The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BO - BOG

 

 

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]

 

 

 

BÓ BREAC, AN. AKA and see "The Spotted Cow."

           

BÓ LEATADARCAC, AN. AKA and see "The One-Horned Cow [1]."

           

BÓ LEAT-ADARCAC UI MARTAIN. AKA and see "Martin's One-horned Cow."

           

BÓ MAOL, AN (The Hornless Cow). AKA and see "The Hornless Cow."

           

BÓ NA LEATH ADHAIRCE. See “The cow with one horn.”

                       

BOANIE... See also "Bonnie..."

           

BOANIE ISLE O' WHALSAY [1], DA. AKA ‑ "Qualsay." Shetland, Shetland Reel. A Minor. Standard. AABBCC. Whalsay is one of the islands in the Shetland group. The tune is known throughout the Shetlands and is generally played as a reel today, though there have been 6/8 versions in the past (see [2]). In the 1950's "at least one fiddler, the late Jimmy Scollay of Burravoe, played it in 6/8 time, his version being noted down by Shuldham‑Shaw in the key of G" (Cooke, 1986). Cooke's 'b' version is from J. Hoseason's MS., Mid Yell (Shetland), 1863. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 27b., pg. 77.

 

BOANIE ISLE O' WHALSAY [2], DA. Shetland, Jig. A Minor. Standard tuning. AA'BB'. Cooke's 'a' version is from A.W. Johnston's "Old Lore Miscellany" ("Four Shetland Airs"), Vol. 5, No. 2, 1912, pg. 80. Cooke theorizes that jig time, while popular in the Shetlands today, was a relatively recent import and addition to the repertoire. "There may once have been a dance genre of which only the tunes have survived‑‑in the 'ambiguous' rhythm which is neither 2/4 nor 6/80‑‑and this finds parallels in the dance repertory of western Norway, but during the past 100 years their tunes have been modernized or 'rationalized', most into reel time, but some into jig time. One should not discount the possibility that some never were dance tunes at all. Twelve of the twenty‑one tunes in this category were recorded from one source, John Stickle of Unst, and he, having received most of them as 'listening' tunes from his grandfather, played them rather slowly. However, those which have been taken up and popularized by the Shetland Folk Society are played today as true jigs at a brisk tempo and are frequently used for any dance today requiring music in jig time" (Cooke, 1986). Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 27a., pg. 77.

           

BOANIE LASS O' BEKKAHILL, THE. AKA and see "Bonnie Lass o' Bekkahill."

           

BOANIE POLKA. Shetland, Polka. Traditional Shetland polka. Anderson & Swing, 1979 (Haand Me Doon Da Fiddle).

           


BOANIE TAMMIE SCOLLAY. AKA and see "Da Foula Reel," "Da Shaalds o' Foula [2]." Shetland, Air and Reel. "Boanie Tammie Scollay" is a song sung to essentially the same tune as "Da Foula Reel" and is sometimes played as a reel by that name (Cooke, 1986). Cooke prints the following text to this dance tune, in oral tradition in the Shetlands in the 1970's:

***

Where has due been aa the day, boanie Tammie, pretty Tammie,

Where has due been aa the day, boanie Tammie Scollay?

I'm been a coortin, bonnie maiden, minnie maiden

I'm been a coortin, bonnie minnie maiden

What's due gaan to gie taw us, bonnie maiden etc.

Bread and cheese upon a plate...etc.

           

BOAT OF BOG, THE. AKA and see “The Bridge of Spey.”

           

BOAT ON LOCH LAVAN, THE.  Scottish, Country Dance Tune (cut time). E Minor. Standard tuning. AA’BB’. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 43 (appears as “Fifty-Fifty”, the name of a 1996 dance by Fried de Metz Herman, set to the tune).

 

BOAT STREET LASSES, THE. AKA and see "The Maid of the Forest," "Miss Thornton's {Reel}," "Coming through the Field(s)," "Lady Anna Hope," "Thro the Fields [2]," "The Creeping Mouse," "Down the Street," "Spike Island Lasses [2]," "Salamanca [2]," "O'Loughlin's Reel."

