The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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BOH - BONIN |
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] |
BOHEMIAN POLKA. English, Polka. B Flat Major. Standard tuning.
AABB. Source for notated version: the music manuscript book of Ellis Knowles, a
musician from Radcliffe,
BOHEMIAN (WALTZ), THE.
English, Waltz. D Major. Standard tuning. AABBCC. The Ellis Knowles
music manuscript, c. 1847, from the North West of England contains four
“Bohemian Waltzes” in the keys of B (!), A, C, and D. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 98, pg. 24.
BOHER O'HUAID. AKA and see "Northern Road."
BOHERROE. Irish, Air (4/4 time). F Major. Standard tuning. AAB. Joyce (1909)
reveals that Boherroe is a village in Co. Roscommon. Joyce (Old Irish Folk Music and Songs), 1909;
No. 566, pgs. 299‑300.
X:1
T:Boherroe
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music
and Songs (1909)
Z:AK/Fiddler’s Companion
K:F
(3cde | f2 ef d2 cA | G2F2D2 FG |
AFGA F2F2 | F6 :|
c2 | fedc Acde | f3d edce | d2 cA G2
Ac | d6 de | fdec Acde |
f3d edce | d2 cA G2 Ac | d6 (3cde |
f2 ef d2 cA | G2F2D2 FG | AFGA F2F2 | F6 ||
BOHOLLA JIG [1]. AKA and see “Ballinasloe Fair,”
"John Conroy's," “Killaloe Boat,” “Lilt from Home,” “Ryan’s Favorite.” Irish, Jig.
X:1
T:Ballinasloe Jig
T:Lilting Banshee, The
T:Boholla Jig [1]
M:6/8
L:1/8
C:Trad
S:Bridget Delaney, Athy, Co.
R:Jig
K:Em
EAA EAA|BAB G>A|Bee edB|dBA
GED|EAA EAA|BAB G>A|Bee edB|dBA A>d:|
eaa age|dBA G>A|Bee edB|def
gfg|eaa age|dBA G>A|Bee edB|dBA A>d:|
BOHOLA (REEL). AKA and see “Martin Ainsborough’s,” “Martin Ansboro’s Reel.” Irish,
Reel. Shanachie 79064, Matt Molloy – “Heathery Breeze”
(1999).
BOIC BHAILE ÁTHA
CLIATH. AKA and see “The Bucks of Dublin.”
BOIC ÓRÁIN MHÓIR. AKA and see "The Bucks of
Oranmore," "The Bucks of
Cranmore."
BOIL THE BREAKFAST
EARLY (Ullmuig An
Prim-Beile Go Moc). AKA and see "Court
Her Along the Road," “The
Lasses' Fashion,” “Peadar’s Reel,”
“Wild Irishman [8].” Irish, Reel. G
Major. Standard tuning. AB (O'Neill, Stanford/Petrie, Vallely): AA’BB’
(Harker): ABC (Alewine, Mulvihill). The reel is popular with uilleann pipers.
Donal Hickey, in his book Stone Mad for
Music (1999), writes that laughter was not too far from the surface in
Slibah Lucahra (a Cork/Kerry border region), and that wittiness in both men and
women was a valued gift. As an example he relates the yarn about a man who was
being given his breakfast by a neighbor before he and the man of the house went
to the bog to labor. ‘How do you like your egg, Denny, hard or soft?’ inquired
the Mrs.—came the immediate reply, “Boiled with another one!” Sources for notated
versions: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]; Frank
McCollam (Ballycastle,
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
T:Boil the Breakfast Early
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
GBBG AFDF|GBBd c2 BA|GBBG AFDF|GEEG
c2 BA|GBBG AFDF|GBBd c2 Bc|
DBcA BGAF|GEEG c2 Bc||dA (3AAA
dAFA|dAA^c defe|dA (3AAA dAFA|
GEEG c2
Bc|dA (3AAA dAFA|d^cde dgfe|dBcA BGAF|GEEG c2 BA||
BOIL THE CABBAGE DOWN. AKA and see "Bile
the(m) Cabbage Down."
BOIL THE KETTLE EARLY. AKA and see "The Ladies Tight
Dress," "The Ladies Top Dress," "Old Molly Ahern," "The Piper's Lass," "The Rathkeale Hunt," "Rolling
on the Ryegrass," "The
Shannon Breeze [1]," "The Telegraph,"
"What the Devil Ails You
[2]."
BOIL THE KETTLE EARLY
[2] (Tabhair Fiuchadh don
Chiteal go Luath). Irish, Reel. D Major/Mixolydian. Standard tuning. AAB. A different tune
than “Boil the Kettle Early [1].” Source for notated version: from a tablature
notation manuscript written by Kerry fiddle master Pádraig O’Keeffe, obtained
by Brendan Breathnach from Jack Connell (nicknamed ‘Jack the Lighthouse’)
[Breathnach]. Breathnach (CRÉ V), 1999; No. 199.
BOIL THE KETTLE EARLY
[3].
AKA and see “The Cloontia Reel,”
“The Far Field,” "An Garda Nua," "Lady Cork's Reel,” “Michael Dwyer’s Favourite,”
"The New Policeman [3],"
"Paddy Bolster's Reel,"
“The Tinker’s Stick,” "The Twin Brothers [1]."
BOIL THE(M)
CABBAGE DOWN [1]. AKA - "Bile Them
Cabbage Down." Old‑Time, Breakdown. A Major. Standard tuning. AB
(Phillips): AABB (Devil's Box). Known now as a beginner's tune especially
useful for practicing the basic "Georgia Shuffle" rhythm,
"Boil/Bile the Cabbage Down" has been widely known and played. The
famous
BOIL THE CABBAGE DOWN
[2]. Old-Time, Breakdown. G Major.
Standard tuning. AABB. Little relation to version #1. Source for notated
version: Johnson Family [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 40.
BOIL THE SAP. American, Jig. D Major. Standard
tuning. AABB. Composed by
BOILED GOAT'S MILK (Baine Na Gabair's
X:1
T:Boiled Goat’s Milk
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
d/c/|BGA B2d|cAG A2B|cAF G2B|def
gdc|BGA B2d|cAG A2c|B/c/dB cAF|AGG G2:|
|:d|g/f/eg fdc|BAB dBG|gag fdc|BAB
def|g/f/eg fdc|BAB dBG|B/c/dB cAF|AGG G2:|
BOINÉAD AN tSEOLTÓRA. AKA and see “The Sailor’s
Bonnet.”
BOINÉAD SGIAMAC, AN. AKA and see "The Dandy Bonnet."
BOITHRIN BUI. Irish, Air (3/4 time). G Major. Standard. One part. Ó Canainn (Traditional Slow Airs of
BOLAND'S FAVORITE. Irish. Traditional. Flying Fish 266, Malcolm
Dalglish & Grey Larsen ‑ "Thunderhead" (1982).
BOLD AND UNDAUNTED FOX. AKA and see "Raking
Paudheen Rue."
BOLD CAPTAIN FRENEY. Irish, Air or March (4/4 time). D Mixolydian (Joyce): A
Major/Mixolydian (Stanford/Petrie). Standard. One part. "There is an air
with this name in one of the Pigot MSS., now in my keeping; the same setting is
in the Stanford‑Petrie Collection (No. 734), copied from the Pigot MS.;
and I find still the same setting in other collections. But in the Kilkenny
Archaeological Journal for 1856‑57, p. 59, there is given a totally
different air, with the whole song about Captain Freney. This air was taken
down early in the last century by the organist of St. Canice's Cathederal,
Kilkenny, from the singing of an old servant of a very old lady, a relative of
the late Mr. Prim of Kilkenny (a distinguished man, one of the founders of the
Kilkenny Archaeological Society). This lady often conversed with Mr. Prim about
Freney, and was able to sing the song. Putting all these circumstances
together, we may, I suppose, conclude that the air given below, copied from the
Journal, is the original 'Bold Captain Freney'. The song contains ten verses,
of which it will be sufficient to give five here. Captain Freney was a noted
highwayman of the
X:1
T:Bold Captain Friney
M:2/4
L:1/8
R:March/Air
S:Stanford/Petrie (1905), No. 734
Z:AK/Fiddler’s Companion
K:A
AA/B/ cd | BA A2 | ee/f/ =gf/d/ | fe
e2 | ee/f/ ed/c/ | dd gf/g/ |
Ae ed/B/ | gf e2 | cd {c}e>d | ec
BA | E/G/A/B/ cB/>A/ | BA A2 ||
BOLD DESERTER, THE (An Treigteor Dana). Irish; Long Dance, Set Dance or Air
(2/4 or 4/4 time {O'Neill 1915}). D Major. Standard. One part (O'Neill/1915 ed.
