The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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BLUE - BLY

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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]

 

 

 

BLUE AND THE GREY, THE. American, March (4/4 time). D Major. Standard tuning. AABB'. A note in Sweet's MS indicates this melody was played by the Chester, Connecticut, Fife and Drum Corps. Sweet (Fifer’s Delight), 1964; pg. 48.

                   

BLUE ANGEL, THE. AKA and see “King’s Fancy.” Irish, Jig. D Major ('A' part) & B Minor ('B' part) {Alewine}: E Flat Major ('A' part) & C Minor ('B' part). Standard tuning. AABB. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 9. Green Linnet SIF 1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984).

                   

BLUE BALL.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland); 40.

 

BLUE BELL POLKA. See "Bluebell Polka."

                   

BLUE BELL HORNPIPE [1]. Scottish, Hornpipe. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 343, pg. 37.

X:1

T:Blue Bell (Hornpipe) [1]

M:C

L:1/8
R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 343  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d2 | g>fg>f a>gf>e | d>Bc>d e>fa>g | B>GB>d c>AF>A | G>GA>B c>de>f |

g>fg>f a>gf>e | d>Bc>d e>fa>g | B>GB>d c>AF>A | G>Bd>B g2 :|

|: d2 | B>GA>B c>de>f | g>fe>d ^c>ba>g | f>af>d e>ge>^c | d>^cd>e f>de>f |

g>fg>f a>gf>e | d>Bc>d e>fa>g | B>GB>d c>AF>A | G>Bd>B g2 :|

 

BLUE BELL HORNPIPE [2]. AKA – “Blew Bell Hornpipe.” English, (Old) Hornpipe (3/2 time). C Minor. Standard tuning. AABBCC. The melody appears in Walsh’s third collection of Lancashire tune (Lancashire Jigs, Hornpipes, Joaks, etc.) published around the year 1740.

X:1

T:Blew Bell Hornpipe [2]

B:Walsh

M:3/2

L:1/8

K:Cm

E4 GABD E4| cBAG FGAG D2 F2|BAGF EFED C2 F2| AGFE B,EDF E4::\

e4 gbge cecA| F4 fgfe dcde| D2 E2 c3 B AGFE|AGFE B,EDF E4::\

EFGA B2 E2 D2 E2| FGA=B c2 F2 =E2 F2| g3 f edcB AGFE| AGFE B,EDA E4:|

                   

BLUE BELLS. See “Blue Bells of Scotland.”

                   

BLUE BELLS OF CHALLON. AKA and see "Blue Bells of Scotland." English, Air and Dance Tune. G Major. Standard tuning. One part. Huntington (William Litten’s), 1977; pg 44.

                   

BLUE BELLS OF SCOTLAND [1]. AKA and see “Blue Bells,” "Blue Bells of Challon." Scottish, Strathspey; English, Air and Morris Dance Tune. England; Northumberland, Cotswolds, Shropshire. G Major (Ashman, Hall & Stafford, Kerr, Mallinson): D Major (Bacon, Trim/Hardy). Standard tuning. AB (Hall & Stafford): AAB, x6 (Mallinson): AABB (Ashman, Kerr). Composition credited to the singer, Mrs. Jordon (Walker, 1924). The morris dance version is from the Adderbury, Oxfordshire, area of England's Cotswolds. Dancers sing at the beginning of the dance:

***

Oh where and oh where has my highland laddie/lassie gone? (x2).

***

A Northumbrian version is arranged as a duet by editor W.J. Stafford in the Charlton Memorial Tune Book. The melody proved popular as an air and many songs were set to the tune. One, “John Bull and Bonapart” from the Napoleonic period, gives a sense of the British feelings of vulnerability and defiance in the face of the threat of invasion, while at the same time managing to ridicule the opponent. Source for notated version: a c. 1837-1840 MS by John Moore, Shropshire musician [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 23b, pg. 5. Bacon (The Morris Ring), 1974; pg. 7. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 52. Kerr (Merry Melodies), vol. 4; No. 96, pg. 13 (appears as “Blue Bells”). Mallinson (Mally’s Cotswold Morris Book), vol. 1, 1988; No. 18, pg. 14. Trim (Thomas Hardy), 1990; No. 25.

X:1

T:Blue Bells of Scotland, The [1]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 96  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d | g<g f>e d2 (e/f/g) | B<B c>A G3d | g<g f>e d2 (e/f/g) | B<B c>A G3 :|

|: d | B>G B>d g2 e>g | f>d f/e/d/^c/ d2 e>f | g<g f>e d2 (e/f/g) | B<B c>A G3 :|

 

BLUE BELLS OF SCOTLAND [2]. Bluegrass(?), Breakdown. A Major ('A', 'B' and 'D' parts) & E Major ('C' part). Standard tuning. ABCC'D. A rather odd tune. Source for notated version: Abel Browning via Walter Neal (Armstrong County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 393, pg. 376.

                   

BLUE BIRD. AKA and see "L'Oiseau Bleu." French-Canadian, Air.

                   

BLUE BIRD REEL [1]. American, Reel. F Major. Standard tuning. AABB. This tune was deleted from Ryan's when it metamorphoized into Cole's 1000 in 1940. Ryan's Mammoth Collection, 1883; pg. 49. Appears in The Devil's Box, vol. 21, No. 4, Winter 1987; pg. 48.

 

BLUE BIRD REEL [2]. See "Bluebird Reel."

                   

BLUE BIRD (SCHOTTISCHE). American, Schottische. USA, Arizona. C Major ('A' part) & G Major ('B' part) {Kartchner}: D Major (‘A’ part) & A Major (‘B’ part) {Ruth}. Standard tuning. ABA. Learned by Arizona fiddler Kenner C. Kartchner around the turn of the 20th century. Ruth (Pioneer Western Folk Tunes), 1948; No. 26, pg. 11.

X:1

T:Blue Bird Schottische

M:4/4

L:1/8

S:Viola “Mom” Ruth, 1948

Z:AK/Fiddler’s Companion

K:D

D>FA>B A2 ({f/g/}f2)|D>FA>B A2 ({f/g/}f2)|(3ggg (3fff (3eee (3ddd|

(3ccc (3BBB (3AAA (3GGG|F>GA>B A2 ({f/g/}f2)|D>FA>B A2 ({f/g/}f2)|

(3ggg (3fff e>AB>c|d2d2d2||(cd)|(3ef^g a>g a2|c>Bc>d e>^d e2|

(3BBB e2 (3BBB e2|(3ccc (3BBB A2 (cd)|e2 (3ef^g a>^g a2|

c>Bc>d e>^d e2|e>ag>f e>dc>B|A2A2A2 (FE)||

                   

BLUE BIRD WALTZ [1]. Old‑Time, Waltz. USA, Missouri. A Major. Standard tuning. ABC. There have been several different tunes with the title “Bluebird Waltz.” One such was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers. Drew Beisswenger (2008) suggests that Lonnie Robertson’s “Bluebird Waltz” was composed by himself (although this cannot be verified), and points out that each of the three parts of Robertson’s melody can be broken down into phrases following an abac form. Source for notated version: Lonnie Robertson (1896-1992, Springfield, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 114. Caney Mountain Records CEP 207 (extended play LP, privately issued), Lonnie Robertson (Mo.), c. 1965‑66. Lonnie Robertson – “Lonnie’s Breakdown.”

                     

BLUEBIRD WALTZ [2].  Old-Time, Waltz. A different tune than “Blue Bird Waltz [1].” Recorded on 78 RPM by Big Chief Henry’s String Band in 1929.

 

BLUE BONNET [1]. American (? Sounds Scottish), Hornpipe or Jig (even though written in duple time‑‑dotted rhythm can be translated into 6/8). G Major. Standard. AB. Ford (Traditional Music in America), 1940; pg. 107.

