The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation 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] |
BONS TEMPS, LES (The Good Time). Cajun, Waltz.
BONSOIR MOREAU.
Cajun/Creole. Arhoolie CD445, Alphonse “Bois Sec”
Ardoin with Canray Fontenot - “La Musique Creole.”
BONTON, THE. Scottish(?), Country
Dance Tune (2/4 time). G Major. Standard tuning. AABB. Aird (Selections), vol. 2, 1782; No. 134, pg.
49.
X:1
T:Bonton,
The
M:2/4
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
B/c/d/B/
GG | AGAG | B/c/d/B/ GG | AD D2 | B/c/d/B/ GG | gfed | ceAc | dD D2 :|
|:
dBed | cBcA | cAdc | BABG | B/c/d/B/ GG | AGAG | A/B/c/e/ d/c/B/A/ | GG G2 :|
BONY BROW,
THE.
AKA and see "Jock O' Hazeldean."
BONY CROSSING THE
BONY SMITH’S QUADRILLE.
American, Quadrille (6/8 time).
X:1
T:Bony
Smith’s Quadrille
L:1/8
M:6/8
S:
Viola “Mom” Ruth – Pioneer Western Folk
Tunes (1948)
Z:AK/Fiddler’s Companion
K:C
g|geg
age|ccc G2c|Bcd A2B|cBA G2g|geg age|ccc G2c|
(Bcd)
A2B|[E3c3][E3c3]::G[Ec][Ec] [Ec][Ec][Ec]|G[Ec][Ec] cBA|
G[GB][GB]
[GB][GB][GB]|G[GB][GB] BAG|G[Ec][Ec] [Ec][Ec][Ec]|
G[Ec][Ec]
[Ec]BA|[E3c3e3] A2B|[E3c3][E3c3]:|
BONYPARTE. AKA and see
""a href="#BONAPARTE'S_RETREAT_[1]"Bonaparte's
Retreat."
BONYPARTE'S RETURN. Old‑Time.
USA Franklin County, Va. May be a version of "Bonaparte's Retreat."
Recorded by Library of Congress, 1939; H.L. Maxey,
BOO BABY’S LULLABY.
Canadian, Air.
BOODULUM, THE. Irish, Slip Jig. D
Major. Standard tuning. AABBCC.
X:1
T:The
Boodulum
B:C
K Sharpe's Ms Music Book c1835
N:"Irish"
Z:Nigel
Gatherer
M:9/8
L:1/8
K:D
Bcd
ABG FED|Bcd ABG FGA|Bcd ABG FEF|DED AGF EFA:|]
BEE
BAG FED|BEE BAG FGA|BEE BAG FEF|DED AGF EFA:|]
d2
d dfd cBA|d2 d dfa gfe|d2 d dfd cBA|dcB ABG FGA:|]
BOOGERBOO. Old-Time, Song.
Popularized among ‘revival’ fiddlers by Tommy Thompson who played and sang it
on the first Red Clay Ramblers album on Folkways. A different melody than
“Boogerman,” below.
BOOGERMAN (WILL GET YOU). AKA and see "”Chasing/Chase the Devil
around the Stump,” "Whip the Devil Around
the Stump." Old‑Time, Breakdown. USA, "Most common in North
Carolina," but known throughout the Appalachians (Krassen, 1973). G Major
('A' part) & E Minor or E Major ('B' part). Standard tuning. AABB. In
repertoire of Samantha Bumgarner (Asheville, N.C.), J. Dedrick Harris (Eastern
Tenn.), and Osey Helton (Western N.C.) {who knew it as "Whip the Devil
Around the Stump"}. Helton may have learned the tune from influential
fiddler J.D. Harris, who moved to Western N.C. from Eastern Tenn. in the 1920's,
and who recorded the tune on Broadway A1964 (78 RPM) in 1925. Harris called the
tune “Whip the Devil Around the Stump,” and it was a variant of the “Boogerman”
tune. Harris, who once played regularly with Bob Taylor when he was running for
Governor of Tenn. in the late 1800's, also influenced other N.C. fiddlers of
Helton's generation such as Manco Sneed, Bill Hensley, and Marcus Martin.
Indeed, Manco Sneed played it as “Boogerman” although Fiddling’ Bill Hensley
called it “Old Boogerman” (Kerry Blech says that he was recorded about 1940 on
instantaneous disk saying the title emphatically. The tune was also in the
repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the
southeastern Tennessee border. Krassen (Appalachian
Fiddle), 1973; pg. 30. Marimac 9033, Dirk Powell –
“Wandering Ramblers.”
BOOGIE REEL, THE. Irish, Reel. D Major. Standard tuning. AABB. A modern
composition by button accordion player John Nolan (New Jersey). Black (Music’s the Very Best Thing), 1996; No. 12,
pg. 6. Tara Records 4008, “Josephine Marsh” (1996).