           

BOATIE ROWS, THE. AKA and see “Keel Row.” Scottish, English; Reel, Strathspey, and Highland Schottische. D Major (Raven): G Major (Cole/Ryan): A Major (Kerr). Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940, pg. 127 (Strathspey). Kerr (Merry Melodies), vol. 3; No. 211, pg. 24 (Highland Schottische). Raven (English Country Dance Tunes), 1984; pg. 150 (Reel setting). Ryan’s Mammoth Collection, 1883; pg. 167.

X:1

T:Boatie Rows, The

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

G | (B<d) (d>.e) (d>.g) (a/g/f/e/) | (d<B) (B>.G) (B<A) (A>.G) | (B<d) d>e d>g (a/g/f/e/) | (d<g) a>b g2 (.g.G) |

(B<d) (d>.e) (d>.g) (a/g/f/e/) | (d<B) (B>.G) (B<A) (A>.G) | (B<d) d>e d>g (a/g/f/e/) | (d<g) a>b g2g ||

d | (g>.d)(d>f) (g>.d)(d>.g) | {f}(e>.d)(e>.g) ({f/g/}a3)f | (g<b) (e<g) (d>.g) (d>.B) | {B}(A>.G)(A>.B) ({A}G3)f |

gdd (e/f/) gdd (g/f/) | ({f}e>d (e/f/g/) ({f/g/}a3) (g/f/) | (g<b) (e<g) (dg/f/) {f}(e/d/c/B/) | {B}(A>.G) (A<B) ({A}G2)G ||

           

BOATIN' UP (THE) SANDY [1]. Old‑Time, Breakdown. USA, W.Va., Kentucky. G Major. Standard tuning. AABB. The Big Sandy River is the border dividing two states. Bobby Fulcher (1986) says the tune "only occasionally" appears in Kentucky fiddler's repertories, as it does in Clyde Davenport's (Monticello, Ky.). Source for notated version: "this tune was played on a mouth harp by Zeff Burgess, June 1911, at the head of the Big Sandy when he was 'loggin'" [Thomas & Leeder]; Clyde Davenport (Ky.) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 50. Thomas and Leeder (The Singin’ Gathering), 1939; pg. 66. County 788, Clyde Davenport ‑ "Clydescope: Rare & Beautiful Tunes from the Cumberland Plateau" (1986).

 

BOATING UP SANDY [2]. Old-Time, Breakdown. A Major ('A' part) & A Mixolydian ('B' part). Standard tuning. AABB. Source for notated version: Owen “Snake” Chapman (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 32.

 


BOATING UP SANDY [3]. Old-Time, Breakdown. USA, West Virginia. A Dorian. Standard tuning. ABB'. The tune is a member of a tune family including "Hog Eye an' a 'Tater," "Hog Eye Man [1]," "Hog Eye," "Granny, Will Your Dog Bite? [1]," "Sally in the Garden [1]," "Fire on/in the Mountain [1]" (there are several tunes by this name; it is a "floater"), and, in some respects "Betty Martin." Known as a West Virginia tune, it is in the repertoire of Wilson Douglas (W.Va.) who learned it from one of his strongest influences, the regionally famous and influential fiddler French Carpenter (W.Va.). Also in the repertoire of Braxton County, W. Va., fiddler Melvin Wine (d. 1999). Source for notated version: Wilson Douglas (W.Va.) & Mel Marshall [Phillips]. Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 9. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 32. Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue). Marimac Recordings, 1989, Wilson Douglas ‑ "Boatin Up Sandy." Rounder 0024, "The Hollow Rock String Band" (1974. Learned from Doc White, Ivydale, W.Va., who called it “Gal with the Blue Dress On”). 

See also listing at:

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

 

BOATIN’ UP SANDY. Old-Time, Breakdown. USA, Kentucky. Neither of the two common versions. Rounder CD0380, Roger Cooper (Lewis County, Ky.) - “Going Back to Old Kentucky” (1996).

           

BOATMAN [1] (Boate Man). English, Country Dance Tune (6/8 or 6/4 time). D Major (Fleming‑Williams): C Major (Barnes, Chappell, Karpeles, Sharp). Standard tuning. AB (Chappell): ABB (Sharp): AABB (Barnes, Fleming‑Williams, Karpeles). The air was first published by Playford in The English Dancing Master (1650) and again in his Musick's Recreation on the Vio., Lyra‑way (1661). Barnes (English Country Dance Tunes), 1989. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 308‑309. Fleming‑ Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 7. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 18. Raven (English Country Dance Tunes), 1984; pg. 37. Sharp (Country Dance Tunes), 1909; pg. 43.

