The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BOH - BONIN

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

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, Lancashire, England, written c. 1845-1847 [Plain Brown]. Plain Brown Tune Book, 1997; pg. 12.

                       

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. Kildare, Ireland

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, County Antrim) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg, 10. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 239. Harker (300 Tunes from Mike Rafferty), 2005; No. 55, pg. 17. Mulvihill (1st Collection), 1986; No. 118, pg. 31. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 789, pg. 137. Stanford/Petrie (Complete Collection), 1905; No. 891, pg. 225. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 22, pg. 12. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Folkways FW 6818, Leo Rowsome (1966. A re-release of the HMV IM 283 78 RPM recording of 1937). Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995. 3-part version learned from the playing of piper Leo Rowsome).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Boil the Breakfast Early

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 789

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 Georgia fiddler Clayton McMichen created a virtuoso version and featured it in competitions at major contests; Fiddlin' Arthur Smith also played it on his radio broadcasts (Frank Maloy). North Georgia fiddler Lowe Stokes played a version he called “Somebody’s Rockin’ My Sugar Lump.” The Devil's Box, vol. 23, #1, Spring 1989. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 33. Fretless 101, "The Campbell Family: Champion Fiddlers." Rounder Records, Benton Flippen.

 

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 New England contra-dance keyboard musician and composer Bob McQuillen (Peterborough, N.H.). The title refers, on the surface, to the process of boiling maple sap to make syrup. McQuillen (Bob’s Note Book, #3), 1978. Miller (Fiddler’s Throne), 2004; No. 11, pg. 19.

 

BOILED GOAT'S MILK (Baine Na Gabair's E Beirbte). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 38. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 884, pg. 164. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 135, pg. 37.

X:1

T:Boiled Goat’s Milk

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 135

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 Ireland), 1995; pg. 25.

                       

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 county Waterford in the 18th century, who is still well remembered in Munster folklore. In the end he was pardoned, and spent the evening of his life peacefully, as tide‑waiter in New Ross. In this situation 'he always maintained a character for integrity and propriety,' a fovourite with all, both gentle and simple. His full history by Mr. Prim will be found in the above‑named volume, pp. 52 to 61. I have a printed copy of his life, written by himself" (Joyce). Source for notated version: “From Mr. Pigot’s MS” [Stanford/Petrie]. Joyce (Old Irish Folk Music and Songs), 1909; No. 418, pgs. 228‑229. Stanford/Petrie (Complete Collection), 1905; No. 734, pg. 184.

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 Ireland: 1001 Gems), 1907/1986; No. 982, pg. 169. Roche Collection, 1982; vol. I, No. 74, pg. 35.

X:1

T:Bold Deserter, The

M:C

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 982

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. Tara Records 4008, “Josephine Marsh” (1996).

                       

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 Ireland (1903), No. 500

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 Ireland: 1001 Gems), 1907/1986; No. 262, pg. 58. Ryan’s Mammoth Collection, 1883; pg. 85.

X:1

T:Bold John O’Leary

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 262

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 Ireland (1903), No. 79

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 Ireland), 1974, vol. 2, No. 48. Folkways FTS 31039, "The Red Clay Ramblers with Fiddlin' Al McCandless" (1974). Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981. Learned from the Gallowglass Ceili Band).

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 North Carolina fiddler Tommy Jarrell. DDad tuning.

                       

BOLL WEEVIL DRAG. Old-Time, Breakdown. C Major. Standard tuning. AABBCCDD. Source for notated version: Frank Maloy (Englehard, N.C.), who based his transcription on the playing of south Georgian fiddler “Chick” Stripling on radio station WSB (Atlanta) in the early 1940’s [Devil’s Box]. Devil’s Box, Vol. 21, No. 4, Winter 1987; pg. 51.

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/ | BG AB | [ce][c/e/][c/e/] [c2e2] :|

|: 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 Ireland: 1001 Gems), 1907/1986; No. 366, pg. 75.

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

ABA g2f:|2 ABA A2B||cBA G2B|e3 d2B|c2A B2G|A2B c2d|ecA A2d|e3 d2 B|

c2A B2A|G3 g2e|dBG G2 d|e3 d2B|c2A B2G|A2B c2d|ecA A2d|e2a a2f| g2e d2B|A3||

 

BOLTON RANT. English, Rant (6/8 time). England, North‑West. A Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 9.

