The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
BOY - BOZ |
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] |
BOY FROM HOME, A. Irish, Jig. G Major. Standard tuning. AABB. See also the related “Saddle the Pony [1].” Source for
notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 113.
X:1
T:Boy From Home, A
M:6/8
L:1/8
R:Jig
S:Patrick Stack, Chicago
Z:Paul Kinder
K:G
D|GBA G2 B|def gdB|GBA G2 B|AFD DEF| GBA G2 B|def gfg|ecA GAG|FEF G2:|
|:B|d3 dcd|e2 f gfe|ded/2c/2 Bcd|ecA GFE| d3 dcd|e2 f gfg|ecA GAG|FEF G2:||
BOY FROM THE GLENS, THE. Irish, Double Jig. D Major. Standard tuning.
AABB. See also “Pig from Ahascragh.”
O'Neill (Krassen), 1976; pg. 39. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 892, pg. 166.
X:1
T:Boy from the Glens, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
e | dBA
|: A | def {a}gfg | agf fef | def
gfg | f2d edB | def {a}gfg | agf fef | dBA B2g | ada gfe :|
BOY FROM THE MOUNTAIN
[1], THE (An Buacaill On
Sliab). Irish,
Jig. D Major. Standard tuning. AABB'. Source for notated version:
X:1
T:Boy from the Mountain, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
F2F G2G|A2D GED|F2F G2G|Adc
d>cB/G/|F2F G2G|
A2A Ade|fed cAG|1 Adc d>cA/G/:|2
Adc d2||(3A/B/c/|
D2e f2g|e2 d cAG|d2 e f2g|f/g/af
gec|d2e f2g|e2 d cde|
fed cAG|ABc d2 (3A/B/c/|D2e f2g|e2d
cAG|d2e f2g|f/g/af gec|
d2e fedf|edc/e/ d2e|fed cAG|Adc
d>cA/G/|
BOY FROM THE MOUNTAIN
[2], THE. AKA and see "(An) Buacaill O'n Sliab [2]."
BOY FROM THE TOP OF
THE WORLD, THE. Irish, Slow Air (3/4 time). D
Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 345, pg. 60.
X:1
T:Boy from the Top of the World, The
L:1/8
M:3/4
N:”Slow”
S:O’Neill – Music from
Z:AK/Fiddler’s Companion
K:D
f>e|d2A2B2|d2A2B|=c3 edc|B3
=cdB|BAGFEF|D2F2A2|B2d2f2|e4 f>e|
d2A2B2|d2A2B2|=c3 edc|B3 c
{e}d/c/d/B/|BAGFEF|D2F2A2|{G}B3 gec|d4||
(3efg|g2g2 a/g/f/e/|f2f2 g/f/e/>d/|e>d
ef de|B3 cdB|BAGFEF|D2F2A2|B2d2d2|
d4 ef|g>f gb ag|f>e fa
gf|e>d ef g/e/f/d/|B3 cdB|B/A/G/F/E/F/|D2F2A2|B3d d2|d4||
BOY GENIUS, THE. Irish, Reel. G Major/Dorian. Standard tuning.
AABB. Composed by
X:1
T: Boy Genius
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
D | GEED EGAc | BGGF GABd | gdde =fc c2 | _BAGB AG=FD |
GEED EGAc | BGGF GABd | gabg afge | dcAF G3 :|
A | dg (3gfg bg (3gfg | a=f (3fef dfcf | =B2 Bd c2 cA | =Bcde =fefa |
g2
dg Bgdg | =f2 cf AfcA | =Bd (3d^cd =cA A2 | dcAF G3 :|
BOY IN HIS PANTS, THE. Irish, Double Jig. A Dorian/D Mixolydian (‘A’
part) & D Major (‘B’ part). Standard tuning. AABB’. Source for notated
version: Liam Donnelly (Lisburn,
BOY IN THE BASKET, THE. AKA and see "The High Road to Dublin [1],"
"An Bothar Mor go Baile Atha Cliath," “The Skipper’s Wedding,” "The Way to Dublin." English, Jig (9/8
time).
X:1
T:Boy in the Basket, The
M:9/8
L:1/8
R:Slip Jig
S:William Vickers’ music manuscript
(Northumberland, 1770)
K:G
GAG BAG Bdg|GAG Bcd AFD|GAG BAG
Bdg|ece dBG AFD:|
|:gag gdB gdB|aba
afd afd|gag gdB efg|ece dBG AFD:|
X:2
T:Boy in the Basket, The
M:9/8
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:G
G>AG
B>AG Bdg|G>AG B>cd AFD|G>AG B>AG Bdg|ece dBG AFD:|
|:g>ag gdB gdB|a>ba afd afd|g>ag gdB efg|ece dBG AFD:||
BOY IN THE BOAT [1], THE (An Buachaill sa mBad). Irish, Reel. D Mixolydian
(Breathnach): D Major (Miller, Mulvihill, Taylor). Standard tuning. AB
(Breathnach): AABB (Mulvihill, Taylor): AA’BB (Miller). Sources for notated
versions: piper Michael Brophy/Michael Ó Broithe (Ireland) [Breathnach]; Liam
Greenall (Liverpool, England) [Mulvihill]. Breathnach (CRÉ I), 1963; No. 173, pg. 68. Miller (Fiddler’s Throne), 2004; No. 129, pg. 86. Mulvihill (1st Collection), 1986; No.
220, pg. 59.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boy in the Boat, The
R:reel
D:Paddy Moloney & Sean Potts:
Tin Whistles
Z:id:hn-reel-178
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
A2AF DFAF|GFEF G2FG|AD (3FED AD
(3FED|AFGE DEFG|
A2AF DFAF|GFEF G2FG|AFAd BGBd|1 cAGE
FDDF:|2 cAGE FDDd||
|:cded cA~A2|cAeA cA~A2|cded
cAAB|cAGE EDDd|
cded cAAB|(3cBA dB cAde|~f3d efed|1
cAGE FDDd:|2 cAGE FDDF||
BOY IN THE BOAT [2], THE. AKA and see "The Ships Are Sailing [1]."
BOY IN THE BUSH, THE. AKA and see “The Choice Wife,” “O’Farrell’s Welcome to
Limerick,” “(An) Phis Fhliuch.”
BOY IN THE GAF. AKA and see "The Boys of Cappoquin."
Irish, Reel. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 126.
BOY IN THE GAP (An Buachaill sa mBearna). AKA and see "Boy in the Gaf," "Boys in the Gap."
BOY IN THE TREE, THE (An Bucchaill sa Chrann). Irish, Reel. A Dorian. Standard
tuning. AABB. Source for notated version: from a 1960's collection by piper
Jack Wade, 1913-1967 (originally from
BOY OF MY HEART, THE. Irish, Air (6/8 time, "gaily"). G
Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant
James O’Neill, a fiddler originally from
X:1
T:Boy of My Heart, The
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D | (DEG) A2A | (ABG) A2E | (GAB)
(cBA) | (BGE) E2c |
(c>dc) B2G | (A2E) (G2E) | .D(cB)
(cBA) | GED D2 || (G/E/) |
(DG).G (DA).A | (DB).B A2 (E/F/) |
(GAB) (c>BA) | (B2G) (E2B) |
(c>dc) B2B | A2E G2 E/E/ | .D(cB)
(cBA) | GED D2 ||
BOY ON THE HILLTOP. See "Boys on the Hilltop."
BOYER’S MAGGOT. AKA and see “Byer’s Maggot.”
BOYLE ABBEY (Mainister An Bhuill). Irish, Slow Air (3/4 time). C
Major. Standard tuning. One part. Boyle Abbey is in Co. Roscommon. Joyce (Old Irish Folk Music and Song), 1909;
No. 623, pg. 319.
BOYLE O'REILLY'S. Irish, Reel. G Major. Standard tuning. AABB. New York musician,
researcher and writer Don Meade identifies John Boyle O’Reilly as an Irish
expatriate who published poetry and edited The
Pilot, a Boston Catholic newspaper that ran from 1876 until his death in
1890. O’Reilly was born near Drogheda in 1844, took part in the Fenian movement
as both a writer and an agent. He was sent to England where he was quickly
arrested and sentenced to death. At the last minute his execution was stayed
and instead he was exiled to the penal colony in Australia. After a year he
managed to escape with the help of the American captain of a New Bedford
whaler, which landed him in Boston (all before the age of 25). He used his
newspaper as a pulpit for liberal causes in Ireland and America, and is
remembered for his charm and wit, and dedication to the Irish cause. Cole (1000 Fiddle Tunes), 1940; pg. 34. Ryan’s Mammoth Collection, 1883; pg. 59.
X:1
T:Boyle O’Reilly’s
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(d/c/) |: .B/.c/(A/B/) .G.B |
A/D/F/D/ A/D/F/D/ | B/c/A/B/ .G.B | B/G/A/F/ (B/E/).E |
B/c/A/B/ .G.B | A/D/F/D/ A/D/F/D/ |
E/G/F/A/ G/B/e/g/ | f/g/a/f/ gz :|
|: .g/.e/.B/.e/ .g/.e/.b/.e/ |
f/d/B/F/ A/D/F/D/ | g/e/B/e/ g/e/b/e/ | f/g/a/f/ (g/e/).e |
g/e/B/e/ g/e/b/e/ | f/d/A/F/
(f/D/).D | E/G/F/A/ G/B/A/g/ | f/g/a/f/ gz :|
BOYLE’S. AKA – “Johnny Boyle’s.”
AKA and see “Con Cassidy’s
(Jig) [1].” Irish, Jig.
BOYLE'S REEL. AKA and see "Salamanca
{Reel} [1]." American, Hornpipe. USA, southwestern Pa. D Major.
Standard tuning. AB. This tune is the much better known "Salamanca"
with the parts reversed. Bayard's source learned the tune from John O'Boyle, a
travelling salesman and fiddler. Source for notated version: William Shape
(Greene County, Pa., an elderly fiddler who played it as a hornpipe, despite
its name, in the 1930's). Bayard (Dance
to the Fiddle), 1981; No. 98, pg. 58.
BOYNE HUNT [1] (Seilg na Boinne). AKA and see “Highland Skip [2],” "Molly Maguire [2],” “Molly McGuire’s
Reel,” “Niel Gow’s Reel [1],” "The Perth Hunt,” “The Perthshire Hunt," “The Popcorn,” “The Sailor’s Trip to Liverpool,”
"Thomas a cartha," "Tom the Blacksmith." Irish,
Reel. Ireland, County Donegal. D Major (Cole, Mallinson, O’Neill): D
Mixolydian/Major (Mitchell). Standard tuning. AB (Mallinson, Taylor): ABB'
(O'Neill/Krassen): AABB (Cole): ABC (O'Neill/1850 & 1001): ABCDEF
(Mitchell). The tune was originally a Scottish composition called “The
Perthshire Hunt,” commissioned for the Perthshire Hunt Ball and composed by
Miss Striling of Ardoch, Perthshire, Scotland. An early recording was made by
the famous Irish piper Patsy Tuohey on cylinder around 1910. Although O’Neill
prints three parts, the tune is usually played with the first two parts only.
See note also for “Twisting of
the Rope [1]” which mentions this tune. See also the related “The Tea Reel.” Sources for notated versions: piper
Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance
music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]; P.W. Joyce
remembered the tune from his childhood in Limerick, c. 1840’s; tin whistle
player Denor O’Brien (1960-1990) [Miller & Perron]; County Sligo fiddler
Michael Coleman (1891-1945) [Miller & Perron]. Cole (1000 Fiddle Tunes), 1940; pg. 6. Giblin (Collection of Traditional Irish Dance Music), 1928; 16. Joyce (Old Irish Folk Music and Songs), 1909;
No. 85, pg. 45 (appears as untitled reel). Lyth (Bowing Styles in Irish Fiddle Playing), vol. 1, 1981; 50. Mallinson
(Essential), 1995; No. 4, pg. 2.
Miller & Perron (Irish Traditional
Fiddle Music), 2nd Edition, 2006; pgs. 51-52 (two versions).
