The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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BELL - BH

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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]

 

 

 

BELL, THE.  See “The Ball.”

 

BELL COW [1], THE. AKA and see "Captain Collins," "Bob Ridley [2]," "The Belling Tune," "Montrose's March," "Rock and the/a Wee Pickle Tow," "The Highlander's March," "O'Sullivan Mor(e's March) [1]."

BELL COW [2], THE. AKA and see "The Squirrel Hunters," "Squirrel Hunting." USA, Pa. Bayard (1981) collected this tune from southwester Pa. fiddler James Taylor who stated this was the name for this tune around the town of Rogersville, Greene County, Pa., and who supplied this rhyme, sung with the tune:

***

I had a little dog, and Spotty was his name,

And he used to run the bell cow up and down the lane.

I fed her in the mush pot and milked her in the pail,

And away went the bell cow, stickin' up her tail.

                       

BELL PIANO REEL, THE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by Cape Breton fiddler Dan Hughie MacEachern. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 99, pg. 41. WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

                       

BELL HARBOUR. See “Bellharbour Reel.

                       

BELL REEL, THE. Scottish, Reel. Composed by Scottish fiddler Johnny Cunningham from the strathspey "Heather Bells." Green Linnet SIF 1059, "Relativity" (1985).

                       

BELLA UNION. American, Reel. E Major. Standard tuning. AABB. Composed by R. Tyson. New York researcher, writer and musician Don Meade believes this tune was named for San Francisco’s Bella Union, a “melodeon” or variety theatre. Cole (1000 Fiddle Tunes), 1940; pg. 32. Miller (Fiddler’s Throne), 2004; No. 118, pg. 80. Ryan’s Mammoth Collection, 1883; pg. 58.

X:1

T:Bella Union

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E

(BA) | GzAz F2(AF) | GBeg fece | GzAz F2 (AF) | cedf ecBA | GzAz F2 (AF) |

GBeg fece | GzAz F2(AF) | cedf e2 :: (de) | .f(BAB) .g(BAB) | .a.B.g.B .f(BAB) |

.f(BAB) .g(BAB) | .a.f.d.f .e2(de) | .f(BAB) .g(BAB) | .a.B.g.B .f(BAB) | E(GB) e(eg) | {g}fedf e2 :|

                       

BELLADRUM HOUSE (Taigh Bhelladrum). Scottish, Strathspey. D Major. Standard tuning. One part (Hunter): AB (Hardie): AAB (Athole, Fraser, Kerr). Belladrum House is near Kiltarlity, Inverness. This tune "celebrates the line or race of an ancient and most respectable family in Inverness‑shire, that of Mr. Fraser of Belladrum, and not his mansion. It is, however, no compliment to say, that the magnificence of the mansion, the hospitality displayed there, and the useful ornamental improvements effected around it by the present and last proprietors, are not exceeded by that of any private gentleman north of the Tay" (Fraser). There is another tradtional Scottish tune connection with this estate through William Marshall—see note for “Mr. John Stewart's Reel--of Bombay.” This melody first appeared in print in Captain Simon Fraser's (1773-1852) Airs and Melodies peculiar the the Highlands of Scotland and the Isles, originally published in 1816. Source for notated version: Angus Cameron (Scotland) [Hunter]; J. Murdoch Henderson, 1902-1972 (Aberdeen, Scotland) [Hardie]. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 158, pg. 64. Hardie (Caledonian Companion), 1986; pg. 25. Hunter (Fiddle Music of Scotland), 1988; No. 103. Kerr (Merry Melodies), vol. 3; Set 28, No. 1, pg. 17. Stewart-Robertson (The Athole Collection), 1884; pg. 102. Lismore Recordings LILP5044, Ron Gonella – “Fiddle Gems” (1976). Brian McNeill – “Monksgate” (1977).

X:1

T:Belladrum House

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:D

F|D/E/F F<B A>F F<B|A<F F>D E2 E<F|D/E/F F<B A>F F>G|F<A A>C D2D:|

f|d>Af>A g>Af>A|d<A f>d e2 e>f|d>Af>A g>Af>A|(3fga (3gfe (3dAF D>f|

d>fA>f d<f A>f|d/e/f A>f e2 e>f|d>f (3efd (3cdB (3ABG|F<A A>C D2D||

                       

BELLADRUM'S STRATHSPEY. Scottish, Strathspey. E Minor. Standard. AAB (Glen): AABB (Williamson). Belladrum, Gaelic for 'ford‑mouth‑ridge', is a small town in the region called the Aird near Loch Ness in the Scottish Highlands. Captain Simon Frazer of Knockie composed the tune and included it in his book Thirty Highland Airs and Strathspeys, published in 1816. Williamson (1976) notes: "Nearly all the pieces in the book are his. He published several books and researched and collected a large number of Highland song airs." Similar in many ways to "Mrs. Ramsay of Barnton [2]." Glen (The Glen Collection of Scottish Dance Music), vol. II, 1895; pg. 48. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 65.

X:1

T:Belladrum

M:C

L:1/8

R:Strathspey

S:Glen Collection (1895)

Z:AK/Fiddler’s Companion

K:Emin

B|E/E/E E>F G>A B<d|D/D/D AD FDAF|E/E/E E>F G>ABG|B,EE>^D E2E:|

e/f/|g>e f<^d e<B e2|~d>Bad FDAF|e>fed B^def|g>eB^d e2 Be/f/|

g <ef<d e<B e2|f<^c d>A F>DAf|gdeB dGAB|G<E B,>^D E2E||

                                   

BELLAMIRA. English, Country Dance Tune (2/2 time). G Minor. Standard tuning. AAB. Bellamira was the title of a play written by Sir Charles Sedley, produced in London in 1687. The melody was published in the seventh edition of John Playford’s English Dancing Master (1689, third supplement ‘C’). Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 302, pg. 74. Barnes (English Country Dance Tunes), 1989.

X:1

T:Bellamira

M:C|

L:1/8

S:Playford – English Dancing Master, 7th Edition, 3rd supplement (1689)

Z:AK/Fiddler’s Companion

K:Bb

G2D4 AB|G4 B4|A2F2f2c2|A4 c4|B2G2d2g2|^f4 d4|

(ed)(cB) (AB) c2|B4 G4::G3 B/c/ d3 B/c/|d2B2G2B2|A3 A/B/ c3 A/B/|

c2A2F2f2|d3 g/a/ b3 a/g/|a2g2^f3 =e/f/|g2a2 a3g|g4 d3 B/A/:|

                       

BELLE BERGERE. French, Valse (3/4 time). Central France. C Major. Standard tuning. AB. Stevens (Massif Central), 1988, vol. 2; No. 53.

                       


BELLE CANADIENNE, LA. French‑Canadian, Jig and Trio. C Major ('A' and 'B' parts) & F Major (Trio part). Standard tuning. ABB'CC'. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 186, pg. 130.

                       

BELLE CATHARINE [1], LA. AKA "Lady Belle Catherine." AKA and see "Come (Let Us) Dance and Sing," “Grandmother’s Polka,” "The Rising Sun [4]," "The Sons of William," "Inkle and Yarico [1]," "Shrewsbury Quarry,” “The 16th of October." British Isles, Reel. England; Shropshire, Dorset. D Major (most versions): C Major (Gow, Howe). Standard. AAB (Gow, Johnson): AABA (Ashman, Trim): AABB (Howe, Keller, Sweet). The tune (popular with fifers as well as fiddlers) dates from the 18th century (Moffatt‑Kidson gives it from 1780, calling it an "allemand"). Johnson (1988) also dates the tune to 1780, and Kate Van Winkler Keller (1992) calls it “one of the most popular tunes of the late 1780’s”. However, “Belle Catharine” appears in Bride’s Favourite Collection of 200 Select Country Dances, Cotillons, printed by Longman, Lukey & Broderip, London, a few years earlier, in 1776. The Gows printed it in their 2nd Collection (1788) in a section of county dances fashionable in Edinburgh in the 1787-88 season. London publishers Samuel, Ann and Peter Thompson included it in their Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 5 (1788). Keller notes the similarity with “The16th of October,” a melody printed in J. Preston’s Twenty Four Country-Dances (London, 1786), although it was Preston who earlier published it in his New Instruction for the German Flute (1780, London). Editor Gordon Ashman identifies “La Belle Catharine” as a melody used for the Shrewsbury Show, where it became the traditional tune for the Show under the title "Shrewsbury Quarry." See note for “Come (Let Us) Dance and Sing” for more.

***

“La Belle Catharine” appears in several British music manuscripts of the late 18th/early 19th century, including Shropshire musician John Moore (see source info. below), the Hardy family music manuscripts (Dorset), Joshua Jackson (near Harrogate, north Yorkshire), William Mittel (1799, New Romney, Kent), H.S.J. Jackson (1823, Wyresdale, Lancashire) and George Spencer (1831, Leeds, west Yorkshire). “Belle Catharine” was extremely popular in America as well, and appears in the period music manuscript copybooks of George Bush (see source info. below), Henry Beck’s commonplace book (1786, pg. 138), “William O. Adam’s Music Book” (1795, now in the Library of Congress), Connecticut musician James B. Hosmer’s commonplace book (1798-1799), the Joseph Ackerman copybook (New Hampshire, 1795), George Otis’s copybook (Worcester, Mass., 1793), J. Williams commonplace book (Salem, N.Y., 1799), and John Treat’s commonplace book (Durham?, c. 1779-1802), among others. A Canadian manuscript, the Thomas Molyneaux copybook (“Thomas Molyneaux, Ensign – 6th Regmt”, 1788) also contains the tune.

***

The following passage is from A Contribution to the History of the Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher. It describes a country dance in Craven County, South Carolina in the early 1800’s:

***

Nothing can be imagined more simple or more fascinating that those Pineville balls.

Bear in mind, reader, that we are discussing old Pineville as it existed prior to 1836.

No love of display governed the preparations; no vain attempt to outshine a com-

petitor in the world of fashion. Refreshments were provided of the simplest character,

such only as the unusual exercise, and sitting beyond the usual hours of repose, would

fairly warrant. Nothing to tempt the pampered appetite. Cards were usually provided

to keep the elderly gentlemen quite, and the music was only that which the gentlemen’s

servants could produce. The company assembled early. No one ever though of

waiting until bedtime to dress for the ball; a country-dance always commenced the

entertainment. The lady who stood at the head of the dancers was entitled to call for

the figure, and the old airs, Ca Ira, Moneymusk, Haste to the Wedding, and La Belle

Catharine were popular and familiar in Pineville long after they had been forgotten, as

dances, everywhere else. Ah, well do we remember with what an exulting step would

the young man, who had secured the girl of his choice, exhibit his powers of the poetry

of motion, when his partner called for the sentimental air of La Belle Catharine….

***

Source for notated version: The Entire New and Compleat Tutor for the Violin by 18th century Italian violinist Geminiani (who lived in the British Isles), via the Hardy Collection. See note for “Inkle and Yarico” for more. Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 4, 1796; pg. 13. Ashman (The Ironbridge Hornpipe), 1991; No. 45a, pg. 16. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 36 (3rd ed.). Howe (Complete Preceptor for the Accordeon), c. 1843; pg. 5. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 2. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 23. Skillern, 1780; No. 29. Sweet (Fifer’s Delight), 1964/1981; pg. 65. Trim (Thomas Hardy), 1990; No. 86. Wilson (Companion to the Ballroom), 1816; pg. 117. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).

X:1

T:La Belle Catharine

M:2/4

L:1/8

S:Riley’s Easy Flute Duets (c. early 19th century)

N:Publisher Riley was originally a composer, music engraver and

N:publisher who worked in London as late as 1805, but removed before

N:1814 to New York city.

Z:AK/Fiddler’s Companion

K:D

d2 f/e/d/e/ | fddc | B2 e/f/e/d/ | cAAA | d2 f/e/d/e/ | fddc | Be {d}cB/c/ |

d/A/f/A/ D2 | FA A/B/A/G/ | FA A/B/A/G/ | FA d/e/f/d/ | e/d/c/B/ A/G/F/E/ |

Fa a/b/a/g/ | f/g/a/b/ a/b/a/g/ | f/g/a/f/ g/f/e/d/ | c/A/c/e/ a/g/f/e/ | d2 f/e/d/e/ |

f/g/a/f/ d/e/f/d/ | B/^d/e/f/ g/a/b/=d/ | c/d/e/d/ c/A/B/c/ | d2 f/e/d/e/ |

f/g/a/g/ f/e/d/c/ | B/(b/a/)g (f/e/)d/c/ | d/A/F/A/ D2 || f2 a/g/f/g/ a/d’/a/f/ d/a/f/d/ |

B/^d/e/f/ g/a/g/f/ | e/a/e/c/ A/g/f/e/ | f2 a/g/f/g/ | a/d’/a/f/ d/a/f/d/ |

g/b/a/g/ f/e/d/c/ | dd d2 | d/A/d/e/ f/a/f/e/ | d/A/d/e/ f/g/a/f/ | g/f/e/d/ c/B/A/G/ |

F/A/d/e/ f/g/f/e/ | d/A/d/e/ f/g/f/e/ | f/g/a/f/ b/a/g/f/ | e/d/c/B/ A/g/f/e/ |

f2 a/g/f/g/ | a/d’/a/g/ f/a/f/d/ | etc.

X:2

T:La Belle Cathrine

M:2/4

L:1/8

R:Country Dance Tune

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 36  (orig. 1788)

Z:AK/Fiddler’s Companion

K:C

G|c2 (e/d/)c/d/|ec~cB|A2 (d/e/)d/c/|BG “tr”G2|c2 (e/d/)c/d/|eccB|Ad (c/B/)A/G/|

c2 C:||G/F/|EG”tr”G>F|EG Gc/B/|AA (d/e/)d/c/|BG “tr”G>F|EG GA/B/|

ce/c/ Bd/B/|cc {f}ed/c/|[G,3D3B3g3] G|c2 (e/d/)c/d/|ec”tr”cB|A2 (d/e/)d/c/|

BG “tr”G2|c2 (e/d/)c/d/|ec~c>B|Ad {c}BA/G/|”tr”c2 C||

 

BELLE CATHERINE [2], LA. AKA and see “Braes of Mar [1],” “Joe’s Toes,” "Reel des Noces," "Reel de Pius Boudreau." French-Canadian, Reel. A Major. Standard tuning. AABB (Songer). According to Quebec musician Benoit Bourque, “La Belle Catherine” is a colloquial French-Canadian term meaning an old maid, or an unmarried woman over the age of 25 (Songer). La Belle Catherine is also the name of a longways formation dance that was popular in Québec, one of the ‘grandes danses’ of the region. The dance itself may date from the 1700s and has been attributed by Marius Barbeau to French origins, according to Anne Lederman (Encyclopedia of Music in Canada, 1992). The tune, which can vary greatly from version to version, was in the repertoires of fiddlers Joseph Bouchard and Louis "Pitou" Boudreault (Chicoutimi, Quebec); the latter recorded the melody in 1975. Source for notated version: Dave Marshall (Vancouver, B.C.) [Songer]. Songer (Portland Collection), 1997; pg. 27. Opus OP-219, Louis Boudrealt - "Portrait du vieux Kebec, volume 2." Nightingale - “The Coming Dawn.”

X:1

T:Belle Catherine, La

D:Nightingale, "The Coming Dawn"

S:Quebecois

R:reel

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:C

EGce d2 c2|EGce d2 c2|Bcde fefg|ag^fg ec c z|

EGce d2 c2|EGce d2 c2|Bcde fefg|ag^fg c2 z2:|:

eg-ge gagf|egeg a2 z2|g2 ^fg bagf|ag^fg ec c z|

gggg gagf|egeg a2 z2|g2 ^fg bagf|ag^fg c2 z2:|

                       

BELLE CATHERINETTE, LA. French-Canadian, Reel. D Major. Standard tuning. AA’BB’: AABBCC (Miller).. Note the diminutive of the title. Source for notated version: “based on the playing of Phillipe Bruneau and Joseph Bouchard” [Miller]. Miller (Fiddler’s Throne), 2004; No. 119, pg. 81.

X:1

T:La Belle Catherinette

M:4/4

L:1/8

K:D

FAdf edd2|FAdfe2(3ded|cdef gfga|ba^ga fada|FAdf edd2|FAdfe2(3ded|

cdef gf ga |1 bgecd2d2:||2 bgecd2de || faaa abag| fafab2aa | aa^ga c'ba^g |

ba^ga fad2|faa a abag|fafab2aa|aa^ga c'ba^g |1 bagcd2de :||2 bagcd4 ||

                       

BELLE C'EST ENDORMIR, LA. French. Green Linnet SIF‑3050 Blowzabella ‑ "Vanilla" (1990).

                       

BELLE ELECTION. See "Belle of Lexington."

                       

BELLE HALIMANDE, LA. English, Country Dance (2/4 time). England, North‑West. G Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 73.

                       

BELLE ISLE'S MARCH. AKA – “Belisle March,” "Bellisle's March." AKA and see "Monk's March," "General Monk's March," “(Lewis) Proudlock’s Hornpipe,” "The Review [2]." English, March and Morris Dance Tune (cut or 4/4 time). G Major (Bacon): D Major (Keller). Standard tuning. AABA (Bacon): AABB (Keller, Sumner). This very popular melody was published by Playford (see note for “Monk’s March”). The morris dance version was collected from the village of Longborough, Gloucestershire, in England's Cotswolds. Kate Van Winkler Keller (1992) suggests the title may refer to the small island of Belle-Île-en-Mer, located off the coast of Brittany, that was occupied by the British from 1761 to 1763. The march was published in a song-sheet under the “Bellisle” title to commemorate the occasion on the 27th of June, 1763, when King George III reviewed 3 regiments of footguards in Hyde Park (hence the alternate tite, “The Review”). “Belisle’s March” appears in the Scottish Gillespie Manuscript of Perth (1768) and in Longman & Broderip’s Entire New and Compleat Instructions for the Fife (London, 1780). A dance by that title was mentioned by MacTaggart in an account in The Scottish Gallovidian Encyclopedia of 1824 as being taught at a country dancing school of the time. The march was played in America in Colonial and Revolutionary eras, and appears in the music manuscript copybooks of George Bush and Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Sources for notated versions: the music manuscript collection of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Bacon (The Morris Ring), 1974; pg. 260. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 9 (appears as “Belisle March”). Keller (Fiddle Tunes from the American Revolution), 1992; pg. 19. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 73 (appears as “Bellisle March”). Willig (Compleat Tutor for the Fife), 1805.

