The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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BUA - BUI

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

BUCAILL DEAS, AN. AKA and see "The Bonnie Boy."

 

BUACAILL MAISEAC, AN. AKA and see "The Lovely Lad."

 

BUACAILL ON SLIAB [1], AN. AKA and see "The Boy from the Mountain." Irish, Double Jig.

 

BUACAILL O'N SLIAB [2], AN (The Boy From the Mountain). Irish, March (2/4 time). G Major. Standard tuning. AABB. Roche Collection, 1912/1982; Vol. II, pg. 61, No. 346.

X:1

T:Buacaill O’n Sliab [2]

M:2/4

L:1/8

N:”Spirited”

R:March

S:Roche – vol. II, No. 346  (1912)

Z:AK/Fiddler’s Companion

K:G

g/f/ | e/f/e/d/ Be | d/B/A/B/ GG/E/ | G/A/B/d/ e/f/e/d/ | B/e/d/B/ Ag/f/ | e/f/e/d/ Be |

d/B/A/B/ GG/E/ | G/A/B/d/ g/f/e/d/ | (5e/d/B/A/B/ G :: A | B/d/e/f/ gf/g/ | a/g/f/g/ e/d/B/>B/ |

d/e/f/g/ a/b/a/g/ | f/g/f/e/ dg/f/ | (5e/f/g/e/d/ Be | d/B/A/B/ GG/E/ | G/A/B/d/ g/f/e/d/ | (5e/d/B/A/B/ G :|

 

BUACAILLI AN BAILE MOIR. AKA and see "The Boys of the Town."

 

BUACAILLI BAILE-AN-CALA. AKA and see "The Boys of Ballinchalla."

 

BUACAILLI BAILE-EASA-DARA. AKA and see "The Boys of Ballysadare."

 

BUACAILLI BAILE SIMON. AKA and see "The Boys from Ballysimon."

 

BUACHAILL ATÁ IN ANN É A DHÉANAMH, AN.  AKA and see “The Lad that Can Do It.”

 

BUACHAILLÍ BHAILE MHIC ANNDÁIN. AKA and see “The Boys of Thomastown.”

 

BUACAILLÍ CEAPAC-CUINN. AKA and see "The Boys of Cappoquin."

 

BUACAILLÍ CHILL SAIRN (The Boys of Kilsarne). AKA and see “The Boys of Kilsarne.”

 

BUACAILLÍ DUINSE. AKA and see "The Lads of Dunse."

 

BUACAILLÍ NA GAILLIME. AKA and see "The Boys of Galway."

 

BUACAILLÍ O BEL-AN-ATA-FADA, NA. AKA and see "The Boys of Ballinafad."

 

BUACAILLÍ PUIRT AN CALAD. AKA and see "The Boys of Portaferry."

 

BUACAILLÍ UA CNOC-GORM. AKA and see "The Boys of Bluehill."

 

BUACAILLÍ UA CUM-AN-OIR, NA. AKA and see "The Boys of Coomanore."

 

BUACAILLÍ UA LEACAIN-RUAD, NA. AKA and see "The Laddarue Boys."

 

BUACAILLÍ UA SCAIRT, NA. AKA and see "The Boys from Scart."

 

BUACAILLIDE UA BEL-AN-ATA-MOIR, NA. AKA and see "The Boys of Ballinamore."

 

BUACAILLIN BAN, AN. AKA and see "The Fairhaired Boy."

 

BUACHAILL AN BHARDAIL. AKA and see “The Drake’s Lad.”

 

BUACHAILL BREÓITE (The Sick Boy).  See “Buachaill Dreoite [1].” 

                       


BUACHAILL CAOL DUBH, AN. Irish, Air (3/4 time, or 4/4 time with irregular measures). G Major/Mixolydian. Standard tuning. One part (Cranitch): AA’B (Ó Canainn). The phrases of this tune resemble those of the air "Ballylee." Accordion player Brendan Begley, a native of Baile na mBoc, Ballyferriter, County Kerry, remembered hearing this song sung at summer house parties when he was young, the sounds drifting into his bedroom. For his family “singing was the main thing…even milking the cows we might be singing” (Vallely & Piggott, Blooming Meadows, 1998). Cranitch (Irish Fiddle Book), 1996; No. 96, pg. 165. Ó Cannain (Traditional Slow Airs of Ireland), 1995; No. 86, pg. 74. Claddagh CC39, Willie Clancy - "The Pipering of Willie Clancy 2" (1983).