& 1001, Roche): AB (O'Neill/1850, air version): AABB (O'Neill/Krassen &
1850). O'Neill (O’Neill’s Irish Music),
1915/1987; No. 392, pg. 187. O'Neill (Krassen), 1976; pg. 222. O'Neill (Music of Ireland: 1850 Melodies), 1979;
No. 291, pg. 51 (air). O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1791, pg. 335 (long dance). O'Neill
(Dance Music of
X:1
T:Bold Deserter, The
M:C
L:1/8
R:Set Dance
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
fe|d2A2B2 AF|ABde fedB|AFEF D2D2|D6
AG|F2A2 d2ef|
g2f2e2 de|fedB AFEF|A6 AG|F2A2
d2ef|g2f2e2 de|fedB AFEF|A6 fe|
d2A2B2 AF|ABde fedB|AFEF D2D2|D6
AG|F2A2d2 ef|g2f2e2 de|
fedB AFEF|A6 fe|d2A2B2 AF|ABde
fedB|AFEF D2D2|D6||
BOLD DOHERTY. AKA and see “The
Connaughtman’s Rambles [1],” “The
Duck from Drummuck,” “Gathering
Dillisk/Dilisk,” “Mickey the
Moulder.” Irish, Jig.
BOLD DRAGOON, THE. Irish, Air (4/4 time). C Major (Hardings): D
Major (O'Neill). Standard. One part. Harding’s
All‑Round Collection, 1905; No. 120, pg. 38. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 500, pg. 35.
X:1
T:Bold Dragoon, The
M:C
L:1/8
R:Air
N:”Spirited”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
A>A|Adcd d2 cd|{f}edef d2 de|fgfe
dc Bc/d/|edcB A3G|F>GFE DEDF|
AGFA d2A2 de|fdec d2 cd|B2 B>c
BAFA|d2 D>F A2 AA|B2 B=c BA z^c|
d2 DF A2 AA|BecA d2||
BOLD FENIAN MEN. Irish, Air. Written by Peadar Kearney.
X:
1
T:The Bold Fenian Men
M:3/4
L:1/8
C:Traditional
R:Freely
K:G
B2 | B2 E3 F | E2 D3 E | G3 A B2 | d B4 A | B2 E3 F | E D4 E | G3 A B2 | d B4 A
|
B2 e3 f | e2 E3 F | G3 A G2 | F D3 E F | G4 A B | d4 B A | B2 E2 D2 | E4 z2 ||
BOLD HARLIQUIN (sic). Northumbrian. One of the "lost
tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.
BOLD JACK DONOGHUE. Irish, Waltz. G Major. Standard tuning. One part. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949; pg.
X:1
T:Bold Jack Donoghue
M:3/4
L:1/8
R:Waltz
S:O’Brien – Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:G
D2 | G4A2 | B2A2G2 | A4d2 | f4e2 | d2c2A2 | G4F2 | (G6 | G2) B2c2 | d4B2 | d2e2f2 |
g4f2 | a4g2 | f4A2 | f4e2 | (d6 | d4) B2 | d4B2 | d2e2f2 | g4f2 | a4g2 | f4A2 |
f4e2
| d2e2d2 | c2B2A2 | G4A2 | B2A2G2 | A4d2 | f4e2 | d2c2A2 | G4F2 | (G6 | G2) z2
||
BOLD JOHN O'LEARY (Seagan Dana Ua Laogaire). AKA and see "Wink of Her Eye [2].” Irish, Double
Jig. D Major. Standard tuning. AABB. Some similarities to “My Darling Asleep.” O'Neill (Krassen),
1976; pg. 62. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1055, pg. 199. O'Neill (Dance Music of
X:1
T:Bold John O’Leary
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
a|ged cAG|FDE F2G|F>ED
d>ef|g>fg eag|fed cAG|cAG FDE|DFA eag|fdd d2:|
|:f/g/|a3 dfa|agb afd|g>gg
gef|ged c>AG|F>ED dcd|edc d2e|fed cAG|Adc d2:|
BOLD SOLDIER BOY, THE. Irish, Air (2/4 time). D Major. Standard
tuning. AAB. O'Neill (Music of Ireland:
1850 Melodies), 1979; No. 79, pg. 14.
X:1
T:Bold Soldier Boy, The
M:2/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
de | fA AB | d2 cd | e2 de | f2 de |
fA AB | de fd | e2 d>d | d2 :|
|| ef | gf ga | b2 af | af ed | e2
ef | gf ga | b2 af | f2 e2 | e2 ef |
gf ga | b2 af | af ed | e2 de | fA
AB | de fd | e2 d>d | d2 ||
BOLD SPORTSMAN, THE. AKA and see "Greenfields of America [1],"
"Pratie Apples," "Captain Rock(e’s) [1],"
"McKenna's Dream," "Under the Rose," "The Grand Conversation of
Napoleon," "Napoleon's
Farewell to Paris," "The
Carpenter's March." Irish, March (2/4 time). F Major. Standard tuning.
AB. O’Neill (O’Neill’s Irish Music),
1915; No. 119, pg. 66.
X:1
T:Bold Sportsman, The
M:2/4
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:F
c/B/ | A2 AF | G2 GE | F2 GF | ECCB
| AGAc | BGFE | G2 FG | F3 c/B/ |
A2 BA | G2 FE | F2 GF | EC C2 | AGAc
| BGEF | G2 FG | F3 || F | FGAB |
c2 cd | edec | BGEG | AAAF | GGGE |
F2 GF | EC C>c | cded | cBAG |
FAGF | EC C2 | A2 Ac | BGFE | G2 FG
| F2 ||
BOLD TRAINER O, THE. Irish, Air. Claddagh
4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980).
BOLD VAL O'HARA. Irish, Air (2/4 time). C Dorian. Standard tuning. AB. See note for
"Valentine O'Hara." Joyce (Old Irish Folk Music and Songs), 1909;
No. 644, pg. 326.
BOLGER'S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated
version: Eddie Bolger [Bulmer & Sharpley]. Bulmer & Sharpley (Music from
X:1
T:Bolger’s Hornpipe
M:C
L:1/8
R:Hornpipe
Z:AK/Fiddler’s Companion
K:G
(3def | g2 fe d2 BA | GFGA BG D2 |
DGFG DGFG | BdcB A2 (3def |
g2 fe d2 BA | GFGA BG D2 | DGFG Agfe
|1 dcBA G2 :|2 dcBA Gd^cd ||
|: BDGB dgfg | eGcd egfe | d^cde
d=ccB | BAAG Ad^cd |
BDGB dgfg | eGcd egfe | dgfe (3ded
(3cBA | G2B2G2 :|
BOLL OF BEAR. Scottish. The melody appears in the Gillespie
Manuscript (1768).
BOLL WEEVIL [1]. Old-Time, Breakdown. G Major. Standard tuning. ABB'. The melody has
irregular measures at the end of the 'A' and the second repetition of the 'B'
part. Source for notated version: Ralph
Troxell [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 34.
BOLL WEEVIL [2]. Old-Time. From northwestern
BOLL WEEVIL DRAG. Old-Time, Breakdown. C Major. Standard tuning.