X:1

T:Belle Isle’s March

M:4/4

L:1/8

S:Bacon – The Morris Ring

K:G

D | G2 G>B A2 A>c | B2 ge d3c | BdBG AcAF | G2 G>G G2 :|

|| d>edc B2B2 | c>dcB A2A2 | d>edc B2B2 | c>dcB A2 |

G2 G>B A2 A>c | B2 ge d3c | BdBG AcAF | G2 G>G G2 ||

X:2

T:Belisle March, The

M:C

L:1/8

R:Reel

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

A2|d2 d>f e2e>g|f2 c’>b {b}a3g|f2 (3afd e2 (3gec|d2d>d d2 :|

|:A2|a>bag f2f2|g>aff {f}e4|a>ba>g f>gf>g|ab (ag/f/) {f}”tr”e3A|

z8|z2 d>d c2 c>e|d2 b>g {g}”tr”f3e|d2(3Adf A2 (3ecA|F2 F>F F2 :|

                                               

BELLE JEANNETTE, LA. English, Reel. G Major. Standard tuning. AABA. From The Entire New and Compleat Tutor for the Violin by Geminiani, via the Hardy Collection. Trim (Thomas Hardy), 1990; No. 96. Topic Records TSCD550, Brass Monkey – “Flame of Fire” (2004).

                       


BELLE JARDINIERE, LA. French, Single Jig. From Central France. E Dorian. Standard tuning. AB. Stevens (Massif Central), 1987, vol. 2; No. 113.

                       

BELLE LIEGEOISE, 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. 29.

X:1

T:Belle Liegeoise, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 29

Z:AK/Fiddler’s Companion

K:G

B/c/d {e}d2 | B/c/d {e}d2 | e/f/g fe | dcBG | B/c/d {e}d2 | B/c/d {e}d2 |

e/f/g fe | {e}d2 D2 :: f/g/a {b}a2 | A/B/c {d}c2 | BG ec | A2D2 |

f/g/a {b}a2 | A/B/c c2 | BGcF | G2 G,2 :|

           

BELLE OF BOSTON. American, Reel. D Major. Standard tuning. AABB. Composed by E. Christie, who was not the Edwin P. Christy of black-face minstrel fame. Rather, E. (also Edwin?, but note the difference in spelling of the last name) was apparently a minor composer of light music from the Boston, Massachusetts, area in the mid-to-latter 19th century, although very little is known about him. Several of his compositions appear in Ryan’s Mammoth Collection (1883), printed in Boston by Elias Howe’s company. Cole (1000 Fiddle Tunes), 1940; pg. 42. Ryan’s Mammoth Collection, 1883; pg. 69.

X:1

T:Belle of Boston

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/A/F/A/ d/f/a/A/ | (3B/c/B/G/B/ e/g/b/B/ | (3c/d/c/A/c/ e/g/c’/b/ | b/a/^g/a/ b/a/f/d/ |

(3A/B/A/F/A/ d/f/a/A/ | (3B/c/B/G/B/ e/g/b/B/ | (3c/d/c/(A/c/) e/b/a/c/ |1 dcB_B :|2 dfdz |:

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

(3b/c’/b/g/d/ B/d/g/b/ | (3a/b/a/f/d/ A/d/f/a/ | (3g/a/g/e/c/ A/c/f/e/ |1 dfga :|2 dcB_B ||

                       

BELLE OF CLAREMONT HORNPIPE. AKA and see "Dolly Brown." See "Wagoner [1]," "Tennessee Wagoner." American, Hornpipe. C Major (Cole, Ford, Ryan): D Major (Kerr). Standard tuning. AABB (Cole, Ford): AA'BB' (Kerr). The tune that R.P. Christeson believes "Wagoner" is derived from. Bayard (1981) agrees, in part, but says both come from older tunes. See my summary of Bayard's research under "Tennessee Wagoner."

***

The origins of the title are unclear. If was assume an American provenance for the title, the most famous ‘Claremonts’ are Robert Fulton’s original steamship of that name (spelled somewhat differently, The Clermont), and the mansion it was named for, Claremont, New York, on the banks of the river (the Hudson) that his  steamship plied. The mansion stood north of Grant’s Tomb and was built soon after the American Revolution by one Michael Hogan, who had once been a fellow midshipman with Prince William, King George III’s third son. Hogan entertained the Prince at Claremont when the latter visited America. Later, when Joseph Bonaparte, Napoleon’s elder brother, was in America after the Battle of Waterloo, he lived at Claremont. Fulton’s steamship had its first trials on the river opposite the mansion. An 1893 account entitled “Sunday in Greenwich Village” (see http://www.oldandsold.com/articles11/new-york-history-16.shtml)  records that “Two of the company on Fulton’s first steamboat voyage down the Hudson have but lately passed to the other side of the sea of time. Dr. William Perry, who lived at Exeter, New Hampshire, and who survived his ninety-eighth birthday, rode from Albany to Kingston on the return trip of the steamboat, and had a vivid remembrance of the incidents of that eventful voyage. He declared that the name of the boat was not the Clermont, and has been generally accepted, but Katharine of Claremont, so called in honor of Fulton’s wife, who was a daughter of Chancellor Livingston, and her family, to whose liberality he owed the money to carry out his idea of a vessel propelled by steam.” It is possible, then, that the ‘belle’ of the title was Katharine.

***

Alternatively, there were connections in Ryan’s Mammoth Collection with mid-18th century musicians from around Claremont, New Hampshire, from whom this title possibly derived. Michael McKernon has uncovered through his researches a musical northern New England family named Densmore who are credited in Ryan’s with a couple of tunes. Michael identifies the Densmores from old accounts as “probably O. Densmore from Chelsea, Vermont, who led a dance band in the 1840’s and 1850’s, and/or a relative of C. Densmore, Claremont, New Hampshire, a musician/band leader of the same era. Though I have no record of a T. Densmore per se, the Messrs. Densmore’ from Chelsea (along with a Densmore [probably C.] from Claremont), joined more than two dozen musicians who played at a Musicians’ Annual Ball in Lebanon, New Hampshire, in 1847. O. Densmore was (at least) once listed as playing the ‘clarionet’ (clarinet).” [Fiddle-L archives, 20 Feb, 2001). Although there is no date of publication for the Kerr’s Merry Melody collections, they were published around the same time as Ryan’s Mammoth (1883) and share many of the same tunes. It is hard to tell which was published first, although a review of titles suggests Ryan’s was the earlier publication.

***

Cole (1000 Fiddle Tunes), 1940; pg. 106. Ford (Traditional Music in America), 1940; pg. 121 (appears as "Dolly Brown"). Kerr (Merry Melodies), vol. 2, c. 1880’s; No. 352, pg. 39. Ryan’s Mammoth Collection, 1883; pg. 142.

X:1

T:Belle of Claremont

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

C/C/C C/E/G/E/ | c/E/G/E/ c/E/G/E/ | D/D/D D/F/A/F/ | d/F/A/F/ d/F/E/D/ | C/C/C C/E/G/E/ |

c/E/G/E/ c/E/G/E/ | D/f/e/f/ e/d/c/B/ | [Ec][Ec][Ec]z :: e/c/.c e/c/g/c/ | e/c/c/e/ .gd/c/ |

B/G/.G B/G/d/G/ | B/G/G/B/ d/f/e/d/ | e/c/.c e/c/g/c/ | e/c/c/e/ gG | A/a/g/f/ e/d/c/B/ | [Ec][Ec][Ec]z :|

                       

BELLE INCONNUE, LA. French, Bouree a Deux Temps (2/4 time). E Dorian. Standard tuning. AABB. Composed by J. Blanchard. Stevens (Massif Central), 1987; No. 89.

                       

BELLE OF LEXINGTON. AKA and see "Belle Election" (John Patterson’s title), “The Hauling Home,” "Kitty's Wedding [1]," “Mrs. Smith’s Reel,” "Smith's Delight," "Smith's Reel." Old‑Time, Breakdown. USA; western Virginia (Grayson and Carroll Counties). D Major. Standard tuning. AABB. The tune, related to "Smith's Reel" and apparently derived from the Irish hornpipe “Kitty’s Wedding,” was recorded by legendary southwestern Virginia fiddler Emmett Lundy. Sources for notated versions: Emmett Lundy (Galax, Va.) [Krassen]; Skip Gorman [Phillips]; Peter Boveng [Silberberg]. Krassen (Masters of Old Time Fiddling), 1983; pg. 34. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 22. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 7. Rounder Records 0058, John Patterson ‑ "Old Originals, Vol. 2" (1978. Also issued under Heritage 5).

X:1

T:Belles of Lexington

T:Belle of Lexington

M:2/4

L:1/8

K:D

(a2|:a) f/a/ b/a/f/d/|e/f/d/f/ e/d/B/d/|A/B/d/f/ e/a/f/d/|e(e e)(a|a)f/a/ b/a/f/d/|

d/f/d/f/ e/d/B/A/|f/e/d/d/ d/B/A/F/|[DA] [DA] [D2A2]:|

f/e/|:dB/d/ A/A/F/D/|E/D/F/E/ D/B,/(3G,/4B,/4B,/4|A,/B,/D/c/ B/A/D/F/|

[E/A/][Ae][A/e/] [Ae]f/e/|dB/d/ A/A/F/D/|E/D/F/E/ D/B,/(3G,/B,/B,/|

A,/B,/D/D/ d/B/A/F/|[DA][DA] (D2A2]:|

X:2

T:Belle of Lexington

M:C|

L:1/8

S:Bruce Molsky, based on Emmett Lundy’s original

Z:AK/Fiddler’s Companion

K:D

fe | d2 Bd A2 [F2A2] | {E/F/}EDFE D B,2 B, | A,B,DF dBAc | B(e e)e egfe |

d2 Bd A2 [F2A2] | {E/F/}EDFE D B,2 B, | A,B, D2 dBAF | D3 D D2 :|

|: fg | a2 fa bafd | efdf edBd | AB d2 eafd | e2 e4 fg | a2 fa bafd |

efdf edBA | fe d2 dBAF | D6 :|

                       

BELLE OF THE BALL [1]. American, Hornpipe. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 107. Ryan’s Mammoth Collection, 1883; pg. 143.

X:1

T:Belle of the Ball [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

B/A/B/G/ c/B/c/A/ | B/g/f/e/ e/d/c/B/ | c/d/e/f/ g/b/g/e/ | c/B/A/G/ F/A/F/D/ |

B/A/B/G/ c/B/c/A/ | B/g/f/e/ e/d/c/B/ | A/a/f/d/ g/d/A/F/ | GGG z :|

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

d/e/d/B/ g/f/e/d/ | e/^d/e/f/ g/f/g/a/ | b/g/e/c/ B/A/G/F/ | GGGz :| 

 

BELL(E) OF THE BALL [2]. Irish, Highland Fling (cut time). A Major. Standard tuning. AABB. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Belle of the Ball [2]

M:C|

L:1/8

R:Highland Fling

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:A

E|A2 c>A d2 B>G|A2 c>A e>cd>B|A2 c>A d2 B>G|A>cB>A G>EF>G|

A2 c>A d2 B>G|A>ce>c d>cB>g|a>ef>d e>cA>c|B>EF>G A2:|

|:e2|a2 a2 A>B (3cBA|a2 a2 Bc (3dcB|e>fe>c A>Bc>A|F>BB>A G<E E>e|

a2a2 A>B (3cBA|a2 a2 B>c (3dcB|e<a e>d c>BA>c|B>EF>G A2:|

                       

BELLE OF THE KITCHEN [1]. AKA and see “Kitty of Coleraine,” “New York Jig [3],” “Paddy’s Resource [1],” "The Rover [2].” Irish, Jig. G Major. Standard tuning. AABB. Don Meade remarks the tune was printed by O’Neill as “Paddy’s Resource,” although it is best known now as the “New York Jig.” It may be that the “Belles of the Kitchen” title of this tune was in some way associated with the comic play Belles of the Kitchen, performed in the United States at the Union Square Theatre in 1873 by the Vokes Family, three sisters and one brother, who were popular in pantomimes and burlesques in London during the late 1860’s and throughout the 1870’s. The Vokes had been a theater family for generations, and the celebrated Vokes siblings had been onstage since toddlerhood. The success of the play spawned a number of “Belles of the Kitchen” titles in 1870’s popular music, including a galop, polka, and a schottische. Cole (1000 Fiddle Tunes), 1940; pg. 72. Ryan’s Mammoth Collection, 1883; pg. 102.

X:1

T:Belle of the Kitchen [1]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

GBG EDE | GBd (e2d) | gBB B2A | GEE E2D | GBG EDE | GBd (e2d) |

gBB B2A | BGG G2z :: GBd GBd | GBd ede | GBd efg | dcB AGA |

GBd efg | dcB AGA | BGD D2d | BGG G2z :|

 

BELLE OF THE KITCHEN [2]. American, Jig. According to Bayard this is a 6/8 version of "Going to California," "Off/Going to California [1]," "Fireman's Reel," etc. family of tunes. White's Excelsior Collection, pg. 22.

 

BELLE OF THE STAGE. American, (Lancashire) Clog. D Major. Standard tuning. AA’BB. Composed by Edwin Christie, a journeyman composer in the Boston, Massachusetts, area in the latter 19th century who contributed several tunes to Ryan’s Mammoth Collection. Not to be confused with the famous blackface minstrel Edwin P. Christy of Christy’s Minstrels. Cole (1000 Fiddle Tunes), 1940; pg. 121. Ryan’s Mammoth Collection, 1883; pg. 159. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

X:1

T:Belle of the Stage

M:C

L:1/8

R:(Lancashire) Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A2 (3FG^G A>df>d | B2 (3GA^A B>eg>e | c2 (3AB^B (3cba (3gfe | (3dcd (3fdB A>FG>^G |

A2 (3FG^G A>df>d | B2 (3GA^A B>eg>e | c2 (3AB^B (3cba (3gfe |1 (3dDF (3Aed D>EF>G |2

(3dDF (3Aed D2 z2 |: “tr”e2 ({^d/e/}^g>)e b>e ({e}e’2 | “tr”e2 ({^d/e/}^g>)e b>e ({e}e’2 |

(3d’b^g (3edB (3^GED (3B,^G,B, | (3A,CE (3Ace (3ac’e’/ a’2 | “tr”e2 ({^d/e/}^g>)e b>e ({e}e’2 |

“tr”e2 ({^d/e/}^g>)e b>e ({e}e’2 | (3d’b^g (3edB (3^GE[ec’] (3[^dc’][=dc’][cb] | (3[ca]ce (3ac’e’ a2 :|

                       

BELLECHASSE, LA.  AKA and see “La Bistringue,” “Reel Saint-Joseph.” French-Canadian, Reel. D Major. Bellechase is a county along the St. Lawrence river in Quebec. Philo Records, Jean-Marie Verret – “La Familie Verret, vol. 2” (1975).  

 

BELLED BUZZARD [1], THE. Old-Time, Breakdown. D Major. Standard tuning. AA'B. Both parts have an irregular measure and feature pizzicato notes. Source for notated version: Tony Thomas [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 21.

 


BELLED BUZZARD [2], THE. Old‑Time, Breakdown. C Major. Standard tuning. AAB (Phillips): AABB (Ford). The melody has similarities to "Billy in the Lowlands." Ford (1940) relates an Ozark tale regarding the origins of the tune, concerning a settlement along a river bottom. "One bank of the river was bordered for miles by high unscalable bluffs crowned with scrub timber, the home and breeding place of thousands of buzzards. Hog raising was the main source of income of the community. Mast from the acorn‑bearing trees furnished food for the droves of hogs ear‑marked and turned into the woods each year, to by rounded up in the fall ready for market. One summer hog cholera broke out among the porkers. The buzzards, feasting on the dead carcasses, carried the disease from one section of the country to another. There was an unwritten law that these birds should no be killed, but the farmers were aware that, unless some action was taken to check the spread of the disease, their hogs, together with their incomes, would be wiped out entirely. A meeting was called. It was decided to capture one of the birds and fasten a small sheep bell to it, in the hope that it would cause them to leave. One of the birds was accordingly trapped and belled. His arrival among the others created a great commotion and in a few days the flock of buzzards disappeared, only the belled buzzard remaining. Finally he, too, took flight. At the end of the summer there was an epidemic of typhoid fever in the community, many dying. About the same time the belled buzzard reappeared, the tinkle of his bell being plainly heard as he soared above the houses. He came and went time after time and always following his reappearance some sort of calamity happened. The return of the belled bird aroused apprehension in the minds of the more superstitious and his presence became associated with their misfortunes. They believed the repulsive fowl was possessed of an evil spirit. Many believe he still roams the skies, as he has for more than a hundred years, so that even today any report of the belled buzzard casts a spell of gloom over them. The tune, 'The Belled Buzzard', has been handed down through the years with this tradition, the plucking of the fiddle string in certain places in the music representing the tinkle of his bell." Source for notated version: fiddler Ruthie Dornfeld (Seattle) [Phillips]. Ford (Traditional Music in America), 1940; pg. 60. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 22.

See also listing at:

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

                       

BELLED COW.  AKA and see “Old Bell Cow [2].”

 

BELLEDUNE QUICKSTEP, THE. Canadian, Quickstep (2/4 time). D Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 95. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 182, pg. 125.

X: 1

T:Belledune Quickstep

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

(3ABc|d2c2 B2A2|F6 (3ABc|d2cd e2d2|B6cd|

e2d2 c2B2|c4 cdcB|A2g2 f2e2|d6:|

|:AF|D2FA DAFA|G2BG dGBG|A2ce Aece|dfed cBAF|

D2FA DAFA|G2BG dGBG|Acef gece|d2f2 d2:|

                       

BELLES OF AMAHA, THE. AKA – “The Belles of Omaha.” AKA and see “Belles of Omagh,The Morning Star [1]." Irish, Reel. E Minor. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 38 (appears as "Belles of Omaha").