 

BUACHAILL DREOITE [1], AN. AKA and see “The Sick Boy.” AKA – “An Bouchail Breoighte,” “An Buachaill Breóite.” Irish; Song Air, Hornpipe or Fling (4/4 time). G Major. Standard tuning. AAB (Mitchell): AABBCCDDEEFFGGHH (Shields/Goodman). The tune bears melodic similarities with "Sean Reid's Reel" (AKA "The West Wind [1]") and the jig "Bimid ag ol is a' pogadh na mban." 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. P.W. Joyce also printed the air in his Old Irish Folk Music and Songs (1909, No. 8) as “An Bouchail Breoighte,” saying “From my own memory—as I learned it in childhood” (in Limerick, 1840’s). Goodman and Joyce both give “The sick boy” as an alternate title, a reference to lovesickness. There may be some relation to the “Gold Ring [1]” family of tunes. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 135, pg. 107. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 227, pgs. 92-93 (appears as “An Buachaill Breóite”). Columbia 35612, "The Chieftains" (1978).

X:1
T:Buachaill Dreoite, An [1]
T:The Ailing Boy
S:from study tape from Mike Rafferty.
R:barndance
H:Hornpipe or Fling (4/4 time). Similarities with "Sean Reid's Reel" (The West Wind)
H:and the jig "Bimid ag ol is a' pogadh na mban." 
N:dreoite [DROH-tcha] << Irish word:definition... (smell) mouldy; (US) moldy. Bob Pfeffer says
N:he thinks it means the Withered Lad or the Spent Lad. Jerome Colburn says dreoghaim:
N:"I rot, I wither". The lad's withered away, wasted away (sc. from lovesickness). On the liner 
N:notes for Chulrua's _Down the Back Lane_, "An Buachaill Dreoite" is translated "The Ailing Boy." 
D:Chieftains 7; Declan Masterson (pipes, whistle); Mick O' Brien (pipes, whistle);
D:Chulrua; Tommy Keane & Jacqueline Mccarthy: The Wind Among The Reeds;
D:Joe Ryan (fiddle); Ronan Browne and Peter O'Loughlin.
M:C|

L:1/8

Z:Lesl
K:G
GF|: DGGB d2cA | DGGF G2GF | DGGB d2cA | dcAG EFFE|
DGGB d2cA | DGGF GABd | g2gf gbag |1 fdcA G2GF:|2 fdcA G2GA||
|:B2BG c2cA | dGGF G2GA | BdBG c3A | dcAG EFGA|
B2BG c2cA | d^cde fgaf | g2gf gbag |1 fdcA G2GA:|2 fdcA G2||

X:2

T:Buachaill Breóite, An

M:C

L:1/8

R:Air

N:First two parts only of long variation sets.

S:James Goodman manuscripts (mid-19th century)

K:G

d|:G/A/B/G/ A>F A>G G>D|G/A/B/G/ A>G d/c/A/G/ F>A|G/A/B/G/ A>G A>G G>A|fa/f/ gf/d/ d/c/A/G/ F>A:|

|:BB/G/ c>A d/c/A/G/ GF/D/|BB/G/ c>A d/c/A/G/ F>A|BB/G/ c>A d/c/A/G/ G(c/d/)|fa/f/ gf/d/ d/cA/G/ F>A:|

X:3

T:Sick Boy, The [1]

T:An Bouchail Breoighte

L:1/8

M:C

R:Hornpipe & Air

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

Z:AK/Fiddler’s Companion

K:G

GABG A2G2|A2G2G2D2|GABG A2G2|cBAG F2A2|

GABG A2G2|A2G2G2=f2|e2g2=f2d2|cBAG F2A2:|

|:BABG c2A2|dcBA G2A2|BABG DGBG|cBAG F2A2|

BABG cBcA|dcBA G2g2|gbag fefd|dcAG F2A2:|

|:gbag abag|abag g2d2|gbag abag|abag f2a2|

gbag abag|agfa g2de|=fefd defd|cBAG F2A2:|

 

BUACHAILL DREOITE [2], AN. Irish, Double Jig. G Major. Standard tuning. AABB. A jig version of “An Buachaill Dreoite” [1]. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 136, pg. 108.