X:1      

T:Blue Bonnet [1]

M:C

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

G>GG>B A>G E2|c>Bc>e d>B g2|B>BB>d c>AB>G|E>A F>D G2G2|

G>GG>B A>G E2|c>Bc>e d>B g2|B>BB>d c>AB>G|E>A F>D G2G2||

[B2g2] d>g B>g d2|g>a b>g e2 e>f|(3gab (3agf (3efg (3fed|(3cde (3def (3gfe (3dcA|

[B2g2] d>g B>g d2|g>a b>g e2 e>f|(3gab (3agf (3efg (3fed|(3cde (3def (3gfe (3dcA||

 

BLUE BONNETS [2]. AKA and see "Blue Bonnets Over the Border [1],” "Leslie's/Lesley’s March [1]," "Duplin House," "The March from Oscar and Malvina." Blue Bonnets is also the name of a Scottish country dance.

 

BLUE BONNETT [4], THE. Irish, Jig. G Major. Standard tuning. AABB. O’Farrell gives the provenance as Irish. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 17.

X:1

T:Blue Bonnett, The [4]

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:G

D/E/ | G>AG AGA | B3g2e | d>ed dBG | E3 D2E | G>AG AGA | B3g3 |

fag fed | e4 z :: B | d>ed def | g3B2e | d>ed dBG | E3 D2E | G>AG AGA |

B3g2e | dBG AGA | G4 z :|

                   

BLUE BONNET WALTZ, THE. Old‑Time, Waltz. USA, Missouri. D Major ('A' part) & G Major ('B' part). Standard tuning. AB. Source for notated version: Jim Brinkley via Harry Gilbert (Newburg, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 183, pg. 140‑141.

                   

BLUE BONNETS HIGHLAND FLING. Scottish (?), Highland Fling. G Major. Standard tuning. AB. White’s Unique Collection, 1896; No. 162, pg. 20.

X:1

T:Blue Bonnets Highland Fling

M:C|

L:1/8

R:Highland Fling

S:White’s Unique Collection (1896), No. 162

Z:AK/Fiddler’s Companion

K:G

G>GG>B A>G E2 | c>Bc>e d>B g2 | B>BB>d c>AB>G | E>A F>D G2G2 |

G>GG>B A>G E2 | c>Bc>e d>B g2 | B>BB>d c>AB>G | E>A F>D G2G2 ||

[B2g2] (d<g) (B<g) d2 | g>a b>g e2 (e>f) | (3gab (3agf (3efg (3fed |

(3cde (3def (3gfe (3dcA | [B2g2] (d<g) (B<g) d2 | g>a b>g e2 (e>f) |

(3gab (3agf (3efg (3fed | (3cde (3def (3gfe (3dcA ||

                   

BLUE BONNETS HORNPIPE. AKA and see "The Frolic." Scottish, Hornpipe. C Major. Standard tuning. AABB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 48.

X:1

T:Blue Bonnets Hornpipe

M:C

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:C

g>f|e>c (3cBc G>c (3c>Bc|e>c (3ege c2 d>e|f>d (3d^cd B>d (3dcd|B>A (3BdB G2 g>f|

e>c (3cBc G>c (3c>Bc|e>c (3ege c2 f>g|a>fg>e f>de>c|B>GA>B c2 :|

|:g>f|e>g (3g^fg e>g (3gfg|e>c (3ege c2 d>e|f>a (3a^ga f>a (3aga|f>d (3faf d2 g>f|

e>g (3g^fg e>g (3gfg|e>c (3ege c2 f>g|a>fg>e f>de>c|B>GA>B c2:|

                   

BLUE BONNETS JIG (Port Na mBoinead Gorm). AKA and see "Scotch Come Over the Border" (Pa.), “Scotsman Over the Border.” Irish, Double Jig. A Major. Standard tuning. AABB. An Irish version of "Blue Bonnets Over the Border [1]." See also “Carraroe (Jig).” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1064, pg. 200. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 268, pg. 59.

X:1

T:Blue Bonnets Jig

M:6/8

L:1/8

R:jig

B:O'Neill, Dance Music of Ireland (1907), no. 268

N:transposed from key of A

K:D

DED F2 A|ded {e}d2 A|cdc BcB|AFD ~E2 D|

DED F2 A|ded {e}d2 A|BAG FGA|B<dF ~E2 D:|

DFA AFA|~BAG FED|DFA ABd|DEF ~E2 D|

DFA AFA|~BAG FED|dcB AFA|B<dF ~E2 D:|

         


BLUE BONNETS OVER THE BORDER [1]. AKA and see "All the Blue Bonnets are Over the Border," "Over the Border [1]," "Blue Bonnets Jig," "Blue Bonnets [2]," "Scotch Come Over the Border" (Pa.). Scottish, Slow Air (6/8 time), Jig, Country Dance Tune or March. B Flat Major (Athole, Skye): D Major (Neil). Standard. AAB. The tune, frequently classified a jig, often appears under the label 'country dance tune' because of its long association with the dance. However, it has just as frequently been employed as a march and song air. 'Blue bonnets' is a euphemism for the Scots, stemming from the custom of Jacobite troops to identify themselves with a white cockade worn on a blue bonnet. The white cockade emblem itself is said to have originated when Bonnie Prince Charlie plucked a wild rose and pinned it to his hat (thus both “White Cockade” and “Blue Bonnets” are tunes with Jacobite associations). Samuel Bayard thinks the melody was fashioned in the 1740's into a quick dance piece in 6/8 from a slow 3/4 time song tune from about 1710 or earlier called "O Dear Mother (Minnie) What Shall I Do?"  This "Blue Bonnets Over the Border" was in turn the basis for a 4/4 version called "Braes of Auchtertyre/Auchentyre," "Belles of Tipperary" and "Beaus of Albany;" out of this group of tunes came "Billy in the Lowground/Low Land." Michael Diack's, on the other hand, has written in his Scottish Country Dances that “Blue Bonnets” is derived from a 17th-century Scottish tune called "Lesley's March to Scotland" (see note for that tune for more), although David Murray (Music of the Scottish Regiments, 1994) says the tune first appeared as “General Leslie’s March to Longmarston Moor.” Murray finds variants in early pipe collections as “The Fusilier’s March,” and a version in Watts’ Musical Miscellany (London, 1731) as “Black, White, Yellow and Red.” “Leslie’s March” was printed by Oswald (Book 2, 1755) and the aforementioned Watts’ Musical Miscellany (1731), however, the resemblance seems obscure so some listeners and based on a few motifs. See also Gow’s adaptation as his air “Duplin House.” Lyrics to the tune were written by Sir Walter Scott, who based them on an old Cavalier song (Scott also mentions the song in his novel The Monastery, 1830).

***

March! march! Ettrick and Teviotdale,

Why, my lads dinna ye march forward in order?

March! march! Eskdale and Liddesdale,

All the blue bonnets are over the Border.

Come from the hills where your hirsels (i.e. sheep) are grazing,

Come from the glen of the buck and the roe,

Come with the buckler, the lance and the bow

Trumpets are sounding, war‑steeds are bounding

Stand to your arms and march in good order

England shall many a day tell of the bloody frey

When the blue bonnets come over the Border.

***

The tune is mentioned in William Hamilton Maxwell’s Stories of Waterloo and Other Tales (London, 1829), in a chapter on one Frank Kennedy, of Connemara, a junior officer stationed in Ireland. In this passage he has been invited to a ball with several other officers:

***

The commander's advice was not lost upon me. I took unusual pains in arraying myself for conquest,

and in good time found myself in the ball-room, with thirty couples on the floor, all dancing "for the

bare life," that admired tune of "Blue bonnets over the border."

***

“Blue Bonnets” can be heard in the Hollywood film Mary Queen of Scots, starring Katherine Hepburn. Pipers play it as they march into Edinburgh castle to drown out the cleric John Knox as he rails against her.

***

Neil's (1991) version is an adaptation of one appearing in Uilleam Ross's Collection of Pipe Music (1869). In fact, the melody was adopted by the Black Watch as their quick time march, arranged for military band, about 1850, and have continued to play it through modern times. It has also been taken up by other Scottish regiments, “not perhaps so much for its words (which apply to the Borders region, not the Highlands)…but for its good rousing tune” (Murray, 1994).