           

BELLES OF CAMPBELLTOWN. AKA and see “Lady Loman’s.” Scottish, Strathspey. D Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 124. Ryan’s Mammoth Collection, 1883; pg. 163.

X:1

T:Belles of Campbelltown

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

f | (a<d) (a>.f) (a<d) (a>.f) | (a<d) a>f (b<e) e>f | (a<d) (a>f (a<d) a>f | g>ba>g (f<d) d>f |

(a<d) (a>.f) (a<d) (a>.f) | (a<d) a>f (b<e) e>f | (a<d) (a>f (a<d) a>f | g>ba>g (f<d)d ||

f | (A<d)(F>.d) (A>d)f>d | A>dF>d (e<E) E>d | A>dF>d A>df>d | (g/a/b) a>g (f<d) d>f |

A>dF>d A>df>d | A>dF>d (e<E)E (f/g/) | a>fg>e f>de>c | A>Bd>e (f<d)d ||

                       

BELLES OF CLONALLEN, THE.  AKA and see “Miss Brown’s Fancy.”

 

BELLES OF EDINBORO’ HIGHLAND FLING. Scottish? American?; Highland Fling. A Major. Standard. AABB. Ryan’s Mammoth Collection, 1883; pg. 171. White’s Unique Collection, 1896; No. 157, pg. 29.

X:1

T:Belles of Edinboro’

M:C|

L:1/8

R:Highland Fling

S:White’s Unique Collection (1896), No. 157

Z:AK/Fiddler’s Companion

K:A

E2 | [C2E2A2] c>A d2 B>G | A2 (c>A) e>cd>B | [C2E2A2] c>A d2 B>G |

A>cB>A G>EF>G | [C2E2A2] c>A d2 B>G | A>ce>c d>cB>g |

(a<e) (f>d) e>cA>c | B>EF>G A2 :: e2 | {g}a2 {g}a2 A>Bc>A |

{g}a2 {g}a2 B>cd>B | e>fe>c A>Bc>A | (F<B) B>A (G<E) E>e |

{g}a2 {g}a2 A>Bc>A | {g}a2 {g}a2 B>cd>B | (e<a) (e>d) c>BA>c | B>EF>G A2 :|

           

BELLES OF LEWISTON. AKA and see “Blue Eyed Lassie.” American, Reel. Probably Lewiston, Maine. Ryan’s Mammoth Collection, 1883; pg. 49.

                       

BELLES OF LISCARROLL (Speir-mna ua Lios-Cearbaill). AKA and see “Old Walls of Liscarroll [1].” Irish, Jig. Irish, Double Jig. D Dorian ('A' part) & D Major ('B' and 'C' parts). Standard tuning. AA'BB'CC. Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 339, pg. 70.

X:1

T:Belles of Liscarroll, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 339

Z:AK/Fiddler’s Companion

K:D Dorian

c2 c d/e/fd|ecA GED|c2c d/c/AF|GEE GAB|c2 c d/e/fd|

ecA Abc|d^cA GEA|1 DED D^FA:|2 DED d/c/AG||

|:F2F EGG|DFA GFE|DFF EFA|BGE EAG|F2F G2G|AGA f/e/df|

ecA GEA|1 DFA d/c/AG:|2 DED DBc||

|:d2d DFA|G2G EFA|Bcd DFA|BGE EGA|

dfd cec|B/c/dB AFD|DFA DdB|ABG FED:|

                       

BELLES OF OMAGH. AKA – “Belles of Amaha,” “Belles of Omaha.” AKA and see "The Morning Star [1]." Irish, Reel. E Minor. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 38 (appears as "Belles of Omaha"). Ryan’s Mammoth Collection, 1883; pg. 65.

                       

BELLES OF OMAHA. See "Belles of Omagh."

                       

BELLES OF SHANDON, THE. Irish, Air (3/4 time). D Major. Standard tuning. AABB.

X:1

T:Belles of Shandon, The

M:3/4

L:1/8

Q:140

C:from Sean Potts

S:not too many seagulls

R:Air

Z:Transcribed by Paul G. Mulvaney

N:notated 3/4, playable séan nos

K:D

|:A2 | d2 c  B3 | A4  A2|  d3  c B2  | A4 G2 | F2 A2 B2| g2 f2 e2 |d2 (3cdedc |d4:|

!|:A2  de fg| a4 g2 | f2 d2 B2| A4  f2| g2 a2 (3afd | B4  d2  |B2  AF A2|

z2  fg  a2 | g2 f2 g2| f2 (3gag fd | B2  A2 G2 | F2  A2 B2 |  g2  f2 e2| d2 (3cde d2 | c2 d4:|

                       

BELLES OF SOUTH BOSTON. American, Hornpipe. G Major. Standard tuning. AABB. South Boston, 'Southie', had a long history as an Irish enclave. Cole (1000 Fiddle Tunes), 1940; pg. 113. Ryan’s Mammoth Collection, 1883; pg. 150.

X:1

T:Belles of South Boston

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(B/c/) | d/B/c/A/ G/g/f/e/ | (e/d/).d.d .dc/B/ | A/c/e/d/ c/B/A/G/ | F/A/G/E/ .D(B/c/) |

d/B/c/A/ G/g/f/e/ | e/d/d/d/ d/g/f/e/ | d/B/c/A/ B/G/A/F/ | GBG :: (c/B/) | (B/A/)A/A/ A/D/F/A/ |

(e/d/)d/d/ d/g/d/B/ | (B/A/)A/A/ A/D/F/A/ | (e/d/)d/d/ d(b/a/) |

g/b/f/a/ e/g/d/f/ | c/e/B/d/ A/c/G/B/ | A/c/f/e/ d/c/B/A/ | GBG :| 

                       

BELLES OF ST. LOUIS, THE. See "Bells of St. Louis [2]."

                       

BELLES OF TIPPERARY [1]. AKA and see "Braes of Auchtertyre/Auchentyre," "Beaus of Albany [1]." AKA – “Bells of Tipperary.” Irish, New England; Reel. D Major (Harker/Rafferty, Miller & Perron/1983): C Major (Miller & Perron/1977 & 2006). Standard tuning. AB (Miller & Perron/2006): AABB (Cole, Miller & Perron/1977, Ryan): AA’BB (Harker/Rafferty): AA'BB' (Kerr). New York writer, researcher and musician Don Meade says the tune is often falsely identified as “The New Policeman,” but that it is related to “Miss Monaghan” and “Connaught Lasses,” all of which are derivatives of the Scottish composer Crockat’s “Braes of Auchentyre” (as is “Belles of Tipperary”). Sources for notated versions: County Kerry fiddler Paddy Cronin, long a resident of Boston, Massachusetts [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Cole (1000 Fiddle Tunes), 1940; pg. 5. Harker (300 Tunes from Mike Rafferty), 2005; No. 49, pg. 16. Kerr (Merry Melodies), vol. 2; No. 270, pg. 29. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 114. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 52 (appears as “Paddy Cronin Reel in C”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 48. Ryan’s Mammoth Collection, 1883; pg. 29.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Belles of Tipperary [1]

M:C|

L:1/8

K:D

|: D3E FAA2 | de fe dB Bd | Bd Ad Bb b2 | af de fe e2 |

DC DE FA A2 | de fe dB Bd | Bd Ad Bb b2 | af de fe e2 :|

|: a3b af ed | gf ed fd d2 | Bd Ad Bb b2 | af de fe e2 :|

|: a3b af ed | gf ed fd d2 | Bd Ad Bb b2 | af de fd d2 :|

 

BELLES OF TIPPERARY [2]. AKA and see "The Barrow Castle,"  "The Blea‑berry Blossom," “An Ceolchumann” (The Music Society), "Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "The Kerry Star," "Lamont's Reel,” “Jackson's Welcome to Cork [1]," "Johnny Shooting in the Glen," “Kerry Star,” “Mel Roddy’s Tune” (northeast Kings County, PEI), “Miss Mona(g)han(‘s Reel),” “New Policeman” [1], "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather," "The White‑haired Piper.” Irish, Reel. D Major. Standard tuning. AB (Mulvihill): AABB (Black). A close variant of version [1]; see note above. Related to “Miss Monaghan” family of tunes, and persistently identified as a variant of the “New Policeman,” although New York writer, musician and researcher Don Meade concludes that is a false identification. Philippe Varlet finds the first recording of the tune, called “Bells of Tipperary” (note the absence of the ‘e’), to be by fiddler Frank Quinn on a 78 RPM released in 1934. Despite the title on that record, it is thought (by Don Meade, for one) that there is supposed to be an ‘e’ in the ‘Belle’ of the title, referencing a young woman. Source for notated version: Joe Coleman (New York) [Mulvihill]. Black (Music’s the Very Best Thing), 1997; No. 190, pg. 101. Mulvihill (1st Collection), 1986; No. 229, pg. 62 (appears as “Bells of Tipperary”). CCE, Charlie Lennon & Mick O’Connor – “Lucky in Love.” Green Linnet SIF 1069, Joe Burke – “Happy to Meet and Sorry to Part.” GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Michael Cooney - “Happy to Meet and Sorry to Part.” Shanachie 34008, “Andy McGann & Paddy Reynolds.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: The Belles of Tipperary [2]

S: McGann - Conway

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

D2 (3FED FAAB | d2 fe dBBA | B2 AF ABde | fafd fe e2 |

D2 (3FED FAAB | d2 fe dBBA | B2 AF ABdB | FAEG FD D2 :|

agab afdf | gfed cdef | g2 gf gbag | faaf egfe |

dB B2 AF F2 | DF F2 ABde | fedc dBAF | A2 ag fd d2 :|

 

BELLHARBOUR REEL [1]. Irish, Reel. A Minor. Standard tuning.

 

BELLHARBOUR REEL [2]. AKA and see “Droney’s Favourite,” “The Rough Road.” “Sailor’s Farewell.” Irish, Reel. G Major. Standard tuning. AA’BB’. Although sometimes attributed to Bellharbour, County Clare concertina player Chris Droney, who recorded it on his 1975 recording for Topic Records, Mr. Droney has written (to Don Meade) to deny he was the composer of the melody. “Droney’s Favourite,” he said, was a title he believed the record company attached to the melody. The same tune, or one very similar, called “The Rough Road,” had been recorded around 1960 by the Leitrim Ceili Band. “Bellharbour Reel” is sometimes called “New Town Bridge” stemming from its miss-labelling on the group Trian’s (Billy McComiskey, Liz Carroll, Daithi Sproule) first album, where it is mistakenly attributed to Paddy O’Brien (who did compose a jig called “New Town Bridge”). Martin Mulhaire has also attributed it to O’Brien. However, in Eileen O’Brien’s recently published book on Paddy O’Brien’s compositions it is called “Paddy Reynolds’”, a reference to the late Sligo-style fiddler long a resident of Staten Island (and very influential in the 20th century New York Irish music scene). Don Meade does not believe Reynolds composed the tune, as Paddy only claimed one composition (a reel, “Rakes of Drumlish”). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned in 1986 from Droney’s son Francis, also a concertina player. Played in the Key of E minor). Topic Records, Chris Droney – “The Flowing Tide” (1975).

X:1
T:Bellharbour Reel
C:Chris Droney
R:reel
M:C|
L:1/8
Q:1/2=92
K:G
D~G3 DGBd|g2dg (3efg dB|~A3G AcBA|GBAF GFEF|
D~G3 DGBd|gd (3Bcd eBdB|GA (3Bcd gBdB|1 AcBA G2 GE:|2 AcBA G2 Bc||
dggf gGBd|gbaf gfed|eaag abag|eaag edBc|
dggf gGBd|gbaf gedB|GA (3Bcd gBdB|1 AcBA G2 Bc:|2 AcBA G2 GE|

                       

BELLING TUNE, THE. AKA and see "The Bell Cow [1]."

                       

BELLINGHAM BOAT, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AABB (Callaghan): AABB' (Raven). The tune has been attributed by the Pipers’ Society Tune Book and the High Level Ranters (sleeve notes on “Northumberland For Ever”) to Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. Dixon (1995) could find no corroborating evidence, however. Bellingham (pronounced ‘Bellinjum’), says Dixon, is primary town on the North Tyne. The melody is also in the mid-19th century music manuscript copybook of William Hall Lister (East Boldon, near Newcastle), where it appears simply as “Quadrille.” Sourced for notated version: the manuscript of L. Baty, dated 1883, now in the Beamish Museum [Dixon]. Callaghan (Hardcore English), 2007; pg. 56. Dixon (Remember Me), 1995; pg. 68. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 113. Topic 12TS184, High Level Ranters – “Northumberland for Ever” (1968). Topic 12TS239, George Hepple & Donald Ridley (et al) – “Bonny North Tyne.”

X:1

T:Bellingham Boat, The

M:6/8

L:1/8

C:Possibly Robert Whinham (1814-1893)

R:Jig

K:G

B/c/|d3 cAF|A>GF G2B|dcc cBB|BAA A2 B/c/|d3 cAF|

G>AF G2c|B<dB cAF|(G3G2)::B/c/|d2d def|g2g gfe|

dbb caa|Bgg AA/B/c|d2d def|g3 gfe|afd ge^c|d3 d2:|

                       

BELLISLE'S MARCH. See "Belle Isle's March."

                       


BELLIZIE MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript (1768).

                       

BELLMAN, THE. English, Reel. England, Northumberland. A Major. Standard tuning. AABB. The title may refer to any number of individuals who in the course of their duties rang a bell, but surely one of the most bizarre was the figure known as ‘The Fatal Bellman’. In 1605 a wealthy merchant and tailor named Robert Dow bequeathed the sum of £50 to the church of St. Sepulchre, near Newgate Prison in London, with the direction that it was to be rung outside the cell of the condemned at midnight before the day of execution. A clerk at the church was known as ‘The Bellman of St. Sepulchre’ and performed his duty at the appointed hour, ringing a handbell and reciting:

***

All you that in the condemned hole do lie,

Prepare you for tomorrow you shall die;

Watch all and pray: the hour is drawing near

That you before the Almighty must appear;

Examine well yourselves in time to repent,

That you may not to eternal flames be sent,

And when St. Sepulchre’s Bell in the morning tolls

The Lord above have mercy on your soul.

***

Seattle (William Vickers), 1987, Part 3; No. 560.

X:1

T:Bellman, The

M:C|

L:1/8

S:William Vickers’ music manuscript collection (Nothumberland, 1770)

Z:AK/Fiddler’s Companion

K:A

A2 ce feca|ecca ec B2|A2 ce fefa|ecBA F2A2:|

|:agfe face|BABc ac B2|A2 ce fefa|ecBA F2A2:||

                       

BELLMAN'S JIG. American, Jig. G Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1964; pg. 41.

X:1

T:Bellman’s Jig

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:G

D | GDG BGB | d2c B2A | GDG A2B | c2B A2D | GDG BGB | d2c BcB |

ABc DEF | GGG G2 :: d | cAA A2f | gdd d2d | cAA A2f | gdd d2d |

cdc BcB | ABA GAG | FGA DEF | GGG G2 :|

                       

BELL'S FAVORITE. Canadian, New England; Jig. D Major. Standard tuning. AABB. Bears some resemblance to "Tennessee Hornpipe" in Bayard (1981). Messer (Way Down East), 1948; No. 74. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 132, pg. 87. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 46.

X:1

T:Bell’s Favorite

M:6/8

L:1/8

K:D

FEF GFG|BAF A2d|cde ABc|dcB A2G|FEF GFG|BAF A2d|cde ABc|d3 d3:|

|:a2a fdf|gfg e2d|cde ABc|dcB Afg|aba fdf|gfg e2d|cde ABc|d3 d3:|

                       

BELLS OF ABERDYFI (Clychau Aberdyfi). Welsh, Air. The tune is known today as a  famous Welsh folk-song, although its origins were in the English stage. Harper Bowen’s setting imitates the bells of the drowned cities and towns of Cantre’r Gwaelod, whose spectral sounds emanate from the sea off the Welsh coast at Aberdyfi. Although the tune has been incorporated into Welsh tradition, Kidson (Groves) gives that the song was composed (in broken Welsh) by Charles Dibdin (1745-1814) for his opera Liberty Hall in 1786. He explains, “Miss Williams, hearing it traditionally, published a version of it in her collection of 1844, and from that time onward it has been accepted as genuine Welsh. There is certainly no evidence to show that Dibdin used an existing tune (it was quite opposed to his practice), and no copy can be found except Dibdin’s of a date prior to 1844.”

***

Charles Dibdin (1745-1814)

***

Dibdin’s was an interesting life, full of financial ups and downs and successes tempered with failures. The eighteenth (!) son of a silver-maker, Dibdin himself had many children with several women, including mistresses from the stage with whom he was involved in scandal.  Although his music is not highly regarded nowadays, he was intensely famous at various times during his life, known best for his nautical songs. 

***

Irish harper Arthur O’Neill (1734-1818) mentions Dibdin in his memoirs, and clearly did not have a high opinion of his work, considering him a threat to tradition: “There is a great deal of ancient Irish music lost in consequence of the attachment harpers latterly have for modern tunes, and which is what is now chiefly in vogue: the national tunes and airs being confined only, I may say, to a few gentlemen in the different provinces I have traveled through… (If it were not for the collector Edward Bunting’s) great exertions the compositions of a Dibdin and some other composers of similar productions would in a very few years be a very great means of annihilating our dear Irish music.”

***

Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Bgwlad/The Sweet Harp of My Land” (1996).

                       

BELLS OF AMERICA, THE.  Old‑Time, Breakdown. USA, Nebraska. D Major. Standard or Adae tuning. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 57.

                       

BELLS OF LISMORE, THE. Irish, Jig. A modern composition by Kenmare, County Kerry, fiddler Gerry Harrington, named for the town of Lismore, County Waterford. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996). 

                       

BELLS OF NEWPORT. The tune appears in the Murphy Manuscript (pg. 20) written in Newport, Rhode Island, in 1790, and in the Kingsley Manuscript (pg. 22) of 1795 (where it appears as “The Bells of New York”).

                                               

BELLS OF NEW YORK. See “Bells of Newport.