X:1
T:The
Durrow Reel
T:The
Boogie Reel
C:John
Nolan
S:Josephine
Marsh
M:4/4
L:1/8
R:reel
K:D
D2
FA d3 A|BAFA Bc d2|D2 FA defe|dcBA BE E2|
D2
FA d3 e|fdef g2 fg|afdf gece|1dfec d2 FE:|2dfec d2 gf|:
eA
(3AAA EA (3AAA|edef g2 ag|fd (3ddd Ad (3ddd|
fgaf
d2 cd|Beed efed|cdef g2 fg|afdf gece|1dfec d2 gf:|
2dfec
dBAF||
"variation,
3rd bar of B part" |fd (3ddd d'd (3ddd|
X:2
T:
Boogie Reel
C:
John Nolan
Z:
transcribed by B. Black
Q:
350
R:
reel
M:
4/4
L:
1/8
K:
D
FE
| DEFA dcdA | BAFB AFEF | DEFA dfec | dBAF EGFE |
DEFA
dcde | fd d2 BAFA | e2 ef gece | dAFA d2 :|
cd
| eA (3AAA EA (3AAA | ecef g2 fe | fd d2 Ad d2 | fgaf d2 cd |
Be
e2 Beed | cdef g2 fg | afdf gece | dAFA d2 :|
BOOK OF RIGHTS, THE (Leabar Na G-Ceart). Irish, Double Jig. D Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 783, pg. 146.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 60, pg. 26.
X:1
T:Book
of Rights, The
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of Ireland: 1001 Gems
(1907), No. 60
Z:AK/Fiddler’s Companion
K:D
A,|DED
D2F|Add AFA|Bcd AGF|EDE FDB,|DED D2F|
Add
AFA|Bcd AGF|EDD D2:||:A|dfa a2a|aba afd|gbg faf|
ede
fdB|dfa agf|ede fdA|Bcd AGF|EDD D2:|
BOOKLEY’S FAVORITE REEL.
American, Hornpipe or Reel. A Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 57.
X:1
T:Bookley’s
Favorite Reel
M:2/4
L:1/8
R:Hornpipe
or Reel
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
A/c/e/g/
a/g/f/e | d/c/B/A/ G/B/E | BG/B/ z/E/G/B/ | c/B/A/c/ B/A/G/B/ |
A/c/e/g/
a/g/f/e/ | d/c/B/A/ G/B/E | BG/B/ z/E/G/B/ | zA/G/B/ AF ||
(A/4B/4c/4d/4)
| ec/e/ z/c/e | fd/f/ z/d/f | ec/e/ z/c/e |
BG/B/
z/G/B | ec/e/ z/d/f | A/c/e/g/ a/g/a/e/ | f/d/B/c/ A ||
BOOLA VOGUE.
See “Boulavouge.”
BOOLONZIE, THE. Scottish, Quickstep. D
Major. Standard tuning. AABB. A traditional tune published by the Gows. Carlin
(The Gow Collection), 1986; No. 566.
BOOMERANG, THE. Canadian, Jig. Canada,
Cape Breton. G Major. Standard tuning. AABB’. Composed by Cape Breton fiddler
and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 62.
BOORES DANCE, THE. English, Jig. D Major. Standard tuning. AABB. Published
before 1730. The title perhaps refers to a bouree. Raven (English Country Dance Tunes), 1984; pg. 7.
BOOT DANCE. Scottish, Country Dance
Tune (4/4 time). A Minor ('A' part) & A Major ('B' part). Standard tuning.
AABB. Boot dance = a clog? Kerr (Merry
Melodies), vol. 1; No. 26, pg. 30.
X:1
T:Boot
Dance
M:C
L:1/8
S:Kerr
– Merry Melodies, vol. 1, pg. 30
Z:AK/Fiddler’s Companion
K:A
Minor
(A2
A>)B c>BA>c|B>A^G>B A2A2|(c2 c>)d e>dc>e|d>cB>d
c2c2|
(A2
A>)B c>BA>c|(_B2 B>)d f>dB>d|e>cA>c
e>dc>B|A>ce>a A2 z2:|
K:A
|:A2
a>A g>A f>A|e>A d>A c>Ac>d|e>cA>c
e>dc>A|c>BA>c B>E(=F>E)|
A2
a>A g>A f>A|e>A d>A c>Ac>d|e>cA>c
e>dc>B|A>cea A2 z2:|
BOOT SHUFFLE.
American, Reel. G Major. Standard tuning. AA’BB’. A French-Canadian sounding
tune composed by Portland, Oregon, whistle, bouzouki and saxophone player Todd
Sivlerstein, after hosting the Quebec band La Bottine Souriante (‘Smiling Boot’
– the name refers to a boot whose sole has worked loose, causing it to flap
when one walks) for a weekend. Songer (Portland
Collection), 1997; pg. 35.
BOOTH. AKA and see "Booth
Shot Lincoln."
BOOTH SHOT
LINCOLN [1]. AKA -
"Booth." Old‑Time, Breakdown. USA; western N.C., Eastern Tenn.
