F Major. Standard tuning. One part. The music, a modern air, is by
William Jackson, with lyrics by Robert Burns, though he originally set them to
the tune "Johnnie's
Grey Breeks." Burns wrote his words while on a stroll one evening
along the banks of the Ayr river. The braes of Ballochmyle run along the right
or north side of the water, about two miles from Burns' farm of Mossgiel.
According to Neil (1991) they "form the most distinctive part of the
estate of Ballochmyle, owned by Claude Alexander." The 'bonnie lass' was Claude's sister,
Wilhelmina Alexander, to whom Burns sent a copy of the verses in 1786, asking
her leave to publish them. She did not
deign to reply at the time, but later, after the poet had become famous, she
had both the song and the letter accompanying it framed and hung in the hall of
her home.
***
Fair is the morn in flowery May
And sweet is night in autumn mild,
When roving through the garden gay
Or wandering in the lonely wild.
But woman, nature's darling child!
There all her charms she does compile,
Ev'n there her other works are foil'd
By the bonnie lass o' Ballochmyle.
***
Neil (The Scots Fiddle), 1991; No. 184, pg.
239.
BONNIE LASS O' BEKKAHILL, DA. AKA - "Da Boannie Lass O
Bekkahill." Shetland, Reel. Shetland, West side. D Major. Standard tuning.
AABB. A traditional slow reel from the West side of the Shetlands, note
Anderson & Georgeson, who give these words set to the tune:
***
If I had anidder sixpence
I wid buy anidder gill
I wid aks da fiddler ta play
Da Boannie Lass o Bekkahill.
***
Cooke
(1986) prints a similar text to this dance tune, which he remarks was in oral
tradition in the Shetlands in the 1970's:
***
If I had another tuppence I would buy another gill
I would let the fiddler play the boanie lass o'
Bekkahill.
***
Similar
words and a version of the tune can be found in many folk‑song
collections as "The Bonnie Lads of Byker Hill" or "Byker
Hill," whose refrain goes:
***
Byker Hill and Walker Shore
Collier lads for ever‑more (x2)
***
Source
for notated version: Peter Fraser (Shetland) [Anderson & Georgeson].
Anderson & Georgeson (Da Mirrie
Dancers), 1970; pg. 21. Bain (50
Fiddle Solos), 1989; pg. 34.
BONNIE LASS OF BON ACCORD.
Scottish, Air or March (4/4 time). A Major. Standard tuning. AAB. Of the
600 tunes composed by J. Scott Skinner (1843‑1927),
this is one of his best and most famous, composed in 1884 and still popular
today. 'Bon Accord' is an affectionate name for the city of Aberdeen, Scotland,
and is ensconsed over the arms of the city ‑‑ it means "happy
to meet, sorry to part, happy to meet again." Its origins are thought to
date to 1308, when it was a watchword or 'cri de guerre' of the burghers of
ther town who at that time overcame the English garrisoning the town.
"'It's inspirer,' wrote Skinner, 'was a young girl named Wilhelmina Bell
(who later became Mrs. Peters, and whom Skinner had met at a house party in
Union Terrace, Aberdeen, in December 1884)...[whose] father used to play bass
fiddle for my father.' She was a splendid dancer, but was having to work as a
servant, for her father had been ruined by taking on a friend's debts. 'Never
mind, my lassie,' said I, cheerfully...'I'll ma' a tune that'll maybe keep ye
in min' when we're baith deid'" (Alburger, 1983). This is perhaps close to
the literal truth, for the opening bars of the tune were inscribed on Skinner's
gravestone in Aberdeen's Allenvale cemetary (Hardie, 1992). Skinner wrote the
tune the next morning after meeting Mina, and later that day, having completed
the melody, he showed to an Aberdeen photographer named Alexander Dinnie.
Dinnie was impressed by the tune and suggested that Skinner "make it
something about Bon‑Accord. Just at that point Mina passed on an errand.
Scott Skinner whispered to Dinnie that she was the bonnie lass that the tune
was about. 'I've got it,' exclaimed Dinnie, 'Ca' it the bonnie lass o' Bon‑Accord'
and he did" (Neil, 1991). It was first published in Skinner's Logie Collection. Purser (1992) remarks
that the tune follows the same formal pattern as Niel Gow’s “Lament for the
Death of His Second Wife,” repeating its second strain three times in slightly
different versions. Skinner printed a poem with the tune (reprinted) in his Harp and Claymore Collection (1904),
written by “W.M.” It begins:
***
The Bonnie Lass o’ Bon-Accord,
Looks lang owre the bar o’ the Dee,
An’ the Bonnie Lass o’ Bon-Accord
Comes hame wi’ the tear in her e’e.
An’ there’s never a wind but blaws to her
gater
Some brisk braw carle come to woo;
But wi’ neither the kilt nor the coat
will she mate,
For her heart’s wi’ the jacket o’ blue.
***
Alburger
(Scottish Fiddlers and Their Music),
1983; Ex. 107, pg. 184. Brody (Fiddler’s
Fakebook), 1983; pg. 53. Hardie (Caledonian
Companion), 1992; pg. 82 (includes variations). Hunter (The Fiddle Music of Scotland), 1988; No.
21 (includes variations). Johnson (A Twenty Year
Anniversary Collection), 2003; pg. 11. MacDonald (The Skye Collection), 1887; pg. 152
(includes one set of variations). Neil (The
Scots Fiddle), 1991; No. 87, pg. 117. Skinner (Harp and Claymore), 1904; pgs. 2 & 3 (includes variations).
Skinner (The Scottish Violinist), pg.
1 (includes variations). Green Linnet 1015, Eugene
O'Donnell‑ "Slow Airs and Set Dances." Philo 1051, Boys of the
Lough ‑ "Good Friends, Good Music" (1977). Rounder 7001, Joseph
Cormier‑ "Scottish Violin Music of Cape Breton" (1974). Topic
12T280, J. Scott Skinner‑ "The Strathspey King."