           

BELLS OF OSLEY. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). It was entered into the 1840 music copybook of Cumbrian musician John Rook, along with several other tunes from the Thompson’s 1773 collection (see “Knights of the Garter”). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 156.

X:1

T:Bells of Osley, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

a|gfed|cBAd|cABG|A2 Ea|gfed|cBAd|cABG|A3:|
|:E|AcBd|cedf|ecGA|BGEE|AcBd|cfed|cBAG|A3:||

           

BELLS OF ROCKLAND. Scottish, Hornpipe. D Major. Standard tuning. AA'AA'BB'BB'. Kerr (Merry Melodies), vol. 2; No. 350, pg. 39.

X:1

T:Bells of Rockland

M:C

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 2, No. 350  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(3DDD D2 F>ED>F|(3AAA A2 c>BA>c|(3ddd d2 f>edf|edcB AGFE|

(3DDD D2 F>ED>F|(3AAA A2 c>BA>c|(3ddd d>f e>dce|d2d2d2 z2:|

|:{f}e>^def g>ecA|{g}f>efg a>fdA|bgdb afdb|ageb afdf|

{f}e>^def g>ecA|{g}f>efg a>fdA|bgdb afdb|agec d2 z2:|

                       

BELLS OF SHANDON, THE. AKA and see “Slán le Máigh.”

                       

BELLS OF ST. LOUIS [1], THE. AKA and see "The Hawk Hornpipe." American? Irish?, Hornpipe. D Major. Standard tuning. AABB'. Source for notated version: probably the Boys of the Lough, “with a nod to De Dannan,” says Kevin Alewine. Alewine (The Maid That Cut Off the Chicken’s Lips), 1987; pg. 9.

 

BELLS OF ST. LOUIS [2], THE (Cloig St. Louis). AKA - "Belles of St. Louis." AKA and see “Archie Menzie’s Reel,” “The Hawk Hornpipe.” Irish; Reel. G Major (Breathnach): F Major (McNulty). Standard tuning. AABB. Some slight similarities to version #1. Breathnach (1985) states the tune was ‘probably an American composition’, but he is in error for “Bells of St. Louis” is a reel setting of “Archie Menzies” and is similar to the first strain of James Hill’s hornpipe “The Hawk” (Hill was from Gateshead, England, near Newcastle). Source for notated version: fiddler Mick Woods (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 128, pg. 61. McNulty (Dance Music of Ireland), 1965; pg. 5. Inchecronin Records, Mick Woods ‑ "A Tribute to John McKenna." Green Linnet SIF 1130, De Dannan – “Song for Ireland.” De Danann – “Mist Covered Mountain.”

X:1

T:Bells of St. Louis, The [2]

R:reel

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:D

(3A,B,C|D2 FD A,DFE|DFEG FAGF|E2 GE B,EGF|EDCB, A,B,CA,|

D2 FD A,DFE|DFEG FAGF|E^DEF GA,B,C|DA,FE D2:|(3ABc|

d2 fd Adfe|dfeg fagf|e2 ge Begf|edcB ABcA|

d2 fd Adfe|dfeg fagf|e^def gABc|dAfe d2|:(3ABc|

dafd Agec|Afdc dcBA|BAcA dAeA|fagf e2 ef|

gafg efde|cdBc ABGA|(3Bcd ef gece|dAfe d2:|:(3ABc|

d2 AG FADA|FADA FADB,|A,3 B, DEFD|CDEF GABc|

d2 AG FADA|FADA F2 DA|(3Bcd ge f2 ec|dfec d2:|:Ac|

defg afdf|gfed ceAc|defg afgf|edcB A3 A|

BABd AF ~F2|GE ~E2 =CE ~E2|DFAd faec|dfec d2:||

 

BELLS OF ST. LOUIS [3], THE (Cloig St. Louis). Irish. The first part of the tune appears to be a variant of “Trip to Durrow” and also has similarities to “Belles of  Tipperary.

X:1

T:The Belles of St. Louis

S:Tommy Peoples

D:The Iron Man

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

K:D

D3E F3A|defe dBBA|~B2 d B2 d AB|dfaf e2dB|\

AD~D2 FDFA|defe dBBA|~B2Ad BdAc|dcdA FDD2::\

f^gab afdf|bafe fedB|~d2f^g ~a2fa|bfaf e3a|fa~a2 afdf|\

bafe fedA|~B2Ad BdAc|1dcdA FDD2:|2dcdF GEFE|]

                       

BELLS OF TIPPERARY. See “Belles of Tipperary.”

                       

BELLTABLE WALTZ. Irish, Waltz. D Major. Standard tuning. AABB.

X: 1
T: Belltable Waltz
M: 3/4
L: 1/8
Q: 350
R: waltz
K: D
d3 e d2|d2 c2 B2|A3 B A2|A2 G2 F2|
G2 GA BG|A2 AB cA|G2 GA BG|A2 B2 c2|
d3 e d2|d2 c2 B2|A3 B A2|A2 G2 F2|
G2 GA BG|A2 AB cA|G2 F2 E2|D6 :|
a3 b a2|a4 g2|f3 g f2|f2 e2 f2|
g3 a g2|g2 f2 g2|a3 b a2|a2 f2 g2|
a3 b a2|a4 g2|f3 g f2|f2 e2 d2|
B4 g2|f a3 c2|e d3 c2|1 d3 A df :|2 d6 ||

                       

BELLY TO BELLY. Old‑Time, Fiddle Tune. The name appears in a list of traditional Ozark Mountain fiddle tunes compiled by Vance Randolph and published in 1954.

                       

BELRINNES STRATHSPEY. Scottish, Strathspey. The most famous of about 56 compositions by Charles Grant, a schoolmaster who retired in 1871, amusing himself angling and playing the fiddle in his later years.

                       


BELTED PLAID, THE. Scottish, Reel. A Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1963; No. 33, pg. 13.

                       

BELTED PLAID AND HEALTH TO WEAR IT, THE (Am breacan ur gum meal thu e). Scottish, Reel. E Major. Standard tuning. AAB (Athole): AABB (Fraser). "The following medley so properly belongs to this work that after completing his Index, the Editor cannot resist adjecting it, having been composed on the following occasion._ Lord Lovat spent the last sic Months previous to his being apprehended chiefly in the House of Thomas Fraser, Esq., of Gorthleck, the editor's maternal Grandfather, where he had his only interview with Prince Charles after his defeat, and not at Castleduny as mentioned in the Culloden Papers._ His residence there or elsewhere rendered the Place for the time the Focus of the Rebellion, and brought a concourse of Visitors, of all descriptions friendly to the cause, but chiefly, men of the best talents and address, not likely to commit themselves if intercepted._ These, who were of course entertained according to the manner of the times, naturally joined in narrative and Song, and this considerably added to the many opportunities which the original Compiler of the Melodies had, of hearing and acquiring them, being a daily Visitor, not a Mile distant._ And independent of Recitation from men of this stamp, he had the advantage of hearing many of the Airs, for Lord Lovats attendant Minstrel and Bard, who was the Composer of the following, complimentary of Old Gorthlecks appearence, on some of these occasions, in a new belted Plaid, whereupon the Minstrel claimed the old one as his reward, which was instantly granted, and the Music commemorative of it immediately performed and Sung" (Fraser) {See also "Gorthleck's Highland Plaid"}. John Purser reframes the above to clarify that the tune was composed by Lord Lovat’s bard, who had cunningly persuaded the old plaid from Fraser’s grandfather, by pandering to his looks in the new one. The tune is found in the appendix to Fraser’s collection. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 232, pg. 94. Stewart-Robertson (The Athole Collection), 1884; pg. 275. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1        

T:Belted Plaid and Health to Wear It, The

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:E

A|G/A/B BA BABA|G/A/B Bc =dDDA|G/A/B BA GABg|afdB e2e:|

a|gfea gebe|f=daf fdda|gfea gebg|afdB e2 ea|gfeb gebe|f=dad fdda|

gebg afdB|cAfd e2e||

                       

BELUM HORNPIPE.  English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Composed by teacher, musician, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: an un-attributed 19th century manuscript at the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 19.

 

BELVIDERE HORNPIPE. AKA and see “Miss Johnson [1].” Old‑Time, Texas. USA, Texas. G Major. Standard tuning. AABB. Source for notated version: Red Williams (Texas) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 88‑89. Cole (1000 Fiddle Tunes), 1940; pg. 92. Ryan’s Mammoth Collection, 1883; pg. 127.

X:1

T:Belvidere Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

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

B/c/d/e/ d/c/B/c/ | d/B/g/B/ b/B/g/d/ | c/B/A/G/ F/D/E/F/ | GBG :|

|: B/c/B/A/ .G(B/G/) | D/G/B/G/ D/G/B/d/ | B/c/B/A/ .G(B/G/) | F/G/A/B/ c/e/d/c/ |

B/c/B/A/ .G(B/G/) | D/G/B/G/ D/G/B/d/ | c/B/A/G/ F/D/E/F/ | GBGz :|

                       

BEMTHE GOAL. AKA and see "Bimid ag Ol [1]," "Humours of Parteen," "Purteen," "Whip the Cat From Under the Table," "Drive the Cat...etc.," "Foxy Mary," "Dance Light for My Heart Lies Under Your Feet," "Peas on the Hearth."

                       

BEN BUTLER'S REEL. AKA and see "Arbana." American, Reel. B Flat Major. Standard tuning. AABBCCDD. The title probably refers to the blustering Massachusetts politician and Union army figure of the same name in the Civil War era. Butler was placed in charge of the newly-captured New Orleans, and became known as “Beast” Butler to the wealthy New Orleans citizens due to his unsympathetic administration of the city. He was an unsuccessful candidate fpr President, but was elected Governor of Massachusetts in 1882 (the year prior to the publication of the Ryan collection). “Early in the Civil War,” writes Frank Dumont in an article in the New York Clipper (March 27, 1915—“The Younger Generation in Minstrelsy and Reminiscences of the Past”), “General Ben Butler coined a new word for the minstrels, which proved both funny and of interest. To all the Negro refugees who were flocking to Fortress Monroe, having escaped from their masters, he applied the term, ‘Conatrabands of War.’ The papers took up the phrase, and in fact everybody talked about it, and the word ‘Conatraband’ crept into our conversation. The minstrels were quick to attaché the word to songs, n….r acts and speeches. ‘The Happy Contraband’, ‘Contraband from Dixie’, ‘Contraband’s Lament’, ‘Contraband Children’, ‘Contraband’s Adventures’, and ‘Contraband Brothers’ appeared on all programs, and furnished subjects for all kinds of songs and dances.” Cole (1000 Fiddle Tunes), 1940; pg. 50. Ryan’s Mammoth Collection, 1883; pgs. 42 & 78.

X:1

T:Ben Butler’s

L:1/8

M:2/4

R:Reel

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:B_

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

|:d|c/B/A/G/ F/A/c/e/|d/B/f/d/ b/f/e/d/|c/B/A/G/ F/A/c/e/|d/e/d/A/ B:|

|:f/f/|=e/g/B/g/ e/g/B/g/|f/c/a/f/ b/a/g/f/|=e/g/B/g/ e/g/B/g/|f/a/g/=e/ f:|

|:f|f/e/c/A/ F/E/C/E/|D/F/B/d/ f/d/b/f/|f/e/c/A/ F/E/C/E/|D/B/A/c/ B:|

                       

BEN HILL [1]. AKA and see “Father Kelly’s (Reel) [2]”. Irish, Reel. G Major. Standard tuning. AABB: AA’BB’ (Harker/Rafferty). A c. 1960 composition of Father Patrick Joseph “P. J.” Kelly (1925-2006), piano-accordion player and composer of some 35 tunes. Father Kelly was stationed for a time on Fiji, but who returned to Ireland. Ben Hill is a place name from near Rossmore, County Galway, near Kelly’s original home of Woodford, Loughrea. Father Charlie Coen, also a native of the area, says the Ben Hill is on one side of Rossmore, while on the other is Rossmore Jetty, the name of another Kelly composition. Fiddler Aggie Whyte lived near the base of the hill. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 161, pg. 49. Gael-Linn CEFCD 165, Máire O’Keeffe – “Cóisir/House Party” (1990).

X: 1

T:Ben Hill [1]

M:4/4

L:1/8

C:Father Kelly

S:from Mike Rafferty

R:Reel

N:Posted to the woodenflute mailing list, August 2002

Z:Tom Madden

K:G

B|:d3B cAFA|G2 BG DGBG|AzAB cBAG|EAAG ABce|

d2dB cAFA|G2 BG DGBG|AzAB cdef|gdcA   BG G2:|

dgga gdBd|eaab ageg |fd ad bzaf|gage dcBc|

dgga gdBd|eaab agef  |~g3e d2 Bc|dBcA BG G2:|

 

BEN HILL [2]. AKA – “Kathleen O’Shea’s.” Irish, Hornpipe. G Major. Standard tuning. AA’BB’. Kathleen O’Shea-Maguire, referenced in the alternate title, is a former World Champion Irish step dancer, with whom the tune is associated. Séamus Connolly & Laurel Martin note that the famous Galway accordion player Joe Burke told Connolly the tune was discovered by Ballinakill, County Galway, fiddler Aggie White, who did not have a name for it. She and Burke decided to call it “Ben Hill” on the way to a performance in the 1960’s, naming it after a small incline on the road near where Aggie and her husband Séamus Ryan lived. Irish, Hornpipe. G Major. Standard. AABB. Connolly & Martin (Forget Me Not), 2002; pgs. 52-53. Gael-Linn CEFCD 165, Maire O’Keeffe – “Cóisir (House Party)” (1994).

X: 1
T:Ben Hill [2]
R:Hornpipe
M:C|

L:1/8
K:G
GFGA ~B3c|dgge dBGB|cedc BGAB|cBAG FDEF|
GFGA ~B3c|dgge dBGB|cedc BAFG|1 AGGF G2 (3DEF:|2 AGGF GBdc||
~B3d gfed|c2cB c2cB|AFAf fedc|(3BcB Ac B2 (3DEF|
GFGA ~B3c|dgge dBGB|cedc BAFG|1 AGGF GBdc:|2 AGGF G4||

                       


BEN LOMOND. Scottish; Strathspey. D Major/Mixolydian. Standard tuning. AB (Surenne): AAB (Athole, Gow, Skye): AABB' (Kerr). The Gaelic word ben means mountain or hill, while Lomond is derived from the Gaelic term for beacon. Ben Lomond is a peak 3,192 ft. high, of south-central Scotland on the eastern shore of Loch Lomond. It is mentioned in the poet Robert Tannahill’s piece “Jessie the Flower of Dunblane,” which begins:

***

The sun has gane down o'er the lofty Ben Lomond,
And left the red clouds to reside o'er the scene;
While lanely I stray in the calm simmer gloamin',
To muse on sweet Jessie, the flow'r o' Dunblane.

***

Carlin (The Gow Collection), 1986; No. 435. Gow (Complete Repository), Part 3, 1806; pg. 33. Kerr (Merry Melodies), vol. 2; No. 139, pg. 17. MacDonald (The Skye Collection), 1887; pg. 47. Stewart-Robertson (The Athole Collection), 1884; pg. 90. Surenne (Dance Music of Scotland), 1852; pgs. 72-73. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

X:1

T:Ben Lomond

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

B|A>FA>B A>FA>d|B>AB>d e/e/e e2|d<f f>d e>Bd>A|B<d A>F D/D/D D:|

f/g/|a>fe>f a>fd>f|e>de>f e/e/e ef/g/|a>fd>f a<ba>f|e<de>f d/d/d df/g/|

a>fd>f a>fd>f|e<d e>f e/e/e e2|d<f f>d e>Bd>A|B<d A>F D/D/D D||

                       

BEN LOWRY'S REEL. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 25. Ryan’s Mammoth Collection, 1883; pg. 50.

X:1

T:Ben Lowry’s Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(B/A/) | G(G/A/) (B/d/).d/.e/ | (e/f/).g/.e/ (d/B/).B | .e/.f/(g/e/) .d/.B/(G/A/) | (B/A/)(A/B/) (A/c/).B/.A/ |

.G(G/A/) (B/d/).d | (e/f/g/).e/ (d/B/).B | {a}.g(f/g/e/) (d/B/g/).B/ | (d/B/).A/.B/ G :: d |

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

(b/a/).g/.f/ (g/f/).e/.d/ | (e/g/).d/.c/ (B/A/).A | {A}G/F/G/A/ (B/d/).d | (e/g/).f/.a/ g :|

                       

BEN NEVIS. AKA and see "I'm Owre Young to Marry Yet," "Old Virginia Reel [1]," "The Kilt is My Delight," "The Ruffian's Rant," "Lady Frances Wemys' Reel," "Coig na Scanlan," "Roy's Wife of Aldivalloch." Scottish, Strathspey. D Mixolydian (Kerr): D Major (Carlin/Gow, Surenne). Standard tuning. AB (Surenne): AABB (most versions). The Gaelic ben, or horn, refers to a mountain. The Grampian Mountains are the highest mountain peaks in Britain, extending northeast to southwest along the southern fringe of the Highlands in central Scotland. Ben Nevis (4,406 ft.) is the tallest peak in the range. Scotland. Carlin (The Gow Collection), 1986; No. 437. Gow (Complete Repository), Part 3, 1806; pg. 33. Kerr (Merry Melodies), vol. 2; No. 153, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 102. Surenne (Dance Music of Scotland), 1852; pgs. 86-87. v

X:1

T:Ben Nevis

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

F|D/D/D D>B A>FA>B|D/D/D D>B A>FE>F|D/D/D D>B ABde| f<d e>f F<d E:|

|:B|A<F d>F A<F d>F|AF/F/ d<F B/A/G/F/ E>F|A<F d>F A>Bd>e| f<de>f F<d E:|

                       

BEN NEWE. Scottish, Reel. C Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1963; No. 65, pg. 23.

                       

BEN WALKER'S WALK-AROUND. American, Reel. USA, southwestern Pa. G Major. Standard tuning. ABC. The tune is named for the southeastern Pa. fifer who liked it. Bayard believes this to be an "international" tune, with a version appearing in a German collection by Boehme. Further, he identifies it as appearing as the 2nd tune in the 5th figure of the quadrille "Off to the Skellings," and in the 2nd half of "The Walls of Limerick," both in Roche. Source for notated version: fifer Hiram Horner (Southeastern Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 371, pg. 362.