A Major. AEae, GDgd or Standard tunings. AAB (Phillips): AABB (Johnson). The
title commemorates the April 14th, 1865, assassination of President Abraham
Lincoln by the actor and Southern sympathizer John Wilkes Booth at Ford’s Theater,
Washington, D.C., during a performance of a British comedy. The Booth name was instantly recognizable to
patrons of the Civil War era stage, chiefly because of John’s brother Edwin
Booth, one of the foremost thespians of his day. The tune was in the
repertoires of western North Carolina fiddlers Osey Helton and Marcus Martin
(from the Black Mountain region). It was also in the repertoire of fiddler
Tommy Magness (1911-1972), born in north Georgia near the southeastern
Tennessee border. Bascom Lamar Lunsford learned his version (“Booth Killed
Lincoln”) from Martin, and both sang the song and played the same tune on the
fiddle on his recording. On his 1949 Library of Congress recording, however,
Lunsford introduces the seven-verse song: "The title of this ballad is
'Booth,' or 'Booth Killed Lincoln.' It's an old fiddle tune, and there are a
few variants of the song. I heard my father hum it and sing a few of the
stanzas when I was just a boy about six or ten years old." After he sings
the song he plays the fiddle tune, similar to Martin’s version though less
complex. The ballad air and the fiddle tune are related, with the fiddle tune
being more ornate and elaborate. Most modern versions are based on Martin’s
slightly-crooked recorded versions of the tune (he was recorded several times
in the 1940’s by Library of Congress field personnel, including Alan Lomax in
1942), and Martin gave the title variously as “Booth” or “John Wilkes Booth.”
Lunsford’s lyric goes:
***
There's treason, boys,
in Washington.
John Wilkes Booth has
fled.
Abe Lincoln's lyin' cold
and dead
With a bullet in his
head.
Bring the traitors in,
boys,
Bring the traitors in.
Bring the traitors in,
boys,
Bring the traitors in.
***
Scott
DeLancey maintains that the “Booth” melody is a breakdown setting of the Irish
jig “The Market Town.” Source for
notated version: Marcus Martin (Buncombe County, North Carolina)
[Phillips/1994]. Kuntz, Private Collection. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey
Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 &
2003); pg. 11. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 34. AFS
L29, “Folk Music of the United States: Songs and Ballads of American History
and of the Assassination of Presidents from the Archive of American Folk Song”
(contains two 1949 recordings of Bascom Lamar Lunsford playing "Booth
Killed Lincoln," collected by Duncan Emrich). Flying Fish FF 266, Malcolm Daglish &
Grey Larsen ‑ "Thunderhead" (1982). Library of Congress AAFS
L29, Bascomb Lamar Lunsford (originally recorded 1949). Marimac 9000, Dan
Gellert and Shoofly ‑ "Forked Deer" (1986. Learned from Marc
Gunther). Rounder 1509, Bascom Lamar Lumsford – “Songs and Ballads of American
History and of the Assassination of Presidents" (originally issued in the
early 1950’s by the Library of Congress from the Archive of American Folksong).
Jim Taylor – “The Civil War Collection” (1996). CD2001, “The Rough Deal
Stringband.”
|
See also listing at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
X:1
T:Booth
Shot Lincoln [1]
L:1/8
M:2/4
N:AEae
tuning
N:notated
as fingered, not as sounded
S:Liz
Slade
Z:AK/Fiddler’s
Companion
K:A
A2
EE/E/|D/D/B, D>(D|E/)D/E/F/ G(G|G/)c/B/A/ [G/A/]c/B/A/|G/EE/ E/D/E|
A2
EE/E/|D/D/B, D>f|e/c/B/A/ A/c/B|(G/A)G/ [G2A2]:|
c|:e>(f
e)e/e/|f/e/f/(f/ a>)(f|e/)c/B/A/ A/c/B/A/|A/EE/ E/D/E|e>(f e)e/e/|
f/e/f/(f/
a>)(f|e/)c/B/A/ A/c/B/A/|G/AG/ A>c|e>(f e)e/e/|f/e/f/(f/ a>)(f|
e/)c/B/A/
A/c/B/A/|A/EE/ E/D/E| A2 EE/E/|D/D/B, D>f|e/c/B/A/ A/c/B|(G/A)G/ [G2A2]:|
X:2
T:Booth
Shot Lincoln [1]
M:C
L:1/8
R:Reel
S:Jim
Taylor, Bruce Greene
N:From
a transcription by John Lamancusa, by permission. See
http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
(3AGF
|: EDEF ED E2 | FA2F A2 (A2 | A)BcB Ac B2 | A F2 (F F2) GF |
EDEF
ED E2 | F A2B A3(f | e)c2B AcBA |1 G A2 (A2 A) AF :|2 GA2(A2 A) AB ||
ce2(e
e3) e | fa2(a a3)f | ec3 AcBA | AF2F F2AB | ce2(e e3)e | fa2(a a3)f |
ec2B
AcBA | G A2(A2A) AB | ce2(e e3)e | fa2(a a3)f | ec2c2c B BA |
AF2(F
F2) AF | EDEF ED E2 | FA2B A3 (f | e)c2B AcBA | GA2 (A A4) ||
BOOTH SHOT
LINCOLN [2]. Old-Time, Breakdown. E
Minor. Standard tuning. AA'BB. An extremely 'crooked' (irregular) tune. Stacy
Phillips says he learned the tune from Kenny Kosek, who had it from Alan
Feldman; the latter said he later learned that “it is really a very twisted
version of ‘Haning’s Farewell’”
(Phillips, FIDDLE-L,
BOOTS AND AA. Shetland,
Shetland Reel. Shetland, Whalsay.