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:Bonnie
Lass o’ Bon Accord
L:1/8
M:C
Q:80
S:MacDonald – The Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
E|A>B
{aB}c>B AA,CE|A{BAG}A/f/ e/c/{c}B/A/ {A}B2 Bc|
A>B
{A/B/}c>B AcE=G|(F/D/F/A/) (G/E/G/B/) A2 A:|
{efg}a>cd>f
eA a(g/f/)|eA (f/e/)(d/c/) {c}B2 B(3e/f/g/|a>c (df) (e/A/c/A/) (a=G)|
(F/D/F/A/)
(G/E/G/B/) A2 A (3e/f/g/|a>c df eA a(g/f/)|eA (f/e/)(d/c/) {c}B2 B>c|
(A,/C/E/A/)
c>B AC E>=G|(F/D/F/A/) (G/E/G/B/) A2 A||
E|{B/}(A/G/A/B/)
{AB}(c/B/A/G/) (A/A,/B,/C/ E/F/G/G/)|
(A/G/)(A/f/)
(e/c/){c}(B/A/) {A}B2 B>c|
(A/G/A/B/)
(c/B/A/G/) (A/A,/B,/C/ D/E/F/=G/)|(F/D/F/A/) (G/E/G/B/) A2 A:|
|{efg}a/g/f/e/
d/c/B/A/ e/A/c/A/ a/(G/A/)B/|c/A/e/A/ a/e/d/c/ {c}B2 B (3e/f/g/|
a/g/f/e/
d/c/B/A/ e/A/c/A/ a/(G/A/=G/)|(F/D/F/A/) G/E/G/B/ A2 A (3e/f/g/|
a/g/f/e/
d/c/B/A/ c/A/e/A/ ag/f/|e/(G/A/a/) f/e/d/c/ B2 B>c|A,/C/E/A/ c>G AC
E>=G|
(F/D/F/A/ G/f/e/G/) {G}A2A||
BONNY LASS OF FANNHIVEN, THE. Scottish. John
Glen finds the tune first published in Bremner's
1757 collection (pg. 20).
BONNY LASS OF FISHERROW/FISHIRRON, THE. AKA and see
"Cait Bhoidheach,"
"Bonnie/Bonny Kate," "The Boys of Limerick." Scottish
(originally), English, Canadian; Reel. England, Northumberland. Canada; Prince
Edward Island, Cape Breton. C Major. Standard tuning. AB (Kerr): AAB (Athole,
Gow): AABB' (Phillips): AA’BB’ (Cranford). Composed by Edinburgh composer and
music teacher Daniel Dow (1732-1783), most
famous as the composer of “Money Musk.” Glen finds the tune first published in
Daniel Dow's c. 1773 or 1775 (pg. 2) and Neil
Stewart's 1761 (pg. 65) collections. The tune's title appears in Henry
Robson's list of popular Northumbrian song and dance tunes, which he published
c. 1800. As “Bonny Kate” the tune is played in Ireland in the key of D Major.
On Prince Edward Island the tune is often played in a medley between “Rothermurches Rant” and “The Bird’s Nest.” It was printed by
Thompson in his Compleat Collection of
200 Favourite Country Dances (pg. 25) of 1786, which version was reprinted
by Brendan Breathnach in his Ceol Rince
na hÉirreann, Vol. 1, No. 174 (1963). The melody is popular in Ireland as
the reel “Bonny Kate.” Source for notated version: Carl & Jackie Webster
(Cardigan, Central Kings County, Prince Edward Island) [Perlman]. Carlin (The Gow Collection), 1986; No. 400.
Cranford (Jerry Holland’s), 1995; No.
73, pg. 22. Gow (Complete Repository),
Part 3, 1806; pg. 21. Kerr (Merry
Melodies), vol. 3; No. 120, pg. 14. Lowe (A Collection of Reels & Strathspeys), 1844. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 118. Phillips (Fiddlecase
Tunebook), 1989; pg. 12 (appears as "Bonnie Lass of Fisherow").
Stewart-Robertson (The Athole Collection),
1884; pg. 70. Breton Books and Music BOC 1HO, Winston
“Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40).
Shanachie Records 14001, "The Early Recordings of Angus Chisolm"
(appears as "Bonnie Lass of Fisherow").
X:1
T:Bonny Lass of
Fisherrow
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:C
A|GEcG AcGE|CEGE
D/D/D A2|GEGc AFAc|BdGB c/c/c ~c:|
f|ecgc egca|gcec
Bddf|ecgc egca|gede c/c/c ~cf|ecgc egca|
gcec Bddf|ecGc Acfa|gede c/c/c ~c||
BONNIE LASS O' FYVIE, THE. AKA and see “Eveleen’s Bower,” “Peggy Darby.” Scottish, Air (4/4 time). D
Major. Standard tuning. AA. A 'Bothy' ballad, Bothy being the name of the hut
where itinerant workers lived on a farm in the 19th century. Hunter (The Fiddle Music of Scotland), 1988; No.
359. Neil (The Scots Fiddle), 1991;
No. 71, pg. 95.
BONNIE LASS O’HEADLAKE. Canadian, Air. Canada, Cape Breton.
The tune is in the MacQuarrie Collection (The
Cape Breton Collection of Scottish Melodies).
BONNIE LASS OF LIVINGSTON, THE. AKA
and see "The High Caul/Caul’d Cap,"
"An Gabhairín Buí," "Hielan Laddie [1],"
"Cockleshells" (Playford),
"Clashing At Her,” “Yellow Goat." English, Country Dance
Tune (4/4 time). G Major. Standard tuning. AABB. The tune appears under this
title in Aird’s Selections, ii, pg.
30. Aird also gives a version in the same volume (pg. 25) as “A favourite
Highland Quick Step 73rd Regt.” Aird
(Selection), vol. II, 1782; No. 81,
pg. 30.
X:1
T:Bonny Lass of Livingston, The
M:C
L:1/8
S:Aird, Vol. II (1782)
Z:AK/Fiddler’s
Companion
K:G
DE | G3A B3e |
(dB)(de) dBAG | B2A2{B}A2 GA | B2A2A2 GE |
DEGA B3e | dBAB
GABd | e2E2E2 DE | G2E2E2 :|
|: d>e | g3a
gaba | gdeg dBAG | B2A2 {B}A2GA | B2A2A2 ga |
b/a/g ab gdeg | dABG ABcd | e2E2E2 DE |
G2E2E2 :|
BONNY LASS OF LUSS, THE. Scottish,
Reel. G Dorian. Standard tuning. AAB.
John Glen finds this tune first published by Bremner in his 1757 collection. Bremner (Scots
Reels), 1757; pg. 51.
