The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BUL - BUS

[COMMENT3] 

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

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

 

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

 

 

[COMMENT4] 

BULALOW. AKA ‑ "Balu." AKA and see "Lady Ann Bothwell's Lament." Scottish, Air. An earlier title was "Balu," though the version with the title above is from John Gamble's "Commonplace Book." The alternate title "Lady Ann Bothwell's Lament" in found in manuscript prior to 1558, according to Robin Williamson, and is a song of a woman and child deserted. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

                       

BULL AT THE WAGON. Old‑Time, Breakdown. USA; Texas, Oklahoma. A Major. Standard or AEae (Lewis Brothers) tunings. AABBCC. Recorded by the Lewis Brothers (Dempson on fiddle and Denmon on guitar) for Victor in July, 1929. Earl Collins learned his version from the Lewis Brothers (or, as some say, from Tom Sauber), but altered it somewhat, especially in the ‘A’ part. See also the related tunes “Karo” and “Red Bird.” Sources for notated versions: Dempson Lewis (Texas) [Brody]; Earl Collins (Oklahoma) [Phillips]; Hank Bradley (Seattle) [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 58. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 41. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 19. Welling (Welling’s Hartford Tunebook), 1976; pg. 1. Briar 0798, Earl Collins‑ "That's Earl" (learned in 1966 from a 78 RPM recording of the Lewis Brothers) {1975}. County 517, Dempson and Denmon Lewis‑ "Texas Farewell." Heritage 054, The Hotmud Family ‑ "Brandywine '83: The Music of French America" (1984). Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion."

X:1

T:Bull at the Wagon

L:1/8

M:C|

S:Jay Ungar

K:A

AB|c(ecA) c(ecA)|cea(g fe)cA|B(cBA) B(cBA)|Bcf(g fe)cB | c(ecA) c(ecA) | AAcd e(dcA) |

[E3B3] A a(gfe)|cAB(c A2) :: (A|A)Bce a(gfb)|gef(g fe)ce| f(gfe) cAFA | B2 (FB B4) |

ABce a(gfb)|gef(g fe)ce| f(gfe) cBAG|A2 (EA A3) :: [A,3E3] z[CE]| [B,4E4] | EFGA Bcdf |

e(dcd) e(d c2)|[A,3E3] z[CE]|[B,4E4]|EFGA BcdB| cAB(G A2) :|

                       

BULL BEAF AND CABBAGE. Northumbrian. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

                       

BULL-DOZER REEL. American, Reel. D Major. Standard tuning. AABB. Composed by minstrel Edwin Christie of Christie's Minstrels fame. Cole (1000 Fiddle Tunes), 1940; pg. 47. Ryan’s Mammoth Collection, 1883; pg. 74.

X:1

T:Bull-Dozer Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A,/B,C, | DD/E/ FF/G/ | AB/c/ dd/e/ | f/e/f/b/ a/f/d/f/ | e/a/f/d/ e/d/B/A/ | DD/E/ FF/G/ |

AB/c/ dd/e/ | f/e/f/b/ a/f/d/f/ | e/a/g/e/ d :: z/(d/e/ | f/)e/d/f/ (e/c/) z/A/ | B/d/c/B/ (A/F/)z/(d/e/ |

f/)e/d/f/ (e/c/)z/e/ | f/a/^g/b/ az/(d/e/ | f/)e/d/f/ (e/c/)z/A/ | B/d/c/B/ (A/F/)z/E/ | DD/E/ F/A/d/A/ | B/d/c/e/ d :|

                       

BULL FROG BLUES. American, Country Rag. F Major. A three-part tune. North Georgia fiddler Lowe Stokes recorded a similar sounding tune as the melody to a song called “Everybody’s Doing It,” recorded for Columbia records in 1929 with his group Lowe Stokes and His North Georgians (consisting of Stokes, Clayton McMichen, Bert Layne, Arthur Tanner and Hoke Rice). 

                       

BULL MOOSE.  Canadian, Reel. D Major. Standard tuning. AABB. Silberberg believes the tune may have been composed by Manitoba fiddler Andy DeJarlis. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 7.

 

BULL RUN PICNIC. Old‑Time, Breakdown. USA. G Major. Standard tuning. AABB. Similar to "Williamsburg Reel" published in Jarman's 'Old‑Time Fiddlin' Tunes.' R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 100.

           

BULLÁN MÓR, AN.  AKA and see “The Big Ox.”

                       

BULLOCK'S HORNPIPE. English, Hornpipe. England, North‑West. G Minor. Standard tuning. AABBCCD. The tune is originally found in the third volume of The Dancing Master (Pearsona and Young), c. 1726. Knowles (Northern Frisk), 1988; No. 47.

X:1

T:Bullock’s Hornpipe

L:1/8

M:3/2 time

K:G Minor

G4 B4 d2 cB|A2F2F2 cB A2 GF|G4 B4 d2 cB|A2G2 g2G2 A2 GF:|

|:DGFA G2 G,2 B,4|D2 F4 Bc A2 GF|DGFA G2 G,2 B,4|D2 G4 B2A2G2:|

|:GABG ABcA BcdB|A2F c2 F2 ABcA|GABG ABcA BdcB|A2G2 g2G2 ABcA:|

|:Gg^fa g2G2 B4|F2 f4 F2 ABcA|Gg^fa g2G2 B4|A2 g4 G2 ABcA|

B,2 CB, A,2 B,A, G,4|D2 F4 Bc A2 GF|B,2 CB, A,2 B,A, G,4|D2 G4 B2A2G2||

                       

BULL’S HEAD HORNPIPE. English, Jig. G Major. Standard tuning. AABB. Despite the title, the jig is in 6/8 time. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 31.

                       

BULLTOWN BREAKDOWN. Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Harmon McCullough (Indiana County, Pa., 1959; from his great‑uncle, William Gressley) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 562, pg. 500.

 


BULLY FOR YOU.  AKA and see "Oh My Dear Judy," "The Grumbling Rustic," "Domhnall na Greine" (Daniel of the Sun [1]), "From the Court to the Cottage," "Girls of the West," "I gave to my Nelly," "'Tis sweet to think," "Buck(e)y Highlander," "The Bonny Highlander," "The Leg of (a) Duck," "Thady/Teddy you Gander," "Sonny Dan," "The Bottle of Brandy," "O My Dear Father Pity Your Daughter," "She is/She’s the Girl that can do it," "Nelly's Jig," "Petticoat Loose [1]."  Irish (originally), American; Jig. D Major (Cole): G Major (Bayard). Standard tuning. AABB. This tune is called by Bayard (1981) "a familiar traditional Irish march piece," known from the latter 18th century and appearing in several 19th century collections.  Irish titles include "Domhnall na Greine" (Daniel of the Sun), "Gille na' Drobhair" (a related tune), "Oh My Dear Judy," and "The Grumbling Rustic." In America the melody was known to have been played in the Civil War by the regimental band of the 63rd Regiment P.V. (apparently made up of musicians recruited in the early years of the conflict from southwestern Pennsylvania); the piece was published in an unknown publication at the end of the 1800's and was collected by Bayard's source from a MS. based on it. Source for notated version: Dr. Phil R. Jack (Pa., 1960). Bayard (Dance to the Fiddle), 1981; No. 607, pgs. 536-537. Cole (1000 Fiddle Tunes), 1940; pg. 65. Ryan’s Mammoth Collection, 1883; pg. 95. White’s Unique Collection, 1896; No. 1, pg. 1.

X:1

T:Bully for You

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 1

Z:AK/Fiddler’s Companion

K:D

a/g/ | f2d e2d | f2d e2d | (Be)e e2d | (Be)e .e(ag) | f2d e2d | f2d e2d |

Bdd def | Add d2 :: a/g/ | fga efg | fga (e2d) | Bee (e2d) | Bee eag |

fga efg | fga (e2d) | Bdd def | Add d2 :|

 

BULLY OF THE TOWN. Old‑Time, Country Rag and Song Tune. USA; Georgia, North Carolina, West Virginia, Arkansas, Arizona, Missouri, northeast Tenn. G Major. Standard tuning. AABB. The song “Bully of the Town” was originally written by Charles E. Trevathan (a southern sports writer, horse judge and amateur musician) in 1895 for the stage show “The Widow Jones” which opened at the Bijou Theater, New York City that September. It was sung in the production by Trevathan’s girl-friend, May Irwin. "Bully of the Town" is mentioned as one of the frequently played tunes in a 1931 account of a LaFollette, northeast Tennessee fiddlers' contest. The Skillet Lickers (in the configuration of Gid Tanner and Clayton McMichen on fiddles, Riley Pucket on guitar and vocals, and Fate Norris on banjo) recorded the song in Atlanta on April 17th, 1926, one of eight sides for Columbia records. Wayne W. Daniel (in his book Pickin’ on Peachtree: A History of Country Music in Atlanta, Georgia, 1990) opines: “The output from this historic recording session makes for a rather unimpressive list of what even there were long-familiar tunes and songs: “Hand Me Down My Walking Cane,” “Bully of the Town,” “Pass Around the Bottle and We’ll All Take a Drink,” “Alabama Jubilee,” “Watermelon on the Vine,” “Don’t You Hear Jerusalem Moan,” “Ya Gotta Quit Kickin’ My Dog Aroun’,” and “Turkey in the Straw.”” Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's. It was also in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border.

***

Blues researcher John Garst convincingly finds that the song “Bully of the Town” was developed from an earlier blues ballad called “Ella Speed,” based on a real-life incident in New Orleans in the middle years of the “Gay 90’s.” Garst relates that in September, 1894, Ella was a twenty-eight year old black or mullato prostitute living in a “sporting house” on what is now Iberville Street in the French Quarter. She was the object of the obsessive attentions of Louis “Bull” Martin or Martini, a bartending white Italian-American whom she had met several months previously at another establishment, and who wanted to set her up in an apartment as his mistress, a not uncommon arrangement at the time. Ella, however was lukewarm to him—she liked his money, but didn’t care much for the man—and at any rate, she already had a husband, one Willie Speed. Louis was a bully who had been arrested and tried on three separate occasions on assault and battery charges, and who at the time of the murder was wanted by the constable for yet another brutal beating, that of an elderly black man near his place of work. Louis reportedly became enraged at the thought that she might be fond of another man (whether Willie or not).  One night, after a day spent recreating, dining and drinking, they returned late to the bordello in which she was staying and, feeling the effects of their partying, retired at around 2:00 AM. The next time Ella was seen was in the morning when she screamed and emerged from her second story room, saying “Help me, Miss Pauline!, Louis shot me!” She collapsed in the hallway, just as the onrushing Madame spied Louis in the doorway, holding a smoking pistol. Louis disappeared, and soon a deputy arrived followed by an ambulance; but too late, for Ella had been shot through the breast with the bullet piecing her heart, left lung and liver, from which wounds she soon bleed to death.

***

A manhunt was raised to find Louis, who after a day turned himself in at the residence of a police Captain. He was arrested, held and charged with murder.  After a trial a jury found him guilty of manslaughter, despite Louis’s claim the shooting was an accident, and if Louis had counted on getting off easy with the reduced finding he was mistaken, for Judge John H. Ferguson (originally from Massachusetts) sentenced him to twenty years in prison, which Garst says was a stiff sentence for the time.

***

 Garst thinks that the song “Ella Speed” appeared soon after the initial shooting and was based on newspaper accounts. “Ella Speed” appears in the collected papers of John A. Lomax (in a Texas version from 1909) and Carl Sandburg included it in his volume American Songbag (1927).  Under the title “Bill Martin and Ella Speed,” it was recorded several times by Leadbelly between 1933 and 1950, and in fact was recorded by several blues performers, including Mance Lipscomb, Tom Shaw, Tricky Same, Finious Rockmore, Lightnin’ Hopkins and Jewel Long (as researched by John Cowley). Garst bases his hypothesis that “Ella Speed” was the model for “Bully of the Town” on three points: 1) the fact that “Bully” appeared a year or two after the “Ella” song, 2) the fact that Louis was a bully and the subject of a massive police hunt, as intimated in both songs, and 3) the similarity between the melodies of “Ella” and “Bully.” He believes Trevathan heard “Ella Speed” from a black musician friend named Cooley, and that Trevathan substantially rewrote it, ending up with “Bully of the Town” (Trevathan gave several accounts of how he came to write the song).

***

Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 26. Ruth (Pioneer Western Folk Tunes), 1948; No. 96, pg. 34. County 526, "The Skillet Lickers, Vol. 1" (1973. Orig. rec. 1926). Gennett 6447 (78 RPM), 1928, Tweedy Brothers (W.Va. brothers Harry, Charles, and George who played twin fiddles and piano). Jim Martin Productions JMP201, Gerry Milnes (et al) – “Gandydancer.” Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." Rounder Records, Gid Tanner and His Skillet Lickers ‑ "The Kickapoo Medicine Show" (appears as the 4th tune of the Kickapoo Medecine Show skit). Tradition TLP 1007, Etta Baker ‑ "Instrumental Music of the Southern Appalachians" (1956).

X:1

T:Bully of the Town

L:1/8

M:2/4

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:G

D|D[GB][G>B>][GB]|[GB] [G2B2] [GB]|[GB][GB][G_B][G=B]|

G3F|[CE][C2E2][CE]|[Ge][G2e2][Ge]|cc c/B/A|(F2 F)(F/E/)|

D d3 ^c/=c/|ccBA|(G4|G3)||

|:(B/c/)|(d2 d)(3c/d/^d/|ed AB|c2 cA|F3 (A/B/)|(c2 c)(3B/c/^c/|

dc A_B|=B2 BG|D3G|(B2 B)(3A/B/c/|(d2 d)(3c/d/^d/|eecA|

E3_E|D d3 ^c/=c/|ccBA|(G4|G3:|

           

BULMER’S. Irish, Reel. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Antrim. The tune is named for English musician and editor Dave Bulmer (of the famous Bulmer & Sharpley collections of Irish music), who she credits with helpfulness in her earlier musical career. Keegan (The Keegan Tunes), 2002; pg. 30.

