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] |
BAN-CHNOIC ÉIREANN OGH/Ó. AKA and see “The White Hills
of Dear Ireland.”
BANAGHER LASSES. Irish, Slip Jig (9/8 time). G
Major. Standard tuning. AABB’. Kennedy (Traditional Dance Music of Britain
and Ireland: Slip Jigs and Waltzes),
1999; No. 4, pg. 3.
BANAIRGEAC, AN. AKA and see "The
Dairymaid."
BANAIS AN TAILLIUIR. AKA and see "The
Tailor's Wedding."
BANAIS BAILE NA POIRIN. AKA and see "The Wedding of
Ballyporeen."
BANAIS CAITILIN. AKA and see "Kitty's Wedding."
BANAIS MARCUS
HUNNDFHIUNN. AKA and see "Huntly's Wedding
Medley."
BANAIS SINEIDIN. AKA and see "Jenny's Wedding."
BANAIS SUIBAIN. AKA and see "Julia's
Wedding."
BANALANNA. AKA and see “The Ale
Woman.”
BANANE A NONE' ADAM, LA.
(Uncle Adam's Banana). AKA - "Seventy-Three Special." Cajun,
Two-Step. USA, Louisiana. A Mixolydian/Major. Standard tuning. AB. Related
songs are Nathan Abshire's "L'Acadian Two-Step" and the Rambling Aces
"Seventy-Three
Special." The alternate title, "Seventy-Three Special" comes
from alternate words to the melody by Rodney LeJeune and the Rambling Aces
regarding a nightclub in Texas on Highway 73. Source for notated version: Elton
"Bee" Cormier, Rodney LeJeune, Nathan Abshire (La.) [Francois].
Francois (Yé Yaille, Chère!), 1990;
pgs. 28-30.
BANARACH DONNACH
RHUIDH. Scottish, Air (6/8 time). E Minor.
Standard tuning. AB. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 29.
BANARD JIG, THE (Port an Aird Bháin). Irish, Jig. D Major. Standard
tuning. AABB’. Source for notated version: Kerry fiddler Denis Murphy
[Breathnach]. Breathnach (CRÉ V),
1999; No. 42, pg. 22.
BANBURY BILL. English, Morris Dance Tune (4/4 time). D Major. Standard tuning.
ABBB,ABBB,ABBB,A. From the village of Bampton, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 47. Journal of the ECDSS, 1956. Mallinson (Waltz Book), 1988; No. 8, pg. 11. Dave Swarbrick – “Lift the Lid and Listen.”
X:1
T:Banbury Bill
D:Swarbrick, Lift the Lid and Listen
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
DE FD | GA B2 | EF GA/G/ | FG
A>A |
AD FA | de f>f | ge Bc |
d2 d2 :|
d>e fd | cd e2 | Bc de/d/ | cB
A2 |
dD D>D | F/G/A A>A | B/c/d c/d/e | d2 d2 :|]
BANCHNOIC EIREANN O. Irish, Slow Air (4/4 time). A Mixolydian. Standard tuning. One part. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 22, pg. 25.
BAND BOX. Old-Time, Breakdown. Known as a western North Carolina tune. It was also
in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia
near the southeastern Tennessee border.
BAND OF FREEMAN. American, March (4/4 time). USA, Pa. D Major. Standard. AB. From the
Pennsylvania fifing tradition. The title comes from a song called "The Old
Granite State," popularized in the early 1800's by the Hutchinson family
of singers, and which had a repeated chorus‑line of "We're a band of
freeman." The tune was used for several spirituals and camp‑meeting
songs, especially by the Millerites. Bayard (1981) "emphatically"
disputes Winston Wilkinson's assertion that the tune is the air or the Irish
reel "Take
Her Out and Air Her." He also thinks that the tune may possibly be a
derivative of a Scots march by Oswald, "The Tulip." Source for notated
version: fifer Hiram Horner (Western Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 287, pg.
241.
BANDELENA MARCH. AKA and see “March Sarabande.”
Canadian, March. Canada, Cape Breton. Fiddler Kinnon Beaton associates the tune
with Cape Breton fiddler Theresa MacLellan (Feintuch, 2004). Smithsonian Folkways Records, SFW CD 40507, The Beaton
Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004).
BANDITS’ (WALTZ), THE.
English (?), Waltz. D Major. Standard. AABCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 95, pg. 23.
BANDON BRIDGE [1]. Irish, Air (2/4 time). A Minor. Standard. AB. Bandon Bridge is a town in County Cork near the sea-coast about 15 miles from Cork city, and derives its name after a bridge over the river Bandon. The town’s origins lie with English planters on the great Desmond forfeitures in the reign of Queen Elizabeth I.
***
A
bridge on the Bandon River, County Cork.
***
O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 580, pg. 102.
X:1
T:Bandon Bridge [1]
M:2/4
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 580
N:”Moderate”
Z:AK/Fiddler’s Companion
K:A Minor
E/G/|A>d c/A/G/E/|c>e
dc/d/|e/ag/ e/d/c/A/|(G2 G) (E/G/)|Ad c/A/G/E/|
c>e dc/d/|e>c d/c/A/^G/|(A2
A)||e/^f/|g>a g/e/d/B/|c>d eA/B/|c>d c/A/G/E/|
(G2 G) (E/G/)|Ad c/A/G/E/|c>e
dc/d/|e?c d/c/A/^G/|(A2 A)||
BANDON BRIDGE [2]. Irish, Air (2/4 time). D Dorian
(Roche): D Major (O'Neill/1915 & 1850). Standard tuning. One part. O'Neill
(O’Neill’s Irish Music), 1915/1987;
No. 23, pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 580, pg. 102. Roche Collection,
1982; Vol. III, No. 11, pg. 4.
X:1
T:Bandon Bridge [2]
M:2/4
L:1/8
S:O’Neill – Music of Ireland (1903), No. 581
N:”Moderate”
Z:AK/Fiddler’s Companion
K:D
F/G/|A>c B/A/G/E/|c>e
dc/A/|G>E DD|D3 F/G/|Ad d/c/d/e/|
f>a g/f/e/d/|e>f
{a}g/e/d/c/|d3 F/G/|Ad d/c/d/e/|f>a g/f/e/c/|
d>e d/c/A/F/|G3 F/G/|Ag fe|d>e
d/c/A/F/|G>F DD|D3||
BANFF CASTLE. Scottish, Reel. F Major. Standard tuning. AB. The name Banff comes from
the Gaelic word Banba, literally ‘little pig,’ a term of endearment applied by
the Irish to their own country. In
Scotland the term, eventually modified to Banff, was used first for a stream
and then for the village that grew on its banks (Matthews, 1972). Composed by
Issac Cooper of Banff (b. 1755) ‑‑ "A good tune" opines
Collinson (1966). Gow (Complete
Repository), Part 4, 1817; pg. 23.
X:1
T:Banff Castle
M:C|
L:1/8
R:Reel
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:F
F>GAF CFAF|G>ABc {Bc)d2 df|c
f2 a gefc|dfcA G>FDG|F>GAF CFAF|
GABc {Bc}d2 df|c f2 a gefc|dfcA
F/F/F F2||fcfa gefc|dcdf g/g/g g2|
Fcfa gefc|dfcA GABd|cAfa gefc|~dcdf
g/g/g g>a|f(aa)f e(gg)e|f(dc)A F/F/F F2||
BANG IT UP. AKA and see “Coco Bram.”
BANG THE RATTLE. English, Hornpipe. D Major.
Standard tuning. AABB. From the 1840 music manuscript book of John Rook (Multum in Parvo, or A Collection of Old
English, Scotch, Irish, Welsh Tunes), a musician from Warerton, England.
Rook was a multi-instrumentalist, judging from the cover picture of his
collection, and played what appears to be the Northumbrian small-pipes, bugle,
flute, fife and fiddle, among others, as he indicates the collection is “for his amusement on the above instruments.”
X:1
T:Bang the Rattle
M:C
L:1/8
R:Hornpipe
S:John Rook manuscript, 1840
Z:AK/Fiddler’s Companion
K:D
AG|F2F2 FdAF|D2 EF GFED|FAdf
afdf|edcB AGFE|F2F2 FdAF|
E2 EF GFED|FAdB AGFE|D2D2D2::ed|cdef
gfge|defg a2 af|
geeg fddf|edcB AGFE|F2F2 FdAF|E2 EF
GFED|FAdB AGFE|D2D2D2:|
BANG UP [1]. Irish, English; Jig. D Major. Standard tuning. ABC (Joyce): AABBCC
(Callaghan). The melody under the “Bang Up” title appears in the c. 1820-1834
music copybook manuscripts of rural labourer and poet John Clare (1793-1864),
Helpston, Northamptonshire (No. 78), and the 1841 copybook of John Moore,
Tyneside Northumberland (No. 90). It was published by Preston (1801). Callaghan
(Hardcore English), 2007; pg. 71.
Joyce (Old Irish Folk Music and Songs),
1909; No. 829, pgs. 401‑402.
X:1
T:Bang Up [1]
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music
and Songs (1909), No. 829
Z:AK/Fiddler’s Companion
K:D
A | d2d f2f | a2a f2d | g2e f2d |
cde ABc | d2d f2f | a2a f2d |
g2e f2d | cBA d2 || A | F2A E2A | F2A
d2c | B2d A2d | G2e cBA |
F2A E2A | F2A d2c | Bcd ABc | d3 d2
|| A | f2e d2c | B2A G2F |
G2A B2e | dcB A2A | f2e d2c | B2A
G2F | G2B A2F | GFE D2 ||
BANG UP [2]. American (?), Schottische (?). A Major. Standard tuning. AABA. The term ‘bang-up’ generally means ‘very good’ or ‘excellent’, as in a ‘I’m having a bang-up day.” Howe (1000 Jigs and Reels), c. 1867; pg. 63.
T:Bang Up [2]
M:4/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
f
| =g>ef>d e>dB>d | A>ce>a g>ezf | =g>ef>d e>c A2
| e>ec>A B>A z2 ||
BANG YOUR EYE. AKA and see "Bung
Your Eye." Scottish, Jig. A Minor. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 97 (#165).
Karpeles & Schofield (A Selection of
100 English Folk Dance Airs), 1951; pg. 26 (apprears as "Bung Your
Eye").
BANGING BREAKDOWN. AKA and see “John
Greer’s Tune.” Old‑Time, Breakdown. C banjo tuning. Learned, like
many of his tunes, from a neighbor, John Greer, by North Carolina musician
Hobart Smith. The original title may have been lost, for Smith’s recording
company lists the tune as “John Greer’s Tune,” perhaps a mishearing, for Smith
is hear to announce the “John Greer Tune” on the cut. Atlantic
Records LP 1350, Hobart Smith ‑ "American Folk Songs For
Chilren." Flying Fish FF 70453, Ward – “Dancing Home” (1990. Learned from
Hobart Smith via Fleming Brown). Folk Legacy Records FSA‑17, Hobart Smith
‑ "America's Greatest Folk Instrumentalist" (appears as las
tune in "Banjo Group 1").
BANGOR REEL, THE. AKA and see “Bridie Morley’s,” “Cronin’s Reel [2],”
“Indian on the Rock,”
"The Knotted Cord
[1]," “Junior
Creehan’s (Favorite).” The name Bangor was a word for a special kind of
plaited wattle fence that apparently was used chiefly by monks, as towns (in
Wales and Ireland) with this name began as monasteries (Matthews, 1972). The
monastery in Bangor’s case was established by St. Deiniol around 525, and
several of the later kings of the Welsh kingdom of Gwynedd were buried there.
BANGOR REGATTA. AKA and see “The Old Horned Sheep.”
Scottish, Jig. A Major. Standard tuning. AA'BB'. The name Bangor was a word for
a special kind of plaited wattle fence that apparently was used chiefly by
monks, as towns (in Wales and Ireland) with this name began as monasteries
(Matthews, 1972). The monastery in Bangor’s case was established by St. Deiniol
around 525, and several of the later kings of the Welsh kingdom of Gwynedd were
buried there. An Irish setting in the key of G Major can be found in O’Neill’s
under the title “Old Horned Sheep.” Kerr (Merry
Melodies), vol. 3; No. 221, pg. 25.
X:1
T:Bangor Regatta
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 221
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
EAc e2f|ecA a2f|ecA EAc|1 dBB B2B:|2
BAA A3:|
|:efe a2g|bag fga|ecA EAc|1 dBB
B2B:|2 BAA A3||
BANISH MISFORTUNE [1] (“Dibir an Mio-ad” or “Ruaig an Mí-ádh). AKA and see "The Bag of Meal," “Connie the Soldier,”
“George Whelan’s Jig,” "Humors of
Mullina(a)fauna [1]," “Little Bag of Meal,” "Máire Ní Eidhinn,"
"Nancy Hines," “Nancy
Hynes,” “Parish Girl
[2],” "Round
the Carthouse," “The Shady Groves,” “The Shady Groves of
Piedmont,” Irish, Double Jig. D
Mixolydian/Major (most versions): D Major (O'Neill/1850 & 1001). Standard
tuning. ABC (Moylan, Mitchell): AABBCC (Breathnach, Brody, Harker/Rafferty,
Mallinson, O'Neill/Krassen): AABB'CC (O'Neill/1850 & 1001): ABBCCDEEFF
(Mitchell). O’Neill (1001 Gems)
prints the tune under the titles “Banish Misfortune,” “The Humours of
Mullinafauna” and “Nancy Hines,” while Roche has it as “The Humours of
Mullinafauna” and “The
Little Bag of Meal.” O’Neill also published a variant under the title
“Connie the Soldier.” P.W. Joyce gives it as “The Bag of Meal” and was the
first to print it (in his Ancient Irish
Music, 1873), according to Brendan Breathnach. “Máire Ní Eidhinn” is the
title in Petrie’s 1905 Complete
Collection of Irish Music, though O’Neill thought the 3-part version he
collected from Cronin to be “much superior.” Petrie takes his title from the
poem “Máire Ni Éidhin” by Raftery, the blind poet of Connacht, which he wrote
in honour of one thought the loveliest girl in Ireland, and which is still sung
to this tune. Piper Willie Clancy gives an alternate title as “The Shady Groves
of Peamount” (Piedmont). Sources for notated versions: elderly fiddler Edward
Cronin, originally from Limerick Junction, County Tipperary [O’Neill];
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border), who first heard it from fiddler Denis Murphy-- ”Himself and (piper)
Willie Clancy often played it together” [Moylan]; piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Seán Potts (Ireland)
[Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Breathnach (CRÉ
I), 1963; No. 38, pg. 16. Brody (Fiddler’s
Fakebook), 1983; pg. 33. Cotter (Traditional
Irish Tin Whistle Tutor), 1989; 45. Harker (300 Tunes from Mike Rafferty), 2005; No. 184, pg. 57. Mallinson (Essential), 1995; No. 99, pg. 43.
Mitchell (Dance Music of Willie Clancy), 1993; No. 137, pg. 108
& No. 148, pgs. 116-117. Moylan (Johnny
O’Leary), 1994; No. 286, pg. 165. O'Neill (Krassen), 1903/1976; pg. 22.
O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 776, pg. 145.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 53, pg. 25. Ryan’s
Mammoth Collection, 1883; pg. 106. Bellbridge
Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded
1959). Claddagh TA4, "Chieftains #2." Claddagh 4CC 39, “The Pipering
of Willie Clancy Vol. 2” (1983). Front Hall 009, How To Change a Flat Tire‑
"A Point of Departure." GR705, Paul Brady, Peter Browne, Andy Irvine,
Donal Lunny, Matt Molloy & Tommy Potts – “The Gathering” (1981). GTD
Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on
the Fiddle." Island ILPS 9501, "The Chieftains Live" (1977).
Kells Music KM9505, Tommy Keane & Jacqueline McCarthy - “The Wind Among The
Reeds.” Rounder 0113, Trapezoid‑ "Three Forks of Cheat" (1979).
Festy Conlan – “Breeze from Erin” (1969). Shanachie 79022, Chieftains –
“Chieftains 2” (1969). Shanachie 78030, Danú – "Think Before You
Think" (2000).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Banish Misfortune [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 53
Z:AK/Fiddler’s Companion
K:D
A/G/|F2D DED|DEF GFG|A3 cAG|ABc
d/c/AG|
F2D DED|DEF GFG|AdB cde|d3 d2:|
|:d/e/|fdd dcd|dfa agf|e2 c/c/
cBc|e/d/ef gfe|1 f2 d/d/ dcd|
dfa agf|g/f/ed cde|d3 d2:|2 fga
fga|afd ecA|fed cde|d3 d2||
|:d/e/|f/e/df e/d/ce|d/c/AB cAG|F2D
DED|DEF GFG|
A/G/AB cAG|AdB cde|fed cde|d3 d2:|
BANISH
MISFORTUNE (OR MARY OF INISTUICK) [2]. AKA and see “Aineen’s Double,” “The Bacagh of the Wattle,”
“The Cherry Grove Jig,”
“Coffee and Tea [2],"
“(An) Ghaoth Aniar
Andeas,” “Jimmy the
Tailor,” “The Southwest
Wind.” Irish, Double Jig. D Dorian. Standard tuning. No apparent relation
to “Banish Misfortune [1].” See also Breathnach’s CRÉ I, No. 29, “The South West Wind.” Petrie also published a
version of the tune under the title “Bacach na Cleithe” in his Ancient Music of Ireland (Dublin,
1882). Source for notated version:
“From P. MacDowell Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 755, pg.
194.
BANISHED DEFENDER, THE. Irish, Air (2/4 time). E Minor. Standard
tuning. AB. "To this air a Ninety‑eight song was sung" (Joyce).