           

BUACHAILL LOMCOSAC, AN. AKA and see "The Barefoot Boy."

           

BUACHAILL NA BHEARNA, AN. AKA and see "The Boy in the Gap."

           

BUACHAILL Ó’N ÉIRNE. AKA and see “Come by the Hills.” Irish, Slow Air (3/4 or 6/8 time). G Major. Standard tuning. One part. The melody is used for the song “Come by the Hills,” by Scottish journalist and television producer W. Gordon Smith in the 1960’s. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 34, pg. 33. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 2.

X:1

T:Come by the Hills

T:Buachaill ó’n Éirne

M:3/4

L:1/8

R:Air

K:G

B3AB2|A2G2E2|D4D2|E G3G2|(G6|G4)D2|G3AB2|c3BA2|

d4d2|BG3B2|(A6|A4)d2|d3BA2|G3AB2|c2d2e2|dB3G2|

(A6|A4)GA|B3AB2|A2G2E2|D4D2|EG3G2|(G6|G6)||

 

BUACHAILL SA CHRANN, AN. AKA and see “The Boy in the Tree.”

 

BUACHAILL SA mBAD, AN (The Boy in the Boat). AKA and see “The Boy in the Boat.”

 

BUACHAILL SA mBEARNA, AN (The Boy in the Gap). AKA and see “The Boy in the Gap.”

 

BUACHAILLÍ AN LOCHA. AKA and see "The Boys of the Lake."

 

BUACHAILLÍ AR BHARR AN CHNOIC, NA. AKA and see "The Boys on the Hilltop."

 

BUACHAILLÍ BHAILE MHIC ANNDAIN. AKA and see "The Caffler's Courtship" (Suirighe an Ailteora), "Away to the Bogs." Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: whistle player Padraic de Faoite (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 14, pg. 7.

           

BUACHAILLÍ MHÁLANNA. AKA and see "The Boys of Malin."

           

BUACHAILLÍ NA LOCHA (Boys of the Lough). AKA and see "The Boys of the Lough."


           

BUACHAILLÍN BÁN [1], AN (The Fair-Haired Boy). AKA and see "The Boys from Carrickroe," “The Bouchaleen Bawn,” "The Fairhaired Boy [1]," "The Freheen Jig,” "The Last of the Lot." Irish, Double Jig. A Dorian. Standard tuning. AAB (Breathnach): AABB (Roche). A song version of the tune from the Scottish island of Uist was recorded by the group Capercaillie. “The Dear Irish Boy,” a slow air, is a distant relative. Source for notated version: piper Pat Brophy/Patrick Ó Broithe (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 20, pg. 9. Roche Collection, vol. 1, reprint 1982; pg. 50, No. 120. Green Linnet SIF 1077, Capercaillie ‑ "Crosswinds" (1987).

X:1

T:An Buachaillín Bán

T:The Bouchaleen Bawn

M:6/8

L:1/8

R:jig

Z:transcribed by Jürgen Gier

K:Ador

EAA AGE | GAB c2 d | e/f/ge ded | BAB GED |\

EAA AGE | GAB c2 d | e/f/ge ded | BAG A3 :|

|:eaa aga | bab ged | eag e2 A | BAB GED |\

EAA AGE | GAB c2 d | e/f/ge ded | BAG A3 :|

 

BUACHAILLÍN BÁN [2], AN. Irish, Air (3/4 time). E Minor. Standard tuning. AA’B. Ó Canainn (Traditional Slow Airs), 1995; No. 58, pgs. 52-53.