                          

BUMBLE BEE IN THE PUMPKIN PATCH.  Old-Time. See the related “Bonaparte’s Retreat [1].”

           

BUMBLEBEE IN THE/A JUG, THE. AKA – “Bumblebee in a Jar.” Old-Time, Breakdown. USA; Kentucky, Indianna. D Major. Standard tuning. AAB (Phillips): AABB’ (Songer). The coarse part is supposed to imitate a bee trapped in a jug. John Hartford (1996) traces the tune through successive fiddlers. Most modern versions derived from George “Geo” Lee Hawkins of Bath County, Kentucky, who learned it from Tom Riley whose parents had emigrated from Ireland to Flemming County, Kentucky. Tom Riley later moved to Marion County, Indiana, where Dick (John) Summers picked it up. Hawkins also taught the tune to Bruce Greene and Jane Harrod, from whom Hartford and Roger Cooper learned it. Hawkins and Cooper play the tune in the key of ‘C’. Alfred Bailey also has a version of “Bumblebee in the Jug,” that is distanced from the Hawkins tune. Source for notated version: Joel Shimberg [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 42. Songer (Portland Collection), 1997; pg. 42. Rounder 0376, Geo Hawkins - “Traditional Fiddle Music of Kentucky, vol. 1.” Rounder 0380, Roger Cooper (Garrison, Ky.). Rounder CD0392, John Hartford - “Wild Hog in the Red Brush and a Bunch of Others You Might Not Have Heard” (1996).

 


BUMMER'S REEL [1]. AKA and see "Fletcher's Delight," "Levantine's Barrel," "Reilly's Own," "The Tullamore Piper."  Old‑Time, Breakdown. USA; Pennsylvania, Vermont. G Major. Standard tuning. AABB.  The tune was printed by S.S. Stewart (Phila., Pa.) in a piano/banjo arrangement (by Thomas J. Armstrong)  in 1884. Stewart was a music publisher as well as a banjo manufacturer. Bayard (1981) finds no particular antecedents from the British Isles or Europe, and believes it may be an American composition that perhaps derived from Irish tradition; at any rate he says it was a great favorite with Pennslvania fiddlers. He did find an Irish tune, "Bean an Tighe ar Lar" (Woman of the House), with an 'A' part that was similar to the 'A' part of "Bummer's Reel," but with a different 'B' part. O'Neill maintains the piece is similar to "The Cows Are a‑Milking," while Bayard finds another Irish tune with similarities under the title "Maighstreas an Ti" (Lady of the House). Some versions of "Bummer's Reel," though many American variants have considerable differences, are similar to the American tune "Peaches and Cream." R.P. Christeson (1973, pg. 109) gives a tune, "Breakdown #155" from Bob Walters (Burt County) [Nebraska], and identifries the parent tune as "Bummer's Reel." A version also appears in Howe's collection, c. 1860. Sources for notated versions: Harvey Thompson (Pa.) [Christeson]; Harry Daddario (Union County, Pa.) [Guntharp]; Bayard (1981) gives 10 versions from 10 different southwestern Pa. fiddling and fifing sources; Elmer Barton (Vt.) [Phillips]. Bayard (Hill Country Tunes), 1944; No. 49 (appears as an untitled reel). Bayard (Dance to the Fiddle), 1981; No. 247A‑J, pgs. 206‑209. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 74. Guntharp (Learning the Fiddler’s Ways), 1980; pg. 104. Phillips (Traditional American Fiddle Tunes), 1994; pg. 42. Sweet (Fifer’s Delight), 1964; pg. 49. Philo 1040, Jay Ungar & Lyn Hardy ‑ "Catskill Mountain Goose Chase" (1977. Learned from a Library of Congress recording by Elmer Barton of Quechee, Vermont).

X:1

T:Bummer’s Reel

M:2/4

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:G

B/A/ | G/B/D/G/ BB/A/ | G/B/e/d/ B/d/B/G/ | F/A/D/F/ A/D/F/A/ | G/B/e/d/ B/d/B/A/ |

G/B/D/G/ BB/A/ | G/B/e/d/ B/d/B/G/ | F/A/D/F/ A/D/F/A/ | GBG :: z/d/ | ef gf/e/ | d/B/d BA/G/ |

F/A/D/F/ A/D/F/A/ | G/B/e/d/ B/d/B/G/ | ef gf/e/ | d/B/d BA/G/ | F/A/D/F/ A/D/F/A/ | GBG :|

 

BUMMER'S REEL [2]. Old-Time, Breakdown. A different tune than “Bummer’s Reel [1],” from the playing of Elmer Barton. Library of Congress L-62, Elmer Barton.

 

BUMPAS OF STRETTON. A morris dance tune from Ilmington, Warwickshire, named after a fiddler, Old Bumpas, from the nearby village of Stretton.

 

BUMPER ALLEN'S DELIGHT. AKA and see "Tabhair pog don Bhrideoig sa Leaba, "The Maids of Tipperary," "Kiss the Maid in Bed," "Tom the Fisherman." Irish, Reel. D Major. Standard. AAB. Roche Collection, 1982; Vol. III, pg. 24, No. 79.

                       

BUMPER AT PARTING, A.  English, Country Dance Tune (9/8 time). D Major. Standard. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 9, pg. 4.

                       


BUMPER(S,) SQUIRE JONES. AKA and see "Thomas Morres Jones." Irish, Air (6/8 time). D Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Though not often added, a coma should appear in the title after the first word rendering the title's meaning a cup filled to the brim in toast to Squire Jones ('bumpers'). In fact, “Bumpers all round and no heel taps” was the convivial call to do special honor in drinking a toast. The term bumper has been traced to two sources, both doubtful, says Hawkwood (1909). First, it was thought by some to have derived from the custom of monks drinking to the head of their fraternity as au bon pčre. The second explanation is that it refers to a glass or cup so filled that it “bumps” up in the middle, the liquid being higher in the centre than at the brim. One drinks a bumper at one draught and is expected to turn it upside down to show that it has been enthusiastically empitied of is contents. The ‘heel taps’ referred to in the call above is a term derived from a peg in the heel of a shoe, that the shoemaker removed last when work was complete; heel tap in the sense of the toast would be to ‘drink up and leave not a drop (heel tap)’.

***

Thus the song belongs in the group of O'Carolan's bacchanalian compositions, for which he was justly famous, though the English paraphrase of the original Gaelic was not written until 1730 when it was rendered by Arthur Dawson, Baron of the Exchequer.  In fact, O'Carolan composed the song prior to October, 1729, according to an entry in the diary of young Charles O'Conor, a harp pupil of the bards, who wrote: "Wednesday, 8th. I got Squire Jones from him today, and no thanks to him for that." There has been some speculation that the tune was originally composed by a London dancing master and published by Playford in 1703 as "The Rummer," although Donal O'Sullivan, in his definitive work on O'Carolan, concludes that the commonalties of the two tunes are not enough to sustain the assertion. O'Sullivan does conclude that the English lyrics were penned by Dawson and that they are far superior to O'Carolan's "indifferent" Irish lyric. The composition was publicly championed for O’Carolan by Bunting, after he found attributions in the 1780 issue of the bard’s tunes by S. Lee and in The Hibernian Muse (c. 1787). The tune is in Himes’ reissue of O’Carolan’s tunes, c. 1800-10, though Hime did not credit it to the harper when he printed it in New Selection…Original Irish Airs (c. 1800).

***

The Squire Jones referred to, states Flood (1906), was Thomas Morris Jones of Moneyglass, Co. Leitrim, and not, as Bunting asserts, Mr. Jones of Moneygalss, Co. Antrim. O’Neill (1913) relates that while enjoying the hospitality of the Squire O’Carolan composed a song for him, as was his custom. There are two versions of what happened next, and either a man named Moore or one Baron Dawson, overheard the harper composing in private in his rooms. Thinking to play a jest on the blind bard, the personage (who was musically trained) memorized the melody and even wrote his own words to it, and when O’Carolan played and sang the composition the next day it was vigorously asserted that the melody was not newly composed, but an old song, and the Baron (or Moore) played his version. O’Carolan, of course, flew into one of his famous rages, but was eventually mollified by explanations and not a few toasts. The song was sung the year Squire Jones died by the famous English tenor Thomas Lowe at the Theatre Royal, Aungier Street, Dublin on December 8th, 1743, at a benefit given by Madamoiselle Chateauneuf, and it must have been a showcase number for him as the song with music was printed over a decade later (in 1754) in the Liverpool-published  Muses Delight with the note “sung by Mr. Lowe.” The song and tune appear The Gentleman’s Magazine (1744) including dance directions along with the note that James (or Jack) Beard sang it in The Provok’d Wife, and song and tune also appear in The Merry Medley, or A Christmas-Box for Gay Gallants and Good Companions, II (1745). The song (without the tune) was printed in The Canary Bird (1745) and the tune was printed by Thumoth in 12 English and 12 Irish Airs (c. 1745) where it is identified as English. Finally, it appears in Henry Brooke's opera Little John and the Giants, performed in Dublin in 1748 as Jack the Giant Queller. In none of the above was a composer or author credited. A reference to the song is made in Smollett's novel Peregrine Pickle (1751).

***

Ye good fellows all,
Who love to be told where there's claret good store,
Attend to the call of one who's ne'er frighted,
But greatly delighted with six bottles more!

***

Be sure yell don't pass the good house Monyglass,
Which the jolly red god so peculiarly owns.
'Twill well suit your humour, For pray what would you more,
Than mirth with good claret and bumpers, Squire Jones?              (Baron Dawson)      

***

Complete Collection of Carolan's Irish Tunes, 1984; No. 65, pg. 58. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 2. O'Neill (Krassen), 1976; pg. 230. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 639, pg. 114. Mick O’Brien – “May Morning Dew.”

X:1

T:Thomas Morres Jones or Bumper Squire Jones

C:Turlough O'Carolan

S:Carolan: The Life, Times and Music of an Irish Harper

S:by Donal O'Sullivan

Z:transcribed by Paul de Grae

M:6/8

L:1/8

K:D

A/G/ | FDD D2 E | F/G/AF G/A/BA | BEF G2 A/G/ |

FED d2 e | fed edc | dBe cAc | dDD D ||

f/g/ | afa dfa | bgb efg | faf ged | cAA A2 g |

f/g/af geg | f/g/af geg | fed cBc | dDD D2 ||

 

BUMPUS O' STRETTON. English, Morris Dance Tune (6/8 time). G Major (Mallinson): F Major (Bacon). Standard tuning. AABB, AABB, AABB, AABB, AA. Collected from musicians in the village of Ilmington, Warwickshire, England. Bacon (1974) notes the tune was probably used for a 'morris on' or for a different set dance. Bacon (The Morris Ring), 1974; pg. 216. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 47, pg. 29.

                       

BUNCARA REEL. Irish, Reel. The tune appears on an early 78 RPM recording of the Philadelphia-based Four Provinces Orchestra, played solo by one of the bands fiddler John McCormick. Philippe Varlet suspects the tune may have been composed by McCormick. 

                       


BUNCH OF BLACKBERRIES. Old‑Time, Fiddle Tune. The title appears in a list of Ozark Mountains fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.

 

BUNCH OF CHICKENS. AKA and see "Inimitable Reel." Old‑Time, Breakdown. USA, Indiana. G Major. Standard tuning. AABB. Source for notated version: John Summers (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 42. Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984).

 

BUNCH OF CLOVER. AKA and see "The Orange Rogue."

 

BUNCH OF CURRENTS [1]. AKA and see “Basket of Oysters [2],” “The Bunch of Roses [3],” "Christmas Comes but Once a Year," "I've got one daughter to marry," "I'm a Silly Old Man,” “The Little Bogtrotter,” “Shady Lane,” “Spring in the Air.” Irish, Jig. G Major. Standard tuning.

 

BUNCH OF CURRENTS [2]. Irish, Reel. E Minor. Standard tuning. AABB. Source for notated version: fiddler Seán McGuire learned the tune from his father Jack, a flute, piccolo, and tin whistle player from County Cavan [McGuire and Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), No. 63, pg. 17.

X:1

T:Bunch of Currents [2]

M:4/4

L:1/8

S:McGuire & Keegan – Irish Tunes by the 100, Vol. 1

K:E Minor

EFGA BABc | dD (3DDD dFAF | EFGA BAGF | EBAF GEED |

EFGA BABc | dD (3DDD D2 AF | EFGA BAGF | E2 BE GE E2 :|

|: efge fgaf | efge fedf | eB (3BBB BAGF | EBAF GE E2 |

efge fgaf | efge fedf | eB(3BBB BAGF | EBAF GE E2 :|

 

BUNCH OF FERNS. See “Bonnie Bunch of Ferns.”

 

BUNCH OF GREEN RUSHES [1], THE (An Dornan Luacra Glas). AKA and see “The Green Bed of Rushes.” Irish, Reel. D Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1202, pg. 226. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 478, pg. 92.

X:1

T:Bunch of Green Rushes, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 478

Z:AK/Fiddler’s Companion

K:Dmix

d|cAFA (3GFE FG|cAGB Adde|cAGA FEFG|fdec Adde|

cAFA (3GFE FG|cAGB Adde|cAGA FEFG|fdec Add||d|

defg abaf|gece gage|defg abaf|gece fd d2|defg bged|^cdef g2 fg| afge fdec|dcAG Adde||

 

BUNCH OF GREEN RUSHES [2], THE. AKA and see "The Black Rogue [1]." Irish, Double Jig.