Joyce (Old Irish Folk Music and Song),
1909; No. 579, pg. 304.
BANISHED
TO AMERICA. Irish, Air (4/4 time). D Major.
Standard tuning. AB. O’Neill obtained the tune from the Rice-Walsh manuscript.
O’Neill (1922) says of the collection: “the most valuable was one which
included much of the repertory of Jeremiah Breen, a blind fiddler of great
repute who flourished a generation ago in North Kerry, between Listowel and
Ballybunion. His tunes were noted down by Thomas Rice, a talented pupil, and
later copied by his friend James P. Walsh, now a Sergeant of police in Chicago.” O’Neill (Waifs and Strays of Gaelic Melody), 1922;.
X:1
T:Banished to America
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Air
K:D
"Moderato"(3ABc|d2 de
dcAF|G2 GF GBAG|F2 GFD2 D2|D4-D2 DE|
F2 FE FGAF|G2 GF G2 Ac|d2 dc
ABce|d4-d2||
DE|F2 FE FGAF|G2 GF G2 Ac|d2 dc
ABce|d4-d2 fe|
d2 de dcAF|G2 GF GBAG|F2 GF D2
D2|D4-D2||
BANJO BREAKDOWN. Scottish, Jig. A Major. Standard tuning. AA'CC'CC'DD'. Despite the
title, the melody is a popular bagpipe tune, sometimes also played on the
fiddle. Martin (Ceol na Fidhle), vol.
2, 1988; pg. 2. Martin (Traditional
Scottish Fiddling), 2002; pg. 80.
BANJO POLKA [1], THE. American, Polka. E Major ('A', 'C' and 'D'
parts) & B Major ('B' part). Standard tuning. ABCDD. Ford (Traditional Music in America), 1940; pg.
171.
BANJO POLKA [2]. Canadian (?), Polka. D Major. Standard tuning. AA'BB'AA"CC'.
Source Omer Marcoux identified part of the tune as that of an old song,
"Filez, Filez, O Mon Navire." Source for notated version:
transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.)
who "played that since I was a kid" [Miskoe & Paul]. Miskoe &
Paul (Omer Marcoux), 1994; pg. 40.
BANJO REEL. American, Reel. G Major. Standard tuning. AABB. The banjo was extremely
popular in the mid to latter 19th century, propelled by the
popularity of the ubiquitous minstrel show and the many virtuosic performers on
the instrument. When Ryan’s was first published in 1883 the banjo was at its
peak as a popular instrument. Mark Twain did not often write about music,
although did so occasionally. One of his best quotes on music comes from a
piece he wrote for the San Francisco Dramatic Chronicle (June 23, 1865)
called “Enthusiastic Eloquence,” wherein he states: "When you want
genuine music - music that will come right home to you like a bad quarter,
suffuse your system like strychnine whisky, go right through you like Brandreth's
pills, ramify your whole constitution like the measles, and break out on your
hide like the pin-feather pimples on a picked goose - when you want all this,
just smash your piano, and invoke the glory-beaming banjo!" Cole (1000 Fiddle Tunes), 1940; pg. 3. Ryan’s Mammoth Collection, 1883; pg. 25.
X:1
T:Banjo Reel
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
({F}G2)|G,2 z2z2 ({F}G2)|G,2 z2z2
AB|cABG AFGA|1 BGAF G2A:|2 BGAF G2||
|:AB|cABG AFGA|BGAF GFED|cABG AFGA|BGAF
G2:|
BANJO SAM. AKA and see “Hook and Line.”
BANJO TRAMP. Old‑Time, Breakdown. USA; Ky., W.Va. D Major. Standard tuning.
AA'BB'. Similarities to the Kerry Mills composition “Whistling Rufus.” Source
for notated version: Via Liz Slade (Yorktown, New York) from Ohio fiddler Ward
Jarvis, who learned the tune from the legendary blind fiddler Ed Haley (eastern Ky.).
Kuntz, Private MS. Heritage Records XXXIII, Ward
Jarvis, Dana Loomis & Grey Larsen ‑ "Visits" (1981).
X:1
T:Banjo Tramp
M:2/4
L:1/8
S:Liz Slade
Z:Andrew Kuntz
K:D
(f/g/|a/)(f/a/)a/ b/e/a|[df]>[df]
[d/f/][d/e/][d/f/]f|e/A/d/A/ c/(A/B)|[AA]>[A(B] [AA)]|1
(3e/f/g/|a/f/a/a/ b/e/a|d/[df]d
[d/f/][d/e/][d/f]f/|e/(A/d/)(A/ c/)c/d|[ee]>[ef] [ee]:|2
(3A/B/c/|d/)B/d/A/ B/A/A/c/|d/B/d/A/
B/A/A/c/|d/B/d/d/ e/A/c|[d/e/][df]e/ [df]||
|:(D|A/)(D/F/)F/ Ad|[d/e/][df]e/
f/e/f/A/|e/A/d/A/ c/A/B|[AA]>[AB] (A/B/)A/(D/|1
A/)(D/F) A/(A/d)|[d/e/][df]g/
f/e/f/f/|e/A/c/A/ cd|[ee]>[e/f] [ee]:|2 (3A/B/c/|
D/B/d/A/ c/A/A/c/|d/B/d/A/
B/A/A/c/|d/B/d/d/ ec|[d/e/][df][d/f/] [df]||
BANK, THE.
Scottish, Air (2/4 time). A Minor. Standard tuning. AABB. “Communicated
by Orchill Graham, Esq.” (Gow). The lairds of Orchill were the Graham family.
Gow (Sixth Collection of Strathspey Reels), 1822; pg. 34.
X:1
T:Bank, The
M:2/4
L:1/8
R:Air
N:”Slowly”
N:”Communicated by Orchill Graham,
Esq.”
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Amin
c/B/|AA,A,A,|(A2c2)|(BG)(GG)|(B2d2)|cA
A^f/^g/|(a2 e>)=g|edcB|cAA:|
|:~c>dee|(e/d/)(c/B/)
A2|~B>cdd|(d/c/)(B/A/) GG|~c>dee|ed/c/ BA|(Aa)a^g|a2A:||
BANK OF IRELAND [1],
THE (Bannc Na h-Eireann). Irish, Reel. A Dorian or Mixolydian ('A' part) & D Major ('B'
part). Standard tuning. AB (Miller): AA'B (O'Neill/1850, 1001 & 1915): AABB
(Harker/Rafferty, Mallinson, O'Neill/Krassen, Taylor). The 'A' part begins on a
C Major chord at the beginning of each four bar phrase, but resolves to a D
Major chord at the end of each. See also note for “Reidy’s Reel.” The tune is still a popular reel at Irish
sessions today. Sources for notated versions: a recording of Miltown Malbay,
County Clare, fiddler Bobby Casey (1926-2000), winner of the All-Ireland fiddle
in 1952 and 1968 [Miller & Perron]; New Jersey flute player Mike Rafferty,
born in Ballinakill, Co. Galway, in 1926 [Harker]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 73. Harker (300 Tunes from Mike Rafferty), 2005; No.
56, pg. 18. Mallinson (Essential),
1995; No. 60, pg. 26. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 1, No. 19. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 48. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 266, pg. 136. O'Neill (Krassen), 1976; pg. 93.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 465, pg. 90. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1186, pg. 224.
Taylor (Through the Half‑Door),
1992; No. 27, pg. 20. Comhaltas Ceoltoiri CL13, Tommy
Peoples. Rounder CD 1087, Michael Grogan
– “From Galway to Dublin” (1992. Reissue of 1942 original). Wild Asparagus WA 003,
Wild Asparagus - "Tone Roads" (1990).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bank of Ireland, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 465
Z:AK/Fiddler’s Companion
K:D
ed|:=cAAB cABG|EGDG EGDB|=cAAB
cABG|1 Addc dfed:|2 Addc d2||
de|f2 fd e2 ec|dfed cAAg|f2 fd e2
ed|eaag eddz|fgaf efge|dfed cAAG|Addc defg|afge dfed||
BANK OF IRELAND [2]. AKA and see “Port Shean tSeáin.”
Irish, Jig.
BANK OF TURF [1], THE. AKA and see "Padraig
O'Keeffe's Slide [2]," “Tom Billy’s (Reel) [4].” Irish, Slide. D
Major. Standard tuning. ABB. Source for notated version: Kerry fiddler Denis
Murphy [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 48. Miller (Fiddler’s Throne), 2004; No. 5, pg. 4. Peoples (Fifty Irish Fiddle Tunes), 1986; No. 13.
Treoir. Tommy
Peoples – “The Iron Man” (appears as “Tom Billy’s”).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Bank of Turf, The [1]
R:jig
E:10
M:6/8
K:D
dB|ABA DFA|BAF DFA|dcd ede|~f3 def|\
~g3 gab|afd B3|efe e2d|cBA AdB|*
ABA DFA|BAF DFA|dcd ede|~f3 def|\
~g3 gab|afd B2A|ABA efe|d3 d||*
cd|eAA efg|fdd fga|gfe fed|edB ABd|\
eAA efg|fdd fga|gfe dcB|A3 z:|**
X: 2
T: Bank of Turf [1]
S: Treoir
M: 12/8
L: 1/8
Q: 350
R: slide
Z: Transcribed by Bill Black
K: D
A3 DFA BAF DFA | d3 ede f3 def | g2 f gab afd B2
c/d/ | e2 f e2 d cBA Bcd |
A3 DFA BAF D2 F/A/ | dcd ede fef def | g2 f gab
afd B3 |
|1 ABc dfe d3 d3 :|2 ABc dfe d3 d2 ||
c/d/ |: e2 A e2 g f2 d f2 a | gfe fed edB ABd |
e2 A e2 g f2 d f2 a |
|1
gfe dcB A3 A2 B/d/ :|2 gfe dcB A3 A3 ||
BANK OF TURF [2], THE (An Móinteán). AKA
and see “The
Concertina Hornpipe," “The Blacksmith’s Charm.”
Irish, Hornpipe. G Major. Standard tuning. AABBCC. Breathnach (1985) says the
tune is related to O’Neill’s “The Groves.” The
alternate titles “Concertina Hornpipe” and “Blacksmithe’s Charm” come from
fiddler John Kelly Sr. (Dublin). Sean Keane relates the story of the naming of
the tune, when the late Kerry fiddler Denis Murphy was working in a bog one
day, when “who should cycle by but the famous Pádraig Ó Caoimh. The music
suddenly struck Pádraig but the only means to hand on which to notate the
resulting tune was the bank of turf.” O’Keeffe scratched the tune into the
peat, at the title was born. Source for notated version: fiddler Seán Keane
(Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 209, pg. 96. Claddagh CC17, Seán
Keane ‑ "Gusty's Frolics" (1975). Topic Records, John Kelly Sr.
(1975. appears as “The Blacksmith’s Charm”).
See also listing at: Alan Ng’s Irishtune.info |
BANKHEAD BLUES. Old-Time, Country Blues. USA, Mississippi. Recorded by Shelton and
Marshall Nation. Borrows the coarse
strain of the popular “Carroll
County Blues #1” by Narmour and Smith, recorded in 1929.
BANKS AND BRAES OF BONNY DOON. Scotch, Air (6/8 time). A Major. Standard tuning. AABB. O’Farrell (Pocket Companion), c. 1805; pg. 17.
X:1
T:Banks and Braes of Bonny Doon
M:6/8
L:1/8
R:Air
N:”Slow”
S:O’Farrell – Pocket Comapion (c. 1805)
Z:AK/Fiddler’s Companion
K:A
cBA AFE | EFA A2 :: c/d/ | e2f ecA | e2f ecA | ecA ecA |
fec B3 | A2A BAB | cec BAB | cBA AFE | EFA A2 ||
BANKS HORNPIPE.
AKA- “Banks of the River,” “Parazotti.” AKA and see "Kinloch's Grand
Hornpipe," "Mrs. Taff,"
“Souvenir de Venice.” Scottish, Canadian, Irish; Hornpipe. Canada,
Nova Scotia. E Flat Major (Scottish versions, primarily): G Major (Black).
Standard tuning. AAB (Black, Honeyman, Martin): AA’B (Silberberg): AABB (Brody,
Hardie, Hunter, O’Malley, Skinner). "Composed by Parazotti" is an
ascription often found attached to this tune, sometimes called a ‘descriptive
hornpipe’, or (by Skinner) a ‘Classical hornpipe’. It has become a tune by
which good fiddlers are judged by, and as a virtuoso piece is played by
fiddlers from several different styles and genres. The composer’s origins were
somewhat obscure, although he appears to have been a Scotsman of Italian
heritage, his grandfather having immigrated to Glasgow. Alburger (1983) stated
she could find no composer by that name and suggested it could possibly be a
set of a piece which was danced to by Mme Pariot, who retired from the London
stage to marry in 1809. Alastair Hardie (1992), however, reports that Parazotti
did exist and was actually the grandson of an Italian violinist who settled in
Glasgow. The tune was inspired by the sights and sounds of a river in spate.
The melody appears first in print in 1881 in Kohlers' Violin Repository (Bk. 1) under the title "Mrs. Taff"
(whom Hardie explains was a person who resided on the West coast of Scotland
and was Parazotti's patron for a time. It is said she was the owner of the
house in which Parazotti composed his tune). The piece is similar to the tune
"Souvinir De Venice Hornpipe" in the 1883 Ryan’s Mammoth Collection. “ “Souvinir” is credited to L.
Ostinelli, an Italian who
arrived in Boston in the year 1818. Michael Broyles references this musician in
his book Music of the Highest Class:
Elitism and Populism in Antebellum Boston:
***
He was keenly aware of the reputation the violin had as a
vernacular instrument in New England. According to several
anecdotes, he was furious when his violin was referred to as a
fiddle or when he was requested to play dance music. Once
when asked by a lady if he was to play for a dance following
a concert, he deliberately cut his violin strings and said 'Veree
story, veree story, madam, you see I can no play.'
***
Ostinelli, of whom little is known, was mentioned in Dwight’s Journal of Music in 1859. His lasting cliam to fame is his variation which is often used as a finale today by fiddler’s playing “The Banks” (Cranford, 1997). The present title, "Banks," is actually the shortened form of the composer's alternate title "Banks of the River" (according to the late Shetland fiddler, collector, teacher and composer Tom Anderson). Scottish fiddler Charles Hardie (1849‑1893) was praised by one of the greatest Scottish violinists of his time, J. Scott Skinner, for his rendition of this tune. "The Banks" is one of the tunes sometimes requested of Shetland fiddlers because it is popularly known that "anything composed in a flat key is considered to be a real test of a fiddler's ability" (Cooke, 1986). Skinner himself recorded the tune in the 1920’s as part of his “Celebrated Hornpipes” medley. It is also popular in Cape Breton and other parts of Nova Scotia. In Scotland it is traditionally preceded by the slow strathspey "The Dean Brig o' Edinburgh."
***
Irish fiddler’s have often recorded “The Banks” as well, including Michael Coleman, Lad O'Beirne, Sean McGuire, Andy McGann, Sean Keane, Seamus McGuire, and Joe Burke. Queens, New York, fiddler Brian Conway plays an exquisite version.
***
Sources
for notated versions: Jean Carignan (Montreal, Canada) [Brody]; Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]; Paul Anderson (Tarland,
Aberdeenshire) [Martin]. Black (Music’s
the Very Best Thing), 1996; No. 136, pg. 71. Brody (Fiddler’s Fakebook), 1983; pg. 34. Cranford (Fitzgerald), 1997; No. 39, pg. 14. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 55. Hardie (Caledonian Companion), 1992; pg. 128.
Hunter (Fiddle Music of Scotland),
1988; No. 340. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 13. Martin
(Traditional Scottish Fiddling),
2002; pg. 34. O’Malley (Luke O’Malley’s
Collection of Irish Music), 1976; No. 123, pg. 62. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 5. Skinner (Harp and Claymore), 1904; pg. 141. Fiddler
FRLP001 Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.” Flying Fish FF 70572,
Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). Folkways FG3531, Jean Carignan‑ "Old Time Fiddle
Tunes" (1968) {third tune of 'Bank'}. Green Linnet SIF‑1110, Andy
McGann and Paddy Reynolds ‑ "My Love is in America: The Boston
College Irish Fiddle Festival" (1991). Outlet 1031, Sean McGuire‑
"Ireland's Champion Traditional Fiddler." Philo 2001, "Jean
Carignan" (third tune of 'Banks Medley'). Philo 2019, Tom Anderson and Aly
Bain‑ "The Silver Bow". Rounder 7001, Joe Cormier ‑
"Scottish Violin Music from Cape Breton Island" (1974). Shanachie
29009, "Andy McGann & Paul Brady" (McGann learned the tune from
Lad O'Beirne). Topic 12T280, J. Scott Skinner‑ "The Strathspey
King."
