The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BONS  BOX

[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] 

BONS TEMPS, LES (The Good Time). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Related tunes, according to Raymond Francois (1990), are "Valse de Holly Beach" and "Laisse les Bons Temps Rouler." Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille Chere), 1990; pgs. 344-345. Swallow Records SW-10133, Lawrence Walker.

                       

BONSADALIANS, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody initially appeared in R. Balwin’s periodical London Magazine, or Gentleman’s Monthly Intelligencer of 1755. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757: No. 97.

X:1

T:Bonsadalians, The

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2 Bd|G2 Bd|gedc|BG dB|G2 Bd|G2 Bd|ged^c|d2 D2:|
|:g2 gb|g2 gb|edef|gd BG|g2 gb|g2 gb|edef|g2 G2:||

                       

BONSOIR MOREAU. Cajun/Creole. Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray Fontenot - “La Musique Creole.”

                       

BONTON, THE. Scottish(?), Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Aird (Selections of Scotch, Engish, Irish and Foreign Airs), vol. 2, 1782; No. 134, pg. 49.

X:1

T:Bonton, The

M:2/4

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

B/c/d/B/ GG | AGAG | B/c/d/B/ GG | AD D2 | B/c/d/B/ GG | gfed | ceAc | dD D2 :|

|: dBed | cBcA | cAdc | BABG | B/c/d/B/ GG | AGAG | A/B/c/e/ d/c/B/A/ | GG G2 :|

                       

BONY BROW, THE. AKA and see "Jock O' Hazeldean."

                       

BONY CROSSING THE ALPS. See “Bonaparte Crossing the Alps.”

                       

BONY SMITH’S QUADRILLE. American, Quadrille (6/8 time). USA, Arizona. C Major. Standard tuning. AABB. Ruth (Pioneer Western Folk Tunes), 1948; No. 49, pg. 17.

X:1

T:Bony Smith’s Quadrille

L:1/8

M:6/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:C

g|geg age|ccc G2c|Bcd A2B|cBA G2g|geg age|ccc G2c|

(Bcd) A2B|[E3c3][E3c3]::G[Ec][Ec] [Ec][Ec][Ec]|G[Ec][Ec] cBA|

G[GB][GB] [GB][GB][GB]|G[GB][GB] BAG|G[Ec][Ec] [Ec][Ec][Ec]|

G[Ec][Ec] [Ec]BA|[E3c3e3] A2B|[E3c3][E3c3]:|

       

BONYPARTE. AKA and see ""a href="#BONAPARTE'S_RETREAT_[1]"Bonaparte's Retreat."

       

BONYPARTE'S RETURN. Old‑Time. USA Franklin County, Va. May be a version of "Bonaparte's Retreat." Recorded by Library of Congress, 1939; H.L. Maxey, Franklin County, Virginia.

                       

BOO BABY’S LULLABY. Canadian, Waltz. Canada, Cape Breton. E Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009) in honor of the Jan., 1996, birth of his daughter. It is widely regarded as one of Holland’s best compositions. Cranford (Jerry Holland: The Second Collection), 2000; No. 305, pg. 109. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

                       

BOODULUM, THE. Irish, Slip Jig. D Major. Standard tuning. AABBCC.

X:1

T:The Boodulum           

B:C K Sharpe's Ms Music Book c1835

N:"Irish"

Z:Nigel Gatherer

M:9/8

L:1/8

K:D

Bcd ABG FED|Bcd ABG FGA|Bcd ABG FEF|DED AGF EFA:|]

BEE BAG FED|BEE BAG FGA|BEE BAG FEF|DED AGF EFA:|]

d2 d dfd cBA|d2 d dfa gfe|d2 d dfd cBA|dcB ABG FGA:|]

                       

BOOGERBOO. Old-Time, Song. Popularized among ‘revival’ fiddlers by Tommy Thompson who played and sang it on the first Red Clay Ramblers album on Folkways. A different melody than “Boogerman,” below.

                       

BOOGERMAN (WILL GET YOU). AKA and see "”Chasing/Chase the Devil around the Stump,” "Whip the Devil Around the Stump." Old‑Time, Breakdown. USA, "Most common in North Carolina," but known throughout the Appalachians (Krassen, 1973). G Major ('A' part) & E Minor or E Major ('B' part). Standard tuning. AABB. In repertoire of Samantha Bumgarner (Asheville, N.C.), J. Dedrick Harris (Eastern Tenn.), and Osey Helton (Western N.C.) {who knew it as "Whip the Devil Around the Stump"}. Helton may have learned the tune from influential fiddler J.D. Harris, who moved to Western N.C. from Eastern Tenn. in the 1920's, and who recorded the tune on Broadway A1964 (78 RPM) in 1925. Harris called the tune “Whip the Devil Around the Stump,” and it was a variant of the “Boogerman” tune. Harris, who once played regularly with Bob Taylor when he was running for Governor of Tenn. in the late 1800's, also influenced other N.C. fiddlers of Helton's generation such as Manco Sneed, Bill Hensley, and Marcus Martin. Indeed, Manco Sneed played it as “Boogerman” although Fiddling’ Bill Hensley called it “Old Boogerman” (Kerry Blech says that he was recorded about 1940 on instantaneous disk saying the title emphatically. The tune was also in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border. Krassen (Appalachian Fiddle), 1973; pg. 30. Marimac 9033, Dirk Powell – “Wandering Ramblers.”

       

BOOGIE REEL, THE. Irish, Reel. D Major. Standard tuning. AABB. A modern composition by button accordion player John Nolan (New Jersey). Black (Music’s the Very Best Thing), 1996; No. 12, pg. 6. Tara Records 4008, “Josephine Marsh” (1996).

X:1

T:The Durrow Reel

T:The Boogie Reel

C:John Nolan

S:Josephine Marsh

M:4/4

L:1/8

R:reel

K:D

D2 FA d3 A|BAFA Bc d2|D2 FA defe|dcBA BE E2|

D2 FA d3 e|fdef g2 fg|afdf gece|1dfec d2 FE:|2dfec d2 gf|:

eA (3AAA EA (3AAA|edef g2 ag|fd (3ddd Ad (3ddd|

fgaf d2 cd|Beed efed|cdef g2 fg|afdf gece|1dfec d2 gf:|

2dfec dBAF||

"variation, 3rd bar of B part" |fd (3ddd d'd (3ddd| 

X:2

T: Boogie Reel

C: John Nolan

Z: transcribed by B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

FE | DEFA dcdA | BAFB AFEF | DEFA dfec | dBAF EGFE |

DEFA dcde | fd d2 BAFA | e2 ef gece | dAFA d2 :|

cd | eA (3AAA EA (3AAA | ecef g2 fe | fd d2 Ad d2 | fgaf d2 cd |

Be e2 Beed | cdef g2 fg | afdf gece | dAFA d2 :|

       

BOOK OF RIGHTS, THE (Leabar Na G-Ceart). Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 783, pg. 146. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 60, pg. 26.

X:1

T:Book of Rights, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 60

Z:AK/Fiddler’s Companion

K:D

A,|DED D2F|Add AFA|Bcd AGF|EDE FDB,|DED D2F|

Add AFA|Bcd AGF|EDD D2:||:A|dfa a2a|aba afd|gbg faf|

ede fdB|dfa agf|ede fdA|Bcd AGF|EDD D2:|

           

BOOKLEY’S FAVORITE REEL. American, Hornpipe or Reel. A Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 57.

X:1

T:Bookley’s Favorite Reel

M:2/4

L:1/8

R:Hornpipe or Reel

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

Z:AK/Fiddler’s Companion

K:A

A/c/e/g/ a/g/f/e | d/c/B/A/ G/B/E | BG/B/ z/E/G/B/ | c/B/A/c/ B/A/G/B/ |

A/c/e/g/ a/g/f/e/ | d/c/B/A/ G/B/E | BG/B/ z/E/G/B/ | zA/G/B/ AF ||

(A/4B/4c/4d/4) | ec/e/ z/c/e | fd/f/ z/d/f | ec/e/ z/c/e |

BG/B/ z/G/B | ec/e/ z/d/f | A/c/e/g/ a/g/a/e/ | f/d/B/c/ A ||

                       

BOOKSELLER’S FROLIC, THE.  English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB. The melody appears unique to London publishers Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 5.

X:1

T:Bookseller’s Frolic, The

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:F

c|f2 gf/e/|fcAc|f2 a(g/f/)|gece|g2 ba/g/|afec|Gc dc/=B/|c3:|

|:c|cc (d/c/B/A/)|Bf “tr”f2|ff (g/f/e/d/)|eg “tr”g2|af b(a/g/)|afec|df (e/f/g/e/)|f3:||

                       

BOOLA VOGUE. See “Boulavouge.”

                       

BOOLONZIE, THE. AKA – “The Bolloon,” “The Boulounger.” Scottish, Quickstep 2/4 time). D Major. Standard tuning. AABB. A traditional tune published by the Gows. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 4,1796; pg. 29. Carlin (The Gow Collection), 1986; No. 566. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pg 35. McGlashan (Collection of Reels), c. 1781; pg. 32.

X:1

T:Boolonzie, The

M:2/4

L:1/8

R:Quickstep

B:Gow – Third Collection of Niel Gow’s Reels (1792)

Z:AK/Fiddler’s Companion

K:D

A|(Ad)(dd)|{c}d2 dd|(ef)ce|{d}c2 (.B.A)|(Ad)(.d.d)|{c}d2 dd|(eg)ce|d2d:|

|:A|FEFG|(3ABA DE|{G}F>EFG|A2D2|{G}F>EFG|A>BAG|{G}F>EFG|A2D:|

       

BOOMERANG, THE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 62.

       

BOORES DANCE, THE. English, Jig. D Major. Standard tuning. AABB. Published before 1730. The title perhaps refers to a bouree. Raven (English Country Dance Tunes), 1984; pg. 7.

       

BOOT DANCE. Scottish, Country Dance Tune (4/4 time). A Minor ('A' part) & A Major ('B' part). Standard tuning. AABB. Boot dance = a clog? Kerr (Merry Melodies), vol. 1; No. 26, pg. 30.

X:1

T:Boot Dance

M:C

L:1/8

S:Kerr – Merry Melodies, vol. 1, pg. 30

Z:AK/Fiddler’s Companion

K:Amin

(A2 A>)B c>BA>c|B>A^G>B A2A2|(c2 c>)d e>dc>e|d>cB>d c2c2|

(A2 A>)B c>BA>c|(_B2 B>)d f>dB>d|e>cA>c e>dc>B|A>ce>a A2 z2:|

K:A

|:A2 a>A g>A f>A|e>A d>A c>Ac>d|e>cA>c e>dc>A|c>BA>c B>E(=F>E)|

A2 a>A g>A f>A|e>A d>A c>Ac>d|e>cA>c e>dc>B|A>cea A2 z2:|

       

BOOT SHUFFLE. American, Reel. G Major. Standard tuning. AA’BB’. A French-Canadian sounding tune composed by Portland, Oregon, whistle, bouzouki and saxophone player Todd Sivlerstein, after hosting the Quebec band La Bottine Souriante (‘Smiling Boot’ – the name refers to a boot whose sole has worked loose, causing it to flap when one walks) for a weekend. Songer (Portland Collection), 1997; pg. 35.