 

BUACHAILLÍN BUÍ, AN (The Yellow Little Boy). AKA and see "Come in the Evening," "Galloway Tom [2]," "Galway Tom [1]," "Galway Town," "The Goat's Horn," "The Kelso Races," "The Lark in the Morning [1]," "The Little Yellow Boy," “The One-Legged Man,” "The Spotted Cow," "The Thrush's Nest," "The Welcome," "A Western Lilt," “The Yellow Little Boy.” Irish, Double Jig. D Major. Standard tuning. ABCD (Breathnach): AABB (O’Neill). The tune is best-known under the title “Lark in the Morning.” Breathnach states he took the name from the version published by O’Farrell in Collection of National Irish Music for the Union Pipes (c. 1797) and finds two more versions by O’Farrell in the latter’s Pocket Companion. Source for notated version: fiddler Tommy Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 27, pg. 12. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 706, pg. 131.

X:1

T:Yellow Little Boy, The

T:Buacaillin Buide An

T:Buachaillín Buí, An

M:6/8

L:1/8

S:O’Neill – Music of Ireland (1903), No. 706

Z:AK/Fiddler’s Companion

K:D

AFD DFA | DFA AdB | AFD DFA | B2A BdB |

AFD DFA | DFA ABc | def gfe | fdB B2d :|

|: Add fdd | edd fdd | Add fdd |edB B2d |

Add fdd | edd fdd | gfe fdB | AFA B2d :|

 

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

 

BUACHAILLÍN FIONN, AN. AKA and see "The Fairhaired Boy."

 

BUACHAILLÍN ÓG [1], AN. Irish, Air. G Major. Standard tuning. AB. Buachaillín Óg = a young lad. The second part of this tune is the same as the first of “An Cailín Deas Donn/The Pretty Brown Girl.” 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. Petrie obtained the tune from the Patrick Carew manuscript. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 46, pg. 22. Stanford/Petrie (Complete Collection), 1905; No. 1266.

X:1

T:Buachaillin Og [1]

M:6/8

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 1266  (1905)

Z:AK/Fiddler’s Companion

K:G

G/F/|DGG GAG|FDD FEF|DGG GAG|FDD B3|DGG GAG|

FDD FGA|B/c/dB cAG|FDD D2||A|B2d cAA|BGG FGA|

B2d cAA|BGG c2A|B2d cAA|BGG FGA|B/c/dB cAG|FDD D2||

X:2

T: Buachaillin Og [1]

M:6/8

L:1/8

R:Air or jig

S:James Goodman manuscripts (mid-19th century)

K:G

d|DGG GBG|FDD FEF|DGG GBG|FDD {c}B2z|

DGG GBG|FDD FGA|Bcd cAG|FDD D2:|

|:B/c/|dcB cAc|BAG FGA|dcB cAc|BAG A2 B/c/|

dcB cAc|BAG FGA|Bcd cAG|FDD D2:|

 

BUACHAILIN ÓG MARCH [2], THE. Irish, March (6/8 time). G Major. Standard tuning. AB. A version of “An Cailin Deas Donn.” Source for notated version: “From Frank Keane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 997, pg. 254.

X:1

T:Buachaillin Og [2]

M:6/8

L:1/8

R:March

S:Stanford/Petrie – Complete Collection, No. 997  (1905)

Z:AK/Fiddler’s Companion

K:G

D|(DG)G A2G|(FD)D FEF|(DG)G A2G|FDD B>AB|(DG)G A2G|

(FD)D FGA|(Bd)B cAG|(FD)D D2||c|B2B (cA)A|(BG)G FGA|

B2B (cA)A|(BG)G F2A|B2B (cA)A|(BG)G FGA|(Bd)B (cA)G|FDD D2||

                       

BUACHAILLÍ BHAILE UÍ SCALAIGH. AKA and see “The Boys of Ballyscally.”

                       

BUACHAILLÍ MEIDHREACHA BHAILE FHOBHAIR. AKA and see “The Merry Boys of Fore.”

                       

BUACHALÁN BUI. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 16.

 

BUACHALIN BRUITHE. AKA - “Búachallán Buídhe.” Irish, Jig. A Major/Mixolydian. Standard tuning. ABC. Identified as a “Munster Jig.” George Petrie collected several versions of the tune, in duple and triple time. The melody seems related to the large “Gold Ring [1]” family of tunes. Stanford/Petrie (Complete Collection), 1905; No. 94-96, pgs. 23-24 and No. 1258, pg. 316 (the latter appears as “Búachallán Buídhe”).