AABBCCDD. Source for notated version: Frank Maloy (
X:1
T:Boll Weevil Drag
M:2/4
L:1/8
S:Frank Maloy – Devil’s Box
(1987)
K:C
e/f/ | gg/g/ ag/e/f/ | g/a/g/e/
c/d/e/f/ | g/e/g/e/ a/g/e/d/ | c/d/c/A/ G/A/c/e/ |
gg/g/ a/g/e/f/ | g/a/g/e/ c/A/d/c/ |
|: g/f/ | e/[ce][c/e/] [ce]c/B/ |
A/[FA][F/A/] [FA]d/c/ | B/G/B/c/ d/d/B/d/ |
c/B/c/d/ e/f/g/f/ | e/[ce][c/e/]
[ce]c/B/ | A/[FA][F/A/] [FA]d/c/ | B/G/B/c/ d/c/B/d/ |
c/B/c/d/ c :: E/F/ | GG/G/ A/G/E/F/
| G/A/G/E/ C/D/E/F/ | G/E/G/E/ A/G/E/D/ |
C/D/C/A,/ G,/A,/C/E/ | GG/G/
A/G/E/F/ | G/A/G/E/ C/G,/D/C/ | B,G, A,B, |
CC/C/ [CE] :: (3G,/A,/B,/ | CC E/C/D/E/ | F/E/F/G/ A/G/F/D/ | G/^F/G/A/
B/G/A/B/ |
c/B/c/d/ e/d/c/A/ | C/B,/C/D/
E/C/D/E/ | F/E/F/G/ A/G/F/D/ | G/^F/G/A/ B/G/A/B/ | c/B/c/d/ c :|
BOLT THE DOOR (Cuir Barrad Ar An Dorus). AKA and see "Jack's Health." Irish, Single Jig. A
Dorian. Standard tuning. AAB. O'Neill (O’Neill’s
Irish Music), 1915; No. 207, pg. 111. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 957, pg. 178.
O'Neill (Dance Music of
X:1
T:Jack’s Health
T:Bolt the Door
M:6/8
L:1/8
R:Single Jig
S:From a workshop with English
country dance fiddler Marshall Barron [AK]
Z:AK/Fiddler’s Companion
K:A Dor
g2f|:ecA A2B|G2E E2B|c2A B2G|A2B
c2d|ecA A2B|G2E E2B|c2A B2G|1
c2A B2A|G3 g2e|dBG G2 d|e3 d2B|c2A
B2G|A2B c2d|ecA A2d|e2a a2f| g2e d2B|A3||
BOMBADIER REEL, THE. French‑Canadian, Reel. G Major. Standard
tuning. AABB. Welling (Welling’s Hartford
Tune Book), 1976; pg. 12.
BON-ACCORD. Scottish, Waltz. C Major.
Standard tuning. One part. A modern waltz composed by North East Scottish
fiddler Bert Murray (b. 1913). The title refers to the city of
BON TON SCHOTTISCHE. American, Schottische (cut time, "with a 6/8 feel"). A
Mixolydian. Standard tuning. AABB. ‘Bon Ton’ means the ‘fashionable elite’, the
high society. There was a French
fashion magazine in the last century named the Bon Ton, and a
***
At the Bon Ton in 1864 there apparently was only a piano for entertain-
Ment, and customers who sang. “The man from
Clipper (a periodical of the era), “after warbling the air of a tune to
himself,
volunteered to sing the praises of ‘Bonnie Annie, blithe and gay’; and
as
he warmed to his work, by his pantomimic motions it is evident he
imagined himself once more in the land of the shamrocks [sic] ganging
aw’
o’er the heath to the village with his lassie as a companion.”
***
Source for notated version:
BONANZA HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB (Cole): AA’BB’ (
X:1
T:Bonanza
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A | d(d/f/) e/g/f/a/ | gg g/f/e/g/ |
f/a/d/f/ B/g/e/c/ | d/c/d/f/ a/A/B/c/ | d/c/d/f/ e/d/e/g/ |
f/e/f/a/ g/f/g/b/ | a/f/d/f/
e/a/c/e/ | ddd :: (e/f/) | g/e/c/e/ A/A/d/e/ | f/d/A/d/ F/A/d/f/ |
e/d/g/e/ c/e/A/c/ | d/c/d/f/ a(e/f/)
| g/b/e/c/ A/c/e/g/ | f/a/f/d/ F/A/d/f/ |
e/g/B/G/ E/A/c/e/ | ddd :|
BONAPARTE CROSSING THE
***
Perlman (1996) remarks that the tune
was played by the regionally famous
***
PRINTED SOURCES: Bayard (Hill Country Tunes), 1944; No. 89. Cole
(1000 Fiddle Tunes), 1940; pg. 63
(appears as 'The Diamond'). The Feis
Ceoil Collection, No. 67 (equals JIFSS, No. 15, pg. 18). Hannagan and
Clandillon, 'Londubh and Chairn, No. 57 (Welcome Home Jacobite Song; and note
mention ibid., p. 28, of a Tyrone version of the tune to the same piece). Hardings All‑Round Collection, No.
32. Henebry (Handbook), p. 148 (two sets); Hogg (Jacobite Relics), I, 3, II, 138. JIFSS, No. 2, p. 35; No. 12, p.
17; No. 15, pp. 18 (see above). Johnson (The
Scots Musical Museum, edition of 1853) II, No. 298. Joyce (Old Irish Folk Music and Song), 1909,
Nos. 275, 281, 729. Kennedy (Fiddlers
Tune Book), vol. 2; pg. 7. Kennedy‑Fraser, 'From the
X:1
T:Bonaparte Crossing the
T:Napoleon Crossing the
L:1/8
M:C|
K:G
cB|A2 AB AGEG|cd (3edc d2
(3e^fg|aged cAGE|G2 (3GGG G2 cB|
A2 AB AGEG|cd (3edc d2 (3e^fg|aged
cAGE|A2 (3AAA A2:|
|:e2|aged cde^f|gega g3e|aged
cAGE|G^FGA G2 cB|A2 AB AGEG|
cd (3edc d2 (3e^fg|aged cAGE|A2
(3AAA A2:|
BONAPARTE
CROSSING THE
***
"The Greene County title (i.e. "Star of Bethlehem") suggests that the air may formerly have been sung to a once popular religious piece of the same name, beginning:
***
When marshaled on the nightly plain
The glimmering host illumed the sky.
***
But
this hymn is now usually associated with the air 'Ye Banks and Braes of Bonnie
Doon' in southwestern
***
Source
for notated version: Tony Marcus [Phillips]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 43 (appears as “The
First of October”, the name of a country dance by Phillippe Callens set to the
tune). Bayard (Hill Country Tunes),
1944; No. 90. Brody (Fiddler’s Fakebook),
1983; pg. 51. Callaghan (Hardcore English), 2007; pg. 30.
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 23. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 15. June Appal 003, John
McCutcheon ‑ "How Can I Keep From Singing?" (1975). Rounder
0035, The Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973.
Learned from John Summers,
X:1
T:Bonaparte
Crossing the
M:C
L:1/8
R:March
Z:AK/Fiddler’s Companion
K:D
FG | A>B AF A2 de | f>e fa d2 dc | BcdB AFDF | E2 E>F E2 FG |
A>B AF A2 de | f>e fa d2 dc | BcdB AFEF | D2 DE D2 :: de | f>e fg a2 dc |
B>A Bc d2 AA | B>c dB AFDF | E2 E>F E2 FG | A>B AF A2 de |
Fefa d2 dc | B>c dB AFEF | D2 DE D2 :|
BONAPARTE CROSSING THE
X:1
T:Buonaparte
Crossing the Rhine [2]
T:Bonaparte
Crossing the
M:4/4
R:March
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
EF/G/ | A2 A>A AGEG | cdec d2 ef/g/ | aged cAGE | G2 G>G G2 EF/G/ |
A2 A>A AGEG | cdec d2 ef/g/ | aged cAGE | A2 A>A A2 :: ef/g/ |
aged cdef | gega g2 ef/g/ | aged cAGE | G2 G>G G2 EF/G/ |
A2 A>A AGEG | cdec d2 ef/g/ | aged cAGE | A2 A>A A2 :|
BONAPARTE
CROSSING THE ROCKY MOUNTAINS. AKA and see “Battle of Waterloo,” “Bonaparte Crossing the Alps,” "Bonaparte Crossing the Rhine [2],”
“Bonaparte’s March [3],” "Caledonia March." Old‑Time,
Breakdown. A Aeolian (Am). Standard tuning. AABB. The title is perhaps comes
from a garbled transmission of "Bonaparte Crossing the Rhine," or
perhaps a deliberate Americanism. There's a story about this tune in Allen H.
Eaton, Handicrafts of the
X:1
T:Bonaparte Crossing the Rocky Mountains
M:4/4
L:1/8
Q:1/8=400
K:C
cB|:"Am"[e2A2]AB AGEG|"C"cdec "G"d2eg|"Am"aged cAGE|!