       

BOOTH. AKA and see "Booth Shot Lincoln."

        

BOOTH SHOT LINCOLN [1]. AKA - "Booth." Old‑Time, Breakdown. USA; western N.C., Eastern Tenn. A Major. AEae, GDgd or Standard tunings. AAB (Phillips): AABB (Johnson). The title commemorates the April 14th, 1865, assassination of President Abraham Lincoln by the actor and Southern sympathizer John Wilkes Booth at Ford’s Theater, Washington, D.C., during a performance of a British comedy.  The Booth name was instantly recognizable to patrons of the Civil War era stage, chiefly because of John’s brother Edwin Booth, one of the foremost thespians of his day. The tune was in the repertoires of western North Carolina fiddlers Osey Helton and Marcus Martin (from the Black Mountain region). It was also in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border. Bascom Lamar Lunsford (Bunscombe County, N.C.) learned his version (“Booth Killed Lincoln”) from Martin, and both sang the song and played the same tune on the fiddle on his recording. On his 1949 Library of Congress recording, however, Lunsford introduces the seven-verse song: "The title of this ballad is 'Booth,' or 'Booth Killed Lincoln.' It's an old fiddle tune, and there are a few variants of the song. I heard my father hum it and sing a few of the stanzas when I was just a boy about six or ten years old." After he sings the song, he plays the fiddle tune, similar to Martin’s version though less complex. The ballad air and the fiddle tune are related, with the fiddle tune being more ornate and elaborate. Most modern versions are based on Martin’s slightly-crooked recorded versions of the tune (he was recorded several times in the 1940’s by Library of Congress field personnel, including Alan Lomax in 1942), and Martin gave the title variously as “Booth” or “John Wilkes Booth.” Lunsford’s lyric goes:

***

There's treason, boys, in Washington.

John Wilkes Booth has fled.

Abe Lincoln's lyin' cold and dead

With a bullet in his head.

Bring the traitors in, boys,

Bring the traitors in.

Bring the traitors in, boys,

Bring the traitors in.

***

Scott DeLancey maintains that the “Booth” melody is a breakdown setting of the Irish jig “The Market Town.” Source for notated version: Marcus Martin (Buncombe County, North Carolina) [Phillips/1994]. Kuntz, Private Collection. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 11. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 34. AFS L29, “Folk Music of the United States: Songs and Ballads of American History and of the Assassination of Presidents from the Archive of American Folk Song” (contains two 1949 recordings of Bascom Lamar Lunsford playing "Booth Killed Lincoln," collected by Duncan Emrich).  Flying Fish FF 266, Malcolm Daglish & Grey Larsen ‑ "Thunderhead" (1982). Library of Congress AAFS L29, Bascomb Lamar Lunsford (originally recorded 1949). Marimac 9000, Dan Gellert and Shoofly ‑ "Forked Deer" (1986. Learned from Marc Gunther). Rounder 1509, Bascom Lamar Lumsford – “Songs and Ballads of American History and of the Assassination of Presidents" (originally issued in the early 1950’s by the Library of Congress from the Archive of American Folksong). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Bruce Greene, fiddle. Learned from Marcus Martin & Basom Lamar Lunsford, Guncombe County, N.C.). CD2001, “The Rough Deal Stringband.”

See also listing at:

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

X:1

T:Booth Shot Lincoln [1]

L:1/8

M:2/4

N:AEae tuning

N:notated as fingered, not as sounded

S:Liz Slade

Z:AK/Fiddler’s Companion

K:A

A2 EE/E/|D/D/B, D>(D|E/)D/E/F/ G(G|G/)c/B/A/ [G/A/]c/B/A/|G/EE/ E/D/E|

A2 EE/E/|D/D/B, D>f|e/c/B/A/ A/c/B|(G/A)G/ [G2A2]:|

c|:e>(f e)e/e/|f/e/f/(f/ a>)(f|e/)c/B/A/ A/c/B/A/|A/EE/ E/D/E|e>(f e)e/e/|

f/e/f/(f/ a>)(f|e/)c/B/A/ A/c/B/A/|G/AG/ A>c|e>(f e)e/e/|f/e/f/(f/ a>)(f|

e/)c/B/A/ A/c/B/A/|A/EE/ E/D/E| A2 EE/E/|D/D/B, D>f|e/c/B/A/ A/c/B|(G/A)G/ [G2A2]:|

X:2

T:Booth Shot Lincoln [1]

M:C

L:1/8

R:Reel

S:Jim Taylor, Bruce Greene

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

(3AGF |: EDEF ED E2 | FA2F A2 (A2 | A)BcB Ac B2 | A F2 (F F2) GF |

EDEF ED E2 | F A2B A3(f | e)c2B AcBA |1 G A2 (A2 A) AF :|2 GA2(A2 A) AB ||

ce2(e e3) e | fa2(a a3)f | ec3 AcBA | AF2F F2AB | ce2(e e3)e | fa2(a a3)f |

ec2B AcBA | G A2(A2A) AB | ce2(e e3)e | fa2(a a3)f | ec2c2c B BA |

AF2(F F2) AF | EDEF ED E2 | FA2B A3 (f | e)c2B AcBA | GA2 (A A4) ||

 

BOOTH SHOT LINCOLN [2]. Old-Time, Breakdown. E Minor. Standard tuning. AA'BB. An extremely 'crooked' (irregular) tune. Stacy Phillips says he learned the tune from Kenny Kosek, who had it from Alan Feldman; the latter said he later learned that “it is really a very twisted version of ‘Haning’s Farewell’” (Phillips, FIDDLE-L, 12/2/05). No relation to “Booth Shot Lincoln [1].” Source for notated version: Kenny Kosek with Tony Trishka [Phillips/1995]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 25. 

       

BOOTS AND AA. Shetland, Shetland Reel. Shetland, Whalsay.

       

BORDER COLLIE. New England, Reel. B Minor ('A' part) & A Major ('B' part). Standard tuning. AB (Miller/2004): AAB (Miller/1977). Composed by fiddler Randy Miller (East Alstead, New Hampshire). Miller & Perron (Irish Traditional Fiddle Music), 1977; addenda. Miller (Fiddler’s Throne), 2004; No. 127, pg. 85. Shanachie 29018, Kelly, O’Brien & Sproule – “Spring in the Air” (1982).

       

BORDER MAIDEN, THE. Scottish, Air (4/4 time). G Minor ('A' and 'C' parts) & G Major ('B' and 'D' parts). Standard tuning. ABB'CC. Composed by E. Berger.

***

A maiden sat 'lone in her green wood bow'r,

A sun beam fell on her golden hair,

And she sang as she wove the silken flow'r,

In the banner her own true love should bear.

The war cry ran through the morning grey,

O, bravely our lads of the Border fought,

And aye in the thick of the deadly fray,

Shone the silken banner the maiden wrought.

A knight on the moorland brown and bare,

Lies cold and dead, when the fight is done,

And the maiden will moan in her wild despair,

When the spearmen return at the set of sun.

For home must be guarded whatever betide,

Home must be guarded whatever betide,

And the brave lads of Yarrow must saddle and ride

When the beacon is lit on the border.

***

Signal fires, or beacons, were lit to signal to the countryside of the approach of an enemy. In Scotland, they stretched from Hume to Soutra, onward to Edinburgh, and across the Forth into Fife and Stirling, to call men to war. Neil (The Scots Fiddle), 1991; No. 30, pg. 39.

       

BORDER PASTORALE. Scottish, Slow Air (6/8 time). C Minor ('A' part) & E Flat Major ('B' part). Standard tuning. AB. A modern composition by fiddler Arthur S. Robertson, inspired by the now peaceful Scottish‑English borderlands, and dedicated to J. Murray Neil. Neil (The Scots Fiddle), 1991; No. 40, pg. 51.

                       

BORDER REEL, THE. AKA and see "Stool of Repentance." Scottish, Jig (12/8 time). Appears in David Young's Duke of Perth MS dated 1734 (A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young). This MS is sometimes called the Drummond Castle Manuscript and was in the possession of the Earl of Ancaster at Drummond Castle in the early 1970's.

                       

BORDERS OF SWEET COOLE HILL, THE. Irish, Air (3/4 time). Ireland, County Cavan. F Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 561, pg. 142.

X:1

T:Borders of Sweet Coole Hill, The

M:3/4

L:1/8

N:”A Cavan air”

S:Stanford/Petrie (1905), No. 561

Z:AK/Fiddler’s Companion

K:F

A/G/ F/G/A/B/ | c2 df _ec | B>G EG F/G/A/B/ | c>G BG FF | F3 ||

F/G/ Bc | f2 _ef g/f/e/d/ | _ed cB cd/=e/ | f>_e df ed | c3 d/e/ ff |

_e>d cB AF | G>F EG F/G/A/B/ | c>G B/G/F/G/ FF | F3 ||

                       

BORDERERS, THE. Scottish. The name of a Scottish regiment. Beltona 78 RPM 2446, Jimmy Shand.

                       

BORE. See "Bourree." 

           

BOREAL OWL.  Canadian, Strathspey, Canada, Cape Breton. F Major. Standard tuning. AAB. Composed by fiddler, publisher, editor, lighthouse keeper and composer Paul Stewart Cranford. Source for notated version: Jerry Holland (1955-2009) [Cranford]. Cranford (Jerry Holland: The Second Collection), 2000; No. 160, pg. 60.

                       

BOREEN REEL, THE. AKA and see “The Donegal Traveller Reel,” “Drunken Tinker,” “Gillespie’s.” Irish, Reel. A Major. Standard tuning.

X:1

T:Donegal Traveller, The

T:Gillespie’s

T:Drunken Tinker, The

T:Boreen Reel, The

R:reel

S:Session at Shoot the Crows, Sligo, 1992

Z:id:hn-reel-401

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:A

A2EA CAEA|A2 cA GABG|~A3B cAGc|1 d2 ed cABG:|2 d2ed cAAc||

~e3d ecAc|~e2c dcBc|1 eA~A2 fA~A2|eAed cAAc:|2 d2 dc dcBA|Feed cdBc||

                                   

BORING THE LEATHER [1]. Irish, English; Jig. D Minor (Huntington/Litten): E Minor (Miller). Standard tuning. AABB. William Litten, in whose manuscript copybook this tune appears, was a ship’s fiddler on a whaleship in the 19th century. Huntington (William Litten's), 1977; pg. 29. Miller (Fiddler’s Throne), 2004; No. 12, pg. 20. RM-1C, Randy Miller – “The Lore of the Fingerboard” (1990).