***

MacDonald (The Skye Collection), 1887; pg. 162. Neil (The Scots Fiddle), 1991; No. 25, pg. 34. Stewart-Robertson (The Athole Collection), 1884; pg. 145. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992). Culbernie Records CUL 102, Alasdair Fraser & Jody Stecher - “The Driven Bow” (1988). Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996. A jig setting learned from her uncle, fiddler Buddy MacMaster).

X:1

T:Blue Bonnets Ow’r the Border

M:6/8

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:Bb

B,3 B,>CD | B>cd B2F | BGG G2g | g>fd c2B | B,3 B,>CD | B>(3c/d/c/) BGF |

G3 FDF | FBD C2B :: Bdf fdB | gfd c2B | Bdf g>ab | B>(3c/d/e/) c2B |

Bdf fdB | gfd cBc | G3 FDF |FBD C2B :|

X:1
T:Blue Bonnets Over The Border
C:Trad., Arr. by Natalie MacMaster
S:Transcribed from Natalie's video by Carl Conn
Z:abc by Rick Gustaitis & Steve Wyrick
M:3/4
L:1/4
K:Bb
B,3|B,3/2vC/uD|{B}(vd2{Bd}c) | {A}uB3/2vG/uF|(vB/G3/2){A}vG|{F}G3/2z/g|!
{a}vg3/2uf/{c}vd|ud3/2vc/ud}|B,3|B,3/2vC/uD|{B}(vd2{Bd}c)|{A}uB3/2vG/uF|!
{F}vG3|{F}uD2uF|vG/B3/2{C}uD|1vC3:|2C3|C2-C/D/||!
|:vB3/2ud/vf|uf3/2vd/uB|{f}vg3/2uf/{c}vd|{B}uc3/2vd/uc|vB3/2ud/vf|{f}ug3/2va/ub|!
vB3/2uc/vd|{B}uc3|vB3/2ud/vf|{e}uf3/2vd/uB|{f}vg3/2uf/{c}vd|ud3/2vc/ud|!
{A}vB3/2A/uG|(vF/D3/2)uF|(vG/B3/2){C}uD|1vC2B,:|2vC3-|C3|z3|z3|z3|z3||!
K:C
|:C3|C3/2D/E|c3/2e/d|c3/2A/G|c/4[A3/4A3/4]-[AA][AA]|[A2A2]a|{b}a3/2g/e|!
{eg}e3/2d/e|C3|C3/2D/E|c3/2e/d|c3/2A/G|[A3/2A3/2]A/A/A/|G/4E3/4-EG|!
A/4c3/4-cE|D3:||:c3/2e/g|{ga}g3/2e/g|{g}a3/2
g/4a/4g/4e|{c}d2e/4d3/4|c3/2e/g|a3/2b/c'|!
c3/2d/e|d3|c3/2e/g|g3/2e/g|a3/2g/e|d3/2e/d|c3/2B/A|G/4E3/4-EG|A/c3/2E|1D2C:|2 D3||

 

BLUE BONNETS OVER THE BORDER [2]. Scottish, Reel. A Major. Standard tuning. AABBC. Nathaniel Gow remarks that the tune is “Old” in his 1809 collection. Carlin (The Gow Collection), 1986; No. 235. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 23. MacDonald (The Skye Collection), 1887; pg. 23. Stewart-Robertson (The Athole Collection), 1884; pg. 24.

X:1

T:Blue Bonnets Over the Border [2]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

c|A>Bcd efec|~B>cde f/f/f f2|ABcd ecaf|ecdB A/A/A A:|

|:d|cABc BGF<E|cABc F/F/F F>d|cABc BGFE|ecdB A/A/A A:|

f/g/|aecA aecA|BABc F/F/F F>g|aecA aecA|dBec A/A/A A>g|

aecA aecA|BABc F/F/F F>g|aeca ef/g/ a>f|ecdB A/A/A A||

         

BLUE BREIKS/BRITCHES. Scottish Reel. A Mixolydian. Standard tuning. AAB. Robin Williamson speculates the title derived from some unknown social connotation, and points out licensed beggars in Scotland wore blue. The piece appears in the c. 1610 Skene Manuscript, though the earliest collection Glen could find containing the tune was Bremner's 1757 publication. See also note for “Link Him Dod(d)ie [1],” a later version of the melody. Bremner (Scots Reels), 1757; pg. 67.  Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, Vol. 2."

X:1

T:Blue Britches

M:C
L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:Amix

A(ee)d “tr”(cA) “tr”c2 | B(gg)d BGBd  | (A/B/c/d/ e)A “tr”cA “tr”c2 | A(aa)e “tr”cAce :|

(a/g/f/e/) fd ce “tr”c2 | B(gg)d BGBd | (a/g/f/e/) ca eaca | Aaca eAce | (a/g/f/e/) ae fdec |

B(gg)d BGBd | (A/B/c/d/) eA cA “tr”c2 | A(aa)e “tr”cAce || 

         

BLUE CAP. English, Country Dance Tune. The melody was published by Playford in The English Dancing Master (1651); it is quite old and was considered part of the traditional repertoire in John Playford's day (Pulver, 1923). A copy of a song entitled “Blew Cap for Me” is in Antidote against Melancholy (1661, pg. 29), the refrain of which is ‘If ever I have a man, blew cap for me’ [Robert Burns, Robert Riddell, Notes on Scottish Song]. Raven (English Country Dance Tunes), 1984; pg. 37. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice and Violin Band" (1993. Appears as the melody for the song "Blew-Cap For Me").

         

BLUE CAP REEL. AKA and see "Reel de (la) Tuque Bleu." French‑Canadian, Reel. F Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 70, pg. 49.

         


BLUE DANUBE. Austrian, Waltz. A Strauss waltz in the repertory of Union County, Pa., dance fiddler Harry Daddario, showing the German influence in that part of the country.

         

BLUE EAGLE. Old‑Time, Breakdown. USA, Texas. D Major. Standard tuning. AABB. A regional Texas tune not well known in other parts of the South. Sources for notated versiosn: Lewis Franklin (Texas) [Phillips]; Gary Lee Moore (Seattle) [Silberberg]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 30. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 13. County 707, Lewis Franklin ‑ "Texas Fiddle Favorites."

         

BLUE EYED GIRL/GAL. AKA and see "Susannah/Suzanna Gal [1]," "Blue Eyed Miss." Old‑Time. A driving banjo tune recorded by eastern Kentucky musicians. Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 1” (reissue). Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

         

BLUE EYED LASSIE. AKA and see “Belles of Lewiston,” “Early Rising.” Scottish, Reel. D Major. Standard tuning. AAB (Gatherer): AABB (Cole). Robert Burns wrote a song for a tune by this name, the melody composed by a neighbor and friend, Robert Riddel of Glenriddel. Emmerson (1971) declares, "it is not disputed that Riddell had no great musical gifts." Cole (1000 Fiddle Tunes), 1940; pg. 7. Gatherer (Gatherer’s Musical Museum), 1987; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 30.

 

BLUE EYED LASSIE [2].  French-Canadian, Reel. Two reels from the playing of Montreal fiddler Jean Carignan, identified by folklorist Camelle Begin as “Blue eyed Lassie ou l’Amercan et l’Ecossais.” Begin (La Musique Traditionelle Pour Violon: Jean Carignan). Great Meadow Music 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

                   

BLUE EYED MAID, THE. Irish, Air (4/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 450, pg. 79.

X:1

T:Blue Eyed Maid, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 450

Z:AK/Fiddler’s Companion

K:G

G>A | B2 g>e d<B AB | G2 d>e d2 G>A | B2 ge d<B A>G | B2 e>f e2 z ||

g | dega b2 a>g | agab d2 ga | g/a/b ag e2 ge | dB A>G G2 ||

                   

BLUE EYED MARY. English, American; Jig. A Major (Hardings): C Major (Howe). Standard tuning. AABB. Hardings All Round Collection, 1905; No. 135, pg. 42. Howe (Complete Preceptor for the Accordeon), 1843; pg. 3.