Mitchell (Dance Music of Willie Clancy),
1993; No. 142, pgs. 112-113. O'Neill (Krassen), 1976; pg. 103. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1241, pg. 233. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 514, pg. 97. Ryan’s
Mammoth Collection, 1883; pg. 29. Taylor (Music for the Sets: Yellow Book), 1995; pg. 30. Comhaltas Ceoltoiri Éireann
CL 13, "Tommy Peoples” (1976). Gael-Linn CEF060, “Paddy Glackin.” Paddy
Keenan & Paddy Glackin – “Doublin’”. Outlet Records, Joe Burke – “Galway’s
Own Joe Burke.” Michael Cooney & Joe Burke – “Happy to Meet, Sorry to
Part.” Joe Cooley – “Cooley.” Michael Coleman 1892-1945. Fireman Barry Conlan -
”Milestone in the Garden” (1st tune in the medley “Over the Lakes”).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boyne Hunt [1]
R:Reel
L:1/8
M:C
S:Joyce - Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D
BAFA D2 FA|D2 FA BE E2|BAFA D3F|ABde
fedB|BAFA D2FA|
D2FA BE E2|BAFA DEFG|ABde
fdd||{f}a3f a2 af|gfga be e2|
{f}a3f gedB|ABde fd d2|faaf a2
af|gfga beeg|fgfe dedB|ABde fedB|
BOYNE HUNT [2]. Irish, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 9, pg. 4. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 50.
X:1
T:Boyne Hunt [2]
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:G
|:
f/g/ | a2g fdd | g2f ecc | e/f/ge dcB | cAA A3 | GBd g3 | fed efg | fga ABc |
BGG G2 :|
BOYNE WATER [1], THE (Briseadh na Bóinne). AKA and see "As Vanquished Erin," "The Battle of the Boyne Water," "Bayne Water" (W.Va.), "Barbara Allan" (Pa.), "The Bottom of the Punch Bowl [1]," “Boyne Water Quickstep,” "Cameronian Rant," "The Cavalcade of the Boyne," "Come Kiss Wi' Me, Come Clap Wi' Me," "Findlay," "King William's March," "Lass If I Come Near You," "Leading/Driving the Calves," "Leading the Calves in the Pasture," "Native Swords," "One Pleasant Morning Beside the Glen," "Playing Amang the Rashes," "Praises of Limerick," "The Rashes," “Rosc Catha na Mumhan,” "Sheila Ni Gowna," "Song of the Volunteers," "Such a Parcel of Rogues in a Nation," "To Look for My Calves I Sent My Child," "The Wee(, Wee) German Lairdie" "Wha the Deil Hae We Gotten For a King," "When the King Came O'er the (Boyne) Water(s)." Irish, Air or March (4/4 time). A Minor (Howe): A Dorian (Breathnach, O'Neill, Perlman, Roche): E Minor (Joyce). Standard tuning. AB (most versions): AAB (Howe): AA'BB (Breathnach). The name Boyne itself is derived from the name of the goddess Boinn, literally ‘cow-white’, “a name well suited to a pastoral people whose wealth was chiefly in cattle” (Matthews, 1972). The name of the tune, however, commemorates the Battle of the Boyne (named for the Boyne River in County Meath, eastern Ireland, though the battle itself was fought three miles west of Drogheda), fought July 1st, 1690, in which the English monarch King William III defeated the Irish forces under King James II. "It has always been, and still is, very popular among the Orangemen of Ulster (for it dashed the hopes of the Irish for religious freedom and the Stuarts for Kingship). The ballad follows the historical accounts of the battle correctly enough. The air is well known in the south (of Ireland) also, where it is commonly called Sebladh na n‑gamhan, 'Leading the Calves,' A good setting is given by Bunting in his second collection: the Munster and Connaught versions are given by Petrie in his Ancient Music of Ireland, vol. II, p. 12. I print it here as I learned it in my youth from the singing of the people of Limerick, not indeed to 'The Boyne Water' of Ulster, but to other words (given below). My setting differs only slightly from that of Bunting; and it is nearly the same as I heard it played some years ago by a band on a 12th of July in Warrenpoint" (Joyce). O’Neill (1913) lists “Boyne Water” as one of the “splendid martial airs” of Irish music.
***
Samuel Bayard (1981) believes "Boyne Water" was composed in the seventeenth century, and thinks it has always been more of a vocal air rather than an instrumental tune. As witnessed by the myriad of titles in the beginning of this entry, it has been a popular air in the British Isles and, as Bayard states, "altogether, the forms suggest that it has undergone a long traditional development." He believes the second half may have been the original tune, with the first half being fashioned out of elements from earlier strains. Bronson discerns the origins of the whole tune family in a Scottish melody found in the Skene Manuscript of c. 1615. Flood (1913) dates the tune from c. 1645, long before the famous battle, though how he arrived at this date is obscure. Cowdery (1990) believes that Flood’s thinking may have stemmed from a reference to a melody published by Petrie (1855), called "To Seek for the Lambs I Have Sent My Child," in which the latter writer declared, "in its superior purity of expression, and in its passionate depth of feeling, affords intrinsic evidence of an original intention, and consequent priority of antiquity, which will not be found in that which I consider to be the derived from of it called 'The Boyne Water.'" Be that as it may, Aloys Fleichmann’s index gives that “Boyne Water” was first published in George Bowie’s fiddle manuscript of 1706. O’Neill (1913) concludes the same Gaelic airs printed by Petrie are early antecedents of “Boyne Water,” Nos. 1529 (“A Long mo Gamain” {To look for my calves I sent my child”}) and 1530 (“An Tuainirc na nGainna”. Breathnach (1985), in CRE II (No. 124), gives a polka setting and remarks it was used for the last figure of the Clare polka set, and says that “Rosc Catha na Mumhan” (The Munster War-Cry) is sung to this air.
***
However old it actually is in oral tradition, Bayard (1991) finds the earliest printed appearances of the tune in William Graham's Lute Book of 1694 (as "Playing Amang the Rashes") and in D'Urfey's Pills to Purge Melancholy (where it appears as an untitled air). The melody remained in popular usage throughout the British Isles for well over two hundred years. Robert Burns set three songs to it in Johnson's Scots Musical Museum, and it was the vehicle for the Scots songs "The Wee, Wee German Lairdie" and "Andro and His Cutty Gun" (the latter from Alan Ramsay's 1740 edition of the Tea-Table Miscellany). One of the earliest recordings of this tune is by English musician John Locke, Leominster, Hereford, described as a “gipsy fiddler”; recorded by Cecil Sharp in 1909 on a cylinder machine. In Ireland, Sir Thomas Moore used the melody for his c. 1825 song "As Vanquished Erin."
***
The
air was widespread in American usage, often heard as the tune the popular song
"Barbara Allan" was sung to, which fact has been noted by several
writers (Bayard, Cowdery, Cazden). It is, for example, identified by Cowdery
(1990) as one of four tunes which carry the tale of "(Bonny) Barbara
Allen" (the second strain of both Joyce's version and Bunting's "To
seek for the Lambs..." is the portion of the Irish tune which corresponds
to the America "Barbara Allen"). As "The Battle of the
Boyne" it was included in a Philadelphia chapbook of 1805, and, under the
title "The Buoying Water," as an instrumental piece in the 1790 Whittier Perkins Book (Cazden, et al,
1982). According to Bronner (1987), it was used for an 1815 hit American
blackface minstrel song by Micah Hawkins called "The Siege of
Plattsburgh" or "Backside Albany." Cazden prints it with the
Catskill Mountain (N.Y.)-collected song "A Shantyman's Life," which
he states can be found in most collections of lumber camp songs. Musicologist
Alan Jabbour traces one of the strains of
***
The political connotations of "The Boyne Water" long remained attached to the melody, even after it was imported to North America. Bayard (1981) relates that the mere playing of the tune in the presence of Catholic Irish in western Pennsylvania "could bring on a mass attack," and repeats the Fayette County story of an old Irishman digging potatoes in the garden while his wife followed along beside him picking the up in a sack. She absent‑mindedly began singing the air, upon which he turned around and, incensed, brained her with one blow of his spade. In fact, Pennsylvania fifers declined to play the tune for Bayard at gatherings, fearing to destroy the harmony of the group with "political pieces." Sources for notated versions: George Strosnider (Greene County), Hiram Horner (Westmoreland County), Mrs. Sarah Armstrong (Westmoreland County) {All Southwestern Pa.} [Bayard]; flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 118, pg. 43. Bayard (Dance to the Fiddle), 1981; No. 317A‑D, pgs. 271‑273. Breathnach (CRÉ II), 1976; No. 124, pg. 66. Gow (Beauties), 1819. Howe (Complete Preceptor for the Accordeon), c. 1843; pg. 4. Jordan (Whistle and Sing), 1975; 19. Joyce (Old Irish Folk Music and Songs), 1909; No. 151 and No. 377, pgs. 183‑184. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 204 & No. 260, pg. 45. O’Neill (O’Neill’s Irish Music), 1915; No. 107, pg. 60. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 208. Roche Collection, 1982; pg. 8, vol. I, No. 4.
X:1
T:Boyne Water [1]
L:1/8
M:C
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Emin
ED|B,2 B2 B>cdB|AGFE D2 E>F|G2 FE BAGF|(E3D) B,2 E>D|B,2 B2 B>cdB|
AGFE D2 EF|G2 FE B>AGF|E4 E2||E>F|A2B2d2 e>f|e>d cB A3A|B2e2 e>def|
(e3d B2) Bc|dcde d2 cB|A>GFE D2 EF|G2 FE B>A GF|E4E2||
X:2
T:Boyne
Water
M:C
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
g2 | e3d e2g2 | d>edB G2 AB | c2 BA e2 dB | A3G E2g2 | edef g2 fe |
dcBA G2 AB | c2 BA e2 dB | A3G E2 :: G2 ga g3g | gage d2g2 |
e2
ab a3b | abag e3f | gfga g2 fe | dcBA G2 AB | c2 BA e2 dB | A3G E2 :|
BOYNE
WATER [2].
English, Sword Dance; New England, Polka. F Mixolydian (Karpeles, Raven): F
Major (Miller & Perron). Standard tuning. ABCD (Karpeles, Raven): AABB
(Miller & Perron). Appears to bear no relation to version #1. There was a
military march of this name used in the British army in the Revolutionary War
period, though it may be the tune in version #1. It is the fourth figure in the
sword dance from the village of Sleights, England. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg 29. Miller & Perron (New
England Fiddler's Repertoire), 1983; No. 87. Raven (English Country Dance Tunes), 1984; pg. 73.
X:1
T:Boyne
Water [2]
M:2/2
L:1/8
K:Fmix
d=e |
f2g2f2d2 | cBAG F2 d=e | f2g2f2g2 | a2f2d3=e | f=efg f2d2 |
cBAG F2 GA
| B2G2A2F2 | G4 G2 || z2 | A2F2G2=E2 | F4 F2GB |
A2F2F2 GB |
A2F2F2 GA | B2G2A2F2 | G2G2c3B | A2F2G2=E2 |
F4 F2 || cd
| f=efg f2d2 | cBAG F2 d=e | f2g2f2g2 | a2f2d3=e |
f2g2f2 =ed
| cBAG F2 GA | B2 AG d2c2 | G2G2 || c3B |
A2F2G2=E2 |
F4 F2 GB | A2F2F2 GB | A2F2F2 GA |
B2G2A2F2 |
G2G2c3B | A2F2G2=E2 | F4 F2 ||
BOYNE WATER QUICKSTEP. AKA and see “Boyne Water [1].”
BOYS AROUND THE WORLD. See "Sally Lost
Her Slipper." Old‑Time, Polka. USA; Nebraska, Missouri. A Major.
Standard or AEae tunings. AABB. Christeson notes that there are similarities
between this tune and African-American fiddler Bill Driver’s “Sally Lost her
Slipper.” Sources for notated versions: fiddler Bob Walters, April, 1950 (Burt
County, Nebraska) [Christeson]; Cyril Stinnett (Mo.) [Phillips]. R.P.
Christeson (Old Time Fiddlers’ Repertory,
vol. 1), 1973; pg. 16. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 334.
X:1
T:Boys Around the World
M:2/4
L:1/8
S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 19 (1973)
Z:AK/Fiddler’s Companion
K:A
c/d/|ee/a/ cc/e/|AA/c/ EB/c/|dc
BG|AA/c/ Ec/d/|ee/a/ cc/e/|
AA/c/ EB/c/|dc BG|(A2
A)::(3f/g/f/|ec ae|c’a e>c|dB bg|
a/a/f/a/ ea/f/|ec ae|c’a e>c|dB
bg|a>b a:|
BOYS AT BOLAND’S MILLS, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by Falmouth, Massachusetts, muscian and writer Bill Black. Black
explains that the mills are located in the Ringsend area of Dublin and were the
site of one of the first battles of the 1916 Easter Uprising. Black (Music’s the Very Best Thing), 1996; No.
236, pg. 126.