                       

BEN-A' CHIE. Scottish, Reel. E Flat Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 105, pg. 36.

                       

BENBOW, THE BROTHER TAR. English, Air (4/4 time). A Minor. Standard tuning. AB. The melody and song appear in a broadside ballad from the early 18th century published at Salisbury by Fowler. Benbow's father, Chappell explains, was John Benbow, a Shropshire gentleman and loyal Cavalier who was captured in the battle of Worcester while fighting for King Charles. However, at the Restoration the best position he could obtain was a subordinate post at the Tower of London at such a paltry salary the family became destitute. Thus Benbow the son took to sea 'before the mast', or as an ordinary seaman. He was called the 'brother tar' because he rose from the ranks to become an admiral. See also tune named for him called "Admiral Benbow."

***

Come all you sailors bold,

Lend an ear, lend an ear,

Come all you sailors bold,

Lend an ear, lend an ear;

It’s of our Admirals fame,

Brave Benlow call’d by name,

How he fought on the main

You shall hear, you shall hear,

How he fought on the main

You shall hear, you shall hear.

***

Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 94.

X:1

T:Benbow, the Brother Tar

M:C

L:1/8

S:Chappell – Popular Music of the Olden Time   (1859)

Z:AK/Fiddler’s Companion

K:A Minor

E2|A2A2 ^GA BG|E4 C2E2|=G4 D2B2|d6 cB|c2 BA ^GA BG|A4 C2E2|A6||

AB|c2c2e2e2|d4 c2B2|c2 BA dcBA|^g4 z2D2|E2A2B2d2|c2 BA cBA^G|A4 E2^G2|A6||

D2|E2A2B2d2|c2 BA cBAG|A4 E2^G2|A6||

                       

BEND OF THE LITTLE HORSESHOE, THE. Welsh. The tune first appears in Edward Jones' Musical and Poetical Relicks of the Welsh Bards, 1st ed., 1784.

                       

BEND OF THE RIVER, THE (Caime na Amne). Irish, Slow Air (6/8 time). D Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 597, pg. 105.

X:1

T:Bend of the River, The

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 597

Z:AK/Fiddler’s Companion

K:D Minor

F/G/|A>BA/G/ F2A|G>AF/D/ C2 A/G/|FED CA,C|F2 A G2 F/G/|A>BA/G/ F2A|

G>AF/D/ C2 A/G/|FED CA,^C|D3 D2||D/E/|F>AF/D/ F2A|c>dc/A/ c2 A/G/|

F>AF/D/ FAc|d3 d2e|fed/c/ A2 F/A/|G>AF/D/ C2 A/G/|FED CA,^C|D3 D2||

 

BENFAIN DUIT IANTAN AG IANNAID (I Would Advise You to Pass Over the Boundary). Irish, Air. F Major. Standard tuning. AB. Source for notated version: “From T. MacMahon” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1510, pg. 378.

 


BENHOLM CASTLE. AKA and see "Johnnie Steele," "The New Brig o Dee," "Bob Steele," "The Miller o' Dervil," "The Auld Brig o' Ayr."

 

BENJAMIN’S BIRTH DAY.  American, Country Dance Tune (cut time). A Major. Standard tuning. AA’BB’. The name of a modern English country dance and melody by Gary Roodman. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 9.

 

BENNETT'S FAVORITE. AKA – “Bennett’s Reel.” AKA and see “Betty Pringle’s Pig,” “Great Eastern,” “John Brennan’s Reel,” “North End Reel,” “The Silver Spire.” American, Reel. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 12. Ryan’s Mammoth Collection, 1883; pg. 35. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

X:1

T:Bennett's Reel

R:reel

C:Trad.

S:Cyril Stinnett

A:Missouri

Z:B. Shull, trans.; R.P. LaVaque, ABCs

M:2/4

L:1/16

Q:120

K:D

((3A,B,C)|D2)FE (DF)A(B|dc)df e(cA)F|GBEG (FE)D(F|GF)ED CEA,C|!

D2FE (DF)A(B|dc)df e(cA)F|GBEG (FE)DF)|(ED)CE D2:|!

|:D(B,|A,B,)CD (EF)G(E|FD)EC (DF)A(c|dc)dA FAd(e|gf)g(f e)(dc)A|!

(de)fd (cd)ec|(Bc)(dB) A(GF)D|(GF)EG (FE)DF|(EDCE D2:|

X:2

T:Bennett’s Favorite

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A, | DF/E/ D/F/A/c/ | d/c/d/f/ e/c/A/F/ | G/B/E/G/ F/A/D/F/ | G/F/E/D/ C/E/A,/C/ |

DF/E/ D/F/A/c/ | d/c/d/f/ e/c/A/F/ | G/B/E/G/ F/A/D/F/ | E/D/C/E/ D :|

|: A, | A,/B,/C/D/ E/F/G/E/ | F/D/E/F/ G/A/B/c/ | d/c/d/A/ B/c/d/f/ | g/f/g/e/ d/c/B/A/ |

d/e/f/d/ c/e/A/c/ | d/c/d/B/ A/F/D/F/ | G/B/E/G/ F/A/D/F/ | E/D/C/E/ D :|

 

BENNETT’S REEL. See “Bennett’s Favorite.

 

BENNEVIS. See “Ben Nevis.

 

BENNY EAT A WOODCHUCK. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB. Source for notated version: Henry Lovell (Potawatomie County, Oklahoma) [Thede].

***

Benny Eat a Woodchuck, eat it in a minute,

All but the gizzard, and that wasn't in it.

***

Thede (The Fiddle Book), 1967; pg. 138.

 

BENNY'S JIG. AKA and see "The Dusty Miller{s} [7]" (An Muilleoir faoi Dheannach), "The Dusty Mills."

 

BENORT DA DAECKS O VOE. Shetland, Shetland Reel. Shetland, Unst.

 

BENS OF JURA. AKA and see “Burning Sands of Egypt,” “Road to the Isles.”

 

BENTON'S DREAM. Old‑Time, Breakdown. USA, Surry County, western North Carolina. A Mixolydian. Standard tuning. AA'BB'. Composed by Mt. Airy, Surry County, N.C., fiddler Benton Flippin (b. 1920). Susan Songer notes that Flippen wrote the tune some time in the 1960's while at neighboring Mt. Airy fiddler Tommy Jarrell’s house, just fooling around on the fiddle. Jarrell said “That’s a good tune” and dubbed it “Benton’s Dream.” Source for notated version: Benton Flippen (Mt. Airy, N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 22. Songer (Portland Collection), 1997; pg. 27. Green Linnett SIF1088, Patrick Street - “No. 2 Patrick Street.” Rounder, Benton Flippen - “The Smokey Valley Boys” (1973). Rounder 0213, The Tompkins County Horseflies ‑ "Chokers and Flies" (1985).

X:1

T:Benton’s Dream

M:4/4

L:1/8

C:Benton Flippen

R:Reel

N:Transcribed by Bruce Thomson from the playing of Scott Mathis

K:Am

|:a2 ab age^f|g2 ga g^fed|e2e2e2e2|edc2 A2AB|

[E2c2] cd cBAc|BABc BAGE|(A4 A)GEG|[1 AGAB cdeg:|2 [E8A8]||

|:[G,2G2] [G,G][G,G] [G,2G2] [G,G][G,G]|[G,2G2] [G,G][G,G] [G,2G2] [G,G][G,G]|[G,2G2] [G,G][G,G] [G,2G2] [G,G][G,G]|

[G,2G2] [G,G][G,G] [G,2G2] [G,G][G,G]|A8|e2e2 edc2|(A4 A)GEG|A8:|

 

BERCEUSE DE MUFFE, LA (The Lullaby of Muffe). Belgian. Traditional tune. Flying Fish FF 266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead" (1982).

 

BERE MEAL IS CHEAP AGAIN, THE/DA. AKA and see "Through the Wood of Fyvie." Shetlands, Shetland Reel. Shetland, Whalsay. Cooke (1986) gives the following text to this dance tune, in oral tradition in the Shetlands in the 1970's:

***

Da bere meal is cheap again,

Eight pence a peck again.

 

BEREHAVEN. Irish, Reel. G Major. Standard tuning. AB. Composed by Finbar Dwyer. Mulvihill (1st Collection), 1986; No. 121, pg. 32.

 


BERENDANS (Bear Dance). AKA - “The Dancing Bear.” Flemish, Country Dance Tune (2/4 time). A Minor. Standard tuning. AA’BB’. From the title it appears the tune was used to accompany dancing bears, and comes from the Flemish speaking part of Belgium, although now-a-days the tune is popular throughout Europe. The tune was recorded by the Irish band Dervish, but Henrik Norbeck states that it was first recorded by a band from Holland named “The Kings Galliard” in the 1970's. A printing of the tune appears in Encyclopedia Blowzabellica. See also the related Spanish jig “Danza del oso.” Dervish - “The Boys of Sligo” (c. 1989. Appears as “The Dancing Bear”). Metamora – “The Great Road” (late 1980’s. Appears in a set of Flemish tunes). Pyewackett – “The Man in the Moon Drinks Claret” (early 1980’s, described as a Belgian tune). 

X:1

T:Berendans

L:1/8

M:C

K:Am

e2A2 ABcd|e2A2 A2AB|c2c2 B2c2|d2d2 c2d2|\

e2A2 ABcd|e2A2 A2AB|c2c2 BAG2|1A2AG ABcd:|2A2AG A2AB|:\

c2ee dcB2|c2ee dcB2|gdBd g2_B2|A2f2 e2^g2|\

a2e2 cdcB|A2AB c2ee|fedc BAG2|1A2AG A2AB:|2A2AG ABcd|]

 

BERGEN POLKA, THE.  AKA and see “The Norwegian Polka.” Norwegian, Polka.

 

BERGERE DE COUVANDON, LA. French, Bourree a 2 temps (Bourree in two tempos). Traditional tune of Central France. C Major/A Minor. Standard tuning. AA'BB'. Stevens (Massif Central), 1988, vol. 2; No. 88.

                       

BERGERETTE, LA.  French, Country Dance (6/8 time). A Minor. 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. 64.

X:1

T:Bergerette, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 64

Z:AK/Fiddler’s Companion

K:Amin

ae | fdf ece | dBd cAf | edc BcA | ^GAB Eae | fdf ece | dBd cAf |

edc BA^G | A3 z :||: c’g | afa geg | fdf eca | gfe dec | BGD G,B,D |

G,CE G,DF | G,EG G,EG | EDC G,CB, | C2C Cae | fdf ece | dBd cAf |

edc BcA | ^GAB Eae | fdf ece | dBd cAf | edc BA^G | A2 A :|

 

BERKELEY CASTLE.  English, Country Dance Tune (whole time). G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Berkeley Castle was originally a Norman Castle dating from the time of Henry II, near the town of Berkeley, Gloucestershire. The castle is still owned and occupied by the Berkeley family. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 21.

X:1

T:Berkeley Castle

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G>A|B2 A>B G2 g>f|g2 d>B c2 e>c|A2 d>B G2 cB|AGFE D2 G>A|B2 A>B G2 g>f|

gdBG c2 A>c|B>gd>B c>AF>A|G2 G>G G2::B>c|d2 B>c d2 e>f|g2 e>f g2 B>c|

d2 B>c d2 cB|AGFE D2 B>c|d2 B>c d2 e>f|g2 e>f g2 A>c|B>gd>B c>AF>A|G2 G>G G2:||

                       

BERKS OF ABERGELDE, THE.  See “Birks of Abergeldy.

 

BERK(E)S OF PLUNKETTY. Scottish. Included in Playford's 1700 collection of Scottish dance tunes.

 

BERKSHIRE HEIGHTS, THE (Arda Berkshire). AKA and see "Fred/Freddy Finn's [1]," "Molly What Ails You?" "You're Right My Love." Irish, Reel. D Mixolydian. Standard. AA'BB'. The original name for the tune now known popularly as "Fred Finn's," maintain Breandan Breathnach and Bernard Flaherty (Trip to Sligo) in their respective publications. Berkshire is a Old English name meaning “the hilly wood,” thought Matthews (1972) thinks the root is the Celtic word bearroc (meaning ‘hilly’) adopted by the Saxons when they conquored Britain. “Fred Finn’s” and “Fisherman’s Lilt [1]” are related tunes. Source for notated version: whistle player Jimmie McGettrick, 1967 (Co. Sligo, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 257, pg. 133.

 

BERLIN POLKA [1]. Old‑Time, Polka. USA, New Mexico.  G Major ('A' part) & D Major ('B' part). Standard tuning. AB. Source for notated version: Forest Delk (New Mexico) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory), vol. 2, 1984; pg. 131.

 

BERLIN POLKA [2]. Old‑Time, Polka. USA, Oklahoma. Unrelated to above tune. C Major. Standard tuning. AABBCDD. The first part has some similarity to the first part of "Up Jumped the Devil." Source for notated version: Bill Baker (Texas County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 146.

 

BERNADETTE’S REEL. Canadian, Reel. Canada, Cape Breton. A Minor. Standard tuning. AA’BB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 42, pg. 12. Boot Records, Jerry Holland - “Master Cape Breton Fiddler” (1982). Green Linnet GLCD 1156, Jerry Holland – “The Fiddlesticks Collection.” WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

 

BERNADO’S FAVORITE. AKA and see “Humors of Castle Bernard.” American, (Lancashire) Clog. D Major. Standard tuning. AABB. The title perhaps refers to a black-face minstrel whose stage name was ‘Bernardo’ (not Bernado). Edward Le Roy Rice, in his volume Monarchs of Minstrelsy (New York, 1911) gives this entry on him:

***

“BERNARDO” (Thomas White), a prominent female impersonator in the “good old days,”

according to Frand Dumont, appeared as early as 1867 with Ned Davis/ Olio Minstrels as

Master J. Buckley. He was with Hooley’s Minstrels in Brooklyn, N.Y., two years later, playing

under hisown name, Thos. White. He joined Lew Benedict’s Minstrels in July, 1872, subsequently

he was associated with the San Francisco Minstrels in New York in 1875; the same year he joined

Hooley’s Minstrels in Brooklyn, N.Y., and in 1878 was a member of Charley Morris Minstrels.

He was with Bryant’s in New York, also Haverly’s Minstrels. In May, 1877, with Charley Sutton,

Francis Wilson and Jimmy Mackin, he launched Mackin, Wilson, Sutton and Bernardo’s

Minstrels. “Bernardo” died in Brooklyn, N.Y., Novermber 21, 1880. (pg. 210)

***

Cole (1000 Fiddle Tunes), 1940; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 158.

X:1

T:Bernando’s Favorite

M:C

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(f>.e) | (d>.f)(A>.d) (3DFA (d>.f) | a>fb>f a>gf>e | d>fA>d (3dfa d>f | (3efe (3dcB A>gf>e |

d>fA>d (3DFA d>f | a>fb>f a>gf>e | d>^de>f (3gec (3ABc | d2f2d2 :: A2 |

c>de>f g>ec>A | d>cd>e f>de>f | {a}g>fg>a b>ag>f | (3efd (3cdB A2 A>B |

c>de>f g>ec>A | d>cd>e f>de>f | g>ba>g f>de>c | d2f2d2 :|

 

BERNAIGH AN BAIRILLE. AKA and see "Top the Barrell."

 

BERNARD UA BROLCAIN. AKA and see "Barney Brallaghan."

 


BERNARD'S WELL. AKA and see “St. Bernard’s Well.” Scottish, Reel. G Mixolydian. Standard tuning. AB. The melody was first published by Neil Stewart (or Steuart) in The Newest and Best Reels or Country Dances (1761, pg. 25), according to Glen, and also appears in the Gillespie Manuscript of 1768. Bernard's Well was "an Edinburgh landmark for those who took the waters to improve their health. The value was no doubt more psychological than medical, although the water was said to be 'impregnated with iron and sulpher...and highly diuretic" (Alburger, 1983). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 35, pg. 59.

 

BERNERAY, HARRIS. See "Alexander McAskill."

 

BERQUILLOISE, LA. French, Polka. France, Central France. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Stevens (Massif Central), 1987; No. 104.

 

BERRY DHOAN. AKA and see “The brown oxen.”

                       

BERRYDEN COTTAGE. Scottish, Strathspey. A Major. Standard tuning. One part. Composed by P. Milne (1824‑1908), a self‑taught fiddler born in Kincardine O'Neil. Milne earned his living playing in theatres about Scotland and was one on J. Scott Skinner's teachers, but later became an opium addict and was reduced to playing on the ferry‑boats crossing the Firth of Forth (in the company of blind musician Willie Grant). Hunter (1988) says: "He was a talented composer and a natural fiddler who, in his own words 'was that fond o' my fiddle, I could sit inside it and look oot.'" Hunter (Fiddle Music of Scotland), 1988; No. 23.

                       

BERT COUNTY BREAKDOWN. Old-Time, Breakdown. USA, Missouri. A Major. On Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’.

                       

BERT FERGUSON. Shetland, Jig. A Major. Standard tuning. AABB. A modern composition by the late Shetland musician Samuel Ian Rothmar Burns, named after his wife’s uncle-in-law. Songer (Portland Collection), 1997; pg. 28. Laurie Andres - “Fantastic Hornpipe.”

                       

BERT MURRAY. Scottish, Hornpipe. D Major ('A' part) & G Major ('B' part). Standard tuning. AB. This hornpipe was composed by Scottish fiddler Arthur S. Robertson in honor of Bert Murray (b. Aberdeen, 1913), a largely self‑taught fiddler and composer of over 350 tunes. He has been a leading figure in traditional Scots fiddling in the latter 20th century. Neil (The Scots Fiddle), 1991; No. 79, pg. 105.

                                               

BERWICK. Scottish, Fling. G Major. Standard tuning. AABB. The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley. The town of Berwick-on-Tweed the northernmost town in England and was constantly the scene of disputes with the neighboring Scots, so much so that it changed hands thirteen times since it was founded in 870 before passing finally to England in 1482. Queen Elizabeth I began a fortification of the city in 1558 (completed in 1565) called the Elizbethan Wall. Hardings All Round Collection, 1905; No. 16, pg. 5.