"G"G2GA "Em"G2cB|"Am"[e2A2]AB AGEG|"C"cdec "G"d2eg|
"Am"aged "G"cABG|1 "Am"[e3A3][eB] [e2A2]cB:|2 "Am"[e3A3][eB] [e2A2]eg !
|:"A"aged ^cdeg|age^c "D"d2eg|"Am"aged cAGE|"G"G2GA "Em"G2cB|!
"Am"A2AB AGEG|"C"cdec "G"d2eg|\
"Am"aged cABG|1"Am" [e3A3][eB] [e2A2]eg:|2 "Am"[e3A3][eB] [e4A4]|!
BONAPARTE IN A
KNAPSACK. English. Published in William
Campbell’s dance book (No. 22), published around the time of the battle of
BONAPARTE IN THE
MEXICAN RESTAURANT. Old‑Time, Breakdown. D Major.
Standard tuning. AABB. A naming by John McCutcheon of an untitled tune, perhaps
from originally from
BONAPARTE'S ADVANCE. AKA and see "Madam(e)
Bonaparte." Irish, Set Dance (cut time). As opposed to the famous
“Bonaparte’s Retreat.”
BONAPARTE’S CHARGE. Old-Time, Breakdown. D Major. Bruce Greene told Jim Taylor that the title
was inspired by an incident at the Battle of Waterloo. The story goes that when
it became apparent the French were not to win the field that day, Napoleon
turned to his Chief Musician and ordered the signal for retreat to be played. Since retreat was seldom if ever an
occurrence in the Emperor’s army, the man was initially at a loss as there was
not repertoire for ‘retreat’.
Frustrated, but resourceful, the man turned to his commander and said
that although he had no retreat to play he could ‘play a charge to wake the
dead!’ PearlMae Muisc 004-2, Jim Taylor – “The
Civil War Collection” (1996).
X:1
T:Bonaparte's Charge
R:March
C:Unknown
S:Nick Hallman
Z:Transcribed by Bo Bradham
Z:This is the way I play it.
Z:Try it in DDAD tuning!
Z:Not sure about the number of
repeats in the low part.
M:c|
L:1/8
K:D
|:A2|d2d2 e2de|f2df edBA|d2d2
e2de|fa2b a2A2|\
d2d2 fafe|d2B2 BcdB|A2F2 DEFD|E2D2
D2:|\
|:AB|A2F2 F2AB|A2D2 D2AB|A2F2
DEFD|E2D2 D2:|\
|:AB|AA,F2 F2AB|AA,D2 D2AB|AA,F2
DEFD|EA,D2 D2:|\
BONAPARTE'S DEFEAT (Claoid Bonapairt). Irish, Hornpipe. A Major. Standard tuning.
AABB. O'Neill (Krassen), 1976; pg. 200. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1710, pg. 318.
O'Neill (Dance Music of
X:1
T:Bonaparte’s Defeat
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
A>G|E>AA>G
A>cB>A|G>AB>c d2 e>f|{a}g>fg>e d>cB>d|c>AB>A
GEE>D|
E>AA>G
A>cB>A|G>AB>c d2 e>f|{a}g>fg>e e>dB>G|A2 A>A A2:|
|:e>f|{a}g>fg>e
a>ga>e|g>fg>e d>cB>d|c2 c>B A2 G>A|B>cB>A
GEE>D|
E>AA>G
A>cB>A|G>AB>c d2 e>f|{a}g>fg>e e>dB>G|A2 A>A A2:|
BONAPART(E)'S
EXPEDITION.
English, March or Country Dance Tune (2/4 time).
BONAPARTE’S
GRAND MARCH. AKA and see “Bonaparte’s March
[2].” Irish (?), March (4/4 time). D Major. Standard tuning. ABC. O’Neill
(1922) says: “In the heyday of Bonaparte's renown, early in the
nineteenth century, many song, marches, hornpipes etc were named in his honor
in
X:1
T:Bonaparte's Grand March
M:4/4
L:1/8
S:Sergt. James O'Neill
Z:Paul Kinder
R:March
K:D
A2|d2 d>d d2 A/2B/2c/2d/2|e2 e>e e2 de|f2 e>f g2 f2|e2 e>e e2 A2|
d>dA>A F>FA>A|d>dA>A F>FA>A|d3 f edef|d2 d>d d2||
f2|e>dc>B A>Bc>A|d>cd>e d>ef>d|e>dc>B A>Bc>A|d>cd>e d>ef>d
B2 g>g g2 B2|A2 f>f f2 af|e2 e2 e>de>f|d2 d>d d2||
f>g|a2 a2 b2 b2|a3 g f2 a2|g2 g2 f2 af|e>de>f e2 ef|
g2 g/2f/2e/2d/2 c2 A2|a>af>f d2 A2|f2 fa gfed|a2
a>a a2||
BONAPARTE’S HORNPIPE. Scottish, Hornpipe. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 267, pg.
29.
X:1
T:Bonaparte’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 267 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(ed)|c2c2 cecA|d2d2 dfdB|Aceg
agaf|ecdB AGFE|c2c2 cecA|
dcde fgaf|ecAc dBGB|A2A2A2::(cd)|ecec
agaf|ecef edcB|
Aceg agaf|ecef edcB|Aece Aece|dcde
fgaf|ecAc dBGB|A2A2A2:|
BONAPARTE'S MARCH [1]. English, March. D Major. Standard tuning. AABB. William Litten’s
collection was made at sea during the years 1800-1802. Litten was apparently a
ship’s fiddler for a British vessel of the East India Fleet, although his
nationality is not known. His manuscript collection ended up on
X:1
T:Bonaparte’s March [1]
M:2/4
L:1/8
R:March
S:William Litten’s music manuscript
book (1800-1802)
K:D
D2 FA|DD/D/ D2|d/e/f/g/ ab|a2
gf|d/e/f/g/ ab|ee/e/ ez|f2 e/d/e/f/|
dd/d/ d2|a2 g/f/g/a/|ff/f/f f2|a2
fg/b/|af/a/ g/f/e/d/|aa/a/ a2:|
|:bc’d’b|aa/a/ a2|g2 a/b/a/g/|ff/f/
f2|f2 g/f/e/a/|df/d/ a2|
f2 g/f/e/a/|df/d/ ag|f/e/f/g/
a>g|f/e/f/g/ a>g|f/e/f/g/ aA|dd/d/ d2:|
BONAPARTE'S MARCH [2]. AKA and see “Bonaparte’s Grand March,” “Buonaparte’s March,” "The Hanoverian March," "Napoleon," “Napoleon’s Grand March.”
Irish, English; March (cut time). G Major. Standard tuning. AABBC. No
resemblance to version #1. As “Napoleon(’s March)” it was played in an 1884
Melbourne, Australia, concert given by Irish uilleann piper John Coughlin,
records O’Neill (1913). See note for “Buonaparte’s March” for discussion.
Carlin (Master Collection), 1984; No.
298, pg. 167.