X:1

T:Buachalin Bruithe

M:6/8

L:1/8

R:Jig

S:Stanford/Petrie – Complete Collection, No. 96  (1905)

Z:AK/Fiddler’s Companion

K:A

A2B cBA|BAG AGE|A2B cee|dBA G2E|A2B cBA|

BAG A2 e/f/|=gba g2e|dBA G2d||efe edB|e2A ABd|

efe edB|dBA GAB|efe edB|e2A A2e/f/|=gba g2e|

dBA G2B||{c/d/}c2A B2A|e2A A2B|{c/d/}c2A B2A|dBA GAB|

=cBA BA=G|A=GE GAB|=gba g2e|dBA G2B||

X:2

T:Untitled

M:2/4

L:1/8

S:Stanford/Petrie – Complete Collection, No. 95  (1905)

Z:AK/Fiddler’s Companion

K:A

A>BcA|BAAE|A>BcA|BAGB|A>BcA|BAAe/f/|

=g>age|d/c/B/A/ GB||cAeA|BAAB|cAec|

d/c/B/A/ GB|cAdB|ef=ga|=g>age|d/c/B/A/ GB||

X:4

T: Untitled

M:2/4

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 94  (1905)

Z:AK/Fiddler’s Companion

K:A

A<AA c2A|B2A A2E|A<AA c2A|B2A G2B|

A<AA c2A|B2A A2 e/f/|=g2a g2e|d<BA G2B|

“Chorus”
e>fe d2B|e2A A>Bd|e>fe d2B|dBA G2B|

e>fe d2B|e2f =g2a|a=gf g2e|dBA G2B||

X:4

T: Búachallán Buídhe

M:2/4

L:1/8

S:Stanford/Petrie – Complete Collection, No. 1258  (1905)

Z:AK/Fiddler’s Companion

K:G

D|G2A BAG AGF GFD|G2A Bdd cAG F2D|G2A BAG AGF G2d/e/|

fag =f2d cAG F2A|ded dcA d2G GAc|ded dcA cAG FGA|

ded dcA d2G G2 d/e/|=fag f2d cAG F2A||{B/d/}B2G A2G d2G G2A|

{B/d/}B2G A2G cAG FGA|_BAG AGF GFD FGA|=fag f2d cAG F2D||

                       


BUAIL AN BALL SIN. AKA and see "Wallop the Spot."

                       

BUAIL AN BOTAR. AKA and see "Tatter the Road."

                       

BUAILTEOIR AERACH. AKA and see “Merry Thresher.”

                       

BUAILTEOIR MEIDHREACH, AN. AKA and see "The Jolly Banger."

                       

BUAILTEOIRIDE CEANN-NA-N-GAD. AKA and see "The Kinnegad Slashers."

                       

BUAILTEOR, AN (The Thresher). See "The Peeler and the Goat."

                       

BUAIN NA RAINICH. AKA and see “Cutting Ferns.”

                       

BUALADH TRIAILL CHUM TSEOIL (Getting Ready to Sail). AKA - "Preparing to Sail Away." Irish, Air (3/4 time). E Minor. Standard tuning. AABB. Source for notated version: the Irish collector Edward Bunting noted the tune in Ballinrobe in 1792, "one of the Joyce Country tunes." O'Sullivan/Bunting, 1983; No. 30, pgs. 48-49.

                       

BUBBLING WINE. Irish, Reel. E Dorian. Standard tuning. Composed by Paddy O’Brien.

X:1

T:The Bubbling Wine

M:C|

L:1/8

R:Reel

K:E Dor.