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:Banks
T:Banks of the River
T:Mrs. Taff
C:Parazotti
B:The Caledonian Companion, Alastair J. Hardie
N:as played by J. Scott Skinner
R:hornpipe
M:4/4
L:1/16
K:Eb
(3B,CD|E2 G4 (3BGE D2 F4 (3AFD|A,2 c4 de =ABcB _AGFE|
G,2 B4 c2 A,2 c4 de|DEFG AFDF E2[B,2G2][G,2E2]:|:{a}g>^f|
g2[G,2E2][G,2E2] (3gbg f2[B,2D2][B,2D2] (3fgf|
e2 c4 fe dcB=A {A}B2{=e}f2|
(3DBf (3fBD (3DBf (3fBD (3EBg (3gBE (3EBg (3gBE|
=ABcd ecAc BABc B_AGF|[EG,]GBG eGFE DFBF dFED|
CEAE cBAG FGFE DCB,A,|
(3G,EB (3BEG, (3G,EB (3BEG, (3A,Ec (3cEA, (3A,Ec (3cEA,|
DEFG AFDF E2[B,2G2][G,2E2]:|
X:2
T:Banks
T:Banks of the River
T:Mrs. Taff
C:Parazotti
N:transposed from Eb
R:hornpipe
M:4/4
L:1/16
K:G
(3DEF|G2 B4 (3dBG F2 A4 (3cAF|E2 e4 fg ^cded =cBAG|
B,2 d4 e2 C2 e4 fg|FGAB cAFA G2 B2 G2:|:b>^a|
b2 G2 G2 (3bc'b a2 F2 F2 (3aba|g2 e4 ag fed^c d4|
dfaf dfaf dgbg dgbg|^cdef gece dcde d=cBA|
Bded bgdB Adfd afdA|EGcG edcB (3ABA (3GFE D2C2|
B,DGD B,DGD CEGE CEGE|FGAB cAFA G2 B2 G2:|
X:3
T: The Banks
S: McGann / Conway
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: G
(3DEF|G2 B2 B2 (3dBG|F2 A2 A2 (3cAF | C2 e2 e2 fg | ^cded =cBAG |
B,2 d2 d2 ef | C2 e2 e2 fg | FGAB cAFA | G2 B2 G2 :|
ba | b2 g2 g2 (3bab | a2 f2 f2 (3aba | g2 e2 e2 ag | fed^c d2 D2 |
Fdad Fdad | Gdgd Gdgd | ^cdef gece | d^cde d=cBA |
GBdB gdAG | FAdA fAGF | EGBG edcB | ABAG FEDC |
B,GdG B,GdG | CGeG CGeG | FGAB cAFA | G2 B2 G2 :|
P: original key Eb
K: Eb
(3B,CD|E2 G2 G2 (3BGE|D2 F2 F2 (3AFD|A,2 c2 c2 de| =ABcB _AGFE |
G,2 B2 B2 cd | A,2 c2 c2 de | DEFG AFDF | E2 G2 E2 :|
gf| g2 e2 e2 (3gfg | f2 d2 d2 (3fgf | e2 c2 c2 fe | dcB=A B2 B,2 |
DBfB DBfB | EBeB EBeB | =ABcd ecAc | B=ABc B_AGF |
EGBG eBFE | DFBF dFED | CEGE cBAG | FGFE DCB,A, |
G,EBE
G,EBE | A,EcE A,EcE | DEFG AFDF | E2 G2 E2 :|
BANKS OF AHASNAGH. AKA and see “Bucks
of Ahasnagh,” "Crossing
the Bogs," “Mick
Mulcahy’s [1],” "Out on the Ocean [1],”
“Over the Sea [2],” “O’Connell’s
Jig on the Top of Mount Everest,” “The Portroe [1].”
BANKS
OF ALLAN, THE. AKA and see “Bog of Allan [3].” AKA -
“Banks of the Allan.” Scottish, Country Dance Tune (6/8) or Jig. D Major.
Standard tuning. ABB (Sharp): AABB (Gow, Karpeles, Kerr, Raven). The river
Allan is a tributary of the Forth of Firth that flows through Perthshire and
Stirlingshire before it empties into the Forth near Bridge of Allan. The Scots
poet Robert Burns wrote a love song (appearing in Thomson’s Scottish Airs) to the tune “Allan Water”
that begins:
***
By Allan-side I chanc'd to rove,
While Phoebus sank beyond Benledi;
The winds were whispering thro' the grove,
The yellow corn was waving ready....
***
"This
tune is also suitable as an accompaniment to Rapper Sword Dance"
(Karpeles). See also the Irish variants “Bog of Allan [3]” and “The Tailor’s Thimble [1].”
An early version was published in 1799 by Thomas Calvert, a musician from
Kelso, Scotland (see abc below). A note with his collection states that
Calvert supplied “a variety of music and instruments, instruments lent out,
tun’d and repaired.” Source
for notated version: the tune was popularized in the mid-1980's in the
Portland, Oregon, dance community by accordion player Dennis Rothrock, then
with the band Fiddle Head Rock; Rothrock learned it from the Battlefield band
recording [Songer]. Carlin (The Gow
Collection), 1986; No. 530. Gow (Complete
Repository), Book 2, 1802; pg. 38. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 26‑27. Kerr (Merry
Melodies), vol. 1; No. 7, pg. 31. Raven (English Country Dance Tunes), 1984; pg. 75. Sharp (Country Dance Tunes), 1909/1994; pg. 59.
Songer (Portland Collection), 1997;
pg. 22. Topic 2052, Battlefield Band - “Stand Easy”
(1979). Topic TSCD468, Battlefield Band - “Opening Moves” (compilation CD).
X:1
T:Banks of Allan, The
L:1/8
M:6/8
K:D Major
DE|FGF FED|FAA A2 d|Bdd Add|Bdd
Add|FGF FED|
FAA A2 d|BdB AFD|FEE E2 ::de|fgf
fed|faa a2 g|
fgf fed|gbb b2 a|fga efg|def fed|BdB
AFD|FEE E2:||
X: 2
T:Banks of Alan
M:6/8
L:1/8
B:The Calvert Collection
Z:Nigel Gatherer
K:D
D|"tr" FGF FED|FA[AF]
[A2F2] d|"tr" Bdd Add|Bdd Add|"tr" FGF FED|
FA[AF] [A2F2] d|"tr" Bcd
AGF|FEE [E2A,2]||d/e/|~fgf fed|fa[af] [a2f2]
g|~fgf fed|gbb b2 g|"tr"
faa efg|{c]ded fed|"tr" Bcd AGF|FEE [E2A,2]||
BANKS OF ANNAN, THE. Scottish, Air (3/4 time). G Major. Standard
tuning. One part. Neil found this air in Watlen's A Choice Collection of Old Scots Songs, Plain and Simple Without Being
Italinised in the Least (1793). Neil (The
Scots Fiddle), 1991; No. 38, pg. 49.
BANKS OF AVON, THE. Scottish, Slow Air (2/4 time). D Major.
Standard tuning. AAB. Composed by Alexander Walker. According to Paul Stewart
Cranford (1991) the tune has currency among modern Cape Breton fiddlers. Walker
(A Collection of Strathspeys, Reels,
Marches, &c.), 1963; No. 96, pg. 33.
BANKS
OF AVONMORE, THE. AKA and see "The Avonmore," “Blackwater Foot.” Irish,
Reel. G Major. Standard tuning. AAB (Kerr): ABB (Levey). Kerr (Merry Melodies), vol. 1; No. 16, pg. 35.
Levey (Dance Music of Ireland, 2nd
Collection), 1873; No. 6, pg. 3.
X:1
T:Banks of
Avonmore, The
M:2/4
L:1/8
R:Reel
S:Levey – Dance Music of Ireland, 2nd
Collection (1873)
Z:AK/Fiddler’s Companion
K:G
d/c/ | (B/G/)G/G/ G>c | (B/G/)G/A/ B/d/g/d/ | (B/G/)G/G/ G>B | A/G/F/G/ A/B/c/d/ |
(B/G/)G/G/ G>A | (B/G/)G/A/ B/d/g/d/ | (B/G/)G/G/ G>B | A/G/F/G/ A/B/c/d/ :|
|: B/d/d/d/ d>c | B/d/e/f/ g/f/g/d/ | B/d/d/d/ d>B | A/G/F/G/ A/B/c/d/ |
(B/d/)d/d/
d>c | B/d/e/f/ g/f/g/a/ | b/g/a/f/ g/e/d/B/ | A/G/F/G/ A/B/c/d/ :|
BANKS
OF BANNA. AKA and see "When Through Life
Unblest We Roam," "Molly
Asthore," "Shepherds I Have Lost My Love," "Had I a
Heart for Falsehood Framed," "Oh! Nevermore." Irish, Air (4/4
time). C Major. Standard tuning. AB. An air very popular in the 18th
century, according to George Moffat, to which Thomas Moore set “When thro’ life
unblest we rove” and George Ogle set “Shepherds I have lost my love.” Moffat
finds the Banna melody “merely an adaptation” of an older Irish air, “Sin sios agus suas
liom” (Down beside me), published in Daniel Wright’s Aria di Camera (c. 1730) {Moore also wrote a song to this latter
air, called “Oh where is the slave”}. See also note for “Down Beside Me.” O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 128, pg. 23.
X:1
T:Banks of Banna, The
M:C
L:1/8
N:”Moderately”
S:O’Neill – Music of Ireland (128)
Z:AK/Fiddler’s Companion
K:C
c3d e2
ed|c2G2 G4|A2G2 c2 B{d}c|B2A2 G4|c3c ceeg|G3A AGFE|
FGAB
cdcF|E2D2C4||E3D E2F2|G2 {B}A>G G4|A2G2 c2 B{d}c|
B2A2 G4|c2
c2 ceeg|G3A AGFE|FGAB cdcF|E2D2 C4||
BANKS OF (THE SWEET)
BARROW, THE. Irish, Air (3/2 time). Ireland, Derry.
D Minor/Dorian: E Flat Major. Standard tuning. AB: AABBCCDD. Sources for
notated versions: “From the late T. Davis” and “Set in the County of Derry,
1834" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 337 & 338, pg. 85.
BANKS OF BOGGIE, THE. Scottish, Reel. D Major. Standard tuning.
AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1963; No.
82, pg. 29.
BANKS O' CART. Scottish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 273, pg.
30.
X:1
T:Banks o
Cart
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 273 (c.
1880’s)
Z:AK/Fiddler’s Companion
K:G
g2d dcB|edc
BAG|g2d dcB|eag fba|g2d dcB|edc BAG|cec BdB|ABG FED:|
|:GBd
dBG|ege dBG|GBd dBG|FAG FED|GBd dBG|edc BAG|cec BdB|ABG FED:|
BANKS OF (THE) CLAUDY, THE (Bruach an Chladaigh). AKA and see "An Cailin Donn,"
"Plain of
Boccarough," "The Portaferry Boys,"
“Roving Galway Boy.”
Irish, Air (2/4 or 4/4 time). F Major (O’Sullivan/Bunting): D Dorian (O’Neill,
Stanford/Petrie): D Major (Stanford/Petrie). Standard tuning. One part
(O’Neill, Stanford/Petrie): AABBC (O’Sullivan/Bunting). Claudy is a village on
the right bank of a small stream called the Faughan, which rises in the Sperrin
mountains and flows into the River Foyle just before it enters Lough Foyle in
County Londonderry. O'Sullivan (1983) notes that old collections record tune
was a once popular Irish ballad, known throughout the island and beyond, for,
according to A.L. Lloyd, the song has turned up "in Sussex and Scotland,
Virginia, USA, and Victoria, Australia, practically word-for-word the same and
we have to presume that these versions have probably come from, and been more
or less fixed by, some printed original on a broadside or in a popular
songster." O’Neill (1913) classifies the melody in a group with “Willy
Reilly” et al (see note for “Willy Reilly [2]").
O’Neill relates hearing a memorable rendition by a Chicago piper named John K.
Beatty, a native of County Meath who was a genial man and a good musician,
though with an inflated opinion of his own abilities (“execution he had—too
much of it—but neither time nor rhythm”):
***
An American lady, of wealth and social distinction, proud of her Irish
ancestry, once appealed to us for aid in getting out a suitable
programme.
The best Irish talent obtainable was engaged. But how about Mr. Beatty?
It was contended that he could play The Banks of the Claudy with trills
and variations in acceptable style, yet no one could guarantee that he
would confine himself within limits. In any event he was the typical
bard in appearance. His confident air and florid face, adorned with a
heavy white mustache, and a head crowned with an abundance of long
white hair, would naturally appeal to an Irish audience, so his name was
placed on the programme, well towards the end, to minimize the effect
of his possible disregard of instructions.]
When his time came to execute The Banks of Claudy he met all ex-
pectations—and much more. Intoxicated by the applause, all was for-
gotten but the mad desire to get more of it, so he broke loose with
rhapsodical jigs and reels, his head on high, nostrils distended like a
race-horse on the home stretch, while both feet pounded the platform
in unison. He evidently ‘had it in’ for the regulators, for he clouted
the
keys unmercifully, regardless of concord or effect, and when he quit,
from sheer exhaustion, it is safe to say that no such deafening laughter
and handclapping ever greeted an Irish piper before or since. (Irish Folk Music, pg. 26)
***
For an American derivative version,
see G.B. Grayson’s “Where are You Going, Alice.” Sources for notated versions:
the Irish collector Edward Bunting noted the melody from the harper Charles
Byrne, probably at the end of the 18th century [Bunting]. O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 430, pg. 75. O'Sullivan/Bunting, 1983;
No. 43, pgs. 67-68. Stanford/Petrie (Complete
Collection), 1905; Nos. 422 & 423, pg. 107.
X:1
T:Banks of Claudy, The
M:C
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 430
Z:AK/Fiddler’s Companion
N:”Slow with feeling”
K:D Minor
fe|d3 {e/d/}c d2 DE|~F2 FA|c2 ed|A2
GF/E/ D2D2|D6 FG|AB/A/ GA d2e2|
f3d e2 dc|A2 B/A/G A2^c2|d6 FG|AB/A/
GA d2e2|f3d f{g/f/}e d{e/d/}c|
A2G2 Ad ^ce|d6 fe|d3 {e/d/}c d2
DE|~F2 FA c2 dc|A2 GF/E/ D2D2|D6||
BANKS OF CLYDE [1],
THE. Scottish,
Strathspey. A Mixolydian. Standard tuning. ABB'. Pipe tune from Ross's
collection. MacDonald (The Skye
Collection), 1887; pg. 11.
X:1
T:Banks of Clyde, The [1]
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A Mix
a|c>AA>c
A>AA>d|c>AA>e a>fe>d|c>AA>c A>AA>d|B>GG>B
g>Bd>B|
c>AA>c
A>AA>d|c>AA>e a/g/f/e/ a>e|c>AA>c c<ece|B>GG>B
g>Bd>B||
=c<e g>e
a>eg>e|=c>eg>e daa>e|1 =c<e g>e a>eg>f|e>Ag>d
B<Gd>B:|2
=c<e g>a
g>ef>d|e>Ag>d BG d||
BANKS OF CLYDE [2],
THE. English,
Jig. England, Northumberland. B Flat Major. Standard tuning. AABB. Vickers'
original spelling of 'Clyde' was 'Cloyd'. Seattle (William Vickers), 1987, Part 3; No. 476.
BANKS OF CLYDE [3],
THE. Scottish,
Highland Schottische. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 3; No. 19, pg. 20.
X:1
T:Banks of Clyde, The [3]
M:
L:1/8
R:Highland Schottische
S:Kerr – Merry Melodies, vol. 3, No. 19 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
BANKS OF DON, THE. Scottish, Strathspey. E Major. Standard
tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1963; No.
117, pg. 40.
BANKS OF DUNMORE, THE (Bruaca Dun-Moir). Irish, Air (6/8 time). G Major.
Standard tuning. AB. O’Neill (Music of Ireland: 1850 Melodies), 1903;
No. 540, pg. 95.
X:1
T:Banks of Dunmore, The
M:6/8
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 540
Z:AK/Fiddler’s Companion
K:G
G/B/|ede/d BG/B/A/G/|EDD D2
G/B/|edB/G/ BAA|(A3 A2) G/B/|ede/d/ BG/B/A/G/|
EDD D2 G/B/|ed B/G/ AGG|(G3
G2)||B/A/|Bde/f/ gfe/d/|Bdd d2 e/f/|gfe/d/ Bd (3f/e/d/|
(e3 e2) (3d/e/f/|g2 e/f/g/e/ dG
A/G/|EDD D2 G/B/|ed B/G/ AGG|(G3 G2)||
BANKS OF EARN, THE. Scottish, Reel. G Minor. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1963; No. 196, pg. 67.
BANKS OF ENVERNESS. AKA and see "Banks of Inverness,”
“Fisherman’s Lilt
[1]."
BANKS OF ESK, THE. AKA and see "North Bank of Esk."
Irish, Air (2/4 time). A Dorian. Standard tuning. AA'B. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
122, pg. 68.
X:1
T:Banks of Esk, The
M:2/4
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:A Minor
(A/G/) | EA AG/A/ | BA A(e/^f/) |
g>edB | G2 GA/G/ | EA A(G/A/) | BA A(e/^f/) |
g>d (e/d/c/B/) |1 A2 A/B/A/G/ :|2
A2A || (e/g/) | a>b c’b | ae e>^f | g>e (d/g/d/B/) | G2 G(e/g/) |
a>b c’b | ae e>a | g>e
(e/d/c/B/) | A2 z (e/g/) | a>b c’b | bg ae/^f/ | g>e (d/g/d/B/) | G2
GA/G/ |
EA AG/A/ | BAA e/^f/ | g>d
e/d/c/B/ | A2 A/B/A/G/ ||
BANKS O' FORTH, THE. Scottish, Air (4/4 time). D Major.
Standard. AABB. The air, referring to the Firth of Forth, was composed by
Edinburgh dancing master, singer, and composer James Oswald (b. 1711) and
published in his Curious Collection of
Scots Tunes. Oswald left for London in 1741 where he continued to compose
and publish. McGibbon (Scots Tunes, book
II), c. 1746; pg. 45. Neil (The Scots
Fiddle), 1991; No. 9, pg. 11.