BONAPARTE'S MARCH [3]. AKA and see “Battle of
Waterloo,” "Bonaparte Crossing
the Alps," "Bonaparte
Crossing the Rhine [2]," “Bonaparte Crossing the Rockies.” Irish, Canadian, American; Hornpipe and
March. USA, New England. A Aeolian (Roche): A Dorian (Phillips). Standard
tuning. AABB. No resemblance to versions #2 or #3; it appears to be a variant
of "Bonaparte Crossing the Alps." Source for notated version: Elmer
Barton (New England) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 24. Roche Collection, 1927; vol. II, pg. 17, #231. John Edwards Memorial Foundation JEMF‑105, Elmer
Barton ‑ "
X:1
T:Bonaparte’s March [3]
M:C|
L:1/8
R:March
B:Roche – vol. 2, No. 231, pg. 17
(originally published 1912)
K:Amin
E>G|A2 A>B
A>GE>D|c>de>c d2 e>g|a>ge>d c>AG>E|G>Ec>E G2
E>G|
A2 A>B A>GE>D|c>de>c
d2 e>g|a>ge>d c>AG>E|A2 A>A A2:|
|:eg|a>ge>d
c>de>^f|g>ea>^f g2 e>g|a>ge>d c>AG>E|G>Ec>E G2
E>G|
c>AB>G A>GE>D|c>de>cd2
e>g|a>ge>d c>AG>E|A2A2A2:|
BONAPARTE’S MARCH [4]. English, March (whole time). D
Major. Standard tuning. AABB. The melody was printed in Daniel Steele’s New and Complete Preceptor for the German
Flute (Albany, N.Y., 1815). Mattson & Walz (Old
X:1
T:Bonaparte’s March [4]
M:C
L:1/8
R:March
S:Steele – New and Complete Preceptor for the German Flute (1815)
K:D
A>A|d2 A>A e2 A>A|f2 f>g
a2 a>g|f2f2e2e2|f>ga>f d2 A>A|d2 A>A e2A>A|
f2 f>g a2 a>g|f2f2 e>d
e>f|d2 d>d d2::f>f|a2 f>f a2 f>f|agba g2 e>e|g2 e>e g2
e>e|
gfaf d2 e>e|f2 a>a bagf|e2
e>e e2 A>A|d2 A>A e2A>A|f2 f>g a2 a>g|f2f2 e>de>f|
d2 d>d d3 z/b/|a2 d>d d3
z/b/|a2 d>d d3 z/b/|(3aga (3bag f2 “tr”e2|d2 d>d d2:|
BONAPARTE'S MARCH. The title appears in a list of traditional Ozark Mountain fiddle tunes
compiled by folklorist/musicologist Vance Randolph, published in 1954.
BONAPARTE'S MARCH INTO RUSSIA. AKA and see "Bonapare's Retreat." Old‑Time, Breakdown.
USA, western Va. D Major. DDad tuning. A variant of the better‑known
“Bonaparte's Retreat.” Source for notated version: learned by Virginia fiddle
Sherman Wimmer from Will Willit, nephew and student of once influential
Franklin County, Va., fiddler Fount Kingrea. Rounder
0057, Sherman Wimmer ‑ "Old Originals, vol. 1" (1978).
BONAPARTE’S PETIT
DANCE.
English, Jig. G Major. Standard tuning. AABBCC. Source for notated
version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871,
of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 66.
BONAPARTE'S RETREAT [1].
AKA – “Napoleon’s Retreat.” Old‑Time, Texas Style; March, Reel. USA;
Texas, Oklahoma, Arkansas, Missouri, North Carolina, Kentucky, northeast
Alabama, Mississippi, southwestern Va., West Virginia, Pennsylvania. D Major
(most versions, though one version in A Major was collected from Mississippi
fiddler John Hatcher in 1939). DDad (W.H. Stepp, Absie Morrison), EBee (Henry
Reed), or DDae tunings. ABB: ABB’CC’BB’ (Beisswenger & McCann). A classic
old‑time quasi-programmatic American fiddle piece that is generally
played in a slow march tempo at the beginning and becomes increasingly more
quick by the end of the tune, meant to denote a retreating army. Versions very
widely from region to region, some binary and some with multiple parts. One
folklore anecdote regarding this melody has it that the original "Bonaparte's
Retreat" was improvised on the bagpipe by a member of a Scots regiment
that fought at Waterloo, in remembrance of the occasion. The American collector
Ira Ford (1940) (who seemed to manufacture his notions of tune origins from
fancy and supposition, or else elaborately embellished snatches of tune-lore)
declared the melody to be an "old American traditional novelty, which had
its origin after the Napoleonic Wars." He notes that some fiddlers (whom
he presumably witnessed) produced effects in performance by drumming the
strings with the back of the bow and "other manipulations simulating
musket fire and the general din of combat. Pizzicato represents the boom of the
cannon, while the movement beginning with Allegro is played with a continuous
bow, to imitate bagpipes or fife." The programmatic associations of many
older fiddlers are also wide-spread. Arkansas fiddler Absie Morrison
(1876-1964) maintained the melody had French and bagpipe connotations (as told
to Judith McCulloh—see “Uncle Absie Morrison’s Historical Tunes”, Mid-America
Folklore 3, Winter 1975, pgs. 95-104)…”Now that’s bagpipe music on the
fiddle…That was when (Bonaparte) had to give back, had to give up the
battle…This in what’s called minor key, now…It’s French music.”
***
In fact, the tune has Irish origins, though Burman-Hall could only find printed variants in sources from that island from 1872 onward. "It has been collected in a variety of functions, including an Irish lullaby and a 'Frog Dance' from the Isle of Man" (Linda Burman‑Hall. "Southern American Folk Fiddle Styles," Ethnomusicology, vol. 19, #1, Jan. 1975). Samuel Bayard (1944) concurs with assigning Irish origins for "Bonaparte's Retreat," and notes that it is an ancient Irish march tune with quite a varied traditional history. The 'ancient march' is called "The Eagle's Whistle [1]" or "The Eagle's Tune," which P.W. Joyce (1909) said was formerly the marching tune of the once powerful O'Donovan family. Still, states Bayard, the evidence of Irish collections indicates that it has long been common property of traditional fiddlers and pipers, and has undergone considerable alteration at various hands. Related American old-time melodies include “Bumble Bee in the Pumpkin Patch” and the northeast U.S. song “ Bony on the Isle of St. Helena.”
***
Bayard's
primary scope of collecting was in western Pennsylvania in the mid-20th
century, where he found the tune still current in fiddle repertoire, though he
remarked on its popularity in various parts of the South. His Pennsylvania
version has a somewhat simpler melodic outline than most of the other recorded
American sets, and, although he notes that these sets vary considerably‑‑even
in the number of parts which a version may contain‑‑he finds they
are clearly cognate, and all show resemblance’s and common traits indicating
derivation from the "The Eagle's Whistle." In Southwestern Pennsylvania the march origins were lost and
instead "sets of the tune have been recast into the form‑‑and
given title‑‑ of 'The Old Man and Old Woman Quarrelin' (Scoldin',
Fightin'),' and thus present an alternation of slow and quick parts. Other
***
According
to Blue Ridge Mountain local history the tune was known in the Civil War era.
Geoffrey Cantrell, writing in the Asheville
Citizen-Times of Feb., 23, 2000 relates the story of the execution of three
men by the Confederate Home Guard on April 10th, 1865, the day after
Lee’s surrender at Appomattox. Courthouse.
That news would not have been known to them, given the difficulty with
communications at that time. It is documented that Henry Grooms, his brother
George and his brother-in-law Mitchell Caldwell, all of north Haywood County,
North Carolina, were taken prisoner by the Guard under the command of one
Captain Albert Teague—no one knows why, but the area had been ravaged by
scalawags and bushwackers, and the populace had suffered numerous raids of
family farms by Union troops hunting provisions. One theory is that the men
were accused of being Confederate deserters who, perhaps knowing the war was nearly
over, had aided the Union cause in some way. There was much back-and-forth
guerilla warfare, however, and the village of Waynesville had been burned two
months earlier (by Unionists), and the citizenry was beleaguered and anxious.
Caldwell and the Grooms brothers were captured in the Big Creek section of
Haywood County, close to the Tennessee border. Cantrell writes: “The group
traveled toward Cataloochee Valley and Henry Grooms, clutching his fiddle and
bow, was asked by his captors to play a tune. Realizing he was performing for
his own firing squad Grooms struck up Bonaparte’s
Retreat,” his favorite tune. When he finished the three men were lined up
against an oak tree and shot, the bodies left where they fell. Henry’s wife
gathered the bodies and buried them in a single grave in the family plot at
Sutton Cemetery No. 1 in the Mount Sterling community, the plain headstone
reading only “Murdered.” The original source for the story is George A. Miller,
in his book Cemeteries and Family Graveyards in Haywood County, N.C.