X:1
T:Bonny
Lass of Luss
M:C|
L:1/8
R:Reel
S:Bremner
- Scots
Reels (1757)
Z:AK/Fiddler’s Companion
K:G
Dorian
G(gg)a
(g/a/b) “tr”(ag) | fcac fcac | d(gg)a (g/a/b) “tr”ag | fd”tr”c>A G/G/G G2 |
d(gg)a
(g/a/b) “tr”(ag) | c(ff)g (f/g/a) “tr”(gf) | bgaf gdfd | cAfA G/G/G G2 ||
BONNY LASS OF OUR TOWN. AKA and see "Bonny Lass [2]."
BONNY LASS OF ROTHIEMAY, THE. Scottish,
Strathspey. G Major. Standard tuning. AB. Composed by Alexander Walker. Walker
(A Collection of Strathspeys, Reels,
Marches, &c.), 1866; No. 176, pg. 60.
BONNIE LASS THAT MADE THE BED TO ME.
Scottish. AKA and see "The
Lass that Made the Bed Tae Me."
BONNY LASS TO MARRY ME, A.
Scottish, Reel. G Major. Standard tuning. AABB. Glen finds this tune first
published by Robert Bremner in his
1757 collection, soon afterwards appearing in James Oswald’s Caledonian
Pocket Companion (1760). It is perhaps also "A Bonny Lad to Marry
Me." The melody appears in the music manuscripts of Setauket, Long Island,
New York, painter and fiddler William Sydney Mount (1807-1868) on a page with
other Scottish tunes such as “Cotter Reel,” “Miss Betty Forbes Reel” and “Mrs.
Abercromby’s of Gulpas Reel.” Aird (Selection), vol. II, 1782; No. 23, pg.
9. Bremner (A Collection of Scots Reels),
1757; pg. 24. O’Farrell (Pocket Companion, vol. IV), 1810; pg.
109.
X:1
T:Bonny Lass to Marry Me, A
M:C|
L:1/8
R:Reel
S:Aird, Vol. II (1782)
Z:AK/Fiddler’s
Companion
D | G2 BG AGBG | DGBG AGEA | G2 BG cBAB | GAGE D/D/D D
:|
|: e | dgdB AGAB | dgBg AG E2 | de/f/ gB AGAB | GAGE
D/D/D D :|
X:2
T:Bonny Lass to
Marry Me, A
M:C|
L:1/8
R:Reel
S:William Sydney Mount (1807-1868) manuscripts, c.
1840’s?
Z:AK/Fiddler’s
Companion
K:G
D | G2 BG AGBG | D2 BG AGEA | G/G/G BG cBAB | GBGE
D/D/D D2 :|
|: dgdB “tr”A>GAB | dgBg “tr”A>G E2 | (de/f/g)B
“tr”A>GAB | GBGE ED D2 :|
BONNY LASS WILL YOU LIE IN A BARRACK.
Scottish. John Glen finds the tune first printed by Joshua Campbell in his 1778 collection
(pg. 80).
BONNY
LASSIE. AKA and see "High Caul/Caul’d Cap."
BONNY LASSIE [2]. AKA and see “The Cat that Kittled in
Jamie’s Wig.” Ryan’s Mammoth
Collection, 1883; pg. 168.
BONNY LASSIE O'. Scottish, Reel. C Minor. Standard tuning. AB.
Stewart-Robertson (The Athole Collection),
1884; pg. 266.
X:1
T:Bonny Lassie
O’
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:Eb
c|B(GG)F
EFGc|BGeG cFFc|B(GG)F EFGf|gfed e2 dc|B(GG)F EFGc|
BGeG cFFc|B(GG)F
EFGf|gfed c2c||
g|egge dffd|egge
fdBd|egge dffd|cgfd c2 cg|egeg dfdf|egeg fdBg|
agfe dcBA|Ggfd
e2 dc||
BONNIE LASSIE TAKE ADVICE. AKA and see "Mo chailinn og
thoir le toigh an aire dhomh." Scottish, Slow Air (4/4 time). G Minor.
Standard tuning. AAB. "There are verses sung to this air, attributed to
(John MacMurdo or MacRae of Kintail) giving a curious account of the various
obstacles which stood in the way of his entering into the matrimonial state,
and cautioning the girl he had in view from rashly listening to inconsiderate
or delusive addresses, which he minutely pictures to her. There is a Scots air, called 'Mount Your Baggage', evidently
built upon this melody which will be found quite inferior to this little
plaintive air" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 227, pg. 92.
X:1
T:Bonnie lassie
take advice
T:Mo chailinn og
thoir le toigh an aire dhomh
M:C
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Eb
E>F|G3F
G4|G2c2 B3E|G2F2F2 E>F|G3F G4|G2e2 d3=B|c2G2G2:|
~e>f|g3f e2
dc|=Bc F2 G3F|E3F G4|G2e2d3=B|c2G2G2 ~e>f|
g3f e2dc|=Bc F2
G3F|E3 C E2 zF|G2e2 d3c|B2G2G2||
BONNIE LASSIE, WILL YOU GO. AKA and see “Birks of Abergelde.”
BONNY LEA RIG. Scottish, Jig. D Major. Standard tuning. AB. Source for
notated version: Gus Longaphie (b. 1914, Little Harbor, North-East Kings
County, Prince Edward Island; now resident of Souris) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 138.
BONNY LIGHT HORSEMAN, THE. Irish, Air (3/4
time). Ireland, County Wexford. F Major. Standard tuning. AB. Words (via Terry
Moylan) set to the air stem from the Napoleonic era and begin:
***
When Bonaparte he commanded his troops for to stand,
And he planted his cannons all over the land;
He has levelled his cannons the whole victory to gain,
And he’s killed my light horseman, returning from
Spain.
***
Broken-hearted I’ll wander, for the loss of my lover,
He’s my bonny light horseman, in the wars he was
slain.
***
Sure if I was a blackbird and had wings to fly,
I would fly to the spot where my true love does lie;
And with my little fluttering wings, his wounds I
would heal,
And it’s all the long night on his breast I’d remain.
***
Source
for notated version: “From Mr. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 779, pg.
195.
