The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BONN - BONNY

[COMMENT3] 

 

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

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

 

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

 

 

[COMMENT4] 

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.

X:1

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

M:3/4

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

T:Bonny Boat

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.

X:1

T:Bonny Doon

M:6/8

L:1/8

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

T:Bonnie Dundee [2]

M:6/8

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

A | E2A2A2 A3Bc2 | B3A G2B2 d3d | e3f e2d2 e2g2 | e3d B2 A4 || G2 |

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

K:G

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

L:1/8

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

B | G<G G<G (B>.A)(B>.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>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

D G2 c  (B/c/d) “tr”(c>B) | cAfd “tr”cAFA | D G2c (B/c/d) “tr”(cB) | cAfA G/G/G G2 :|

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

K:G

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:

***

Portmore, an old residence of the O'Neill's, stood on the

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,

Still meet to sing their patriot sangs                       

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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