 

BORING THE LEATHER [2] (Tolladh an Leathair). AKA and see "Come with me now," "The Connaughtman [2]," "Down the back Lane," "The Humours of Ayle House," "The Kilfinane Jig," "The Shoemaker's Fancy," "When you go home.” Irish, Double Jig. G Major. Standard tuning. AABB. The jig appears in O’Neill’s publication fours times under the titles “Come with me now,” “The Humours of Ayle House,” “The Kilfinane Jig,” and “When you go home,” though Breathnach says the key signature is wrong in all of them and sometimes the endings are wrong. Three versions are printed with no name by Petrie (No. 964-6). The “Boring the Leather” name comes from the Goodman Manuscripts. Source for notated version: piper Willie Clancy/Liam Mac Flannchadha (County Clare, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 6, pg. 5 (appears as “Tolladh an Leathair”). North Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge Village."

       

BORING WITH A/THE GIMLET. AKA and see "Bless My Soul, Why Shouldn't I?" “I have a wife of my own,” "Jack Won't Sell His Fiddle," "Ragged Lady," "Spatter the Mud,” (A) Wife of My Own.” English, Jig (9/8 time). England, Northumberland. E Minor/G Major. Standard tuning. AABBCC. A gimlet (sometimes spelled with a ‘b’) is a small hand tool with a spiraled shank, a screw tip, and a cross handle and is used for boring holes. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 129.

X:1

T:Boring with a Gimblet

M:9/8

L:1/8

R:Jig

K:E Minor

E2F G2B G3|E2F G2B AFD|E2F G2B G2B|AFD DdB AFD:|

|:B2G c2A d2c|BGE EdB AFD|B2G c2A d2B|AFD D2B AFD:|

|:g3 G2B G2c|BAB E2B AFD|g3 G2B G2c|AFD D2B AFD:|

       

BORLUM'S RANT. See “Borlum’s Reel.”

 

BORLUM’S REEL. AKA – “Borlum’s Rant.” Scottish, Strathspey. F Major. Standard tuning. AB (Surenne): AABCD (McGlashan): AA’BBCC (Gow). Glen finds the earliest printing of "Borlum's Reel" in Alexander McGlashan's 1786 collection (pg. 23). Gow (Complete Collection), Part 1, 1799; pg. 26 (appears as “Borlam’s Strathspey”). MacDonald (Skye Collection), 1887; pg. 146. Surenne (Dance Music of Scotland), 1852; pg. 141.

X:1

T:Borlum’s Reel

L:1/8

M:C|

S:McGlashan – Strathspey Reels  (1786)

Z:AK/Fiddler’s Companion

K:F

d|c<Af<A c2 d2|c<A f>A G2 d2|c<A f>A c<A a>g|f>dc>A G2 d:|

F>AF>A c2 d2|F>AF>A G2 d2|F>AF>A F>AF>A|B/A/B/c/ d/c/B/A/ G2 d2|

F>AF>A c2 d2|F>AF>A g2 d2|F>FC>F A,>FC>A|B>c d/c/B/A/ G2  fg/a/||

f2 c<A f2 g>a|f2 c>A G2 fg/a/|f2 c>A c<A a>g|fdc>A G2 fg/a/|f2 c/d/c/A/ f2 f/b/a/g/|

f2 c/d/c/A/ G2 f/g/a/g/|f2 c/d/c/A/ c/d/c/A/ f/b/a/g/|f/g/f/d/ c/d/c/A/ G2 d2||

c/B/A/G/ F>A c>A f>A|c/B/A/G/ F>A G2 d2|c/B/A/G/ F>A c>df>g|fdc>A G2 d2|

c>AF>A c>Af>d|c>AF>A c2 d2|c>AF>A c>df>g|fdcA G2 d||

       

BORNISH POLKA. British Isles, A Major/Mixolydian. Standard tuning. AAB. Miller & Perron (101 Polkas), 1978; No. 48.

       

BOROBRIDGE HORNPIPE. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. A Shropshire variant, recognizable, though with distinct differences, goes under the name of "Wellington Hornpipe" and is also to be found in a Victorian MS collection. Boroughbridge, in North Yorkshire, is a mile west  of Aldborough and superceded the older village when the Normans built a bridge over the Ure at the site in the 12th century. It was at Broroughbridge that Edward II’s forces defeated Thomas of Lancaster in 1322. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 44, pg. 39.

                       

BORRIS REEL.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland); 35.

       

BORRY ROYALL. Scottish. The tune appears in the Panmure MS #9454, Seventy Seven Dances, Songs and Scots Airs for Violin, c. 1675. Robin Williamson says 'borry' is probably a spelling of burgh, a royal town. I wonder if it could not be a corruption of 'bourree'. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

                       

BOSCAWEN’S FROLICK.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. The title probably refers to a victory of Admiral Edward Boscawen (1711-1761), who distinguished himself at the taking of Porto Bello in 1730 and the Acadian fortress of Louisburg in 1758, and in saving England from a French invasion fleet in 1759. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 77.

X:1

T:Boscawen’s Frolick

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G
g|fddA AFFD|Eg f/g/a/f/ e3g|fddA AFFD|Eg f/g/a/f/ d3:|

|:g|ff/g/a/f/ dg f/g/a/f/ df|g/a/b/g/ eg g/a/b/g/ eg|f/g/a/f/ dg f/g/a/g/ df|eg a/g/f/e/ d3:||

                       

BOSCO STOMP. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major/Mixolydian. Standard tuning. AABB (Greenblatt): AA(Vocal)BBAABB(Vocal)BBAABBAA (Francois). Bosco is a small community north of Scott, Louisiana, named for one Bosco Prejean who set up a store there. A related song is Doug Kershaw's "Cajun Stripper." Lawrence Walker has recordedan influential version of the tune. Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 346-347. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 27. Arhoolie Records AR-LP5013, Lawrence Walker Arhoolie 427, Lawernce Walker - “Cajun Honky Tonk – The Khoury Recordings.” Swing Cat 1612, “Al Berard & Friends.”

X:1

T:Bosco Stomp

L:1/8

M:2/4

Z:AK/Fiddler’s Companion

S:Suzie Rothfield

K:A

AA|c e2 c e2 cd|efed cB A2|(B/c/B) GF EFGB|efed cA AA|

c e2 c e2 cd|efed cB A2||(B/c/B) GF EFGB|efec a2:|

|:ca|c’aea c’aea|c’a e a3 eg|bgeg bgeg|bg e a3 ea|c’aea c’aea|c’a e a3 eg|

bgeg bgeg|bg e a3::e(a|a)fec Ace(a|a)fec A2 ef|=g3 e f3 (e|e)c B2 A:|

                       

BOSOM THAT BEATS. AKA and see "Garryowen."

                       

"BOSS", THE. AKA and see “The Old Horned Sheep.” American, Jig. B Flat Major. Standard tuning. AABB. See also Donegal fiddler John Doherty’s tune “The Pet in the Kitchen.” American origins for the tune are doubtful, as it appears to be an amalgam of two old Irish tunes, “The Humors of Donnybrook” and “Sweet Biddy Daly” (the ‘A’ and ‘B’ parts, respectively). The title is perhaps a reference to Jimmy Norton (see note below). Cole (1000 Fiddle Tunes), 1940; pg. 76. Ryan’s Mammoth Collection, 1883; pg. 108.

X:1

T:The “Boss”

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

{f/g/a/}(b2.B) {c}BAB | GBB FBB | (b2.B) ({c}B)AB | GcB AGF |

(b2.B) {c}BAB | GBB FBB | GBB Acc | dBB B2z :|

|: dff fdB | dff fdB | dff fdB | ecc c2z | dff fdB | dff fdB | bag fed | cdB AGF :|

                       

BOSS CLOG HORNPIPE, THE. American (?), Hornpipe. A Major. Standard tuning. AA’BB’. Source for notated version: included in a section of tunes from the playing of Jimmy Norton, the “Boss Jig Player”—Norton was presumably a band-leader or principal instrumentalist in the eastern Massachusetts area in the mid-1900’s. Howe (1000 Jigs and Reels), c. 1867; pg. 50.

X:1

T:Boss Clog Hornpipe, The

M:C|

L:1/8

R:Hornpipe or Clog

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

Z:AK/Fiddler’s Companion

K:A

e>d | c>eA>c E>AC>E | (3A,CE (3Ace a2 b>a | g>be>g B>eG>B | (3EGB (3egb c’2 e>d |

c>eA>c E>AC>E (3A,CE (3Ace a>c’ a2 | g>be>g f>a^d>f |1 e2e2e2 :|2 e2e2e2 =d>e ||

|: f>A,D>F A>df>a | e>A,C>E A>ce>a | g>B,E>G B>de>g | b>ag>f e>cd>e |

f>A,D>F A>df>a | e>A,C>E A>ce>a | g>eb>g e>dB>e |1 A2A2A2 d>e :|2 A2A2A2 ||

                       

BOSTON BOY. AKA and see "Take Me Back to Georgia," “Ladies in the Ballroom [2],” "Rattlesnake Bit the Baby." Old-Time, Bluegrass; Breakdown. D Major. Standard tuning. AA’BB’. The tune was a favorite of “Uncle Pen” Vanderver, a fiddler made famous by Bill Monroe’s famous song (and Monroe’s uncle). The ‘A’ part of “Boston Boy” is similar the ‘C’ part of “Texas Gals/Gales.” Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996).

See also listing at:

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

X:1

T:Boston Boy

M:4/4

L:1/8

R:Reel

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

A,B, |: D2 DE F2A2 | GFGA GF E2 | A2 cA BA c2 | d3e dBAF |

D2 FD E2F2 | G2 GA GF E2 | A2 cA BABc |1 dcde d4 :|2 dcde d2 de ||

|: f3g fede | fa2b afdf | efed cABc | e2(d2d2) de | f3g fede | ba2b afdf |

efed cABc |1 dcde d2 de :|2 dcde dBAF ||

                       

BOSTON BOYS, THE. American, Reel. C Major (Cole, Ryan): D Major (Miller). Standard tuning. AABB. Source for notated version: Kerry fiddler Paddy Cronin [Bulmer & Sharpley, Miller]. Cole (1000 Fiddle Tunes), 1940; pg. 28. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 35. Miller (Fiddler’s Throne), 2004; No. 128, pg. 85. Ryan’s Mammoth Collection, 1883; pg. 53. Green Linnet SIF 1010, “Mick Moloney with Eugene O’Donnell” (1978).

X:1

T:Boston Boys, The

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

CECE GAGE | Dddc (dc)Ac | GcEc GAca | gedg ec c2 | CECE GAGE |

Dddc (dc)Ac | GcEc GAca | gedg ec c2 :: c2 (ec) gcec | cdea gede |

c2  (ec) gcec | GABc (ec) c2 | c2 (ec) gcec | cdea gedg | cdcA GAca | gedg ec c2 :|

                       

BOSTON CALEDONIAN CLUB. American, Jig. G Major. Standard tuning. AABB. Composed by Edwin Christie—not the blackface minstrel of 19th century Christie’s Minstrel’s fame, but rather a “respected if not particularly successful composer who probably worked in the Boston area.” (http://memory.loc.gov/ammem/smhtml/audiodir.html@7102334). The Boston Caledonian Club held its first Scottish games in 1853 in Boston, including a three-mile running race and other track and field events like caber tossing. Cole (1000 Fiddle Tunes), 1940; pg. 77. Lerwick (Kilted Fiddler), 1985; pg. 43. Ryan’s Mammoth Collection, 1883; pg. 109.