X:1
T:Bonny
light horseman, The
M:3/4
L:1/8
R:Air
N:”Andante”
N:”County
Wexford”
S:Stanford/Petrie
(1905), No. 779
Z:AK/Fiddler’s
Companion
K:F
A>G | F2 F>G AF | G2F2 A>B| c2 dc B>A |
A2G2 A>G | F2 F>G AF |
G2F2 A>B | c2 dc BA | {A}G4 || cd/e/ | f2 d>e
fe | e2c2 cd/e/ | f2 df ed |
c4 de | f2 d>e fd | c2A2 A>G | F2A2c2 | B2A2G2
| F2 F>G AF | G2F2 AB |
c2 dc BA | G2F2 cd/e/ | f2d2 fd | c2A2c2 | B2A2G2 |
F4 ||
BONNY LINKS OF ABERDEEN, THE. Scottish, Reel.
E Flat Major. Standard tuning. AAB. Composed by John Anderson. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 31.
X:1
T:Bonny
Links of Aberdeen, The
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:Eb
B|e2 BA GEBG|F (f2 e) fccd|eBGB
AcBg|agfa ge e:|
g|bgeg
egbg|afge d (f2g)|bgeg gebg|agfa g (e2g)|bgeB eBGE|
GEB,E
(DF) F2|EB,EB GeBg|agfa g e2||
BONNIE LORRAINE. Canadian, Jig. Canada, Cape Breton. F Major. Standard
tuning. AABB. Composed in honor of Lorraine MacMaster (Judique, Cape Breton) by
Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 59.
BONNY
MAID, THE. Old‑Time, Reel. D Major. Standard tuning. ABB.
"Both the title and first part of this reel have the appearance of being
importations from Great Britain. The second part is a common enough strain,
compounded of familiar formulae, and one would not be surprised to find it
serving as a component part of other tunes. Noticeable in American country
dance music is the frequent occurrence
of tunes with a good first part joined to a mediocre second strain.
sometimes the second strains of such compounds are plainly modern, while the
first parts bear clearer marks of antiquity. See note for 'Rocky Mountain Hornpipe'"
(Bayard, 1944). Source for notated version: "Whistled by F.P. Provance (as
he formerly played it on the violin), Point Marion, Fayette County,
Pennsylvania, October 16, 1943. Learned from Bill Martin (brother of Emery
Martin), a fiddler of Dunbar, Pennsylvania" [Bayard, 1944]. Bayard (Hill Country Tunes), 1944; No. 15.
BONNY
MARY. AKA and see "Anna, thy charms my bosom
fire." Scottish, Air (3/4 time). G Major. Standard tuning. AABBCCDDEE. The
air, originally by James Oswald, was used as the vehicle for lyrics by Robert
Burns. The tune demonstrates one of the characteristics of Scottish music, the
alteration of the major with its relative minor (Emmerson, 1971). The melody
appears in the 1840 music manuscript collection of John Rook, of the Wigton,
Cumbria, area. Oswald (Caledonian Pocket Companion), 1760, vol. 1; pg.
24
X:1
T:Bonnie
Mary
M:3/4
L:1/8
R:Air
S:John
Rook manuscript (Cumbria, 1840)
K:G
d4g2|e4
g2|edcBAG|B2A2B2|d4g2|e4g2|edcBAG|”tr”E4D2:|
|:G2
GABA|(GA/B/)D2D2|GFGABc|B2A2g2|G2 GABA|GA/B/ D2D2|GFGABG|E4 D2:|
|:de
d2g2|ef e2g2|Bc B2g2|a2A2B2|de d2g2|efefgf|edcBAG|E4 D2:|
|:g3
aba|g2d2d2|gfgabc’ b2a2b2|g2 gaba|g2d2d2|gfgabg|e4 d2:|
|:g2dcBA|G3
ABc|dedBAG|B2A2B2|g2 dcBA|G3 ABc|dedBAG|E4 D2:|
BONNY MARY HART. Scottish, Hornpipe. C Major. Standard tuning. AABB.
Carlin (Master Collection), 1984; pg.
100 (#171).
BONNY
MILLER, THE. English, Old Hornpipe? England, Northumberland. B Minor (reconstruction) or D
Mixolydian? (origianl MS. version). Standard tuning. AABBCC. Similar to
"Pawky Adam Glen" (Seattle). Seattle (William Vickers), 1987, Part 2; No. 330.
BONNY MOOR-HEN, THE. Northumbrian. Title appears in Henry Robson's list of
popular Northumbrian song and dance tunes, which he wrote c. 1800.
BONNIE MULLIGAN. American, Reel. Composed by American multi-instrumentalist
Peter Ostroushko. Green
Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound”
(1999).
BONNIE NANCY. Scottish, Slow Air. Composed by Scottish accordion
player Phil Cunningham for San Francisco friend Nancy Iverson. Green Linnet GLCD 3107, Aly Bain & Phil Cunningham –
“The Pearl” (1994).
BONNY
NELL. English, Country Dance Tune (6/8 time). G Major.
Standard tuning. AB. Chappell states the tune was originally a ballad tune,
though the words had been lost by his time. He found a few references to the
ballad, one as early as 1622 when it was mentioned in The Anatomie of the English Nunnery at Lisbon and was apparently a
favorite with the nuns of the convent. The melody appears in Apollo's Banquet for the Treble Violin
(1670). Chappell (Popular Music of the
Olden Time), vol. 2, 1859; pg. 23.
BONNY NORTH TYNE. English, Waltz. Composer Billy Ballentine
(born c. 1890’s) was a shepherd, and a piccolo and concertina player from
Simmonburn Common, near Wark, Northumberland. Topic
12TS283. Topic TSCD 669, Billy Ballentine (et al) – “Ranting and Reeling: Dance
Music of the north of England” (1998).
BONNIE OWER THE HILLS AT NIGHT. AKA and see "Donald's
Spring" {?} (Shetland). Scottish.
BONNY PEGGY RAMSEY. AKA and see “London is a Fine Town,” “Our Polly is a Sad Slut,” “Watton Town’s End.”
BONNY PIT LADDIE, THE. AKA and see "The
Bonny Keel Laddie." English, Jig. England, Northumberland. D Major
(Raven, Vickers): G Major (Peacock, Bruce & Stokoe). Standard tuning. AABB
(Bruce & Stokoe, Vickers): AABBCC (Raven‑Fenwick): AABBCCDDEEFFGG
(Peacock). From "A Tutor for the Northumbrian Small‑pipes" by
J.W. Fenwick, published in late 1800's; "From Mrs. Thompson's
Collection" (Fenwick). Most versions seem to have 6‑bar strains,
though Vickers' does not./ The tune's title appears in Henry Robson's list of
popular Northumbrian song and dance tunes, which he published c. 1800.