                                   

BERWICK ASSEMBLY. Scottish, Reel. A Major. Standard tuning. AAB. The title refers to an upper-class group association for dancing centered in Berwick, northern England. The melody appears in the Calvert Collection (1799), compiled by musician Thomas Calvert of Kelso, Borders, Scotland. A note with the manuscript states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired” in that town.

X: 1

T:Berwick Assembly

M:4/4

L:1/8

B:The Calvert Collection (1799) - Page 13

Z:Andrew Kuntz

K:A

e|fgaf ecAc|(BA)Bc (AF)Fe|fg{g}af ecAc|BABc [C/A/][C/A/][CA][CA]:|

A|E>Ac>A d>Bc>A|d>Bc>A BFFB|E>Ac>A e<ccf|

ecBc [C/A/][C/A/][CA] [CA]A|E>Ac>A d>Bc>A|d>Bc>A BFFB|

A>ag>a e>ac>A|e>ag>b [c2a2][ca]||

                                   

BERWICK JOCKEY [1], THE. Irish, Hop Jig (Slip Jig, 9/8). D Major. Standard tuning. AAB. A variant of the English Borders tune by the same name. Roche Collection, 1912/1982; vol. II, pg. 26, No. 261.

X:1

T:Berwick Jockey, The [1]

M:9/8

L:1/8

R:Slip Jig

S:Roche Collection, Vol. II (1912), No. 261

Z:AK/Fiddler’s Companion

K:D

A2A AGF AGF | A2A AGF Bcd | ABA AGF AGF | B2E E2F G2B :|

A2D D2d AGF | A2D D2E F2B | A2D D2d AGF | G2E E2F G2B |

ABc ded cBA | d2F F2G A2B | ABc ded cBA | B2E E2F G2B ||

 


BERWICK JOCKEY [2], THE. AKA and see "Berwick Johnny," "Barwick Billy," “Go to Berwick, Johnny.” English, Reel. England, Northumberland. Parts of the tune sound similar to version #1, though of course the time signatures are different.

 

BERWICK JOCKEY [3], THE.  English, Old Hornpipe (3/2 time). F Major. Standard tuning. AABBCC. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. Roche’s “Berwick Jockey” [1]  is a variant. The Joseph Kershaw Manuscript, 1993; No. 9.

                                   

BERWICK JOHNNY. AKA and see "Barwick Billy," "Berwick Jockey [2]," “Go to Berwick, Johnny.” This title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800. The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley. The town of Berwick-on-Tweed the northernmost town in England and was constantly the scene of disputes with the neighboring Scots, so much so that it changed hands thirteen times since it was founded in 870 before passing finally to England in 1482. Queen Elizabeth I began a fortification of the city in 1558 (completed in 1565) called the Elizbethan Wall.

                       

BERWICK LASSES. English, Country Dance Tune (4/4 time). England, Yorkshire. D Major. Standard tuning. AABB. The editors identify this tune as a variant of the Lowland/Border tune "Carrick's/Carrack's Reel/Rant," which itself is a variant of "Mary Scott." The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley. The town of Berwick-on-Tweed the northernmost town in England and was constantly the scene of disputes with the neighboring Scots, so much so that it changed hands thirteen times since it was founded in 870 before passing finally to England in 1482. Queen Elizabeth I began a fortification of the city in 1558 (completed in 1565) called the Elizbethan Wall. See also note for "Sir John Fenwick's the Flower Among Them All." Source for notated version: a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 124, pg. 65.

                       

BERWICK QUICKSTEP.  Scottish, Quickstep March (6/8 time). G Major. Standard tuning. AABBCC. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 6, pg. 4.

 

BESIDE A RATH (Cois Leasa). Irish, Hornpipe. G Major. Standard tuning. AABB. Beside a rath, meaning ‘beside a fairy circle’. Thought by O'Neill and Bayard to be a version of "Flowers of Edinburgh [1]," although Alfred Moffat and O'Sullivan (The Bunting Collection) disagree. It resembles "Cois Leasa Agus Me Go h‑Uaigneac." O'Neill (O’Neill’s Irish Music), 1915/1987; No. 358, pg. 174. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 943, pg. 161.

X:1

T:Beside a Rath

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 943

Z:AK/Fiddler’s Companion

K:G

BA|GEDE G2 GA|Bdde dcBA|BGED EFGA|BGcB AGEF|

GEDE G3A|(3Bcd ef gage|fdce dBGB|A2G2G2:|

|:ef|gfef dfag|fdeB d3e|dBAF GABd|cBAG (3EFG FA|

GEDE G3A|(3Bcd ef gage|fdce dBGB|A2G2G2:|

                       

BESIDE A SILVERY STREAM. Irish, Air (3/4 time, "animated"). D Major. Standard tuning. 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. 362, pg. 63.

X:1

T:Beside a Silvery Stream

M:2/4

L:1/8

R:Air

N:”Animated”

S:O’Neill – Music of Ireland (1903), No. 362

Z:AK/Fiddler’s Companion

K:D

fed|c2A2G2|F4 GE|D2E2 c2|d4 ed|c2A2G2|F4 GE|D6| D3 fed|c2 A2 G2|F2F2 GE|

D2E2c2|d2c2 ed|c2A2G2|F4 GE|D6|D3||EFG|A2d2c2|d4 cd|e2d2c2|d4 AG|

F2 AB cA|d2 cd ec|d4 f2|e3 fed|c2A2G2|F4 GE|D2E2c2|d3 fed|C2A2G2|F4 GE|D6|D3||

                       

BESIDE THE BANN. AKA and see "The Bridal Jig [1]." Irish, Double Jig. This alternate title appears in O'Neill's 1001 Gems (1907).

                       

BESIDE THE HARBOUR (Cois taoibh a chuinn). Irish, "Piece." D Mixolydian/D Dorian. Standard tuning. AB. "When I learned this tune from the singing of my grandmother, about 1850, she was then 90 years of age: and she told me that she learned it by hearing it played on the violin by her grandmother. There is a setting in Stanfor‑Petrie: but the version I give here is considerably different, and is, I think, much finer. This was a "Piece," i.e. an instrumental tune somewhat longer and more elaborate than the ordinary 2‑ or 3‑ Part airs" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 71, pgs. 38‑39.

X:1

T:Beside the Harbour

T:Cois taoibh a chuinn

M:C

L:1/8

R:Air

N:”Moderately”

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

Z:AK/Fiddler’s Companion

K:Dmix

AG|FEFG A>B A/G/F/A/|G>{AG}FGA c2 dc|A2 A>B AGFA|G3F D2AG|FEFG A>B A/G/F/A/|

G>{AG}FGA c2 dc|A2 A>B AGFG|A6 DE|FEFG A>B A/G/F/A/|

G>{AG}FGA c2 dc|A2 A>B cdeg|=f3 e dc e2|d>cAG =FE D2|EDEG A2 GE|

D DG E2 DE|D4D2||(6A/2B/2c/2d/2e/2g/2|=f4 g2 fg|a4 z2 ^F2|G3F D2 DE|

D4 z2 (6A/2B/2c/2d/2e/2g/2|=f4 g2 fg|a6 ^F2|GFGc A2A2|A6 d/e/f/g/|

agab a>b a/g/f/a/|(g2 {a/g/f/}g)a gbag|(=f2 {g/e/}f)e d>efd|d>c A(3GFG A3 (3A/B/c/|

d2 d>c de=fe|d>cAG A2 AB|c>dcA cd=fe|d>cAF G2 d/c/A/G/|=FEAG F2 ED|

EDEG A2 GE|D2 DG E2 DE|D4 D2||

                       

BESIDE THE RIVER (Cois Abhann). Irish, Air. A Dorian. Standard tuning. AB. "Mr. Pigot took this down from O'Neill (a piper) of Tipperary" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 811, pgs. 393‑394.

                       

BESIDE THE RIVER BRIDE. Bride is a river which runs through the Irish counties of Cork and Waterford. AKA and see "The Soft Deal Board."

                       


BESIDE THE RIVER LAUNE [1]. AKA and see "Cois Aimhne Na Leamha." Irish, Air (3/4 time). G Dorian. Standard tuning. AAB. "There is a different air with this name in Stanford‑Petrie" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 480, pg. 266.

X:1

T:Beside the River Laune [1]

M:3/4

L:1/8

R:Air

N:”Expressive”

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

Z:AK/Fiddler’s Companion

K:Gdor

DE/F/ | GFGAGF | F2A2c2 | AdcBAG | F4 fe | d4 d/e/f | F2 A/G/F DG {F/G/A/} |

G4 FG/A/ | G4 :| fe | d2g2 f/g/a | g4 fa/g/ | f2 fd cd | f4 dg | a2 bagf | d4 f2 | dc BA GF/G/ |

A4 fe | d2 fg fg/a/ | F2 A/G/F DG {F/G/A/} | G4 F/G/A | G4 ||

 

BESIDE THE RIVER LOUNE [2]. Irish, Air (3/4 time). F Minor. Standard tuning. AB. A different melody than Joyce’s. Source for notated version: “From P. MacDowell Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 806, pg. 201.

X:1

T:Beside the River Loune [2]

M:3/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 806

Z:AK/Fiddler’s Companion

K:F Minor

AB | c2 c>B (3BAF | F2E2 cB | A2E2F2 | F4 AB | {c}e2 c>B (3BGF |

F2E2 cB | A2E2F2 | F4 || FG | A2B2 (c/>B/A/F/) | A F3 (3c=d=e |

f2 =e2 f_e | d2c2 AB | {c/d/}e2 c>B (3BAF | F2E2 cB | A2E2F2 | F4 ||

                       

BESIDE THE WHITE ROCKS (Cois na Carraige Baine). Irish, Air (6/8 time, "animated"). D Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 603, pg. 106.

X:1

T:Beside the White Rocks

M:6/8

L:1/8

R:Air

N:”Animated”

S:O’Neill – Music of Ireland (1903), No. 603

Z:AK/Fiddler’s Companion

K:D

F/G/|A>Bc d2e|f2d ecA|A>GE GAB|=c3 A2G|A>Bc d>ef/g/|f2d ecA|A>GE GAE|D3 D2||

G|AGE GAB|=c2B A2G|AGE GAB|=c3 A2G|A>Bc d>ef/g/|f2d ecA|A>GE GAE|D3 D2||

                       

BESOM BRUSH, THE.  English (?), Slip Jig (9/8 time). D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 5, pg. 3.

 

BESOM IN BLOOM, THE (An Giolcac Faoi Blat). Irish, Double Jig. A Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 797, pg. 148. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 70, pg. 28. Coleman Center CD CC004,Colm O’Donnell & Seamus Quinn – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

X:1

T:Besom in Bloom, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 70

Z:AK/Fiddler’s Companion

K:A

e/d/|cBA c2A|dBA A2d|cBA c2d|edc ded\cBA c2d|ede c’2b|aba gec|edc d2:|

|:e|fgf fed|efe e2d|cBA c2A|dBA A2e|fgf fed|efe efg|aba gec|edc d2:|

                       

BESS KING’S HORNPIPE. English, (Old) Hornpipe (3/2 time). G Minor. Standard tuning. AABBCCDDEEFFGG. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around 1730.

X:1

T:Bess Kings Hornpipe

B:Walsh

M:3/2

L:1/8

K:Gm

c4 e4 g4 |f2 d4 ed c2 _a2| g2 f2 e2 d2 c2 ^B2|c2 G4 de d2 c4::\

e2 g4 _a2 b2 e2| d2 f4 g2 _a2 d2| c2 e4 f2 g2 d2| ^B4 G4 G4::\

b4 b2 e2 d2 b2 |a4 a2 d2 c2 _a2| g4 g2 c2 ^Bc2| c6 =B2 c4::\

G2 c2 d2 e2 f2 d2| B2 d2 e2 f2 g2 e2| c2 e2 f2 g2 _a2 e2| d6 c2 c4::\

c2 c'2 g2 e2 g2 b2|d2 b2 f2 d2 f2 _a2|g2 c2 ^B2 g2 A2 ^f2|\

g2 G2 _A2 F2 G2 =B2::\

c2 G2 E2 G2 C2 F2|B2 F2 D2 F2 D2 G2|C2 G2 E2 C2 DE|D3 G D2 C2 ^B,2 G2::\

C2 G2 _A2 G2 _A2 C2| B,2 F2 G2 F2 G2 B,2| _A,2 F2 G2 E2 _AGFE| D6 C4:|

                       

BESS KING’S JIG. English, (Old) Hornpipe (6/4 time). G Minor. Standard tuning. AABB. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published c. 1730.

X:1

T:Bess Kings Jigg

B:Walsh

M:6/4

L:1/8

K:Gm

ef| g6 f3 e d2| e2 g2 c2 =B3 c d2| e3 d c2 B3 _A G2| _A2 F3 E/2F/2 G4::\

G_A| B3 c B2 e4 e/2f/2g| f2 edcB B4 b2| g3 f e2 d2 e2 dc| g6 g4 f2|\

e2 d2 c2 =B2 c2 d2|e2 f2 g2 _a4 g2| f2 ed e2 G2 c2 =B2 |c6 c4:|

                       

BESSIE. Irish, Air (3/4 time). D Minor. Standard tuning. AABB’. Howe (1,000 Jigs and Reels), c. 1867; pg. 23.

X:1

T:Bessie

M:3/4

L:1/8

N:”With expression”

R:Air

S:Howe – 1000 Jigs and Reels

Z:AK/Fiddler’s Companion

K:D Minor

D>E FG A=B | c2 [F2d2] c_B | A>G FG A>F | GF D2 de | f2e2d2 | c2F2G2 |

A2d2e2 | d4 de | f2 AG A=B | c2d2 c_B | A>G FG A>F | G>F D2 DC |

D2 d>f ed | c2A2 FA | GF D2 [B,2D2] | [C6D6] ||

           

BESSIE’S HAGGIES. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABBCCDDEE. McGibbon (Scots Tunes, Book II), c. 1746; pg. 32.

X:1

T:Bessie’s Haggies

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book II, pg. 32 (c. 1746)

Z:AK/Fiddler’s Companion

K:D

D2 F>E D2A2 | (BA)(GF) “tr”E3F | D2 FE D2A2 | (B>cd)A “tr”F2A2 | B2d2F2A2 |

(BA)(GF) “tr”E3F | D2F2A2(de) | f2D2”tr”F2A2 :: D2A2 (d2”tr”cB) | (c>d) (c/d/e) E3F |

D2A2d2(de) | ({d}c2) (BA) d3e | (fd)(ec) (dB)(cA) | (BF)(GA) “tr”E2F | (DE)(FG) (ABc)A |

(d>ef)D “tr”F2A2 :: d2dd (d/e/f/g/ a)d | (ba)”tr”(gf) ({f}e3)e | fdAd (F/E/F/G/ A)F |

(B/A/B/c/) (B/c/d/A/) FGAF | (B/A/B/c/) (B/c/d/A/) (F/E/F/G/) (F/G/A/F/) | BA (G/F/)(d/F/) ({F}”tr”E3)F |

D(D/E/) F(F/G/) A/(c/B/A/) de | ({e}f2)D2”tr”F2A2 :: DDFA d2 “tr”(cB) | c>d (c/d/e) E3F |

D(D/E/ F/D/F/A/) | ({d}c2) “tr”(BA) (dc)(de) | (f/d/)”tr”(d/>c/2d/4) (e/c/)”tr”(c/>B/2c/4) (d/B/”tr”B/>A/2B/4) (c/A/”tr”A/>G/2A/4) |

(B/F/”tr”F/>E/2F/4) (G/4F/4G/4A/4G/F/) ({F}”tr”E3)F | D/(F/E/)(G/ F/)(A/G/)(B/ A/)(c/B/)(d/ c/)A/B/c/ |

(d/c/d/)e/ (d/e/f/)D “tr”F2A2 :|

           

BESS(Y) BELL. See note for “Bessy Bell and Mary Gray.”

                       

BESSY BELL AND MARY GRAY. AKA – “Bessie/Bessy Bell.” Scottish, English; Air and Jig. D Mixolydian. Standard tuning. AABB. A tune by this name was included in Playford's 1700 collection of Scottish dance tunes, in Orpheus Caledonius, and other publications. In Thomson's Orpheus Caledonius (1725), first edition, it is credited to David Rizzio, who was Queen Mary's secretary and a lutenist and singer of repute, but in the second edition the ascription was removed. It is unclear whether he was in fact the author of the tune. John Gay's uses the melody in his Beggar's Opera (1729) where it appears under the title "A curse attends that woman's love." The tune was used as an early vehicle for the song “Vicar of Bray,” as published in Walsh’s British Musical Miscellany (vol. I, 1734). Kidson calls it a “quite unvocal and inappropriate tune” for the song, and that the words to “Vicar” were more appropriately set to the melody “Country Garden(s)” late in the 18th century. The title is that of a well-known ballad, recorded in modern times by Martin Carthy (on his album “Shearwater”) and Steeleye Span, to name a few. The words to the song go, in part:

***
O Bessie Bell an' Mary Gray!
They were twa bonnie la sses,
They biggit a bower on yon burn-brae,
An' theekit it owre wi' rashes.
***
They theekit it owre wi' rashes green.
They happit it roun' wi' heather;

But the pest cam' frae the Burrow-toun
An' slew them baith thegither.

***

Tradition has it that Bessy Bell and Mary Gray were young women, daughters of local Perthshire gentry, who attempted to escape the plague ravaging the countryside in the year 1645. It had begun in the south and gradually spread northward, crossing the border to ravage first Kelso and then Edinburgh. By August of the year it had reached Perth, where more than 3,000 people died, straining the limits of the towns resources so much that many of the corpses were left to rot in the streets. Numerous of the more well-to-do of the region fled to the countryside, hoping to ride out the contagion in the comparative safety of the rural areas.