X:1

T:Boston Caledonian Club

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

({D/4E/4F/4}G>)AG GBd|(e<g).e (d<g)d|(e<g)e dBG|ABA d3|({D/4E/4F/4}G>)FG GBd|

(e<g)e (d<g)d|(e<g)e dBG|A>GA G2z::[G,2D2B,2g2].f edB|[G,2D2B,2g2].f edB|

(d>.e)f gfg | (a<b)g fed|[G,2D2B,2g2].f edB|[G,2D2B,2g2].f edB|(d>.e)f gfg|(a<b)a g2z:|

                       

BOSTON FANCY [1]. AKA and see "Lamplighter's Hornpipe." New England, Reel. A Major. Standard tuning. One part. Burchenal prints a dance called "Boston Fancy" to this tune, which tune was more popularly known to her by that title rather than its usual one ("Lamplighter's Hornpipe"). "Boston Fancy" was listed in the repertoire of Maine fiddler Mellie Dunham, who was Henry Ford's champion in the late 1920's; the name was that of the dance, however, for when he recorded it under the above title for Victor in 1926 (Vi 20001), the tune was in fact "The Tempest." Apparently either a version of the dance or tune "Boston Fancy" was also called "Lady Walpole's Reel [1]."   It has been suggested (by, for one, Louie W. Attebery in his article "The Fiddle Tune: An American Artifact" {1979}) that the name change from "Lady Walpole's Reel" to Boston Fancy" came about due to anti-British sentiments during the War of 1812. Burchenal (American Country Dances, vol. 1), 1917; pg. 39.

 

BOSTON FANCY [2]. AKA and see "Quindaro Hornpipe." New England, Reel. G Major. Standard tuning. One part. Burchenal prints a dance called "Boston Fancy" to this tune, which tune was more popularly known to her by that title rather than its usual one ("Quindaro Hornpipe"). Burchenal (American Country Dances, vol. 1), 1917; pgs. 19‑40.

                       

BOSTON HOP WALTZ. American, Schottishe (?). D Major. Standard tuning. ABC. Howe (Diamond School for the Violin), c. 1861.

X:1

T:Boston Hop Waltz

L:1/8

M:2/4

S:Elias Howe – Diamond School for the Violin

Z:AK/Fiddler’s Companion

K:D

e|{g}ae/g/ df|{g}ae/g/ df|eA ce|defg|{g}ae/g/ df|{g}ae/g/ df|eAce|dfd||

DA/A/ Fd/d/|Af/f/ db/b/|agec|defd| DA/A/ Fd/d/|Af/f/ db/b/|agec|dfd||

ec/B/ AB|cdef|gf/e/ dD|FA df|ec/B/ AB|cde f/^g/|a/a/A B/B/c|dfd||

                       

BOSTON LIFE.  American, Jig. Composed by Boston fiddler Frank Ferrell. Ferrell (Music for the Feet). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

       

BOSTON MARCH. AKA and see "(On the) Road to Boston," "Road to London." American, English. A British march from the Revolutionary War period (Winstock, 1970).

                       

BOSTON O'CONNOR. AKA and see “Casey’s Pig.” Irish, Fling. A strathspey version of this tune was played by Cape Breton Mic-Mac Indian fiddler Lee Cremo, according to Henrik Norbeck. Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times."

                       

BOSTON RATTLERS'. AKA and see "Colonel McBain's,”  Connemara Stockings,” "Hobb's Favorite", "Miss Abercrombie's Reel,” “Winter Apples [1].” American, Scottish (originally); Reel. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 29. Ryan’s Mammoth Collection, 1883; pgs. 38 & 55.

X:1

T:Boston Rattlers’

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3ABc|d2 cA B2 AF|DCDF EB,B,E|DFAF DFAd|cABc dABc|d2 cA B2 AF|

DCDF EB,B,E|DFAF DFAd|cABc d2 :: (Bc)|dfBc dBfd|ceAB cAec|dfBc dBfd|

ceAc (3BBB(Bc)|dfBc dBfd|ceAB cAeg|(3fgf.e.c (3ded.c.A|BABc d2 :|

       

BOSTON  REEL, THE. AKA and see “Flowers of St. Petersburg.” American, Reel. Ryan’s Mammoth Collection, 1883; pgs. 37.

                       

BOSTON URBAN CEILIDH.  Scottish, Reel. A modern composition by fiddler Hanneke Cassel.

X:1

T:Boston Urban Ceilidh

C:Hanneke Cassel

M:4/4

L:1/8

K:D

|:f3g fede|ff2g fedc|BAGB ABcA |cdec defg|

f3g fed2|ff2g fed2 |BAGB ABcA [1cdec d3e:|[2cdec defg|

|:ad (3ddd adad|aB (3BBB gBgB|ac (3ccc acac|fgfe defg|

ad (3ddd adad|aB (3BBB gBbg|ac (3ccc acac|fgfe d4 :|

       

BOSTONY. Old-Time, Breakdown. A tune in the repertoire of blind northeast Kentucky/W.Va. fiddler Ed Haley, as remembered by people around Portsmouth, Ohio, where the Northern and Southern fiddle traditions tended to mix (Mark Willson & Guthrie Meade, 1976). The late fiddler Morris Allen (of South Shore, Kentucky) also remembered it as being in Haley’s repertoire. Mark Wilson also believes the title to be a corruption of Bostonia, the name of a magnificent steamboat that plied the Ohio River in the 1870’s, usually with a tiny orchestra aboard. John Hartford (1996) notes that there were not one but six steamboats at various times on the Ohio by the name of Bostonia. Rounder 0380, Roger Cooper (Lewis County, KY) - “Going Back to Old Kentucky” (1996. Learned from his friend Morris Allen). Rounder CD0392, John Hartford - “Wild Hog in the Red Brush and a Bunch of Others You Might Not Have Heard” (1996. Learned from the playing of Morris Allen).  Rounder Heritage Series 1166-11592-2, Roger Cooper (et al) – “The Art of Traditional Fiddle” (2001).

X:1

T:Bostony

M:4/4

L:1/8

Q:160

S:John Hartford's "Wild Hog in the Redbrush" transcribed by Llarry Brandon

K:G

de|:"G" gfgb a2 f2| gega g2 dc|Bcde gega|"D7"b2 a2 a4|!

c'4 e4| fefg f2 fe| BABc dBAc|"G" B2 G2 G2 [1de:|[2|B2 G2 G2 GE|!

|:"G" DEGA BABd|e2 d2 d2 B2|"D7"cBAG FDEF|"G" A2 G2 G2 GE|!

DEGA BABd|e2 d2 d2 B2|"D7"cBAG FDEF|"G" A2 G2 G2 GE:|

                                   

BO'SUN, THE. English? Hornpipe. G Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 88, pg. 28.

X:1

T:Bo’sun, The

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection (1905), No. 88

Z:AK/Fiddler’s Companion

K:G

Bc|d>BG>B d>BG>g|e>de>c A2A2|A>Bc>d e>df>e|d>cB>A G2G2|

G>AB>d e>fg>f|e>dc>B c>BA>G|F>GA>c BG A2|G2B2G2:|

|:d2|g>fg>a b2 a>g|f2 e>f d2 d>e|=f>ef>g a2 g>f|e2 d>e c2 d>c|

c>BA>G g>ab>g|g>dc>B c>ed>c|c>BA>G F>GA>d|B2G2G2:|

                       

BOSWELL’S FANCY. American, Reel. G Major. Standard tuning. AABBC. Source for notated version: The tune’s source origins are somewhat vague; Susan Songer (Portland Collection) got it from Alan Garren, and was told he may have had it from fiddler Michael Meyer, who may have learned it from Bob Childs, who remembers acquiring the tune in the state of Maine. Songer (Portland Collection), 1997; pg. 36.

                       

BOTAR AN LOCA. AKA and see "The Lakeside Road."

                       

BOTAR AR FAD GO GAILLIM, AN. AKA and see "All the Way to Galway."

                       

.  AKA and see "The Shieling in the Braes of Rannoch."

                       

BOTHÁN AN EASAN. AKA and see "The Cottage Adjoining the Fall."

                       

BOTHÁN SA bPORTACH, AN (The Hut in the Bog). AKA and see “The Hut in the Bog.”

                       

BOTHÁN THAOBH AN GHLEANNA. AKA and see "The Glenside Cottage."

                       

BÓTHAR AN CHÓISTE GO SLIGEACH. AKA and see "The Coachroad to Sligo."

                       

BÓTHAR AN GHLEANNA GO DTÍ AN CHARRAIG. AKA and see “The Glen Road to Carrick.”

                       

BÓTHAR CARRACH GO BAILE ÁTHA CLIATH, AN. AKA and see "The Rocky Road to Dublin."

                       

BÓTHAR CHLUAIN MEALA. AKA and see “The Road to Clonmel.”

           

BÓTHAR DIAN, AN.  AKA and see “The Hard Road.”

           

BÓTHAR DUBH, AN. AKA and see "The Black Road."

                       

BÓTHAR GARBH, AN. AKA and see "The Rough Road."

                                   

BOTAR GO BAILE-ATA-CLIAT, AN. AKA and see "The Highway to Dublin."

                       

BÓTHAR GO MAINISTIR NA BÚILLE, AN. AKA and see "The Road to Boyle."

                       

BOTHAR IARAINN, AN. AKA and see “The Rail Road.”

                       

BOT(H)AR LUIMNIGE. AKA and see "Limerick Road."

                       

BÓTHAR MÓR GO BAILE ÁTHA CLIATH, AN (The High Road to Dublin). See “The High Road to Dublin.”

                       

BÓTHAR MÓR GO LINTON, AN. AKA and see "The High Road to Linton."

                       

BÓTHAR MÓR GO SLIGEACH, AN (The High Road to Sligo). AKA and see “The High Road to Sligo.”

                       

BÓTHAR NA gCLOCH. AKA and see “Stoneybatter.”

                       

BÓTHAR NUA, AN. AKA and see “The New Road.”

                       

BÓTHAR Ó THUAICH GO DTÍ ÁRAINN, AN (The South Road to Aran). AKA and see "Billy O'Rourke's the Buachaill [1]," "Beidh ril againn," “The Day I Married Susan,” "St. Patrick was a Gentleman [3]," “"The night I married Susie." Irish, Double Jig. B Minor ('A' part) & D Major ('B' part). Standard tuning. AA'BB'. Breathnach (1975) identifies related tunes as “Ballahaboy Fair,” “Tristram Shandy,” and “Arra Kitty Be Easy” as related melodies. Source for notated version: flute and whistle player Micko Russell, 1970 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 65.

                       

BÓTHAR Ó THUAIDH GO TRÁ LI, AN. Irish, Slide (12/8 time). A Mixolydian. Standard tuning. AABB.