**
The bonny pit laddie, the canny pit laddie,
The bonny pit laddie for me, O!
He sits in his hole as black as a coal,
And brings the white siller to me, O!
(Stokoe).
**
Bruce
& Stokoe (Northumbrian Minstrelsy),
1882; pg. 150. Peacock’s Tunes, 1980
(originally c. 1800); No. 39, pg. 18. Raven (English Country Dance Tunes), 1984; pg. 97. Seattle (William Vickers), 1770/1987, Part 2; No.
255.
X:1
T:Bonnie Pit
Laddie, The
M:6/8
L:1/8
R:Jig
S: Bruce &
Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
G|cec B2G|cec
dBG|d3 B2G|cec B2G|cec dBG|c3G2:|
|:G|cde fdf|ece dBG|c3 G2G|cde fdf|ece
dBG|c3 G2:|
BONNIE
POLKA, DA. AKA and see "Jenny Lind (Polka) [1]."
Shetland, Polka. D Major. Standard tuning. ABB. One of the few traditional
Shetland polkas, along with “Seven Step
Polka” and “Sister Jean.” Miller
& Perron (101 Polkas), 1978; No.
28. Olympic 6151, The Shetland Fiddlers' Society ‑
"Scottish Traditional Fiddle Music" (1978).
BONNY PORTMORE. AKA
and see "Peggy Levin,"
"Peggi Ni Leavan," "Peggy na Leavien." Irish, Slow Air (3/4
or 3/8 time). D Mixolydian (O Boyle): D Dorian (Darley & McCall): E
Mixolydian (O'Sullivan/Bunting). Standard tuning. One part (O'Boyle): AB
(Darley & McCall): ABC (O'Sullivan/Bunting). The Irish collector Edward
Bunting (1840) found the tune a favorite air in County Antrim around the area
of Ballinderry. He states:
***
banks
of Lough Beg, a small and shallow, but
picturesque,
sheet
of water adjoining Lough Neagh. The ivy-clad ruins
of the old church still stand on a neighbouring
eminence,
which
in summer forms a promontory, and in winter is
surrounded
by the waters of the lake. On the plantation of
this
part of the country in 1611, Portmore became the property
of
Lord Conway, who built a manison here,
of which there are
still
some traces. (O Boyle states Conway built the castle on the
ruins
of a more ancient fortress in 1664, but that it was neglected
after
his death and finally, in 1761, most of the buildings were removed.)
This
was a favourite retreat of Doctor JeremyTaylor, when Bishop
of
Dromore; and the tree under which he
used to sit, to hear this
melody
sung by the peasantry was pointed out until some years
ago.
(O Boyle states this oak was referred to as the 'ornament tree',
some
fourteen yards in circumference, which was blown down in
1760
and sold for lumber). The air is probably as old as the time of
the
O'Neill's in Ballinderry, to whose
declining fortunes there would
appear
to be an allusion in the first stanza of the English words, which
are
still sung with it:
Bonny
Portmore, you shine where you stand
And
the more I think on you the more my heart warms.
But
if I had you now, as I had once before,
All
the gold in all England would not buy you, Portmore!
***
O'Sullivan (1983) notes that nothing is
known of the Peggy Leavan of the alternate title, whose name is misspelt in
Irish, and whose name in English would by Peggy or Margaret Levinge. Sources
for notated versions: MS of Mr. A Lowe (Fairview, Ireland) which contains many
tunes by piper Hugh O'Beirne (Mohill, Co. Leitrim), 1846 [Darley & McCall];
either the harper Arthur O'Neill or Ulster harper Daniel Black at Glenoak, 1796
(the former is cited in Bunting's MS, the latter in his 1840 volume) [Bunting].
Darley & McCall (The Darley &
McCall Collection of Traditional Irish Music), 1914; No. 53, pg. 23
(appears as "Peggy Levin"). Ó Boyle (The Irish Song Tradition), 1976; pg. 50. O'Sullivan/Bunting (Bunting's Ancient Music of Ireland), 1983; No. 109, pgs. 156-157.
BONNY PRINCE CHARLIE [1]. Scottish, Jig. G Major. Standard
tuning. AABB. The tune was written by Neil Gow Jr. (c. 1795-1823) son of Nathaniel
and grandson of the famous fiddler Niel Gow (who spelled his first name
differently). An amateur musician who entered the medical profession, this Gow
died at the early age of 28. James Hogg set lyrics to the tune, a version of
Gow’s jig “Lady Ann
Carnegie’s Favorite.” Kerr (Merry
Melodies), vol. 4; No. 256, pg. 28.
X:1
T:Bonnie
Prince Charlie [1]
M:6/8
L:1/8
R:Jig
B:Kerr
– Merry Melodies, vol. 4, No. 256 (c. 1880’s)
Z:AK/Fiddler’s
Companion
K:G
BAG G2e|dBg
BAG|BAA ABd|gfe edB|deg age|edB deg|BAG gfe|dGB A2G:|
|:g2d
a2d|bag gfe|ded dGA|BdB A2G|g2d a2d|bag gfe|dBG GBd|gab a2g:|
BONNY PRINCE CHARLIE [2]. March. D Major. Standard tuning. One part. Peg McGrath (et al) – “Cherish the Ladies.”
X:1
T:Bonnie Prince Charlie
S:'Cherish the Ladies' by Peg McGrath et al
Z:Transcribed by Michael Stone
R:march
M:2/4
L:1/8
K:D
F2 ED|DB BA|A2 (3Bcd|F2 ED|F2 E2|E2 FA|d2 cB|BA FA|
A2 (3Bcd|e2 dB|B2 AF|AB d2|F2 ED|B2 cd|D2 EF|E2 D2|
d2 A2|e2 A2|f2 ed|dA B2|A2 FE|Dd de|fd df|e2 d2|
d2 A2|ef g2|f2 ed|dc B2|A2 B2|AD E2|FA AF|E2 D2||
BONNIE RAN THE BURNIE DOON. AKA and see "Calder Fair."