X:1

T:Boatman [1]

M:6/8

L:1/8

B:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:C

G E2 G2G|G E2 G2G|c2c B2A|d3 D3|G E2 G2G|G E2 G2G|c2d ed2|c3 C2z:|

|:c2d e2d|c2B A2G|F2F E2D|d3 D2D|G E2G2G|G E2 G2G|c2d ed2|c3 C2z:|

 

BOAT(S)MAN [2]. AKA and see "Sailing Down the River on the O‑hi‑o," "Ohio River," "Boatman Dance." Old‑Time, Breakdown. USA; W.Va., Pa. A Major (Krassen, Phillips): D Major (Johnson): G Major (Spandaro). Standard tuning. AABBC: ABCC (Johnson): AABBCC (Phillips). The fiddle tune is derived from the minstrel piece credited to Dan Emmett called "De Boatmen Dance" or "Dance, Boatman, Dance;" the tune (words below), according to some accounts, was first heard in performance in Boston in 1843. Emmett published it in that year, advertising it as "An Original Banjo Melody." The tune appears in many American and even English songsters of the 19th and early 20th centuries; Scott (1926) prints it as "Sung by the Ethiopian Serenaders." Both Nathan and Cauthen (1990) assert the melody was in folk currency before the minstrel era, and that it made its way back to folk currency in the fiddle tradition after popularization by minstrels; this is probably true, for it was in print (as "Ohio River") in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839) -- associated with Ohio River boatmen -- before it was played on the minstrel stage. See also "Boatman's Dance" for version of the tune in the morris dance tradition and "Little Rabbit" for a related old-time version.

***

George Caleb Bingham (1811-1879). Raftsmen Playing Cards.

Flatboat Fiddler. From Frank Leslie’s Illustrated Newspapter, v. 50, April, 1880.

***

The Boatsman dance, the Boatsman sing,

The Boatsman do most everything.

And when the Boatsman get on shore,

Spends all his money and he work for more.

Cho:

Dance, Boatsman, dance. Dance, Boatsman, dance,

Stay out all night, 'til the broad daylight,

Coming home with the girls in the morning.

Hey, ho, the boatmen row,

Sail down the river on the Ohio.

Hey, ho, the Boatmen row,

Sail down the river on the Ohio.

***

Well, I never saw a pretty girl in my life,

But what she'd been some boatsman's wife.

When the Boatsman blows his horn,

Look out, men, your daughter's gone!  (Johnson)

***

The boatmen whistle and the boatmen sing,

And the boatmen tell me some good thing.

Way, oh, boatmen row,

Sailing down the river on the O‑hi‑o. (Bayard)

***

Sources for notated versions: Debbie McClatchey (Spandaro), George Strosnider (an elderly Greene County, Pa., when collected in the 1930's) [Bayard]; Melvin Wine [Silberberg]. Bayard (Dance to the Fiddle), 1981; No. 21, pgs. 25‑26 (appears as "Sailing Down the River on the O‑hi‑o"). Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc), No. 2, 1988 (revised 2003); pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 69 (appears as "Boatsman"). Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 32. Scott (English Song Book), 1926; pg. 78. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 14. Spandaro (10 Cents a Dance), 1980; pg. 28. Folk‑Legacy FSI‑38, "Sara Grey with Ed Trickett" (1970). Kanawha Records 307, Frank George ‑ "Traditional Music for Banjo, Fiddle, and Bagpipes." Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988). Rounder CD 0382, Marvin Gaster - “Uncle Henry’s Favorites.” Rounder 1133, Ed Haley Vol 2 – "Grey Eagle".