X:1

T:An Bóthar ó Thuaidh go Trá Li

C:Traditional

N:Play 3 times through

D:Paul McGrattan, 'The Frost is All Over'

R:Slide

M:12/8

L:1/8

Z:Gordon Turnbull, Edinburgh

K:Amix

ABA A2 F DED D2 B | ABA AGF G3 B2 B |\

ABA A2 F DED D2 F | EFE E2 F G3 B2 B :||

ABc d2 B cBA BAF | ABc d2 c B3 e3 |\

ABc d2 B cBA BAF | EFE E2 F G3 B2 B :||

                       

BOTHWELL CASTLE. Scottish, Slow Strathspey. B Flat Major. Standard tuning. AAB. The tune was composed by Nathaniel Gow. It is considered one of his better, but lesser‑known compositions, opines Emmerson (1971), agreeing with the collector John Glen (1895) who listed it as among those of Gow's "exceedingly good compositions." Bothwell Castle lies southeast of Glasgow, in Scotland’s Clyde region; in fact, the Clyde runs along the north side of the structure. It was built in 1242 by Walter of Moray, although it was never finished. MacDonald (The Skye Collection), 1887; pg. 189.

X:1

T:Bothwell Castle

L:1/8

M:C

S:MacDonald – Skye Collection

Z:AK/Fiddler’s Companion

K:Bb

D>EF>E DB~Bd|D>EF>D (A,/C/F/A/) (cd)|D>E (F/>E/)(F/>E/) DBfd|(e/d/)c/B/ (A/g/)f/e/ dBB:|

~f|d’>c’/2b/2 (3a/g/f/ (3e/d/c/ B~fd~b|f/>d/b/>f/ d’/>b/ (f/d/B/ Acc~f|

d’>c’ {c’}b/a/b/g/ {g}(f/=e/)f/g/ a/f/g/a/|(b/g/)a/b/ (c’/a/)(b/g/) fbb b/>c’/|

d’/(b/a/)b/ c’/(a/g/)a/ b/(a/^f/)g/ a/(=f/^e/)f/|g/(e/d/)e/ (f/B/)(g/B/) Acc (f/2g/2a/)|

[d2b2] [e2g2] [Ac][Af] d (B/2c/2d/)|e>d (3c/d/B/ (3A/B/G/ (FB)B||

                       

BOTHY BURN, DA. Shetland, Shetland Reel. Shetland, Yell.

                       

BOTTLE BANK, THE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB. The composition was credited to the great 19th century hornpipe composer James Hill, of Tyneside, Newcastle, in Kohler’s Violin Repository. Bottle Bank was the main route from Gateshead to the Old Tyne Bridge, and was the place Hill made his home for many years. Gatherer (Gatherer’s Musical Museum), 1987; pg. 40. Kohler's Violin Repository (1881‑1885).

                       

BOTTLE OF BRANDY, THE. AKA and see  "The Bonny Highlander," “Buckasheen Landy,” "Buck(e)y Highlander," "Bully For You," "Dear Judy," "Dónall na Gréine" (Daniel of the Sun [1]), "From the Court to the Cottage," "Girls of the West," "I Gave to my Nelly," "The Leg of (a) Duck," "Nelly's Jig," "O My Dear Father Pity Your Daughter," "Petticoat Loose [1]," "She is/She’s the Girl that can do it," "Teddy you Gander," "'Tis Sweet to Think." Irish, Jig. G Major. Standard tuning. AABB. While it may have no relation to the naming of the tune, the Irish Duke of Rutland, known for his conviviality (i.e. prodigious alcohol consumption), was once asked, “Had you any assistance in drinking this dozen (bottles) of wine?" "Yes,” he replied, “I had the assistance of a bottle of brandy." Cole (1000 Fiddle Tunes), 1940; pg. 53. Ryan’s Mammoth Collection, 1883; pg. 82. White’s Unique Collection, 1896; No. 14, pg. 3.

X:1

T:Bottle of Brandy, The

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 14

Z:AK/Fiddler’s Companion

K:G

d/c/ | BGG AGG | BGA GED | (EA)A A2G | (EA)A A2c | BGG AGA |

BGA GED | EGG G2E | DEF G2 :: c | Bcd ABc | BGA GED | (EA)A A2G |

(EA)A A2c | Bcd ABc | BGA GED | DEG Bcd | (AG)F G2 :|

                       

BOTTLE OF CLARET, THE. Scottish, Jig. G Major. Standard tuning. AABB. A tune by this name appears in Samuel Holden’s Collection of Old-Established Irish Slow and Quick Tunes (1806-07), a member of the “Bottle of Punch” tune family. Claret, which refers generally to any light red wine, was a favorite drink of the 18th century, served cold, mulled or buttered. This period anecdote describes a convivial meeting in Ireland in which claret figured:

***

"It was an almost invariable habit at convivial meetings," observes an informant, "to lock the door lest any friend should depart. The window was then opened, and the key flung into the lawn, where it could not be again found without much difficulty. An Irish piper was stationed behind the door, where he jerked forth planxty after planxty as the toasts progressed. A certain baronet used to knock the shanks off each guest's glass, to necessitate draining it to the bottom before he could lay it down again. Gallons of buttered claret were drunk, and morning found the convivialists lying under the table in heaps of bodily and mental imbecility."

***

Kerr (Merry Melodies), vol. 3; No. 279, pg. 30.

X:1

T:Bottle of Claret, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 279

Z:AK/Fiddler’s Companion

K:G

G2g dBG | AGA cBA | G2g dBG | AGA BGE | G2g dBG | AGA Bcd |

cec BdB | AGA BGE :: gbg faf | ege def | gfg abc’ |

bd’b afd | gbg faf | ege def | gfe dcB | AGA BGE :|

                       

BOTTLE OF PORTER, THE. Irish, Reel. G Major. Standard tuning. AAB (O'Neill/1850): AABB' (O'Neill/Krassen). Source for notated version: Mrs. Cantwell [O’Neill]. O'Neill (Krassen), 1976; pg. 121. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1336, pg. 250.

X:1

T:Bottle of Porter, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No.1336

Z:AK/Fiddler’s Companion

K:G

B | d2 (3efg BGdB | Aaag fefd | gfgd ecdB | cedc BG G :|

|| c | BGDG EGDB | cBAB cedc | BGDG EGDB | cedc BGGc |

BGDG EGDB | cBAB cedc | Bggf eaag | fdcA BG G ||

                       

BOTTLE OF PUNCH. AKA and see "Bobbing for Eels," “The Bowl of Punch,” "The Butchers of Bristol [1]", “Dairymaid [6]," "Fishing for Eels," “The Glens of Mayo,” "The Humours of Miltown [2],” "Ioc an Reicneail,” "Jackson's Bottle/Jug of Punch/Brandy," “The Jug of Punch [5],” "The Old Man's Jig," "Pay the Reckoning.” Irish, Scottish; Jig. D Major. Standard tuning. AAB (Gow): AABB (Kerr). The word ‘punch' derives from a Hindi word, panch, meaning ‘five’, because of its five ingredients: spirits, water, lemon-juice, sugar and spices. The word was first recorded in English in 1669. It was a favorite convivial libation of the hard-drinking 18th century. One period anecdote goes:

***

A well-known person, named Led---ge, who lived at Bluebell, having met a favourite

boon companion, was induced by him to partake of some refreshment at an inn, where

he speedily consumed 16 tumblers of punch. He was rising to leave, when the friend

suggested that he should "make up the twenty." "The parish priest is to dine with me,"

replied Led---ge, "and I should not wish him to see the sign of liquor on me."

***

Gow (1792) lists the tune as “Irish.” In the Goodman manuscripts (vol. IV, pg. 11) “Bottle of Punch” is attributed to the 18th century gentleman piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach (1996) finds the tune in O’Neill’s Dance Music of Ireland (1907) under the titles “Jackson’s Bottle of Brandy,” “Bobbing for Eels,” “Fishing for Eels,” and “Jackson’s Jug of Punch.” As “The Bowl of Punch” it appears in the John O’Daly manuscript in the National Library in Dublin, and as “The Bottle of Claret” it can be found in Samuel Holden’s Collection of Old-Established Irish Slow and Quick Tunes (1806-1807). O’Farrell, in his Pocket Companion for the Irish or Union Pipes (vol. 1, pg. 17) gives it as “Pay the Reckoning.” In addition, says Breathnach, Kerry titles employed for the melody have been “The Old Man’s Jig” and “The Fading Rose,” while flute player Michael Tubridy of Clare and Dublin calls it “The Glens of Mayo.” Joyce’s (1909) “The Humours of Ballinaraheen” and “The Humours of Winnington” share the ‘B’ part with “Bottle of Punch.” Finally, Breathnach finds that O’Neill prints a tune called “Dunmanway Lasses” (DMI, 194) with a related first strain. Carlin (The Gow Collection), 1986; No. 322. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 22 (3rd ed.). Kerr (Merry Melodies), vol. 1; No. 23, pg. 38.

X:1

T:Bottle of Punch, The

M:6/8

L:1/8
R:Jig

S:Kerr – Merry Melodies, vol. 1, pg. 38 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

({A,/B,/C/}D2)d AFD|EDE GFE|D2d AFD|EDE FDB,|D2d AFD|

EDCE FGA|BdB AFD|EDE FDB,::dfd cec|BdB ABc|

Dcd efg|faf ecA|dfd cec|BdB ABc|dcB AFD|EDE FDB,:|

X:2

T:Bottle of Punch, The

M:6/8

L:1/8

R:Jig

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 22  (orig. 1792)

Z:AK/Fiddler’s Companion

K:G

.D2.B AFD|”tr”EDE {D/E/}F2E|D2B AFD|”tr”EDE FDB,|D2B AFD|

“tr”EDE FGA|”tr”B>cd AGF|”tr”EDE FDB,:||(df).d cec|BdB ABc|dfd ege|

“tr”f>ed {d}cBA|(df).d cec|BdB ABc|~d>cB AGF|”tr”EDE FDB,|(df).d (ce).c|

BdB ABc|”tr”d>ef efg|”tr”f>ed {c}ecA|(df).d (ce).c|BdB ABc|{c}cef AFD|”tr”EDE FDB,||

           

BOTTLE OF WHISKY, THE.  Scottish, Jig. D Major. Standard tuning. AB. Composed by Duncan MacIntyre, an expatriate Scottish dancing master in London in the very late 18th century/early 19th century about whom little is known.