 

BOLTON STREET (Sráid Bolton). Irish, Reel. E Dorian. Standard tuning. AAB. Source for notated version: the c. 1880's collection of fiddler and uileann piper Stephen Grier (County Leitrim) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 201, pg. 92.

 

BOMBADIER REEL, THE. French‑Canadian, Reel. G Major. Standard tuning. AABB. Welling (Welling’s Hartford Tune Book), 1976; pg. 12.

 

BOMBAY DRUMS, THE. English, Slow March or Waltz (6/8 time). G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 192.

 

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 Aberdeen, Scotland. Martin (Traditional Scottish Fiddling), 2002; pg. 40. Murray (The Bon Accord Collection).

 

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 New York City concert saloon also sported the name. Brooks McNamara, in his book The New York Concert Saloon: The Devil’s Own Nights (2002, pg. 42), records:

***

At the Bon Ton in 1864 there apparently was only a piano for entertain-

Ment, and customers who sang. “The man from Lake Lomand,” noted the

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: Texas style fiddler Hugh Farr [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 24.

 


BONANZA HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB (Cole): AA’BB’ (Cranford). Originally a Spanish word, bonanza means ‘prosperity’. It has been used in the United States since 1847 to refer to a rich mine and was perhaps the name of an actual mine in Nevada. Source for notated version: Winston Fitzgerald (1914-1987) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 97. Cranford (Winston Fitzgerald), 1997; No. 36, pg. 13. Ryan’s Mammoth Collection, 1883; pg. 132.

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 ALPS. AKA and see AKA and see “Battle of Waterloo,” "Bonaparte Crossing the Rhine [2]" (Irish), “Bonaparte Crossing the Rockies,” “Bonaparte’s March [3],” "Bonaparte's Retreat" (Pa.), “Napoleon Crossing the Alps [1],” "Oro, Welcome Home," "The Diamond," "Peter Gray" (Pa.). Irish (originally), Canadian, American; March. Canada, Prince Edward Island. A Dorian. Standard tuning. AABB. "The wide diffusion, extensive ramification and probable great age of this Irish air have been discussed already in the notes to other versions in this collection (see notes for 'Bonaparte's Retreat'). The present version must also represent a fairly antique development of the tune; it has a strongly impressed character of its own, and may readily be traced in Irish tradition. Though some of its variants serve for songs or dances, most of them have the same strong, martial swing as the one given here. Petrie unhesitatingly calls it 'an ancient clan march' (see Petrie, pp. 251, 356), although he does not assign it to any particular Irish sept. Joyce, on the other hand, declares it to ba a wedding march, or 'hauling‑home' song‑tune, since it was used in his boyhood in County Limerick to accompany the progress of a newly‑married couple home from church (see Joyce 1909, pp. 130, 131). Its frequently occurring Irish name, "Oro, 'Se do bheatha a'bhaile!' (Oro, Welcome Home), and two or three lines of verse quoted by Joyce, would be convincing were we not aware by this time of its protean variety of form and multiplicity of functions in the tradition. As a matter of fact, this version, like the ones already cited, goes under other names in Ireland beside 'Welcome Home'; while these words also befin the refrain to a Gaelic Jacobite song sometimes sung to it. We can only conclude that the statements of Petrie and Joyce were both partially correct: the tune, like other old and well known ones in our tradition, has been used for a number of purposes. In south western Pennsylvania this version is definitely a marching tune. Another local set is Bayard Coll. No. 352, from Greene County. When the volunteers from the communities of Pine Bank and Jollytown, in that county, went to camp at the time of the Civil War, they marched to the stately music of this tune as played by a 'martial band' (drums and fifes) made up of local folk musicians. Although this 'Welcome Home' form of the air is strongly individualized, it cannot be separated from the other sets, discussed under our Nos. 44‑48, to which its variants continually show resemblance and relation. Intermediate or transitional forms have been recorded, some of which were listed under Nos. 44‑48; others are referred below...A still more specialized march form of the 'Welcome Home' version goes in Irish tradition by the name of '(Fare Thee Well) Sweet Killaloe'. Variants are found in Joyce 1909, No. 824 and O'Neill's Irish Music, No. 100. A greatly simplified dance‑tune form of this 'Killaloe' version is also current in western Pennsylvania under ('floating') titles of 'Jennie Put the Kettle On' and 'Nigger in the Woodpile'. Sets are in Bayard Coll., Nos. 21, 64. The American Veteran Fifer also has a variant, No. 122" (Bayard, 1944)."/ Bayard (1981) cites it as a member of the "Lazarus" tune family (identified in part by a subtonic cadence in the 1st and 3rd tune lines, with a tonic cadence in the 2nd and 4th tune lines; which is a feature of medieval music, he says).