 

BOATMAN [3], THE. (Fear a' bhàta). Scottish, Slow Air (3/4 time). B Flat Major. Standard tuning. AABB. "This air sings delightfully and expressively in Gaelic. The parties to the words were seemingly persons above the ordinary rank. Whether the lady alludes to the cabin of his vessel or boat, or to some apartment of her lover's residence, called the green chamber, she mentions her delight at being there, where the best society met, to be entertained with Spanish wine form the hand of her lover" (Fraser). A song by this name appears in Allan Ramsay's ballad opera The Gentle Shepherd (1725), not performed until 1729. Francis Collinson, in his Traditional and National Music of Scotland, says that "Among a sea going island people like those of the Hebrides, the iorram (pronounced-irram) or rowing songs must have been one of the most frequently heard songs." Many of the tunes are written in ¾ or a slow 6/8 time. Stan Reeves remarks “Collinson was puzzled by this as rowing has an in and out movement. But he had obviously never rowed with long oars on the Minch. The 1st beat is very pronounced and corresponds with lifting the oars out and swinging them forward as you straighten your arms and lean forward. 2 and 3 are the pulling stroke. Imagining this when you are playing will give you the right tempo and a very primitive rhythmic chanted feel, rather than the twee parlour interpretations. Try it with ‘Fear a Bhata!’ or the ‘Skye Boat Song’. These are just two of the many airs used as waltzes in the Western isles which clearly predate the introduction of the waltz.” Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 104, pg. 40. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

X:1

T:Boatman, The [3]

T:Fear a’bhàta

M:3/4

L:1/8

Q:140

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:B_

F>G | B2g2f>g | G2 Bz B>_A | G2F2B>F | G2 Bz d>e | f2g2f>e |

d2 gz f>e | d2B2c>B | B2 Bz :: d>c | B2 B>c d>F | G2 Bz g>f |

f2 f>g f>c | d2 fz d>e | f2 g2 f>e | d2 gz f>e | d2B2c>B | B2 Bz :|

 

BOATMAN [4], THE (Fear a' bhata). Scottish, Slow Air (3/4 time). E Minor. Standard tuning. AA. A different tune than Fraser's (version #3). Martin (Ceol na Fidhle), vol. 2, 1988; pg. 6.

 

BOATMAN [5], THE. Old-Time. D Major. DDad or DDae tunings. ABC. From western North Carolina fiddler Marcus Martin.

X:1

T:Boatman [5]

M:C
L:1/8

S:Bruce Molsky

N:DDae tuning

N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

z2 (A2 A)B d2 || f4 ~e2d2 | A3 (d (d)edB | AFDF ~E2 (D2 | D2) (A2 A)Bd2 |

f4 e2d2 | B3 (d d)edB | AFDF E2 (D2 | D2) (A2 A)Bd2 || f4 a3e |

fe d2 B3 (d | d)edB AFDF | ~E2 (D2 D2) D2 || (F4 F)EFG | (A4 A)B A2 |

(F4 F)EFE | (D4 D2) [D,2D2] | (F4 F)EFG | A2 (A2 A)BdB | ABAF E2 (D2 |

M:2/4

L:1/8

D2 dc |

M:C

L:1/8

B2G2 FGAd | BABG A2 dc | BAGB AFDF | E2 D4 dc |

BABG FGAd | BABG ABdc | BAGB AFDF | E2D4 (A2 |

M:2/4

L:1/8

A)B d2 ||

 

BOATMAN [6], THE (Fir a bhàtd). Scottish, Air (3/4 time). G Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1), No. 14, pg. 7.

X:1

T:Boatman [6], The

T:Fir a bhàtd

M:3/4

L:1/8

R:Air

N:”In rowing time”

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:G

G>E G2 AB | d>B d2e2 | F>E E2 FA | B>E (ED) B,2 | d>B d2 (e>G) |

(AB) e2 d>B | (BA) G2 (Gd) | B>A (A<G) G2 ||

 

BOATMAN [7], THE (Fir a bhàtd). Scottish, Air (3/4 time). G Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1), No. 15, pg. 7.

X:1

T:Boatman [6], The

T:Fir a bhàtd

M:3/4

L:1/8

R:Air

N:”In rowing time”

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:G

D>E G2 Gd | B>G GF A2 | B>E E2 EF | G>E ED B,2 |

B,D E2 E>E | DE G2 AB | e>d B2 AG | F>B E2E2 ||

 

BOAT MAN [8], THE.  Scottish, Slow Air (4/4 time) and Jig. D Major. Standard tuning. AABBCCDDEEFFGGHH. McGibbon (Scots Tunes, book II), c. 1746; pgs. 46-47.