X:1
T:Banks of Forth, The
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book II, pg. 45
(c. 1746)
Z:AK/Fiddler’s Companion
K:D
(F>E) | D2 (F>G) A2 (d>e) |
f>g (f/e/)(d/c/) B3d | A2 (B>c/2d/4) (B/A/)(G/F/) “tr”ED |
G>A (B/A/)(G/F/) E2 (F>E) | D2
(F>G) A2 (d>e) | f>g (f/e/)(d/c/) B3c | de f(^g/a/) ({f}e3) d/c/ |
(Bc/d/) “tr”B>A A2 :: A2 |
(dc)(de) (f/g/)(f/g/) ac | “tr”BABc d3F | (GF)(GA) B(gf) ed |
c(d/e/) (d/c/)”tr”(B/A/) A3A |
(BGB)d (AF)(DF) | GB e(f/g/) ({d}c3)A |
B/(d/c/B/) (A/G/)(F/E/) D2
({f/g/}a)(g/f/) | e(f/g/) (f/e/)(d/c/) d2 :|
BANKS OF GARRY/GARY. AKA and see "Banks of Gray."
Scottish, Strathspey or Reel. D Major. Standard tuning. AAB (Athole, McGlashan,
Skye): AABB (Huntington). Probably "The Banks of the Garry" composed
by John Crerar (1750‑1840), a fiddler and head gamekeeper on the Atholl
estate in Perthshire, who "seems to have had lessons from Niel Gow, who
may have encouraged him to compose" (Alburger, 1983). The tune appears in
McGlashan's second collection (A
Collection of Strathspeys, Reels..., pg. 32) in 1786. Huntington (William Litten's), 1977; pg. 21 (appears
as "Banks of Gray"). MacDonald (The
Skye Collection), 1887; pg. 71. McGlashan (A Collection of Reels), c. 1786; pg. 32.
Stewart-Robertson (The Athole Collection), 1884; pg. 113.
X:1
T:Banks of Garry, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
F/G/ | A>BA>F A>Bd>f | A>BA>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>df>d e/e/e ef/g/ | a>f d<f e<df<d | B>AB>d F/F/F Ff/g/ |
a>g
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 ||
BANKS OF GLENOE, THE. AKA and see “Con Carthy’s,” “Petticoat Loose [1],”
“The Rooms of Dooah.”
Irish, Jig. C Major. Standard tuning. ABB.
***
Tune up your fiddle and rosin your bow,
And play us a tune of the banks of Glenoe. (Joyce)
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 78, pg. 42.
X:1
T:Banks of Glenloe, The
M:6/8
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:C
A|GEE cEE|GEE G2A|GEE cBc|Add
dcA|GEE cEE|cde eag|fef ded|cAA A2||
d|e3 g^fg|ABA c2d|eaa aga|edd dcd|eg^f ged|cAA cde|fef
ded|cAA A2:|
BANKS OF GRAY, THE. AKA and see "Banks of Garry/Gary."
BANKS OF HELICON, THE. Scottish. "From a manuscript of 1566,
printed by Stenhouse, the tune to a song composed in very florid style to
celebrate the beauties of the unfortunate Mary, Queen of Scots, whose troubles
were in that year soon to begin, with the murder of her favourite, David
Riccio, in March. Helicon, in Greek mythology, is a mountain sacred to the Nine
Muses, where flows the Fountain of Hippocrene, often referred to as the source
of poetic inspiration” (Williamson). Flying Fish
FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol.
1."
BANKS OF INVERNESS, THE. AKA ‑ "The Banks of
Enverness." AKA and see “Ceangulla Polka,” “Croppies' March,"
"The Croppy's
Retreat," "Farewell to Limerick,"
“Father
Murphy’s Quick Step,” “Fisherman’s Lilt,” “Freedom for Ireland,”
“Heather on the
Hill [1],” “Lark’s Nest,”
"Molly, What
Ails You," "You're Right My Love"
(related tune). Scottish; Reel or Strathspey. Irish, Polka. C Major (Carlin,
O’Farrell): D Major (Cole): A Major (Miller). Standard tuning. AABB. The melody
can also be found within the ceili dance piece called both “Seige of Ennis” and “Walls of Limerick.” It
is also popular polka in Ireland, however, due to the title the tune is thought
to have Scottish origins, and O’Farrell (c. 1806) gives the provenance as
“Scotch.” County Sligo fiddle great Michael Coleman recorded the tune in New
York as “Kerryman’s
Daughter.” See also the related Northumbrian melody “Salmon Tails Up
the Water.” The melody, collected in County Cork, appears in Church of Ireland cleric James Goodman’s manuscripts
of the mid-19th century under the title “Father Murphy’s Quick
Step.” It is possible the title refers to Father John Murphy, County Wexford,
who for a time was a leader of the 1798 rebellion (a ‘quick step’, after all,
is a martial denotation for a type of march). Carlin (Master Collection), 1984; pg. 86 (#142). Cole (1000 Fiddle Tunes), 1940; pg. 11 (appears as "The Banks of
Enverness"). Miller (Fiddler’s
Throne), 2004; No. 115, pg. 79. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 143. Ryan’s
Mammoth Collection, 1883; pg. 34. Gael Linn CEF
146, Seamus McGuire and John Lee – “The Missing Reel.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Banks of Inverness, The
M:2/4
L:1/8
K:G
D>D DB,|DE GA|Bd AB/A/|GE
EG/E/|D>D DB,|DE GA|Bd AB/A/|G2G2:|
|:Bd dB|ce ed/c/|Bd AB/A/|GE
EG/A/|Bd dB|ce e>f|ge (3fed|e2 e>f|
ge (3fed|ed B>A|Bd/B/ AB/A/|GE
E2|D>D DB,|DE GA|Bd/B/ AB/A/|G2 G2:|
T:Banks of Inverness, The
M:2/4
L:1/8
K:G
D>D DB,|DE GA|Bd AB/A/|GE
EG/E/|D>D DB,|DE GA|Bd AB/A/|G2G2:|
|:Bd dB|ce ed/c/|Bd AB/A/|GE
EG/A/|Bd dB|ce e>f|ge (3fed|e2 e>f|
ge (3fed|ed
B>A|Bd/B/ AB/A/|GE E2|D>D DB,|DE GA|Bd/B/ AB/A/|G2 G2:|
M:C|
L:1/8
R:Polka
S:O’Brien – Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:D
d4d4 :: f2a2a2f2 |
g2b2b2ag | f2a2e2f2 | d2B2B2A2 | f2a2a2f2 | g2b2b2a2 | d’2c’2b2a2 |
b8 | f2a2a2f2 |
g2b2b2ag | f2a2e2f2 | d2B2B2d2 | A3B A2F2 | A2B2d2e2 | f2a2e2f2 | d4d4 :|
BANKS OF IRELAND. See "Bank of Ireland."
BANKS OF KILLALOE, THE. Irish, Air ("lively" 6/8 time). F
Major. Standard tuning. AB. Joyce (Old
Irish Folk Music and Songs), 1909; No. 278, pg. 132.
X:1
T:Banks of Killaloe, The
M:6/8
L:1/8
R:Air
N:”Lively”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:F
C|F2E F2G|Ad2 c2B|A2F G2F|D3
C2C|F2EF2G|Ad2 c2B|A2F G2E|(F3F2)||c|
d2c d2e|f3 e2e|d2c d2e|d2c A2c|d2c
d2e|f3 e2e|d2c d2e|(d3d2)e|f2e d2c|
df2 e2d|c2B A2G|A2D D2E|F2E F2G|Ad2
c2B|A2F G2E|(F3 F2)||
BANKS OF LAGAN, THE. Irish, Air (3/4 time). D Minor. Standard
tuning. AB. Joyce (Old Irish Folk Music
and Songs), 1909; No. 551, pg. 292.
BANKS OF LOCH NESS (Bruachan Loch Nis). Scottish, Slow Strathspey or Air. G Minor.
Standard tuning. AB (Cole): AAB (Athole, Fraser, Hunter, Martin). Also a song.
"The words and music of the Banks of Loch Ness are the composition of a
very obscure individual, whom the editor remembers, and are descriptive of the
natural beauties which adorn that part of the country, forming a very
interesting subject for the genuine poet or landscape painter" (Fraser).
Cole (1000 Fiddle Tunes), 1940; pg.
128. Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 16, pg. 6.
Hunter (Fiddle Music of Scotland),
1988; No. 164. Martin (Ceol na Fidhle),
vol. 4, 1991; pg. 19. Ryan’s Mammoth
Collection, 1883; pg. 167. Stewart-Robertson
(The Athole Collection), 1884; pg.
189.
X:1
T:Banks of Loch Ness, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G Minor
F|D<G G>A B>c d2|F<F F>D F2 F>A|G<G G>A B>c d<f|d/c/B/A/ d>^F G2G:|
f|d>Bf>B g>Bd>f|F<F F>D F2 F>f|d>fB>d c>B
c<d|G<G G>^F G2 G>f|
d>Bf>B
g>Bf>e|d>Bc>A ~B>GF>D|b>ag>f d<b
f>B|A>ed>^F G2G||
BANKS OF LOCHEIL, THE (Braigh Loch Iall). AKA and see “Braes of Lochiel.”
Scottish, Slow Air (6/8 time). A Minor. Standard tuning. AABB. MacLeod, Book 1.
Martin (Ceol na Fidhle), vol. 1,
1991; pg. 7.
BANKS OF LOUGH FOYLE, THE. Irish, Air (6/8 time, "Gaily"). C
Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 311, pg. 54.
X:1
T:Banks of Lough Foyle, The
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 311
Z:AK/Fiddler’s Companion
K:C
G/A/|c2c dcd|eg>e d>cd|e>dc
cAG|GAc d2 e/d/|c2c d>cd|eg>e d>cd|e>dc cAG|GAc c2:|
||d/e/|f2g age|g2e d2e|fga
age|e/g/f/e/d/c/ d2 e/d/|c2c dcd|eg>e d>cd|e>dc cAG|GAc c2||
BANKS OF LOUGH GAMHNA. See "Banks of Lough Gowna."
BANKS OF LOUGH GOWNA
[1], THE (Bruaca Loca
Gamna). AKA –
“Lough Gowna.” AKA and see “Shores of Lough Gowna.”
Irish, Double Jig. B Minor (DeMarco & Krassen, O'Neill/Krassen): A Minor
(Cranitch, McGuire & Keegan, Mitchell, O'Neill/1850 & 1001, Taylor).
Standard tuning. AABB (most versions): AA’BB (Mitchell, Vallely). The second
part is similar to the second part of “Geese in the Bog [3].”
Sources for notated versions: "a composite based on the old duet recording
by Paddy Killoran and Paddy Sweeny and also on the recent recording by John
Vesey (DeMarco & Krassen, 1978); piper Willie Clancy (1918-1973, Miltown
Malbay, west Clare) [Mitchell]. Cotter, No. 17. Cranitch (Irish Fiddle Book), 1996; No. 8, pg. 127. Cranitch (Irish Session Tunes: Red Book), 2000; 8.
Cotter (Traditional Irish Tin Whistle
Tutor), 1989; 53. DeMarco & Krassen (A Trip to Sligo), 1978; pgs. 30, 44, 58. McGuire & Keegan
(Irish Tunes by the 100, vol. 1),
1975; No. 14, pg. 4 (appears as “Lough Gowna”). Mitchell (Dance
Music of Willie Clancy), 1993; No. 113, pg. 96. O'Neill (Krassen), 1976;
pg. 63. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1060, pg. 200. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 264, pg. 58.
Taylor (Behind the Half‑Door),
1992; No. 55, pg. 39. Vallely (Learn to Play the Fiddle with Armagh Pipers
Club), 197?; No. 35, pg. 34. Bellbridge Records,
Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959).
Claddagh CC47, Ronan Browne & Peter O’Loughlin – “The South West Wind.”
Claddagh CC63, Ronan Browne, Desi Wilkinson, Kevin Glackin et al – “Cran.”
Mulligan LUNCD 059, Gerry Harrington & Eoghan O’Sullivan – “Scéal Eile”
(1993). Rounder CD 1123, “Milestone at the Garden” (1996, reissue recordings).
Shaskeen Records OS‑360, Andy McGann, Joe Burke, Felix Dolan ‑
"A Tribute to Michael Coleman," c. 1965 (appears as "Banks of
Lough Gamhna"). Shaskeen ‑ "The Joys of Life." Cathy
Whitesides – “Home Town Café.” Shanachie Records, Solas – “The Words that
Remain” (1999).
See also listings at:
Alan Ng’s Irishtune.info |
X:1
T:Banks of Lough Gowna, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
264
Z:AK/Fiddler’s Companion
K:A Minor
|:cde g2a|gea ged|cde g2a|geg a3|cde
g2a|gea ged|cde fed|ecA A2:|
BANKS OF LOUGH GOWNA [2], THE. AKA and see “Bryan O’Lynn
[1].” Irish, Jig. A Dorian. Standard tuning.
BANKS OF NEWFOUNDLAND [1]. Canadian, Jig. D Major. Standard tuning. AABBCCDD. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 144, pgs. 92‑93.
BANKS OF NEWFOUNDLAND [2], THE (An Fhuiseog ar an Trá). AKA and see "Bruacha Thalamh an Éisc." Irish, Jig. G Major. Standard. AAB (Breathnach): AABB
(Harker/Rafferty, Taylor.) There is another version of this tune in
Breathnach’s Irish Folk Dance Music
(No. 129). Source for notated version: a 1928 recording by P.J. Conlon (d.
1954), originally from County Galway, on the one-row melodeon, via the group
Shaskeen (Ireland) [Taylor]; accordion player John Brophy/Sean O Broithe
(Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 8, pg. 5. Harker (300 Tunes from Mike Rafferty), 2005; No. 204, pg. 63. Taylor (Crossroads Dance), 1992; No. 45, pg. 34.
Rounder Records, P.J. Conlon (et al) – “From Galway to
Dublin” (1993. Reissue compilation, originally recorded in 1928. Varlet &
Spottswood note that Conlon was one of the first Irish musicians to be
recorded, dating from early in the second decade of the 20th
century). Shaskeen - "The Mouse Behind the Dresser." Shaskeen -
"Shaskeen Live." P.J. Conlon - “From Galway to Dublin” (reissue CD).
See also
listing at: Alan Ng’s Irishtune.info |
X:1
T:Banks of
Newfoundland
M:6/8
L:1/8
S:Jack Coen
R:jig
Z:Lesl
K:G
GGA|:B2A BGD|GBd ~g3|ded BGA|BAG AGA|
B2A BGD|GBd g2g|ded BGA|1 BGG G2A:|2 BGG G2B||
|:d2g gfg|e2a aga|bge dBG|BAG ABc|1d2g gfg|e2a aga|bge dBA|
BGF G2B:|2 B2A
BGD|GBd g2g|ded BGA| BGG G3||
BANKS OF SICILY. See “Farewell to the Creeks.”
BANKS OF SPEY [1], THE. Scottish, Strathspey. A Minor. Standard tuning. AB (Hardie, Johnson,
Marshall): AAB (Gow): AABB (Gatherer). Composed by William Marshall
(1748-1833). The Spey is the swiftest-flowing river in Scotland, famous for its
fishing and salmon runs. Marshall himself was not only a composer,
mathematician and fiddler, but also a keen angler who fashioned beautiful flies
(Moyra Cowie, The Life and Times of
William Marshall, 1999). Hardie (1992) reminds us that the strathspey form
is commonly believed to have originated in the valley of the Spey in north‑eastern
Scotland. Poet Robert Tannahill wrote verses which fit Marshall’s tune:
***
***
Scenes of my childhood, your
wanderer hails you,
Wing'd with rude storm, though the
winter assails you,
Bleak and dreary as ye are, ye yet
hae charms to cheer me,
For here, amidst my native hills, my
bonnie lassie's near me.
***
'Tis sad to see the wither'd lea,
the drumly flooded fountain,
The angry storm in awful form, that
sweeps the moor and mountain;
But frae the surly swelling blast,
dear lassie, I'll defend her,
And frae the bonnie banks o' Spey I
never more shall wander.
***
Gatherer (Gatherer’s Musical
Museum), 1987; pg. 38. Gow (Complete
Repository), Part 4, 1817; pg. 27. Hardie (Caledonian Companion), 1992; pg. 88. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 33. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 48. McGlashan (A
Collection of Reels), c. 1786; pg. 3. Oswald (Caledonian Companion), Book 2.
See also
listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources
|
X:1
T:Banks of Spey [1]
M:C
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:A Minor
A2 A>B A>Bc>e|d<c B>A G2 G2|A2 A>B A>B
c>d|e>cde g2 g2|
a>ge>c d<ega|e<gg>B G2 GB|A<E A>B
c>de>g|e<d c>B A2A:|
|:c|A<E A>c A<E A>c|B>cdB G2 GB|A<E A>c A<E
c>d|e>cde g2g2|
a>g e<c d<eg<a|e<g g>B G2 GB|A<E A>B c>d
e<g|e<d c>B A2 A2:|
BANKS OF SPEY [2]. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABB. McGibbon
(Scots Tunes, book III), 1762; pg.
74.
X:1
T:Banks of Spey [2]
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III,
pg. 74 (1762)
Z:AK/Fiddler’s Companion
K:D
D2 | F2A2d3f | (e<c)”tr”(BA) d3B | A<F (d<B) (A<F)
“tr”(E>D | ({D}E4) z2 f>g |
afdf geAg | f2 (g/f/e/d/) ({d}c2) “tr”(BA) | Bc d(e/4f/4g/) (fe)(dc) |
({c}d6 :|
|: f>g | ({f}e3d (ce)(ac) | (dc)(B^A) B3F | Bc (de/4f/4g/) (fe)(dc)
({c}B4) z2 (B/c/d) |
(A<F)(E<D) (d>ef/) | (A<F)(E<D) d3B | (A<F) (d<B)
(A<F) (E>F) | D6 :|
BANKS OF SPEY [3],
THE. Scottish, Reel. D Major. Standard
tuning. AB. Surenne (Dance Music of
Scotland), 1852; pg. 142.