BONNIE
SALLY. AKA and see "O'Connell's Trip to
Parliament [1],” "The New
Married Couple [3]," "The
Sporting Days of Easter [1]," “Willow
Tree [5].” Irish, Reel.
BONNIE SCOTLAND [1]. Irish, Fling. D
Major. Standard tuning. AAB. Roche
Collection, 1982; vol. II, pg. 36, No. 289.
X:1
T:Bonnie
Scotland [1]
M:C|
L:1/8
R:Fling
S:Roche
– Vol. II, pg. 36, No. 289
Z:AK/Fiddler’s Companion
K:D
D2
D>D F>A A2 | G>E FD> E>D C<A, | D2D2F>AA2 |1 B>d c>e
d2d2 :|2 B>d c>e d2 (3ABc ||
d>ef>d
e>d c<A | B>cd>B A>G F<D | d>ef>d ed c<A |
B>dc>e d2 (3def |
g>ef>d
e>dB>d | A>F d>F (G/F/E/D/) E>F | D2D2F>A a2 | B>dc>e
d2d2 ||
BONNIE SCOTLAND [2]. Scottish, Reel. C Major. Standard tuning. AAB. Howe (1000 Jigs and Reels), c. 1867; pg. 143.
X:1
T:Bonnie
Scotland [2]
M:2/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:C
CC/E/ G/A/G/E/ |
A/d/^c/d/ d/A/A/B/ | c/B/c/d/ e/g/f/a/ | g/e/f/d/ e/c/c :|
ce/c/ g/c/e/c/ |
d/e/f/g/ a/f/d/f/ | ce/c/ g/c/e/c/ | d/e/f/d/ B/c/d/B/ | ce/c/ g/c/e/c/ |
d/e/f/g/
a/f/d/f/ | c/d/c/A/ Gf/a/ | g/e/f/d/ e/c/c ||
BONNIE STRATHMORE. Scottish, Air or Jig. A Minor (Kerr's, Lerwick): A
Dorian (Gatherer). Standard tuning. AABB. The melody has a few Gaelic titles:
“Comunn an t-Strath Mhòir” (The Strathmore Society), “Dean cadal ‘s fan sàmhach
a Chuillean a Rùin (Sleep and be quiet my Darling, my Love), and “An Gille dubh
sùgach” (The Merry Dark-haired Boy). A variant of "Bung Your Eye," and so also related
to "The Antrim Lasses," "Tatter Jack," "The Boys of Carrigallen," and
"Mount Your Baggage [1]."
See note for "Lanigan's Ball."
There are similarities also with Niel Gow’s “Wha can help it” and the Cape Breton “Salute to Boston.” Gatherer (Gatherer’s Musical Museum), 1987; pg. 21.
Kerr (Merry Melodies), vol. 3; No.
288, pg. 31. Lerwick (Kilted Fiddler),
1985; pg. 36.
X:1
T:Bonnie
Strathmore
M:6/8
L:1/8
R:Jig
S:Kerr
– Merry Melodies, vol. 3, No.
288 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
g|ABA ABd|edB
A3|BAB GAB|dBA G3|dcd efg|age a3|gea edB|A3A2:|
|:^g|a^ga
efg|a^ge a3|=gea g^fg|BGB G3|ABA ABd|ede a3|gea edB|A3A2:|
BONNIE STRATHYRE. AKA and see “The Muckin’ o’ Geordie’s Byre.”
BONNIE SWEET BESSIE. American, Quadrille or Jig. A
Major. Standard tuning. ABBC. The repeated refrain is a common convention in
songs. Ford (Traditional Music in America),
1940; pg. 75.
X:1
T:Bonnie
Sweet Bessie
M:6/8
L:1/8
R:Jig
or Quadrille
S:Ford
– Traditional Music in America (1940)
Z:AK/Fiddler’s
Companion
K:A
e|e2c B<AB|cAF A2B|c<ef
e<cA|AGA B2e|e2c BAB|
c<AF
A2B|c<af e<cA|B>AA A2||:e|e<cA B2E/E/|e<=cA B2E|
AGA
=c2B/A/|=f^de e2e|e<ec BAB|c<AF A2B|c<af ecA|
({c}B2)A
A2:|e|e2c (B/e/)AB|c/e/AF A2B|c<af ecA|({c}B>)AA A2||
BONNY SWEET ROBIN. AKA and see "My Robin to the Greenwood Gone."
Irish, English; Air. D Dorian (Chappell): A Minor (Barnes). Standard tuning. ABB.
According to Flood (1906) and Chappell (1859), the tune dates from the 16th
century and is referred to by Shakespeare in Hamlet when Ophelia sings:
***
For bonny sweet Robin is all my joy.
***
The original ballad lyrics have been lost, but the air
is mentioned as the vehicle for a Christmas carol in 1642, and for a ballad
entered at Stationers' Hall in April, 1593. Grattan Flood, of course, claims
the tune’s provenance as Irish, and Chappell as English. It is sometimes
attributed to Thomas Simpson (1582-1630) or to Holborne. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 128 (appears as “Ten for the Ten
Commandments”, the name of a dance by Fried de Metz Herman set to the tune). Harmonia Mundi 907101, The King's Noyse - "The King's
Delight: 17c. Ballads for Voice and Violin Band" (1992).
X:1
T:Bonny Sweet
Robin
M:3/4
L:1/8
R:Air
K:Ddor
D2|F3GF2|E4D2|c4d2|A4A,2|F3G
F2|E4D2|c4d2|A6||
|:A2d2c2|B3AG2|c3BAG|F3ED2|c3B
AG|F3G A2|G3FE2|D6:||
BONNIE THACKIT HOOSIE, THE. Scottish, Air. F Major. Standard tuning. AB.
Composed by the great Scots fiddler-composer J. Scott
Skinner (1843-1927). Skinner (Harp
and Claymore), 1904; pg. 159.
X:1
T:Bonnie
Thackit Hoosie, The
M:C
L:1/8
R:Air
N:”Smoothly”
C:J.