X:1

T:Bottle of Whisky, The

M:6/8

L:1/8

R:Jig

N:”Slow”

C:Duncan MacIntyre

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:D

Ddd ddd|e=ce efg|fdd ddd|”tr”d>ef “tr”e>fg|(af)d Ddd|e=ce (ef)g|

(fd).f (ec).e|(e/d/)(c/B/)(A/G/) (F/A/G/F/).G/.E/|Ddd ddd|e=ce (ef)g|

fdd ddd|”tr”d>ef “tr”e>fg|(af).d Ddd|e=ce efg|.f(df) e(ce)|dAF D2||f/g/|

(af).d (d’f).d|(ge).=c efg|afd d’fd|afd (ab).c’|d’fd afd|ge=c efg|

(af).d (ge).c|“tr”d3 D2(f/g/)|afd d’fd|ge=c efg|afd d’fd|afd abc’|

”tr”d’/c’/d’/e’/f’/d’/ e’/c’/d’/b/a/f/(ge).=c efg|(fd).f (ge).g|{fg}a2 (A/4G/4F/4E/4) D3||

                       

BOTTLE OF WINE, THE. AKA and see "The Kid on the Mountain [1]."

       

BOTTLE OF WINE AND A GINGER CAKE, A. Old-Time, Breakdown. G Major. Standard tuning. AA'BB. On the recording by Blaine Smith the tune sounds as if its in the key of ‘F’, however, Smith had tune his fiddle a step lower and played in ‘G’ fingering. Source for notated version: Blaine Smith [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 35. Pine Breeze Records, Blaine Smith.

       

BOTTOM OF THE PUNCH BOWL [1], THE. Scottish, English, Irish; Country Dance, Scottish Measure, Reel, March or Hornpipe. D Major. Standard tuning. AABB. Composed by James Oswald, born in Dunfermline, Scotland, c. 1711, died in Knebworth, England, 1769. O’Farrell (c. 1805) lists the tune as Scotch. The tune meets the criteria for a Scottish measure and should more properly be characterized as such rather than the generic description 'country dance'. It appears in the Gillespie Manuscript of 1768. Bayard (1981) believes it to be a tune a "special development" of the air "Boyne Water [1]." Bottom of the Punch Bowl is also the name of a Scottish country dance frequently taught in country dancing schools of the 19th century. The word ‘punch' derives from a Hindi word, panch, meaning ‘five’, because of its five ingredients: spirits, water, lemon-juice, sugar and spices. The word was first recorded in English in 1669. Source for notated version: fiddler Ward Beebe (Seattle) [Songer]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 22, pg. 45. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 140 (appears as “Webley Figure Eight,” the name of a country dance set to the tune). Carlin (The Gow Collection), 1986; No. 237. Huntington (William Litten's), 1977; pg. 18. Jarman (Old Time Fiddlin' Tunes), No. or pg. 24. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 24. Kerr (Merry Melodies), vol. 1; No. 8, pg. 26. Lerwick (Kilted Fiddler), 1985; pg. 8. MacDonald (The Skye Collection), 1887; pg. 168. McGibbon (Scots Tunes, book III), 1762; pg. 81. McGlashan (Collection of Scots Measures), 177?; pg. 4. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 75. Phillips (Traditional American Fiddle Tunes), 1994; pg. 35. Raven (English Country Dance Tunes), 1984; pg. 144. Roche Collection, 1982; vol. III, pg. 17, No. 232. Songer (Portland Collection), 1997; pg. 37. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Noted to have been in a manuscript collection of 1768 (Emmerson){from Huntington}. The Fish Family - “Fluke Hits.”

X:1

T:Bottom of the Punch Bowl, The [1]

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:D

FE|D2D2d3e|d2D2 FGAF|E2E2 efgf|e2E2 FGAF|D2D2 d3e|

fedB d3A|B3F A3E|F2D2D2::de|fedB ABde|fedB d3e|A3B ABde|

f2e2e2de|fedB ABde|fedB d3A|BdBF ABAE|F2D2D2:|

X:2

T:Bottom of the Punch Bowl, The [1]

M:C|

L:1/8

N:”Brisk”

S:McGibbon – Scots Tunes, book III, pg. 81 (1762)

Z:AK/Fiddler’s Companion

K:D

FE | D2D2d3e | d2D2 FGAF | E2E2 efgf | e2E2 FGAF | D2D2 d3e | fedB d3A |

B3FA3E | F2D2D2 :: de | fedB ABde | fedB d3A | B3d ABde | “tr”f2e2e2de |

fedB ABde | fedB d3A | BdBF ABAE | F2D2D2 :|

 

BOTTOM OF THE PUNCH BOWL [2], THE. AKA and see "The Fairy Reel [2]." Shetland, Whalsay.

 

BOTTOM OF THE PUNCH BOWL [3], THE. AKA and see “The Old Man and the Old Woman [1].”

       

BOUCHAIL CAOL DUBH, AN. AKA and see "The Black Slender Boy."

       

BOUCHAILLIN DONN, AN. AKA and see "The Brown‑Haired Boy."

       

BOUCHALAUN BUIE. AKA and see "Limerick Tinker."

       

BOUCHALEEN BUIDHE, THE. AKA and see “The Big Ship come over the Bay,” “Kitty’s Wedding [2],” “The Maidens of Tir Eoghain,” “McArdle’s Fancy,” “Off to Donnybrook,” “Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].” "Galway Tom." Irish, Double Jig. A Major. Standard tuning. ABCC'. Roche Collection, 1982; vol. I, pg. 39, #86.

       

BOUCHALEEN BAWN, THE. AKA and see “(An) Buachaillín Bán [1]” (Fairhaired Boy),  "Miss Casey [1]."

       

BOUCHALEEN BUIE. AKA and see "Galway Tom."

       

BOUCHALEEN OGE. AKA and see "Barefoot Boy."

       

BOUCHARD’S HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Composed by California musician Mike Springer. Songer (Portland Collection), 1997; pg. 37. KAS 1, Salmonberry - “New England Contradance Music.”

       

BOUFFE DOIGTS. French, Valse (3/4 time). B Minor. Standard tuning. AB. Composed by P. Rogan. Stevens (Massif Central), 1988, vol. 2; No. 69.

       

BOUFFONS, LES (The Jesters). AKA ‑ "Buffons," "Buffens." French, Country Dance Tune (4/4 time). G Major. Standard tuning. AB. The tune has been traced to c. 1559, when a four part French setting in F major was published by Jean d’Estrees (d. 1576). The dance is described by Thoinot Arbeauin his treatise Orchésographie (1589). The first strain of the tune is the same as that of "Shepherd's Hey" and "John Come Kiss Me Now." Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 5.

X:1

T:Bouffons, Les

M:4/4

L:1/8

K:G

G3A B2B2|c8|B2A2B2G2|A8|G3A B2B2|c8|B2G2A2A2|G8||

d4 e2d2|c8|B3A B2c2|d8|d3d e2d2|c8|B2G2A2A2|G8||

       

BOUI DE PEAU D' LAPIN. See "T'en As Eu, T'en N'auras P'us."

       

BOULAVOGUE. AKA – “Boola Vogue.” Irish, Air or Waltz. A popular air composed by Patrick Joseph McCall (1861-1919), a Dublin publican and city councilman who wrote many patriotic ballads, a number of which have entered into the tradition and which become an integral part of the ballad singers repertoire. “Boulavogue” was written in praise of one of the County Wexford leaders of the 1798 rebellion, a 'Croppy priest,' Father John Murphy, and is often sung to the old air called "Youghal harbour."

***

At Boulavougue as the sun was setting o'er bright May meadows of Shelmalier,

A rebel hand set the heather blazing and brought the neighbours from far and near.

Then Father Murphy, from old Kilcormack, spurred up the rocks with a warning cry,

'Arm, arm,' he cried, 'For I've come to lead you, for Ireland's freedom we fight or die.'

***

McCall was also the co-author of the Feis Ceoil Collection of Irish Airs (1914, reprinted as the Darley & McCall Collection of Traditional Irish Music), a collection of airs and tunes collected from competitors at the several Feis Ceoil from 1898 on, which McCall had helped initiate and sponsor the events (Breathnach, 1996).  See also note for “Kelly the Boy from Killanne.” Green Linnet SIF3040, De Dannan - "Ballroom" (1987).

       

BOULEVARD GARIBALDI. French, Bourree a Deux Temps (2/4 time). G Dorian. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 98.

       

BOUNCE UPON BESS. AKA and see "Sagart na mBuataisi," "Paddy's Trip from Dublin," “Rocking the Cradle [2],” "There are Sounds of Mirth," "Kissing and Drinking," "The Priest and/in his Boots [1]," "Come all you good fellows," "Larry O Lashem," "The Parson in/on his Boots," "The Tivoli."

       

BOUNCING BOY, THE. AKA and see “Leave My Way.” Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850): AAB (O'Neill/Krassen). Source for notated version: O’Reilly [O’Neill]. O'Neill (Krassen), 1976; pg. 152. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1506, pg. 278.

X:1

T:Bouncing Boy, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1506

Z:AK/Fiddler’s Companion

K:G

(3DEF | G2 BG A2 (3Bcd | edcA BEEF | G2 BG A2 (3Bcd | edcA BGGD |

G2 BG A2 (3Bcd | edcA BEEF | G2 BG A2 (3Bcd | egfa g2 || z2 |

g2 ge f2 fd | e2 fg af d2 | g2 ge f2 fd | efaf g2g2 |

gabg fgaf | edeg fd d2 | g2 (fg) eAAB | dcAF G2 ||

       

BOUNCING HUSSY, THE. English, Jig. England, Northumberland. G Mixolydian. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 408.

       

BOUNCING TRAILER, THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 102, pg. 37. Brenda Stubbert - “Tamerack ‘er Down” (1985).

       

BOUND TO HAVE A LITTLE FUN. Old-Time, Breakdown. In the repertoire of fiddler Bruce Green, who learned it from Gusty Wallace.  Wallace, who lived in Metcalf County, Kentucky, claimed it was the first tune he ever learned and that he had it from his father, Adison Wallace.

       

BOUNETTE, LA. English, Country Dance Tune (4/4 time). G Major/Mixolydian. Standard tuning. AABBCC. Composed c. 1565. The air appears in a four‑part arrangement in the Mulliner Book, a collection of vocal and instrumental pieces named after Thomas Mulliner, who probably compiled them. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 26.

       

BOUQUET DE MA MIE, LE. French, Mazurka (3/4 time). D Major ('A' and 'C' parts) & A Major ('B' part). Standard tuning. AA'BBCC. Traditional tune from Central France. Stevens (Massif Central), 1986, vol. 2; No. 75.

       

BOURREE. A type of French dance that gained great popularity in England from the middle of the 17th century, where the form was generally known as a 'bore' and where much original music was composed for it. Pulver (1923) explains the borree musically consisted of two repeated strains of four or, multiples of four, measures each; at the end of every two measures there was a caesura to fit it to the steps of the dance. Typically the rhythm was a crotchet followed by two quavers, and the first and third beats were heavily accented; "altogether the accentuation was rather vehement, assisted as it was by the stamping of saboted feet" (Pulver, 1923).

***

It is generally accepted by most researchers that the bouree originated in south-central France in the Auvergne region, where bourrees were still popular in the 20th century (though whether these modern tunes resembled the original music is unknown). Some writers have speculated that it evolved from an earlier Biscayan dance. The form was imported to England sometime before the middle of the 17th century, and three tunes were printed by Playford as indication of its rising popularity. It remained popular for almost a hundred years before losing favor, but even then the form did not disappear, but was absorbed as an instrumental piece in the classical Suite form, where is appears between the Saraband and Jig.