X:1
T: Boys at Boland's Mills
C: © B. Black
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: G
(3EDC | B,DGB cecA | GBAF GECE | DGFA GBAc | Bed^c d2 (3EDC |
B,DGB cecA | GBAF GECE | DGBG EcAF | G2 GF G2 :|
(3Bcd | edBd gdBd | gaba gedg | bgaf gedg | ed^ce d2 (3EDC |
B,DGB
cecA | GBAF GECE | DGBd ceag | fdcA G2 :|
BOYS FROM BALLAVANICH, THE. Scottish. Green
Linnet GLCD 1145, Wolfstone – “Year of the Dog.”
BOYS FROM BALLYSIMON, THE (Buacailli Baile Simoin). Irish, Hornpipe. D Mixolydian.
Standard tuning. AABBCCDD. The tonality slips around from G Major to D
Mixolydian and D Major. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 839, pg. 145.
X:1
T:Boys from Ballysimon, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 839
Z:AK/Fiddler’s Companion
K:D Mixolydian
dc|B2 BG A2 AG|FGAB cAFD|BGBd
cAGF|D2 G2G2 GA|B2 BG A2 AG|
FGAB cAFD|fefd
cAGF|D2G2G2:||:FG|Addg fgfd|efed ^cBcA|Addg fgfd|
efe^c d2 dc|BAGB ABcA|dcAF G2
FG|AFDE FAGE|D2 DE D2:|
|:dc|Bc (3BAG AGFG|AbcA f2 ed|ecAF
GBAF|D2 DE D2 dc|BGGB cBAG|
AGFG g2 fg|ecAF GBAF|D2 DE
D2:||:FG|Adeg fgfd|efed ^cAGF|
Adde fgfd|efe^c defg|agfa gfef|defd
cBAG|AFDE FAGE|D2 DE D2:|
BOYS FROM CARRICKROE, THE. AKA and see "The Freheen Jig," "The Fairhaired Boy [1]," "An Buachaillin Ban [1]," "The Last of the Lot."
BOYS FROM KERRY, THE. Irish, Air (4/4 time). G Major. Standard
tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 459, pg. 80.
X:1
T:Boys from Kerry, The
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 459
Z:AK/Fiddler’s Companion
K:G
G>A|B3A B>Bce|d2A2B2 AG|E2
D>E G2G2|G6 d2|e2 de g2 ge|
d2B G2 Bc|d2d2 edBG|A6 d2|e2 de g2
ge|d3 B G2 Bc|d2d2 cABG|
E6 G>A|B3 A B>B ce|d2A2B2
AG|E2 D>
BOYS FROM MULLINGAR (Na Buacaillide as Muileann-Cearr). AKA and see "If Ever You Marry." Irish, Air (6/8
time, "spirited"). D Major. Standard tuning. AB. Source for notated version:
credited to Chicago Police Sergeant James O’Neill, a fiddler originally from
County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 589, pg. 103.
X:1
T:Boys from Mullingar, The
M:6/8
L:1/8
R:Air
N:”Spirited”
S:O’Neill – Music of Ireland (1903), No. 589
Z:AK/Fiddler’s Companion
K:D
F/G/|A2A F2A|d2 e fgf|e2 A A2F|(G3
G2) F/G/|A2A F2A|d2 e fgf|e2A A2c|(d3 d3)||
a/g/|f2f f^ef|g2f e^de|f2d A2F|(G3
G2) a|f2f f2A|d2e fgf|e2A A2c|(d3 d2) a/g/|
f2f f^ef|g2f e^de|fdA AGF|(G3 G2)
F/G/|ABA AFA|d2e fgf|ecA ABc|(d3 d2)||
BOYS FROM SCART, THE (Na Buacailli Ua Scairt). Irish, Hornpipe. G Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 168. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1574, pg. 292. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 824, pg. 143.
X:1
T:Boys from Scart, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
824
Z:AK/Fiddler’s Companion
K:G
dc|BGBd BGBd|gfge dBGB|ecdB
cABG|DAAB A2 dc|
BGBd BGBd|gfge dBGB|ecdB
cABG|D2G2G2:|
|:z2|dg {a}(3gfg dg {a}(3gfg|dgba
gfed|ea {b}(3aga ea {b}(3aga|
eaaf gfef| dg {a}(3gfg dg
{a}(3gfg|dgba gfef|dfaf gfef|g2 gf g2:|
BOYS FROM THE COUNTY
ARMAGH. Irish, Waltz. D Major. Standard
tuning. One part.
X:1
T:The Boys from the
R:waltz
L:1/8
M:3/4
K:D
F4 G2| A6| B4 c2| d6| f4 g2| a6| g4
f2| B6| B6 |A6| c4 d2|f2 e4| e2 c2 B2|
A6| d4 e2| f6| f2 d2 B2| A6| d4 e2|
f6| f4 g2| a6| g4 f2| B6| B6| A6| c4
d2| f4 e2| e2 c2 B2| A4 g2| f4 e2|
d6:|
BOYS FROM THE EAST, THE (Na Buacaillide On Oir). AKA and see “Oriental Hornpipe. Irish, Hornpipe. A
Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 188. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1664, pg. 309.
X:1
T:Boys from the East, The
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1664
Z:AK/Fiddler’s Companion
K:A
(3A/B/c/ | A/G/A/E/ C/E/A/c/ | e/^d/e/c/
A/c/e/a/ | f/a/e/a/ d/a/c/a/ |
B/A/B/c/ d/B/G/E/ | A/G/A/E/
C/E/A/c/ | e/^d/e/c/ A/c/e/a/ |
(3f/g/a e/d/ c/B/A/G/ | AA A ::
(E/G/) | B/A/B/G/ E/G/B/c/ |
d/c/d/B/ G/B/e/d/ | c/B/c/A/
E/A/c/d/ | e/^d/e/f/ e(f/g/) | a/g/a/e/ f/d/B/G/ |
A/B/c/d/ e/a/e/c/ | d/f/e/d/
c/B/A/G/ | AA A :|
BOYS FROM THE LOUGH. AKA and see "Donnybrook
Fair [1]," "The Joys of
Life," "Joy(s) of My Life."
Irish, Double Jig. G Major. Standard tuning. AABB. Roche Collection, 1912/1982; vol. I, No. 95, pg. 42.
X:1
T:Boys from the Lough
T:Donnybrook Fair
M:6/8
L:1/8
R:Jig
S:Roche – vol. 1, No. 95 (1912)
Z:AK/Fiddler’s Companion
K:G
D | GFG AGA | (Be)(e d)BA | {d}BAB
GAB | AGE GED | GFG AGA | (Be)(e d)BA |
{B/d/}(BAB) G2B | AGF G2 :: gag fgf
| efe dBA | {d}BAB dBA | (Bee) (e2f) |
gfg edB | (g/f/ge) dBA | (BAB) (G2B)
| AGF G2 :|
BOYS FROM THE WEST, THE. AKA and see "Hexham Races,” “Jude’s Farewell,” "Kenmore Lads," "I Will if I Can [1]," "Kenmuir's Up and Awa'."
Irish, Double Jig. G Major. Standard tuning. AABB. Bayard (1981) sees this as
one of the tunes descended from "Kenmuir's Up and Awa," a song which
appeared around 1792 and which gave the tune its name. See also Bayard's note
for "Four Hundred Years Old."
The Kilfenora Céilí Band recorded the melody as “Jude’s Farewell.” Roche Collection, 1912/1982; vol. I, No.
114, pg. 48.
X:1
T:Boys from the West
M:6/8
L:1/8
R:Jig
S:Roche – vol. 1, No. 114 (1912)
Z:AK/Fiddler’s Companion
K:G
D | GBd gdB
| ded (d2B) | GBd gdB | ABA (A2B) | GBd gdB | def gfe |
ded BcA |
BGG G2 :: B/d/ | gfg edB | d>ed def | gfg edB | A>BA (A2d) |
gfg edB |
def gfe| ded BcA | BGG G2 :|
BOYS FROM THOMASTOWN, THE (Buachailli Bhaile Mhic Anndain). Irish, Double Jig. G Major.
Standard tuning. AABB. See also "Away
to the Bogs," "The
Caffler's Courtship." Source for notated version: whistle player
Padraic de Faoite (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 14, pg. 7.
BOYS IN BLUE. American, Scottish; Reel. G Major ('A' part) & D Major ('B' part).
Standard tuning. AA'BB'. The title refers, perhaps, not to policemen (the
modern connotation), but to Union Army Civil War soldiers, whose uniforms were
blue. Despite its appearance in Kerr’s publication, the tune sounds thoroughly
American. Cole (1000 Fiddle Tunes),
1940; pg. 28. Kerr (Merry Melodies),
vol. 2; No. 285, pg. 31. Ryan’s Mammoth
Collection, 1883; pg. 52.
X:1
T:Boys in
Blue
M:2/4
L:1/8
R:Reel
S:Ryan’s
Mammoth Collection (1883)
Z:AK/Fiddler’s
Companion
K:G
(3D/E/F/ |
G/D/B,/D/ E/F/G/A/ | B/dd/ d>B | A/dd/ d>c | B/dd/ d>D | G/D/B,/D/
E/F/G/A/ |
B/dd/
d>B | A/aa/ ag | f/g/e/f/ d/c/B/A/ || G/D/B,/D/ E/F/G/A/ | B/dd/ d>B |
A/dd/ d>c |
B/dd/
d>D | G/D/B,/D/ E/F/G/A/ | B/dd/ d>B | c/B/A/G/ F/D/E/F/ | G/D/B,/D/ G,
||
|: D |
(D/d/).d/.d/ .dd/c/ | (B/b/).b/.b/ .ba/g/ | (f/d/).d/.d/ (e/^c/).c/.c/ |
d/A/F/A/ G/F/E/D/ |
(D/d/).d/.d/
.dd/c/ | (B/b/).b/.b/ .ba/g/ | (f/d/).d/.d/ (e/^c/).c/.c/ |1 d/A/F/A/ d :|2
d/A/F/A/ D/D/E/F/ ||
BOYS IN THE GAP [1] (An Buachaill sa Bhearna). AKA - “Boy in the Gap.” AKA and see “The Boys of Cappoquin,” "Cat in the Hopper," "Laird O' Cockpen," "Lord Doneraile." Irish, Reel. D
Major. Standard tuning. ABB (Breathnach/vol. 1, Flaherty): AABA (Cole): AABB
(Miller & Perron, Songer): AABB' (Breathnach/Vol. 3): ABCD (Mitchell). The
Boys of the Lough say this tune is a good flute tune and a great favorite of
flute player Paddy Taylor, who has added a third part. Bernard Flaherty (1990)
notes that the tune was always played in County Sligo as a two-part tune, until
late, when the three-part version (popular throughout Ireland) took hold. The
title holds sexual connotations for some. Sources for notated versions:
accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach, vol.
1] and piper Paddy Moloney (Ireland) [Breathnach, vol. 3]; flute player Sonny
McDonagh (b. 1926, Rinnarogue, Bunninadden, County Sligo, Ireland) [Flaherty];
piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; George
Penk (Portland, Oregon) who learned it from Dennis Rothrock who learned it from
the album “Boys of the Lough” [Songer]; Boys of the Lough [Miller &
Perron]. Breathnach (CRÉ I), 1963;
No. 132, pg. 53. Breathnach (CRÉ III),
1985; No. 101, pg. 51. Cole (1000 Fiddle
Tunes), 1940; pg. 27. Flaherty (Trip
to Sligo), 1990; 121. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 31. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 52. Mitchell (Dance Music of Willie Clancy), 1993; No. 47, pgs. 56-57. Ryan’s Mammoth Collection, 1883; pg. 53.
Songer (Portland Collection), 1997;
pg. 38 (appears as “Boy in the Gap”). Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3;
15. Claddagh Records CC2, Paddy Moloney ‑
"Paddy Moloney, The Chieftains" (1969). GTD Heritage Trad. HCD 008,
Tommy Peoples - "Traditional Irish Music Played on the Fiddle"
(appears as "Boy in the Gap"). Shanachie 79002, "The Boys of the
Lough" (1973).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boy in the Gap, The
M:4/4
L:1/8
S:Baily's Corner session, Tralee
Z:transcribed by Paul de Grae
K:D
D2 FA d2 cB | A2 GE AFGE | D2 FA d2
cB | ABGE EDDE |
D2 FA d2 cB | A2 GE =cEGE | D2 FA
dfed | A2 GE ED D2 ||
f3 g fedf | e2 ef edcB | ABcd edcd |
eaag eaag|
f2 fg fedf | e3 f edcB | ABcd e2 dc |
ABGE ED D2 ||
df f2 df f2 | ce e2 ce e2 | Addc d2
cd | eaag edde |
f2 ec dcAF | G2 BG EFGE | D2 FA dfed
| A2 GE ED D2 ||
X:2
T:Boy in the Gap, The
T:Boy in the Gaf, The
R:reel
H:See also #57
N:Often played with only two parts.