***
The Kentucky Encyclopedia gives another story which mentions “Bonaparte’s Retreat” in connection with an execution. It seems that a Colonel Solomon P. Sharp, a former attorney general of Kentucky, was murdered in the middle of a September night in 1825 by an unidentified assailant who stabbed him in his chest. Sharp had political enemies, all of whom had alibis, but who had circulated rumors that he had seduced one Ann Cook of Bowling Green, fathering her illegitimate child in 1820. Suspicion soon shifted to Ann’s husband, Jereboam Beauchamp, who married her after the birth of the supposed love-child but who was infuriated at the circulating handbills containing the rumor. Beauchamp was dully arrested, tried in Frankfort in May, 1826, found guilty and was sentenced to death by hanging. Ann could not bear to be parted from him and somehow gained permission from the jailer to stay with him in his jail cell. The couple tried unsuccessfully to commit suicide by taking an overdose of laudanum, but were still permitted to share the cell. Another suicide attempt with a smuggled knife was made on the day of the execution, with somewhat better results. Ann, mortally wounded, was taken to the jailers house for treatment, but Beauchamp was hustled to the gallows lest he die from his wounds before the sentence was carried out. He proved too weak from his wounds to stand and had to be supported, but he was presumably able to hear the strains of “Bonaparte’s Retreat” played before he made the leap, as he had previously requested. Ann and Jereboam were buried in a joint grave in Bloomfield, Kenctucky, graced by a tombstone engraved with an eight-stanza poem written by Ann.
***
The tune was cited (by Mattie Stanfield in her book Sourwood Tonic and Sassafras Tea) as having been played by Etowah County, Alabama, fiddler George Cole at the turn of the century (Cauthen, 1990). Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's. Ed Haley (1883‑1951) of Ashland, eastern Ky., played the tune so skillfully that "one old‑timer, after hearing Haley play ("Bonaparte's Retreat") declared that 'if two armies could come together and hear him play that tune, they'd kill themselves in piles" (Wolfe, 1982). Haley toured regionally in Kentucky and West Virginia It was “Bonaparte’s Retreat” that was the first tune Braxton County fiddler Melvin Wine (1909-1999) learned at the age of nine. His father, Bob, played the fiddle and young Melvin practiced when the elder Wine was out cutting timber or working as a farmhand for neighbors. He finally worked up the nerve to play for his father, and it proved a successful entrée, for afterwards which Bob taught him tunes he had learned from his own father, Nels, and Grandfather “Smithy” (Mountains of Music, John Lilly ed., 1999, pg. 8).
***
Another Kentucky fiddler, William H. Stepp (of Leakeville, Magoffin County, whose name, Kerry Blech points out, is sometimes erroneously given as W.M. Stepp, from a misreading of the old abbreviation Wm., for William), appears to be the source (through his 1937 Library of Congress field recording) for many revival fiddlers' versions. Stepp’s version of the tune was transcribed by Ruth Crawford Seegar and was included in John and Alan Lomax’s volume Our Singing Country (1941). The Crawford/Seegar version has been credited as the source Aaron Copland adapted for a main theme in his orchestral suite “Hoedown.” {Lynn “Chirps” Smith says he has even heard people refer to the tune as “Copland’s Fancy” in recent times!}. North Georgia fiddler A.A. Gray (1881-1939) won third place honors playing the tune at the 1920 (10th) Annual Georgia Old Time Fiddler's Association state contest in Atlanta, and four years later recorded it as a solo fiddle tune for OKeh Records (the earliest sound recording of the tune). Other early recordings were by Gid Tanner & His Skillet Lickers (1929) and the Arthur Smith Trio (1936).
***
Sources for notated versions: J.S. Price (Pottawatomie County, Oklahoma) [Thede]: F.P. Provance, Point Marion, Pennsylvania, September 19, 1943, who learned it from Sam Waggle, fifer, of Dunbar [Bayard, 1944]: Marion Yoders (Greene County, Pa., 1962) [Bayard, 1981]; Absie Morrison (1876-1964, Searcy County, Arkansas) [Beisswenger & McCann].
***
Print Sources: Bayard (Hill Country Tunes), 1944; No. 87. Bayard (Dance to the Fiddle), 1981; No. 238, pg. 199. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 101. Brody (Fiddler’s Fakebook), 1983; pg. 52. Ford (Traditional Music in America), 1940; pg. 129. Lomax (Our Singing Country), pg 54-55 (appears as "Bonyparte"). Thede (The Fiddle Book), 1967; pg. 36‑37.
***
Recorded Sources: A-L 001,
Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi
d’ été” (2009). Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971‑72.
County 202, "Eck Robertson: Famous Cowboy Fiddler." County 546,
"Arthur Smith and His Dixieliners, vol. I." County 703, Benny
Thomasson‑ "Texas Hoedown." County 756, Tommy Jarrell‑
"Sail Away Ladies" (1976). County 790, Leftwich & Higginbotham -
"No One to Bring Home Tonight" (1984). Folkways FA 2325, Mike Seeger‑
"Old Time Country Music." Folkways FA 2366, The Watson Family (N.C.) ‑
"The Watson Family Album." Folk Legacy Records FSA‑17, Hobart
Smith ‑ "America's Greatest Folk Instrumentalist." Heritage
XXXIII, Jay Ungar & Neil Rossi ‑ "Visits" (1981. Learned
from a 1937 Library of Congress recording of Lakeville, Ky., fiddler
W.M.Stepp). Library of Congress (AFS 13037a12), Henry Reed. Okeh 40110 (78
RPM), A.A. Gray (1924). PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996). Philo 1023, Jay Ungar and Lyn Hardy‑ "Songs
Ballads and Fiddle Tunes" (1975. Learned from Kentucky fiddler W.M. Stepp
via Library of Congress recording). Rounder 0010, "The Fuzzy Mountain
String Band" (1972. Learned from Alan Jabbour). Rounder 0057, Sherman
Wimmer (Franklin County, Va.) ‑ "Old Originals, vol. 1" (1978.
Learned from Will Willit, nephew and protege of influential Franklin County
fiddler Fount Kinrea). Rounder 18964-1518-2, Various Artists (Bill Stepp) – “American Fiddle
Tunes” (a reissue of the 1971 Library of Congress LP of field recordings).
Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971. Played by
Bill Stepp). String 802, Emmett Lundy (Galax, Va.)
‑ Library of Congress Recording. Transatlantic 341, Dave Swarbrick‑
"Swarbrick 2." Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling
Missouri” (1999. Learned from Audrain County, Missouri, fiddler Warren Elliot
in 1967). Wildwood WILD CD 19804, New Deal String Band. Yazoo Records, W.M.
(William) Stepp – “Music of Kentucky, vol. 1” (reissue of the 1937 Stepp
recording by Alan Lomax. Stepp can be heard on the recording saying in the
midst of fiddling: “This is the bony part….That was the bony part”).
See also listing at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
((( ♫))) Absie Morrison (1876-1964, Arkansas) |
X:1
T:Bonaparte's Retreat
D:Aly Bain/Phil Cunningham, The Ruby
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
F2 F/E/F/G/ | AF ED | E2 E/D/E/F/ | GF ED |
F2 F/E/F/G/ | AF ED | EF/G/ FE | D4- | D4 :|
d2 f>e | d/e/d/B/ AB/c/ | d>B AF | ED F>E | D4- | D4 :|
F2 F/E/F/G/ | AF ED | E2 E/D/E/F/ | GF ED |
F2 F/E/F/G/ | AF ED | EF/G/ FE | D4- | D4 :|
d2 f>e | d/e/d/B/ AB/c/ | d>B AF |
M:1/4
ED |
M:2/4
B4- | B4 | d2 f>e | d/e/d/B/ AB/c/ | d>B AF | ED F>E | D4- | D4 :|
BONAPARTE'S RETREAT
[2]. Irish, Set Dance. G Major. Standard
tuning. AAB (Mulvihill): AABB (Roche): AA’BB’ (Harker/Rafferty, Moylan).
Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra
region of the Cork-Kerry border) [Moylan]; Peter Kelly [Mulvihill]; New Jersey
flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Harker (300 Tunes from Mike Rafferty),
2005; No. 291, pg. 95. Moylan (Johnny
O’Leary), 1994; No. 317, pgs. 181-182. Mulvihill (1st Collection), 1986; No. 9, pg. 111. Roche Collection, 1982; vol. II, pg. 33,
#280. Micho Russell – “The Man from Clare.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Bonaparte's Retreat [2]
R:set piece
S:Mike Rafferty
H:there are several tunes with this name "Bonaparte's Retreat."