       

BOURREE A BEROT. French, Bourree a Deux Temps (2/4 time). France, central France. G Dorian. Standard. AA'BB'. Stevens (Massif Central), vol. 1, 1987; No. 84.

       

BOURREE A BOUSCATEL. French, Bourree (3/8 time). France, Auvergne (central France). A Minor ('A' and 'B' parts) & C Major ('C' and 'D' parts). Standard tuning. AA'BB'CCDD. Stevens (Massif Central), vol. 1, 1987; No. 53.

       

BOURREE A DECHAUX. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB'. Traditional tune from Central France. Stevens (Massif Central), 1988, vol. 2; No. 18.

       

BOURREE A GASTON POMMIER. French, Bourree a 2 Temps (2/4 time). D Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 86.

       

BOURREE A HUIT, LA. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 17.

       

BOURREE A MALOCHET. French, Bourree a Deux Temps (2/4 time). D Major. Standard tuning. AAB. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 86.

       

BOURREE A SIX DE BRIANTES, LA. French, Bourree a 2 Temps (2/4 time). D Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 92.

       

BOURREE DE LINOUSIN. French, Bouree. Kicking Mule KM‑327, "Scartaglen" (1984. Learned from the playing of the French group Malincorne).

       

BOURREE CARREE DE ST CARTIER, LA. French, Bourree a Deux Temps (2/4 time). G Major. Standard. AABB. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 88.

       

BOURREE CROISEE DU MORVAN. French, Bourree a Trois Temps (3/8 time). France, Central France. G Major. Standard. AABB. Stevens (Massif Cental), vol. 1, 1987; No. 31.

        

BOURREE D'AIGUEPERSE. French, Bourree. From the Auvergnon region of Central France. A variant of "Road to Boston." Bouillet (Album Auvergnat), 196?; pg. 30.

       

BOURREE D'AUMONT. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 22.

       

BOURREE D'AURORE SAND. French, Bourree a Deux Temps (2/4 time). E Minor. Standard tuning. AABB. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 103.

       

BOURREE DE CHAMBERAT. French, Bourree a 2 Temps (2/4 time). France, central France. G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 93.

       

BOURREE DE CONCOURS. French, Bourree a Deux Temps (2/4 time). G Minor. Standard tuning. AABB. Composed by Serge Durin. Stevens (Massif Central), vol. 1, 1987; No. 94.

       

BOURREE DE CUSSET. French, Bourree a Deux Temps (2/4 time). D Major. Standard tuning. AABB. Traditional tune from central France. Stevens (Massif Central), 1987, vol. 1; No. 93.

           

BOURREE DE LA BRANDE D'ARDENTES. French, Bourree a Deux Temps (2/4 time). D Major ('A' part) & G Major ('B' part). Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 97.

           

BOURREE DE LA CHAPELOTTE. French, Bourree a Trois Temps (3/8 time). France, central France. D Major. Standard tuning. AA'BB'. Stevens (Massif Central), vol. 1, 1987; No. 25.

           

BOURREE DE MAURIENGES, LA. French, Bourree (3/8 time). D Dorian? Standard tuning. AABB. From the Auvergne region of Central France. Stevens (Massif Central), 1988, vol. 2; No. 33.

           

BOURREE DE NERIS. French, Bourree a 2 Temps (2/4 time). G Major. Standard tuning. AABB'. Traditional tune from Central France. Stevens (Massif Central), 1988, vol. 2; No. 91.

           

BOURREE DE ST. PIERRE. French, Bourree a Trois Temps (3/8 time). G Major. Standard tuning. AABB. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 30.

           

BOURREE DES DINDAS, LA. French, Bourree a 2 Temps (2/4 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 94.

           

BOUREE D’ISABEL. English, Bouree. C Major. Standard tuning. AB. Composed by Dave Roberts.

X:1

T:Bouree d'Isabel

C:Dave Roberts

Z:Anahata (anahata@treewind.co.uk)

M:3/8

L:1/8

K:C

"Gm"d2^cd=cd | BdAdGd | GBdfed | "C"e2c=Bc^c |

"Gm"d2^cd=cd | BdAdGd | GBdfed | "C"e6 ||

"C"c2=Bce_e | "Gm"dBABGB | "C"c2=Bce_e | "Gm"dbagfd |

"C"c2=Bce_e | "Gm"dBABGB | "Gm"GBdfed | "C"e6 ||

                       

BOURREE D'ISSOIRE. French, Bourree. From the Auvergnon region of Central France. The first part is nearly the same as that of "Buffalo Gals" (see note for "Buffalo Gals"). Bouillet, Album Auvergnat, 186?; pg. 25.

           

BOURREE DROITE. French, Bourree a Trois Temps (3/8 time). G Major. Standard tuning. AABB. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 18.

           

BOURREE DROITE D'ISSOUDIN, LA. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 20.

           

BOURREE DROITE DU PAYS FORT, LA. French, Bourree a Trois Temps (3/8 time). France, central France. G Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 19.

           

BOURREE DU PERE DURET. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB'. Traditional tune from Central France. Stevens (Massif Central), 1988, vol. 2; No. 24.

           

BOURREE MUSSEE. French, Bourree a Trois Temps (3/8 time). France, central France. G Major. Standard tuning. AA'BB. Stevens (Massif Central), vol. 1, 1987; No. 26.

           

BOURREE PARISIENNE. French, Bourree a Deux Temps (2/4 time). France, central France. G Dorian ('A' part) & D Major ('B' part). Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 102.

           

BOURREE SANCERROISE. French, Bourree a 3 Temps (3/8 time). France, central France. G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 28.

           

BOURREE TOURNANTE, LA. French, Bourree a Trois Temps (3/8 time). France, central France. G Major. Standard tuning. AA'BB'. Stevens (Massif Central), vol. 1, 1987; No. 22.

           

BOURREE VALSEE D'ISSOUDUN, LA. French, Bourree a Trois Temps (3/8 time). France, central France. G Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 23.

                       

BOURTON ASSEMBLY.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody was originally published by Charles and Samuel Thompson in their third country dance collection (London, 1773). “Bourton Assembly”, and several of the Thompson’s 1773 tunes, were entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 46.

X:1

T:Bourton Assembly

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G>G GAB|d>ed>B|c>dc>B|A/A/A A2|G>G GAB|d>ed>B|c>d cBA|G/G/G G2:|
|:d>d def|g>fe>d|d>d def|gfe d>B|c>e dcB|A>ABG|Bcd efg|B>A G2:||

                       

BOUTOUCHE REEL (La Boutouche). Canadian, Reel. Canada, New Brunswick. Rounder CD 7016, Gerry Robichaud – “The Slippery Stick” (1996). Rounder Heritage Series 1166-11592-2, Gerry Robichaud (et al) – “The Art of Traditional Fiddle” (2001. Learned from his mother).

                       

BOUZER CASTLE.  English, Jig (6/4 time). D Major (Barnes): C Major (Barlow). Standard tuning. AB. The melody appears in John Playford’s Dancing Master, in the supplement to the 6th Edition (1679), and in all later editions of the series through to the end, in 1728.  It also appears in John Walsh’s Compleat Country Dancing Master of 1718 and later editions of 1731 and 1754. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; pg. 57, No. 221. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 14. Amon Ra, The Broadside Band - “John Playford’s Popular Tunes” (1994).

                       

BOVAGLIE'S PLAID. AKA "Roualeyn's Plaid." Scottish, "Pastoral" or Slow Air (4/4 time). A Major. Standard tuning. AAB. From the Logie Collection, composed by J. Scott Skinner. The 'Roualeyn' of the alternate title (which was Skinner's original title for the tune) refers to one Roualeyn Gordon Cumming, a famous local eccentric character of Fort Augustus, Scotland, in the 19th century. Neil (1991) tells several charming anecdotes of this man who was a big game hunter in Africa for a time, and who dressed in full Highland kit when he came to town, though donned only in shirt and stockings in the country on hot days. A congenial and well mannered man, he was sometimes to be found in the woods of Glenmoriston where he sought hazel to make walking sticks, that is when he was not puttering about his showroom where he housed his trophies. He was a great friend of the huge village blacksmith, Donald Cumming, who himself was blessed with "a high intellect and warm personality. They both died within a short period of one another and Fort Augustus lost two of its outstanding characters" (Neil, 1991). The title 'Bovaglie's Plaid' is from a description of Queen Victoria's of a location on the farm or place of Bovaglie, thought to be near Crathie in Deeside, in which a belt of trees seemed to her to stand in the shape of a plaid. The melody was one of the tunes recorded as played by the composer on tour in 1921, late in his life, in a set romantically entitled "Spey's Fury's." Caoimhin Mac Aoidh points out the first few bars of “Bovaglie’s” overlap with “The Lowlands of Holland.” Cranford (Jerry Holland: The Second Collection), 2000; No. 317, pg. 114. Hunter (Fiddle Music of Scotland), 1988; No. 24. Neil (The Scots Fiddle), 1991; No. 85, pg. 115. Skinner (Harp and Claymore Collection), 1904; pg. 5 (arranged for two violins, piano and cello). Skinner (The Scottish Violinist), pg. 36. Comhaltas Ceoltoiri Éireann CL 13, "Tommy Peoples." Rounder 7020, Alex Francis MacKay - " A Lifelong Home - An Dachaidh Dha Mo Shaoghal." SG155, Alasdair Fraser - "The Road North." Natalie MacMaster - "Road to the Isles."

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Bovaglie's Plaid

M:C

L:1/8

C:J Scott Skinner

Q:100

Z:transcribed by John Erdman

K:A

A|"D"(FE/C/) "A"E>F A>B c>A|"D"dc/B/ "A"{B}(ec) "Bm"{c}BA (F/A)z/|"A"(FE/C/) (E>F) A>B"D"c>d|

"A"ec/A/ "E7"G/d/z/G/  "A"{G}A2 A::e|"A"ag/a/  (3 ecA "D"(3 fdA "A"(3ecA|(3(CEA) (3(cea) "E"{cd}c>B(B>e)|

"A"ag/a/ (3ecA "D"(3(FAd) "A"(3 (EAc)|"Bm"(3(DFB) "E7"(E/d/)z/G/ "A"{G}(A2A) e|"A"{g}a(4b/a/g/f/ (3ecA "D"(3fdA "A"(3ecA|

"A"ae/d/ cB/A/ "E"B>BB A/G/|"D"(FG/A/) "A"(EG/A/) "Bm"(DG/A/) "A"{CD}(3CB,A,|(3(ECA,) "E7"G,/D/z/G,/ "A"(A,2 A,):|

                       

BOW BELLS.  English, Jig. D Major. Standard tuning. AABB. The melody was originally published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). As with numerous of the Thompson’s 1773 collection tunes, it was entered into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Playford published a different tune by this title in Musick’s Hand-Maid (London, 1678). The Bow Bells are the steeple bells of the church of St. Mary-le-Bow, Cheapside, London, centrally located in the city. There is record of them being rung at 9 PM in the evening as far back as 1469. To be “born within the sound of Bow Bells” was the traditional term denoting a Cockney, and to be in earshot of the Bow Bells was to be within the city boundary. Supposedly Dick Wittington setting out as an escapee from his apprenticeship, returned to his master when he heard the Bow bells, which seemed to be saying to him “Turn again, Wittington, thrice Lord Mayor of London” [Brewer]. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 141.