***

Perlman (1996) remarks that the tune was played by the regionally famous PEI fiddler Lem Jay on New Years’ Eve over Charlottetown (PEI) radio during the 1930's. Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross and Vernon River, Queens County, Prince Edward Island) [Perlman].

***

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 Hebrides, pp. 96‑98. Linscott (Folk Songs of Old New England), 1939; pg. 69. Kerr (Merry Melodies), vol. 1; pg. 11. O'Neill's Irish Music, Nos. 178, 205. O'Neill (Music of Ireland: 1850 Melodies), Nos. 58, 1809 (same set as in O'Neill's Irish Music), and 1824. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 99. Petrie, Nos. 926, 983, 1056 (to Welcome Home Jacobite Song), 1425. Roche Collection, vol. 2; No. 231. Scanlon, p. 63, 'Battle Call of the Fianna' (close to Petrie 983, 1425). C.J. Sharp (English Folk‑Chanteys), No. 7. Smith (The Scottish Minstrel), I, 106, 107, IV 58, 59.  Stokoe & Bruce, 1886, Northumbian Minstrelsy, p. 183 (appears as "Cuckold Come Out o' the Amrey"). Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995).

X:1

T:Bonaparte Crossing the Alps

T:Napoleon Crossing the Alps

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 RHINE [1]. AKA and see "Bonaparte's Retreat," "Bruce's March," "Caledonian March," "The Freemanson's March," "Napoleon Crossing the Rhine," "Ranahan's March [1],"  "Sherman's March (to the Sea)," "The Star of Bethlehem" “St. Patrick’s March.” Old‑Time, March (cut time). D Major. Standard or ADae tunings. AB (Barnes): AAB (Phillips/1995): AABB (most versions). The first part of the tune shows up in several melodies from Ireland, Scotland and England; these variants include the Irish “Centenary March” and “An Comhra Donn,” and the Scottish “Caledonian March.” Barry Callaghan (2007) says the core tune was current as a military march in the Peninsular War, and probably earlier, although he cites no source for this assertion. Samuel Bayard (1944) was familiar with “Bonaparte Crossing the Rhine” as a common march tune in his primary collecting area of western Pennsylvania, and one which circulated under a variety of names including (in Fayette County) "Bruce's March" and (in Greene County) "The Star of Bethlehem." A Pennsylvania bandmaster gave Bayard the name "Ranahan's March," which he said commemorated a local bandmaster. As with several of the other 'Bonaparte'-titled tunes it is sometimes confused with similar names; for example, Bayard once heard it played by a New Jersey fiddler who gave it the ubiquitous name of  "Bonaparte's Retreat."  Fiddler Mack Snodderly played a slow, dirge-like version of the tune and called it "Dying on the Field of Battle.”

***

"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 Pennsylvania and elsewhere. And there is no other indication thus far that (this tune) has been anything but an instrumental march tune in the Middle Atlantic area. We know, however, that it was used as a hymn melody in the South. Its currency in southern tradition is attested by two distinct versions used with a couple of the favorite pieces in the shapenote hymn books of fa-so-la singers. One of these, a close variant of (this tune) appears in Swan, The New Harp of Columbia  (1867), No. 148 as 'France'; the other, representing a quite different‑‑somewhat more vocal‑‑development of the air, is entitled 'Family Bible' in Walker, The Southern Harmony (1835), No. 20, and Cayee, The Good Old Songs (1913), No. 217. This second version is listed by Professor George Pullen Jackson among the eighty most popular tunes in the fa-so-la song books: see 'White Spirituals in the Southern Uplands', p. 146, tune No. 63 and references. Other Pennsylvania sets are Bayard Coll., Nos. 35, 50. A variant called 'Caledonian March' appears in Howe's School for the Violin, pg. 17. Although the air sounds Scottish, it has not yet been traced outside this country (ed.—“Caledonian March” does appear in Kerr’s Merry Melodies and McDonald’s Gesto Collection. Did Bayard think that the Scots picked it up from Howe?). A tune bearing some resemblance to it occurs, in Smith, The Scottish Minstrel, IV, 12, 'The Pride of the Broomlands'; and another, still closer, occasionally appears in the commercial fiddle‑tune books as 'Lochnagar': e.g., Cole, p. 124; White's Excelsier Coll., p. 70; Kerr, No. 214" (Bayard, 1944).