Scott Skinner (1843-1927)
S:Skinner
– Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:F
AB |
(cf).e.d (cA) ({A}G)F | B2d2c2 (fe) |
dcBA GFEF | ({F}A2)G2G2 .A.B | cf ed cA GF |
BABc
d2 ed | cA ({A}G)F ({F}G2) .F.G | ({F}A2)F2F2 || z B | ABcA B d2c | =BcdB ce2d
|
^cd(.e.f)
.e.d.=c.B | ({C}A2) ({F/A/}G2) F2 ||
BONNY TOUN O' KENMORE. AKA and see
"Mrs. MacKinnon Corry,"
"The Highlander's
March From the Battle of Waterloo." Scottish, Strathspey. G Major.
Standard tuning. AAB (Athole): AABB (Kerr). Kerr (Merry Melodies), vol. 3; No. 47, pg. 8. Stewart-Robertson
(The Athole Collection), 1884; pg.
163.
X:1
T:Bonny Toun o’
Kenmore, The
L:1/8
M:C
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|d>d d<B
d>Bd>B|eeg>f e2 e>f|g>e d<B A>B A<B|G<E E>D G3:|
d|g2 g>b
B>A B<A|E<A A>B A<af<a|g/f/e/d/ B<g c>BA>G|
F/G/A D>d
B<G G>d|g2 g<b B>A B<G|E<A A>B A<a f>a|
g/f/e/d/ B>g d<B A>G|F/G/A
D>d B>GG||
BONNY TYNESIDE.
English, Country Dance Tune (6/8 time in Raven, 3/4 time in Kennedy). D Major.
Standard tuning. One part (Raven): AB (Kennedy). Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 68, pg.33. Raven (English Country Dance Tunes), 1984; pg.
117.
BONNY WEE THING, THE.
Scottish, Highland Schottische or Reel. A Major. Standard tuning. AB. The tune was
used by Burns for one of his songs. Glen finds the tune first printed in Bremner's 1757 collection (pg. 40) as
"Bonny Wi Thing," under which title it appears in the Gillespie Manuscript (1768). Kerr (Merry Melodies), vol. 3; No. 196, pg.
23.
X:1
T:Bonnie
Wee Thing, The
M:C
L:1/8
R:Highland
Schottische
S:Kerr
– Merry Melodies, vol. 3, No.
196 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
e<c
B>A F>G A2|e<c B>A (3def e2|d<c B>A F>GA>F|E<E
F>G (A2A)z|e<c B>A F>G A2|
e<c
B>A (3def e2|d<c B<A F>GA>F|E<E F>G (A2A)z||(A2 A>)c
e<c B>A|
e>cB>A
(3def e2|A2 A>G A>Bc>d|(3eag (3fed c2B2|(A2 A>)c e<c
B>A|e>cB>A (3def e2|
d>cB>A
F>GA>F|E<E F>G (A2A)z||
BONNIE WELLS O' WEARIE, THE. Scottish, Air
(4/4 time). G Major. Standard tuning. AB. The melody was composed by the self‑taught
musician John Charles Greive, who proved skilled enough in his craft to lecture
on harmony at Heriot‑Watt College and to start up a "kind of
children's opera" (Neil, 1991). The Wells o' Wearie were to be found in
Holyrood Park at the foot of Arthur's Seat opposite 'Samson's Ribs' and were
once used by washer women from a nearby village (Echo Bank) and, perhaps
because of this, were a gathering place for young men. In 1831 one of Scotland's
first railways was built which ran nearby, according to Neil (1991), and was
called "The Innocent Railway" because the cars (which carried coal
from Dalkeith to Edinburgh) were pulled by horses due to popular fears about
the use of steam engines. Words to the tune were written by Alexander MacLagan,
a contemporary of Grieve's who lived in Edinburgh and a regular contributor to
the Edinburgh Literary Review.
***
O lang may bonnie lassies fair,
Wi' nature's charms around them,
Still bleach their claes on flow'ry braes
Wi' nae sad cares to wound them.
Lang may her sons' mid fairy scenes,
Wi' hearts richt leal and cheerie,
Beside the Wells o' Wearie.
***
Neil (The Scots Fiddle), 1991; No. 20, pg. 26.
BONNY WI THING. See "Bonny Wee Thing."
BONNY WOODS AND BRAES.
Scottish, Fling G Major. Standard tuning. AB. O’Neill (1922) notes: “Known only as "The Highland
Fling" this cheerful tune has served for that purpose as long as the
editor can remember. For its name as above printed, we are indebted to Officer
William Walsh whose memory in such matters is phenomenal.” O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 108.
X:1
T:Bonny Woods
and Braes
M:4/4
L:1/8
S:Capt. F.
O'Neill
Z:Paul Kinder
K:G
d2|G2 GA Bd
d2|cABG AG (3FED|G2 GA Bd d2|(3efg fa g2 b2|
G2 GA Bd d2|cABG
AG (3FED|G2 GA Bd d2|(3efg fa g2||
d2|gaba
gfed|efge dcBA|gaba gfed|(3efg fa g3 d|
gaba gfed|efge
dcBA|(3GGG GA Bd d2|(3efg fa g2||
BONNIEST LASS IN AYER. AKA and see “Bonniest Lass in a’ the World [2].”
Scottish, Strathspey. D Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 123. Ryan’s Mammoth Collection, 1883; pg. 163.
X:1
T:Bonniest
Lass in Ayer
M:C
L:1/8
R:Strathspey
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
{g}(f>.e)(d>.A)
(B>.A) (B<d) | {g}(f>.e)(d>.A) (B<e) e2 | {g}(f>e)(d>A)
(B>A) (B<d) | (f<a)(a<b) (a<f)e2 |
{g}(f>.e)(d>.A)
(B>.A) (B<d) | {g}(f>.e)(d>.A) (B<e) e2 | {g}(f>e)(d>A)
(B>A) (B<d) | (f<a)(a<b) (a<f)e2 ||
(f<a)(a<d’)
(b<d’) a2 | (g>.e)(f>.d) (e>.d) (B<A) | (F<A) A>F
G>Bd>b | a>fe>a (f<d) d2 |
(f<a)(a<d’)
(b<d’)a2 | g>ef>d e>d (B<A) | (F<A) A>F G>B d>b |
a>fe>a (f<d) d2 ||
BONNIEST LASS IN A THE WARLD [1]. Scottish, Scottish Measure. G
Major. Standard tuning. AABB. The melody first appears in Alexander Stuart’s
Musick for Allan Ramsey’s Collection of Scots Songs (Edinburgh, 1724). Howe
(1000 Jigs and Reels), c. 1867; pg.