X:1

T:Bow Bells

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

dfa gec|dAG FED|dfa gec|dAF D3::ged cBA|dAG FED|

ged cBA|Bdc d3::dcB AGF|BAG FED|dcB AGF|GFE D3:||

                       

BOW BRIG. Scottish, March (4/4 time). D Major. Standard tuning. AABBCCDD. For 150 years the stone Bow bridge, a one‑arch span over the River Lossie between Elgin and New Spymie, was the only dry crossing in the region. Begun in 1630 by the magistrates of the town of Elgin, it took five years to complete but greatly improved commerce between the towns and the surrounding countryside, states J. Murray Neil (1991). The melody was composed by William Macpherson. Neil (The Scots Fiddle), 1991; No. 57, pg. 79.

           

BOW LEGGED BOSUN, THE. Scottish, March (cut time). A Major. Standard tuning. AABB. Composed by James Hunter. Hunter (Fiddle Music of Scotland), 1988; No. 334.

           

BOW LEGGED IRISHMAN. Old‑Time, Breakdown. USA, Kentucky. One of the noteable tunes of Muhlenberg County, Kentucky, fiddler Ted Gosset (b. 1904), who learned the piece from his stylistic influence, the one fiddler whom he considered the best in his neighborhood, Charlie Jones (Guthrie Meade, 1980). Morning Star 45004, Ted Gosset's String Band - "Wish I Had My Time Again."

           

BOW-LEGGED TAILOR, THE (An Tailliuir Camcosac). AKA and see “Sheriff Muldoon’s.” Irish, Double Jig. G Major (O’Neill): F Major (Miller & Perron). Standard tuning. AABB. Miller & Perron (Irish Traditional Music), 1977; vol. 1, No. 57. Miller & Perron (Traditional Irish Fiddle Music, 2nd Edition), 2006; pg. 15. O'Neill (Krassen), 1976; pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 878, pg. 163. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 131, pg. 37.

X:1

T:Bow-Legged Tailor, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 131

Z:AK/Fiddler’s Companion

K:G

G|GAG gfg|edc B2A|GAG BAG|FAA cBA|GAG gfg|afd cAF|DEG Adc|BGG G2:|

|:d|dBG dBG|ecA dBG|gba gBd|cAA ABc|dBg dBG|EFG AFD|GFG Adc|BGG G2:|

           

BOW WOW WOW. AKA and see “Barking Barber.” English, Air (2/4 time). England, Northumberland. G Mixolydian. Standard. One part. The title (as “Bow Wow”) appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Howe (1000 Jigs and Reels), c. 1867; pg. 161.

X:1

T:Bow Wow Wow, or Barking Barber

M:2/4

L:1/8

R:Air

N:”With spirit”

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

Z:AK/Fiddler’s Companion

K:G Mix

(d>c) } BGGG | GFGG | A>ddc | (cB)(AG) | (BA)AA | AGGG | A>ff>f |

(ed)dd | dggf | e>dcB | (c>dec | (dc)(BA) | G>FGA | (cB)(AG) |

(D>A)(AG) | (GF)(ED) | G2G2 | G2z2 | d2eg | (g<d)dc | B2G2 | G2 ||

                                   

BOWELS OF THE EARTH, THE.  Irish, Jig. C Major. Standard tuning. AA’BB. Composed by banjo player Peter Fitzgerald, originally from County Meath and late of Baltimore. Black (Music’s the Very Best Thing), 1996; No. 241, pg. 129.

X:1

T: Bowels of the Earth

C: Peter Fitzgerald

Q: 330

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: C

A | GcB G2 A | B2 c dcB | AGG FDD | EDE DEF |

GcB G2 A | B2 c dcB | GBd fdd |1 dBG F2 :|2 dBG c2 ||

d | edc BGG | FGA G2 A | GEE C2 E | FDD D2 G |

ECE DGA | BGE F2 D | GBd fdd | dBG c2 :|

           

BOWER PROCESSIONAL, THE. English, Morris Dance Tune (2/4 time). G Major. Standard tuning. AB. Collected from musicians in the village of Lichfield, Staffordshire, England. The tune is named for a processional to the site of the dance by morris dancers who hold decorated sticks, or traditionally brances of elm, held vertically. Bacon (The Morris Ring), 1974; pg. 234. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 53, pg. 26.

           

BOWE’S. See “John Bowe’s.”

      

BOWING THE STRINGS. Canadian, Breakdown. Composed by New Brunswick fiddler Ned Landry, born in Saint John in 1921. Landry joined Don Messer & The New Brunswick Lumberjacks in the mid-1930’s, doing dual duty on harmonica and fiddle. When Messer left the group to go to Charlottetown, Landry took over leadership of the group and remained in that capacity for many years. Apex AL 1613, "The Best of Don Messer and his Islanders, vol. 6." Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." MCA Records MCAD 4037, “The Very Best of Don Messer” (1994). RCA Victor LCP 1001, "Bowing the Strings with Ned Landry.”

      

BOWL OF BIGG. English, Jig. England, Northumberland. D Major (perhaps Mixolydian). Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 310.

                       

BOWL OF COFFEE. See “Teetotaler(’s Reel).”

                       

BOWL OF PUNCH. See note for “Bottle of Punch.”

                       

BOWLING GREEN. American, Reel. USA, Southwestern Pa. D Major. Standard tuning. AB. A fife tune from southwestern Pa., well known and regarded by local fifers. Sources for notated versions: Hiram Horner (elderly fiddler from Fayette County, Pa., 1960), Marion Yoders (Greene County, Pa., 1960). Bayard (Dance to the Fiddle), 1981; No. 232, pg. 191.

                       

BOWMAN'S. See “Bownan’s March.”

                       

BOWMAN'S MINUET. English, Minuet? (3/8 time). England, North‑West. A Minor. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 98.

                       

BOWNA, THE. AKA and see “The Kiskeam (Slide),” “Rain a Sup.” Irish, Slide (12/8 time). G Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 23.

                       

BOWNAN’S MARCH. AKA – “Bowman’s.” English, March (4/4 time). G Major (Raven): D Major (Callaghan). Standard tuning. AABB. The melody appears in the Henry Stables manuscript (Walthwaite, near Ambleside, Cumbria), dated 1881. Callaghan (Hardcore English), 2007; pg. 31. Raven (English Country Dance Tunes), 1984; pg. 157 (appears as “Bowman’s”).

X:1

T:Bownan’s

M:4/4

L:1/8

K:G

D2 | G3B AGAc | B2G2G2 GA | B3c edcB | A2A2A2D2 | GFGB AGAc | Bcde d2D2 |

E2c2 BAGF | G2G2G2 :: B2 | e2e2c2 BG | e2d2d2c2 | B3c edcB | A2A2A2D2 |

GFGB AGAc | Bcde d2D2 | E2c2 BAGF | G2G2G2 :|

                       

BOWYER’S WHIM.  English, Country Dance Tune (whole time). G Major. Standard tuning. AABBCC. The melody was first printed in R. Baldwin’s London Magazine, or Gentleman’s Monthly Intelligencer (1761). In America, it was included in Edward Riley’s Flue Melodies, vol. 2 (New York, 1817). It is also perhaps the tune for the country dance “Bower’s Whim,” the steps to which were printed in several end-of-the-18th century country dance publications in New England and New York. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 28.

X:1

T:Bowyer’s Whim

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

KG
(BG)(BG) (Ac) “tr”c2|(BG)(BG) (DA) “tr”A2|(BG)(BG) (ABcd)|(edcB) A2A2:|

|:(dB)(dB) (ce) “tr”e2|(cA)(cA) (Bd) “tr”d2|(BG)(BG) (ABcd)|egdc BG “tr”B2:|

|:ge”tr”dB ge”tr”dB|ge”tr”dB cA “tr”A2|ge”tr”dB ge”tr”dB|cedc BG G2:||

                         

BOX ABOUT THE FIREPLACE. AKA and see "Lough Allen [1],” “Millstream." Irish, Reel. Ireland, Munster. D Dorian/Mixolydian. Standard tuning. AABB. Source for notated version: “A Munster reel. From P. Carew’s MSS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 888, pg. 225.

           

BOX IT CAME IN, THE.  American, Slip Jig. A Major. Standard tuning. AABB. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 13.

           

BOX STOVE JIG. AKA and see "The Old Box Stove."

                       

BOX (THE) FOX. AKA and see "Double Hornpipe," "Blockhouse Dutchman." American, Breakdown or Reel. USA, central and southwestern Pa. D Major. Standard tuning. AB. Brewer’s Dictionary of Phrase and Fable (1894) gives that ‘box the fox’ means to rob an orchard, i.e. steal apples, in British and Irish usage. Source for notated version: Issac Morris (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 299B, pg. 253. Folkways Records, Bruce Hutton ‑ "Old Time Music, It's All Around." Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1979. Learned from Washington D.C. revival musician Bruce Hutton, who had it from a Pa. source). Revonah Records RS‑924, "The West Orrtanna String Band" (1976. Identified as a "popular breakdown" in the York County, Pa., area for many years).

                       

BOX THE MONKEY.  AKA and see “Behind the Haystack [1].” Irish, Jig. D Major. Standard tuning. AABB’CCDD. The melody appears in the mid-19th century music manuscript collection of Church of Ireland cleric James Goodman (1828-1896). Goodman, who spoke Irish and played the uilleann pipes, collected from tradition in Cork and elsewhere in Munster, and obtained tunes from manuscripts and printed sources as well. Paul de Grae notes that Sliabh Luachra fiddler Paddy Jones and famed Sliabh Luachra fiddler and teacher Pádraig O’Keeffe also called the melody by the “Box the Monkey” title, although it is known to most fiddlers as “Behind the Haystack.” The title is obscure, remarks Paul, and quotes Anthony Buffery’s possible explanation:

***

The only association I know for this phrase [i.e.Box the Monkey] comes from symbolic

logic; the model is around 100 years old but is still used to illustrate computer program

or system design. It runs: ‘There is a monkey at the door into a room. In the middle of

the room a banana is hanging from the ceiling. The monkey is hungry and wants to get

the banana, but he cannot stretch high enough from the floor. At the window of the

room there is a box the monkey may use. The monkey can perform the following actions—

walk on the floor, climb the box, push the box around (if it is already at the box) and

grasp the banana if standing on the box directly under the banana. Can the monkey get

the banana?’  The problem is referred to as ‘Box the Monkey’. (Pádraig) O’Keeffe was a

trained schoolteacher and may have used it to make children think. 

***

Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 237, pg. 96.

           

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