N:The third part was composed by
Paddy Taylor
Z:id:hn-reel-58
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
D2FA d2cA|G2EF GFGE|D2FA dfed|cAGE
FDD2:|
|:~f3g fedf|e2fd edcB|ABcd edcd|eaag
eaag|
~f2g fedf|e2fd edcB|ABcd e2dB|A2GE
FD D2:|
|:d2~f2 df~f2|ce~e2 ce~e2|df~g2
df~f2|a2ge fdde|
f2ef dBAF|G2BG EFGE|D2FA dedc|A2GE
FDD2:|
“Variations”
FDFA d2cA|~G3F EFGE|DEFA dfed|cAGE
EDD2:|
|:~f3g fedf|gfed edcB|A2 (3Bcd
ed(3Bcd|eaag efge|
~f3g fedf|efgf edcB|ABcd e2dc|A2GE
EDD2:|
|:df~f2 df~f2|ce~e2 gece|df~f2
df~f2|geag edde|
fAde fdAF|G2EF GEAF|DEFA d2cA|A2GE
EDD2:|
BOYS IN THE GAP [2] (Na Buacaillide ‘nNsa m-Bearna). Irish, Air (6/8 time, "with
spirit"). G Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 157, pg. 27.
X:1
T:Boys in the Gap [2]
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 157
Z:AK/Fiddler’s Companion
K:Gmin
D | G>AG B>cB | (A<F)F F2A
| G>AG g>ag | (f<d)d d2=e | fgf f_ed |
cdB ABc | d>ed d2c | (B<G)G G2
|| d | g>ag gab | (a<f)f f2a |
g=e^f gab | afd d2=e | fgf f_ed |
cdB ABc | d>ed d2c | (B<G)G G2 ||
BOY’S LAMENT FOR HIS
DRAGON, THE. AKA and see “Farewell to Aberdeen,”
“The Seventy Second’s
Farewell to Aberdeen.” Scottish, Pipe March. D Major. Standard tuning.
AABB. Composed by William MacKay. ‘Dragon’ is thought to mean a kite, and
Anslem Lingnau points out that in German both the fearsome mythical beast and
the flying toy are called “drachen.” The melody appears to be earliest
published as “The 72nd’s Farewel to Aberdeen” in Pipe Major William
Ross’s 1885 collection. Cranford (Jerry Holland: The Second Collection),
2000; No. 89, pg. 36. Songer (Portland
Collection), 1997; pg. 38. William Ross’s Collection of Pipe Music,
1885.
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:The Boy's Lament for his Dragon
T:The 72nd's Farewell to
Z:Nigel Gatherer
L:1/8
M:2/4
B:The Jimmy Shand Bagpipe March Book
K:D
f|Ad de/>f/|g/>f/e/>d/ f2|gB Bc/>d/|e/>f/e/>c/ A2|Ad de/>f/|
g/>f/e/>d/ f2|gB f/>e/d/>c/ d2 d::f/g/|aA A=c|BG A>B|
Ad
Ad|e/>d/c/>B/ Af/>g/|aA A=c|BG A>B|Ad f/>e/d/>c/ d2 d:|]
BOYS, MY MONEY'S ALL
GONE [1]. Old‑Time, Breakdown. A Dorian
or Mixolydian/Dorian. Standard tuning. AABB. Source for notated version: Charlie Bowman
[Phillips]. Kaufman (Beginning Old Time
Fiddle), 1977; pg. 97. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 35. Reiner (Anthology of Fiddle Styles), 1979; pg. 97. County
Records 507, Charlie Bowman ‑ "Old Time Fiddle Classics."
BOYS, MY MONEY'S ALL
GONE [2]. Old‑Time, Breakdown. D Major.
Standard tuning. AB. Sources for notated version: Scott Marckx, Meannie Murphy
[Silberberg]. Silberberg (Tunes I Learned from Tractor Tavern), 2002;
pg. 16. Bobville Records 1, “The Red Hots.” Flying
Fish 271, Bertram Levy – “That Old Gut Feeling.” Cassette, “Pilot Mountain
Bobcats” (1994). Jeanie Murphy & Scot Marx – “The Time’s Been Sweet”
(2001).
BOYS OF ANTRIM, THE.
Americah, Jig. D Major. Standard tuning. AB. Composed by Peterborough,
New Hampshire, contra-dance keyboard musician and composer Bob McQuillen. The
title does not reference County Antrim in Ireland, but rather probably refers
to Randy and Rodney Miller, musicians from Antrim, New Hampshire. McQuillen (Bob’s Note Book, #6), 1982. Miller (Fiddler’s Throne), 2004; No. 13, pg. 21.
BOYS OF BALBRIGGEN, THE. 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).
BOYS OF BALLINAFAD, THE (Na Buacailli O Beo-An-Ata-Fada). AKA and see “Teviot Bridge/Brig.” Irish, Double Jig. A
Major (O’Neill): D Major (Miller). Standard tuning. AABB. An Irish version of
the Scottish jig “Teviot Bridge/Brig”. Scottish printed versions predate
O’Neill’s collections. Miller (Fiddler’s
Throne), 2004; No. 14, pg. 22. O'Neill (Krassen), 1976; pg. 55. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 978, pg. 182. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 195, pg. 46.
X:1
T:Boys of Ballinafad, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 195
Z:AK/Fiddler’s Companion
K:A
f|ecA AcA|ecA F2A|EFA ABc|edc
B2f|ecA AcA|F2A E2c|d2f ecA|BAA A2:|
|:f|ecA Ace|fde fga|ecA AGA|BGE
Ecd|ecA Ace|fde fga|edc BAB|cAA A2:|
BOYS OF BALLINAHINCH. AKA and see “Humours of Ballinahinch,” "Mullin's Fancy,” “Packie Dolan’s,” “Rising Sun [6],” “Strawberry Blossom [1]."
Irish, Reel. D Major. Standard tuning. AB. See also the related slide form “Christmas Eve [3].” Source for
notated version: accordion player John Ferguson [Bulmer & Sharpley]. Bulmer
& Sharpley (Music from Ireland),
1974, vol. 2, No. 15. Coleman Music Center CHC 009,
fiddler Fred Finn – “The Coleman Archive, vol. 2: The Home Place” (2005.
Various artists). Real World CAROL 2324-2, “Music at Matt Molloy’s” (1992.
Various artists).
See also listing at:
Alan Ng’s Irishtune.info |
X:1
T:Christmas Eve
T:O\’iche Nollaig
T:Strawberry Blossom, The
T:Boyss of Ballynahinch, The
R:reel
H:Also as a slide, #41
D:Paul McGrattan: The Frost is all
Over
D:M\’iche\’al \’OS\’uilleabh\’ain:
The Dolphin’s Way
Z:id:hn-reel-719
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
ag|fAdf edBA|(3Bcd ef geag|fAdf
edge|dBAG FAdA|
defd edBA|(3Bcd ef geag|fAdf
edge|dBAG FAde||
faaf dAde|faaf ~g3e|f2ab afdf|gfed
~B2A2|
faaf dAde|faaf ~g3a|bgaf gfed|(3Bcd
ef ge||
BOYS OF BALLINAMORE, THE (Na Buacaillide Ua Beal-an-Ata-Moir). Irish, Double Jig. G Major/D
Mixolydian. Standard tuning. AB. O’Neill had the tune from a seventeen year old
fiddler named George West, who, though gifted musically, was somewhat indigent
and did not own a fiddle. He had formed a symbiotic musical relationship of
sorts with one O’Malley, who did own a fiddle and who eked out a meager living
playing house parties despite the loss of a finger from his left hand.
O’Malley, however, invariable could only make it to midnight before he got too
drunk to bow, at which time West took over his fiddle and finished the night’s
engagement. “Thus lived the careless, improvident but talented Georgie, until
an incident in his life rendered a trip to the far west advisable."
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 937, pg. 174.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 167, pg. 42.
X:1
T:Boys of Ballinamore, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 167
Z:AK/Fiddler’s Companion
K:D Mix
|:d/B/|cAF G2G|ABc AdB|cAF GFG|Ade
fed|cAF G2G|ABc AdB|cAF GFG|Ad^c d2:|
|:g|fed efg|ecc gcc|fed efg|age
d2d/e/|fed efg|ecc gcc|faf e/f/ge|d2e fed:|
BOYS OF BALLINCHALLA, THE (Buacailli Baile-An-Cala). Irish, Reel. G Major. Standard
tuning. AB. O'Neill (Krassen), 1976; pg. 101. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1227, pg. 231. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 503, pg. 95.
X:1
T:Boys of Ballinchalla, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 503
Z:AK/Fiddler’s Companion
K:G
dc|B>G (3GGG BGdc|B>G (3GGG d2
cB|c>A (3AAA cAeA|c>A (3AAA e2 dc|
B>G (3GGG BGdc|B>G (3GGG d2
cB|cedc BGAF|DGGF G2||BA|
Gggf gedB|Gggf gedB|Aaa^g aecB|Aaa^g
aecA| Gggf gedB|Gg gf gfga|gfef gfeg|bgaf gedB||
BOYS OF
BALLISODARE/BALLISIDARE. See "Boys of Ballysadare."
BOYS OF BALLYCAHILL. Irish, Hornpipe. D Major. Standard tuning. AABB. Roche Collection, 1982; vol. III, pg. 63, No. 180.
BOYS OF BALLYCASTLE. AKA and see “Gypsy’s Hornpipe
[2],” “Leggett’s Reel.” Irish,
Reel or Hornpipe. E Minor. Standard tuning. AABB. O’Neill (1922) says of his
source: “It may be remarked that Mr. Dunne was a farmer of the townland
of Kilbraugh not far from Thurles, Tipperary. From his wonderful repertory of
dance tunes, generously contributed some years ago, many have been selected.”
In Scotland and England the tune is known as “The Gypsie’s/Gypsy’s Hornpipe,”
one of several by that title. The Scottish Kerr’s vol. 1 has the tune as
“Leggett’s Reel” but places it in a section of Irish reels for quadrille or
country dancing. Source for
notated version: the Patrick Dunne manuscript [O’Neill]. Carlin (Master Collection), 1984; No. 205, pg.
121. O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 321. Songer (Portland
Collection), 1997; pg. 39. Green Linnett SIF1052,
Kevin Burke - “Up Close.”
X:1
T:Boys of Ballycastle
M:4/4
L:1/8
S:Pat. Dunne, manuscript
Z:Paul Kinder
R:Hornpipe
K:E Minor
ef|gfed edBd|edeg B2 sBAs|G2 sGAs BABd|e2 A2 A2 ga| bagf gfed|edeg B2 sBAs|G2 sGAs BcBA|G2 E2 E2:|
|:gf|e2 B2 B2 sgfs|e2 B2 B2 sgfs|e2 sefs gfga|b2 e2 e2 ga| bagf gfed|edeg B2 sBAs|G2 sGAs BcBA|G2 E2 E2:||
BOYS OF
BALLYSADARE/BALLYSODARE [1], THE
(Buacailli Baile-Easa-Dara). AKA – “Boys of Ballisodare.” Irish, Slip Jig (9/8 time). G Major.
Standard tuning. One part (O'Neill/1915 & Krassen): AB (O'Neill/1850 &
1001): AABB (Mallinson, Tubridy). Cranitch (Irish
Fiddle Book), 1996; No. 33, pg. 138. Cranitch (Irish Session Tunes: Red Book), 2000; 33. Mallinson (Enduring), 1995; No. 89, pg. 37 (appears
as “Boys of Ballisodare”). O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 217, pg. 116. O'Neill (Krassen), 1976; pg. 81.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1134, pg. 214. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 423, pg. 84. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 38. Vallely (Learn to Play the Tin
Whistle with the Armagh Pipers Club), vol. 2; 12. Green
Linnet SIF‑1110, Martin Wynne ‑ "My Love is in America: The
Boston College Irish Fiddle Festival" (1991).
X:1
T:Boys of Ballysadare [1]
M:9/8
L:1/8
R:Slip Jig
K:G
|:D2G G2A B2d|ege d2e .g3|D2G G2A B2G|AGA B2G E2D|D2G G2A B2d| ege d2e g2a|b2a g2e d2B|~A3 B2G E2D:|
|:B2d {e}d2B d2B|d3 d2f g3|B2d d2B d2B|AGA B2G E2D|B2d d2B d2B|d3 def g2a| b2a g2e d2B|AGA B2G E2D:|
BOYS OF BALLYSADARE
[2], THE. AKA and see "The Dublin Lasses [1]," "Douse the Monkey," “(A) Galway Reel [6],” "Miss Roden's Reel," "Miss Roddy's," "Last Night's Work," "The Eve." Irish, Reel. G Major. Standard tuning.