 

BUNCH OF HAWS, A/THE. AKA and see "The Hawthorn [2]." Irish, Slip Jig (9/8). G Major. Standard tuning. AABB. Source for notated version: fiddler Paul Murphy (Beesbrook, County Armagh) [McGuire & Keegan]. Breathnach (CRÉ III), No. 57. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 93, pg. 26. O'Neill (Krassen), 1976; pg. 84. O’Neill (Dance Music of Ireland), 1907; No. 437.

X:1

T:Bunch of Haws, The

M:9/8

L:1/8

R:Slip Jig

K:G

dBG GBG AGE | dBG GBd efg | dBG G2B AGE | gbg faf e2g |

dBG GBG AGE | dBG GBd efg | dBG G2B AGE | gbg faf e2g ::

def gfg edB | def gfg a2 B/c/ | def gfg edB | gbg faf edB |

def gfg edB | def gfg a2 g/a/ | bag agf gfe | dBG GBd efg :|

 

BUNCH OF HOLLY, THE. Irish (?), Reel. G Major. Standard tuning. One part. Holly is prominent in winter folk traditions of the British Isles, where it was thought that a bunch of holly hung in the cowshed at Yuletide would bring luck for the coming year. On St. Stephens day in Ireland, wren-boys would attach a bunch of holly to a pole along with a dead wren to go collecting from house to house. Simpson & Roud (Dictionary of English Folklore, 2000), record that holly trees were generally believed to be protection against witches and other evils, and thus were planted around churches and houses. One sheltered from thunderstorms under a holly tree as they were ‘never struck by lightning’, and it is still considered unlucky to cut down a holly bush or tree (a belief the authors say dates back to at least the 15th century). Howe (1000 Jigs and Reels), c. 1867; pg. 64.

X:1

T:Bunch of Holly, The

M:2/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

d/>c/ | BB/d/ c/A/A/c/ | B/G/G/B/ d/e/d/c/ | BB/d/ c/A/A/B/ | dc/A/ A/G/G/A/ |

BB/d/ c/A/ (3A/B/c/ | B/A/B/G/ d/e/d/c/ | BB/d/ c/A/A/B/ | D/d/c/A/ A/G/G/g/ |

(f/g/).a/.f/ .g(f/e/) | (dc/)A/ (A/d/)d | (f/g/).a/.f/ (g/f/).g/.e/ | (dc/).A/ (A/G/)G |

f/g/a/f/ gf/e/ | dd/e/ ff/g/ | a/g/f/a/ gf/e/ | dc/A/ A/G/G ||

 

BUNCH OF KEYS [1], THE. AKA and see: “Ew(i)e wi' the Crooked Horn [1],” "Flowers of Limerick [1]" "The Mills Are Grinding [1]," "Old Town Reel," "Paddy On the Turnpike [2]” (Ryan/Cole), "Telephone Reel," ”Yellow Heifer.” Irish, Reel. G Dorian (Gm) {Brody}: G Major {O'Neill}: G Major/Mixolydian (Cranitch). Standard tuning. AABB (Brody): ABC (O'Neill): AABBCC (Cranitch). The title refers to door keys, or, as Paul de Grae suggests, it may refer to the winged seeds (called keys) of the ash tree (fabled in Irish folklore), which hang in bunches before dropping. The tune was recorded on 78 RPM in 1936 by Sligo/New York fiddler Paddy Killoran, in a medley with “Dublin Reel” and “Miss Thornton.” Sources for notated versions: Kevin Burke (Co. Clare, Ireland) [Brody]; Paddy Ryan [Bulmer & Sharpley]. Brody (Fiddler’s Fakebook), 1983; pg. 59. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 16. Cranitch (Irish Fiddle Book), 1996; No. 80, pg. 155. O'Neill (Krassen), 1976; pg. 162. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959). Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from a session tape of east Clare fiddler Paddy Canny). Copley DWL‑9‑617, Jack Wade‑ "Ceili Music From Ireland." Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Folkways FG 3575, Barry, Gorman, Ennis, and Heaney‑ "Irish Music in London Pubs." MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned from recordings of piper Johnny Doran, and from the Ballinakill Ceili Band). Paddy Glackin & Paddy Keenan – “Doublin’” (1978). Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996. Learned from Séamus Ennis).

X:1

T:Bunch of Keys, The

T:Flowers of Limerick, The

S:Sean Ryan, fiddle (Chris Delaney collection)

Z:Transcribed by Paul de Grae

R:reel

M:4/4

L:1/8

K:GMix

DG{A}G^F G3 A|BGdG eGdG|DCDE F2 ~FG|AF (3FFF dFcF|

AGG^F ~G3 A|B2 GA Bc d2|(3^fga ge fdcA|BGA^F DGGF||

DGG^F G3 A|BG (3GGG cGBG|DCDE F3 G|AF ~F2 CFA,F|

DGG^F ~G3 A|B2 GA Bc d2|(3^fga ge fdcA|BGA^F DGGB||

dgg^f g2 dg|bg ~g2 bga^f|d^cde f2 ~fg|af ~f2 cfaf|

dgg^f ~g3 a|bga^f gf d2|(3^fga ge fdcA|BGA^F DGGB||

dgg^f g2 dg|bg ~g2 bga^f|d^cde f2 ~fg|af ~f2 cfaf|

dg ~g2 dg ~g2|bga^f gf d2|(3^fga ge fdcA|BGA^F DGGA||

BG ~G2 BGdG|BG ~G2 (3Bcd gd|AF ~F2 AFcF|AF ~F2 ABcd|

BG ~G2 DG ~G2|BAGA Bc d2|(3^fga ge fdcA|BGA^F DGGA||

BG ~G2 DCB,D|BG ~G2 (3Bcd gd|AF ~F2 CFA,F|AF ~F2 ABcd|

BG ~G2 DG ~G2|BAGA Bc d2|(3^fga ge fdcA|BGA^F G4||

X:2

T:The Bunch of Keys

M:4/4

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:G

DG({A}G)F ~G3A|B(Gd)(G e)GdG|D=F({G}FE ~F3G|A=FcF dFcF|

DG({A}G)F ~G3A|({c}B)AGA Bcde|~=f3(d  c2) A/B/c|1 B(GA)(F DG) G2:|2

B(GA)(F DG)Gd||:Bg({a}g)f ~g3a|b~g3 bga=f|d=f({g}e) f2 ef|d~=f3 dfcf|

dg({a}f ~g3a|bgag =fdde|=fa (3gfe f(dc)A|1G(BA)(F DG)Gd:|2

G(BA)(F DG)GA||:BG (3GGG BGcG|BG (3GGG Bdgd|A~=F3 CFA,F|

AF (3FFF ABcd|B~G3 D(~G3|B)GGA Bcde|=f3(d c2) A/B/c|B(GA)(F DG)G2:|

 


BUNCH OF KEYS [2]. AKA and see "Old Bunch of Keys." Old‑Time, Breakdown. USA. A Mixolydian (A). AEae, ADae, or Standard tunings. AB (O.T.J.): AABB (Brody). Learned by Mt. Airy, N.C., fiddler Tommy Jarrell (who was partly responsible for popularizing the tune) "Up on the mountain (near Fancy Gap, Va.) from my daddy‑in‑law (Charlie Barnett Lowe), an' John Rector, an' Fred Hawkes, an' some of 'em...Well, we'd go on the high part twice, y'know, but we played the low part a long time 'fore we'd go to the high part. We'd just keep playin' the (low part) til one of us wanted to change an' them we'd punch a knee. We'd sit (facing each other) with our knees together. An then if I took a notion to go on the high part, all I had to do is (bump knees), an' if he did, why, he'd do the same thing to me. An' we knowed exactly what the other one was gonna do thataway. In place of raising the fiddle up, that's what we'd do, y'know. Course when Lawrence (Lowe) got to playing with us, we couldn't do that, we had to raise my fiddle up when we'd go to go on the high part. Uncle Charlie and Daddy both (signaled by raising the fiddle) all the time. That's when I knowed when they was a‑gonna change, y'know. They played like that, played the low part of it maybe over half a dozen or a dozen times 'fore they'd play the high part, an' just go over the high part twice" (Old Time Herald, vol. 3, No. 2, Winter 91‑92, pg. 46). Brody (Fiddler’s Fakebook), 1983; pg. 59. Kaufman (Beginning Old Time Fiddle), 1977; pg. 96. Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001). County 713, Cockerham, Jarrell and Jenkins‑ "Down to the Cider Mill" (c. late 1960's). Heritage XXIV, Tommy Jarrell ‑ "Music of North Carolina" (Brandywine, 1978). Rounder 0040, "Pickin' Around the Cookstove."

X:1

T:Old Bunch of Keys

M:C|

L:1/8

S:Tommy Jarrell Down to the Cider Mill (County 713, 1968)

K:A

e2|:e=g^ge eddd|e=g^ga a2ag|e=g^gg efec|BGAA A2:|

A|:AAA2 c3A|BAGE BAGE|EAAA c2cc|BGGG A2:|

 

BUNCH OF ROSES [1]. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 36. Ryan’s Mammoth Collection, 1883; pg. 61.

X:1

T:Bunch of Roses [1]

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(dc) |: BG (3.G.G.G (Bd).g.d | (BG)(AG) .F.G.A.c | (Bc).B.A (Bd).g.d | .c.A(BG) DG G2 |

BG (3.G.G.G (Bd).G.d | (BG)(AG) .F.G.A.c | (Bc).B.A (Bd).g.d | .c.A(BG) (DG) G2 :|

|: (dg) g2 agbg | (ag).b.g .e.a a2 | (dg)g2 .a.g.b.g | (ge).d.c (BG)G2 |

(dg)g2 (ag).b.g | .a.g.b.g (ea)a2 | .b.g.e.f (ge).d.c | (Bc).A.c (BG) G2 :|

 

BUNCH OF ROSES [2]. AKA and see "Bunch of Rushes [1]" (English). Old‑Time, Breakdown. D Mixolydian. Standard tuning. AABB. Obviously an American version of the English hornpipe "Bunch of Rushes." Spandaro (String Band Fakebook: 10 Cents a Dance), 1980; pg. 2. Living Folk Records LFR104, Allan Block ‑ "Alive and Well and Fiddling" (appears as "Bunch of Rushes").

X:1

T:Bunch of Roses [2]

M:C|

L:1/8

K:Dmix

de | f2 ef gfed | dedc AGAB | cBcd edBA | B2A2A2 de | f2ef gfed | dedc AGAB |

cBcd edAG | E2D2D2 :: zA | B2 z2 c3B | A2AB A2AB | cBcd edBA |

B2A2A2 de | f2 ef gfed | dedc AGAB | cBcd edAG | E2D2D2:|

 

BUNCH OF ROSES [3] (An Dornan Ros). AKA and see “Basket of Oysters [2],” “Bunch of Currents [1],” “Greensleeves,” "Christmas Comes but Once a Year," "I've got one daughter to marry," “I’m a Silly Old Man,” “Spring in the Air.” Irish, Single Jig. G Dorian. Standard tuning. AABB. A variant of the jig form of “Greensleeves.” The ‘bunch of roses’ was a common name for the red-coated British Army (which always had a large number of Irish conscripts), but also refers symbolically to the union of England, Scotland, Ireland and Wales. Paddy O’Brien, James Kelly and Dáithí Sproule recorded it under the title “Spring in the Air.” “See also the air “Bonnie Bunch of Roses,” and the related “Shady Lane.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1054, pg. 199. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 390, pg. 78. O’Neill (O’Neill’s Irish Music), 1915; No. 208, pg. 112. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 11.

X:1

T:Bunch of Roses [3]

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 390

Z:AK/Fiddler’s Companion

R:Single Jig

K:Gmin

d/c/|B2B Bcd|c2A ABc|B2G GAB|AFD DGA|B2B Bcd|c2A ABc|BAG AG^F | G3 G2 :|
|:d/=e/|f2d d=e^f|g2d dcA|G2f f2g|afd d2=e|fga gf=e|f=ed cBA|GAB AG^F | G3 G2 :|

           

BUNCH OF RUSHES [1]. AKA and see "Bunch of Roses [2]" (Old‑Time). English, Hornpipe. D Mixolydian. Standard tuning. AB. Not the Irish reel “Bunch of Green Rushes.” Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 6. Raven (English Country Dance Tunes), 1984; pg. 161.

X:1

T:Bunch of Rushes [1]

M:C|

L:1/8

R:Hornpipe

Z:AK/Fiddler’s Companion

K:Dmix

de | f2 ef gfef | d2 dc AGFA | cBcd ecdB | A2 AB A2 de | f2 ef gfef | d2 dc AGFA |

cBcd dcAG | E2D2D2 || GA | B2 AB c2 Bc | A2 AG FGAB | cBcd ecdB | A2 ABA A2 de |

f2 ef gfef | d2 dc AGFA | cBcd dcAG | E2D2D2 ||

 

BUNCH OF RUSHES [2]. Irish, Hornpipe. D Minor. Standard tuning. AABB. O’Farrell (c. 1810) gives the tunes provenance as Irish. There are melodic contour similarities with “Bunch of Rushes [1].” O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 129.

X:2

T:Bunch of Rushes, The  [2]

M:C|

L:1/8

R:Hornpipe

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)

Z:AK/Fiddler’s Companion

K:Dmin

(A/B/c/d/4e/4) | f3g agfe | d3 A3B | c4 dcAG | A2A2A2 (A/B/c/d/4e/4) | f3g agfe |

d4 A3B | c4 dcAG | “tr”E3D D2 :: DE | F3G A2A2 | AGFE F3A | c3f dcAG |

A2A2A2 (A/B/c/e/4e/4) | f3g agfe | d4 edcA | c4 dcAG | “tr”D3D D2 :|

 

BUNCLODY.  Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. The air is "Cailin deas ruad(h)." Bunclody is in County Wexford, where the river Clody joins the Slaney river. Some of the lyrics to this song, an emigrant's farewell, appear in the American ballad "Pretty Saro," according to John Loesberg (1979).