X:1
T:Banks of Spey, The [3]
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of
Scotland, pg. 142 (1852)
Z:AK/Fiddler’s Companion
K:D
D2 DF EDB,E | D2 DF ABAF | GBFd EDB,B | dBAF D2 AB | D2 DF EDB,E |
D2 DF ABAF | GBFd EDB,B | dBAF D2 AB || d2 ef gfef | d2 df abaf | gbfa
edeB |
(d/c/B/c/) dF D2 AB | d2 ef gfef | d2 df abaf | gbfa edeB | (d/c/B/c/) dF
D2 AB ||
BANKS OF SULLANE. Irish, Slow Air (3/4 time). A Dorian. Standard tuning. One part. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 91, pg. 78.
BANKS OF THE ALLAN, THE. See “Banks of
Allan.”
BANKS OF THE BANN, THE. Irish, Air (3/4 time). F Major (Joyce, O’Boyle): G Major (Miller & Perron). Standard tuning. One part. See also “Slane,” “With My Love on the Road.” Hilltown, mentioned below in the beginning verse of the song, is in the County Down. The song tells a tale of seduction and abandonment and a hope for reunion on the banks of the river Bann, capped with a come-all-ye last verse. O Boyle dates the tune to "sometime in the 19th century" by mention of homeweaving prior the introduction of the power loom in Ulster.
***
As
I went a strolling down by the Hilltown
The
lovely fresh mountains they did me surround
I
spied a pretty fair maid to me she looked grand she
Was
gath'ring wild roses on the banks of the Bann.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 556, pg. 295. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 137. Ó Boyle (The Irish Song Tradition), 1976; pg. 46.
See also
listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Banks of the Bann, The
M:3/4
L:1/8
R:Air
B:Joyce – Old Irish Folk Music and Songs, no. 556 (1909)
Z:AK/Fiddler’s Companion
K:F
CD|F2
F>G A>B|c2 e2 cB|G2F2F2|F4 A>c|
d2d>e f>e|d2c2 c>B|A2c2c2|c4 Ac|d2 d>e f>e|d2c2 c>B|
A>G F2 E>F|D4 C>D|F2 F>GA>B|c2d2 c>B|G2 F2F2|F4||
BANKS OF THE BARROW (Bruacha Na Bearbha). Irish, Air (5/4 time, Roche: 4/4
time, O'Neill/1915: 6/4 time, O'Neill/1850). D Dorian (O'Neill/1850, Roche): D
Minor (O'Neill/1915). Standard. AABBCCDD (O'Neill/1850, Roche): AB
(O'Neill/1915). O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 63, pg. 40. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 425, pg. 74. Roche
Collection, 1982; vol. III, pg. 2, #4.
Z:1
T:Banks of the Barrow
M:6/4
L:1/8
R:Air
S:O’Neill – Music of Ireland
(1903), No. 425
Z:AK/Fiddler’s Companion
N:”Moderate”
K:D Minor
D>E|FEFG A3=B c2 c>_B|A2 A>G E3D C3D|Ec=Bc A3G E2 G>E|D2D2
D6:|
|:A2|d^cde f3d e2a2|ge^ce d3=c A2 z2|d^cde f3d e2a2|aged d3e d3e|fgfe
d3c A3B|
cdcA G3E C3D|Ec=Bc A3G E2 G>E|D2D2 D6:|
|:D>E|FEFG A3=B c2 Bc|d2 A>G G3E C3D|E>D(3EFG A3G C2
G>E|D2D2 D4 z2 D>E|
FEFG A3=B c2 (3cde|A3^F G3E A,3D|E>D(3EFG A3G E2 G>E|D2D2 D4z2:|
|:(3A=B^c|d^cde f3d e3a|agfe {d}~d3c
A3z|d^cde f3d e3a|g>gfe d4 d>e|fgfe d3B G2zA|
dedc ABAG EDCD|ED(3EFG ABAG E2 G>E|D2D2 D6:|
BANKS OF THE BLACKWATER (Bruaca na amne‑duba). Irish, Air (3/4 time). G Major. Standard. AB. Source for notated
version: Chicago Police Sergeant James O’Neill, a fiddler originally from
County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 50, pg. 9.
X:1
T:Banks of the Blackwater
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland
(1903), No. 50
Z:AK/Fiddler’s Companion
K:G
G>A|B2d2 ge|d2B2 (3Bdg|edcBAG|BDEFGA|B2d2 d/e/f|g3 b a/g/f/e/|
d>e dB A>G|G4||GE|D3 EGD|E2G2 AB |{d}dB dB AG|E4 d/e/f|g2G2 G/A/B|
A2B2 d>g|fe dc Bc|B2 A2 G>A|B2d2 d/e/f|g3 b a/g/f/e/|d>e dB
AG|E4 GA|
B>c d DEF|G>A B dge|d>e d BAG|G4||
BANKS OF THE CLAUDY. See “Banks of
Claudy.”
BANKS OF THE
DANUBE. See note for "The
Wounded Hussar."
BANKS OF THE DEE. AKA and see “New Langolee [2],” “Old Morris.” English;
Waltz, Jig and Morris Dance Tune. G Major. England; Northumberland, Cotswolds.
Standard tuning. AABBCCDD (Hall & Stafford, Raven): AABBBCCCBBB, repeat
four times (Mallinson). The tune is better known as a morris dance tune, but is
occasionally performed as a waltz. Mallinson's morris version is from the
Fieldtown area of England's Cotswolds. The title appears in Henry Robson's list
of popular Northumbrian song and dance tunes, which he published c. 1800. The
melody was called “The New Langolee” in the manuscript collection of Captain
George Bush (1753-1797), a fiddler and officer in the Continental Army during
the American Revolution. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 4. Mallinson (Mally’s Cotswold Morris Book), vol. 1,
1988; No. 43, pg. 27. Raven (English
Country Dance Tunes), 1984; pg. 113. Fellside
Records FECD192, Spiers & Boden – “Tunes” (2005). Topic 12TS382, New
Victory Band ‑ "One More Dance and Then" (1978).
X:1
T:Banks of
the Dee
M:
L:1/8
K:G
DEF GAB | ced cBA | BGE Ddc | BcA G3 :|
|: Bcd d2g | ede dBG | Bcd efg | GAG FED |
cec BdB | GFG AFD | GFE Ddc | BcA G3 :|
BANKS OF THE DEVON. Scottish, Air (6/8 time). E Minor. Standard tuning. AAB. The tune was noted by Robert Burns near Inverness, Scotland, and appears in the Scots Musical Museum (1787, No. 157), although it was originally a Gaelic song called “Bhanarach dhonn a' chruidh” (The Brown Milkmaid), published in Patrick McDonald’s 1784 collection. The river Devon flows south of the Ochil hills, and the nearby residence of Harviestoun was the abode of Charlotte Hamilton, the subject of his song (he also wrote his last song, “Fairest Maid on the Devon Banks” in honor of her).
Burns’ lyric begins:
***
How
pleasant the banks of the clear winding Devon,
With green spreading bushes and flow'rs blooming fair!
But the boniest flow'r on the banks of the Devon
Was once a sweet bud on the braes of the Ayr.
Mild be the sun on this sweet blushing flower,
In the gay rosy morn, as it bathes in the dew;
And gentle the fall of the soft vernal shower,
That steals on the evening each leaf to renew!
***
See also the jig-time variant
“Scarce o’ Tatties.” O’Farrell (Pocket
Companion, vol. IV), 1810; pg. 109.
X:1
T:The Banks of the Devon
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
L:1/8
d>Ad FED | e>Be {f}g>fe | Bef
{ef}e3 | e>B (e/f/) g>fe | dAd FED | E>FA B>de | (B/A/) GF E2 ||
BANKS OF THE DUNMORE, THE (Bruaca
Dun-Moir). Irish, Air (6/8 time). E Minor.
Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 542, pg. 95.
X:1
T:Banks of the Dunmore
M:6/8
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland
(1903), No. 542
Z:AK/Fiddler’s Companion
K:E Minor
G/B/|ede/d/ B G/B/B/G/|EDD D2 G/B/|edB/G/ BAA|(A3 A2) G/B/|
ede/d/ BG/B/A/G/|EDD D2 G/B/|ed B/G/ AGG|(G3 G2)||B/A/|
Bde/f/ gfe/d/|Bdd d2 e/f/|gfe/d/ Bd (3f/e/d/|(e3 d2) (3d/e/f/|
g2 e/f/g/e/ dG A/G/|EDD D2 G/B/|ed B/G/ AGG|(G3 G2)||
BANKS OF THE ILEN, THE. AKA and see "The Barrack Street Boys," "Birnie‑bouzle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Bride(s) to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel [1]," “Crockett’s Honeymoon,” "D. Dick's Favourite," “Fahy’s Reel” [4], "The Honeymoon (Reel) [2]," "I saw her," "Kelly's Reel," “The Lumberjack Reel,”
"Miss
Grant of Grant [1],”
"Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House [1],” "Shannon Breeze [2]," "Six Mile Bridge.” Irish, Reel or Hornpipe. D Major.
Standard tuning. AABB. O’Neill prints the tune as a hornpipe, though it is most
often heard now-a-days as a reel. It is known in the Sliabh Luachra region of
the Cork/Kerry border as “Seanbhean na gCartaí” or “Tom Billy’s.” Rendered as a
double jig, the tune appears under the title “Humours of Drinagh [1].” Peter Kennedy sees relatedness
with his “Humours of Six Mile Bridge.” Flaherty (Trip to Sligo), 1994; 15. O'Neill (1915 ed.), 1987; No. 334, pg.
165. O'Neill (Krassen), 1976; pg. 90 (reel). O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1592, pg. 295 (hornpipe). O’Neill (Dance Music
of Ireland: 1001 Gems),
1907/1986; No. 837, pg. 144. Paddy Taylor - “The Boy
in the Gap” (reel version). Denis Murphy and Julia Clifford - “The Star Above
the Garter.” Shanachie 79044, Tommy Peoples - “The Iron Man.”
X:1
T:Banks of the Ilen
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (837)
Z:AK/Fiddler’s Companion
K:D
AG|FDFA d2 fe|d2 fd ecAG|FDFA d2
fd|ecAF GBAG|
FDFA d2 fe|d2 fd ecAG|FDFA d2
fd|ecAF G2:|
|:de|f2 fd g2 ge|abag fdde|f2 fd g2
ge|abaf g2 fg|abaf gage|
fgfd ecAG|FDFA defd|ecAF G2:|
BANKS OF THE ILEN (Bruaca Na Oidlm). AKA and see “Fahy’s [4].” Irish, Hornpipe. D Major. Standard. AABB. The
melodic motif, rendered as a jig, is called “Humors of Drinagh [1].” Flute player Cathal McConnell plays three settings of the tune (jig,
hornpipe and reel) on “An Irish Jubilee,” a Topic recording made with Robin
Morton (appears as “Three Out of One”). “Banks of the Ilen” is often paired in
a set with “Scartaglen.” Tommy Peoples recorded the tune as “O’Callaghan’s” on
his album “The Iron Man.” Flaherty (Trip
to Sligo), 1994; 15 (reel setting). O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 837, pg. 144.
O’Neill (O’Neill’s Irish Music),
1915; No. 334, pg. 165. Claddagh LP CC8, Paddy Taylor-
“The Boy in the Gap” (1972).
X:1
T:Banks of the Ilen
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 837
Z:AK/Fiddler’s Companion
K:D
AG|FDFA d2 fe|d2 fd ecAG|FDFA d2 fd|ecAF GBAG|
FDFA d2 fe|d2 fd ecAG|FDFA d2 fd|ecAF G2:|
|:de|f2 fd g2 ge|abag fdde|f2 fd g2 ge|abaf g2 fg|
abaf gage|fgfd ecAG|FDFA defd|ecAF G2:|
BANKS OF THE LOMOND, THE. Scottish, March (2/4 time). A
Major. Standard. One part. Morison (Highland
Airs and Quicksteps, vol. 2), c. 1882; No. 44, pg. 29.
X:1
T:Banks of the Lomond, The
M:2/4
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps,
vol. 2, No. 44 (c. 1882)
Z:AK/Fiddler’s Companion
K:A
E | A2 {B/A/G/}AB | c2 {c}BA | B>B cE | F2 EF | A2 AA | c2 BA |
c2e2 | e2 ce | f2 ff | e2 ce | d>c BA | F2 EF | A>A Bc | f2 ec |
c2B2 | A3 ||
BANKS OF THE LOUGH GOWNA. See "Banks of Lough Gowna."
BANKS OF THE MOY. Irish, Reel. Giblin (Collection of Traditional Irish Dance Music),
1928; 28.
BANKS OF THE NILE. Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (Krassen),
1976; pg. 180. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1625, pg. 302.
X:1
T:Banks of the Nile
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1625
Z:AK/Fiddler’s Companion
K:D
F/>E/|D/>F/A/>F A/>B/d/>A/|B/>e/e/>f/
ed/B/|d/>f/a/>f/ g/>f/e/>d/|
f/>g/a/>b/ ag/f/|g/>ab/>g/ f/>g/a/>f/|g/f/e/d/
e(A/B/c/|d/f/a/f/ g/f/e/g/|fd d:|
|:d/e/|f/d/e/c/ d/A/B/F/|E/e/e/f/ ef/a/|b/a/f/b/ a/g/f/e/|f/g/a/b/
ag/f/|
g/>a/b/>g/ f/>g/a/>f/|g/f/e/d/ e(3A/B/c/|d/>fa/>f/
g/f/e/g/|fd d:|
BANKS OF THE RIVER. See "Banks HOrnpipe."
BANKS OF THE ROSES, THE. AKA ‑ "Banks of the Daisies." Irish, Air (4/4 time). F Major. Standard. One part. "There
is a setting in Stanford‑Petrie with the name, 'The Banks of the
Daisies.' The version I give here is different.
***
If ever I get married it's in the
month of May,
When the fields they are green and
the meadows they are gay,
When my truelove and I can sit sport
and play
All alone on the banks of the roses (Joyce)
***
Joyce (Old Irish Folk Music and
Song), 1909; No. 128, pg. 65.
X:1
T:Banks of the Roses, The
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and
Songs (1909)
Z:AK/Fiddler’s Companion
K:F
AG|FEFG A2 AG|FEFG A2 (3cde|f2 ge fdcA|FEFA c2 de|
f2 ge fdcA|F2 FG A2 FA|c2 fc dcAF|G4F2||
BANKS OF THE SHANNON [1], THE. Irish, Slow Air (3/8 time). G Major (O’Neill): A Major
(Stanford/Petrie). Standard. AB (O’Neill): ABB (Stanford/Petrie). Sources for
notated versions: “From Father Walsh” [Stanford/Petrie]; O’Brien [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 310, pg. 54.
Stanford/Petrie (Complete Collection),
1905; No. 805, pg. 201.
X:1
T:Banks of the Shannon, The [1]
M:3/8
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland
(1903), No. 310
Z:AK/Fiddler’s Companion
K:G
G/E/|DE G/A/|BB A/G/|E/F/ GG|AG E/D/|E/F/ GA|Bg (3f/e/d|e2 d/e/|d2||
d/e/|gg e/d/|eg e/d/|eB A/G/|G/E/ D (3G/B/d/|e2 d/c/|{c}B/A/ B A/G/|EB
A/>G/|G2||
BANKS OF THE SHANNON
[2], THE. Irish, Hornpipe. F Major. Standard.
AABB. Composed by Paddy O’Brien (Co. Offaly).
X:2
T:Banks of the Shannon, The [2]
M:4/4
L:1/8
C:Paddy O’Brien (Co. Offaly)
K:F
(3CDE | FEFA c=Bdc | BGEG CDEC | FEFA cAFA | GCEG (3cdc (3BAG |
FEFA c=Bdc | BGEG cBAG | (3FEF CF DBGE | F2 EG F2 :|
|: AB | (3cBA fd cAFA | GCEG (3cdc (3BAG | FEFA cAFA | Gfed (3cdc (3BAG
|
cAfd cAFA | GCEG cBAG | (3FEF CF DBGE | F2 EG F2 :|
BANKS OF THE SHANNON
[3], THE. AKA and see “Paddy Taylor’s Jig [3].” Irish, Jig.
BANKS OF THE SUIR [1]. AKA‑ "Bruaca Na
Suir" (From Joyce). Irish, Air (3/4 time). A Major. Standard tuning.
AAB. Roche Collection, 1982; vol. I,
pg. 10, #11.
BANKS OF THE SUIR [2]. Irish, Slow Air (3/4 time). E Minor
(G Major?). Standard tuning. AB (Ó Canainn, O’Neill, Roche): AAB
(Stanford/Petrie). Flute player Kevin Crawford says the tune is linked to the
Deise region of County Waterford. An early 78 RPM recording of the air was made
by flute player and uilleann piper Nelius O’Cronin, who founded the Cork
Volunteer Pipe Band. O’Cronin, who died in 1930, also played with piper Leo
Rowsome in the All Ireland Trio, along with Seamus O Mathuna on fiddle. Ó Canainn
(Traditional Slow Airs of Ireland),
1995; No. 35, pg. 34. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 517, pg. 90. Roche Collection, 1982; vol. I, pg. 10, #12. Stanford/Petrie (Complete Collection), 1905; Nos. 802
& 803, pg. 200. Green Linnet GLCD 1211, Kevin Crawford – “In Good Company”
(2001). Parlophone E3615, Nelius O’Cronin (78 RPM).