***

Mary and Bessy fled to a cottage or ‘bower’ located a mile from Lynedoch House, the home of Mary Gray. They were visited on occasion by a youth of their acquaintance, a lover of Bessie’s, who brought them food and other supplies from the town of Perth. On one of his visits he brought his love a token, a lace handkerchief or a string of pearls, that he had obtained from the corpse of a plague victim.  Bessy soon took ill, and in nursing her, so did Mary.  They died in each others arms. Unfortunately, their bodies were not admitted to either the town or to family plots because of the plague and they were left as they lay.  Later, after the plague subsided, they were buried together.  Later the gravesite was improved with iron railings and a large stone, on which was carved: “They lived, they loved, they died.”

***

Nigel Gatherer relates that after the death of the pair a ballad was written that was adapted by Allan Ramsay, John Leyden (who worked with Walter Scott, and moved the scene of the story to the Borders) and James Duff of Logiealmond. It appears in Francis Child’s great work The English and Scottish Popular Ballads as ballad number 201, and earlier appeared in Charles Kirkpatrick Sharpe's A Ballad Book. Incidentally, says Gatherer, there are two hills named Bessie Bell and Mary Gray (respectively) in County Tyrone, Ireland, and another two hills supposedly of the same name outside Staunton, Virginia, in the United States.

***

John Adams, of the Village Music Project, relates that the pairing of Bessy and Mary was adapted to another folk tradition, having to do with old working class customs. The following rhymes were sung by 19th century Derbyshire Mill girls as part of the annual ritual breaking of the holiday, states Adams, as the locked the master and mistress out of their mill, and still singing the song, would not “release” them until the holiday was granted.

***

Betsy Bell and Mary Gray were saucy kissable lasses
They built a bower near yonder tower and covered it with rushes
Twenty pins have I to go, let ways be ever so dirty
Never a penny in mi purse but farthings five and thirty.

***
Pardon Mistress, pardon Master, pardon for a pin
If you will not give a holiday we will not let you in!
Twenty Pins have I ...............

***

Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 63, pg. 24. McGibbon (Scots Tunes, book III), c. 1762; pg. 73. McGlashan (Collection of Scots Measures), 177?; pg. 5.

X:1

T:Bessy Bell and Mary Gray

L:1/8

M:6/8

B:McGlashan – Collection of Scots Measures (177?)

Z:AK/Fiddler’s Companion

K:D Mix

A|F>GA ABc|B>AB G2G|F>GA A>BA|d3 (g2f/g/)|aAA ABc|

BAG g2 f/g/|agf gfe|d3f2::f/g/|afd dfd|gec efg|a/g/f/e/d d>fd|

f3 (g2f/g/)|afd faf|gec efg|agf gfe|d3f2||

X:2

T:Bessie Bell

M:6/8

L:1/8

S:McGibbon – Scots Tunes, book III, pg. 73  (c. 1762)

Z:AK/Fiddler’s Companion

K:D

A | “tr”F>GA AB=c | B>AB G2G | F>GA/B/ AFD | f3 “tr”(g2f/g/) | aAA AB=c |

BAG “tr”(g2f/g/) | agf gfe | d3f2 :: (f/g/) | afd (f/g/a)f | ge=c “tr”(g2f/g/) | (a/g/f/e/d) d>ed |

f3 “tr”(g2 f/g/) | (a/g/f/e/d) faf | e=ce “tr”(g2f/g/) | agf gfe | d3f2 :: A | F>GA AB=c |

B/=c/d/c/B/A/ G2G | F>GA/B/ A/G/F/E/F/D/ | f3 “tr”(g2f/g/) | aAA A/B/=c/A/B/c/ |

B/=c/B/A/B/G/ g/f/g/a/f/g/ | a/g/f/a/g/f/ g/f/e/g/f/e/ | dAF D2 :: f/g/ | a/g/f/e/f/d/ f/e/f/g/a/f/ |

g/f/e/d/e/=c/ e/f/g/e/f/g/ | a/g/f/e/f/d/ f/e/f/g/a/g/ | “tr”f3 “tr”(g2f/g/) | a/g/f/e/f/d/ f/e/f/g/a/f/ |

e/d/=c/d/e/c/ g/f/g/a/f/g/ | a/g/f/a/g/f/ g/f/e/g/f/e/ | dBF [D2A2f2] z :|

                       

BESSIE MACINTYRE. Scottish. Composed by W. MacLean. Flying Fish FF 299, Battlefield Band ‑ "There's a Buzz" (1982).

                       

BESSY MURPHY (Eilis Ni Murcada). Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]. O'Neill (Krassen), 1976; pg. 45. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 953, pg. 177. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 177, pg. 43.

X:1

T:Bessy Murphy

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 177

Z:AK/Fiddler’s Companion

K:D

A/G/|F2G ABc|ded cAG|FGA cAG|FGA A2G|F2G ABc|ded cAG|FDF GAG|FDF G2:|

|:g|fed cde|fed cAG|FGA cAG|FGA A2g|fed cde|fed cAG|FDF GAG|FDF G2:|

                       

BESSY OF DROMORE. Irish, Air (2/4 time). F Major: G Major. Standard tuning. One part: AB. Stanford/Petrie (Complete Collection), 1905; Nos. 414 & 415, pg. 105.

X:1

T:Bessy of Dromore

M:2/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 414

Z:AK/Fiddler’s Companion

K:G

F/>D/ | C>D FF | F3 G/A/ | BG cA | G3F | G>G GA | G2 FG/A/ | BA/G/ AF |

D2 CF/G/ | A>B cc | c2 df | dc fG | A>G F{A}G | FD CD | ~F>G AF | GF/G/ FF |
F3 F/G/ || A>B cc | c2 df | dc fG | A>G FG | F>D CD | F>G AF | GF/G/ FF F3 ||

X:2

T:Bessy of Dromore

M:2/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 415

Z:AK/Fiddler’s Companion

K:G

G/E/ | DE GG | G2 AG | c>Ad>B A3G | A>A AB | A2 GA/B/ | c>A BG | E2 D ||

G/A/ | B>c dd | d2 eg | ed gA | B>A GA| GE DE | G>A BG | AG/A/ GG | G3 ||

                       

BEST IN THE BAG, THE (Ceann Is Fearr Annsa Mala). AKA and see “The Happy Mistake,” “King of Jigs,” “Lady Shire’s Favourite,” “Miss/Mrs. Monroe’s Jig,” “Mrs. Spens Monroe.” Irish, Double Jig. G Major. Standard tuning. AABB. “Miss/Mrs. Monroe’s Jig” is a related tune. Allan’s Irish Fiddler, No. 23, pg. 6 (appears as “Happy Mistake”). O'Neill (Krassen), 1976; pg. 33. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 852, pg. 158. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 113, pg. 34.

X:1

T:Best in the Bag, The

B:O'Neill's "Dance Music of Ireland", no. 115

M:6/8

L:1/8

R:Jig

K:G

D|GAG AGA|Bge dBA|GFG AGA|BGE E2 {FE}D|

GAG AGA|Bge dBG|c2 {dc}A BGE|GAG G2:|:d|

gfg efg|fag fed|gfg efg|afd d2 (3d/e/f/|

g2 e a2 f|g2 e dBG|c2 {dc} A BGE|GAG G2:|

                       

BEST OF BOTH WORLDS, THE. American, Waltz. E Major. Standard tuning. AB. Composed by Kathrine Gardner in 1989, in happy memory of her being able to arrange to live both the life of a ranch wife and an itinerant musician. Matthiesen (Waltz Book II), 1995; pg. 6.

                       

BEST SHOT. AKA and see “Fly by Night [2].” American, Hornpipe. G Major. Standard tuning. AABA. "Can be used as a Clog,” notes Ryan. See note for “American Rifle Team” for possible connection. Cole (1000 Fiddle Tunes), 1940; pg. 109. Ryan’s Mammoth Collection, 1883; pg. 147.

X:1

T:Best Shot

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(DB,) |: G,>DB,>G D>BG>d | B>gf>e ^d>ec>A | F>AD>F A>ce>d | c>AF>E ^C>D=C>A, |

G,>DB,>G D>BG>d | B.gf>e ^d>ec>A | F>AD>F A>ce>d | c>AE>F G2 :|

|| (FG) | B>A^G>A g>AG>A | B>A^G>A f>AG>A | B>A^G>A e>AG>A | (3gfe (3d^cB A>A^G>A |

B>A^G>A g>AG>A | B>A^G>A f>AG>A | B>A g>e ^c>AG>E | D>^CD>E (3DED (3=CB,A, ||

                       


BETHNE CULLEN'S. English, Waltz. D Major. Standard tuning. AABB. A modern composition by Ian McGrady. Knowles (Northern Frisk), 1988; No. 136.

                       

BETSY. Old-Time, Breakdown. USA, Virginia. A Dorian. Standard tuning. ABBA. From the playing of Glyn Lynn, Va., fiddler Henry Reed, taped by musicologist Alan Jabbour around 1966 or 1967. Jabbour notes that he believes this tune was part of Reed’s core repertoire and that Reed considered it a good dance tune. Reed could not remember the full title but said that it was something about ‘Betsy’. CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

X:1

T:Betsy

L:1/8

M:4/4

S:From a transcription of the playing of Henry Reed by Alan Jabbour

K:Ador

Bc/c/ AA A/B/c/d/ e2|d2 (G2 G/)A/B/c/ dB|B/c(A/ A)(A A/)B/c/d/ ed|

e/f/g/f/ e/d/B A/A A/B/|c/B/c G>A A/B/c/d/ e2|e/d/B/A/ G>G G (3A/B/c/ dB|

c/B/c A(A A/)B/c/d/ [Ae]d|e/f/g/f/ e/d/B (G/A)(A/ A)||[Ae]|

[A/e/]^c/e/f/4g/4 a>b ^c’a/e/ ed|[A/e/]d/e e/d/c/d/ e2|e2 {f}a>a ^c’a/4f/4(e/ e)e/f/|

g/f/e/d/ c/A/B AA [Ae]|[A/e/]^c/e/g/ a2 ^c’a/(e/ e)d/c/|

[A/e/]d/e/f/ g>g e/d/^c/d/ e2|e>f/2g/4 aa/b/ ^c’a/f/ ed|fe/d/ c/A/B (G/A)(A/ A)||

                       

BETSY BAKER.  English, Air (4/4 time). G Major. Standard tuning. AAB (Shields/Goodman): AABB (Miller). Early printed versions can be found in a chapbook copy printed in Glasgow, Scotland, in 1829 (a copy is in the Harvard Library), and in the Universal Songster, vol. 2 (1826, pg. 332), where it is attributed to Thomas Hudson (1791-1844). Hudson was a London greengrocer who published a number of song collections between 1818 and 1831, apparently as a side trade, as he sold them from his grocery shop. He probably composed lyrics to existing melodies. “Betsy Baker” is in his Comic Songs by Thomas Hudson: Fifth Collection (1824). It begins:

***

From noise and bustle far away,

Hard work my time employing,

How happily did I pass each day,

Content and health enjoying.

The birds did sing and so did I,

As I trudg’d o’er each acre.

I never knew what ‘twas to sigh

Till I saw Betsy Baker.

***

Vance Randolph collected versions in the Ozark mountains, which appear in his Ozark Folksongs, vol. 1, No. 117. Randolph noted that the song was popular in England and America in the 1840’s and 1850’s, and that it appeared in several American songbooks. The melody is employed by Alstead, New Hampshire, fiddler Randy Miller as a march. “Betsy Baker” appears in the music manuscript collection of Church of Ireland cleric James Goodman (1828-1896), in what looks to be a reel setting. Goodman, an Irish speaker and an uilleann piper, collected in tradition in Cork and elsewhere in Munster in the mid-19th century, but also obtained tunes from manuscripts and printed collections.

***

Source for notated version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.). Taggart, born and raised in Sharon, New Hampshire, and was a onetime orchestra leader and composer. Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity.” Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Miller (Fiddler’s Throne), 2004; No. 329, pg. 194. Shields (Tunes of the Munster Pipers), 1998; No. 102, pg. 43.

X:1

T:Betsy Baker

M:C

L:1/8

K:G

D2B2B2G2|F2A2A3c|B2G2B2d2|g4 f2e2|

D2B2B2G2|F2A2A3c|c2A2d2F2|G4 G2B2:|

|:e2f2g2e2|a2f2d3d|e2f2g2e2|a4 a3f|

d2e2f2g2|a2f2b3a|g2f2e2d2|g4 g4:|

X:2

T:Betsy Baker

M:2/4

L:1/8

S:Randolph – Ozark Folksongs (vol. 1, No. 117)

K:D

d|AFFD|CEEG|FDFA|d2 dd|AFFD|CEEA|dcB^A|

B2B2c|defd|cde3/2c/|defd|(dc) .ec|defd|c3/2 d/ e3/2 f/|

dcBA|d2 d d|AFFD|CEEG|FDA3/2F/|D2D||

 

BETSY BROWN. Old-Time, Breakdown. Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue).

                       

BETSY LIKENS. See “Betty Likens.”

                       

BETTER THAN WORSE.  See note for “Toormore Jig.”

 

BETTY ANN. AKA and see "Pretty Polly Ann." Old‑Time, Breakdown. The tune is possibly a variant of the song "Little Betty Ann". It was recorded for Columbia under the above title on a 78 RPM by fiddler Jesse Ashlock on 12/11/1947; Ashlock credits the tune to John Wills, the father of his former employer Bob Wills. A tune by this name was recorded by north Virginia fiddler John Ashby (1915-1979). County 773, John Ashby and the Free State Ramblers - “Fiddling by the Hearth.”

                       

BETTY ANN DALY’S. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 183.

X:1

T: Betty Ann Daly's

C: © B. Black

Q: 320

R: jig

M: 6/8

L: 1/8

K: G

D | GFG Adc | BEE EDB, | DGB ABc | edB e2 f |

gfe dBA | BAF GEE | CEG Fdc | BGF G2 :|

A | BdB cec | dfa gdB | efg dBG | AGA B2 E |

BCD cde | def gab | afd gec | dAF G2 :|

           

BETTY BAKER [1]. Old‑Time, Breakdown. USA; eastern Kentucky, West Virginia. D Major. Standard tuning. AB. The tune called "Betty Baker" is known as a "W.Va. standard,” and was in the repertoire of Ernie Carpenter (related to, not closely, French Carpenter), learned from legendary fiddler Uncle Jack McElwain (1856-1938) from Webster County, W.Va. The late Braxton County, W.Va., fiddler Melvin Wine (d. 1999) learned the tune from Tom Allen, a member of a musical family from around Napier, Braxton County. Gerry Milnes (Play of a Fiddle, 1999) says at least six members of the family were fiddlers, although all have since died. It was in the repertoire of Kentucky fiddler Hiram Stamper. Source for notated version: Manon Campbell (Hallie, Letcher County, Kentucky, 1977) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 5, pg. 36. Augusta Heritage Records 002, Melvin Wine. Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues ‑ Traditional Tunes From Braxton County, W.Va." Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in the Pig Pen Fighting.”

 

BETTY BAKER [2]. Old-Time, Air and Breakdown. G Major. Standard tuning. AABB.

***

I went down for to see Betty Baker,

She was asleep and the Devil couldn't wake her;

She wouldn't stir and her mother wouldn't shake her,

Long time ago. (Ford)

***

Ford (Traditional Music in America), 1940; pg. 36.

X:1

T:Betty Baker [2]

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

DG/G/ BG/G/|dG/G/ BG/G/|AA/A/ ff/f/|ee/f/ e/d/B/G/|

DG/G/ BG/G/|dG/G/ BG/G/|D/F/A/z/ c/B/A/z/|[GB][GB][GB]:|

|:e/f/|gd/d/ Bd/d/|gd/d/ Bd/d/|ed/d/ fd/f/|aa/b/ a/g/e/f/|

gd/d/ Bd/d/|gd/d/ Bd/d/|D/F/A/z/ c/B/A/z/|[GB][GB][GB]:|

                       

BETTY BLACK. AKA ‑ "Petticoat String." English, Country Dance (cut time). G Major. Standard tuning. AABA. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 12. Raven (English Country Dance Tunes), 1984; pg. 178.

X:1

T:Betty Black

M:C|

L:1/8

K:G

g|B2 AG A2D2|B2 AG Bd g2|B2 AG A2D2|EGFA G2G:||

d|edef gfed|BABd g2G2|edef gfed|BABd e3d|edef gfed|

egfa gfga|bagf gfed|BABd edef||

                       

BETTY BLUE.  English, Country Dance Tune (cut time). D Major. Standard tuning. AABC (Barnes): AABB (Thompson). The melody first appears in print in David Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750, with a second volume in 1760). It also appears in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances (London, 1757), John Johnson’s Two Hundred Favourite Country Dances, vol. 8 (London, 1758), and a tutor for the guitar published by Thorowgood and Horne (London) around 1763.  Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 87 (appears as “Moor Hall”, the name of a dance set to the tune). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 152.

X:1

T:Betty Blue

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

a3 b a2g2|f3e d2f2|a3b agfe|d4 d4|a3 b a2g2|f3e d2f2|

a3b a2f2|d4 d4::e3 f e2d2|c3 B A2c2|e3 f e2c2|A4 A4|e3 f e2d2|

c3B A2c2|e3 f e2c2|A6 a2|a6 a2|A6 a2|A2 a2 A2 a2|A4 A4|f3 g f2 e2|

d3 c d2 e2|f3 g f2 e2|d4 d4|f3 g f2 e2|d3 c d2 g2|a2 f2 g2 e2|d4 d4:||

 

BETTY BOYLE. English, Reel. England, North‑West. B Flat Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 53.

                                   

BETTY BROWN. See “Pretty Betty’s Reel.”

 

BETTY CAN DRINK NO WATER.  English, Jig. The melody is from the James Winder manuscript (1835, Wyresdale, Lancashire). Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.”

 

BETTY LIKENS. AKA‑ “Betsy Likens,” "Betty Liken." Old‑Time, Breakdown. USA, W.Va. A Mixolydian/Dorian. Standard tuning. AABB. Most modern fiddlers source their version to Glen Lyn, Virginia, fiddler Henry Reed. Sources for notated versions: Henry Reed (b. 1885, Monroe County, West Virginia) [Krassen]; Alan Jabbour with the Hollow Rock String Band [Phillips, Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 39. Kaufman (Beginning Old Time Fiddle), 1977; p.g 95. Krassen (Masters of Old Time Fiddling), 1983; pg. 93. Phillips (Traditional American Fiddle Tunes), 1994; pg. 23. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 7. Kanawha 311, "Hollow Rock String Band." Rounder Records 0074, The Highwoods String Band‑ "No. 3 Special" (learned from Bert Levy & Durham/Chapel Hill N.C. musicians).