ABC (Harker/Rafferty, O’Neill, Taylor, Tubridy): ABCDEF (Mitchell). Ballysadare
(locally spelled Ballisodare, from the Irish Baile Easa Dara, meaning ‘the town of the waterfall by the oak’) is
a parish and a village in County Sligo. It lies on an estuary, one of three
forming Sligo Harbour, and is fed by the Owenmore River, with rapids and falls
descending to the bay. Ballysodare is a popular traditional music venue. St.
Feichin of Fore established a monastery at Ballysodare in the 7th
century, replaced by a 13th century church and incorporates 12th
century features, including a doorway and mouldings at the corners. Older
publications list the tune generally as "The Dublin Lasses." David
Taylor (1992) says the tune has "distinct connotations" with the
melody "Last Night's Fun [4]" (as opposed to the alternate title
above, "Last Night's Work"). It was recorded by Irish fiddle master
Michael Coleman (Co. Sligo and New York) in 1922 as "Miss Roddy's.”
Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay,
west Clare) [Mitchell]; sessions at the Regent Hotel, Leeds, England [Bulmer
& Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill,
Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 13 (appears as “Boys of
Ballisodare”). Harker (300 Tunes from Mike Rafferty), 2005; No. 35, pg. 11.
Mallinson (Essential), 1995; No. 46,
pg. 20. Mitchell (Dance Music of Willie
Clancy), 1993; No. 53, pg. 60. O'Neill (Krassen), 1976; pg. 119. Taylor (Through the Half‑Door), 1992; No.
22, pg. 17. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 1. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 21. Coleman
Center CD CC004, Seamus Quinn & James McDonagh – “The Mountain Road” (1999.
Various artists. “A Compilation of tunes popular in South Sligo”). Flying Fish
FF 266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead"
(1982). Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). Nimbus
NI 5320, Tommy Peoples - “Irish Traditinal Music from Donegal” (1991).
Shanachie 29009, "Andy McGann & Paul Brady" (learned from Tim
Fitzpatrick). Shaskeen ‑ "Shaskeen Live." Shanachie 34014,
James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of
Ireland” (1995). Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs
and Hornpipes" (1990. Learned from the Topic records anthology "The
Breeze of Erin" {where it appears as "The Eve"}). Talcon Records
KG240, Paddy Cronin – “The House in the Glen” (197?).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boys of Ballysadare, The [2]
L:1/8
M:C|
K:G
B|dG G2 dGeG|dGGA BAAB|dG G2
dedB|AcBA GEDB| dG G2 dGeG|dGGA BA A2|Gddg eBdB|AcBA GE D2||
g3a bgaf|g3 a bgef|g2 ga bgaf|gfed
Bdef|g3 a bgaf|gfga bgeg| bgaf gedB|AcBA GE D2||
Bddd Bdgd|Bdgd BA A2|Bddd eBdB|AcBA
GE D2| Bddd Bdgd|Bdgd BAAB|dBBA B2 BG|AcBA GE D||
BOYS OF BALLYSCALLY, THE (Buachaillí Bhaile Uí Scalaigh). Irish, Double Jig. G Major.
Standard tuning. AABB. Source for notated version: Bernard Bogue (Co. Tyrone)
[Breathnach]. Breathnach (CRE IV),
1996; No. 19, pg. 11.
BOYS OF BALLYSIMON, THE. AKA and see “Poll Ha’penny [2],” “The Stranger [1].” Irish, Hornpipe. D
Major. Standard tuning. AABBCCDD. Source for notated version: Chicago fiddler,
originally from County Tipperary, who was also a machinest, weaver and
composer. O’Neill said of him: “…he would play on for hours at a time such
tunes as memory presented, his features while so engaged remaining as set and
impassive as the sphinx…it was his open boast that he never forgot nor forgave
an injury” [O’Neill]. Edward Cronin [O’Neill]. O'Neill (Krassen), 1976; pg.
176. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1594, pg. 295.
X:1
T:Boys of Ballysimon, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1594
Z:AK/Fiddler’s Companion
K:D
(dc) | BAGB ABcA | dcAF G2 (FG) |
AFDE FAGF | D2 (DE) D2 (dc) |
Bc (3BAG ABcA | dcAF G2 (FG) | AFDE
FAGE | D2 DE D2 :|
|: (FG) | Addg fgfd | efed cBcA | Addg
fgfd | efec d2 (dc) | BAGB ABcA |
dcAF G2 (FG) | AFDE FAGE | D2 DE D2
:|
|: (dc) | Bc (3BAG AGFG | ABcA f2
(ed) | ecAF GBAF | D2 (DE) D2 (dc) |
BGGB cBAG | AGFG g2 (fg) | ecAF GBAF
| D2 DE D2 :|
|: (FG) | Adeg fgfd | efed cAGF |
Adde fgfd | efec defg | agfa gfef |
defd cBAG | AFDE FAGE | D2 DE D2 :|
BOYS OF BLUEHILL, THE (Buacailli Ua Cnoc-Gorm). AKA ‑ "Beaux of Oak Hill [1]," “Boys of North Tyne,” "Lads of North Tyne," "Silver Lake [4]" (Pa.), "Jenny Baker," "Lonesome Katy,” “Two Sisters [1],” “Twin Sisters [3]." Irish, Reel or
Hornpipe. D Major. Standard tuning. AABB (most versions): AA’B (Moylan).
O’Neill (who said the melody was unknown to Chicago Irish musicians beforehand)
had the tune from a seventeen year old fiddler named George West, who, though
gifted musically, was somewhat indigent and did not own a fiddle. He had formed
a symbiotic musical relationship of sorts with one O’Malley, who did own a
fiddle and who eked out a meagre living playing house parties despite the loss
of a finger from his left hand. O’Malley, however, invariably could only make
it to midnight before he became too inebriated to bow, at which time West took
over his fiddle and finished the night’s engagement. “Thus lived the careless,
improvident but talented Georgie, until an incident in his life rendered a trip
to the far West advisable." Early American recorded versions on 78 RPM’s
give the title as “Boys from the Hill” and “Slieve Gorm.” Fiddler Tommy
Dandurand (Chicago/Kankakee,
***
There are ‘Blue Hills’ in many
regions of the world, including
***
Interestingly, there’s some evidence
of the melody travelling back to Ireland from American (i.e. non-O’Neill’s)
sources. A reel called "Keep the Old Ark Rolling" appears on Pádraic
Mac Mathúna’s album “Blas na Meala,” a variant of “The Boys of Bluehill.” The
liner notes to the album, by Séan Potts, state that it's "one of the many
tunes brought to the US by Irish immigrants.
The titles and rhythms were often changed to suit the American country
style. The melody is almost identical
to the Irish hornpipe, The Boys of Bluehill. Pádraic got the tune from two
musical friends in
***
Sources for notated versions: George West, who had learned it
from a strolling fiddler named O’Brien [O’Neill]; accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan].
***
Print
Sources: Allan's Irish Fiddler, No. 74, pg. 19. Brody (Fiddler’s Fakebook), 1983; pg. 54.
Cranitch (Irish Fiddle Tunes), 1996;
pgs. 73 & 75. Kennedy (Fiddlers Tune
Book), vol. 1, 1951; No. 14, pg. 7 (appears as "Beaux of
Oakhill"). Lerwick (Kilted Fiddler),
1985; pg. 56. Moylan (Johnny O’Leary),
1994; No. 120, pg. 70. O’Malley (Luke
O’Malley’s Collection of Irish Music), 1976; No. 112, pg. 56. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
355, pg. 173. O'Neill (Krassen), 1976; pg. 197. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 898. Roche Collection, 1982; vol. III, pg.
64, #183. Spandaro (10 Cents a Dance),
1980; pg. 11. Sweet (Fifer’s Delight),
1964; pg. 69. Tubridy (Irish Traditional
Music, vol. 1), 1999; pg. 13.
***
Recorded Sources: Copley DWL‑9‑617,
Jack Wade‑ "Ceili Music of Ireland." Folkways FG 3575, Barry,
Gorman, Ennis, and Heaney‑ "Irish Music in London Pubs."
Gael-Linn CEF132, Johnny O’Leary “An Calmfhear/The Trooper” (1989). Topic TSCD
602, Pat Roche’s Harp & Shamrock Orchestra – “Irish Dance Music” (1995. A
reissue of the original 1934 recording).
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:Boys of Bluehill, The - Variations
M:4/4
L:1/8
S:Philippe Varlet
N:”These are just a few possible
variations derived on the spur of the moment.”
R:hornpipe
Z:Philippe Varlet
K:D
FA |{d}BAFA D2 FA | {d}BA (3Bcd e2
de | fa{b}af egfe | dfed B2 dB |
{d}BAFA DA FA | {d}BA (3Bcd e2 de |
fa{b}af ef{a}fe | d2 {e}dc dDFA |
{d}BAFA DAFA | {d}BA (3Bcd eAde |
fdaf {a}gfef | defd B2 GB |
{d}BAFE DEFA | {d}BAfd e2 de |~f3 a
ea{fa}fe | df (3edc defg ||
afdf a2 af | {a}gfga b2 ag | fa{b}af
(3efg fe | dfed B2 dB |
{d}BAFD A,DFA | Bcdf e2 de | (3fga
fa {ga}gece | dd{e}dc defg |
~a3 f dfaf | gfef gbag | {e}f2 af
efde | fded BcdB |
{d}BAFA D3 B | {d}BA (3Bcd ea{b}ag |
(3faf df eAce |df (3edc d4 ||
BOYS
OF BOCKHILL/ROCKHILL. AKA and see "Billy Patterson(‘s Favorite),"
"Catholic Boys [3],” "The Blackthorn Stick [1]," “Coach Road to Sligo [1],” "Fire on the Mountain(s) [2]"
(floating title), "Humors of
Bantry,” “Maid on the Green.”
Irish, Jig. G Major. Standard tuning. AABB. Usually known as “The Blackthorn
Stick” in modern times. County Sligo fiddler Paddy Killoran recorded a variant
in New York in the 78 RPM era called “The Coach Road to Sligo,” and O’Neill
printed the melody as “The Humors of Bantry.” Cole (1000 Fiddle Tunes), 1940; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 80. White’s Unique Collection, 1896; No. 26, pg. 5.
X: 1
T:Boys of Bockhill Jig, The
M:6/8
L:1/8
R:Jig
S:White’s Unique Collection (1896), No. 26
Z:AK/Fiddler’s Companion
K:G
d | (gfg)
(e/f/ge) | dBG AGE | DGG AGA | BAB ABd |
(gfg)
(e/f/ge) | dBG AGE | DGG AGA | BGG [B,2G2] :|
|: d | ede
gdd | edd gdd | (e>gf/a/) gfe | dBG AFD |
(gfg) (e/f/ge) | dBG AGE | (DG)G
(A/B/c).A | (BG)G [B,2G2] :|
BOYS OF CAPPOQUIN, THE (Buacailli Ceapac-Cuinn). AKA and see "The Boy in the Gaf," “The Boys in the Gap [1].” Irish, Reel. D Major.
Standard tuning. AAB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1364, pg. 254. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 617, pg. 112.
X:1
T:Boys of Cappoquin, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
617
Z:AK/Fiddler’s Companion
K:D
FDFA d2 cA|ABGA EFGE|FDFA d2
cA|(3ABc GE ED D2:|
f/g/f/e/fg fedf|efgf edcB|ABcd
efge|fage ed d2|
f/g/f/e/fg fedf|edef edcB|ABcd
efge|fage ed d2||
BOYS OF CARRIGALLEN, THE (Na buacillide ua carraig-aliunn). Irish, Air (6/8 time, "cheerful").
A Dorian. Standard tuning. AABB. A variant of "Bung Your Eye." Source
for notated version: Chicago Police Sergeant James O’Neill, a fiddler
originally from
X:1
T:Boys of Carrigallen, The
M:6/8
L:1/8
R:Air
N:”Cheerful”
S:O’Neill – Music of Ireland (1903), No. 210
Z:AK/Fiddler’s Companion
K:Amin
E | A2E A>(B/c/d/) | e>de
(A2B/A/) | G2D G>(A/B/c/) | d>cd G2B |
A2E ABd | e2^f g>fg | edc Bcd |
ecA A2 :: a | a^ga A2a | a^ga A2g |
g^fg G2=g | g^fg G2B | c2c d2d |
e^fg a3 | edc Bcd ecA A2 :|
BOYS OF CLONES, THE. AKA and see "Along with the Girls I'd
like to be,” "Bloody oul' hag is it
tay you want?" "The Bog of
Allen," "The Butchers' March
[1]," "The Butchers' Jig."