X:1

T:Blue Eyed Mary

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:C

E/F/ | G2G GcA | (G3 E2)G | GFF DEF | A3 G2 E/F/ | G2G GcA | G3E2) G |

F2F D2D | C3 C z :: E | DEF DEF | G3 E2E | DEF DEF | G2z z2E/F/ |

G2G GcA | G3c2c | d2d B2B | c2z z2 :|

         

BLUE EYED MISS. AKA and see "Blue Eyed Girl/Gal," "Susannah/Suzanna Gal [1]." USA, W.Va. Marimac Recordings, 1987, Wilson Douglas (W.Va.) ‑ "Boatin Up Sandy."

         

BLUE EYED MOLLY. Irish?, Hornpipe. C Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 84, pg. 26.

X:1

T:Blue Eyed Molly

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection (1905), No. 84

Z:AK/Fiddler’s Companion

K:C

G>F|E>CE>G f>ed>c|B2G2G2 c>B|A>FA>c G>FD>G|E2C2C2 G>F|

E>CE>C F>DF>D|G>EG>E A>cA>F|E>EG>c B>AG>^F|G2G2G2:|

|:B>c|d>BG>B d>Bd>G|e2c2c2 c>d|e>de>c G>ce>c|f2d2d2 e>f|

g>ec>e d>B G2|c>AF>A G>E C2|A>cA>F G>FE>D|C2C2C2:|

         

BLUE EYED RASCAL, THE. Irish, Set Dance (Cut time). G Major. Standard tuning. AABB. In McNulty’s setting the 'A' part is eight measures long (before the repeat), while the 'B' part is twelve measures long. McNulty (Dance Music of Ireland), 1965; pg. 28. Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999).

X: 1

T: Blue-Eyed Rascal

S: Noel Strange

M: 4/4

L: 1/8

Q: 325

S: Treoir 32/4

Z: Transcribed by Bill Black

R: hornpipe

K: G

(3DEF | GFGA Bgfg | (3efg (3cde d2 BA | GFGA BdBG | Ad^ce dB (3=cBA |

GFGA Bgfg|(3efg (3cde d2 (3def|(3gdB (3GBd (3ceg (3bge|(3faf (3def g2 :|

B2|(3efe (3efe (3efe B2|(3efe (3efe e2 d2|(3ded A2 (3ded A2|

(3ded (3^cde dB (3=cBA||1 GFGA Bgfg | (3efg (3cde d2 (3dBA |

GFGA BdBG | Ad (3^cde dB (3=cBA :||2 GFGA Bgfg | (3efg (3cde d2 (3def |

(3gdB (3GBd (3ceg (3bge | (3faf (3def g2||

         

BLUE EYED STRANGER [1], THE. AKA and see "Country Garden(s)." English, Morris Dance Tune (4/4 time). G Mixolydian (Raven): D Mixolydian (Bacon). Standard tuning. AABA (Bacon): AABB (Raven). The Cecil Sharpe version of this tune is derived from a tune called "The Mill Mill O', popular in the 18th and early 19th centuries (it was first published by Thompson in Orpheus Caledonius (1725), states Bayard (1981). Burns wrote a song to the tune called "The Soldier's Return," in 1793, and a 6/8 version appears as "The Cuba March." This version is from the area of Sherborne, Gloucestershire, England. Bacon (The Morris Ring), 1974; pg. 281. Raven (English Country Dance Tunes), 1984; pg. 78.

X:1

T:Blue-Eyed Stranger [1]

M:4/4

L:1/8

N:Sherborne version

K:D

d3c B2B2|ABAG F2 FG|A2D2D2A2|F3E D4:|

d3B =c2A2|d=cdB c2A2|d2 d^c B2e2|cdcB A4|

d2 d=c B2B2|ABAG F2 FG|A2 D2D2A2|F3E D4||

 


BLUE-EYED STRANGER [2], THE. English, Morris Dance Tune (2/4 or 4/4 time). C Major [Karpeles]: G Major [Bacon {Bucknell}, Barnes, Mallinson]: E Minor [Bacon]. Standard tuning. AAB (x4) [Bacon {Bucknell, Field Town}, Karpeles]: ABB, x4 [Barnes, Mallinson]: AABB [Bacon]. From the Bucknell, Headington and Field Town, Oxfordshire, area of England's Cotswolds. The Bucknell dance to the tune, a sidestep and a half-hey chorus, was also danced to the tune “Willow Tree;” Kirkpatrick and Wayne (1976) point out that each tune “completely transforms the feeling of a movement” during the dance so that they actually become quite different dances from each other. One of the earliest recordings of the melody was in 1909 when Cecil Sharp waxed it on a cylinder from the playing of John Locke, Leominster, Hereford, described as a “gipsy fiddler.” Bacon (The Morris Ring), 1974; pgs. 185 & 159. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 13. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 34. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 62, pg. 30. Raven (English Country Dance Tunes), 1984; pg. 76. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976). Music Club MCCD376, Chris Bartram et al – “The Traditional Morris Dance Music Album.”

X:1

T:Blue-Eyed Stranger, The [2]

M:2/4

L:1/8

K:C

cG Gc/B/|A/G/A/B/ cc/d/|eg f/e/d/c/|A>B c2:|

||c/d/e/f/ gc|a/g/f/e/ dG|c/d/e/f/ gg|e>f g2|c/d/e/f/ gc|

a/g/f/e/ dc/d/|eg f/e/d/c/|A>B c2||

X:2

T:Blue Eyed Stranger, The [2]

M:4/4

L:1/8

S:John Locke

K:A

A2c2e2a2 | fedc B2B2 | A2c2e2a2 | Bd f2d2B2 | ABcd e2a2 | fedc B2 AB |

cAce dcBA | F2G2 A4 || A2E2E2 AG | FDFG AGAB | c2e2 dcBA | F2G2A2 E>E |

A2E2E2 AG | FEFG AGAB | c2e2 dcBA | F2G2 A4 ||

 

BLUE-EYED STRANGER [3], THE. England, Morris Dance Tune (4/4 time). G Major. Standard tuning. AB. From the village of Winster, in England's Cotswolds. A variant of the main strain. Bacon (The Morris Ring), 1974; pg. 319.

X:1

T:Blue-Eyed Stranger [3]

M:4/4

L:1/8

N:Winster version

K:G

G2BF|G2D4 D2|E3F G2BA|G2D2D2D2|E3F G2 BF|G2D4D2|

EDEF G2A2|B2d2 cBAF|E3F G4||G2BF|GABc d2d2|

B2c2d4|GABc d2d2|B2c2d4|GABc d2d2|edcB A2 GA|B2d2 cBAF|E3F G4||

                   

BLUE EYES POLKA. American, Polka. A Major (‘A’ part) & E Major (‘B’ part). Standard tuning. AABB. Attributed to “Patradge” by Howe. The first part bears a general resemblance to "Navvie on the Line," "New London," "London Hornpipe [1]," and an unnamed hornpipe collected in Pennsylvania by Bayard (1981, No. 389, pg. 372). Howe (1000 Jigs and Reels), c. 1867; pg. 50.

X:1

T:Blue Eyes Polka

M:2/4

L:1/8

R:Polka

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

Z:AK/Fiddler’s Companion

K:A

c | e/a/g/f/ e/d/c/B/ | cE cz/e/ | dE Bz/d/ | cE Az/c/ | e/a/g/f/ e/d/c/B/ | cE cz/e/ |

dE Gz/B/ | AA A :|

K:E

|: B/B/B c/c/c | B/B/B g2 | gf/g/ f/e/d | fe/f/ e/d/c | B/B/B c/c/c | B/B/B g2 |

gf/g/ f/e/d/f/ | ee e :: e | (e/a/).c (c/e/).A | (A/c/).E A>A | G/A/B/c/ d/e/f/g/ |

fe/d/ c>e | (e/a/).c (c/e/).A | (A/c/).E A>A | G/A/B/c/ d/e/f/g/ | a3 :|

                   

BLUE EYES (REEL).  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream); 12.