X:1
T:Banks of the Suir [2]
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 802.
Z:AK/Fiddler’s Companion
K:G
G>A | B2e2 dc | B2G2 AG | E2D2 GA | B2e2 dc | B2G2 A>G | G4 :|
GA | B2d2 ef | g2e2 ag | f2d2 de/f/ | g2f2 e>d | B2e2e2 | e4 de/f/ |
G2 ef ge | d2B2 GF | E2D2 GA | Be d2c2 | B2G2 G{B}A | G4 ||
X:2
T:Banks of the Suir [2]
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 803.
Z:AK/Fiddler’s Companion
K:G Mixolydian
(GA) | B2e2^d2 | e3 B3A | G2E2 GA | B2e2 (DB) | A2.G2.G2 | G4 :|
|:GB | d2 Bd.e.f | {f/}g2f2e2 | e2d2 (gf) | (edcBAG) | A2B2^d2 |
e4 (3efg | g3 a ge | d2B2A2 | B2E2 (GA) | B2e2 dB | A2.G2.G2 | G4 ||
BANKS OF SULLANE, THE
(Bruacha an tSúlán). Irish, Air. An Súlán (The Sullane)
is a river in County Cork which flows through Cúl Aodha, in the heart of the
Cork Gaeltacht, and is a tributary of the Lee.
Globestyle Irish CDORBD 085, Jackie Daly - “The
Rushy Mountain” (1994. Reissue of Topic recordings).
X:1
T:The
Banks of tSulán
S:Noel Hill
D:The Irish Folk Festival - Back to the Future
Z:Juergen.Gier@post.rwth-aachen.de
M:3/4
L:1/8
R:Air
K:D
E3F G2|d6|d2F4|E3F E2|D6|B2 {cB}AF3|ED3 B,D|\
E3F E2|E6:|E>F G3A|B>c d(e3|e)fe>d (d2|d6)|\
E>F G3A|B>c d(e3|e)fe (e3|e6)|e>fe (d3|d4) EF|\
E3F E2|D6|B2 {cB}AF3|ED3 B,D|E3F E2|E6|]
BANKS OF THE TAFF. English, Jig. England, North‑West. G Major. Standard tuning. AAB.
Knowles (Northern Frisk), 1988; No.
149.
BANK'S O' TYNE.
Northumbrian. Tune title appears in Henry Robson's list of popular Northumbrian
song and dance tunes, which he wrote c. 1800.
BANNA CÉILÍ DAIDEO TAIMÍ. AKA and see “Grandpa Tommy’s Céilí Band.”
BANNC NA h-EIREANN. AKA and see "The Bank of Ireland."
BANNER, THE.
Irish, Jig. E Dorian. Standard tuning. AA’BB’. Source for notated version:
“adapted from a recording by Chris Droney” [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No. 94, pg. 47.
X:
1
T:
Banner, The
M:
6/8
L:
1/8
Q:
325
S:
Luke O'Malley vol 1
Z: Transcribed by Bill Black
R:
jig
K:
Edor
B,
| E2 F GFE | BAB dBA | BdB B2 A | GBG AFD |
EB,E
GEG | BAB dBA | BAG FAF | GEE E2 :|
|:
B | e2 f gfe | g2 a bge | dcd fed | fag fed |
e2 f gfe | bge dBA | BAG FAF | GEE E2 :|
BANNERS GREEN. AKA and see "Tyrone's
Ditches."
BANNISTER’S BUDGET.
English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB.
John ‘Jack’ Bannister (1760-1836) was an actor with a gift for mimicry and low
comedy, and was a good amateur painter as well. Commencing in 1807 Bannister
staged a monologue entertainment with songs, called Bannister’s Budget,
which showed his ability to create character types to the best advantage. He
retired from the stage in 1815, having gained a solid reputation as one of the
era’s finest actors. He had saved his money wisely, and lived another two
decades in comfort. Goulding (Twenty Four Country Dances for the Year 1808),
1808; No. 18.
X:1
T:Bannister’s Budget
M:2/4
L:1/8
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s Companion
K:F
e/f/|af/g/ ff|af/g/ ff|dg/a/ bg|fedc|af/g/ ff|af/g/ ff|gb a/g/f/e/|f2
f:|
|:B|(Ac).c.c|(Bd).d.d|fedc|e/f/g/e/ fB|Accc|Bddd|bgec|f2f:||
BANNISTER’S HORNPIPE. English, Hornpipe. D Major.
Standard tuning. AABB. From the 1840 music manuscript book of John Rook (Multum in Parvo, or A Collection of Old
English, Scotch, Irish, Welsh Tunes), a musician from Cumbria. Rook was a
multi-instrumentalist, judging from the cover picture of his collection, and
played what appears to be the Northumbrian small-pipes, bugle, flute, fife and
fiddle, among others, as he indicates the collection is “for his amusement on the above instruments.” The title may refer to the comic actor Jack
Bannister (see note for “Bannister’s Budget”).
X:1
T:Bannister’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:John Rook manuscripts, 1840
Z:AK/Fiddler’s Companion
K:D
fe|dcdA FGAF|GABG E2 gf|edef gbad|c2a2a2fe|dcdA FGAF|
GABG E2 gf|edef gbac|d2d’2d’2::fe|db b2 dbfb|gb b2 gbge|
caa2 cbeb|fa a2 fafd|Bd d2 gfed|ce e2 agfe|dfaf gbac|d2 d’2 d’2:|
BANNOCK BURN. Bannochburn was the battle in
which Robert Bruce won independence for Scotland. Publisher Riley was
originally a composer, music engraver and publisher who worked in London as
late as 1805, but removed before 1814 to New York city.
X:1
T:Bannock Burn
S:Riley's Flute Melodies, II,
#8 (1818)
Q:60
L:1/4
M:C
K:D
F3/4G/4|A3/4B/4 A/F/ A3/4B/4 A/f/|e3/4d/4 e/f/ Bd3/4B/4|\
A3/4B/4 A/F/ D/d/c/B/|A/4F3/4 E/4F3/4D3/2A/|\
=f3/4g/4f/e/d/A/d/e/|=f3/4g/4f/e/de3/4e/4|\
=f3/4e/4f/d/ =c/=F/F/G/|A3/4=B/4 G3/4A/ =F3/2A/|\
A/d/d3/4=c/4 c/B/B/B/|B/e/e/(d/ d/)^~c/ A3/4G/4|\
F/A/B/c/ .d/ {e/}{d/4e/4}.f/ .D/ B/|A/4F3/4 E3/4F/4 D3/2 A/|\
f3/4g/ a/4f/4e/4c/4 d3/4e/4 f/4d/4c/4A/4|\
B3/4c/4 (d/4B/4)(A/4F/4) (G/4F/4)(G/4A/4) (B/4c/4)(d/4B/4)|\
A/4F3/4 E3/4F/4D|]
BANNOCKS' O' BARLEY
MEAL [1]. AKA and see “Barley
Meal,” “Kinnegad
Slashers,” “Slashers.”
Scottish, Irish; Jig. D Major (Cole, Howe, Ryan, White): C Major (Hardings).
Standard tuning. AB (Cole): AAB (Howe): AABB (Hardings). Perhaps the earliest
recording is from 1905 by violinist Charles D’Alamaine, born in 1871 in
England, who died in 1943. D’Alamaine immigrated to the United States in 1888,
and by 1890 had established himself as “instructor on violin” in Evanston,
Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in
New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 51. Hardings All Round Collection), 1905; No. 20, pg. 6‑7. Howe (1000 Jigs and Reels), c. 1867; pg. 143. Ryan’s Mammoth Collection, 1883; pg. 80.
White’s Unique Collection, 1896; No.
25, pg. 5.
X: 1
T:Bannocks
O' Barley Meal Jig
M:6/8
L:1/8
R:Jig
S:White’s Unique Collection (1896), No. 25
Z:AK/Fiddler’s Companion
K:D
A | Add
{e}dcd | fee (e2g) | (f>.e)d (f<a)A | ABc (d2A) |!
Add {e}dcd |
fee (e2g) | (f>.e)d (f<a)A | ABc d2 ||!
a | afd dfa
| agf (g2b) | afd dfa | agf (e2f) |!
(g>.a)g (f>.e)d | (A>.B)A a2g | (f>e)d (f<a)A | (AB)c d2 ||
BANNOCKS OF BARLEY MEAL [2]. Scottish, Air (3/4 time). G Major. Standard tuning. AABB. O’Farrell (c. 1805) identifies this tune as “Scotch”. ‘Bannocks’ is a Scots word for a type of oatcake. Sir Robert Semphill describes the typical fare of a wedding feast of the period in his late 16th century work, The Blithesome Bride: “…long kail and pottage, bannocks of barley meal, good salt herring, a cup of good ale, onions, radishes, pease - boiled and raw, abundance of mouthfuls of skate, sheep’s head broth, fresh ox feet, crabs, winkles, speldies [dried fish], haddocks, and broth with barley to sup till ye’re fou.” John, Duke of Argyll (1678-1743), a Campbell, is credited with composing the words to the Scots song “Bannocks of Barley Meal.”
***
At the sight of
Dumbarton once again,
I'll cock up my bonnet
and march amain,
With my claymore hanging
down to my heel,
To whang at the
bannocks of barley meal.''
***
The tune
has similarities to Burk Thumoth’s “Tho’ for Seven Long
Years” and the Irish “Munster
Cloak.” McGibbon (Scots Tunes, Book
II), c. 1746; pg. 34 (includes variation sets). O’Farrell (Pocket Companion), c. 1805; pg. 6.
M:3/4
L:1/8
R:Air
S:O’Farrell – Pocket Companion (c.
1805)
Z:AK/Fiddler’s Companion
g3a (g/a/b) | e2
(ge)(dB) | d2 AcBA | G2 GABc | d2f2g2 :|
X:2
T:Bonnocks of Beer
Meal [2]
M:3/4
L:1/8
R:Air
N:”Brisk”
S:McGibbon – Scots
Tunes, Book II, pg. 34 (c. 1746)
Z:AK/Fiddler’s
Companion
K:G
G2G2B2 | A2 A(cBA)
| G2 (GA)(Bc) | d2”tr”(f2g2) :: g2d2B2 | A2(fga)f | g2d2B2 |
g3a (g/a/b) | e2
(ge)(dB) | d2(Ac)”tr”(BA) | G2(GA)(Bc) | d2(f2g2) :: GB g(B”tr”AG) |
(FA)D(c”tr”BA) | Gbag”tr”(fe) | d2”tr”(f2g2 :: Gg(dB)”tr”(AG) | FADc’ba | bgdB
“tr”(AG) |
g3(a g/a/b) |
ec’c(edc) | dd’D(c”tr”BA) | Gb(ag)”tr”(fe) | d2”tr”(f2g2) :: G(BdB)gB |
(Aga)(a”tr”gf) |
(ge)(dB) “tr”(AG) | D2f2g2 :: g2d2B2 | A2(f/g/a) (a/g/f) | gedB “tr”(AG) |
g3a (g/a/b) | e(g/f/
g)edB | d(3A/B/c (3BcA | “tr”(G>FG)ABc | d2(f2g2) :: GDG(B”tr”AG) |
ADA(c”tr”BA) |
(GFG)ABc | d2”tr”(f2g2) :: (G/g/f/e/ d/c/B/A/ c/B/A/G/) | A(gf)({f/g/}a)gf |
(g/f/e/d/ e/d/c/B/
c/B/A/G/ | g3a (g/a/b) | (c’/b/a) c’bag | “tr”f>gaedc | (B/A/G) (GA)(Bc) |
d2”tr”(f2g2) ::
(GBAG) g2B2 | A2(f/g/a) “tr”(gf) | (ge)(dB) “tr”(AG) | d2”tr”(f2g2) :|
|: g2d2 (B/c/d/B/)
| Aa (f/g/a/f) (d/e/f/d/) | (3gbg (3dgd (3BdB | g3a (g/a/b) | e2(ge)(dB) |
d2 (3ABc (3BcA |
(G/D/E/F/) (G/F/G/A/) (B/A/B/c/) | d2”tr”(f2g2) :: GbG(B”tr”AG) |
GbFaEg |
D2”tr”(f2g2) :: Gg (e/d/)(c/B/) (c/B/)(A/G/) | (F/G/)(A/F/) Dc’ba | (bg)
(dB)”tr”(AG) |
BgAf Gg |
ec’ce”tr”(dc) | dd’D(c”tr”BA) | GbFaEg | D2”tr”(f2g2) :|
BANQUET, THE. Irish, Air (3/4 time). G Major. Standard
tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
548, pg. 96.
X:1
T:Banquet, The
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 548
Z:AK/Fiddler’s Companion
K:G
de/f/|g2d2c2|B3A G2|A2d2c2|B3A
G2|B2c2d2|e3f g2|g2f2e2|d4 d2|g2d2c2|B3A G2|
A2d2c2|B3A
G2|B2c2d2|e2a2g2|e2f2d2|g4||g2|a2b2g2|f3e d2|g2 bagf|e2d2B2|G2B2e2|
d2f2g2|a2e2g2|f4 zg|a3b g2|f2e2d2|g2
bagf|e2d2B2|G2B2e2|d2c2B2|A2G2F2|G4||
BANQUET OF FANCY, THE. English, Jig. B Flat Major. Standard tuning. AABBAA. Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 22.
X:1
T:Banquet of Fancy, The
M:6/8
L:1/8
B:WM Cahusac – Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 22 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
f2d Bdf|fec dBF|FGA Bcd|fec A2F|f2d
Bdf|fec dBF|FGA Bcd|ezc B2F:|
|:e2d cfe|d2c B2d|cAA FGA|BdB F2F|e2d
cfe|d2c B2c|A2A {A}GFG|FcA fca:||
BANRÍON BHEALTAINE (The Queen of May). AKA and see “The Queen of May [2],” "The Tap Room."
BANRÍON NA LUACHRA (Queen of the Rushes). AKA and see "The Battering Ram [2],"
"A Connaught Jigg," "The Ladies March to
the Ballroom," “Queen
of the Rushes.”
BANRÍON NA SIÓG. AKA and see "The
Fairy Queen."
BANRÍON NA SIOGA (The Queen of the Fairies). AKA and see “Paddy’s Trip to
Scotland [2]."
BANSHA PEELERS. AKA and see "Peeler and the Goat."
A peeler is an old term for a policeman.
BANSHEE [1], THE. AKA and see "McMahon's Reel."
Irish, Reel. G Major ('A' part) & A Dorian ('B' part). Standard tuning.
AABB (Flaherty, Silberberg, Songer): AA’BB’ (Harker/Rafferty). Apparently the
“Banshee” title for this tune originated with the Bothy Band, according to
Philippe Varlet. However, the tune was composed by a Fermanagh fiddle and flute
player named John McMahon who later removed to County Antrim, near Muckamore.
In Fermanagh and many other places it is still called “McMahon's Reel” after
its composer. “The Banshee” title also appears frequently, however, there is no
evidence that McMahon ever used this title himself. According to Crofton Croker
the banshee is "a small, shrivelled old woman with long white hair,
supposed to be peculiarly attached to old houses or families, and to announce
the approaching dissolution of any members by mournful lamentations. This fairy attendant is considered as highly
honourable." Paul de Grae believes the McMahon’s tune was derisively
nicknamed after the banshee in by someone not very enamoured of the melody.
Sources for notated versions: flute player Harry McGowan (b. 1937, Carrowmore,
Co. Sligo, Ireland) [Flaherty]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Flaherty (Trip to Sligo), 1990; pg. 158. Harker (300 Tunes from Mike Rafferty), 2005; No. 17, pg. 6. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 4. Songer (Portland Collection), 1997; pg. 23. “Barde.”
BANSHEE [2], THE. Irish, Double Jig. A Dorian. Standard tuning.
AABB. Source for notated version: the late Gus Collins (Bronx, N.Y.)
[Mulvihill]. Mulvihill (1st
Collection), 1986; No. 74, pg. 80.
BANSHEE'S CRY. AKA and see "How Oft Has the Banshee Cried?" "The Dear
Black Maid." Irish, Slow Air (3/4 time). C Major. Standard tuning. One
part. Source for notated version: Chicago Police Sergeant James O’Neill, a
fiddler originally from County Down and Francis O’Neill’s collaborator
[O’Neill]. O'Neill (Music of Ireland: 1850 Selections), 1979; No. 129,
pg. 23.
X:1
T:Banshee’s Cry, The
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 129
Z:AK/Fiddler’s Companion
K:C
c|e2g2 ga|g3e c2|e2g2 g/a/b|a3g
e2|c’2 d’2 c’2|_b3 a ag|e2 ed c2|d3B G2|
c2
c>dec|d>cdefd|c>Bcdec|fdecdB|c2 cdec|e2g2 c’b|agfe dd|d3c c2||
BANSHEE’S WAIL, THE. AKA and see “John Conroy’s Jig.”
Irish. Composed by flute player Vincent Broderick, a member of the Kincora
Ceili Band from 1952-57.
BANSHEE’S WAIL OVER
THE MANGLE PIT, THE. Irish, Jig. D Major. Standard
tuning. AA’BB’. The story goes that Martin Hayes searched for a while for a name
for this tune, and finally asked Paddy O’Brien (Tipperary), a storehouse of
such information, if he knew a title for it. Paddy did not, and when Hayes then
asked if he would make one up, O’Brien responed with the delightfully odd
“Banshee’s Wail Over the Mangle Pit.” Henrick Norbeck points out, however, that
the melody is “Young Tom
Ennis” from O’Neill transposed from A Dorian to E Dorian. The ‘mangle pit’
part of O’Brien’s title probably refers to bitter brassicas—rutabagas or
vegatables akin to a turnip—that are used to feed cattle as winter fodder; thus
a ‘mangle pit’ is a vegetable dump in the ground. Green
Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995).