Irish, Double Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 213, pg. 24.
X:1
T:Boys of Clones, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 213
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
g|fAA eAA|dBA A2g|fAA eAA|dBG
G2g|fAA eAA|
def ({a}g)fg|faf gfe|dBG G2::B|d^cd
BAB|dBA A2B|
d^cd BAB|dBG G2B|d^cd BAB|def
({a}g)fg|faf gfe|dBG G2:|
BOYS OF COOMANORE, THE (Na Buacailli Ua Cum-An-Oir). AKA - “Boys of Cunnamore”? Irish,
Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 65. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1073, pg. 202. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 275, pg. 60. Kells Music 9507, Dervish – “At the End of the Day” (appears
as part of “Packie Duignan Set”).
X:1
T:Boys of Coomanore, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
275
Z:AK/Fiddler’s Companion
K:D
A/G/|F2E FDD|Ddc dAG|F2E FDD|FAF
GFE|FDG FED|Ddc dAG|FAG FGE|FDD D2:|
|:F/G/|ABc d2e|fdf ecA|ABd efg|faf
gfe|ABc d2e|fdf ecA|AGF EAG|FDD D2:|
BOYS OF CUNNAMORE, THE. Irish, Jig. Probably “Boys of Coomanore.” Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy
Cronin" (1977).
BOYS OF CURRAGHMORE, THE. Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 314.
X:1
T:Boys of Curraghmore, The
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Hornpipe
K:D
F>E|D2 D>F A2 FA|d>efe dBAD|G>ABG F2 D>E|F2 E2 E2 F>E|
D2 D>F A2 DF/2A/2|d>efe dBAD|G>ABG F2 DE|D2 D2 D2:|
|:c>d|e2 e>c A2 DF/2A/2|d2 d>c defd|d2 d>B AFDE|F2 E2 E2 F>E|
ADDF
A2 DF/2A/2|d>efe dBAD|G>ABG F2 DE|D2 D2 D2:||
BOYS OF FORTY-FIVE (45). AKA
and see “Doonagore,” “Micko Russell’s Reel [2].”
Irish, Reel. G Major. Standard tuning. AABB. Treoir, vol. 39, No. 1,
2007. Kilfenora Céilí Band – “Set on Stone” (1995).
X:1
T:Boys of ’45, The
M:C|
L:1/8
R:Reel
K:G
DG (3GFG FGAc|BG (3GFG ABcA|d2 cA BG
G2|(3Bcd cA BGAF|DG (3GFG FGAc|
BG (3GFG ABcA|d2 cA BG G2|(3Bcd cA
G3 z::g3e fdde|fdgd fd d2|
g3e fddc|defd g3z|g2 ag fddc|B2 BG
ABcA|d2 cA BG G2|(3Bcd cA G3 z:||
BOYS OF GALWAY, THE (Buacailli Na Gaillaime). Irish, Reel. C Major ('A' part)
& D Dorian ('B' part) {O'Neill/Krassen}: C Major {O'Neill/1850}. Standard
tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). Related tunes are "My Mary Anne" and "The Galway Reel [3]." O’Neill gives
source credit to uilleann piper James Early, a Chicago contemporary. Paul de
Grae believes “My Maryanne” (also in O’Neill’s, sourced to Early’s playing
partner, fiddler John McFadden) is a reworking of the tune. Earlier versions (Goodman,
Levey) can be found as “The Galway Reel.” O'Neill (Krassen), 1976; pg. 122.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1341, pg. 251. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 596, pg. 109.
X:1
T:Boys of Galway, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (596)
Z:AK/Fiddler’s Companion
K:C
B|cded cBAG|Addc dcAB|cded cBAG|AcGE
EDDB|
cded cBAG|Addc dcAB|cABG AFGE|FDGF
EC C||
f|gage {d}cBcd ea{b}ag agef|gage
{d}cBcd|eaag edde|
gage {d}cBcd|ea{b}ag agef|gefd
ecdc|Bcdf ec c:|
BOYS OF GLANLOUGH, THE. Irish, Air (4/4 time, "spirited"). G
Minor. Standard tuning. AB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 356, pg. 62.
X:1
T:Boys of Glanlough, The
M:C
L:1/8
R:Air
N:”Spirited”
S:O’Neill – Music of Ireland (1903), No. 356
Z:AK/Fiddler’s Companion
K:G Minor
G/A/|B>cdg ce dc/A/|G>BAG F3
G/A/|B>cd=e fdc_e|dgg^f g3 G/A/|
B>cdg ce dc/A/|G>BAG F3
G/A/|B>cdg gddB|{d}c>BGG G2 z||G/A/|
B>ABc d>edc|db a/g/f/a/ g3
G/A/|B>ABc d2 g>f|d>edc B2 cd|eggf dB{d}cA|
G>BA F3 G/A/|B>cdg
gddB|{d}c>BGG G2z||
BOYS OF IRELAND, THE. See “The Boys of Wexford.”
BOYS OF KILKENNY, THE. See note for “The Roving Pedlar [2].”
BOYS OF KILSARNE, THE (Buachaillí Chill Sairn). Irish, Reel. G Major. Standard
tuning. ABC. Source for notated version: fiddler Tommy Potts (Ireland)
[Breathnach]. Breathnach (CRÉ I),
1963; No. 76, pg. 35.
X:1
T:Boys of Kilsarne, The
M:4/4
L:1/8
S:Ceol Rince na hÉireann vol.1
R:Reel
Z:Paul Kinder
K:G
D|G3 B A3 F|GBAG FD D2|DGGF
GABc|d^cde fd=cA|!
G3 B A3 F|GBAG FD D2|DGGF GABc|(3dcB
(3cBA BGGA||!
(3BcB GB DBGB|AGFG ABcA|(3BcB GB
DBGB|cAFG AG G2|!
(3BcB GB GBdB|AGFG ABcA|B3 c d^cde|fdcA
BGBd||!
g2 gf gdBd|cBAB cdef|g2 gf gdBd|cedc
BGGd|!
g2 gf gdBd|cBAB cdef|gb (3agf
gedB|cedc BGAF||!
BOYS OF KNOCK, THE. AKA and see “Loudon’s Bonnie
Braes,” “Lord
Moira.” Irish, Schottische. See also Scan Tester’s “Indian Polka.” Topic
TSCD602, (Ed. by Reg Hall) Tom Morrison – “Irish Dance Music” (1995. A reissue
of the 1927 original).
BOYS OF LIMERICK, THE. AKA
and see "Bonnie Kate,"
"The Bonny Lass
of Fisherrow/Fishirron," "Cait
Bhoidheach." Irish, Reel. D Major. Standard. AA'BB'. Kerr (Merry Melodies), vol. 1; No. 33, pg. 39.
BOYS OF LOUGH GOWNA, THE. Irish, Double Jig. G Major/Mixolydian.
Standard. AABB’. This double-tonic tune was composed by County Offaly musician
Paddy O’Brien.
BOYS OF MALIN [1], THE (Buachaillí Mhálanna). Irish, Reel. Ireland, County
Donegal. A Major. Standard. ABC (Breathnach, Cranitch): ABCC (Miller). A popular
reel in County Donegal. Malin, Donegal, is one of the most northerly villages
on the island, and Malin Head is Ireland’s most northerly point. The tip of the
Head is known as Banba’s Crown, the location of a signal tower dating from the
early 1800’s. Breathnach states it should be played ABCB, after John Doherty,
although it is often heard ABC. Source for notated version: fiddler John
Doherty, 1965 (Co. Donegal,Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 132, pg. 71. Cranitch
(Irish Fiddle Book), 1996; No. 61,
pg. 149. Cranitch (Irish Session Tunes:
Red Book), 2000; 61. Miller (Fiddler’s
Throne), 2004; No. 130, pg. 86. Gael-Linn CEF060,
“Paddy Glackin.” Gael-Linn CEF 151, Buttons and Bows – “Gracenotes” (1991).
Nimbus NI 5320, Ciarin Tourish & Dermot McLaughlin - “Fiddle Sticks: Irish
Traditional Music from Donegal” (1991). Nimbus NI 5320, Paula Doohan, Liz
Doherty - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boys of Malin, The [1]
R:reel
D:Paddy Glackin: Ceol ar an bhFidil
le Paddy Glackin.
Z:id:hn-reel-45
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:A
ABcd eAce|fedf edcB|ABcd eAce|1 fdBc
d2cB:|2 fdBc defg||
aA~A2 cAce|~a3g fefg|1 aA~A2
cAce|dcBc defg:|2 afge fdec|dfBc d2cB||
|:Aece Aece|Aece d2cB|Aece Aece|fdBc
d2cB:|
BOYS OF MALLIN [2], THE. Irish,
Reel. B Minor. Standard. AB.
X:1
T:The Boys of Mallin [2]
D:Buttons and Bows: 'Grace Notes'
1991
Z:Nigel Gatherer
M:4/4
L:1/8
K:Bm (2 sharps)
Bfdf Bfdf|Bfdf e2 dc|Bfdf Bfdf|ecAc
ecdc:|
Bcde f2df|g2eg fedc|Bcde f2df|ecAc
ecdc|
Bcde f2df|g2eg fedc|Bcde f2df|ecAc
efga||
bB B/B/B fBdF|b2ba fefa|bB B/B/B
fBdf|ecAc efga|
bB B/B/B fBdF|b2ba fefa|bgaf
gefd|ecAc e2dc|]
BOYS OF MULLAGHBAWN, THE. Irish, Air (4/4 time). E Minor. Standard. One part. "I obtained the air of this song from Mr. Patrick O'Leary of Graignamanagh, Co. Kilkenny, who himself got it from Mr. M. Nulty, National School teacher of Carrickmacross, Co. Monaghan. An almost identical setting was sent to me by an unnamed correspondent in Dundalk. Coupling this with the song, we may take it that it is an Ulster melody. The Mullaghbawn commemorated in this air and song is a mountain parish in the southern corner of the Co. Armagh, between Slieve Gullion and Forkhill. It is now remarkable for its prosperous native industries (described in 'Irish Rural Life and Industry,' 1907; p. 170, by the editor, W.T.M.‑F.); as it was formerly noted for its rural social amusements. Mr. W. T. Macartney‑Filgate of Dublin, who knows Mullaghbawn well, has sent me two copies of the song, as well as some particulars regarding it; but I have since found, in my own collection, two other copies printed on ballad‑sheets, which I had overlooked. It is all about a number of young men of Mullaghbawn who were either transported for some illegal practices (about 1798) or seized and sent on board ship by a pressgang. The song is very characteristic of the Irish 'unlettered Muse'" (Joyce).
***
Ó Boyle gives more about the area and the 'troubles'. Mullaghbawn in the late 18th century in the estate of a local Squire named Richard Johnson, who, in an era of absentee landlordism, actually lived on his estate. Moreover, he was a good manager and encouraged the populace in the region to make the most of their land. In his will he bequeathed sums for the poorest and oldest of his tenants, and this trust is still in existence today. It is not totally surprising that he is still remembered in the area for his acts and example of beneficial caretaking. His successor was not so well liked or admired, and four years after Squire Johnson's death the 'troubles' of 1798 began. The protagonists of the song, transported for their crimes, are popularly thought to have been heroes of the '98 rising, however, Ó Boyle mentions an article by Thomas Wall in Ceol (vol. III, No. 2, 1968) in which it is suggested that they may have been transported for the attempted abduction of an heiress.
***
On a Monday morning early as my wand'ring
steps did lead me
Down by a farmer's station of meadow and
green lawn;
I heard great lamentation that the wee birds they were making,
Saying: "We'll have no more engagements with the Boys of Mullaghbawn."
***
Joyce (Old Irish Folk Music and Song), 1909; No. 397, pg. 206. Ó Boyle (The Irish Song Tradition), 1976; pg. 52.
BOYS OF NORTH TYNE. See “Boys of Bluehill,” “Beaux of Oak Hill [1],” “Lads of North Tyne.”
BOYS OF OUR TOWN, THE. Scottish, Strathspey. D Major. Standard
tuning. AABB. The tune just below this on the page is “The Girls of Our Town.”
Kerr (Merry Melodies), vol. 4; No.
80, pg. 11.