***

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, Marion, Indiana).

X:1

T:Bonaparte Crossing the Rhine [1]

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 RHINE [2]. AKA and see “Bonaparte Crossing the Alps,” “Bonaparte Crossing the Rocky Mountains,” “Bonaparte’s March [3],” “First Light of Day,” “From Galway to Dublin (Town),” “Listowel Hornpipe.” March (4/4 time). A Minor. Standard tuning. AB (O’Neill): AABB (Howe). Howe (Complete Preceptor for the Accordeon), 1843; pg. 16. O’Neill (O’Neill’s Irish Music), 1915; No. 101, pg. 56.

X:1

T:Buonaparte Crossing the Rhine [2]

T:Bonaparte Crossing the Alps

M:4/4

L:1/8

R:March

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

Z:AK/Fiddler’s Companion

K:Amin

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 Southern Highlands (1937, repr. Dover 1973).  Tunes at a Knoxville fiddlers' convention included "Napolean Crossing the Rocky Mountains, which several contestants chose to render.  This tune seemed to be a particular favorite and one which it was stated was local to that part of Tennessee.  This, however, proved to be an error, for it was found to be also popular in parts of North Carolina and in Kentucky.  Dean WIlliam Jesse Baird of Berea College heard it in Pine Mountain and tells this story about it:  'Uncle John' delighted in playing for visitors and sooner or later he would say, 'Now, I want to play you my favorite; I calls hit Napolean Crossing the Rocky Mountains.'  One day a teacher at Pine Mountain said, 'Uncle John, you mean Napolean Crossing the Alps'.  'I don't know, maybe I do,' he replied.  Sometime later he was playing for a visitor and at his usual point announced, 'Now I want to play you my favorite; I calls hit Napolean Crossing the Rockies.  Some folks say Napolean never crossed the Rockies, that he crossed the Alps, but historians differ on that point'". Brody (Fiddler’s Fakebook), 1983; pg. 51. Kicking Mule 209, Bob Carlin‑ "Melodic Clawhammer Banjo."

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 Waterloo.

 


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 Mississippi, learned from musician Sid Blum (northern Vt.). Spandaro (10 Cents a Dance), 1980; pg. 3. June Appal 028, John McCutcheon ‑ "Wry Straw."

 

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 Ireland: 1001 Gems), 1907/1986; No. 902, pg. 155.

X:1

T:Bonaparte’s Defeat

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 902

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). England, Northumburland. G Major. Standard tuning. AB. Sounds like it was at one time a song tune. Peacock (Peacock’s Tunes), c. 1805/1980; No. 18, pg. 6.

                       

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 Ireland. Most of the tunes, being traditional, retain their popularity. It is not claimed that "Bonaparte's Grand March" is an Irish composition. In fact we have no information concerning its history or origin, but there can be no question as to its circulation and popularity in Ireland in former times. Its rescue from the oblivion of faded manuscript to the publicity of the printed page may endow this spirited march with renewed vitality.” Source for notated version: Chicago police Sergeant James O’Neill, originally from County Down [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 59.

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 Martha’s Vineyard, Massachusetts, where it had been brought by a seaman named Allan Coffin, of Edgartown, who may have been a shipmate of Litten’s. Huntington (William Litten's), 1977; pg. 38.

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 ‑ "New England Traditional Fiddling" (1978).

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 Fort Snelling), 1974; pg. 50.

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 Pennsylvania sets are Bayard Coll., Nos. 81, 84, 252; and see notes to ('Old Man and Old Woman Scoldin'). These refashioned 'Old Man and Woman' sets differ somewhat among themselves, indicating that they have been traditional in their altered form for some time; but whether they assumed this form before their importation into America, or whether the alteration took place here, with an older tune of the type of 'Old Man and Old Woman Scoldin'' as model, is uncertain. F.P. Provance stated that the fifer from whom he learned this tune played it as a retreat in Civil War days" (Bayard, 1944).

***

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 Moscow

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

L:1/8

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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