131. McGibbon (Scots Tunes, book III),
1762; pg. 61. McGlashan (Collection of Scots Measures), 177?; pg.
10.
X:1
T:Bonniest
Lass in a the Warld [1]
M:C|
L:1/8
B:McGlashan
– Collection of Scots Measures (c. 177?)
Z:AK/Fiddler’s Companion
K:G
GA |
B2D2E2G2 | cBAG E2 DE | G2g2 degd | e4 d2ef | gfed efgB | cBAG E2DE |
G2g2
decd | B3A G2 :: ef | gfed efge | agfe fgaf | gfga bgab | e3 d2ga |
bage
degB | cBAG E2DE | G2g2 decd | G3A G2 :|
X:2
T:Bonniest
Lass in a the Warld, The [1]
M:C|
L:1/8
N:”Brisk”
S:McGibbon
– Scots Tunes, book III, pg. 61
(1762)
Z:AK/Fiddler’s Companion
K:G
GA |
B2D2E2G2 | (cB)”tr”(AG) E2 DE | G2g2 degd | “tr”e4 d2ef | gfed (efg)B |
(cB)”tr”(AG)
E2 DE | G2g2 decd | “tr”B3AG2 :: ef | gfed efge | agfe fgaf |
gfga
bgab | “tr”e4d2 ga | bage degB | (cB)”tr”(AG) E2 DE | G2g2 decd |
“tr”B3A
G2 :: GA | BdDG “tr”(E>DE)G | (cB)”tr”(AG) EGDE | GGBd g(b/a/g/f/e/d/) |
“tr”e4
d2 ef | g(b/a/g/f/e/d/) e(g/f/e/d/c/B/) | (cB)(AG) EGDE | G”tr”g(fe) (d/c/d/)e/
(c/B/c/)d/ |
“tr”B3A
G2 :: e/f/ | (g/f/g/f/ e)d efge | (a/g/a/g/ f)e f/d/f/g/ a/f/g/a/ | gfga
b(g/a/b/g/a/b/) |
“tr”e4d2
ga | (b/a/b/a/ g)e d(g/f/e/d/c/B/) | cB/c/ “tr”AG E2 DE | Gg2 f/e/
d/(g/f/e/)(d/c/B/)c/ |
“tr”B3A
G2 :: GA | B d2 d E G2B | (Ac/B/ A/B/A/G/) E2 DE | G B2d2e/f/ gd | “tr”e4d2ef |
gb/g/
dg/d/ eg/e/ Bd/B/ | (c/d/c/B/) (A/B/A/G/) E2 DE | G(g/f/) {a}g(f/e/) dA/B/ cd |
B/(g/f/e/)
(d/c/B/A/) G2 :: ef | gde=f ({f}e2)ze | (a/g/a/)b/ (a/b/a/g/) “tr”f3f | gfga
bdgb |
“tr”e4
d2ga | (b/a/g) (g/f/e) ({e}d3)B | (cB)”tr”(AG) EGDE | Gg2f/e/ (dc/B/ A/B/c/)d/
| “tr”B3AG2 :|
BONNIEST LASS IN A’ THE WORLD [2], THE. AKA and see “The Bonniest Lass in Ayr.” Scottish, Reel. A
Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 8, pg. 4.
BONNIEST
LASS IN ALL THE WORLD [3],
THE. English,
Country Dance Tune (2/4 time). G Minor. Standard tuning. AABB. One of several
tunes by this name, London publishers Charles and Samuel Thompson’s melody
appears unique to their 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1),
1757; No. 43.
X:1
T:Bonniest Lass
in all the World, The [3]
M:2/4
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:Gmin
gdBG|d/d/d
d2|bag^f|g/a/b d2|gdBG|d/d/d d2|{cd}edcB|B2 A2:|
|:bfdB|g/g/g g2|fdBG|d/d/d d2|e/d/ c2
e|d^fgc|BgA^f|G/G/G G2:||
BONNIEST WIFE THIS SIDE OF LORD REAY'S COUNTRY, THE. AKA
and see "'S ann agam tha bheanag is Maisiche Sùil." Scottish, Jig. D
Major. Standard tuning. AAB. "No. 177 is of the opposite description, and
with which one associates the greatest degree of cheerfulness and
contentment. It is evidently one of the
sacred compilation of the editor's progenitor, and very probably his
composition, at least it alludes to the composer (whoever he was) having
frequently visited Lord Reay's country, which he had so often occasion to do,
from his business concern and alliance with the family of Mr. Mackay of
Bighouse, and celebrates the beauty and amiable qualities of his wife, beyond
any he had seen on this side of Lord Reay's country; yet that may mean 'the
land's end' and have no allusion to him.
Certain it is, however, that the melody proceeded from him and must have
died unless now brought forward by the
editor, to meet an admiration it must have always commanded if known"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 177, pg.
72.
X:1
T:Bonniest Wife
this side of Lord Reay’s Country, The
T:’S ann agam
tha bheanag is Maisiche Sùil
M:6/8
L:1/8
R:Jig
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
F|(D/E/F)F
(F>EF)|(F>EF) d2f|edc d2B|AFE E2F|(D/E/F)F (F>EF)|
(F>EF)
d2f|edc d2B|AFF F2:|
a|b2f afd|b2f
afd|c[Ae][Ae] [A2e2]f|c[Ae][Ae] [A2e2]a|b2f afd|
b2f afd|edc
d2B|AFF F2a|b2f afd|dfb afd|fdB AGF|ABc dfg|
a>gf edc|dcB
AGF|ABc def|AFF [DF]||
BONNYBRIDGE.
Scottish, Strathspey. A Major. Standard tuning. AAB (Martin): AABB (Kerr). Kerr
(Merry Melodies), vol. 3; No. 113,
pg. 14. Martin (Ceol na Fidhle), vol.
3, 1988; pg. 45.
X:1
T:Bonnybridge
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 3, No.
113 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
a<a
e>d c<A A>c | d<d B>A G<E E>D | C>EA>G F<F d>B
| (3GAB E>d c<A Ae :|
|:
(3cde A>=G F<D D>c | (3cde B>A G<E E>G | (3ABc (3Bcd (3cde (3def
| e<a e>d c<A Ae :|
_______________________________
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