X:1
T:Boys of Our Town, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 80
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
d<d B>d A>FD>F | G<B
A>F (E2 E)A | d<d B>d A>FD>F | G<B F>E (D2 D)A :|
|: d>ef>g a>fd>c |
B<B g>f (e2 e)f | d<d B>d A>FD>F | G<B F>E (D2 D)A :|
BOYS OF PORTAFERRY, THE (Buacailli Puirt An Calad). AKA and see "The Sporting Boys [1]," "The Pullet [1]." Irish, Reel. G Major. Standard
tuning. AB. David Taylor (1992) traces the tune and its relatives to the
apparent root melody, a Scottish tune called "Pigeon on the Gale" (not to be
confused with the similarly titled modern tune "Pigeon on the Gate").
The word 'gale' not only means a strong wind but also is the name for a bog‑plant,
also called 'sweet‑gale', and either meaning may have been the one
intended. Related tunes include "The
Red‑Haired Lass" and "Shearing the Sheep," while
the 'B' part is inter-changeable with the same part in both "The Primrose Lass" and "The Brown‑Eyed Girl"
(although the 'A' parts are quite different). Source for notated version: New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Flaherty (Trip to Sligo),
pg. 105a (appears as "Unknown"). Harker (300 Tunes from Mike Rafferty), 2005; No. 106, pg. 33. O'Neill
(Krassen), 1976; pg. 105. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1249, pg. 235. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 521, pg. 98. Taylor (Crossroads
Dance), 1992; No. 8, pg. 8. Green Linnet GLCD
1175, Cherish the Ladies – “New Day Dawning.” Green Linnet GLCD 1187, Cherish
the Ladies – “One and All: the Best of Cherish the Ladies” (1998).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boys of Portaferry, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 521
Z:AK/Fiddler’s Companion
K:G
BA|G2 BG AcBA|G2 BG GEDE|G2 BG ABce|dBgB c2 BA|G2 BG AcBA|
G2 BG GEDE|G2 BG ABce|dBAB
G2||GA|Bdgd edgd|Bdgd e2 dc|Bdgd edef|
GedB c2 BA|Bdgd edgd|Bdgd e2 dc|Bdgd
egfa|gedB c2||
X:2
T:Boys of Portaferry, The
T:Sporting Boys, The
T:Pullet, The
R:reel
D:Planxty
Z:id:hn-reel-215
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
G2BG AGBA|G2BG GEDE|G2BG A2Bc|1 dBGB c2BA:|2 dBAB G3A||
|:3Bcd gd edgd|(3Bcd gd e2dc|(3Bcd gd edef|1 gedB c2BA:|2 gedB c2BA||
“Variations:”
G2~G2 AcBA|B2AG GEDE|1 G2BG AGcA|dBGB cAAB:|2 ~G3B ~A3B|dBAB G3A||
|:Bdgd edgd|Bdgd egdc|1 Bdgd ~e3f|gedB cAAc:|2 Bdgd egfa|gedB cAAB||
“Version 2:”
|:~G3B A2BA|~G3A BEDE|~G3B A2Bc|1 dBGB c2BA:|2 dBAB G3A||
|:(3Bcd gd edgd|Bdgd (3efe dc|1 (3Bcd gd edef|gedB c2BA:|2
(3Bcd ef ~g3a|gedB c2BA||
BOYS OF ROCKHILL. AKA and see "The
Coach Road to Sligo [1]," "Billy Patterson,"
"The Humours of Bantry,"
"The Blackthorn Stick [1],"
"The Rose on the Mountain
[1]," "The Fire
on the Mountain(s) [2]," "The
Maid(en) on the Green," "The
Eagle's Nest," "The
Catholic Boys [2]," "Fire
in the Valley."
BOYS OF SANDY ROW.
BOYS OF TANDRAGEE, THE. AKA – “Boys of Tandernagee.” AKA and see “Burke’s Jig [2],” “Paddy O’Carroll’s [2],” “Rollicking Boys around
Tandernagee.” Irish, Jig. E Minor. Standard. AB (Moylan): AA’BB (Songer).
Sources for notated versions: Joe Burke via accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Dan Compton (Portland,
Oregon) who learned it from the Harrington/O’Sullivan recording [Songer].
Flaherty (Trip to Sligo), 1990; pg.
82. Songer (Portland), 1997; pg. 39.
Moylan (Johnny O’Leary), 1994; No.
235, pgs. 136-137. Gerry Harrington & Eoghan
O’Sullivan - “Sceal Eile.”
X:1
T:Boys
of Tandernagee, The
T:Rollicking Boys around Tandernagee, The
R:jig
D:Arcady
D:Tommy Keane & Jacqueline McCarthy: The Wind among the Reeds
Z:id:hn-jig-152
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
K:Edor
~B3 ~E3|~B3 d2B|~A3 DED|AFD FGA|~B3 ~E3|BAB def|edB AFA|BEE E2A:|
Bee efe|def afd|edd dcd|Bcd dBA|Bee efe|def afd|edB AFA|BEE E2A:|
BOYS OF TANDERNAGEE. See “Boys
of Tandragee.”
BOYS OF THE BUNCH. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABB
(x5). From the village of North Leigh, Oxfordshire, England. There is a dance
of this name from Ducklington, also called "Lads A‑Bunchum,"
danced to another tune. Bacon (The Morris
Ring), 1974; pg. 22.
BOYS OF THE COUNTY ARMAGH. Irish, Waltz.
BOYS OF THE HILLTOP. AKA and see “Hilltop.”
BOYS OF THE LAKE [1]
(Buachailli an Locha). Irish, Reel. G Major. Standard tuning. AA'BB'. This is not the more
famous "Boys of the Lake." Source for notated version: flute and
whistle player Micko Russell, 1969 (Co. Clare, Ireland) [Breathnach].
Breathnach (CRÉ II), 1976; No. 164,
pg. 86.
BOYS OF THE LAKE [2]. AKA and see "The Merry Blacksmith," “Emminence Breakdown,” "Ike Forrester's Reel [1],"
"Paddy on the Railway,"
"The Corkonian," "The Peeler's Jacket [1],"
"The Police Jacket," "The Railroad [2]," "The Shepherd in/on the Gap,"
"The Peeler's/Policeman's Reel." Irish, Reel. D
Major. Standard tuning. AB. Source for notated version: obtained “about 20
years ago from Mr. M. Flanagoan of the Hibernian Military School, Phoenix Park,
Dublin, a good player on the Union pipes. Mr. Flanagan picked them up in North
Kildare” [Joyce]. Joyce (Old Irish Folk
Music), 1909; No. 360, pg. 166.
X:1
T:Boys of the Lake [2]
T:Merry Blacksmith
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:D
A | d dA BAFA | AFdA BAFA | ABde f2
ed | Beed Beef |
d2A2 BAFA | AFdA BAFA | ABde f2 ec |
dBAF D3 || f |
ac’ag fafe | d3 A BAFA | ABde f2 ed
| Beed Beef |
ac’ag fafe | d3 A BAFA | ABde f2 ec
| dBAF D3 ||
BOYS OF THE LAKE [3],
THE. Canadian,
Jig. Canada, Cape Breton. D Major/Mixolydian. Standard. AABB’. A ‘double-tonic’
tune composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
53. Rounder CD 1161-7033-2, Natalie MacMaster – “My
Roots are Showing” (2000. Learned from the recordings of Angus Chisholm).
BOYS OF THE LOUGH, THE (Buachaillí na Locha). AKA and see "Rakes of Clonmel [2]," "Barrel Rafferty's Reel," “Jerome’s Farewell to
Gibraltar,” "Johnstown Reel,"
"The Rose of Castletown."
Irish, Reel. D Major. Standard tuning. AAB (Flaherty): AABB (Brody, Allan's):
AABB’ (Cranford/Holland): ABCD (Breathnach): ABCDEFGHIJKL (Miller). A very
popular reel in Ireland, say the group Boys of the Lough. “Boys of the
Lough” was popularized by fiddler Michael Coleman, originally from Kilavil,
County Sligo, although the melody was “ever part of the local …repertoire,”
according to Blooming Meadows (1998)
authors Charlie Piggott and Fintan Vallely. Coleman (1891-1945) recorded the
tune in 1922 in New York. O’Neill
(in 400 Choice Selections) prints the
tune under the title “Johnstown Reel,” while Roche has a version called “The
Rose of Castletown.” See also similarly titled "Boys From the Lough." “Barrell Rafferty’s
Reel”/”Master McDermott” is a related tune, as is the Canadian “Jerome’s
Farewell to Gibraltar,” popularised under that title by radio and TV fiddler
Don Messer. Sources for notated versions: fiddler Tommy Potts (Ireland)
[Breathnach]; fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo, Ireland)
[Flaherty]. Allan's Irish Fiddler,
No. 37, pg. 9. Boys of the Lough,
1977, pg. 1. Breathnach (CRÉ I),
1963; No. 159, pg. 63. Brody (Fiddler’s
Fakebook), 1983; pg. 54. Cranford (Jerry Holland: The Second Collection),
2000; No. 91, pg. 36. Flaherty (Trip to
Sligo), 1990; pg. 63. Lyth (Bowing
Styles in Irish Fiddle Playing), vol. 1, 1981; 41 & 42. Miller &
Perron (Irish Traditional Fiddle Music),
1977; vol. 2, No. 51. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 53. Coleman Center CD CC004, Peter Horan – “The Mountain Road”
(1999. Various artists. “A Compilation of tunes popular in South Sligo”).
Coleman Music Center CHC 009, fiddler Pake Spellman (d. 1969, from Doocastle
area) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).
Green Linnett SIF 3008, “Matt Molloy.” IRC Records, Michael Coleman - “Musical
Glory of Old Sligo” (1967). Maggie's Music 107, "Music in the Great
Hall" (1992). MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000.
Learned from a recording by fiddler Sean McGuire). Mulligan‑Lun 004,
"Matt Molloy." Rounder Records 7057, Jerry Holland – “Parlor Music”
(2005). Trailer LER 2086, The Boys of the Lough‑ "First Album."
Victor 21593B (78 RPM), Ed Reavy (1927).
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:Boys of the Lough, The
M:C
L:1/8
K:D Major
dB | AF (3FFF AFAB | defd B3 d | AF
(3FFF dF (3FFF | EDEF E2dB |
AF (3FEF A2 AB | defd B3 d | AF
(3FFF dF (3FFF | EDEF E2dB ||
AF (3FEF A2 AB | defd dcdB | AF
(3FFF dF (3FFF | EG (3FED DFGB |
AF (3FEF A2 AB | defd B3 d | AF
(3FFF dF (3FFF | GFEG FDDg ||
fg (3agf gfec | defd dcdB | AF (3FFF
dF (3FFF | EDEF E2FE |
D2 af gfec | decd BcdB | AF (3FFF dF
(3FFF | GFEG FDDg ||
fgaf gfec | defd B3 d | AF (3FFF
ABde | (3fef gf e2 fg |
(3agf (3gfe fdec | (3dcB (3cBA BcdB
| AF (3FFF dF (3FFF | EGFE DEFG ||
(3ABA FA A2 FA|defd (3cBA Bd|AF
(3FFF dF (3FFF|EDEF E2dB|
AF (3FEF A2 AB|defd B3 d|AF (3FFF dF
(3FFF|EDEF E2dB||
AF (3FEF A2 AB|defd B3 d|AF (3FFF AF
DF|(3GFE (3FED CDEF|
(3ABA FA A2 FA|de fd (3cBA Bd|AF
(3FFF dF (3FFF|GFEG FDDg||
fg (3agf gfec|dB (3BAB GB (3BAB|AF
(3FFF dF (3FFF|EDEF E2FE|
D2 af gfec|(3dcB (3cBA BcdB|AF (3FFF
dF (3FFF|GEEG FDDg||
fg (3agf gfec|defd dcdB|AF (3FFF ABde|(3fef
gf e2fg|
(3agf (3gfe fdec|(3dcB (3cBA BcdB|AF
(3FFF dF (3FFF|EA,CE DEFA||
(3ABA FA DAFA|(3ded cd B2 dB|AF
(3FFF AFDF|(3GFE (3FED CDEF|
(3ABA FA DAFA|defd BdcB|AF (3FFF dF
(3FFF|EA,CE D2 dB||
AF (3FFF AFAB|defd B3 d|AF (3FFF dF
(3FFF|AF (3FFF EFGB|
AF (3FFF A2 AB|defd BABd|AF (3FFF dF
(3FFF|GFEG FDDg||
fgaf gfec|defd BABd|AF (3FFF dF
(3FFF|(3GFE (3FED EG FE|
D2 af gfec|d2 c2 BABd|AF (3FFF dF
(3FFF|GFEG FDDg||
fgaf gfec|defd B3 d|AF (3FFF
ABde|fdgf e2 fg|
(3agf (3gfe fdec|(3dcB (3cBA BcdB|AF
(3FFF dF (3FFF|EDEF D2||
BOYS OF THE TOWN [1], THE (Buacailli an Baile Moir). AKA and see “Miltown Jig.” Irish, Double Jig. G Major.