X:1
T:Banshee's Wail over the Mangle
Pit, The
R:jig
M:6/8
L:1/8
Z:Peter Crummy, woodenflute mailing
list May 2001
K:E Dorian
F|G3 FGF|EDB, DEF|G3 FBA|FEE E2F|
G3 FGF|EDB, DEF|GAB ABA|1 FEE E2:|2
FEE E3||
dcB edB|AFD DFA|dcB edc|Bcd e3|
dcB edB|AFD DEF|1 G3 FBA|FEE E3:|2
GAB ABA|FEE E3||
X:2
T:Banshee's Wail over the Mangle
Pit, The (in F)
M:6/8
L:1/8
R:Jig
K:F
A|B3 ABA|GFD FGA|B3 Adc|AGG G2A|!
B3 ABA|GFD FGA|Bcd cdc|1 AGG G2:|2
AGG G3||!
fed gfd|cAF FAc|fed gfe|def g3|!
fed gfd|cAF FGA|1 B3 Adc|AGG G3:|2
Bcd cdc|AGG G3||!
BANTREACH NA
RADAIREACHT. AKA and see "The Youngest Daughter [1],"
"The Mountain Lark,"
"Hopetoun House."
See also "Sweet Molly,"
"The Tap Room," "The Tap House," "Cock
Your Pistol, Charley/Charlie [2]," "Captain Murray's Reel,"
"Polly's Reel."
BANTRY BAY BOYS. Irish, Jig. A Minor. Standard tuning. AABB. Source for notated version: copied from Riley’s Country Dances for 1798 [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 115.
X:1
T:Bantry Bay Boys
M:6/8
L:1/8
R:Jig
S:Riley's Country Dances for 1798
Z:Paul Kinder
K:A Minor
c/2d/2|ecA AcA|ecA A2 f|dBG GBG|dBG Bcd|
ecA AcA|ecA c2 d|e2 a g2 e|dBG A2:|
|:B|c>dc cBA|GEG GAB|c>dc cBA|e3 B2 B|
c>dc
cBA|GEG GAB|e2 a g2 e|dBG A2:||
BANTRY BAY HORNPIPE (Cuain Beantraige). AKA and see "Union Hornpipe [2]."
Irish, Hornpipe. G Major. Standard tuning. ABB (Miller & Perron, Moylan):
AABB (Allan's, Miller & Perron/2006, O'Neill {4 versions}, Tubridy).
Collector and compiler Captain Francis O'Neill was quite taken by the tune,
calling it "one of the most delightful traditional hornpipes in
existence." The name Bantry is derived from the Gaelic ben, meaning ‘horn’ and refers to
mountains; thus, Bantry is ‘the peaks by the sea shore.’ Bantry Bay is off the west coast of
Ireland, at County Galway. The tune closely shares melodic material with “An tSeanbhean Bhocht”
and “Tomeen O’Dea’s
Reel,” with which it is paired in the Tubridy book. Perhaps the earliest
appearance of the melody in print is in Church of Ireland cleric James
Goodman’s mid-19th century manuscripts, under the title “Union
Hornpipe.” Goodman collected in County Cork. Sources for notated versions:
learned off an old 78 RPM recording of Michael Hanafin by accordion player
Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan];
O'Neill learned the tune from an accomplished West Clare flute player (and
Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of
prodigious physique of whom he said: "the 'swing' of his execution was
perfect, but instead of 'beating time' with his foot on the floor like most
musicians he was never so much at ease as when seated in a chair tilted back
against a wall, while both feet swung rhythmically like a double pendulum"
[O'Neill, Irish Folk Music]. Source
for notated version: fiddler Máirtín Byrnes (b. 1927, Ahascragh, Co. Galway)
[Miller & Perron]. Allan's Irish
Fiddler; No. 108, pg. 27. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 66. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 112. Moylan (Johnny O’Leary), 1994; No. 290, pg. 168. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
309, pg. 153 {an altered version to that which appears in O'Neill/Krassen}.
O'Neill (Krassen), 1976; pg. 168. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1573, pg. 292. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 823, pg. 142. Phillips (Fiddlecase
Tunebook), 1989; pg. 10. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 25. Columbia
33523F (78 RPM), Michael Coleman & P.J. Dolan (1927). Cottey Light
Industries CLI-903, Dexter et al - "Over the Water" (1993). Flying
Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New
England” (1991). Leader LEACD 2004, “Martin Byrnes” (1969). Revonah Records RS‑932,
the West Orrtanna String Band (Pa.) ‑ "An Orrtanna Home
Companion" (1978. Learned from Martin Byrnes and Kevin Burke). Topic
TSCD606, Michael Coleman & P.J. Dolan et al – “Round the House and Mind the
Dresser: Irish Country-House Dance Music.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bantry Bay [1]
M:4/4
L:1/8
R:Hornpipe
K:G
A|BGAG EGDE|G2 GF GBAG|EAAB
cBAG|A/B/A GB A3B|
cece BdBd|ABAG E/G/E D2|BGAG EGDE|G2
GF G3:|
|:B|d2 eB dBGB|e2 ed e3f|gfed
BGBd|g/a/g fa g2 ef|gbgf eged|
BGAG E/G/E D2|BGAG EGDE|G2 GF G3:|
BANTRY BAY
(HORNPIPE) [2]. Irish, Hornpipe. G Major. Standard tuning. AABB. A different tune than
“Bantry Bay (Hornpipe) [1].” Kennedy (Traditional
Dance Music of Britain and Ireland: Rants & Reels), 1997; No. 4, pg. 3.
BANTRY BAY (JIG). AKA
and see “Jackson’s
Coggie/Coge (in the Morning),” “My Former Wife.”
BANTRY HORNPIPE, THE (Crannciuil Beantraige). AKA and see “Kilarney Wonder [3].”
Irish, Hornpipe. G Major. Standard tuning. AABBCCDD. Not the "Bantry Bay
Hornpipe." The name Bantry is derived from the Gaelic ben, meaning ‘horn’ and refers to mountains. Thus Bantry is ‘the
peaks by the sea shore.’ O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 330, pg. 163. O'Neill (Krassen), 1976; pg.
217. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1779, pg. 332. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 937, pg. 160.
X:1
T:Bantry Hornpipe, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 937
Z:AK/Fiddler’s Companion
K:G
dc|BAGB cBcA|dbge dedB|cecA (3Bcd
BG|FGAG FDEG|
BABG cBcA|dbge dedB|cedc (3BAG
(3AGF|G2B2G2:|
|:cB|AGAB cBce|dfge dcdB|cecA (3Bcd
BG|FGAG FDEF|
GFGA BGFD|GABG ABcA|dgfe (3ded
(3cBA|G2B2G2:|
|:Bc|dgBg dgBg|(3gfg bg fdef|gage
dedc|(3BAG (3AGF GDB,D|
Ggge dBGB|cBcd efge|dgfe (3ded
(3cBA|G2B2G2:|
|:dc|BGGF GDB,D|(3GFG BG ABcA|dcde
fedc|(3ded cA d2 cA|
BGGF GDB,D|(3GFG (3BAG ABcA|dgfe
(3ded (3cBA|G2B2G2:|
BANTRY LASSES [1]. Irish, Air (3/4 time). G Mixolydian. Standard tuning. AB. The name
Bantry is derived from the Gaelic ben,
meaning ‘horn’ and refers to mountains. Thus Bantry is ‘the peaks by the sea
shore.’ O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 404,
pg. 70.
X:1
T:Bantry Lasses, The [2]
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 404
Z:AK/Fiddler’s Companion
K:G
D2|G2B2d2|G2B2d2|{d}c2A2d2|B4
BA|G2B2d2|G2B2d2|c2A2F2|G4 D2|
G2B2d2|G2B2d2|c2A2d2|B4
BA|G2B2d2|g2d2B2|c2A2F2|G4||de|=f2d2B2|
{d}c2B2c2|d2e2f2|{a}g4
de|=f2d2B2|c2B2c2|d2B2G2|=F4 de|=f2e2B2|
c2B2c2|d2g2a2|g4
ag|f2d2c2|B2G2B2|A2G2F2|G4||
BANTRY LASSES [2], THE (Cailini Beantraige). Irish, Reel. G Major (O’Neill): D
Major (Cranitch). Standard tuning. AAB (O’Neill): AABB (Cranitch). Cranitch (Irish Fiddle Book), 1996; No. 74, pg.
153. Cranitch (Irish Session Tunes: Red
Book), 2000; 74. O'Neill (Muisc of Ireland: 1850 Melodies),
1903/1979; No. 1190, pg. 224. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 469, pg. 90.
X:1
T:Bantry Lasses, The [2]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
469
Z:AK/Fiddler’s Companion
K:G
F|A2 FD DFAF|G2FG EFGE|FGFE
DFAB|cAGE FDDF|
A2 FD DFAF|G2 FG EFGE|FGFE DFAd|cAGE
FDD||
F|Addc dfed|cdef gefd|Addc dfed|cAGE
FDDG|
Addc dfed|cdef g2 ag|fgfd efed|cAGE
FDD||
BAOILLE. See "Baieonne."
BAPTIST JOHNSON. Irish, Slow Air or Planxty (6/8 time). C Major (Complete Collection): D Major (Ó Canainn). Standard tuning. AABB.
Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes,
1984; No. 62, pg. 56‑57. Ó Canainn (Traditional
Slow Airs), 1995; No. 53, pg. 48.
BAPTIST SHOUT. Old-Time. Originally recorded in 1927 by Ben Jarrell Da Costa Woltz's
Southern Broadcasters (Round Peak, N.C.). County
CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994).
BAR FAST THE DOOR O. Irish, Air (3/4 time). G Major. Standard tuning. One part. O’Farrell lists the tune as Irish. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 29.
X:1
T:Bar Fast the Door O
M:3/4
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
D>E | G2G2B2 | d4d2 | d3e dB | d4e2 | d2B2d2 | d2e2f2 | “tr”g6 | B4B2 | g2f2g2 |
a2g2f2 | e2d2B2 | d4e2 | d2B2G2 | G2e2B2 | “tr”A6 | G4 def | g2f2g2 | a2 (ba)gf |
e2d2B2
| d4e2 | dB3 GA | G2e2B2 | “tr”A6 | G6 ||
BARA FOSTUS DREAM. AKA and see "The
Shepherd's Joy." The tune appears under this title in the Fitzwilliam Virginal Book, Rossiter's Consort Lessons (1609), Friesche List‑Hof (1621), Nederlandtsche Gedenck‑clanck (1626),
and Stichtelycke Rymen (1647).
BARAIN CHULRABHAIG. AKA and see "The Ancient Barons
of Kilravock."
BARBARA. Shetland, Slow Air. A Major. Standard. AABB. Composed by Tom Anderson
(1972). Anderson (Ringing Strings),
1983; pg. 93.
BARBARA ALLAN [1]. AKA and see "The Old Woman in
the Glen [1]." Scottish, Air (4/4 time). Appears in the McFarlane MS.,
1740, in drawing room style. See Charles Seegar's "Versions and Variants
of Barbara Allen" (1966) for a thorough ethnomusicological treatise on
this tune family. Howe (1000 Jigs and
Reels) c. 1867; pg. 125.
X:1
T:Barbara Allen [1]
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
FF | B2 B>c d2 cB | A2 c>d e2
dc | B2 Bc dcBA | (F2A4) || A2 | (F2A2) (E2FE) |
(D3EF2) (BA) | F3E D3E | (F2 B4) ||
BARBARA ALLAN [2]. AKA and see "The Boyne Water [1]." Sean O Boyle (1976) remarks that "Barbara Allan" is a Scottish or English song which, like "The Ploughboy," "Young and Growing" and others, was transplanted to Ireland, where they often were sung to Irish airs.
BARBARA ALLAN [3]. English, Reel. G Minor. Standard tuning. AB. Source for notated version: John Offord [Knowles]. Knowles (A Northern Lass), 1995; pg. 29.
BARBARA MAGONE’S VISIT.
Canadian, Strathspey. Canada, Cape Breton. A Dorian. Standard tuning. AAB. A
modern compostion by Cape Breton fiddler Brenda Stubbert (b. 1959, Point Aconi,
Cape Breton), in honor of pianist Barbara Magone. Cranford (Brenda Stubbert’s), 1994; No. 4, pg. 2. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig
Time!” (1995).
BARBARA NEEDHAM. Irish, Jig or Air. D Mixolydian. Standard tuning. AB. "A rowing
song heard on the passage to Clare Island" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 441, pg. 249. GIFT 10007, Arty McGlynn &
Nollaig Casey – “Lead the Knave.”
X:1
T:Barbara Needham
M:6/8
L:1/8
N:”with animation”
B:Joyce – Old Irish Folk Music
and Songs, No. 441 (1909)
Z:AK/Fiddler’s Companion
R:Jig
K: Ador
Add cAA|GEG A2G|Add cAA|GEC D3|Add
cAA|
GEG A2F|GAB cBA|GEC D2||E/F/|G2E
A2E|AcB A2 E/F/|
G2E A2A|GEC D2 E/F/|G2E A2E|AcB
A2F|GAB cBA|GEC D3||
BARBARA NIC A'
PHEARSAIN. AKA and see "Bonny Barbara
MacPherson."
BARBARA('S) POLKA. American, Polka. In the repertory of Union County, Pa., fiddler Ralph
Sauers. Folkways FA 2381, "The Hammered Dulcimer
played by Chet Parker" (1966).
BARBARA'S FANCY. Old‑Time, Breakdown. USA,
Virginia. A Major. AEae tuning. AABB. A tune from Glen Lyn, Va., fiddler Henry
Reed, who had no title for it (the present title was supplied by the Fuzzy
Mountain String Band). Brody (Fiddler’s
Fakebook), 1983; pg. 35. Rounder 0035, The Fuzzy
Mountain String Band‑ "Summer Oaks and Porch" (1973).
BARBARINE, LA. French, Country Dance (2/4 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 23.
X:1
T:Barbarine, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 23
Z:AK/Fiddler’s Companion
K:G
dBGd | e2 ce | dBGd | AF D2 | dBGd | e2 ce | dcBA | .G2.G2 :|
|: B2 BG | d2 d_e | cA dG | ^F2 {E}D2 | _B2 BG | d2 d_e | cA d^F |
.G2.G2 | _B2 BG | d2 d_e | cA dG | ^F2 {E}D2 | _B2 BG | d2 d_e |
cA
d^F | .G2.G2 | dBGd | e2 ce | dBGB | AF D2 | dBGd | e2 ce | dcBA | .G2.G2 :|
BARBARY BELL. AKA ‑ "St. Patrick's
Day (in the Morning)." English, Jig. G Major. Standard tuning. AABB.
Kennedy (Fiddlers Tune Book), 1951,
Vol. 1; pg. 39. Raven (English Country
Dance Tunes), 1984; pg. 106.
X:1
T:Barbary Bell
T:St. Patrick’s Day
M:6/8
L:1/8
R:Jig
K:G
D|GAG GBc|ded dBG|ABc BAG|EFE E2D|GAG GBc|
ded dBG|ABc BAG|E2F G2:|
|:f|e2f g2e|fed d2f|e2f g2a|bge e2g/a/|bgb afa|geg dBG|
A2B
c2A|BGE E2:|
BARBER OF SPRING PARK
ROAD, THE. Canadian, Reel. Canada, Cape
Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 9.
BARCLAY'S HORNPIPE. Shetland, Hornpipe. B Flat Major. Standard tuning. AAB. Composed by
Sheltand fiddler, teacher, composer and collector Tom Anderson (1962), for
Marjorie Barclay Smith, his accompanist for a time. Anderson (Ringing Strings), 1983; pg. 40.
BARD OF ARMAGH. AKA and see "Phelim
Brady." Irish, Air (3/8 time, "plaintive"). D Major.
Standard tuning. One part. The air can be found throughout Britain and Ireland,
and is the same as that of "The Unfortuate Rake [3],"
an 18th century lament which tells of a dying young man. “The Bard
of Armagh” has been attributed to Thomas Campbell, written in 1801. Other songs
set to the tune are, in Ireland, "The convict of Clonmel" and “When I
was on horseback,” and in America, "The Streets of Laredo, “The Cowboy’s
Lament" and "St. James Hospital" (in Sharp and Karpeles English Folk Songs from the Southern
Appalachians). English derivations of the song can be be found printed in
broadsides from the mid-19th century, including "The
unfortunate lad" and "The bad girl's lament." A Scottish version
is “The Road to Dundee.”
***
Oh, list to the lay of a poor Irish harper,
And scorn not the strains of his withered old hand,
Remember his fingers, they once could move sharper,
To raise up the mem'ry of his dear native land.
***
Source for notated version: Mary
O’Neill [O’Neill]. O'Neill (Music of Ireland: 1850 Selections),
1903/1979; No. 363, pg. 63.
X:1
T:Bard of Armagh, The
M:3/8
L:1/8
R:Air
N:”Plaintive”
S:O’Neill – Music of Ireland (1903), No. 363
Z:AK/Fiddler’s Companion
K:D
A|dfd|ea>g|fed
cA>A|dfd|ea>g|fde/f/|g2 f/g/|afa|gfe|d>fe/d/|cA>A|
d>ef/d/|ea>g|fde/f/|g2
f/g/|afa|gfe|ded|cA>A|d>ef/d/|ea>g|fde|d2||
X:2
T:Streets of Laredo
M:3/4
L:1/8
K:G
D|d4 c B|c2 d3 c |B2 A2 G2 |F2 D3 D
| G4 F G | A2 B3 c | B2 A2 G2 | A4 D2 |
d2 ed cB | c2 d3 c | B2 A2 G2 | F2
D2 D2 | G4 F G | A2 d3 c | B2 G2 A2 | G4 |]
BARDAL EIBLIN NI
FLAITBEARTAIG. AKA and see "Nell Flaherty's Drake."