X:1

T:Boat Man [8], The

M:C

L:1/8

R:Air
N:”Slow”

S:McGibbon – Scots Tunes, book II, pgs. 46-47  (c. 1746)

Z:AK/Fiddler’s Companion

K:D

F>G | A3d ({B}A3) (G/F/) | (GF)”tr”(ED) A3A | B>cd>e (f>g/2a/4 g)f | ({f}”tr”e4)E2F>G |

A3d ({B}A3) (G/F/) | {E/F/}(GF)”tr”(ED) A3A | (B>c)(d>e) f(g/a/) Ac | ({c}d4)D2 :|

|: d2 | “tr”(B>AB)c d>efd | {e/f/}(gf)”tr”(ed) e2 (AG) | F2A2 (d>e)(f>g) | ({f}”tr”e4E2F>G |

A3d({B}A3)G/F/ | (GF)”tr”(ED) A3 (G/F/) | G>BA>d (cd) ({f)e)(d/c/) | ({c}d4) D2 :|

|: F>G | A3 (B/c/4d/4) ({B}A3) G/F/ | {E/F/}(GF)”tr”(ED) A3A | B/(d/c/)(e/ d/)(f/e/)g/ (fg/4a/4 g)f |

({f}”tr”e4) E2 (F/G/”tr”G>F/2G/4) | A3 (B/c/4d/4) ({B}A3) G/F/ | (GF)”tr”(ED) A3A |

B/(d/c/)(e/ d/)(f/e/)g/ (f>g/2a/4) Ac | ({c}d4)D2 :: d2 | “tr”(BA)(Bc) A3 (B/4/c/4d/8B/8c/8d/8) ({B}A3)G/F/ |

{E/F/}(GF)”tr”(ED) A3(G/F/) | (G/A/B/)G/ Ad “tr”(c/B/c/)d/ ({f}e)(d/c/) | ({c}d4) D2 :|

M:6/8

L:1/8

N:”Quick”

F/G/ | AdA FDA | (d/c/B/c/ d) AFD | “tr”F>GA def | “tr”e3E2A/G/ | (FDF) (AFA) |

BGB “tr”(cBA) | “tr”(fed) A(dc) | d3D2 :: d/c/ | (Bc)A def | gfe agf | ecA EAc | A3”tr”G3 |

FAd dAF | GBe ecA | “tr”(fed) Adc | d3D2 :: F/G/ | AdA FDA | (d/c/B/c/d) AFD |

F>GA (d/e/f/)(d/e/f) | e3E2A/G/ | (F/E/D/E/F/)D/ A/G/F/G/A/F/ | B/A/G/A/B/G/ c/B/A/B/c/A/ |

(f/g/a/)(f/e/d/) Adc | d3D2 :: d/c/ | BcA d/e/f/d/e/f/ | g/f/e/g/f/g/ a/g/f/a/g/f/ | e/f/g/f/e/d/ c/d/e/d/c/B/ |

Ace “tr”G3 | (F/A/B/c/d) dBF | (G/B/c/d/e) ecA | f/e/d/f/e/d/ Adc | dAF D2 :|

           

BOATMAN DANCE. AKA and see "Boatman [2]."

           

BOATMAN OF PITNACREE. AKA and see “The Pitnacree Ferryman.” Scottish, Reel. D Major. Standard tuning. AB (Surenne): AAB (Gow). Pitnacree is on the River Tay. "Very old." Carlin (The Gow Collection), 1986; No. 436. Gow (Complete Repository), Part 3, 1806; pg. 33. Surenne (Dance Music of Scotland), 1852; pg. 48.

X:1

T:Boatman of Pitnacree, The

M:C|

L:1/8

R:Reel

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:D

g|({g}f2) (AA) {A}e2 Ag|({g}f2) ef dBB>g|f>A A/A/A e3g|f>e dB A/A/A A:|

B|A>F AB ~defd|e/e/e fd ({f}e>)d Bd|AFAB defd|efdB A/A/A A>B|

AFAB ~defd|efdf ({f}e)dBd|AFAB defa|efdB ({B}A2)A||

           

BOATMAN'S DANCE [1]. AKA and see "Dance, Boatman, Dance [1]." English, Morris Dance Tune (2/4 time). G Major. Standard tuning. AABB. Tune used as a morris dance tune in North‑West Morris, for either polka step or single step. See also "Boatman" [2] for version in old‑time tradition. Wade (Mally’s North West Morris Book), 1988; pg. 16. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993. Appears as part of the medley "Godley Hill").