 

BLUE FLAME. Old-Time, Breakdown. A Major. Standard tuning. AABB. Source for notated version: Jesse Ashlock [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 30.

                   

BLUE GARTERS, THE. Irish, Reel. F Major. Standard tuning. AA'B (O'Neill {1850}): AA'BB' (O'Neill {Krassen}). Lisa Ornstein points out that the melody was recorded by Québec fiddler Joseph Allard in 1930 under the title “La Tuque Bleue,” and that Canadian ‘down-east’ style fiddler Don Messer later produced a similar variant called “The Snowshoer's Reel [1].” Source for notated version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]. O'Neill (Krassen), 1976; pg. 154. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1514, pg. 280.

X:1

T:Blue Garters, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1514

Z:AK/Fiddler’s Companion

K:F

e | f>c (3ccc a2 gf | (3gab ag fdde | 1 f>c (3ccc a2 gf | (3gab ag f2 fg :|2

fgag fdcA BGcA F2 F || c | AFcF AFcF | BGdG BGdG | AFcF AFcF |

BGcA F2 Fc | AFcF AFcF | BGdG BGdG | FA (3cde fdcA | BGcA F2F ||

                   

BLUE GOOSE [1], THE. Old‑Time, Breakdown. USA, northeastern Kentucky. G Major. Standard tuning. AB. The tune is a variant of the better-known “Barlow Knife” (see note for “Barlow Knife”). Source for notated version: Buddy Thomas (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 31. Rounder 00322, Buddy Thomas ‑ "Kitty Puss: Old Time Fiddle Music From Kentucky."

 

BLUE GOOSE [2], THE. Old-Time, Breakdown. D Major. Standard tuning. AB. No relation to version #1. Source for notated version: Bruce Greene [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 31.

                             

BLUE GRASS RAG. Old‑Time. Conqueror 8510 (78 RPM), Doc Roberts.

                   

BLUE HILLS WALTZ. American, Waltz. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 135.

X:1

T:Blue Hills Waltz

M:3/8

L:1/8

R:Waltz

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:C

e/f/|g>ag|e2d|c>Bc/G/|C2 E/F/|G>EF/D/|G,2D|A>GG/F/|G2 e/f/|

g>ag|e2d|c>Bc/A/|a3|[B2g2] [B/g/][B/g/]|[Bg]AB|[E2c2] [E/c/][E/c/]|[E2c2]:|

|:e/f/|g>fg|a2g|c’2e|g2c|B2 a/a/|age|age|g2 e/f/|

g>fg|a2g|c’2e|g2c|B2 a/a/|agB|[E2c2] [E/c/][E/c/]|[E2c2]:|

                   

BLUE IDOL, THE. Irish, Double Jig. E Minor. Standard tuning. AA’BB’. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 97, pg. 85. 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).

                   

BLUE MONDAY. American, Waltz. D Major. Standard tuning. AB. Composed by Linda Henry and Bob Snope (Mass.) in tribute to Paul Eric Smith, upon his "retirement" from the Amherst, Mass., Monday night dance when the commuting became too much. Matthiesen (Waltz Book II), 1995; pg. 7.

                   

BLUE MOUNTAIN BOYS REEL. American, Reel. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 46.

X:1

T:Blue Mountain Boys Reel

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D|GG/A/ B/c/d/B/|cc/B/ A/G/F/D/|GG/A/ B/c/d/B/|A/d/c/e/ d>D|

GG/A/ B/c/d/B/|cc/B/ A/G/F/D/|GG/A/ B/c/d/B/|e/g/f/a/ g:|

|:z|.g/.d/(B/d/) .e/.d/B/d/|e/a/a/g/ f/d/e/f/|.g/.d/(B/d/) .e/.d/(B/d/)|(e/g/).f/.a/ gz|

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

                   


BLUE MOUNTAIN HORNPIPE. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB (Messer): AA’BB’ (Perlman). Credited to Cape Breton musician Cecil MacEachern, though popularized in the mid-20th century by the great Maritime fiddler Don Messer, who was born in New Brunswick. MacEachern was a member of Messer’s Islanders band (who broadcast from Charlottetown, PEI) for some time. The tune is named for a mountain in Cape Breton. Source for notated version: Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 118, pg. 73. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 103.

                   

BLUE MOUNTAIN RAG. Canadian, Country Rag. A Major. Standard tuning. AA'BB'. Composed by Maritime fiddler Don Messer (1909-1973). Source for notated version: Stuart Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 22. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

                   

BLUE MOUNTAIN WALTZ. Canadian, Waltz. G Major ('A' part) & D Major ('B' part) [Messer]: A Major (‘A’ part) & E Major (‘B’ part) [Silberberg]. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 173, pg. 119. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 6. County 775, Kenny Baker – “Farmyard Swing” (1979).

                   

BLUE MULE. AKA and see “Austin Breakdown.” Old‑Time, Breakdown. USA; Arkansas, Missouri. G Major. Standard tuning. AB (Silberberg): AA’BB’C (Beisswenger & McCann). Recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers, where it is a regionally popular tune formerly seldom heard in other parts of the country. Mark Wilson sees resemblances with the tunes “Nancy’s Got a Pretty Dress On” and “Austin Breakdown,” while Drew Beisswenger (2008) finds Absie Morrison’s “Irish Washerwoman [2]” (a reel version) similar. There is some speculation it may have derived from the play-party song “Skip to My Lou.” “Blue Mule” is usually heard played in two strains. Source Glen Rickman (1901-1982) believed the tune to have been played during the Civil War, and identified his additional third part as the one a “Rebel” cousin had played [Beisswenger & McCann]. Guthrie Meade gives two early 78RPM recorded sources: Bob Miller’s Hinky Dinkers (1930) and Jess Hillard & His West Virginia Hillbillies (1933). It was in the repertoire of Missouri fiddlers Art Galbraith (1909-1993) and Bob Holt (1930-2004). Sources for notated versions: Kerry Blech (Seattle) [Silberberg]; Glenn Rickman (Hurley, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 112. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 13.

See also listing at:

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

                               

BLUE OCEAN. AKA and see “Aileen Bonner’s,” “Belles of Ballinderry.” Irish, Polka. Ireland, West Kerry. D Major. Standard tuning. AABB. The melody is mislabled “The Lonesome Road to Dingle” in Mac Amhlaoibh’s book. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 39, pg. 29.

                   

BLUE PACIFIC HORNPIPE. Canadian, Hornpipe. D Major. Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, vol. 2.”

X:1

T:Blue Pacific Hornpipe

C:Ward Allen

R:Hornpipe

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

FG|AFDF Acde|fdBd A2FA|BAGB A2FA|GFEF G2FG|

AFDF Acde|fdBd A2FA|GFEF GABc|d2ec d2:|

|:de|fdce dAFB|AFBF A2ED|CDEF GABc|dAFD E2de|

fdce dAFB|AFBF AFD2|gefd edce|d2dc d2:|

                   

BLUE PANTALOONS (Na Pantalúin Ghorma). Irish, Reel. D Major. Standard. AABB. Breathnach calls this a simple reel suitable for beginners. Source for notated version: the mid-19th century collection of James Madigan (County Louth) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 165, pg. 78.

                   

BLUE PIGEON, THE.  AKA and see “The Green Pigeon.”

 

BLUE RIBBON AT THE BOUND ROD. AKA and see "Blue Ribbon Scottish Measure." Scottish, Reel. C Major. Standard tuning. One part. The air appears in the Skene Manuscript (c. 1615) and was reprinted in Dauney's Ancient Scottish Melodies (1838). It was adapted and printed by the Gows in Complete Repository (11, 1802) as “Blue Ribbon Scottish Measure.” Robin Williamson speculates that the title may refer to a gathering staff for soldiers or a boundary road, and notes that the border at Berwick on Tweed was called the bound rod at one time. Another version of the tune is “Lord of Carnarvon’s Jig.” Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 25, pg. 127.