BARDON MILL. Scottish, Reel. Composed by Addie Harper, Wick, Scotland. Kerr (The Thistle Collection), pg. 3.
BARD’S DREAM, THE. See “Brenddwyd y Bardd.”
BARD’S LEGACY, THE. Irish, Air. C
Major (Howe): G Major (O’Farrell). Standard tuning. AAB. Howe (Complete
Preceptor for the Accordeon), 1843; pg. 32. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 34.
X:1
M:6/8
R:Air
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
c2c cGE |
g2g ged | c2d ede | A2B c2z :|
ceg c’2c’ | c’ag age | ceg c’2c’ |
c’ag a2c’ | c’2 c’ c’ge | a2a gec | c2d ede | A2B c2z ||
BARD’S WHIM. Irish??, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 3, pg. 3. O’Farrell (Pocket Companion for the Union Pipes, vol. IV), c. 1810; pg. 117.
X:1
T:Bard’s Whim
M:6/8
L:1/8
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:G
d | B2A G2A | B2d dec | B2A G2A | B2e e2d | B2A G2A | B2d dec |
B2e efg | B2e e2 :: d | B2g gab | B2d dec | B2g gfg |
B2e e2d | B2g gab | B2d dec | B2A G2A | B2e e2 :|
BARE NECESSITIES. English, Waltz. D Dorian. Standard tuning. AB. Composed in 1974 by the
English collector, composer and long-time EFDSS champion Pat Shaw (1917-1977).
The melody was written for Gladys and Joe Muschamp of Bare, Cheshire, who ran a
hardware shop. Shaw suggested the name "Bare Necessities" to them for
the enterprise, which they readily accepted. Matthiesen (Waltz Book II), 1995; pg. 4. Varrick C‑VR‑013,
Bare Necessities ‑ "English Country Dances" (1987).
BARE ROOM JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA'BB'.
Composed by Gardiner Mines, Cape Breton, piano player and step-dancer Dawn
Elizabeth MacDonald, a student at Saint Francis Xavier University in
Antigonish, Nova Scotia. Cook (Night in the Kitchen Collection), 1996;
pg. 14.
BAREFACE. American, Jig. D Major.
Standard tuning. AA’B. Composed by Vermont fiddler Pete Sutherland. Sutherland
(Bareface), 1984; pg. 5.
BAREFOOT BOY, THE ("Bouchaleen Oge" or "An Buacaill
Lomcosac").
Irish, Double Jig. G Major. Standard tuning. AABB' (O'Neill/Krassen, 1001 &
1850): AAB (O'Neill/1915). O'Neill (O’Neill’s
Irish Music), 1915; No. 175, pg. 96. O'Neill (Krassen), 1976; pg. 66.
O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1074, pg. 202.
O'Neill (Dance Music of Ireland: 1001
Gems), 1986; No. 276, pg. 60.
X:1
T:Barefoot Boy, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
276
Z:AK/Fiddler’s Companion
K:G
E |DGG A2G | FDD FEF | DGG A2G| Add
cAF | DGG A2G | FDD FGA | BdB cAF | AGG G2 :|
|:c | B2B cAA | BAG FGA | BdB cAc |
BGB c2A |1 B2B cAA | BAG FGA | BdB cAF |
AGG G2 :|2 GBd gfe | dec Bcd | ecA
FGA | BGG G2 ||
BARE-FOOTED QUAKER, THE. English, Morris Dance Tune (6/8 time). G
Major. Standard tuning. AAB, repeat five times. From the Lichfield area of
England's Cotswolds. Bacon (The Morris
Ring), 1974; pg. 240. Mallinson (Mally’s
Cotswold Morris Book), 1988; No. 51, pg. 31.
BARGAIN IS OVER, THE. AKA and see “The Match Has Been Made,”
“Ta do Mhargadh Deanta.”
Irish, Jig. A Dorian. Standard tuning. AB. There is some thought that this tune
is related to “Behind the
Bush in the Garden [1]." Source for notated version: fiddler Danny
O’Donnell (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 181.
BARGE INN REEL, THE. Irish, Reel. Composed by box player Paddy
O’Brien (Tipperary). Shanachie Records, John Carty –
“Yeh, That’s All it Is.”
BARGENNY BOWLING GREEN. AKA and see "Balgeny's Bowling
Green."
BARHAM DOWN. English, Country Dance Tune. D Major. Standard tuning. AABB. The tune
was published in 1701. Barnes (English
Country Dance Tunes), 1989. Varrick C‑VR‑013,
Bare Necessities ‑ "English Country Dances" (1987).
BARK IS ON THE
SWELLING WAVE, THE. AKA and see "The Black Rogue [1]."
BARKING BARBER, THE. AKA and see “Bow Wow Wow.” English, Air (4/4
time). F Major. Standard tuning. One part. Chappell (1859) finds various
versions of this tune, "caused by the different metres that have been
adapted to it" for the purpose of fitting the tune to different lyrics.
Songs to this tune include "Guy Fawkes," "Date obolum
Belisario," and "O Fortune! how strangely are thy gifts awarded."
The town of Barking is in Essex, once the site of a famous abbey, demolished in
1539. Chappell (Popular Music of the
Olden Time), vol. 2, 1859; pg. 183.
X:1
T:Barking Barber, The
M:C
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:F
C|F2 F>F F2 FF|G2 cB A>G FF|G2
G>G G2 GG|c2 dd e>dcc|cAfe dcBA|
GABd c>BAG|F2 F>F BAGF|FDGF
FEDC|F2F2 F4|Acde fdcA|F2F2 F3||
BARLEY BRAE. English?, Air (4/4 time). D Major. Standard tuning. AB. There is a Scottish country dance called Barley Brae, although usually the vehicle for it is a jig set. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 119.
X:1
T:Barley Brae
M:C
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:D
F>G | A2 d>B {B}A3 {G/}F | B2 e>d {d}c2 BA | d3c
BAGF | F2E2E2 F>G |
A2 d>B A3F | B2 ed {d}c2A2 | d3B A3 {B/A/}G | F2D2D2 de || f3d e3c |
dcBA d3F | G3B BAGF | F2E2E2 d>e | f3d e3c | dcBA d3F |
G3B
A3 {BA}G | F2D2D2 ||
BARLEY BREAK. English, Air (3/2 & 6/4 time). G Major. Standard tuning. AABC. The
air appears in Lady Neville's Virginal
Book. Chappell (1859) relates that barley‑break was a very old and
popular outdoors game played by six people (three of each sex), who were
randomly coupled. A playing field was chosen and divided into three sections
with the center section being designated as 'hell'. A mixed-sex couple would
each take a division as 'home', and the center couple tried to capture the
others as they dashed from end to end through the middle territory. The game
ended when all the players were in 'hell', leaving a lone couple as winners.
The name stems from the fact that it was often played among the grain stacks of
the farmyard. There may also have been a dance called the barley‑break,
and, although Chappell was too prudish to have mentioned, barley-break was also
probably used as a metaphor for lovemaking. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 270. Island Records AN-700, Kirkpatrick & Hutchings -
"The Compleat Dancing Master" (1974).
T:Barley
Break
M:3/2
L:1/8
S:Chappell
– Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:G
M:6/4
L:1/8
G3F G2 A3G A2 | B3c d2d4G2 | A3G A2 B3A B2 | c3d e2 e4A2 |
B3c d2 e3f g2 | f3e d2 c3BA2 | B3cd2 d3e^c2 | d4 d2 d6 ||
d4 e2 d4g2 | f2d2e2 d6 | B4c2 B4e2 | d2G2c2 B6 |
d4 d2 g6 | G4G2 d4=c2 | B3A
G2A2 F4 (G6G6) ||
BARLEY CAKE [1]. English, Reel. England, Northumberland. G Major. Standard tuning. AAB.
Seattle (William Vickers), 1987, Part
2; No. 298.
BARLEY CAKES [2]. AKA and see "Barley Sugar."
Scottish, Jig. G Mixolydian. Standard tuning. AABB. John Glen finds the tune
first published in Bremner's 1757 collection. The tune is suggested by the
Royal Scottish Country Dance Society (in RSCDS Book 13) as the accompaniment
for the dance Barley Bree, a dance in which one turn last 40 bars rather than
the usual 32, the whole dance being four turns long. Bremner (Scots Reels), 1757; pg. 68. Carlin (The Gow Collection), 1986; No. 389. Gow (Complete Repository), Part 3, 1806; pg. 17.
X:1
T:Barley Cakes [2]
M:6/8
L:1/8
R:Jig
S:Gow – 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:G
c|B2G (B/c/dB)|A2=F (A/B/cA)|B2G
(B/c/dB)|~d3g3|B2G (B/c/dB)|
A2=F ABc|dcB cBA|G3G,2::d|gag fgf|{f}e2d B3|gag f2g|
a3d3|c2a
B2g|ABG F>ED|G>AB AGF|G3G2:|
BARLEY GRAIN [1]. AKA and see "The Frost and Snow Began to Blow." Irish, Air
(3/4 time). E Minor. Standard tuning. AB. A version of the English “John
Barleycorn.” O’Neill learned the song as a boy in Bantry, west Cork. It begins:
***
There were three farmers from the North;
As they were passing by
They swore an oath—a mighty oath—
The barley grain would die
Chorus:
With my right faladidy idy O, etc.
***
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 100, pg. 18.
X:1
T:Barley Grain [1]
M:3/4
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 100
Z:AK/Fiddler’s Companion
K:E Minor
(GA) | B4 B2 | (e4 e2) | (B4 A2) |
(G4A2) | B4B2 | d4A2 | (B6 | B4) (GA) | B4B2 | (e4d2) |
(B4A2) | (G4F2) | E2F2E2 | B2A2 |
(G6 | G4) || GF | E4 E2 | E2F2G2 | (F4E2) | E4E2 | E2F2E2 |
B6 | (A4F2) | E4 E2 | E2F2G2 | F4E2
| (D4c2) | (B4G2) | (A4F2) | (G6 | G4) ||
BARLEY GRAIN [2]. Irish, Jig. G Major (Howe): F Major. Standard tuning. AB. The song in
Joyce is from the same source. Source for notated versions: collected by George
Petrie in the 1st half of the 19th century from farmer James Quane (Coolfree,
Co. Limerick) [Stanford]. Howe (1000 Jigs
and Reels), c. 1867; pg. 29. Stanford/Petrie (Complete Collection), 1905; Nos. 293 & 294, pg. 73.
X:1
T:Barley Grain [2]
M:6/8
L:1/8
R:Jig
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
BAB G2D | GAG GAB | BAB GFG | A2B
c2A | BAB G2D | GFG GAB | ded dcB | A2B c2A ||
B2d ded | ded ded | B2d ded | e2f g3
| B2d ded | ded def | gfe dcB | A2B c2A ||
BARLEY MALT, THE. Irish, "Song Air: not a Jig" (6/8
time, "with spirit"). A Dorian. Standard tuning. AB. Joyce (Old Irish Folk Music and Song), 1909;
No. 260, pg. 125.
X:1
T:Barley Malt, The
M:6/8
L:1/8
R:Air
N:”With spirit”
S:Joyce – Old Irish Folk Music and Songs (1909), No. 260
Z:AK/Fiddler’s Companion
K:A Minor
D2|E2A A2A|B2B G2B|c2A B2G|(E3
E2)d|e2e de^f|g2G GAB|c2A B2G|(A3 A2)||
E2A A3|BAB GBd|e2e d2e|(c3 c2)d|e2e
de^f|g2G GAB|c2A B2G|(A3 A2)||
BARLEY MEAL. AKA and see “Bannocks' o' Barley
Meal,” “Kinnegad
Slashers,” "Slashers."
BARLEY MOW [1], THE. English, Jig and Air. D Major. Standard
tuning. ABB. Raven (English Country Dance
Tunes), 1984; pg. 119.
X:1
T:Barley Mow, The
M:6/8
L:1/8
K:D
A | d>ed c2c | B>cB A2F |
G>FG E2c | (d3d2)A | d>ed c2c | B>cB A2F |
G>FG E2c | (d3d2) |: A | FGA FGA
| FED d2F | G>FG E2c | (d3d2) :|
BARLEY MOW [2], THE.
English, Jig. G Major. Standard tuning. AABA. The melody was printed in
Charles and Samuel Thompson’s Compleat
Collection of 200 Country Dances, vol. 4 (London, 1780). Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 7.
BARLEY SUGAR. AKA and see "Barley Cakes [2]."
English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle
(William Vickers), 1987, Part 2; No.
284.
BARLINNIE HIGHLANDER, THE. Scottish, Pipe Hornpipe. E Dorian. Standard
tuning. AABBCC'DD'. A double-tonic composition of Scottish Great Highland
bagpiper Robert Wallace, dedicated to the deputy governor of the famous prison
of Barlinnie. Purser (Scotland’s Music),
1992; Example 2, pg. 264.
BARLOW KNIFE [1]. AKA and see “Blue
Goose” [1], "Cabin
Creek [1]." Old‑Time Breakdown and Song. USA, Virginia, West
Virginia, Kentucky, Mississippi. G Major (most versions, but also played in the
key of D). Standard tuning. AB (Silberberg): AABB: AABBCC (Johnson, Phillips).
A barlow knife is a type of folding
pocket knife that features double or single blades that open at one end only.
The knife-style bears the name of a man named Barlow of Sheffield, England, one
of the earliest and most famous makers.
***
I been livin' here all my life,
All I got is a Barlow Knife;
Buck horn handle and a Barlow blade,
Best dang knife that ever was made.
***
I’ve been married all my life,
And all I’ve got is a Barlow knife.
***
Glen Lyn, Virginia, fiddler Henry
Reed called the tune “Cabin Creek,” and fiddle players have tended to use that
title (banjo players more frequently refer to it as “Barlow Knife”). Jeff Titon
(2001) says a variant of the tune is “I’ve Got a Grandpa,” and Kentucky fiddler
Buddy Thomas played another variant under the title “Blue Goose.” Mark Wilson
reports that it was called “Boatin’ Up Sandy” (somewhat of a floating title—it
has been attached to several tunes) in the Portsmouth, Ohio, region. Titon
concludes that the tune was fairly widespread in the South under the “Barlow”
title and variants.
***
Nigel Gatherer has found melodic
strains similar to “Barlow Knife” in two old Scottish manuscripts. The
earliest, the Straloch MS. (1627) contains a tune called “The Old Man,” while
the second, the Skene MS (c. 1640) has a more developed version under the title
“Long Er Onie Old Man.”
***
Sources for notated versions: music
from Henry Reed (Glen Lyn, Va., who called the tune "Cabin Creek) and
words from Oscar Wright (Appalachin, W.Va.) via the Fuzzy Mountain String Band
(N.C.) [Kuntz]; Danny Gardella [Phillips]; home recordings of John Salyer
(Salyersville, Magoffin County, Ky., 1941 or 1942) [Titon]; Mel Durham
[Silberberg]. Brody (Fiddler’s Fakebook),
1983; pg. 35. S. Johnson (The Kitchen
Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg.
5. Krassen (Appalachian Fiddle),
1973; pg. 25‑26. Kuntz (Ragged but
Right), 1987; pg. 297‑298. Phillips (Traditional American Fiddle Tunes), 1994; pg. 19. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 5. Spandaro (10 Cents a Dance), 1980; pg. 30. Titon (Old-Time Kentucky Fiddle
Tunes), 2001; No. 4, pg. 35. Augusta Heritage
AHR012, Ernie Carpenter – “Old Time Fiddling of Braxton County” (1992).
Biograph 6007, Ebenezer‑ "Tell It to Me." Davis Unlimited
DU-33002, Norman Edmonds – “Train on the Island.” Kanawha 311, Alan Jabbour
(appears as “Cabin Creek”). Roane RR104, Franklin George – “Reflections of the
Past” (1995). Rounder Records 0035, The Fuzzy Mountain String Band‑
"Summer Oaks and Porch" (1973). Wildbeest WB004, Juggernaut String
Band – “Greasy Coat” (198?).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Barlow Knife [1]
M:C|
L:1/8
S:Kuntz – Ragged But Right
K:G
ef|g2 gg fgaf|g2 g2 d2 (g2|g2) bg f2 af|efge d2 ef|g2 gg fgaf g2 g2 d2 (g2|
g2) bg f2 af|efge d2 (3Bcd||
|:e2 d2 BABd|e2 dB G2 g2|efed BAGB|A2 G2 G2 (e2|e)fed BABd|e2 dB G2g2|
efed BAGB|A2 G2 G2 (A2|A2) Ad BA G2|A2 d2 G2 (A2|A2) Ad BAGB|
A2
G2 G2 (A2|A2) Ad BA G2|A2 d2 G2 (A2|A2) Ad BAGB|A2 G2 G2||
BARLOW KNIFE [2]. Old-Time, Breakdown. G Major. Standard tuning. AB. No apparent
relationship to version #1. Source for notated version: Ralph Troxell
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 19.
BARMAID, THE (Cailín an Ósta). AKA and see "The Green Mountain [2],"
“Indy’s Favorite,”
"Judy's Reel,"
"The Maid Behind
the Bar [1]." Irish, Reel. D Major.
_______________________________
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