 


BOATMAN'S DANCE [2]. Scottish (?), "Sand Jig" (4/4 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 400, pg. 45.

X:1

T:Boatman’s Dance [2]

M:C

L:1/8

R:Sand Jig

S:Kerr – Merry Melodies, vol. 2, No. 400  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D2|G>FG>B d2d2|e2e2 d4|e2d2B2G2|B2A2 (3fed (3cBA|G>FG>B d2d2|

e2d2 gdBG|B2A2G2::d2|g2f2e2d2|e2d2B4|e2d2 cBAG|

FAag (3fed (3cBA|G>FG>B d2d2|e2e2 d4|e2d2 gdBG|B2A2G2:|

           

BOATMAN'S REEL, THE. AKA and see "The Grey Frieze Breeches," "The Ladies Pantalettes/Pantaloons/Pantaloos," "Leonard's Reel," "Pat the Fowler," "The Green Pantaloons."

           

BOB AND JOAN. See "Boban John," "Bobbing Joan," "Bobbing Joe," "Hey for Stoney Batter," "Fill the Bumper Fair," "Love and Whiskey,” “Stoneybatter [1]." Irish, Air or March (9/8). G Major (Colclough): D Major (Kennedy). Standard tuning. AB (Roche): AABB (Breathnach): AABB’ (Kennedy). A variant of the Scottish tune "Boban John" in a different time. The air was used in the opera The Wife of Two Husbands for the song “Love and Whiskey,” to which Thomas Moore later wrote “Fill the Bumper Fair.” Breathnach (1963) gives these words:

***

Hi for Bob and Joan,

Hi for Stoneybatter;

Leave your wife at home

Or surely I'll be at her.

***

Crofton Croker mentions “Bob and Joan” in conjunction with James Gandsey (1769-1857), the famous Kerry piper (as reported by Brendan Breathnach in The Man and His Music {1997}).  Gandsey, who was nearly blind from smallpox contracted as an infant, nevertheless was an incomparable talent of his time on his instrument, whose talents also included telling a good story, singing a good song and holding his own at capping Latin verses (a skill learned as a youth in a hedge school) with any educated person in the county.  Croker describes several musical encounters with Gandsey at Gorham’s Hibernian Hotel, at one of which a request was made of the piper for a lively song.  “Come boy, scrape away,” said Gandsey to his son, a fiddler, and responded by singing “Bob and Joan,” to which he had set his own words:

***

To Killarney we will go,

And see fair nature’s beauties,

The mountain topped with snow,

And covered with arbutus.

Oh! Then, to hear at night,

At Gorham’s, how entrancing,

Old Gandsey play his pipes,

Which steps the maids a dancing!

Tow, row, row, row, row etc.

***

Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 63, pg. 27. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 17. Kennedy (Fiddler’s Tune Book: Slip Jigs and Waltzes), 1999; pg. 4, No. 6. Roche Collection, vol. II, 1982; No. 343, pg. 61.

X:1

T:Bob and Joan

M:3/4

L:1/8

S:Colclough – Tutor for the Irish Union Pipes (c. 1830)

Z:AK/Fiddler’s Companion

K:G

BGGE G2 | BGGBAc | BGGE G2 | D/E/F/G/ A/B/A/G/ FA :|

|: GBdG B2 | G/A/B/c/ d/e/f/g/ Bd | GB d/e/d/c/ B2 cAADFA :|

|: gbdgBd | g/b/c’/b/ ag fa | gbef gf/g/ | addd fa :|

|| G/E/B/E/ C/E/B/E/ G2 | G/B/d/g/ c/B/A/G/ F/G/A/B/ | G/E/B/E/ c/E/B/E/ G2 | F/G/A/B/ AD FA |

G/E/B/E/ C/E/B?E/ G2 | G/A/B/c/ d/e/d/c/ d>g | c’/b/a/g/ b/a/g/f/ g>f | eA A/B/A/G/ FA ||

           

BOB AND JOHN. See "Boban John." Scottish, Jig (3/2 time). A Aeolian. Standard tuning. AAB. A variant of the Scottish tune "Boban John.” Carlin (The Gow Collection), 1986; No. 478.