D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin
Z:Lesl
M:4/4
L:1/8
Q:1/2=70
K:D
GF|:DGGF GBAG|FAde f2fg|agfa gfde|fdcA BGAF|
|DGGF GBAG|FAde f2fg|agfd =cADF|1 A2GF G2GF:|2 AGGF G2de||
fefg f2df|gfga g2fg|a2bg agfd|g2af gfde|
fgag fd=cA|GBAF GFed|fefa f2 (3def|gfga g2fg|
a2bg agfd|g2af gfde|fgag fd=cA|GBAF GFEA|
D2GF GBAG|FAde f2fg|agfd =cADF|A2GF G4||
BONAPARTE'S RETREAT
[3]. Irish, Set Dance. D Dorian ('A' and
'C' parts), G ('B' part). Standard tuning. AABABA. Roche Collection, 1982; vol. III, pg. 65‑66, #187.
X:1
T:Bonaparte’s Retreat [3]
M:C|
L:1/8
R:Set Dance
B:Roche, vol. 3, No. 187
K:Ddor
DC|B,D(3DDD DEDC|B,DGA B/c/B/A/
Bc|edcA dcAB|cage FDEC|
B,D(3DDD DEDC|B,DGA ~B3c|edcA
GECE|D2 (3DDD D2:|
K:G
|:dc|Bd(3ddd dBcB|Ad (3ddd defd|Bd
(3ddd dBcB|AGFG ABcA|
Bd (3ddd dBcB|Ad (3ddd defg|afge
fdec|Ad (3ddd d2 de|
fefg f2 ef|gfga g2 fg|abaf gecA|GEDE
=FDEC||
B,D (3DDD DEDC|B,DGA B3c|edcA
dcAB|cage FDEC|
B,D (3DDD DEDC|B,DGA B3c|edcA
GECE|D2 (3DDD D2:||
BONAPARTE'S RETREAT
[4] (Brisead Bonapart). Irish, Set Dance. E Minor. Standard
tuning. AAB (O'Neill/1850 & 1001): AABB (O'Neill/Krassen). Francis O'Neill
concludes that the tune was widely known in Munster but not outside the
province, from the contact he had with Irish musicians in Chicago. However, it
appears that his Irish Music Club was primarily made up of musicians from the
south of Ireland, and that he had relatively few contacts with musicians from
other regions. O'Neill (Krassen), 1976; pg. 221. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 86. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1789, pg. 335. O'Neill (Dance
Music of Ireland: 1001 Gems), 1986; No. 980, pg. 168 (the tune is
mistakenly printed a step lower {placing it in an unplayable D Major}). Island ILPS9432, The Chieftains - "Bonaparte's
Retreat" (1976).
X:1
T:Bonaparte’s Retreat [4]
M:C
L:1/8
R:Set Dance
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 980
Z:AK/Fiddler’s Companion
K:Dmix
DC|A,DDE FEDC|DEGA c3d|edcB
cABG|AGFE FDEC|
A,DDE FEDC|DEGA cBcd|edcA
GECD|E2D2D2:|
|:AB|cBcB cdcA|dcde dfed|cBcd
cABG|AGFE FDEC|
cBcB cdcA|dcde defg|afge fdec|Adce
d2 de|fefg fedf|ecef edcA|
dfed cABG|AGFE FDEC|A,DDE FEDC|DEGA
c3d|edcB cABG|
AGFE FDEC|A,DDE FEDC|DEGA cBcd|edcA
GECD|E2D2D2:|
BONAPARTE'S RETREAT
[5]. AKA and see "Bonaparte Crossing the Rhine [1],"
"Bonaparte Crossing the
Rocky Mountains," etc. Old‑Time, March. A Minor. Standard
tuning. AABB. "This very widespread march and dance melody is generally
known in western Pennsylvania by the name given it here, when it has a name at
all. Versions may likewise bear the title "Bonaparte (Napoleon) Crossing
the Rhine (Alps)," or some similar name. That these Napoleon/Bonaparte
titles are distinctly of the 'floating' sort may be ascertained by examining
("Bonaparte's Retreat" versions, "The Blackbird," "Bonaparte Crossing the Alps,"
"Ranahan's March [1],"
"Freemason's March") and
the airs cited in the notes to them. In all probability the versions of (this
version) were imported and diffused by fiddlers of Irish and Scottish
extraction. Such a fine tune would need nothing beyond introduction to make it
popular in this country among players of any nationality. Other Pennsylvania
sets are Bayard Coll., Nos. 29, 59, 355. Printed versions include Linscott, p.
69; O'Neill's Irish Music, No. 101;
O'Neill, Music of Ireland, No. 1824;
Howe's School for the Violin, p. 23,
Scanlon, p. 61. It has long been
recognized that 'Guilderoy' is an alternately vocal and instrumental setting of
the protean Lazarus air, one of the half‑dozen or so most extensively
used melodies in our entire British‑American folk tune repertory (see
JWFSS, I, 142). What has not been generally recognized is the fact that (this
version of) 'Bonaparte's Retreat' is likewise a good and distinctive setting of
the same original melody‑‑cast is a different mode, and with a few
alterations in the melodic line, but unmistakably the same. Versions of Lazarus
are used to fulfil almost every function which can be required of a folk air in
our tradition. They are mire universally known in vocal than instrumental
forms, but in this case an excellent march version has been evolved. Probably
the musicians who now play both versions of this air do not identify them as
cognates‑‑the editor has never observed any evidence of such
identification at any rate. Yet the contrast between the stately sweep of
'Bonaparte's Retreat' and the jaunty carriage of 'Guilderoy' gives us
considerable insight into the ways in which some members of the musical folk
have been able in the past to re‑create and re‑interpret the
melodies of their inherited stock of music‑‑and to enrich their
tradition, withal, in its content and scope. Nothing more clearly reveals this
power of folk artists to revitalize their culture by variation and re‑creation
than the different forms of some widespread traditional air; and many other
examples of such artistic activity may be found among the multitudinous sets of
the Lazarus melody" (Bayard). Source for notated version: "Played by
Irvin Yaugher, Jr., Mt. Independence, Pennsylvania, October 19, 1943. Learned
from his great‑uncle" (Bayard). Bayard (Hill Country Tunes), 1944; No. 86.
BONAPARTE’S RETREAT
[6]. Old-Time, Jig. A rare and unique old-time
jig learned by elderly central West Virginia fiddler Melvin Wine from his
father.
BONAPARTE'S RETURN. Old-Time. Recorded by Herbert Halpert for the Library of Congress
(2743-B-4) in 1939 from the playing of Franklin County, Virginia, fiddler H.L.
Maxey.
BONAPARTE’S RETURN FROM MOSCOW. American, March. A Minor. Standard tuning. AABB. From the
music manuscripts of Setauket, Long Island, painter and fiddler William Sidney
Mount, on a page dated 1840.
X:1
T:Bonaparte’s Return from
M:C
L:1/8
S:William Sidney Mount manuscripts; page dated 1840.
Z:AK/Fiddler’s Companion
K:Amin
A>AA>A AcBA | ^G>GG>G GBAG | A>AA>A AcBA | ^G>e e>G A2 z2 :|
|:
c>cc>c cedc | B>BB>B BdcB | A>AA>A AcBA | ^G>e e>G A2
z2 :|
BONAR BRIDGE, THE. Scottish, Slow Air (whole time). G Major.
Standard tuning. AAB. A note in the Fourth Collection (1800) says
“Ancient Gaelic.” Bonar Bridge is a village on the banks of the estuary called
the Kyle of Sutherland in the County of Sutherland. Bonar Bridge itself,
spanning Dornoch Firth, was built in 1812 to replace the former ferry, and is
perhaps the reason it was included in the 2nd edition of the Gow
volume. Gow (Fourth Collection of Strathspey Dances), 2nd
edition, originally 1800; pg. 38.
X:1
T:Bonar Bridge, The
M:C
L:1/8
R:Air
N:”Slow”
N:”Ancient Gaelic”
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:G
D/E/|G>AGF “tr”E2 DG|B>c
{Bc}dB {B}A2 GE|D>E GA “tr”B2 (g/e/)(d/c/)|B2 “tr”A>G [B,3G3]:||
g|edef ~g3b|{b}agab e2 dB|(de)(ga) g2
(g/a/g/f/)|”tr”edeg e3g|
e>d Bd ~g2 Bb|~g>edB {B}A2
GE|D>E GA B2 (g/e/)(d/c/)|B2 “tr”A>G [B,3G3]||
BONAWE HIGHLANDERS. Scottish, Pipe March (6/8 time). A Major/Mixolydian. Standard tuning.
AABBCCD. A very popular pipe march composed by D. Bowman. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 23.