***

O were I at the moss-house, where the birds do increase,

At the foot of Mount Leinster or some silent place;

By the streams of Bunclody where all pleasures do meet,

And all I would ask is one kiss from you sweet.

***

Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 99, pg. 85.

 

BUNDLE AND GO [1]. Irish, Double Jig. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 142 (#246).

 


BUNDLE AND GO [2]. AKA and see "Larry O'Gaff [1]," "Daniel O'Connell." Irish, Double Jig. D Major. Standard tuning. AABB. This "Bundle and Go" is closely related to both "Larry O'Gaff" and "Daniel O'Connell," which may be different tunes (David Taylor {1992} believes they are, though often confused, while Roche lists them as alternate titles) or variants or derivatives of each other. Roche Collection, 1982; vol. I, pg. 49, #117.

 

BUNDLE AND GO [3]. AKA and see "The Basket of Turf," "An Cliabh Móna," "The Wee Wee Man," "The Unfortunate Rake [1]," "The Wandering Harper," “Winter Garden Quadrille,” "The Lass from Collegeland," "The Disconsolate Buck." Irish, Jig. E Minor (G Major). Standard tuning. AABB. A relative of “Up Sligo [1].” Cole (1000 Fiddle Tunes), 1940; pg. 54. Ryan’s Mammoth Collection, 1883.

X:1

T:Bundle and Go [3]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:Emin

GBB BAG|FAA AGF|GBB BAG|AGF E3|GBB BAG|

FAA AGF|GAB ABc|AGF G2::Eee efg|fdB AGF|

Eee efg|fdB d3|Eee dfg|fdB AGF|GAB ABc|AGF G2:|

 

BUNDLE AND GO [4]. AKA and see “Kiss the Maid Behind the Bier,” “My Love in the Morning,” “This is My Love, Do You Like Her?” Irish, Jig. E Minor. Standard tuning. AABB. This tune, a variant of “Bundle and Go” [3], is closely related to the jig “I Lost My Love.” Songer (Portland Collection), 1997; pg. 43. Philo 1153, “Sharon Shannon.” Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as first tune of “Tickle Her Leg,” learned from banjo player Charlie Piggott).

X:1

T:Bundle and Go

M:6/8

L:1/8

R:Jig

K:Em

E3 EDB,|+G3E3B,3+- +GEB,+AB|A3 ABA|d3 d2e|dBG GAB|AGE DEF|

FGE FED|E3 EFD | B,EE EDB,|+G3E3B,3+- +GEB,+AB|+A3F3D3+ ABA|

d3 d2e|dBG GAB|AGE DEF|FGE FE D|E3 E2A| |:Bee edB|~d3 def|

+e3B3+ edB|d2d d2e|dBG GAB|AGE DEF|FGE FED|1 ~E3 E2A:| 2 ~E3 B,FD:|

 

BUNDLE AND GO [5]. AKA and see “The Cameronian Reel [3].” Irish, Reel. Ireland, County Donegal. In the repertoire of County Donegal fiddler John Doherty under this title.

 

BUNDLE AND GO [6]. Irish, March or Jig. Ireland, County Donegal. E Minor. Standard tuning. AA’BB’. Fiddler Doherty’s plays the tune with a sharped ‘c’ note, sliding the tonality between E Minor and G and D Major. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 85 (listed as a march).

 

BUNDLE OF STRAW, THE. AKA and see "Cois an Ghiorria," "The Corry Boys," "Follow Me to Carlow," "The Hare's Foot," "The Hare's Paw [1]," "Jim Kennedy's Favorite," "Low Park," "The Lowlands of Scotland," "The Silvermines [1],” "The Tralee Lasses.” Irish, Reel. E Minor. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 178, pg. 20.

X:1

T:Bundle of Straw, The

M:C|
L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 178  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Emin

GFGA (BE) (3EEE|BEdE (BE) (3EEE|GFGA (BA) (3Bcd|(3efg (3fe^d e2e2:|

|: gafg edBd|dfed Bdef|1 (3gag (3fgf edBd|(3efg (3fe^d e2 (ef):|2

(3gab (3agf (3gfe (3fed|(3efg (3fe^d e2e2||

 

BUNDORAN HIGHLAND, THE. AKA and see “Loudon’s/Louden’s Bonnie Woods (and Braes).” Irish, Highland. Ireland, County Donegal. Popular in southern Donegal, particularly from the playing of Paddy Kelly. Donegal fiddler Danny O’Donnell recorded the tune in the 78 RPM era, second in a set of three Highlands (with “Polly Put the Kettle On [1]” and “Niel Gow’s Wife [1]"). He called the set “The Thistle and Shamrock.”

 


BUNG YOUR EYE. AKA and see "Bang Your Eye," "Brisk Young Lad('s)s," "High Cauld Cap," "The Jolly Old Man," "Mary the Maid."  Scottish, Jig. A Minor. Standard tuning. ABB (Sharp): AABB (Gow, Karpeles, Kennedy, Williamson). This melody was published in the "Bodleian MS” (1740) {named for the library in which it resides--the Bodleian Library, Oxford} and is inscribed A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740. Originally set by Young as a country dance (to which he gives directions). Another early country dance version appears in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. III (London, 1744, as “Bung Her Eye”). Karpeles notes that this tune is also suitable as an accompaniment to Rapper Sword Dance. Glen (1891) reported he found the tune earliest in print in Robert Ross's 1780 collection (pg. 1), and evidently did not know of the Bodleian MS. Samuel Bayard (1981) believes the piece to be a "recognizable version" of a tune family that includes "Lan(n)igan's Ball," "Lumps of Pudding," "Kitty Alone," "Muirland Willie," and "O As I Was Kiss’d Yestreen [1]." Close variants of the "Bung Your Eye" strain of the family are: "Off to the Hunt", "The Antrim Lasses," "Tatter Jack," "The Boys of Carrigallen," "Mount Your Baggage [1]," and "Bonnie Strathmore."

***

The term ‘bung your eye’ means to ‘shut your eye’, a meaning taken from the bung or cork used to stopper a hole in a cask, for example. ‘Bung your eye’ was one euphemism for gin (along with ‘strip-me-naked’ and others), an alcoholic beverage the English populace nearly drowned in during the mid-18th century. In this sense an excess of gin will ‘shut (bung) your eye(s)’ through blind drunkenness. Another sense of the term is revealed in the song “The Bold Irishman,” an early 19th century broadside sheet ballad that relates the perils of an immigrant in a new land. Here the phrase ‘bung your eye’ implies a threat to beat the protagonist until his eyes are shut:

***

A blustering bully with a head like a Turk

Says welcome from Ireland, sweet Paddy from Cork

Arrah turn you round Pat, for I've been a kin

For I never yet see a coat buttoned behind

***

A beef headed butcher was then standing by

Cries Paddy you rogue I'll bung up your eye

Such blustering words made my heart ache

For fear of my eyes not a word dare I speak

***

Paddy prevails in the end, turning the tables on the two bullies:

***

The bully that said he'd bung up my eye,

I tipt him a grinder as I passed by,

I let him to know as he lay in his gore,

That an Irishmans coat was buttoned before

***

See also note to "Lanigan's Ball” and O’Neill’s "The Jolly Old Man." Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; No. 15, pg. 6. Gow (Complete Repository), Part 1, 1799; pg. 21. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 13. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 26. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 42 (appears as "Mary the Maid"). Sharp (Country Dance Tunes), 1909/1994; pg. 58. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976, pg. 50.

X:1

T:Bung your Eye

M:6/8

L:1/8

R:Jig

S:Gow – 1st Repository (1799)

Z:AK/Fiddler’s Companion

K:Amin

E|ABA c2d|e(dc) B2A|GAG B2c|dge dBG|ABA c2d|edc Bcd|e2A AB^G|A3 e2:|

|:B|c>de/f/ g2a|gec gec|G>AB/c/ d2e|dge dBG|c>de/f/ g2a|gec de^g|a2A AB^G|A3 e2:|

 

BUNGALO, THE. Scottish, Reel. A Major. Standard tuning. One part. One of the tunes composed and included by J. Scott Skinner in his 1921 concert tour set romantically named "Spey's Fury's." The 'bungalo' refers to the cottage in Forgue which Skinner's friend, the 'Laird o' Drumblair', gave to the musician rent‑free for several years. Hunter (Fiddle Music of Scotland), 1988; No. 228. Martin & Hughes (Ho-re-gheallaidh), 1990; pg. 8. BM-91, Buddy MacMaster – “Glencoe Hall.”

X:1

T:Bungalo, The

M:2/4

L:1/8
R:Reel

C:J. Scott Skinner

K:A

E|Ac/A/ B/c/d/B/|e/f/g/a/ e/c/A/c/|d/d/d fd c/c/c ec|B/e/^d/f/ e/=d/c/B/|

Ac/A/ B/c/d/B/|e/f/g/a/ e/c/A/c/|d/e/f/d/ c/e/a/f/|e/a/g/b/ a(3e/f/g/|

A/b/g/a/ f/g/e/f/|d/e/c/d/ B/e/f/g/|a/b/g/a/ f/a/e/c/|e/a/g/b/ a(3e/f/g/|

A/f/g/e/ f/d/e/c/|d/B/c/A/ B/G/E/D/|C/E/A/B/ c/e/a/f/|e/c/d/B/ A||

 

BUNGALOW JIG, THE. Irish, Jig. G Major. Standard tuning. AABB. The melody appears in the mid-19th century music manuscript collection of Church of Ireland cleric James Goodman (1828-1896). Goodman, who spoke Irish and played the uilleann pipes, collected from tradition in Cork and elsewhere in Munster, and obtained tunes from manuscripts and printed sources as well. Paul De Grae finds it interesting, if somewhat baffling, that a Raj word like ‘bungalow’ (from banglā, meaning “of Bengal”) would appear in mid-19th century rural Ireland. However, neither Goodman nor Petrie give a source for the melody—the versions mirror each other note-for-note—and it is unclear where it was obtained. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 46, pg. Stanford/Petrie (Complete Collection), 1905; No. 962, pg. 245.

X:1

T:Bungalow Jig, The

M:6/8

L:1/8

R:Jig

S:Stanford/Petrie – Complete Collection, No. 962 (1905)

Z:AK/Fiddler’s Companion

K:G

d/c/|({B/c/}B2)A Bcd|cAG FGA|({B/c/}B2)A Bcd|(cA)F G2A|

({B/c/}B2)A (Bcd)|cAG (FG)A|({B/c/}B)GG cAA|(dc).A G2:|

|:(A/G/)|(FD)D FEF|({G/A/}G2)F ({B/c/}B2)G|(FD)D (FE)F|(Gc)A G2 (A/G/)|

FDD (FE)F|(GA)G FGA|(BG)G cAA|(dc)A G2:|

 

BUNINGFORD ASSEMBLY. English, Jig. G Major. Standard tuning. AABB. The melody was first published in Sylvanus Urban’s periodical The Gentleman’s Magazine and Historical Chronicle for 1753. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 72.

X:1

T:Buningford Assembly

M:12/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G3 (BGB) (dBd) g3|(gfe) (dcB) (ABG) (AFD)|G3 (BGB) (dBd) g3|(fag) (fed) (ed^c) d3:|

|:D3 (FDF) (AFA) c3|D3 (GDG) (BGB) d3|D3 (FDF) (AFA) (cBA)|(Bcd) (efg) (cBA) G3:||

 

BUNKER HILL [1]. AKA and see "Dead March," "A Drag," "Harrison City." American, Reel. Southwestern Pa. D Major. Standard tuning. AABB. Bayard (1981) identifies this tune as adapted from a work of classical music, namely von Weber's "Huntsman's Chorus" from the third act of his opera Der Freishutz. The tune entered folk tradition, and kept the title "Huntsman's/Huntsmen's/Hunter's Chorus" in England. It was well‑known as a martial tune by Pennsylvania fifers who at some point named it after the Revolutionary War battle, and its operatic origins and name were forgotten. Source for notated version: a manuscript by fifer Hoge (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 322A, pg. 281.

 

BUNKER HILL [2] (Cnoc Bunceir). Irish, Reel. D Mixolydian. Standard tuning. ABC (Flaherty, O’Neill): AABBCC (Taylor/Tweed). O’Neill (Irish Folk Music, a Fascinating Hobby, pg. 98) notes that Bunker Hill was the collector, musician and priest Dr. Henebry’s address  “in or near the city of Waterford, Ireland”. Paul de Grae believes there is a connection with the 18th century battle near Boston harbor, however, as Henebry was at one time a professor of Gaelic at Washington D.C.’s Georgetown University, “and doubtless was an admirer of the American Revolution.” The 'A' part is similar to the 'A' part of version #2. Sources for notated verisons: flute player Colm O'Donnell (b. 1962, Aclare, County Sligo, Ireland) [Flaherty]; John Mulvihill, a native of Limerick  [O’Neill]; accordionist and set dancer Mike Butler (Ennis, County Clare) [Taylor/Tweed]. Flaherty (Trip to Sligo), 1990; pg. 10. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 787, pg. 137. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 14. DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994).

X:1

T:Bunker Hill

L:1/8

M:C|

S:Flaherty – Trip to Sligo

Z:Chords by Rick Gagne

N:Arty McGlynn plays an Am chord in the third and fourth measures of the ‘C’ part.