                       

BETTY LOU WALTZ.  Old-Time, Waltz. USA, Missouri. B Flat Major. Standard tuning. ABB. Source for notated version: Jim Herd (1919-2002, born in Eastview, Mo., who moved to Washington State in 1951) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 56. Rounder CD0437-2, Jim Herd – “Traditional Fiddle Music of the Ozarks, vol. 3” (2000. Various artists).

 

BETTY M. STRAUGHAN. English, Waltz. England, Northumberland. D Major. Standard tuning. ABBCC. This waltz was composed by Ron Purvis, a farmer born in 1920, near Alnwick, Northumberland. Neil (1991) tells us that Purvis took up the fiddle at age 20, perhaps inspired by his mandolinist mother and from hearing a band playing at school, and has been composing since 1950. Neil (The Scots Fiddle), 1991; No. 46, pg. 61.

                       

BETTY MACNEILL. Irish, Planxty. A Minor. Standard. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 91, pg. 72.


                       

BETTY MARTIN. AKA and see  "Fire on/in the Mountain [1]," "Granny, Will Your Dog Bite? [1]," "High, Betty Martin," "Hog Eye [1]," "Hog‑Eye Man," "I Betty Martin," "Old Mother Gofour," "Pretty Betty Martin,"  "Tip Toe Fine," "Very Pretty Martin."   Old‑Time, Breakdown; American, Reel. USA, southwestern Pa. A Dorian. Standard tuning. AAB. Samuel Bayard (1981) found no British antecedents for this group of tunes. Wilkinson has researched a connection between the "Fire on the Mountain" version of the melody and a Norse "halling" tune published in Norges Melodier (Copenhagen, 1875). Bayard confirms the two tunes are so close that in his opinion a connection is most likely, and concludes that, since "Free (Fire) on the Mountain" was published in a U.S. manuscript (Riley's Flute Melodies) in 1814 or 1815, that the transmission must have been before that. He asks, "Is it possible that this melody represents one of the few scattered cultural relics of the 17th century 'Delaware Swedes'?" (Bayard, 1981). A similar tune by the name of "I Betty Martin" appears in an American MS., "A. Shattuck's Book" (c. 1801). Bayard also states that the following lyrics were sometimes sung to the tune in Pennsylvania:

***

Cat's in the cream crock, run, girls, run!

***

Reminiscent of the old-time lyric "Fire on the mountains, run, boys, run."

Also sung to the "Betty Martin" melody in that state was:

***

You get up on a Sunday‑morning,

Just before the break of day;

There you see your own true lovyer

Just a‑marching, a‑marching away.

Chorus:
Little Betty Martin, tiptoe, tiptoe,

Little Betty Martin, tiptoe fine.

or the alternate chorus:

Granny will your dog bite? No, child, no, child,

Granny will your dog bite? No, child, no.

***

Sources for notated versions: Bayard (1981) gives six versions from six different southwestern Pa. fiddlers‑‑one, from Irvin Yaugher, was origianlly from his great‑uncle Uriah, born in 1792. Bayard (Dance to the Fiddle), 1981; No. 60, pgs. 41‑43. Revonah Records RS‑924, "The West Orrtanna String Band" (1976).

                       

BETTY MATHESON'S. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA'BB'. Composed by Westmount, Cape Breton, fiddler Howie MacDonald. Cook (Night in the Kitchen Collection), 1996; pg. 43.

                       

BETTY O'BRIEN. Irish, Planxty. D Major. Standard tuning. One part. Composed by blind Irish Harper Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No. 111, pg. 82.

                       

BETTY PRINGLE'S PIG [1]. Scottish, Reel. F Major (Cole, Ryan): D Major (Miller). Standard tuning. AABB. John Hartford says the first strain is similar to "Money Musk" and but the whole tune is the same as Ryan’s "North End Reel." Ryan’s/Cole’s attributes the tune to the Scottish fiddler-composer Niel Gow, although there is no evidence to support this assertion. A rhyme called “Betty Pringle’s Pig” appears in Willis P. Hazard’s Mother Goose Melodies and goes:

***

Did you not hear of Betty Pringle’s pig?

It was not very little nor yet very big;

The pig sat down upon a dung-hill,

And there poor piggy he made his will.

***

Betty Pringle came to see this pretty pig,

That was not very little nor yet very big;

The little piggy it lay down and died,

And Betty Pringle sat down and cried.

***

Then Johnny Pringle buried this very pretty pig,

That was not very little nor yet very big;

So here’s and end of the song of all three,

Johnny Pringle, Betty Pringe, and little Piggy.

***

Cole (1000 Fiddle Tunes), 1940; pg. 33. Miller (Fiddler’s Throne), 2004; No. 120, pg. 81. Ryan’s Mammoth Collection, 1883; pgs. 59 & 76.

X:1

T:Betty Pringle’s Pig [1]

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

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

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

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

a/g/f/e/ f/c/A/c/|d/f/c/A/ A/G/G/B/|A/F/c/F/ d/F/c/F/|d/f/e/g/ fz:|

 

BETTY PRINGLE'S PIG [2]. Scottish. Not related to “Betty Pringle’s Pig [1].” Hamilton’s Universal Tunebook, 1844.


                       

BETTY THORO(W)GOOD’S DELIGHT. English, Country Dance Tune. G Major. Standard tuning. AABB. The melody appears unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 66.

X:1

T:Betty Thorowgood’s delight

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G>AB>c d>B g2|d>ed>B c>dc>A|G>AB>c d>B g2|faf^c d2D2:|

|:d>ed>B b>Bd>B|c>dc>A a>Ac>A|B>dB>G gdBG|BGDF G2 [G,2G2]:||

 

BETTY WASHINGTON. Scottish, Strathspey. D Major. Standard tuning. AB. Betty Washington was a music hall artist, states James Hunter (1988). Composed by the great Scots composer and fiddler J. Scott Skinner (1843-1927), but only first published in 1979 by Hunter. Hunter (Fiddle Music of Scotland), 1988; No. 89.

                       

BETTY’S APRON. Scottish, Strathspey. A Minor. Standard tuning. AB. Kerr (Merry Melodies), vol. 4; No. 145, pg. 17.

X:1

T: Betty’s Apron

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 145  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

A,3B, C<C C>D | E>Ac>B A3E | A,3B, C<C C>E | F>DE>C B,3E | A,3B, C<C C>D |

E>Ac>B A3c | d>ef>d e>cA>c | (3dcB (3cBA ^G<B B>e || e<a a>g e<a a>g | (3edc (3dcB A3e |

d<g g>e d<g g>e | (3dcB (3cBA G3f | e<a a>g e<a a>g | (3edc (3dcB A3c | d>ef>d c>de>a | e>dc>B A3z ||

                       

BETTY'S FANCY [1]. English, Jig. England, North‑West. A Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 109.

 

BETTY’S FANCY [2]. AKA and see “John McNeil('s Reel),” “Big John McNeil(l)/McNeal,” “Lord Ramsey’s Reel [4].” Irish, Reel. G Major. Standard tuning. The melody, the Scottish tune “John MacNeil,” was named “Betty’s Fancy” on a Sean Maguire recording of the mid-1960’s. Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

                       

BETTY’S JIG STEPS. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AA B’BB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 82, pg. 31.

                       

BETWEEN CLONMEL AND CARRICK-ON-SUIR. Irish, Jig. C Major. Standard tuning. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 492, pg. 271.

 

BEUL IOSAIT (Give Me Back the Full Measure).  Canadian, Reel. Canada, Cape Breton. A Cape Breton version of the Scottish reel “Bob of Fettercairn.” Rounder Records 7060, Joe Peter MacLean – “Back of Boisdale.”

                       

BEVERLEY ASSEMBLY. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. See note for “Beverley Races,” below. The melody appears in J. Johnson’s A Choice Collection of 200 Favourite Country Dances, vol. 4 (1748, pg. 32), David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances, vol. 1st (c. 1756, pg. 47), and an untitled manuscript of c. 1770 in the British Library (Addl. 23971), as well as William Vickers’ c. 1770-1772 manuscript. Seattle (William Vickers), 1987, Part 2; No. 343.

                       

BEVERLEY RACES. English, Hornpipe. D Major. Standard tuning. AABBCC. Beverley (east Yorkshire) is an Old English name meaning ‘the clearing of the beavers’ (Matthews, 1972). Racing in Beverley has been held since the 17th century at Westwood. They were particularly fashionable in the second half of the 18th century, after they had moved to a new course on Hurn (where a new grandstand was built in 1768), and the dates of the running changed from September to Whitsun. A Gold Cup race had been established in 1770. In 1771 a young gentleman merchant from Hull, Yorkshire, one R.C. Broadley, spent five days at Beverley and recorded the aspects of upper-class social life in the race’s heyday. As might be expected, the social season in the region revolved around the races. Cockfights were held twice a day during race week in the numerous cockpits in the town (they were suppressed by 1829). There were several Assembly rooms for elegant dancing in several sites, especially at Beverley (since 1732) and at Norwood in 1763. In addition, a ball was given by the officers of the East Riding militia. All-in-all, twelve regular assemblies for dancing and cards were held on alternate Wednesdays beginning in late September, and there was a full week of social gatherings during the races. Typical is the remark of John Courtney, who wrote in 1764: “Beverley races end. I was three days upon the stand in the race ground, and danced every night at the  assembly.” However, by the mid-1830’s the climate of the town began to change, as middle class and professionals supplanted the gentry. The lurid entertainments of cock fighting and bull baiting had been suppressed, and the theatres and races had lost popularity and the assemblies declined. (from “Beverly, 1700-1835: Social Life and Conditions”, A History of the County of York, East Riding, vol. 6, 1989). Raven (English Country Dance Tunes), 1984; pg. 195.

X:1

T:Beverley Races

M:4/4

L:1/8

R:Hornpipe

K:D

dB|ABde f2 ed|efed B2 AG|FGAB defd|e2^g2a2dB|ABde f2 ed|

efed B2 AG|FGAB =cBAG|F2D2D2::fg|(3aaa fd Adef|gfed B2AG|

FGAF GABG|ABcd e2 fg|(3aaa fd Adef|gfed B2AG|FGAF GABG|

Addc d2::cd|e2A2e2A2|edcd e2 ag|f2d2f2d2|fede f2 ef|

g2b2b4|agfg a2 ag|fafd egec|d2f2d2:|

                       

BEYOND BALLYBAY. Irish, Double Jig. D Major/Mixolydian. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988). Ed’s son Joseph says the town was remembered by his father as an attractive community, “full of grand music on a market day,” and fascinating to a boy who longed for ‘exotic’ places and the ‘beyond’. Reavy (The Collected Compositions of Ed Reavy), No. 95, pg. 107.

X: 1

T:Beyond Ballybay

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:As a boy, Ed was fascinated with the thought

N:of going to Ballybay "and beyond." He remembered

N:it as a lovely town, "full of grand music

N:on a market day."

K:D

A, | DFA dcd | fed cAF | DFA CBC | =cBA GEC | DFA dcd | DFA cBc |

d=cB cGE |1 DED D2 A :|2 DED D2 f/2/g/2 || afd dcd | Bcd efg | bge efd |

ced cBA |1 afd dcd | Bcd efg | fed gec | edc d2 f/2g/2 :|2 fed gfe | agf bag |

fed cAG | FDD D2 ||

                       

B’FHEARR LIOMSA AINNIR GAN GÚNA (I’d Rather a Maid Without a Dress). Irish, Air. A ¾ time song printed in Petrie (i, pgs. 52-53); a variant of  Mall Rua.”

                       

BFUIL AN FEAR MOR ISTIG? AKA and see "Is the Big Man Within?"

                       

B'GHEARR LIOMSA AINNIR GAN GUNA. AKA and see "Moll Roe('s} [1]" (Mall Rua).

                       

BHA MI AIG BHANAIS AIR BHAIL INBHIR-AORA. AKA and see "The Campbells are Coming [1]," "I Was at a Wedding in Inverara Town."

                       

BHA MI ‘N DE AIR CHEILIDH (I went visiting yesterday).  AKA and see “I’ll gang nae mair tae yon toon.”

 

BHA MI ‘N DÙIL. Scottish, Slow Air (4/4 time). F Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 26, pg. 14.

X:1

T:Bha mi ‘n dùil

M:C

L:1/8

R:Air

N:”Rather slow”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 26, pg. 14.

Z:AK/Fiddler’s Companion

K:F

F>G A2 B>G E2 | F>G A2 B>A GB | c>B A2 B>G F2 | {F}E>D C2 A>G GF ||

 

BHANARACH DHONN A' CHRUIDH. AKA and see "The Dairy Maid [3]."

                       

BHANTIARNA GORDON, AN.  AKA and see “Lady Gordon’s Reel.”

 

BHEAN BHROCHT, AN. AKA and see "The Poor Woman."

                       

BHEAN CHÉILE NÁR CASADH DHOM, AN. Irish, Barndance. G Major. Standard tuning. AABB’. The title means ‘the wife I never met.’  It was “composed in December 1994 for a close friend".

X:1

T:An Bhean Che/ile Na/r Casadh Dhom

C:Se/amus Mac Conaonaigh

D:Calua: bo/thar gan briseadh/down the lin

M:4/4

L:1/8

Q:1/4=170

K:G

(3DEF|G2 GA Bgfg|e3 g edBA|G2 (3ABd edBG|ABAG EG D2|

G3 A Bgfg|e3 g edBA|G2 BG AGED|EGGF G2:|(3def|

g3 b agfg|e3 f edBA|G2 (3ABd edBG|ABAG EG D2|

gabg agfg|e3 f edBA|(3Bcd ef g2 fe|Beed egfa||

g3 b agfg|e3 f edBA|G2 (3ABd edBG|ABAG EGDF|

G3 A Bgfg|e3 g edBA|G2 BG AGED|EGGF G2||

                       

BHEAN DUBH, AN (The black-haired woman). Irish, Air (6/8 time, “Lively”). G Major. Standard. ABC. Source for notated version: the manuscript of James Goodman (1828-1896) an Anglican cleric and collector, Cork, 1861 [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 6, pg. 6

                       

BHEAN NIOCHAIN EIREANNACH, AN. AKA and see "The Irish Washerwoman."

                       

BHEAN SPÁINNEACH, AN. AKA and see “Finnegan’s Wake [1],” “Paddy Doyle,” “Spanish Lady,” “Tim Finnegan’s Wake.”

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

BHEAN TINCEARA, AN. Irish, Reel. A Dorian/G Major/D Mixolydian. Standard. AA’BB’C. The tonality shifts greatly in this tune. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 6, pg. 32.

                       

BHEAN UASAL AR AN OILEÁN, AN (The Lady on the Island). AKA and see "Lady on the Island."

                       

BHEIRFIDH MÉ GRUTH AGUS MEADHG AR MAIDIN DUIT. Irish, Air. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

                       

bhFACA TU AN STARRAIDHE DUBH, AN (Did you see the Dark-haired Playboy?). Irish, Air (6/8 time). A Major. Standard. ABC. The melody of this air, whose words have not survived, appears in three old collections prior to Bunting's 1840 edition: Holden's "Collection of old Established Irish slow and quick Tunes," volume II (1806), under the title "Have you seen my black deceiver?;" Mulholland's Ancient Irish Airs (1810), under the title "A staraidh dubh" (The Black Jester); and Neale's Celebrated Irish Tunes (c. 1726, pg. 17). Source for notated version: the Irish collector Edward Bunting records in the index to his 1840 edition that he noted the tune from Hugh Higgins in 1792, however, in the MS original he wrote underneath the tune "From Arthur O'Neill and also from an old Printed Collection." O'Sullivan/Bunting, 1983; No. 6, pgs. 8-9.

                       

BHI BEAN UASAL. AKA and see “There Was a Lady.”

                       

BHÍOMLÓG, AN (Gimblet). Irish, Scottish; Slip Jig. G Major. Standard. AABB. The melody appears also in Walsh’s Caledonian Country Dances (Book III), No. 20. See also note for “The Gimlet.” Breathnach (CRÉ IV), 1996; No. 38, pg. 21.

                       

BHÍOSA LÁ I bPORT LÁIRGE. AKA and see "The Dainty Besom Maker," “Forgive the muse that slumbered,” "The Gimlet," “I’d  mourn the hopes that leave me,” “Johnny’s Grey Breeks [2],” "The Old Lea Rigg," "Little Mary Cullenan," "Little Sheila Connellan,” “Maureen from Giberland,” “Port Láirge,” “The Rose Tree [1]", “The Rose Tree in Full Bearing." Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AA’BB’. Moylan’s source, accordion player O’Leary, thought that fiddler Denis Murphy had the English words to this tune, before he died. Source for notated version: Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Píobairí Uileann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 55, pg. 32. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 9.

                       

BHLÁTHACH MHUIMHNEACH, AN. AKA and see “Barr na Feirste,” “Behind the Haystack [1].” “Munster Buttermilk [4],” “Squeeze Your Thighs,” “Take Her or Leave Her.”

                       

'BHLIADHU' UR. AKA and see "The New Year."

                       

BHÓ CHIARRAÍOCH, AN (The Kerry Cow). AKA and see “All the Way to Galway [3]," "The Kerry Cow."

                       

BHRADOG BHREAGACH, AN (The pert, deceitful Minx). AKA and see "The Cunning Young Girl." Irish, Air (4/4 time). D Minor. Standard. One part. Source for notated version: The index to Bunting's 1840 edition states the tune was noted from harper Dominick O'Donnell of Co. Mayo in 1810. O'Sullivan/Bunting, 1983; No. 21, pgs. 35-36.

                       

BHRIGHID ÓG, AN (The Young Girl). Irish, Air (cut time, “slow”). D Dorian. Standard. One part. Source for notated version: a manuscript collection dated 1861 of Rev. James Goodman, an Anglican cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 9, pg. 7.

                       

BHROSNA, AN. AKA and see "The Brosna (Slide) [2]."


                       

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