           

BOB CHADDUCH'S JIG. AKA and see "King Pin Jig." American, "Sand Jig". A Major. Standard tuning. AABB. A "sand jig" is a designation for a synchopated type of dance tune popular in the mid-19th century. It received its name from the practice of sanding the stage to reduce friction and facilitate the brushing of the shoes. “King Pin Jig” is related in the first part. Cole (1000 Fiddle Tunes), 1940; pg. 80. Kerr (Merry Melodies), vol. 2; No. 424, pg. 48. Ryan’s Mammoth Colleciton, 1883; pg. 113.

X:1

T:Bob Chaduch’s

M:2/4

L:1/8

R:Sand Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

EA/B/ c/>e/ z/e/ | f/e/c/e/ a({g}a | EA/B/ c/<e/ z/e/ | f/e/d/c/ B/e/^d/e/ |

z/ E/a/B/ c/<e/ z/e/ | f/e/^d/e/ f/a/g/a/ | (b/>.g/)(a/>.f/) e/c/A/B/ | z/ c/B/G/ A2 :|

|: A({g}a) A({g}a) | f/e/d/e/ f2/ | ze e2 | (3c/B/A/ B/G/ A/c/B/A/ | E({^g}a z({g}a) |

f/e/^d/e/ f/a/g/a/ | (b/>./)(a/>.f/) e/c/A/B/ | z/ c/B/G/ A :|

           

BOB JOHNSON'S MARCH AND REEL. Canadian, March and Reel. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Source for notated version: Eddy Arsenault (b. 1921, St. Chrysoston, East Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 92. Shanachie 14001, "The Early Recordings of Angus Chisholm."

           

BOB LE SUEUR’S FANCY. Irish, Jig. D Dorian. Standard tuning. AABB. Source for notated version: piper Kirk Lynch (Kansas City) [Black]. Black (Music’s the Very Best Thing), 1996; No. 219, pg. 118.

X:1

T: Bob le Sueur's Fancy

S: Kirk Lynch

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: Dmix

ded cAG | A3 BGE | D3 DEG | A3 cAG |

ded cAG | A3 BGE | D3 AGE | FGA D3 :|

ded fed | cAG c2 d | ded cAG | ^F3 AFD |

ded fed | cAG c2 d | fed cAG | FGA D3 :|

           

BOB McQUILLAN’S. American, Reel. G Major. Standard tuning. AA’BB’. Although the tune has been credited to Peterborough, New Hampshire, composer, piano and accordion player Bob McQuillan, the tune was actually composed in his honor by  Shetland fiddler Aly Bain, perhaps to return the favor for McQuillan’s tune “Aly Bain.” It appears as “Maud McQuillan’s” in Tommy Walshe's book Irish Tin Whistle Legends, where it is transcribed from Míchéal Ó hAlmhain's playing (“Maud McQuillen’s” will be recognized as a corruption of the composer’s name, Bob McQuillen). The tune has gained some currency in Ireland, played by fiddler Maire O’Keeffe and recorded by the band Arcady. Shanachie Records, Arcady.

X:1

T:Bob McQuillan's

R:reel

C:Aly Bain

D:Arcady

Z:id:hn-reel-425

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

M:C|

K:G

~B3c dcBA|GABG D2DB|c2cd edcB|AGFE D2dc|

~B3c dcBA|GABG D2ED|C2CD EDEG|1 FDEF G2GA:|2 FDEF G2Bc||

|:d2Bd gagf|eccB c2AB|cAAc ~a3g|fdd^c d2B=c|

d2Bd gagf|eccB cege|dBGB cAFG|1 AGGF G2Bc:|2 AGGF G2GA||

X: 2

T: Maud McQuillan's

C: Bob McQuillan

S: "Treoir"

M: 4/4

L: 1/8

R: Reel

Z: Transcribed by Bill Black

K: G

dc | B3 c dcBA | GABG D3 B | c3 d edcB | AGFE D^cd=c |

B