BORDER COLLIE.
New England, Reel. B Minor ('A' part) & A Major ('B' part). Standard
tuning. AB (Miller/2004): AAB (Miller/1977). Composed by fiddler Randy Miller
(East Alstead, New Hampshire). Miller & Perron (Irish Traditional Fiddle Music), 1977; addenda. Miller (Fiddler’s Throne), 2004; No. 127, pg.
85. Shanachie 29018, Kelly, O’Brien & Sproule –
“Spring in the Air” (1982).
BORDER MAIDEN, THE. Scottish, Air (4/4 time). G Minor ('A' and 'C' parts) &
G Major ('B' and 'D' parts). Standard tuning. ABB'CC. Composed by E. Berger.
***
A maiden sat 'lone in
her green wood bow'r,
A sun beam fell on her
golden hair,
And she sang as she wove
the silken flow'r,
In the banner her own
true love should bear.
The war cry ran through
the morning grey,
O, bravely our lads of
the Border fought,
And aye in the thick of
the deadly fray,
Shone the silken banner
the maiden wrought.
A knight on the moorland
brown and bare,
Lies cold and dead, when
the fight is done,
And the maiden will moan
in her wild despair,
When the spearmen return
at the set of sun.
For home must be guarded
whatever betide,
Home must be guarded
whatever betide,
And the brave lads of
Yarrow must saddle and ride
When the beacon is lit
on the border.
***
Signal
fires, or beacons, were lit to signal to the countryside of the approach of an
enemy. In Scotland, they stretched from Hume to Soutra, onward to Edinburgh,
and across the Forth into Fife and Stirling, to call men to war. Neil (The Scots Fiddle), 1991; No. 30, pg. 39.
BORDER PASTORALE.
Scottish, Slow Air (6/8 time). C Minor ('A' part) & E Flat Major ('B'
part). Standard tuning. AB. A modern composition by fiddler Arthur S.
Robertson, inspired by the now peaceful Scottish‑English borderlands, and
dedicated to J. Murray Neil. Neil (The
Scots Fiddle), 1991; No. 40, pg. 51.
BORDER REEL, THE. AKA and see "Stool
of Repentance." Scottish, Jig (12/8 time). Appears in David Young's
Duke of Perth MS dated 1734 (A Collection
of Country Dances written for the use of his Grace the Duke of Perth by Dav.
Young). This MS is sometimes called the Drummond Castle Manuscript and was
in the possession of the Earl of Ancaster at Drummond Castle in the early
1970's.
BORDERS OF SWEET COOLE HILL, THE. Irish, Air (3/4 time).
Ireland, County Cavan. F Major/Mixolydian. Standard tuning. AB. Stanford/Petrie
(Complete Collection), 1905; No. 561,
pg. 142.
X:1
T:Borders
of Sweet Coole Hill, The
M:3/4
L:1/8
N:”A
Cavan air”
S:Stanford/Petrie
(1905), No. 561
Z:AK/Fiddler’s Companion
K:F
A/G/
F/G/A/B/ | c2 df _ec | B>G EG F/G/A/B/ | c>G BG FF | F3 ||
F/G/
Bc | f2 _ef g/f/e/d/ | _ed cB cd/=e/ | f>_e df ed | c3 d/e/ ff |
_e>d
cB AF | G>F EG F/G/A/B/ | c>G B/G/F/G/ FF | F3 ||
BORDERERS, THE. Scottish. The name of a
Scottish regiment. Beltona 78 RPM 2446, Jimmy Shand.
BOREEN REEL, THE. AKA and see “The
Donegal Traveller Reel,” “Drunken
Tinker,” “Gillespie’s.” Irish, Reel.
A Major. Standard tuning.
X:1
T:Donegal
Traveller, The
T:Gillespie’s
T:Drunken
Tinker, The
T:Boreen
Reel, The
R:reel
S:Session
at Shoot the Crows, Sligo, 1992
Z:id:hn-reel-401
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:A
A2EA
CAEA|A2 cA GABG|~A3B cAGc|1 d2 ed cABG:|2 d2ed cAAc||
~e3d
ecAc|~e2c dcBc|1 eA~A2 fA~A2|eAed cAAc:|2 d2 dc dcBA|Feed cdBc||
BORING THE LEATHER [1].
Irish, English; Jig. D Minor (Huntington/Litten): E Minor (Miller). Standard
tuning. AABB. William Litten, in whose manuscript copybook this tune appears,
was a ship’s fiddler on a whaleship in the 19th century. Huntington (William Litten's), 1977; pg. 29. Miller
(Fiddler’s Throne), 2004; No. 12, pg.
20. RM-1C, Randy Miller – “The Lore of the
Fingerboard” (1990).