K:D Mixolydian

“C”GE ~E2 D2 GD|”D”EGAB “C”c2 Bc|”A”ABAG EG ~G2|ABcA “D”d2 cA|

“C”GE ~E2 D2 GD|”D”EGAB “C”c2 Bc|”D”dB cA “G”BG ~G2|

”A”ABcA “D”d2 cA||

“C”Gc c2 ec c2|Gcec dcAG|”D”Ad d2 ed d2|AddB cBAG|EGAB “C”c2 dB|

“A”c2 dB “C”c2Bc|“D”dBcA “G”BG ~G2|”A”ABcA “D”d2 eg||

“D”fd ~d2 fdad|”Bm”fddf a2 gf|”G”ge ~e2 gebe|”Em"geeg b2 ag|”D”fdd^c dcAB|

“C”cAdB c2 Bc|”D”dBcA “G”BG ~G2|”A”ABcA “D”d2 cA||

X:2

T:Bunker Hill

R:reel

D:Arty McGlynn: McGlynn's Fancy

D:Dermot Byrne

Z:id:hn-reel-241

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

M:C|

L:1/8

K:Dmix

cA|:GEcE D2~D2|(3EFG AB c2Bc|~A3G EFGE|ABcA d2cA|

GEcE D2~D2|(3EFG AB c2Bc|dBcA BGFG|ABcA d2cA:| |:Gc~c2 ec~c2|

Gc~c2 cAGc|Ad~d2 fd~d2|Adde dcAG| (3EFG AB cAdB|cAdB c2Bc|

dBcA BGFG|1 ABcA d2cA:|2 ABcA d2ag|| |:fd~d2 fdad|fadf a2gf|ge~e2 gebe|

gbeg b2ag| fddc dcAB|cAdB c2Bc|dBcA BGFG|1 ABcA d2ag:|2 ABcA d2||

"Variations:"

cA|:GE~E2 D2ED|FGAB c2dc|ABAG EFGE|ABcA d2ed| cAGE D2~D2|FGAB c2Bc|dBcA BG~G2|ABcA d2cA:|

|:GcBc ecBc|GccB cBAG|Ad~d2 fd~d2|Addc dcAG| FGAB cAdB|(3cBA dB c2Bc|

dBcA BG~G2|1 ABcA d2cA:|2 ABcA d2ag|| |:fd~d2 fdad|fadf a2gf|ge~e2 gebe|gbeg b2ag|

fd~d2 dcAB|cAdB c2Bc|dBcA BG~G2|1 ABcA d2ag:|2 ABcA d2||

 

BUNKER'S HILL [3]. Irish, Reel. G Major. Standard tuning. AB. A variant of version #2, with the tonality more solidly in G major. Roche Collection, vol. 1, 1982; No. 186, pg. 71.

 

BUNKER HILL [4]. AKA and see “Sugar Hill.” Old-Time, Breakdown. USA, Ozarks.

 

BUNKER HILL [5].  Old-Time, March (cut time). USA, Arkansas. A Major. AEae tuning. AA’BB’. This version is similar to the “Bunker Hill” played by fiddler Absie Morrison, whose family, according to Drew Beisswenger (2008), may have brought the tune to the Ozarks. Many Ozark fiddlers link the tune to the Battle of Bunker Hill of the American Revolution. Source for notated version: Kermit Moody (1909-1977, Mountain View, Stone County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 97.

                       

BUNNÁN BUÍ, AN. AKA and see “The Yellow Bittern.”

                       

BUNNY’S HAT, THE. Irish, Reel. B Minor. Standard tuning. AABB. Composed by David Lim, a piper from Manchester, England, who plays with a group called “The Long Note.” McGoldrick – “Fused.”

X:1

T:The Bunny's Hat

M:4/4

L:1/8

C:David Lim

R:Reel

N:Not at all sure about the barring of the B part, may be a couple of

2/4

N:bars in there somewhere :-)

D:Michael McGoldrick : Fused

Z:Steve Mansfield July 2001

K:Bm

FABF cBAF | BcdB fedB | FABF ~A3 F | EF~F2 AB ~B2 |

FABF cBAF | BcdB fedB | FABd cA ~A2 | fdec B4 ::

FB de f2 ~ff | f2 ~ff  edBA | FBde f2 ~ff | edBA  B4 |

FB de f2 ~ff | afff bafe | dB~BB cA~AA | fdec B4 :|

                       

BUNRATTY BOYS. AKA and see “John Kelly’s Slide [2],” “Nelly Mahony’s (Slide) [2].” Irish, Slide (12/8 time). E Dorian. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 16.

X:1

T:Bunratty Boys

C:Traditional

N:Play 5 times through

Z:Gordon Turnbull, Edinburgh

R:Slide

M:12/8

L:1/8

K:Amix

e3 efe d2 f a2 f | e3 efe d2 B B2 A |\

e3 efe d2 f a2 f |  efe f2 e d3 d3:||

A2 a f2 a A2 a f2 a | efe f2 e d2 B B2 A |\

A2 a f2 a A2 a f2 a | efe f2 e d3 d3 :||

 

BUNTER'S DELIGHT, THE. AKA and see "Leather the Wig" ("Plancam Peirbig), "Will you come plank, come plank," "Tarraing Go Caoin an Sgeol." English, Air. This is an English version of an Irish tune, states Grattan Flood (1906), who finds it published in Playford (1713) and by B. Cooke in 1795 (although Flood's statements are not always accurate). It is also known as "Will you come plank, come plank," "Leather the Wig" (Plancam Peirbig), and "Leir‑ruatar Whiggiona."

 

BUONOPARTE’S MARCH. AKA and see “Hanoverian March,” "Napoleon('s March)," "Bonaparte's March [2]." Scottish, March (cut time). D Major. Standard tuning. AABC. Most titles reference (albeit with different spellings) Napoleon Bonaparte. The tune appears in numerous English fiddlers’ manuscripts of the 19th century. Ironbridge, Shropshire, musician John Moore included it in his music manuscript as “Hanoverian March.” J. Winter (Stanton, Gloucestershire) had it in his 1833 manuscript, as did Henry Stables (Waithwaite, Cumbria, 1881). Likewise, William Irwin (Langdale, Cumbria, 1838) and John Clare (Helpstone, Northants, c. 1820) also noted it into their copybooks. As “Napoleon(’s March)” it was played in an 1884 Melbourne, Australia, concert given by Irish uilleann piper John Coughlin, records O’Neill (1913). Melodeon player George Tremain of Yorkshire recorded the march on a 78 RPM record in the 1950’s (BBC 1862B:RW), and also recorded by whistle player Billy Conroy (Northumberland) and fiddler Billy Pennock (Goathland, north Yorkshire moors). It was also in the repertoire of Gloucestershire fiddler Stephen Baldwin (1873-1955), recorded (as “Napoleon’s Grand March”) by Peter Kennedy for the BBC in the early 1950’s. Kerr (Merry Melodies), vol. 4; No. 370, pg. 40. Musical Traditions MTCD334, Stephen Baldwin – “Here’s One You’ll Like, I Think” (2005).

X:1

T:Buonoparte’s March

M:C|

L:1/8

R:March

S:Kerr – Merry Melodies, vol. 4, No. 370  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2|d2 d>d d2 (A/B/c/d/)|e2 e>e e2 (de)|f2 (ef) g2f2|e2 e>e e2 A2|

d>dA>A F>FA>A|d>dA>A F>FA>A|d2 d>f edef|d2 d>d d2:|

||f2|e>dc>B ABcA|d>cd>e defd|e>dc>B ABcA|d>cd>e defd|

B2 g>g g2B2|A2 f>f f2 (af)|e2 e>e edef|d2d>d d2||(fg)|a2a2b2b2|

a3gf2a2|g2g2f2(af)|e2 e>e e2 e>f|g2 (g/f/e/d/) c2A2|a>af>f d2A2|

f2 (fa) gfed|a2 a>a a2 (gf)|e>dc>B ABcA|d>cd>e defd|e>dc>B ABcA|

d>cd>e defd|B2 g>g g2B2|A2f>f f2 (af)|e2 e>e edef|d2d>d d2||

                       

BUONAPARTE’S WALTZ.  English (?), Waltz (3/8 or ľ time). G Major (Colclough): D Major (Kennedy). Standard tuning. AABB (Kennedy): AABBCCDD (Colclough). Colclough (Tutor for the Irish Union Pipes), c. 1830; pgs. 12-13. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 102, pg. 24.

X:1

T:Buonaparte’s Waltz

M:3/8

L:1/8

R:Waltz

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

Z:AK/Fiddler’s Companion

K:G

(G/A/) | BB (d/B/) | AA (G/A/) | B(B/c/)(d/B/) | A2 (G/B/) | dd (e/f/) | g/f/g/a/b/a/ | g/f/e/d/e/f/ | g2 :|

|: g | (b/g/)d/g/(b/g/) | (af) d/f/ | (g/e/)c/e/(g/e/) | f/d/A/d/f/a/ | b/g/d/g/b/g/ | a/f/d/f/a/f/ | g/e/e/g/e/g/ | d2 :|

|: B/A/ | Agg | eaa | g/f/e/d/e/f/ | g/f/g/a/b | dgg | eaa | g/f/e/d/e/f/ | g2 :: (B/c/) | (d/e/)(d/c/)B |

(e/f/)(e/d/)c | (c/d/)(c/B/)A | d/e/d/c/B | B/c/B/A/G | c/d/c/B/A | A/B/A/G/F/E/ | DEF | Ggg |

eaa | g/f/e/d/e/f/ | g/f/g/a/b | dgg | eaa | g/f/e/d/e/f/ | g2 :|

           


BURBANK. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 26.

 

BURFORD RACES. English, Jig. D Major. Standard tuning. AABB. The melody appears in Thompson’s Twenty Four Country Dances for the Year 1767, and Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, c. 1773), and in James Gillespie Manuscript (1768, Perth).  .  It also appears in the music manuscript copybook of Henry Beck (1786). The Burford Races, Oxfordshire, were one of England’s earliest major horse races, established by the ‘Merry Monarch’, Charles II. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 61.

X:1

T:Burford Races

M:6/8

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:D

dfa agf|efd cBA|Bcd efg|fed cBA|dfa agf|efd cBA|Bgf edc|d3 D3:|
|:DFA DFA|EGB EGB|DFA DFA|dcB AFD|DFA DFA|EGB EGB|ced cAc|d3 D3:||

 

BURGESS HORNPIPE. Scottish, Hornpipe. D Major. Standard tuning. AA'B. Kerr (Merry Melodies), vol. 2; No. 330, pg. 36.

X:1

T:Burgess Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, No. 330

Z:AK/Fiddler’s Companion

K:D

A2 |: d2 AG FD D2 | EGEG FDD2 | d2 fd efge |1 faec dcBA :|2 faec d2 || A2 | d2e2f2g2 |

faec dcBA | d2e2f2g2 | faec d2A2 | dAeA fAgA | faec dcBA | dAeA fAgA | faec d2 ||

 

BURGHEE'S HOLE. AKA and see "The Beadle of Grubb St." English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The tune was first published in 1728. Barnes (English Country Dance Tunes), 1986.

 

BURIEL OF SIR JOHN MOORE, THE. Irish (?), Air. 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). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes.

 

BURKE COUNTY. Old‑Time. The tune is a version of "(Give the) Fiddler a Dram." It was in the repertoire of North Carolina's Fiddlin' Bill Hesley.

 

BURKE’S [1]. AKA and see “Baby Gavin,” “Charlie Mulvihill’s (Jig) [1],” “Connie O’Connell’s Jig [2],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “Matt Molloy’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig. D Dorian. Standard tuning. AABB. Musicologist and fiddler Philippe Varlet suspects the tune was called by this title in the 1970's Bulmer and Sharpley collection due to its appearance on the Joe Burke/Andy McGann/Felix Dolan c. 1965 record “Funny Reel” (Shanachie CD 34016). A hand-written note in my copy Mulvihill’s collection reads: “a Donegal tune from Lad O'Beirne's crowd.” New York fiddler Paddy Reynolds, according to New York musician and researcher Don Meade, maintained that Philadelphia fiddler Ed Reavy brought it to New York, and Reynolds believed it was Reavy’s composition. However, Don finds that the jig was recorded as “Neil Doherty's" by Donegal fiddler John Gallagher on O'Riada's "Our Musical Heritage" LP's in the 1960’s. Neil Doherty was also a fiddler from County Donegal (which ties in with Mulvihill’s note in the margins of his book), who is known to have visited New York to play with Lad O’Beirne, Reavy, and others, so it seems likely the jig has a Donegal provenance. According to Bill Black [Irtrad], fiddler Pete Kelly, originally from County Galway, has laid claim to composing the tune which he called “The Shannonaires Jig,” named for the Shannonaires Ceili Band, a children’s group organized in NYC in the 1960's for a tour. Kelly lately plays with the Premier Ceili Band, with button accordion player Martin Mulhaire. However, the Donegal provenance appears to have more traction. Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Joe Burke [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 42. Mulvihill (1st Collection), 1986; No. 38, pg. 73. Green Linnet SIF 1058, Matt Molloy (with Artie McGlynn and Sean Keane) – “Contentment is Wealth.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Burke's Jig

T:Connie O'Connell's

B:Bulmer & Sharpley, Music From Ireland, vol. 2

B:Martin Mulvihill, First Collection of Traditional

B:Irish Music

B:Matt Cranitch, Irish Fiddle Book

M:6/8

L:1/8

N:a c natural note is sometimes substituted for the d sharp note in measure 11

N:in some versions.

Z:Transcribed by Paul de Grae

K:D

dAF AGF|dAF AGF|A,CE GFG|A,CE GFE|

DFA DGB|Ace d2 e|fed cBA|GFE D3:|:

fdf a^ga|fdc d2 f|e^de gfg|efd cde|

fef gfg|aga bag|fed cBA|GFE D3:|

 

BURKE’S JIG [2]. AKA and see “Boys of Tandragee,” “Paddy McFadden [2],” “Paddy O’Carroll’s [2],” “Rollicking Boys of Tandaragree.” Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 79, pg. 81.

