The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
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.
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,
BULLTOWN BREAKDOWN. Old‑Time, Breakdown.
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 (
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.
***
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
***
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
***
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
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.
BUMMER'S REEL [1]. AKA and see "Fletcher's Delight," "Levantine's Barrel," "Reilly's Own," "The Tullamore Piper." Old‑Time, Breakdown.
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
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
***
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
***
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
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
BUNCH OF CHICKENS. AKA and see "Inimitable Reel."
Old‑Time, Breakdown.
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
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
X:1
T:Bunch of Green Rushes, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
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,
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
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
X:1
T:Bunch of Keys, The
T:Flowers of
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||
T:The Bunch of Keys
M:4/4
L:1/8
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
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
X:1
T:Bunch of
Roses [3]
M:6/8
L:1/8
R:Single
Jig
S:O’Neill –
Dance Music of
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]
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
***
O were I at the moss-house, where the birds do increase,
At the foot of
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
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 (
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.
BUNDLE AND GO [6]. Irish, March or Jig.
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.
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
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
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
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," "
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
X:1
T:
M:C|
S:Flaherty – Trip to
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:
R:reel
D:Arty McGlynn: McGlynn's Fancy
D:Dermot Byrne
Z:id:hn-reel-241
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.
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
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 [
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,
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 :|
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
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
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
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
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 (
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."
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
“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
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
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.
BURNING OF
THE PIPER'S HUT [1], THE. Scottish, March;
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
..........................
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
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
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
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
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,
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).
X:1
T:Burnside of Tynet
M:C
L:1/8
R:Reel
S:
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.
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
BURREN NO. 1. Irish, Polka. G Major. Standard tuning. AB. Carlin (Master Collection), 1984; No. 270, pg.
153.
BURT
BURT
BURT FEINTUCH. Canadian, Jig.
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
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
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).
***
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||
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 (
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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