BORING THE LEATHER [2] (Tolladh an Leathair). AKA and see "Come with me now," "The Connaughtman [2]," "Down the back Lane," "The Humours of Ayle House,"
"The Kilfinane Jig," "The Shoemaker's Fancy," "When you go home.” Irish, Double Jig. G
Major. Standard tuning. AABB. The jig appears in O’Neill’s publication fours
times under the titles “Come with me
now,” “The Humours of Ayle
House,” “The Kilfinane Jig,” and “When you go home,” though Breathnach says
the key signature is wrong in all of them and sometimes the endings are wrong.
Three versions are printed with no name by Petrie (No. 964-6). The “Boring the
Leather” name comes from the Goodman Manuscripts. Source for notated version:
piper Willie Clancy/Liam Mac Flannchadha (County Clare, Ireland) [Breathnach].
Breathnach (CRÉ I), 1963; No. 6, pg.
5 (appears as “Tolladh an Leathair”). North Star
Records NS0038, "The Village Green: Dance Music of Old Sturbridge
Village."
BORING WITH A/THE GIMLET.
English, Jig (9/8 time). England, Northumberland. E Minor/G Major. Standard
tuning. AABBCC. A gimlet (sometimes spelled with a ‘b’) is a small hand tool
with a spiraled shank, a screw tip, and a cross handle and is used for boring
holes. Hall & Stafford (Charlton
Memorial Tune Book), 1974; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 129.
X:1
T:Boring
with a Gimblet
M:9/8
L:1/8
R:Jig
K:E
Minor
E2F
G2B G3|E2F G2B AFD|E2F G2B G2B|AFD DdB AFD:|
|:B2G
c2A d2c|BGE EdB AFD|B2G c2A d2B|AFD D2B AFD:|
|:g3
G2B G2c|BAB E2B AFD|g3 G2B G2c|AFD D2B AFD:|
BORLUM'S RANT.
See “Borlum’s Reel.”
BORLUM’S REEL.
AKA – “Borlum’s Rant.” Scottish, Strathspey. F Major. Standard. AB (Surenne):
AABCD (McGlashan): AA’BBCC (Gow). Glen finds the earliest printing of
"Borlum's Reel" in Alexander
McGlashan's 1786 collection (pg. 23). Gow (Complete Collection), Part 1, 1799; pg. 26 (appears as “Borlam’s
Strathspey”). MacDonald (Skye Collection),
1887; pg. 146. Surenne (Dance Music of
Scotland), 1852; pg. 141.
X:1
T:Borlum’s
Reel
L:1/8
M:C|
S:McGlashan
– Strathspey Reels (1786)
Z:AK/Fiddler’s Companion
K:F
d|c<Af<A
c2 d2|c<A f>A G2 d2|c<A f>A c<A a>g|f>dc>A G2 d:|
F>AF>A
c2 d2|F>AF>A G2 d2|F>AF>A F>AF>A|B/A/B/c/ d/c/B/A/ G2 d2|
F>AF>A
c2 d2|F>AF>A g2 d2|F>FC>F A,>FC>A|B>c d/c/B/A/ G2 fg/a/||
f2
c<A f2 g>a|f2 c>A G2 fg/a/|f2 c>A c<A a>g|fdc>A G2
fg/a/|f2 c/d/c/A/ f2 f/b/a/g/|
f2
c/d/c/A/ G2 f/g/a/g/|f2 c/d/c/A/ c/d/c/A/ f/b/a/g/|f/g/f/d/ c/d/c/A/ G2 d2||
c/B/A/G/
F>A c>A f>A|c/B/A/G/ F>A G2 d2|c/B/A/G/ F>A
c>df>g|fdc>A G2 d2|
c>AF>A
c>Af>d|c>AF>A c2 d2|c>AF>A c>df>g|fdcA G2 d||
BORNISH POLKA.
British Isles, A Major/Mixolydian. Standard tuning. AAB. Miller & Perron (101 Polkas), 1978; No. 48.
BOROBRIDGE HORNPIPE.
English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. A
Shropshire variant, recognizable, though with distinct differences, goes under
the name of "Wellington Hornpipe" and is also to be found in a
Victorian MS collection. Boroughbridge, in North Yorkshire, is a mile west of Aldborough and superceded the older
village when the Normans built a bridge over the Ure at the site in the 12th
century. It was at Broroughbridge that Edward II’s forces defeated Thomas of
Lancaster in 1322. Source for notated version: a MS collection by fiddler
Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle].
Merryweather & Seattle (The Fiddler
of Helperby), 1994; No. 44, pg. 39.
BORRIS REEL. Irish, Reel. Composed by County Tipperary
fiddler Seán Ryan (d. 1985). Ryan (The
Hidden Ireland); 35.
BORRY ROYALL.
Scottish. The tune appears in the Panmure MS #9454, Seventy Seven Dances, Songs and Scots Airs for Violin, c. 1675.
Robin Williamson says 'borry' is probably a spelling of burgh, a royal town. I
wonder if it could not be a corruption of 'bourree'. Flying
Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol.
2."
BOSCO STOMP.
Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major/Mixolydian.