           

BURLESQUE,  THE.  AKA – “Monmouth Assembly.” English, Jig. D Major. Standard tuning. AABB. The melody appears unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 115.

X:1

T:Burlesque, The; or, Monmouth Assembly

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

A|fdf ecA|(B/c/d)B AFD|EFG ABc|def ecA|fdf ecA|(B/c/d)B AFD|EFG Agf|edc d2:|
|:F/G/|ABA AFA|(B/c/d)B AFA|Bcd efg|Bgf ecA|fdf ecA|(B/c/d)B AFD|EFG Agf|edc d2:||

           

BURN O' CAIRNIE. AKA and see "Miss Wedderburn(‘s Reel) [1]," "Miss Jenny Wedderburn." Scotland, Strathspey. A Major. Standard tuning. AB. A burn is a small stream. Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection. “Miss Wedderburn’s,”  a later (derivative) melody, shares the same first part, though the second differs. Bremner (Scots Reels), c. 1757; pg. 53 (appears as “The Burn of Carnie”). MacDonald (The Skye Collection), 1887; pg. 7. LOCH 1220, Old Blind Dogs – “Tall Tails” (appears as “The Burn O’ Craigie”).

X:1

T:Burn o’ Cairnie

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

F|E2 E>F E>FA>c|B>AB>c B>AF>A|E2 E>F E>FA>c|B>AB>c A/A/A A||

c|d2 d>f e<cc<e|B>AB>c B>AFA|d>c d<f e<cc<e|B>AB>c A/A/A Ac|

d>c d<f c>Bce|B>A B<c B>AF>f|e<e e>f a>ec>e|B>AB>c A/A/A A||

X:2

T:Burn of Carnie, The

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:Amix

E2 EF EFA(c | “tr”B)ABc BAFA | E2 EF EFAc | “tr”B>ABc A/A/A A2 :|

“tr”c>BAB cdec | d/c/B/A/ GA BcdB | “tr”c>BAB cdec | d/c/B/A/ ^GB A/A/A Ae |

“tr”^c>BAB cdec | d/c/B/A/ GA BcdB | cAdB ecfd | ^geac A/A/A A2 ||

                       

BURN O’ CRAIGIE. See “Burn O’ Cairnie.”

                       

BURN OF FORGUE, THE. Scottish, Reel. A Major. Standard tuning. AB (Cranford/Fitzgerald): AABB' (Hardie). Composed by the great Scottish fiddler and composer J. Scott Sinner (1841-1927) in honor of the parish of Forgue in Aberdeenshire, Scotland (located between the towns of Huntly and Turriff). A burn is a small stream. Hardie (1992) maintains it makes "an ideal reel to follow the strathspey 'Tulchan Lodge.'" Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 80, pg. 35. Hardie (Caledonian Companion), 1992; pg. 76.

                       

BURNING BRAKES, THE. Irish, Jig. G Major. Standard tuning. AABBCC. A composition of the prolific Paddy O’Brien’s.

                       

BURN THE STUBBLE. Irish, Jig. D Mixolydian. Standard tuning. The tune is the second movement of a suite called “End of the Harvest,” and was composed by Declan Masterson.  Gael-Linn Records, Declan Masterson – “End of the Harvest.”

X:1

T:Burn the Stubble

C:Declan Masterson

M:6/8

L:1/8

K:D mix

AB|cAA A2B|cAA A2B|cAA A2G|FDD DAB|cAA A2B|cAA d2e|fed ge^c|

d3 def|~g3 gab|agf efg|fdd ded|cAA Aef|g3 gab|agf efg|fed ge^c|d3 d

                       

BURNETTS RONDO. Irish?, Jig. G Major. Standard. AABCDD. Colclough (Tutor for the Irish Union Pipes), c. 1830; pgs. 12. O’Farrell (Pocket Companion, vol. III), 1808; pgs. 22-23.

X:1

T:Burnetts Rondo

M:6/8

L:1/8

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

B/c/ | d>ed (g>f)e | edd d2c | Bdg dBG | FAA A2 B/c/ | d>ed gfe | edd d2c |

BdG AGA | GGG G2 :| B/A/ | GGG G2A | BBB B2 G/B/ | dcB dcB | AAA A (d/c/B/A/) |

GGG G2A | BBB B2c | dcB dcB | AAA A2 d/c/ | Bdg bag | afd d2c | Bdg bag |

(g/f/)a/g/(f/e/) d2c | Bdg gfg | abc’ d’c’b | afd gec | ddd d2 || (G/A/B/c/) |

ded gfe | edd d2c | Bdg dBG | FAA A2 B/c/ | ded gfe | edd d2 c | Bdg ag b/a/ |

ggg g2 :: g | bgd BGg | afd AFf | g2f | fed | dce A2G | Fad GBe | Adf egb |

afd gec | ddd d2 (G/A/B/c/) :|

                       

BURNIE, THE.  Scottish, Reel. A Major. Standard tuning. AA’B. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 90.

X:1

T:Burnie, The

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

({G}A/) | A,/4A,/4A,/ (C/E/) .A/.c/.e/.d/ | .c/.A/.G/.A/ .B/(B,/B,/).C/ | A,/4A,/4A,/ (CE) .A/.c/.e/.a/ |1

g/f/e/d/ c/A/A/ :|2 g/b/a/e/ c/A/A/ || g/ | a/A/c/e/ f/D/ a/f/ | e/a/g/a/ c/B/B/g/ | a/A/c/e/ f/D/a/f/ |

e/a/g/b/ a/A/A/g/ | a/A/c/e/ f/D/a/f/ | e/f/g/a/ c/B/B/c/ | A/4A/4A/ (G/F/) .E/.D/.C/.D/ | .E/.F/.G/.A/ .C/.A,/.A,/ ||

           

BURNING HOUSE, THE.  Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton fiddler Brenda Stubbert, for fiddler Ashley MacIsaac after his home in Belle Cote burned to the ground. Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

 


BURNING OF THE PIPER'S HUT [1], THE. Scottish, March; New England, Polka. B Minor. Standard tuning. AABB. Williamson (1976) remarks that the English general the Duke of Cumberland received the sobriquet 'Butcher' after the defeat of the Jacobite forces of Bonnie Prince Charlie at Culloden in 1746, such was the savagery of his reprisals and cruelty toward prisoners of the engagement.  In the aftermath of the rising a series of laws were passed which aimed to suppress the Highland culture and break forever the power of the ancient clans in order to prevent any such rebellion from again happening.  Thus, highland dress and the wearing of clan tartan was prohibited on pain of death, arms were banned, and, attesting to the power of traditional music to evoke emotion, pipers were outlawed (there is some dispute however, regarding whether the pipes were actually included in these bans). In fact, reports Williamson, the kilt continued to be prohibited until 1782, forcing the Highlanders to wear ‘trews’ or trousers. "Any clergyman who did not pray in church expressly for George of Hanover could be transported for life, and those who attended such services were liable to fine and imprisonment. This was in force till 1792. The ("Burning of the Piper's Hut") probably refers to these times," maintains Williamson. Source for notated version: Bobby McLeod [Williamson]. Miller & Perron (Irish Traditional Fiddle Music), 1978; No. 35 (polka). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 50. Beltona BL 2610 (78 RPM), Bobby McLeod. Maggie’s Music MM 109CD, Maggie Sansone – “Dance Upon the Shore.”

X:1

T:Burning of the Piper’s Hut [1]

M:4/4

L:1/8

R:March

K:A Dorian

|: ABcd e2 | edeg e2 dc | B2G2d2G2 | Bcde d2 cB | ABcd e2 | edeg e2 dc |

B2G2e2 dc | B2A2A4 :: e2A2g2A2 | e2A2g2dc | B2G2d2G2 | Bcde d2 cB |

e2A2g2A2 | e2A2g2dc | B2G2ed dc | B2A2A4 :|

 

BURNING OF THE PIPER'S HUT [2], THE. Scottish, Jig. B Minor. Standard tuning. AABB. A jig setting of the duple time “Burning of the Piper’s Hut [1].” David Glen Collection (1876-1901), Book 3. Shears (The Gathering of the Clans Collection, vol. 1), 1986; pg. 69 (pipe setting).

 

BURNING POTATOES. AKA and see "Little Burnt Potato."

 

BURNING SANDS OF EGYPT, THE. Scottish, Pipe March. Composed by John McClellan, D.C.M., a poet and painter from Dunoon, who was formerly Pipe‑Major for the 8th Battalion, Argyl and Sutherland Highlanders during World War I. The tune is now better known, rather banally, as "The Road to the Isles."

..........................            

BURN'S CLUB REEL, THE. Scottish, Reel. D Major. Standard tuning. AB. Composed by John Hall (c. 1788‑1862). Printed in the McNaughton MS. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 92, pg. 147.

 

BURN'S FAREWELL (TO AYRSHIRE). AKA and see "The Parting Glass." Irish (?), Air (4/4 time). A Minor. Standard tuning. AABB. The title refers to the Scots poet Robert Burns, who wrote his song “The Parting Glass” to the tune. Source for notated version: J. Kennedy [O’Neill]. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 19. Howe (Complete Preceptor for the Accordeon), 1843; pg. 4. Howe (1000 Jigs and Reels), c. 1867; pg. 146. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 269, pg. 47.

X:1

T:Burn’s Farewell

M:4/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No, 269

Z:AK/Fiddler’s Companion

K:A Minor

ed | c2A2A2 GE | c2e2d2 ^cd | e2e2 d2 ^cd | e2G2G2 ed | c2A2A2 GE |

c2e2d2^cd | e2a2 gede | c2A2A2 :: e^f | g2a2g2 ^fg | a2g2g2 ag |

=f2e2d2 ^cd | e2G2G2 ed | c2A2A2 GE | c2e2d2 ^cd | e2a2 gede | c2A2A2 :|

X:2

T:Burns’ Farewell to Ayrshire

M:C

L:1/8

R:Air

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:Amin

ed | c2 A2 A2 GA | c2c2d2 cd | e2e2 efed | c2A2A2 :: ef | g2g2g2 fe |

a2g2g2 fe | f2e2d2c2 | g2G2G2 ed | c2A2 A2 GA | c2c2 d2 cd | e2e2 efed | c2A2A2 :|

 

BURNS’ HORNPIPE. AKA and see “Staten Island Hornpipe.” 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).

 

BURN'S IRISH HORNPIPE. American (?), Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 111. Ryan’s Mammoth Collection, 1883; pg. 149.

X:1

T:Burns’ Irish Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/|d/A/F/A/ B/G/E/G/|F/A/d/e/ d>A|c/d/e/f/ g/f/e/d/|c/e/d/B/ A>G|

F/A/d/f/ d/A/G/F/|e/d/e/f/ g/e/c/A/|d/f/a/f/ b/g/e/c/|ddd:|

|:A|d/f/a/f/ b/a/g/f/|e/d/e/f/ g/e/c/A/|B/c/d/B/ g/f/e/d/|c/e/d/B/ A(B/c/)|

d/f/d/f/ d/A/G/F/|e/d/e/f/ g/e/c/A/|d/f/a/f/ b/g/e/c/|ddd:|

 

BURN’S MARCH. AKA and see “Huggad de gadda freed a mony” (“Chugad a’gadaidhe fríd a’mónaidh”), “´Im Bó agus Um Bó,” “Pretty Peggy [4],” “Steal a Cow and Eat a Cow.” Irish, Air (4/4 time). C Major. Standard tuning. ABBCCDD. The tune appears five times in the Irish collector Bunting’s manuscripts, two of which were collected from some of the last of the ancient Irish harpers, Denis Hempson and Patrick Quin. Each time there is a note to the effect that it was one of the first handful of tunes taught to young harpers. Heymann (Secrets of the Gaelic Harp), 1988; pgs. 68 & 69.

 

BURNS’ PUNCH BOWL.  Scottish, Strathspey. E Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831). The Burns Punch Bowl held whiskey-toddy and is a relic of the famed Scots poet. There is a Burns Punch Bowl in the British Museum, donated in the 19th century by Mr. Hastie, an M.P. for Paisley. Nathaniel Gow is said to have received a set of Oswald’s Caledonian Pocket Companion, with notes in Robert Burns’ handwriting, from the poet himself. “This volume is said to have been annually produced with the celebrated ‘Burns Punch Bowl’ at the annual meeting held by the Poet’s friends on the anniversary of his Birth day” (as stated in a bill date June 25, 1858, of “Superior Second-Hand Books” to be sold by Willis and Price at their shop at the Strand). Gow (Sixth Collection of Strathspey Reels), 1822; pg. 16.

X:1

T:Burns’ Punch Bowl

M:C

L:1/8

R:Strathspey

N:”Slow”

C:Nathaniel Gow (1763-1831)

Z:AK/Fiddler’s Companion

K:E

g/>f/|eE BG “tr”F>EFG|eE BG e2 ef/g/|{fg}a>g {ef}g>e fFF G/F/|EG/B/ (eG) {G}B2B:||g/f/|

e>f [a}gf/e/ ~c(d/e/) fg|e>f a/g/f/g/ (e/f/g/a/ b/g/a/f/)|e>f {a}gf/e/ c(d/e/) fg|e>Bc>G {G}e2 e>f|e>f {a}gf/e/ (c/e/)d/(e/ f/)g/a/f/|

(e/g/)(f/a/) (g/b/)(a/c’/) (b/g/)(a/f/) (g/e/)(f/d/)|{d}e>c {c}BA/G/ “tr”F>GAc|B(c/d/ e>)G {G}B2B||

 

BURNS’S DREAM. Irish, Jig. D Dorian. Standard tuning. AB. Source for notated version: copied by Joyce from a manuscript “evidently written by a skilled fiddler with much musical taste, from Limerick, but the name of the writer nowhere appears.” Joyce (Old Irish Folk Music and Songs), 1909; No. 347, pg. 159.