X1

T:Blew Ribbenn at the Bound Rod

M:C

L:1/8

B:Skene Manuscript (c. 1615)

K:C

G2|E2 C2 EFGE|DCB,A, B,CDB,|E2 C2 EFGE|c4 d2 cd|

edcA cAGE|GEDC D2 G2|E2 cd e2 d2|C4 G4||

                   

BLUE RIBBON POLKA [1]. AKA – “Blue Riband Polka.” Irish, Polka. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. A polka from the Sliabh Luachra region of the Cork-Kerry border. Cranitch keeps the C# note through the ‘B’ part, which may or may not be a mistake. Two key tunes are rare in Irish music. Philippe Varlet remarks that the tune was fairly popular in the early recording era and was waxed by both Michael Hanafin and Dan Moroney, both originally from County Kerry and members of Dan Sullivan’s Shamrock Band in Boston. John and Julia Clifford, respectively an accordion and fiddler player originally from the Sliabh Luachra region of the Cork/Kerry border, recorded the tune in London in 1977. See also a related, untitled, polka collected by Brendan Breathnach (CRÉ V, 1999, No. 85) from a Radio Éireann recording of musician John Ryan. Source for notated version: Paddy Ryan [Treoir]. Cranitch (Irish Fiddle Book), 1996; No. 44, pg. 142. Cranitch (Irish Session Tunes: Red Book), 2000; 44. Treoir, vol. 32, No. 1, 2000; pg. 22 (appears as “The Blue Riband”).

X:1

T:Blue Ribbon Polka [1]

C:Trad. ?

S:Julia Clifford

M:2/4

R:polka

L:1/16

K:D

A2FA defg|a2a2 fdfa|g2g2 eceg|f2f2 d2dB|

A2FA defg|a2a2 fdfa|g4 f2e2|d2f2 d4:|

a2f2 d2cd|e2A2 ABcA|d2c2 A3g|f2d2 defg|

a2f2 d2cd|e2A2 ABcA|d2c2 A2F2|G4 G4:|

 

BLUE RIBBON POLKA [2]. AKA and see “The Cobbler [3],” “Din Tarrant’s [9],” “O’Keeffe’s (Polka) [2].” Irish, Polka. E Minor. Standard tuning. AABB. The tune is often played in B Minor as well as E Minor.

X:1

T:Blue Riband Polka [2]

C:Trad. ?

S:Julia Clifford

M:2/4

R:polka

L:1/16

K:Em

G2E2 B2E2|G2E2 B3A|G2E2 B2E2|FEDF A2BA|

G2E2 B2E2|G2E2 B3A|G3A BAGF|E4 E4:|

B2e2 e2d2|B2A2 B3A|G2E2 B2E2|FEDF A2BA|

B2e2 e2d2|B2A2 B3A|G3A BAGF|E4 E4:|

                             


BLUE RIBBON SCOTTISH MEASURE. AKA and see "Blue Ribbon at the Bound Rod." Scottish, Scottish Measure or Strathspey ("Slowish"). F Major. Standard tuning. AABB. The tune was later renamed by Niel Gow, but was originally published in the Skene MS., c. 1610, as "Blue Ribbon at Bound Rod." Robin Williamson speculates that the title may refer to a gathering staff for soldiers or a boundary road, and notes that the border at Berwick on Tweed was called the bound rod at one time. The melody was published by Gow in his Repository, Part Second, 1802, under the above title. It is correctly classified as a Scottish Measure, having the characteristic emphasis on the first three beats of the bar, with the phrase beginning on the up‑beat. Carlin (Gow Collection), 1986; No. 12. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 24, pg. 127. Gow (Complete Repository), Part 2, 1802; pgs. 4-5. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2" (Skene version). Mill Records MRCD018, William Jackson – “Duan Albanach” (2003).

X:1

T:Blue Ribbon Scottish Measure

M:C

L:1/8

R:Scotch Measure

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:F
cB|A2F2F2 GA|{A}c2G2G2 cB|A2 G>F F2ag|f4 c2 fg|(ag)fd (fd)cA|{A} d2G2G2 cB|

BAGF a2 ga|f4 f2:|

|:(3c/d/e/|(fe)dc defg|{fg}a2g2g2 (c/d/e)|(fe)dc defc|{B}A4 f3g|

(ag)fe (fd)cA|{A}d2G2G2 cB|(BA)GF {F}a2 ga|f4f2:|

                   

BLUE RIDGE BLUES. Old-Time, Western Swing. D Major. Standard tuning. AA'BB'. Source for notated version: Carl Stewart with Hank Penny and His Radio Cowboys [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 23.


                   

BLUE RIDGE BREAKDOWN. Old-Time, Breakdown. A Major. Standard tuning. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 14.

                   

BLUE RIDGE RAMBLERS RAG. American, Country Rag. Brunswick 346 (78 RPM), Lonnie Austin (1929).

                   

BLUE RUNNER. Cajun. A classic tune from Bébé Carriére. It was reworked by Canray Fontenot as “Canray’s Jam.”

                   

BLUE SHIRT WALTZ. See “Blue Skirt Waltz.”

                   

BLUE SKIRT WALTZ. American, Air and Waltz. USA; Union County, Pa., north Mid-West. B Flat Major (verse) & E Flat Major (chorus). Standard tuning. ABABCCAB. The tune, which was in the repertory of Dice, Pa., fiddler Ralph Sauers, was probably the "Blue Skirt Waltz" which became a regional hit for Ohio musician Frankie Yankovic in the northern Mid-West states where there was a large ethnic population. Yankovic remade a Bohemian tune called "Cerveny Satecek" (Red Handkerchief) into his piece that became a hit for him in 1948. The sheet music credits “The Blue Skirt Waltz” as copyright 1944 by R. A. Dvorsky, Prague, republished in 1948 and "containing new material by R.A. Dvorsky, Prague".

                   

BLUE STOCKING, THE. English, Jig. England, Shropshire. G Major. Standard tuning. AABB. The title perhaps refers to the term Blue-Stocking, which referred to a learned, pedantic or literary woman by the year 1810. The adjective was applied from around the mid-18th century to the frequenters of Montagu House, London, where literary talk and discourse replaced cards as entertainment. It derives from the practice of one of the leading lights of the assemblies, Benjamin Stillingfleet, a sometimes poet, who sported blue worsted stockings, which Admiral Boscawen dubbed the Blue Stocking Society. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 13a, pg. 1. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 8, pg. 4.

X:1
T: Blue Stocking, The
M: 6/8
L: 1/8
R: Jig
K: Gmaj
|: B/c/ | d2d dgd | B2B BdB | G2G AGA | B2B B2c |
d2d dgd | B2B BdB | G2G AGA | BGG G2 :|
|: B/c/ | dBg ecg | dBg ecg | ded dcB | BAA A2B/c/ |
dBg ecg | dBg ecg | d>ed cBA | B>GG G2:|

                   

BLUE STOCKING CLOG. American, Clog. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 117. Ryan’s Mammoth Collection, 1883; pg. 156.

X:1

T:Blue Stocking

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(3de=e | g>fd>B F>DB,>D | C>EG>c e>gf>=e | g>f_e>c A>FG>A | (3BAB (3cBc (3dcd (3ede |

g>fd>B F>DB,>D | C>EG>c e>gf>=e | g>f_e>c A>FG>A | B2 [F2d2] [D2B2] :|

|: c2 | c>A (3cfg a>fa>f | d>B (3dga b>gb>g | e>d’c’>b a>bd>e | (3fef (3gfg a>fc>A |

c>A (3cfg a>fa>f | d>B (3dga b>gb>g | e>d’c’>b a>bd>e | f2 [c2a2] [A2f2] :|

                   

BLUE-TAIL FLY, THE. AKA and see "The Fox and the Grapes." English, Reel.

                   

BLUE VALLEY WALTZ. AKA and see "Fifty Years Ago Waltz."