Standard. AABB (Greenblatt): AA(Vocal)BBAABB(Vocal)BBAABBAA (Francois). Bosco
is a small community north of Scott, Louisiana, named for one Bosco Prejean who
set up a store there. A related song is Doug Kershaw's "Cajun
Stripper." Lawrence Walker has recordedan influential version of the tune.
Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 346-347.
Greenblatt (The Cajun Fiddle Tune Book),
1985; pg. 27. Arhoolie Records AR-LP5013, Lawrence
Walker Arhoolie 427, Lawernce Walker - “Cajun Honky Tonk – The Khoury
Recordings.” Swing Cat 1612, “Al Berard & Friends.”
X:1
T:Bosco
Stomp
L:1/8
M:2/4
Z:AK/Fiddler’s Companion
S:Suzie
Rothfield
K:A
AA|c
e2 c e2 cd|efed cB A2|(B/c/B) GF EFGB|efed cA AA|
c
e2 c e2 cd|efed cB A2||(B/c/B) GF EFGB|efec a2:|
|:ca|c’aea
c’aea|c’a e a3 eg|bgeg bgeg|bg e a3 ea|c’aea c’aea|c’a e a3 eg|
bgeg
bgeg|bg e a3::e(a|a)fec Ace(a|a)fec A2 ef|=g3 e f3 (e|e)c B2 A:|
BOSOM THAT
BEATS.
AKA and see "Garryowen."
"BOSS", THE. AKA and see “The Old Horned Sheep.” American,
Jig. B Flat Major. Standard. AABB. See also Donegal fiddler John Doherty’s tune
“The Pet in the Kitchen.” American
origins for the tune are doubtful, as it appears to be an amalgam of two old
Irish tunes, “The Humors of Donnybrook”
and “Sweet Biddy Daly” (the ‘A’ and
‘B’ parts, respectively). The title is perhaps a reference to Jimmy Norton (see
note below). Cole (1000 Fiddle Tunes),
1940; pg. 76. Ryan’s Mammoth Collection,
1883; pg. 108.
X:1
T:The
“Boss”
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
{f/g/a/}(b2.B)
{c}BAB | GBB FBB | (b2.B) ({c}B)AB | GcB AGF |
(b2.B)
{c}BAB | GBB FBB | GBB Acc | dBB B2z :|
|:
dff fdB | dff fdB | dff fdB | ecc c2z | dff fdB | dff fdB | bag fed | cdB AGF
:|
BOSS CLOG HORNPIPE, THE. American (?), Hornpipe. A Major. Standard. AA’BB’. Source
for notated version: included in a section of tunes from the playing of Jimmy Norton,
the “Boss Jig Player”—Norton was presumably a band-leader or principal
instrumentalist in the eastern Massachusetts area in the mid-1900’s. Howe (1000 Jigs and Reels), c. 1867; pg. 50.
X:1
T:Boss
Clog Hornpipe, The
M:C|
L:1/8
R:Hornpipe
or Clog
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
e>d
| c>eA>c E>AC>E | (3A,CE (3Ace a2 b>a | g>be>g
B>eG>B | (3EGB (3egb c’2 e>d |
c>eA>c
E>AC>E (3A,CE (3Ace a>c’ a2 | g>be>g f>a^d>f |1 e2e2e2 :|2
e2e2e2 =d>e ||
|:
f>A,D>F A>df>a | e>A,C>E A>ce>a | g>B,E>G
B>de>g | b>ag>f e>cd>e |
f>A,D>F
A>df>a | e>A,C>E A>ce>a | g>eb>g e>dB>e |1 A2A2A2
d>e :|2 A2A2A2 ||
BOSTON BOY. AKA and see "Take Me Back to Georgia," “Ladies in the Ballroom [2],”
"Rattlesnake Bit the Baby."
Old-Time, Bluegrass; Breakdown. D Major. Standard tuning. AA’BB’. The tune was
a favorite of “Uncle Pen” Vanderver, a fiddler made famous by Bill Monroe’s
famous song (and Monroe’s uncle). The ‘A’ part of “Boston Boy” is similar the
‘C’ part of “Texas Gals/Gales.” Rounder CD
0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996).
See
also listing at:
Jane
Keefer’s Folk Music Index: An Index to Recorded Sources
X:1
T:Boston
Boy
M:4/4
L:1/8
R:Reel
N:From
a transcription by John Lamancusa, by permission. See
http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
A,B,
|: D2 DE F2A2 | GFGA GF E2 | A2 cA BA c2 | d3e dBAF |
D2
FD E2F2 | G2 GA GF E2 | A2 cA BABc |1 dcde d4 :|2 dcde d2 de ||
|:
f3g fede | fa2b afdf | efed cABc | e2(d2d2) de | f3g fede | ba2b afdf |
efed
cABc |1 dcde d2 de :|2 dcde dBAF ||
BOSTON BOYS, THE. American, Reel. C Major (Cole, Ryan): D Major (Miller).