X:1

T:Burns’s Dream

M:6/8

L:1/8

R:Jig

S:Joyce –Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:Ddor

A/G/|F3 AGG|AFF GEC|DED c2A|ded cAG|F3 AGG|AFF GEC|DED D2d|DED D2||

c|c3 cAc|dcA GEC|DED c2A|ded cAG|ABc edd|ecA GEC|DED D2d|DED D2||

 

BURNS’S REEL. AKA and see “Byrne’s Reel,” “Within a Mile of Clonbur.” Irish, Reel. G Major. Standard tuning. AB. The tune was published by Padraig Mac Aodh O’Neill in his Songs of Uladh, and was collected by him in 1903 in Donegal from the playing of an elderly fiddler named Nabla Ni hAnluain. Source for notated version: Liam Donnelly (Lisburn, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 154, pg. 42.


 

BURNSIDE OF TYNET. Scottish, Reel. F Mixolydian? Standard tuning. AAB. Composed by William Marshall (1748-1833). Burnside of Tynet is the name of a farm on a rise overlooking the Burn (stream) of Tynet. The property belonged to the Duke of Gordon, Marshall’s employer, and was Marshall’s farm and home for several years while he still worked as Steward of the Household at Gordon Castle. Marshall and his wife retired there for a time, but moved to Keithmore, Mortlach, around 1790 (Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 12.

X:1

T:Burnside of Tynet

M:C

L:1/8

R:Reel

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:Fmin

B|(=AB/c/) (cB) AFFA|BGEG eGEG|(=AB/c/) (cB) AFFA|BGEG F2 F:|

B|(=AB/c/) (cB) ABcd|efgd eEEG||(=AB/c/) (cB) ABcf|g=ece f2 (fc)|

|(=AB/c/) (cB) ABcd|efgd eEEG|(CF)(FG) ABce|GEBG F2 F||

 

BURNT LEG, THE. AKA and see “The Bonnet Makers of Dundee,” “Sweet Mally.” Scottish (originally), Canadian; Reel or Strathspey. Scotland, Skye. Canada; Prince Edward Island, Cape Breton. E Dorian (MacDonald, Perlman): E Minor (Cranford). Standard tuning. AA’B (Perlman): AABB (Cranford, MacDonald). The melody is from the Isle of Skye, according to editor MacDonald, however, Paul Stewart Cranford finds the tune printed in earlier collections under different titles: in James Aird’s 1st (1782) as “Sweet Mally” and in Robert Bremner’s 1757 collection as “The Bonnet Makers of Dundee.” Cranford mentions that the tune is popular among Cape Breton fiddlers. It was in the repertoire of Cape Breton fiddlers Bill Lamey (who played it as a strathspey) and was recorded by Joe MacLean (as a reel). See also "Sweet Molly [2]." Source for notated version: Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 141, pg. 41. MacDonald (The Skye Collection), 1887; pg. 71. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 109.

X:1

T:Burnt Leg, The

M:C

L:1/8

R:Reel or Strathspey

B:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

(F/G/)|A>BA>F A>Bd>f|(A>B)A>F E/E/E (EF/G/)|A>B A<F A>Bd>f|F>DE>F D/D/D D:|

(f/g/)|a>fd>f (A<d)f>d|(e>d)f>d e/e/e e(f/g/)|a>f d<f e<df<d|B>AB>d D/D/D F(f/g/)|

a>f d<f (A>d)f>d|(e<d) f>d e/e/e e2|f>de>d B>Ad>F|E>DE>F D/D/D D||

 

BURNT OLD MAN [1] (“An Seanduine Doit/Doighte” or “Sean Duine Dóite”). AKA - “Burdened Old Man.” AKA and see "Georgie, the Dotard," “Hob or/a Nob.” Irish, Air (6/8 time). D Major. Standard tuning. AAB. Bayard (1981) believes this tune to be a cognate of the tunes "Miss McLeod's/MacLeod’s Reel [1]" and "The Campbells are Coming [1],” and that all three are "recognizable cognates of 'The White Cockade' as well." The song (which features bawdy lyrics on the ‘maids never wed an old man’ motif) can be found in Peter Kennedy's Folksongs of Britain and Ireland and was recorded by Relativity on their first album of the same name (Green Linnet SIF 1059). Caoimhin Mac Aoidh remarks that most older Irish fiddlers (even English-speaking ones) know the tune by the Gaelic name, “Sean Duine Dóite” (pronounced “shaan din‑uh doy‑chuh”), but that the English name is prevailing among the younger players. While the Irish word dóite does mean burnt, the title would be more meaningfully translated as “The Withered Old Man.” The alternate title “The Burdened Old Man” is not used in Ireland. Breathnach’s “Anthony Frawley’s Jig” is a related tune. Baoill (Ceolta Gael), pgs. 84-85. Cotter (Traditional Irish Tin Whistle Tutor), 1989; No. 49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 90, pg. 17. Mick O’Brien – SD2

X:1

T:Burnt Old Man [1]

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 90

Z:AK/Fiddler’s Companion

K:D

D | (DEF) (AFE) | (DEF) “tr”(F2E) | (DEF) (BAF) | AFE “tr”E2F | DEF AFE |

(FEF) (dcd) | (edB) “tr”(BAF) | (AFE) E2 :| F | .A.F.F .d.F.F | .A.F.F (~F2G) |

AFF dcd | eEE E2F | (DEF) (AFE) | (FEF) (dcd) | edB (BAF) | AFE E2 || 

 

BURNT OLD MAN [2]. Irish, Air (6/8 time). D Major. Standard tuning. AB. A variant of “Burnt Old Man [1]." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 91, pg. 17. Songer (Portland Collection), 1997; pg. 43. Green Linnet SIF 3002, Kevin Burke & Jackie Daly - “Eavesdropper.”

X:1

T:Burnt Old Man [2]

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 91

Z:AK/Fiddler’s Companion

K:D

(DF).G (AF).F | .D(FG) “tr”(F2E) | (DF).G (AF).D | FEE “tr”(E2F) | (DF).d AFD |

DFA d2e | fdB Bcd | (AFD) “tr”E2D || .D.d.d .d.A.F | .B.A.A A2A | .B.e.e e.f.g |

fdB “tr”(B2A) | (ABc) (def) | DFA d2e | fdB Bcd | AFD “tr”E2D ||

 

BURNT OLD MAN [3]. Irish, Air (6/8 time). D Major. Standard tuning. AB. A second variant of “Burnt Old Man [1]." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 92, pg. 17.

X:1

T:Burnt Old Man [3]

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (92)

Z:AK/Fiddler’s Companion

K:D

(DFd) (B/A/G/F/E/D/) | (DF).F “tr”(F2E) | (DFd) (B/A/G/F/E/D/) | (FE).E EG(F/E/) |

(DB,C) (DEF) | (ABc) d2e | (fdB) (Bcd) | (B/A/G/F/E/D/) “tr”E2D || .D.d.d (dAF) |

BAA A2A | (Be).e (efg) | fdB B2 (3A/B/c/ | .d(f/e/d/c/) dfa | DFA d2e |

(f/e/d/c/B/A/) (Bcd) | (B/A/G/F/E/D/) “tr”E2D ||

                       

BURNT POTATO. See "Little Burnt Potato."

                       

BURRA REEL, THE. AKA and see “Joe Cooley’s.”

                       


BURRA ISLE WAR DANCE, THE. AKA and see "Marchioness of Tullibardine." Shetland, known in several districts.

                       

BURREN, THE. AKA and see "The All Ireland," "Clematis," “The Star of Kilkenny,” "Thady Casey's Fancy,” “The West Clare.” Irish, Reel. E Dorian. The Burren is a karst limestone region in the north west corner of County Clare, spanning some 300 square kilometers. There are many ancient megolithic tombs and other structures in the Burren, which is composed of limestone pavements that have eroded in patterns known as karren. Not incidentally, The Burren is the name of the premier pub for traditional music in Boston, Massachusetts, a magnet for visiting and local session musicians. Sources for notated versions: flute player Cathal McConnell [Bulmer & Sharpley]; Bulmer & Sharpley (Music from Ireland), vol. 4, No. 34.

X:1

T:The Burren

C:Traditional

M:C

L:1/8

Q:220

R:reel

D:Noel O'Donoghue & Michael Quealy, 'Moher'

Z:Gordon Turnbull

K:BPhryg

B3 A B2 ed | BdAc BE E2 | BAGA Bdef  | gfed Bded |

B3 A B2 ed | BdAc BE E2 | BAGA Bdef  | gfed Bdef |]

g3 e dB ~B2 | dege d2 ed | gfga bgaf | gfed Bdef |

g3 e dB ~B2 | dege d2 ed | gfga bgaf | gfed Bded |]"End" B2 ||

 

BURREN [2], THE. AKA and see “The Olive Flute.” Irish, Reel. D Major. Standard tuning. AA’BB’. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].

                       

BURREN HILL. Irish, Reel. G Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Antrim. Burren Hill is located in the Mourne mountains, offering views of Carlingford Bay and County Louth to the southwest, and the mountains of County Down in the opposite direction. Keegan (The Keegan Tunes), 2002; pg. 32.

           

BURREN NO. 1. Irish, Polka. G Major. Standard tuning. AB. Carlin (Master Collection), 1984; No. 270, pg. 153.

                       

BURT ANDERSON’S TUNE. Old Time, Breakdown. C Major. The title is perhaps ‘Byrd Anderson’, from the playing of Cumberland Plateau fiddler Clyde Davenport.

 

BURT COUNTY BREAKDOWN. Old-Time, Breakdown. USA; Missouri, Nebraska. A Major. Standard tuning. AABB. The title comes from fiddler ‘Uncle’ Bob Walter(s), and is named for the Nebraska county he lived in. The tune may have been a forerunner of Bill Monroe’s “Gold Rush,” as pointed out by Missouri fiddler Fred Stoneking. The tune was in the repertoire of Fred Stoneking, who had the tune from his father, Lee Roy Stoneking, who had the tune from ‘a fiddler in Burt County’ (presumably the influential Walters). Drew Beisswenger (2008), however, records that Fred Stoneking had the tune from Ozarks fiddler Lacy Hartje. In fact, several influential Midwest fiddlers also had it in their repertoire, including Cyril Stinnett, Pete McMahan, Charlie Walden and Dwight Lamb. Source for notated versions: Fred Stoneking (b. 1933, Missouri) [Beisswenger & McCann, Silberberg]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 135. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 7. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from fiddler Bob Walters of Burt County, eastern Nebraska).

           

BURT FEINTUCH.  Canadian, Jig. Canada, Cape Breton. Composed by Mabou, Cape Breton, fiddler Kinnon Beaton, in honor of the producer and recorder of the Beaton family’s 2004 album for Smithsonian Folkways. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

           

BURY FAIR. English, Country Dance Tune (2/2 time). England, Northumberland. F Major. Standard tuning. ABCD (Sharp): AABBC (Barnes). One of the "lost tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. The tune dates to 1698 and was printed by Playford. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 75.

X:1

T:Bury Fair

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:F

d2 | (c2A2) (A2F2) | (G4 C3) (d | c2 A2) (A2 GF | F6) d2 |

(c2A2) (A2F2) | G4 C3) (d | c2A2) (A2GF | F6 || (f2 | c2).f2.e2.f2 |

(g2G2) G2 (f2 | c2) .f2 (efge | f6) f2 | c2f2e2f2 | g2G2G2(f2 |

c2).f2 efge | f6 || c2 | (dcBA) (BAGF) | (GFED C2) c2 |

(dcBA) (BAGF | F6) c2 | (dcBA) (BAGF) | (GFED C2) c2 |

dcBA (BAGF | F6) || (f2 | c2) .f2.e2.f2 | (g2G2) G2 (f2 |

c2).f2 (efge | f6) c2 | (dcBA) (BAGF) | (GFED C2)c2 |

(dcBA) (BAGF | F6) ||

                       

BURYING POTEEN, THE. AKA and see “Martin Wynne’s No. 2.” Irish, Reel. D Major. Standard tuning. AABB. Composed by County Sligo fiddler Martin Wynne (1913-1998) who emigrated to the Bronx, New York in 1948. Randy Miller notes Wynne penned the tune sometime before that year. Poteen is a potent alcoholic beverage distilled from potatoes, usually homemade and sometimes impure. Source for notated version: a recording of Belfast fiddler Sean McGuire (1927-2005) and Galway accordion player Joe Burke [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 8. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 54. Outlet SOLP 1014, Sean McGuire.

                       

BUS STOP REEL. American, Reel. A Minor/Dorian. Standard. AABB. Composed by Seattle musician Anita Anderson. Songer (Portland Collection), 1997; pg. 44. Green Linnet SIF1122, Kevin Burke - "Open House" (1992). KAS1, Salmonberry - “New England Dance Music.”

X:1

T:Bus Stop Reel

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:G

A2eA dAcA|A2cA BAGB|A2eA dAcd|egg2 edcB|\

A2eA dAcA|A2cA BAGD|(3EFG Ac BAGB|A2AG A4:||\

eaag edcB|ABcd edcB|Aaag edcd|egg2 edcB|\

Aaag edcB|ABcA BAGD|(3EFG Ac BAGB|A2AG A4:||

                       

BUSH ABOON TRAQUAIR, THE. Scottish, Air (4/4 time). D Major. Standard tuning. AABB. One of the tunes marked by Thomson as composed by Rizzio in his first edition of his Orpheus Caledonius (1725). Rizzio was a lutenist and singer of repute as well as Queen Mary's secretary, however it has never been proven that he composed any existing melodies, and Thomson removed the ascription in his second edition. The tune was used by Allan Ramsey in his ballad opera The Gentle Shepherd (1725). McGibbon (Scots Tunes, book III), 1762; pg. 65.