                   

BLUE VIOLET CLOG. American, Scottish; Clog or Hornpipe. A Major. Standard tuning. AABB (Cole): AA'BB' (Kerr). Cole (1000 Fiddle Tunes), 1940; pg. 118. Kerr (Merry Melodies), vol. 2; No. 363, pg. 40. Ryan’s Mammoth Collection, 1883; pg. 156.

X:1

T:Blue Violet

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(3agf | (e>.f)(e>.d) c>dc>B | (3AcB (3AGF E>FG>A | A>GA>c e>cA>c | B>ed>f e2 (3agf |

e>fe>d c>dc>B | (3AcB (3AGF E>EF>G | (3AGA (3cBA (3Bfe (3dcB | A2c2A2 :|

|: B2 | (B>.^A)(B>.e) g>fe>^d | c>^Bc>f a>gf>e | ^d>ba>f d>Bc>d | (3egf (3e^dc B2B2 |

B>^AB>e g>fe>^d | c<^Bc>f a>gf>e | ^d>ba>f d>Bc>d | e2g2e2 :| 

                   

BLUE WATER HORNPIPE. AKA and see "President Garfield's Hornpipe."

                   

BLUE WATER QUADRILLE. See also related tune “Cross of Inverness.” The title may be “White Water Quadrille.”

X:1

T:Blue Water Quadrille

C:from Larry Older

N:Larry was a fiddler and singer from Middle Grove,

N:a village not many miles west of Saratoga Springs, NY.

Z:Transcription by Joel Shimberg

M:6/8

Q:350

K:G

GFE|:"$"D2B, B,2D|E2C C2B|c2B A2G|F2E D2E |D2B, B,2D|E2C C2E|

FED A2F|1G3 GFE:|2G3 d3||g3 gfg|e2c cBc|A2a A2a|f2d d^cd|

B2g B2g|e2c c2^g|a2^g a2^c |d3 d2=c|Bcd g2d|e2c cBc|

A^ce a2g|f2d d ga|b2g d2B|e2c A2G|FGA DEF|"End"xG3  G"Back to $"FEx|]

                   

BLUE WATER WALTZ. Canadian, Waltz. Canada, Prince Edward Island. G Major. Standard tuning. ABAB’. Composed by Prince Edward Island piano player Kaye MacEachern (who was the accompanist in the source’s  band). Source for notated version: Reuben Smith (b. 1931, Blooming Point, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 167.

                   

BLUE YOWE, DA. Shetland, Shetland Reel. Shetland, Unst. Bain and Anderson say the tune is a descriptive piece by Fredamann Stickle of a quarrel between two women about who owned a uniquely colored female sheep. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).

                   

BLUEBELL POLKA. AKA ‑ "Little Pet Polka" (Ireland), "The Curlew Hills" (Ireland). English, Scottish, Irish; Polka. G Major ('A' part), D Major ('B' part) & C Major (‘C’ part). Standard tuning. AABBAACCAA. Attributed to one Frank Stanley in the Kerr collection (c. 1880’s), the earliest publication found to date. Scottish musician and band leader Jimmy Shand recorded an influential version, one of the best-selling singles of his era, however, a much earlier Scottish version was recorded on a 78 RPM disc by an Edinburgh melodeon player named James Brown in 1911. Brown’s name for it was “Little Pet (Caledonian Polka),” a name that survives in Irish tradition. According to Philippe Varlet, the melody was known to Irish musicians in the 78 RPM era. It was recorded by the renowned County Sligo/New York fiddler James Morrison for Columbia in 1935, and later, in the 1950’s, by Mickey Carton, for the Copley label. The Gallowglass Céilí Band waxed “Blue Bell Polka” for Irish Columbia. The tune is sometimes used for an accompaniment to the Irish dance Siamsa Beirte (which roughly translates as 'play for two'), a kind of two-hand hornpipe sixteen bars in length. The dance apparently is of no particular antiquity.  In Holland an early version was played as “Piederman’s Polka.” The melody sounds quite similar (and may be ancestral) to the American “Flop-Eared Mule [1].” Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 27. Kerr (Merry Melodies), c. 1880’s, vol. 1; No. 14, pg. 51. Raven (English Country Dance Tunes), 1984; pg. 144. Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

X:1

T:Bluebell Polka

R:polka

C:trad.

S:played A - B - A - C

M:4/4

L:1/8

Q:80

K:G

(3Bdg| "G"b2 b2 gfge |"D"d2 d2 "G"B3 G |"D"FGAB "C"c2 d2 | "D"ed^cd "G"B2 (3Bdg |

b2 b2 gfge| "D"d2 d2 "G"B3 G |"D"FGAB  cdef | "G"g2 b2g2 :|

K:D

B2  | "D"A2 A2 FAdf |"A"a2 a2 "F#m"f4 |"A"a2 ^g2 "G"=g2  e2 | "D"b2 a^g "A"a2 f2 |

"D"A2 A2 FAdf | "A"a2 a2 "F#m"f4 |"A"a2  ^g2 "G"=g2 e2 | "D"d2 f2 d2 :|

K:C

f2|"C"e2 e2 ef g2 | e2 e2 ef g2 | "Dm"fefg fe d2 | fefg fe d2 |

"C"e2 e2 ef g2 | e2 e2 ef g2 |"Dm"fefg "G"fe d2| "C"c2 e2 c2 :|

                   

BLUEBELL REEL. AKA and see "Glise de/a Sherbrooke," "Reel de Tadoussac." French-Canadian, Reel. G Major. Standard tuning. AB. The tune appears to be a simplified version of "Glise de Sherbrooke." Source for notated versions: learned by Dudley Laufman (Canterbury, New Hampshire) from the playing of Eddie Charet et ses Troubadours "at a great dance in Chicopee" Quebec. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 19.

                   


BLUEBELLS, THE (Na Coinnle Corra). AKA and see “Master Crowley(’s Reel) [1],” “Miss Patterson,” “Miss Paterson’s Slipper.” Irish, Reel. E Dorian. Standard tuning. AA'BB'. Since Coen’s reel was untitled, Breathnach supplied it from Giblin’s collection. Source for notated version: fiddler Tommy Coen, 1960 (Kinvara, Co. Galway, Ireland) [Breathnach]. Breatnach (CRÉ II), 1976; No. 227.

                   

BLUEBERRY BLOSSOM. AKA and see "Blackberry Blossom"?? Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                   

BLUEBERRY BUSH, THE. Irish, Reel. A Major. Standard tuning. AABB’. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 43.

                   

BLUEBERRY JIG. Canadian, American; Jig. D Major/Mixolydian. Standard tuning. AABB. This tune features 'double tonic' tonality. Source for notated version: Stuart Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 359. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 7.

                   

BLUEBIRD BLUES. Old-Time, Country Blues. D Major. Standard tuning. AB. Source for notated version: Hugh Farr [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 22.

                   

BLUEBIRD ON THE SNOWBANK. See note for “Paddy on the Turnpike [1].”

                   

BLUEBIRD POLKA, THE. AKA and see "Blue Bird Reel [2].” French-Canadain, Reel or Polka. D Major. Standard tuning. AABB. Source for notated version: learned by caller Dudley Laufman (Canterbury, New Hampshire) from the playing of Eddie Charet et ses Troubadours "at a great dance in Chicopee." Laufman (.  Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 19 (appears as "Bluebird Reel"). Miller & Perron (101 Polkas), 1978; No. 72.

                   

BLUEBIRD REEL, THE (Reel L'Oiseau Bleu). AKA and see "Bluebird Polka."

                   

BLUEBIRD WALTZ. See "Blue Bird Waltz."

                   

BLUEGRASS AUTUMN. Bluegrass, Breakdown. Composed by Herschel Sizemore. Front Hall FHR‑023, Michael, McCreesh & Campbell ‑ "The Host of the Air" (1980).

                   

BLUEGRASS MEADOWS. Old-Time. A tune in the repertoire of blind northeast Kentucky fiddler Ed Hayley, as remembered by Lynn Davis and Molly O'Day.