Standard tuning. AABB. Source for notated version: Kerry fiddler Paddy Cronin
[Bulmer & Sharpley, Miller]. Cole (1000 Fiddle Tunes), 1940; pg. 28. Bulmer
& Sharpley (Music from Ireland),
vol. 4, No. 35. Miller (Fiddler’s Throne), 2004; No. 128, pg. 85. Ryan’s Mammoth Collection, 1883; pg. 53.
Green Linnet SIF 1010, “Mick Moloney with Eugene
O’Donnell” (1978).
X:1
T:Boston
Boys, The
M:C|
L:1/8
R:Reel
S:Ryan’s
Mammoth Collection (1883)
Z:AK/Fiddler’s
Companion
K:C
CECE
GAGE | Dddc (dc)Ac | GcEc GAca | gedg ec c2 | CECE GAGE |
Dddc
(dc)Ac | GcEc GAca | gedg ec c2 :: c2 (ec) gcec | cdea gede |
c2 (ec) gcec | GABc (ec) c2 | c2 (ec) gcec |
cdea gedg | cdcA GAca | gedg ec c2 :|
BOSTON CALEDONIAN CLUB.
American, Jig. G Major. Standard tuning. AABB. Composed by Edwin Christie—not
the blackface minstrel of 19th century Christie’s Minstrel’s fame, but rather a
“respected if not particularly successful composer who probably worked in the
Boston area.” (http://memory.loc.gov/ammem/smhtml/audiodir.html@7102334). The
Boston Caledonian Club held its first Scottish games in 1853 in Boston,
including a three-mile running race and other track and field events like caber
tossing. Cole (1000 Fiddle Tunes),
1940; pg. 77. Lerwick (Kilted Fiddler),
1985; pg. 43. Ryan’s Mammoth Collection,
1883; pg. 109.
X:1
T:Boston
Caledonian Club
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
({D/4E/4F/4}G>)AG
GBd|(e<g).e (d<g)d|(e<g)e dBG|ABA d3|({D/4E/4F/4}G>)FG GBd|
(e<g)e
(d<g)d|(e<g)e dBG|A>GA G2z::[G,2D2B,2g2].f edB|[G,2D2B,2g2].f edB|
(d>.e)f
gfg | (a<b)g fed|[G,2D2B,2g2].f edB|[G,2D2B,2g2].f edB|(d>.e)f
gfg|(a<b)a g2z:|
BOSTON FANCY [1]. AKA and see "Lamplighter's Hornpipe."
New England, Reel. A Major. Standard tuning. One part. Burchenal prints a dance
called "Boston Fancy" to this tune, which tune was more popularly
known to her by that title rather than its usual one ("Lamplighter's
Hornpipe"). "Boston Fancy" was listed in the repertoire of Maine
fiddler Mellie Dunham, who was Henry Ford's champion in the late 1920's; the
name was that of the dance, however, for when he recorded it under the above
title for Victor in 1926 (Vi 20001), the tune was in fact "The
Tempest." Apparently either a version of the dance or tune "Boston
Fancy" was also called "Lady Walpole's Reel [1]." It has been suggested (by, for one, Louie W.
Attebery in his article "The Fiddle Tune: An American Artifact"
{1979}) that the name change from "Lady Walpole's Reel" to Boston
Fancy" came about due to anti-British sentiments during the War of 1812.
Burchenal (American Country Dances, vol.
1), 1917; pg. 39.
BOSTON FANCY [2]. AKA and see "Quindaro Hornpipe." New England, Reel.
G Major. Standard tuning. One part. Burchenal prints a dance called "Boston
Fancy" to this tune, which tune was more popularly known to her by that
title rather than its usual one ("Quindaro Hornpipe"). Burchenal (American Country Dances, vol. 1), 1917;
pgs. 19‑40.
BOSTON HOP WALTZ.
American, Schottishe (?). D Major. Standard tuning. ABC. Howe (Diamond School for the Violin), c. 1861.
X:1
T:Boston
Hop Waltz
L:1/8
M:2/4
S:Elias
Howe – Diamond School for the Violin
Z:AK/Fiddler’s Companion
K:D
e|{g}ae/g/
df|{g}ae/g/ df|eA ce|defg|{g}ae/g/ df|{g}ae/g/ df|eAce|dfd||
DA/A/
Fd/d/|Af/f/ db/b/|agec|defd| DA/A/ Fd/d/|Af/f/ db/b/|agec|dfd||
ec/B/
AB|cdef|gf/e/ dD|FA df|ec/B/ AB|cde f/^g/|a/a/A B/B/c|dfd||
BOSTON LIFE. American, Jig. Composed by Boston fiddler
Frank Ferrell. Ferrell (Music for the
Feet). Rounder Records 7052, Buddy MacMaster –
“The Cape Breton Tradition” (2003).
BOSTON MARCH.
AKA and see "(On the) Road to Boston," "Road to London."
American, English. A British march from the Revolutionary War period (Winstock,
1970).
BOSTON O'CONNOR. AKA and see “Casey’s Pig.” Irish, Fling.
A strathspey version of this tune was played by Cape Breton Mic-Mac Indian
fiddler Lee Cremo, according to Henrik Norbeck. Green
Linnet SIF‑1105, Patrick Street ‑ "Irish Times."