Standard tuning. AAB (O'Neill/1915, Tubridy): AABB' (O'Neill/Krassen, 1001
& 1850). The second part is similar in parts to “Boys of the Town [2].”
Source for notated version: Chicago fiddler and police sergeant James O’Neill,
who helped Francis O’Neill compile and notate his Music of Ireland [O’Neill]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; pgs. 14, 28, 29. Joyce
(Ancient Irish Music), 1890; No. 91,
pg. 93. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 130, pg. 75. O'Neill (Krassen), 1976; pg. 29. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 825, pg. 154. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 89, pg. 30. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 39. Copely Records 9-119 (78 RPM), Paddy
Cronin (195?). Green Linnet SIF‑3041, Matt Molloy ‑ "Stony
Steps" (1989). Green Linnet SIF‑104, Matt Molloy ‑ "The
Celts Rise Again" (1990). Green Linnet GLCD 1128, Brendan Mulvihill &
Donna Long - “The Morning Dew” (1993). Rounder 7011, "The Beatons of
Mabou: Scottish Violin Music from Cape Breton" (1978). WMT002, Wendy
MacIsaac – “That’s What You Get” (1998?).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boys of the Town, The [1]
M:6/8
L:1/8
R:Jig
K:G
D | ~G3 GBd | edB dBA | ~G3 GBd |
edB AFD | G3 GBd | edB gfg | edB AGA | BGF G2 :|
|: B | def gfg | afd edB | def gfg |
afd e2B | def gfg | afd efg | edB AGA | BGF G2B |
def gfg | afd edB | def gfg | afd
e2B | def gbb | faa efg | edB AGA | BGF G2 ||
BOYS OF THE TOWN [2], THE. Irish, Jig. G Major. Standard tuning. AABB. The
second part is similar in parts to “Boys of the Town [1].” Karen Tweed (1994)
remarks the tune is a “firm favourite” at sessions in Leeds, England, in the
early 1990's. Sources for notated versions: fiddler John McKeown [Feldman &
O’Doherty]; fiddler Sean Walker (Victor, New York) [Miller & Perron].
Feldman & O’Doherty (The Northern
Fiddler), 1978; pg. 229. Mallinson (Enduring),
1995; No. 49, pg. 21. Miller & Perron (Traditional
Irish Fiddle Music), 1977; vol. 2, No. 8. Miller & Perron (Traditional Irish Fiddle Music, 2nd
Edition), 2006; pg. 15. Mulvihill (1st
Collection), 1986; No. 23, pg. 69. Peoples (50 Irish Fiddle Tunes), Roche
Collection, 1982; vol. I, pg. 49, #118. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 6.
Patrick Street – “Street Life.”
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:Boys of the Town, The [2]
M:6/8
L:1/8
R:Jig
K:G
ged B2A | BGE G2A | ~B3 ABA | GBd e2d |
ged B2A | BGE G2A | ~B3 AGA | BGF G3 :||
def gfg | eaa eaa | bag e2d | efg efg |
def gfg | afd efg | edB AGA | BGF G3 :||
BOYS OF THE TOWN [3], THE. AKA and see "Tarmon's Polka." Irish, Polka.
BOYS
OF THE TOWN [4], THE. AKA and see “Tell Her I Am [1].” Irish, Jig. G Major.
Standard tuning. AABB. The tune is a version of what is better-known today as
“Tell Her I Am.” Howe (1000 Jigs and
Reels), c. 1867; pg. 18.
X:1
T:Boys of
the Town [4]
M:6/8
L:1/8
R:Jig
S:Howe’s 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
d | d>cB/A/ G2A | EDE G2B | AGA ABc |BGE E2D | d>cB/A/ G2A | EDE G2B |
AGE G2A | GED D2 :: c | BAB dBG | BAB dBG | AGA ABc | BGE E2c |
BAB
def | gfe dBG | AGE G2A | GED D2 :|
BOYS OF THE WEST. Irish, Double Jig. G Major. Standard tuning. AABB. Not "Boys From
the West" in Roche. Source for notated version: Chicago cleric Father
James K. Fielding, a flute player
originally from Kilkenny; a friend of Francis O’Neill’s and a Gaelic League
activist [O’Neill]. O'Neill (Krassen),
1976; pg. 58. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1035, pg. 193.
X:1
T:Boys of the West
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 1035
Z:AK/Fiddler’s Companion
K:G
g | fed edB | dBG GAB | cBc edc | BAA
A2g | fed edB |
dBG GAB | cBc edc | BGG G2 :: z |
def gfg | eaa aga | bag bag |
fdd d2g | ecc efg | dBG GAB | ABA
gfe | BGG G2 :|
BOYS OF THOMASTOWN, THE (Buachaillí Bhaile Mhic Anndáin). AKA and see “Away to the Bogs,” “The Caffler’s Courtship” (Suirighe
an Áilteora). Irish, Jig. G Major. Standard tuning. AABB. Breathnach finds the
tune related to “Carraig an tSoip”
(The Cook in the Kitchen). See also “Angry
Peeler” and “Joe Cooley’s Jig.”
Source for notated version: tin whistle player Pat White/Padraic de Faoite
[Breathnach]. Breathnach (CRÉ I),
1963; No. 14, pg. 7.
BOYS OF TRALEE, THE. Irish, Double Jig. G Major. Standard tuning.
AABB. Source for notated version: fiddler J.C. Graham (Dublin) [Darley &
McCall]. Darley & McCall, 1914; No. 81, pg. 37. Kerr (Merry Melodies), vol. 4; No. 209, pg. 23.
X:1
T:Boys of Tralee, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 209
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|DEF GAB|egd efg|dBG AGF|GAB
AGE|DEF GAB|
egd efg|dBG AGF|GBA G2::g|gfe agf|gfg
edB|egf gdB|
AcA BGE|DEF GAB|egd efg|dBG AGF|GBA
G2:|
BOYS OF (THE) TWENTY
FIVE [1]. Irish, Reel. D Mixolydian. Standard
tuning. AABB' (Carlin): AAB (Miller). Popularized by County Fermanagh flute
player Cathal McConnell (of the Boys of the Lough), who learned it from County
Fermanagh fiddler Mick Hoy (1913-2000). Carlin (Master Collection), 1984; No. 210, pg. 124. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 1, No. 59. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 53. LoughCD007, Boys of the Lough – “The West of Ireland”
(1999). Philo 1026, Boys of the Lough – “Live at Passim” (1975. Learned by
flute player Cathal McConnell from fiddler Mick Hoy, who had it from fiddler
Andy Cassidy in the 1930’s. Hoy was from Cosbytown, Blaney, Enniskillen on the
shores of Lough Erne in County Fermanagh).
X:1
T:Boys of the 25, The
R:reel
D:Tommy Keane: The Piper’s Apron
Z:id:hn-reel-439
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Dmix
cAAF G2AB|cABG AddB|cAAF G2eg|1 fded AddB:|2 fded Adde||
|:~f3g
a2ag|~f3g afde|1 fefg a2ge|fde^c Adde:|2 fgaf g2ag|fde^c AddB||
BOYS OF TWENTY FIVE
[2]. AKA and see "Killaghbeg House," "Ah, Surely," “Rose in the Garden [3],” "The Windy Gap [1]," "The Bonfire [2]." Irish, Reel. A
Dorian. Standard tuning. AABB. The title may refer to the political events in
Ireland during the year 1925, but there is also a card game in Ireland called
Twenty-Five, which involves the taking of tricks. It was said at one time to be
a favorite pastime in the winter, when there was relatively less work to be
done on the farm, and that games could take some time to complete. Source for
notated version: obtained by fiddler Séan McGuire from his father Jack (County
Cavan), a piccolo, flute and tin whistle player [McGuire & Keegan]. McGuire
& Keegan (Irish Tune by the 100, vol.
1), 1975; No. 57, pg. 15.
BOYS OF WEXFORD, THE (Buacaillide Loca g-Carman). AKA and see “Boys of Ireland,”
"Flight of the Earls,"
"In Comes the
Captain's Daughter," “Lowlands of Holland,” "Snowy Breasted Pearl [2].”
Irish, Air or March (4/4 time, "with spirit"). G Major. Standard
tuning. One part (Brody, Johnson, O'Neill): AB (Roche). Wexford is the
southeastern Irish county in which the famous doomed rebellion of 1798 began.
O’Neill (1913) classifies this air as belonging to the group with “Willy
Reilly” et al (see note for “Willy
Reilly [2]”). The tune was recorded as “The Boys of Ireland” by Martin
Beirne and His Irish Blackbirds in the 78 RPM era. Brody (Fiddler’s Fakebook), 1983; pg. 55. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised
2000); pg. 13. O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 42, pg. 28. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 81, pg. 14. Roche Collection, 1982; vol. III, pg.
12, #42. Front Hall 01, Fennigs All Stars‑
"The Hammered Dulcimer."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Boys of Wexford, The
M:C
L:1/8
R:Air
N:”With Spirit”
S:O’Neill – Music of Ireland (1903), No. 81
Z:AK/Fiddler’s Companion
K:G
D2 | (G3A) (GFED) | (d3e) d2c2 | (B2G2)
(BA)(GF) | E6 F2 | (G3A) (GFED) |
(d3e) d2c2 | B2A2 GABc | d6 d2 |
e2B2 (g3e) | (d3c) B2G2 | c2B2A2G2 |
E4 z3 (EF) | (G3A) (GFED) | (d3e)
d2c2 | B2G2 BAGF | G4 ||
BOY(S) ON THE HILLTOP, THE (Na Buachaillí ar Bharr an Chnoic). AKA – “Boy on the Hilltop.” AKA and
see "The Hilltop." Irish, Reel. A
Dorian. Standard tuning. AB. The tune was first recorded by Paddy Killoran and
Paddy Sweeney in 1931, remarks Philippe Varlet. Sources for notated versions:
fiddler Paddy Killoran (Ireland) [Breathnach]; piper Willie Clancy (1918-1973,
Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRÉ III), 1985; No. 84, pg. 42. Mitchell (Dance Music of Willie Clancy), 1993; No. 25, pg. 43. Green Linnet SIF 3015, Tommy Peoples & Paul Brady –
“Welcome Here Kind Stranger.” Piping Pig Productions PPPCD001, Jimmy
O’Brien-Moran – “Seán Reid’s Favourite” (1996. Learned from piper Seán P. Mac
Ciarnáin of Carna, around 1976). Shanachie 33003, Paddy Killoran ‑
"Paddy Killoran's Back in Town" (1977).
X:1
T:Boy(s) on the Hilltop, The
R:Reel
Z:Adrian Scahill
M:4/4
L:1/8
K:G
A3d BGAG | EGGF G2AG | EAA2 BABd |
egdc BcdB |\
A3d BGAG | EGGF G2AB | c3A B2GB |
dBGA BAA2 ||\
:A2Bd egdB | GBB2 defg | aged (3efg
dB | GBdB BAA2 |
aged egdB | GBB2 defg | afge fdef |
g2af gedB :||
BOYS, THEM BUZZARDS ARE FLYING. Old-Time, Breakdown. A Major. AEae tuning. AB. A modern composition by
Gary Harrison, featuring a ‘crooked’ ‘B’ part. Heritage
056, Fly by Night String Band (et al) – “The Young Fogies” (198?).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Boys,
Them Buzzards are Flying
M:C|
L:1/8
R:Reel
C:Gary
Harrison
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
(e2 | e)eee
cBAF | A2 AA FEDD | DDFD =GDFD | DE2F E2 (e2 |
e)eee cBAF |
A2 AA FEDD | DDFD =GDFD | DE2F E2 E(F ||
F)E F2 A3B
| A2 (c2 c)BcB | A3B A2(c2 | c)BcB ABAE |
FAFE D2 DD
| DDFD =GDFD | DE2F E2 E(F | F)E F2 A3B |
A2(c2 c)BcB
| A3B A2(c2 | c)BcB ABAE | FAFE D2 DD |
DDFD =GDFD
| DE2F E2 E(F | F)E F2 A3B | A8 ||
BOZO TWO-STEP. Cajun, Two‑Step. USA, Louisianna. G Major. Standard tuning. AA'.
Greenblatt (Cajun Fiddle Book), 1985;
pg. 18.
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
© 1996-2009 Andrew Kuntz
Please help
maintain the viability of the Fiddler’s Companion on the Web by respecting the
copyright.
For further information see Copyright and Permissions Policy or contact the author.
[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.