                   

BLUEJAY, THE. American, Double Jig. A Major (‘A’ part) & E Dorian (‘B’ part). Standard tuning. AA’BB’. Composed by guitarist and accordion player Creighton Lindsay (originally from upstate New York, now resident of Corvallis) one “very cold, wet evening” in Bielefeld, Germany while recalling a hot recording session he took part in some years before at the Bluejay Recording Studio, Carlisle, Massachusetts. Songer (Portland Collection), 1997; pg. 33. Jigsaw - “Cut Up the Floor.”

                   

BLUEJAY POLKA. New England, Polka. F Major. Standard tuning. AABB. A modern programmatic composition about a bluejay song by Peterborough, New Hampshire, accordion player and composer Bob McQuillen, December, 1974. Miller & Perron (101 Polkas), 1978; No. 80.

                   

BLUEMEL SOOND. Shetland, Reel. G Major. Standard tuning. AABB'. Composed by the late Shetland fiddler, composer, teacher and collector Tom Anderson. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 116, pgs. 207‑208.

                   

BLUEMONT WALTZ. American, Waltz. USA, New Hampshire. A Major. Standard tuning. ABB'. Composed in 1986 by fiddler Rodney Miller (Antrim, N.H.) in honor of Bluemont, Virginia, after playing contradances there. Matthiesen (The Waltz Book I), 1992; pg. 16. Rounder, Rodney Miller ‑ "Airplang II."


                   

BLUES DE PORT ARTHUR, LA. AKA and see "Port Arthur Blues." Cajun. Port Arthur is in Texas. Decca 17058 (78 RPM), Leo Soileau's Four Aces (1938).

                   

BLUES DE SOULARD (Drunkard's Blues). Cajun, Country Blues (4/4 time). USA, southwestern Louisiana. A Mixolydian. Standard tuning. One part. Source for notated version: Louis Cormier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 342-343. Swallow Records SW-LP6001, Louis Cormier.

                   

BLUES DE TEXAS, LE (Texas Blues). Cajun, Two-Step (?). USA, southwestern Louisiana. D Major. Standard tuning. One part. Raymond Francois (1990) remarks, "Cajuns like to sing about Texas. It was our western frontier and many Cajuns migrated there." Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 49-51. Morningstar Records MS-45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930."

                   

BLUES DE VOYAGEUR. Cajun/Creole. Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray Fontenot - “La Musique Creole.”

                   


BLUE'S GAEN OOT O' THE FASHION. AKA and see "The Wedding O' Blyth."

                   

BLUES FRANCAIS (French Blues). Cajun, Country Blues (4/4). USA, Louisiana. D Major. Standard tuning. Irregular form. A related song is Ambose Thibodeaux's "Tante Dalli," about a little boy who drowned among water lilies in the Coulee Rosa/Rozas. Source for notated version: accordionist Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 52-53. Old Timey Records OT-128, Nathan Abshire.

                   

BLUETT'S. Irish, Slip Jig. D Major. Standard tuning. AABBCC. Hardings All Round Collection, 1905; No. 158, pg. 50.

X:1

T:Bluett’s

M:9/8

L:1/8

R:Slip Jig

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:D

F2A ABA ABA|F2A ABA d2f|F2A ABA ABA|G2e efd cBA:|

|:f2a f2a fed|f2a f2a gfe|f2a f2a fed|e2 e efd cBA:|

|:f2z a2z d2z|g2f e2d cBA|f2z e2z d2z|B2B A2G FED:|

                   

BLUFF KING HAL. English, Morris Dance Tune (4/4 time). D Major. Standard tuning. AABB. From the village of Bidford, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 73.

                   

BLUFF REEL. American, Reel. F Major (Cole, Ryan): G Major (Miller). Standard tuning. AABB. Composition attributed to G.L. Tracy in Ryan’s Mammoth Collection (1883). George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Evidently Tracy arranged music as well, for one publication from the 1880’s indicates an Arthur & Sullivan work was arranged by him. Cole (1000 Fiddle Tunes), 1940; pg. 37. Miller (Fiddler’s Throne). 2004; No. 126, pg. 84 (appears as “The Bluff”). Ryan’s Mammoth Collection (1883).

X:1

T:Bluff

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

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

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

|:f/e/|d/A/A/A/ d/A/d/e/|f/g/a/f/ g/e/c/e/|d/A/A/A/ d/A/d/e/|f/a/g/e/ d/e/f/d/|

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

                   

BLUINN THY MI MO NIGHEAN DONN, AN. AKA and see "Will You Listen to Me, My Brown‑Haired Maid."

                   

BLUSH OF AURORA (NOW TINGES THE MOON), THE. English (?), Air (3/4 time). D Major. Standard tuning. One part. The air appears in a number of vocal publications in England and Scotland in the last decades of the 18th century. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 128.

X:2

T:Blush of Aurora, The

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

A2 | d2 (fe)(dc) | d2 AGFE | D2F2A2 | d4 f>d | e2e2 f>d | e2A2 f>d | e>f ge fd |

e4 e2 | e2 ce(dc) | d2 Bd (cB) | (cB) (AB) (cd) | e4 f2 | e2 (dc) (de) | (fg) a2^g2 |

a6 | f6 | e2 (dc) (BA) | cd e2E2 | A4 A2 | cd e2 dc | de f2 (ed) | ef g2 fe | f4 f>e |

d2B2 f>e | d2B2f2 | (gf) (ed) (cB) | AG F2f2 | (3gfe d2c2 | B4c2 | d2A2G2 |

F2A2d2 | (ef)(gf)(ed) | {d}c4a2 | a4 f>d | e2A2c2 | d4 A2 | d2 AG (FE) |

D4 (de) | f2d2A2 | F4 (fg) | (ab)(ag)(fa) | (ga)(gf)(eg) | fa(gf)(ed) | cedcBA |

(dc)df(eg) | (fe)(fa)gb | a2 (gf)(ed) | a4 A2 | d2d2=c2 | B2g2B2 | e2e2d2 |

{d}c2A2a2 | a4 fd | e2A2c2 | d4 || 

                   

BLY’S JIG. AKA and see “Darby the Driver,” “Cronin’s Favorite [2],” “Paddy Cronin’s [6].” Irish, Jig. A Dorian. Standard tuning. AABB. Source for notated version: flute player Jim Bly (Co. Roscommon) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 25, pg. 69.

                   

BLYTHE HAE I BEEN ON YON HILL. See "The Quaker's Wife."

                   

BLYTHE WAS SHE BUT AND BEN. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800.

                   

BLYTHSOME BRIDAL, THE. AKA and see “An the Kirk Would Let Me Be,” “Bremner and the kirk would let me be,” Blithesome Bridal,” Come fy, let's a' to the bridal,” “Come Let's A’ to the Bridal.” “Come to the Bridal,” “I’m the Boy for Bewitching Them,” “Let us waa to the wedding.” “The Jolly Pedler’s [4],” “Silly Old Man [2].” Scottish, (9/4 time). F Major. Standard tuning. AB. This odd‑timed tune appears in Johnson's Scots Musical Museum, 1787; No. 58 (it is noted variously in 9/8 and 6/8 time). Words to the melody have been attributed to 17th century Scots writer Francis Semple, son of Robert Semple of Belltrees, the author of the humorous poem “Sanny Briggs.” The words were printed in the first publication of miscellaneous Scottish verse in Watson’s Choice Collection of Comic and Serious Scots Poems (1706-11). It is from this volume the Thomas D’Urfey got his copy of  “The Blythsome Bridal” which he reprinted in his Pills to Purge Melancholy (1719-1720), including the very curious errors owing to printer Watson’s ignorance of the Scottish language [Robert Burns, Robert Riddell, Notes on Scottish Song]. Tyneside fiddler and singer-songwriter Robert “Bobby” Nunn (1808-1853) set his song “The Sandgate Lass On The Ropery Banks” to this tune. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 76, pg. 157.

                                   

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