BOSTON
RATTLERS'. AKA and see
"Colonel McBain's,” “Connemara Stockings,” "Hobb's Favorite", "Miss
Abercrombie's Reel,” “Winter Apples
[1].” American, Scottish (originally); Reel. D Major. Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 29. Ryan’s Mammoth Collection,
1883; pgs. 38 & 55.
X:1
T:Boston
Rattlers’
M:C|
L:1/8
R:Reel
S:Ryan’s
Mammoth Collection (1883)
Z:AK/Fiddler’s
Companion
K:D
(3ABc|d2
cA B2 AF|DCDF EB,B,E|DFAF DFAd|cABc dABc|d2 cA B2 AF|
DCDF
EB,B,E|DFAF DFAd|cABc d2 :: (Bc)|dfBc dBfd|ceAB cAec|dfBc dBfd|
ceAc
(3BBB(Bc)|dfBc dBfd|ceAB cAeg|(3fgf.e.c (3ded.c.A|BABc d2 :|
BOSTON REEL, THE. AKA and see “Flowers of St. Petersburg.”
American, Reel. Ryan’s Mammoth Collection,
1883; pgs. 37.
BOSTON URBAN CEILIDH. Scottish, Reel. A modern composition by
fiddler Hanneke Cassel.
X:1
T:Boston
Urban Ceilidh
C:Hanneke
Cassel
M:4/4
L:1/8
K:D
|:f3g
fede|ff2g fedc|BAGB ABcA |cdec defg|
f3g
fed2|ff2g fed2 |BAGB ABcA [1cdec d3e:|[2cdec defg|
|:ad
(3ddd adad|aB (3BBB gBgB|ac (3ccc acac|fgfe defg|
ad
(3ddd adad|aB (3BBB gBbg|ac (3ccc acac|fgfe d4 :|
BOSTONY. Old-Time, Breakdown. A
tune in the repertoire of blind northeast Kentucky/W.Va. fiddler Ed Haley, as
remembered by people around Portsmouth, Ohio, where the Northern and Southern
fiddle traditions tended to mix (Mark Willson & Guthrie Meade, 1976). The
late fiddler Morris Allen (of South Shore, Kentucky) also remembered it as
being in Haley’s repertoire. Mark Wilson also believes the title to be a
corruption of Bostonia, the name of a magnificent steamboat that plied the Ohio
River in the 1870’s, usually with a tiny orchestra aboard. John Hartford (1996)
notes that there were not one but six steamboats at various times on the Ohio
by the name of Bostonia. Rounder 0380, Roger Cooper
(Lewis County, KY) - “Going Back to Old Kentucky” (1996. Learned from his
friend Morris Allen). Rounder CD0392, John Hartford - “Wild Hog in the Red
Brush and a Bunch of Others You Might Not Have Heard” (1996. Learned from the
playing of Morris Allen). Rounder
Heritage Series 1166-11592-2, Roger Cooper (et al) – “The Art of Traditional
Fiddle” (2001).
X:1
T:Bostony
M:4/4
L:1/8
Q:160
S:John
Hartford's "Wild Hog in the Redbrush" transcribed by Llarry Brandon
K:G
de|:"G"
gfgb a2 f2| gega g2 dc|Bcde gega|"D7"b2 a2 a4|!
c'4
e4| fefg f2 fe| BABc dBAc|"G" B2 G2 G2 [1de:|[2|B2 G2 G2 GE|!
|:"G"
DEGA BABd|e2 d2 d2 B2|"D7"cBAG FDEF|"G" A2 G2 G2 GE|!
DEGA
BABd|e2 d2 d2 B2|"D7"cBAG FDEF|"G" A2 G2 G2 GE:|
BO'SUN, THE. English? Hornpipe. G
Major. Standard tuning. AABB. Hardings
All Round Collection, 1905; No. 88, pg. 28.
X:1
T:Bo’sun,
The
M:C
L:1/8
R:Hornpipe
S:Harding’s All Round Collection (1905),
No. 88
Z:AK/Fiddler’s Companion
K:G
Bc|d>BG>B
d>BG>g|e>de>c A2A2|A>Bc>d e>df>e|d>cB>A G2G2|
G>AB>d
e>fg>f|e>dc>B c>BA>G|F>GA>c BG A2|G2B2G2:|
|:d2|g>fg>a
b2 a>g|f2 e>f d2 d>e|=f>ef>g a2 g>f|e2 d>e c2 d>c|
c>BA>G
g>ab>g|g>dc>B c>ed>c|c>BA>G F>GA>d|B2G2G2:|
BOSWELL’S FANCY.
American, Reel. G Major. Standard tuning. AABBC. Source for notated version:
The tune’s source origins are somewhat vague; Susan Songer (Portland Collection) got it from Alan
Garren, and was told he may have had it from fiddler Michael Meyer, who may
have learned it from Bob Childs, who remembers acquiring the tune in the state
of Maine. Songer (Portland Collection),
1997; pg. 36.
BOTAR AN LOCA.
AKA and see "The Lakeside Road."