Norris (Glendaruel Collection); pg. 18. Queen’s Own Standard Settings;
pg. 70. Scots Guards, vol. 1. Wildcat Records
WILDCD 101, Ronan Martin – “Ronan Martin” (2008).
X:271
T:Bonawe Highlanders, The
C:Pipe Major John McColl [AK: almost always attributed to D. Bowman]
S:My notebooks - forgotten where I got it
Z:Nigel Gatherer
M:6/8
L:1/8
K:A
e|:A>ce e>cA|e>dc c>Bc|A>ce e>cA|B>AB c2 A|A>ce e>cA|c>BA a2 e|
f<af ecA|B>AB c2 A::a3 a2 e|faf e>cA|a3 a2 e|f<ag f2 e|
f>ef fec|ABc a2 e|f<af e>cA|B>AB c2 A::cBc A>AA|e>cA c>BA|
cBc A>AA|B>AB c2 A|cBc A>AA|e>cA a2 e|f<af ecA|B>AB c2 A:|
a>ea =g>fe|f<af e>cA|a>ea =g>fe|f<ag f2 e|f>ef f>ec|
A>Bc a2 e|f<af e>cA|B>AB c2 A|a>ea =g>fe|f<af e>cA|
a>ea =g>fe|f<ag f2 e|a>AA c>BA|A>Bc a2 e|f<Af e>cA|B>AB c2 A|]
BONCHARD'S LANCER. French-Canadian, Jig (6/8). C Major. Standard tuning. AABB. Part of a
Lancer’s set. Carlin (Master Collection),
1984; pg. 65 (#105).
BOND'S (REEL). AKA and see "The New Custom
House," "The Game of Love,"
"The Aberdeen Lasses,"
"Bloron's Fancy."
BONDY SPECIAL. Old-Time, Breakdown. In the repertoire of
Barnesville, Ohio, fiddler John W. Hutchison (1915-1979), who had many of his
tunes from ‘old man’ Bondy, an Irishman. The tune was recorded by the Hutchison
Brothers bluegrass band, which consisted of Hutchison’s sons and fiddler Greg
Dearth.
BONET MAKERS OF DUNDE. AKA and see "Bonnet
Makers of Dundee." Northumbrian. One of the "lost tunes" of
Vickers' 1770 manuscript.
BONEY CROSSING THE
ALPS. AKA and see "Bonaparte Crossing the Rhine"
(Irish version), "Napoleon
Crossing the Alps [1]" (English).
BONEY IN THE DUMPS.
English, Jig. B Flat Major. Standard tuning. AABB. While the title
probably refers to Napoleon Bonaparte (Old Boney), who at the time of Cahusac’s
publication was beset by the rebellion in Spain and the disintegration of his
alliance with Austria. It is possible that the title derives from the slang
term ‘Boney Dumps’; ‘boney’ was the name for coal that had more rock than coal
in it, and was once sorted and discarded. One had to be poor indeed to go down
to the boney dumps to try to pick out usable coal to bring home. Cahusac (Annual
Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 24.
X:1
T:Boney in the Dumps
M:6/8
L:1/8
R:Jig
B:WM Cahusac – Annual Collection
of Twenty Four Favorite Country Dances for the Year 1809, No. 24 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:Bb
Bdf dcB|ceg edc|dfd BdB|cAF F3|Bdf
DFB|EGB efg|fed cBA|B3 B3:|
|:AcA FGA|Bdf fed|gfe dcB|cAF F3|G2B
F2B|G2B F2e|dcB FGA|B3 B3:||
BONEY LADS. AKA and see "Because He Was a Bonnie
Lad," "The Bonny Lad."
British Isles, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes),
1940; pg. 16 (appears as "The Bonnie Lad"). Huntington (William Litten's), 1977; pg. 20. Kennedy
(Fiddlers Tune Book), vol. 1, 1951;
No. 36, pg. 18 (appears as "Bonny Lad"). Raven (English Country Dance Tunes), 1984; pg. 170 (appears as "Bonny
Lad").
X:1
T:Boney Lad, The
M:2/4
L:1/8
R:Reel
B:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:A
(e/d/)|c/B/A/a/
(3f/g/a/.e/.c/|d/f/e/c/ B(B/d/)|c/B/A/a/ (3f/g/a/.e/.c/|d/f/e/c/
A(A/d/)|c/B/A/a/ (3f/g/a/.e/.c/|
d/f/e/c/ B(B/d/)|(c/e/)f/g/
a/g/b/g/|a/f/e/c/ d/A/A/||d/|(3c/B/A/.e/.A/ f/A/e/A/|(3c/B/A/.e/.c/ .B(B/d/)|
(3c/B/A/.e/.A/ f/A/e/A/|(d/f/)e/d/
c/A/A/d/|(3c/B/A/.e/.A/ f/A/e/c/|d/f/e/c/ B(B/d/)|c/e/f/g/ a/g/b/g/|a/f/e/c/ A||
BON(E)FIRE [1], THE. AKA ‑ "Tein'‑aigheir
air gach beann dhiubh." Scottish, Strathspey. G Minor. Standard tuning.
AAB. This Jacobite oriented tune "was occasioned by the bonfires raised on
all the surrounding hills, upon the late General Fraser of Lovat's (the family
chief's Gaelic patronymic was MacShimi) election for the County of Inverness,
even before his estate was restored to him (forfeited in 1745). “The Bonfire”
makes a charming medley with ("The
Scolding Wives of Abertarff)" (Fraser). Other Jacobite Fraser family
tunes are "Lovat's Restoration,"
"Lord Lovat Beheaded,"
"Lord Lovat's Welcome." Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 96, pg. 162. Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 64, pg. 22. Stewart-Robertson (The Athole Collection), 1884;
pg. 193.
X:1
T:Bonfire, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
f|d<G d>c d<GB<g|f>d c<f A<FF<f|d<G d>c d<GB<g|b>ga>^f ~g2g:|
f|d<g g2 d>g b<g|f>dc>f A>FF>f|d<g g2 d<g g>a|b>ga>^f ~g2 g>a|
b>a
g<b f>gd>g|f>d c<f A>F F<f|d<G d>c
d<GB<g|b>ga>^f ~g2g||
BONFIRE [2], THE. AKA and see "Killaghbeg House," "Ah, Surely," "The Boys of Twenty Five [2],"
“Rose in the Garden [3],”
"The Windy Gap [1]." Irish, Reel.
David Taylor (1992) thinks this may be the original title of this popular tune.
BONHOMME PIS LA
BONNE-FEMME, LE.
French-Canadian, Reel. D Major. Standard tuning. AABB. The melody is
also a song air, popular with both fiddlers and accordion players in Québec
tradition.
X:1
T:Bonhomme pis la bonne-femme, Le
M:2/4
L:1/8
R:Reel
S:Pascal Gemme
K:D
F/G/|:A/B/A/F/ D/F/A/F/|G/A/G/F/
Ec/d/|e/f/e/c/ A/c/e/c/|d/e/d/B/ AF/G/|
A/B/A/F/ D/F/A/F/|G/A/G/F/
Ec/d/|e/f/e/c/ A/c/e/c/|d/f/e/c/ dF/G/:|
|:A/d/d/A/ dc/B/|A/c/c/A/
cE/F/|G/B/B/G/ BA/G/|F/G/A/B/ AF/G/|
A/d/d/A/ dc/B/|A/c/c/A/
cE/F/|G/B/B/G/ BA/G/|F/D/E/C/ EF/G/:|
BONINTOWN WELL. Scottish, Reel. C Major. Standard tuning. AAB. John Glen finds the
earliest printing of the tune in Robert
Bremner's 1757 collection. Bremner (Scots
Reels), c. 1757; pg. 96.
X:1
T:Bonintown Well
M:C
R:Reel
B:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:C
c2 ec dB”tr”AG | Ac”tr”BA GE “tr”E2 | c(e/f/ g)e dB”tr”AG | Ac”tr”BA GC C2 :|
ecgc dBgB | cAfA BG “tr”G2 | AFcF GEcE | FD (G/F/E/D/) EC C2 |
egcg dgBg | ceAc BG “tr”G2 | AcFc GcEc | A(a”tr”gf) ec c2 ||
_______________________________
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[COMMENT1]This was
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[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.