X:1

T:Bush Aboon Traquair, The

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 65 (1762)

Z:AK/Fiddler’s Companion

K:D

D | F2A3d3f | “tr”e>d (e/f/g/)f/ ({f}e3)E | F2A2 (f>e)(dB) | “tr”A4D3 :: d | “tr”(c>B)(AB) (cd)(ef) |

(g>a)(f>g) ({f}e3)A | (d>e)(f>g) (a>b)(ag) | f>g (a/g/)”tr”(f/e/) d3e | “tr”(c>B)(AB) (cd)(ef) |

(g/b/a/g/) (f/a/g/f/) ({f}e3)A | F2A2 (f>e)(dB) | “tr”A4D3 :|

                       

BUSH BELOW DA GARDEN. AKA and see "Behind the Bush in the Garden [1]." Shetland, Reel. From the Tingwell district of Mainland, Shetland (Anderson). D Major. Standard tuning. AABB. Anderson (Ringing Strings), 1983; pg. 79.

                       

BUSH HORNPIPE. Irish, Hornpipe. A Dorian. Standard tuning. AABB. Treoir.

X: 1

T: Bush Hornpipe

S: "Treoir"

M: 4/4

L: 1/8

R: hornpipe

Z: Transcribed by Bill Black

K: Ador

ed | cABG A2 BA | GEDE G2 Bd | (3efg fa gedc | B2 G2 G2 ed |

cABG AcBA | GEDE G2 Bd | (3efg fa gedB | A2 AG A2 :|

d2 | eaab agef | gedB G2 ef | g2 gf gfef | gedB (3GAB AG |

EAAG AcBA | GEDE G2 Bd | (3efg fa gedB | A2 AG A2 :|

                       

BUSH IN BLOOM, THE (An Tom Faoi Blat). Irish, Reel. G Major. Standard tuning. AB (O’Malley, O'Neill, Roche): AABB (Allan's). Source for notated version: students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]. Allan's Irish Fiddler, No. 42, pg. 10. Giblin (Collection of Traditional Irish Dance Music), 1928; 47. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 14, pg. 7. O'Neill (Krassen), 1976; pg. 103. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1242, pg. 234. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 515, pg. 97. Roche Collection, 1982; Vol. I, pg. 58, #144. Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

X:1

T:Bush in Bloom, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 515

Z:AK/Fiddler’s Companion

K:G

ge|d2 BG AGEF|G2 Bd ef{a}ge|d2 BG AGEd|eaag fde^c|d2 BG AGEF|

G2 Bd ef{a}ge|d2 BG AGEF|GBAF G2||ef|g2 dg Bgdg|g2 bg agef|

g2 dg Bgdg|egfa g2 ga|b>g (3ggg agef|gage dega|bgaf gfed|edef gage||

                       

BUSH IN BLOSSOM, THE. Scottish, Reel. G Major. Standard tuning. AAB. Nigel Gatherer finds the first part of this tune corresponds to the Irish reel “Morning Star.” Kerr (Merry Melodies), vol. 4; No. 118, pg. 15.

X:1

T:Bush in Blossom, The

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 118  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

Bc|d2 (BG) AGEF|G2 (Bd) efge|d2 (BG) AGEF|GBAF G2:||

(Bd)|g2 (dg) egdg|g2 (bg) agab|g2 (dg) egdg|edef g2 (ga)|

b/b/b (ga) bgef|gage defa|b2 (af) gfed|egfa g2||

                       


BUSH IN THE SHUCKS. AKA and see “Chuck in the Bush [2],” “Weber’s Drift.” Texas-Style, Breakdown. DDad tuning. B. John Burke maintains that Luke Thomasson (Dallas, Texas) composed the tune known as “Bush in the Shucks” after a friend named John Bush. The story goes that Bush was observed to be rummaging around in the corn cobs and shucks near the outhouse; the tune commemorates the event. Not to be confused with “Shuck in the Bush,” a different tune. Benny Thomasson – “Country Fiddlin’ from the Big State” (mistakenly appears as “Dry and Dusty”). Voyager Records, Benny Thommason – “Say Old Man, Can You Play the Fiddle” (has both “Bush in the Shucks” and “Dry and Dusty”).  

                       

BUSH ON THE HILL [1], THE. Irish, Air (4/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 520, pg. 91.

X:1

T:Bush on the Hill, The [1]

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 520

Z:AK/Fiddler’s Companion

K:G

G | dBAG g2 fe | dBAG B2 AB | cdef gfed | f3e d2 zG | d2cB e3d |

cBAG A3B | cdef gdec | B2 A>G G2 z || G | g>aba gfed | B>AB>c B3d |

efga gfed | Bdgf e2 ge | dBAG Bdge | dBAG {B}A3B | c>Bcd e>fge | dBA>G G3 ||

 

BUSH ON THE HILL [2], THE/A. AKA and see “Humours of Miltown [3],” “The Lowdown Jig,” “McGlinchey’s (Jig),”  “The Old West Clare Jig,” “Sean Ryan’s (Jig) [3].” Irish, Jig. A Major (Cranford/Stubbert, Taylor/Tweed): G Major (Mulvihill). Standard tuning. AABB (Cranford/Stubbert, Mulvihill): AA’BB’ (Taylor/Tweed). “The Lowdown Jig” is a local Kerry name for the tune. Fiddler Brendan McGlinchey has been credited with composing the tune, although apparently McGlinchey himself has said he did not. He thinks, rather, that it may be one of several tunes collected in America by Ciarán Mac Mathúna in the early 1960’s (Paul de Grae). Philippe Varlet, however, finds that it predates McGlinchey, and that Paddy Killoran recorded it on a 78 RPM after WWII and in a concert at the GPO in Dublin in 1949. Indeed, the notes to the Ennis Ceili Band CD maintain that it is a Killoran composition originally titled “Humours of Miltown,” honoring his wife’s native home of Coore, a townland of Miltown Malbay, Clare (Paul de Grae mentions that she was a Hayes, sister-in-law to Kitty Hayes). Derry fiddler Eugene O’Donnell (who lived in Philadelphia, Pa., for many years before returning to Ireland) also believed the tune was from West Clare (Miller & Perron, 2nd ed.). The “Lowdown Jig” title (by which it is known nowadays in County Kerry, according to Paul) is descriptive of the distinctive first part of the tune, which begins with a roll on the open ‘G’ string. Cape Breton versions are sometimes set in the key of A major.

***

Paddy Killoran

***

Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; fiddler Brian Conway (Westchester, NY) [Taylor/Tweed]; fiddler Eugene O’Donnell (of Derry and Philadelphia) [Miller & Perron]. Cranford (Brenda Stubbert’s), 1994; No. 85, pg. 32. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, 49 (appears as “Jig from West Clare”). Miller & Perron (Irish Traditional Fiddle Music, 2nd Edition), 2006; pg. 16. Mulvihill (1st Collection), 1986; No. 27, pg. 70. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 8. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Shanachie 79054, Kevin and Liz Carroll – “Fathers and Daughters.”

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:Bush on the Hill, The [2]

M:6/8

L:1/8

R:Jig

K:G

G,3 DB,D | ~G3 Bdg | efg dBG|AGA BGE|G,2G EGD|G2G Bdg|!

efg dBG|AGF G2z:||:gab agf|edg ed^c|deg edB|BAG A2f|!

gab agf|edg ed^c|deg edB|AGF G2f|gab agf|edg ed^c|!

deg edB|BAG A2z|G2G EGD|G2GBdg|efg dBG|AGF G2z||

X:2

T:Bush on the Hill, The

T:Lowdown Jig, The

R:jig

Z:id:hn-jig-210

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

M:6/8

L:1/8

K:G ~G,3 DB,D|GFG Bdg|edc BcA|BGE EDB,| ~G,3 DB,D|GFG Bdg|

edc BcA|1 BGF GDB,:|2 BGF GdB|| |:GBd gfg|ece dBA|cBc dBG|BAA ABA|

GBd gfg|ece dBA|cBc dcA|1 AGF GdB:|2 AGF GDB,||

X:3

T: Bush On The Hill, The [2]
M: 6/8
L: 1/8
R: jig
K: Amaj
|:~A,3 CEA | AEA cea | fed cdB | cAF FEF |
~A,3 CEA | AEA cea | fed cdB | cAG A2z :|
|: Ace aga | faf ecA | dfd cec | BAB cAF |
Ace aga | faf ecA | dfd cec | BAG A2z :|

 

BUSH REEL, THE. AKA and see “Captain Rock [2],” “Long Hills of Mourne,” “Old Bush [1].

 

BUSIK WALTZ. Cajun, Waltz. Arhoolie 5027, Harry Choates ‑ "The Fiddle King of Cajun Swing ‑ Original Recordings 1946‑1949.

 

BUSK YE BUSK YE MY BONNY BRIDE.  Scottish, Air (4/4 time). D Major. Standard tuning. AABBCCDD. McGibbon (Scots Tunes, book II), c. 1746; pg. 48.

X:1

T:Busk ye Busk ye my Bonny Bride

M:C

L:1/8

R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book II, pg. 48 (c. 1746)

Z:AK/Fiddler’s Companion

K:D

A2 (B/c/d)A3f | (gf)”tr”(ed) B4 | A2(B/c/d)A2(fg) | ({f/g/}a)(g/f/) “tr”e>d d2 ({d/e/}f2) |

A2(B/c/d) ({B}A3)f | (gf)”tr”(ed) B2 “tr”(f>e) | (d/c/B) (A/G/F) (gf)”tr”(ed) | “tr”B3AB2d2 :|

|: (f>e)(f>g) a3 “tr”(g/f/) | (gf)”tr”(ed) B4 | (f>e)(f>g) a3g | (f/g/)(e/f/) de f>g a2 |

“tr”(fe)(fg) a(g/f/) ({g/a/}b)a | (gf)”tr”(ed) B2 “tr”(f>e) | (d/c/B) (A/G/F) (f/g/a) (f/e/d) | “tr”B3AB2d2 :|

|: A2 (Bc/d/) ({B}A3f | gf (e/f/e/d/) B3d | A2 (Bc/d/) A(B/c/ d/e/f/g/) | ({f/g/}a)g/f/ “tr”e>d d2 ({d/e/}f2) |

A2 (d/c/B/4c/4d) ({B}A3)f | (g/a/g/f/) (e/f/e/d/) B2 (f/4e/4f/4g/4f/e/) | (d/c/B) (A/G/F) (e/f/g/f/) (e/f/e/d/) |

“tr”B3A B2d2 :: (f/g/f/e/) (d/e/f/g/) ({f/g/}a3) g/f/ | (g/a/g/f/) (e/f/e/d/) B3g | (f/g/f/)e/ (d/e/f/g/) (a/g/a/)b (a/b/a/)g/ |

(f/g/)(e/f/) (d/f/)(e/g/) (fg) a2 | f/(g/f/e/) f/d/f/g/ (a/g/f/4g/4a/) ba | gf (e/4/f/4g/4f/4e/d/) B2 “tr”(f>e) |

(d/c/B) (A/G/F) (f/g/a) (f/e/d) | (B/A/B/c/ BA) B2d2 :|

 

BUSKIN.  English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. The tune was printed by the Playfords in the 11th Edition of the Dancing Master (London, 1701), and in all subsequent editions until the last of the series (the 18th), printed by John Young in 1728. It also appears in the Walsh’s Compleat Country Dancing Master, printed in London in 1718, and again in 1731 and 1754. A buskin is a half-boot, which laces closed but is open across the toes. It was an ancient style often associated with soldiers and hunters in Greece and Rome, and also with the stage. Actors in tragic roles in Greek theatre wore buskins, differentiated from comic actors, who wore a thin-soled shoe called a sock. Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; No. 420, pg. 98. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 16.

X:1

T:Buskin

M:C|

L:1/8

S:Playford – Dancing Master (11th edition, 1701)

K:D

A2|d2 AG F2A2|B2 GF E2 FG|A2 FE D2F2|E2 CB, A,2A2|

D2 AG F2B2|e2 cB A2f2|a2 fd A2c2|d6:|

|:f2 f2df a2fd|f2 df e2 cA|d2 cd B2GB|e2 de A2ce|

g2 ag b2ag|f2 df a2 fd|e2de A2c2|d6:|

 

BUST DOWN STOMP. AKA and see "G Rag." Old‑Time, Breakdown. USA, Georgia. Kerry Blech notes that Seven Foot Dilly and his ensemble’s recording of the tune was somewhat of a novelty for the time in that each instrument took a break—the norm for the era was ensemble playing, at least on record. Vocalion 5421 (78 RPM), 1930, Dilly and His Dill Pickles (AKA John Dilleshaw).

 

BUSTA. Shetland, Reel. D Major. Standard tuning. AAB. Source for notated version: A. Peterson via Larry Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 19.

 

BUSTER FELLOWS TUNE.  Old-Time, Breakdown. USA, Missouri. C Major. Standard tuning. AABB. An untitled tune also in the repertoire of Springfield, Mo., fiddler Lonnie Robertson, according to Gordon McCann. Source for notated version: Audie “Buster” Fellows (1911-1991, Bolivar, Polk County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 184.

 

BUSTLE HER IN THE BLANKET. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 548.

                          

BUSY BODY, THE.  English, Jig. F Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 167.

X:1

T:Busy Body, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:F

agf efd|cdB A2F|ABc f3|cef g3|aba gaf|efd c2A|ABc def|gfe f3:|
|:AFA ABc|BGB Bcd|AFA ABc|BGg f3|AFA ABc|BGB Bcd|egf eag|cfe f3:||

                          

 

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