BE~E2 d2^cd|BE~E2 ADFA|GBEF GABd|g2fg edBA|

B=cBA GBdB|A2^GB ADFA|BE~E2 GBe^c|dBA=c BE~E2:|

Be~e2 gebe|Ad~d2 fdad|Beed efge|fgaf gfef|

g2fg edB^c|defe dBA=c|BE~E2 GBe^c|dBA=c BE~E2:|

"Variations"

BE~E2 d2d^c|BE~E2 ADFA|GBEF GAef|g2fg egd=c|

B=cBA GBdB|BAGB AGFA|BE~E2 GBeB|dBA=c BE~E2:|

Be~e2 gebe|ad~d2 fdad|be~e2 efge|fgaf gfed|

g2fg edB^c|d2fe dBAF|BE~E2 GBeB|dBA=c BE~E2:|

                       

BUC SEÓ. Irish, Air (6/8 time, “With spirit”). A Minor. Standard tuning. AAB. The title means a showoff or playboy. Source for notated version: a manuscript collection dated 1861 by the Anglican cleric and piper James Goodman (1828-1896), who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 35, pg. 16.

                       

BUCHANAN'S REEL. Scottish, Reel. Glen (1891) finds the earliest appearance of this tune in print in Joshua Campbell's 1778 collection (pg. 61).

 

BUCHTA DANCER'S JIG. Cape Breton, Jig. Alcazar Dance Series ALC 201, Jerry Robichaud ‑ "Maritime Dance Party" (1978).

 

BUCK CREEK GIRL(S)/GAL. AKA and see "Wild Horse," "Old Dad," "Ston(e)y Point [1]," "Pigtown Fling." Old‑Time. USA; southwest Virginia, eastern Kentucky, Arkansas. In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (Russell County, southwestern Va.) and recorded by him in 1924 for Victor, though not issued. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. To Randolph, who says Ozark fiddlers consider the tune "ancient and difficult to play," the tune "sounds like common old 'Stoney Point.'" Wolfe (1982) identifies a tune by this title as a driving banjo tune recorded in the 1920's by eastern Kentucky musicians.

                       

BUCK DANCING CHARLIE. Old‑Time, Breakdown. USA, Mississippi. G Major. ABC. This three‑part tune was composed by Magee, Mississippi, fiddler Enos Canoy and recorded in the field from him in 1939. Buck dancing is a type of solo stepping derived from Afro‑American tradition, according to one source. Mississippi Department of Archives and History AH‑002, Enos Canoy ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi."

                       

BUCK-EYED RABBITS. Old-Time, Breakdown. “Big Eyed Rabbit” (?). Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, Vol. 2” (reissue).

 

BUCK FEVER.  See “A & E Rag.”

 

BUCK FROM THE MOUNTAIN, THE.  AKA and see “McElligott’s Fancy.” Irish, Hornpipe. This was the title of the tune used on a recording of flute player John McKenna in the 78 RPM era. It was more recently recorded under this title by fiddler Frankie Gavin (on his album “"Croch Suas É/Up and Away") and by the group Danú (on "All Things Considered")

                       

BUCK HERD. See “Bucky Hord.”

                                   

BUCK HORD. AKA – “Buck Hoard.” Old-Time. USA, Kentucky. A Major. AEae tuning. ABA’A’’B’B’’. The tune is associated with fiddler Alva Greene. Jeff Titon (2001) finds the tune related to the better-known “Rye Straw.” The curious title, suggest John Harrod and Mark Wilson, is perhaps derived from a mishearing of the title “Buck Horn,” the name of a creek in Breathitt County, Ky. Source for notated version: Alva Greene (Sandy Hook, Elliot County, Ky., 1974) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 19, pg. 54. Rounder CD-0351, J.P. & Annadeene Fraley (Rush, Ky.) - “Maysville” (1995. Appears as “Buck Herd”). Rounder 0361, Bruce Molsky – “Lost Boy” (1996). Rounder 0376, Alva Greene – “Traditional Fiddle Music of Kentucky, Vol. 1: Up the Ohio and Licking Rivers” (1997).

                       

BUCK IN THE WOODS, THE (An Boc sa gCoill). AKA and see "Out all night," "Molly's Favourite." Irish, Double Jig. Ireland, County Sligo. G Major. Standard tuning. ABB (Flaherty): ABC (Breathnach). Breathnach notes that the first part of this tune is the same as “Humors of Ballingarry,” but that O’Neill’s second turn is different. Sources for notated versions: flutist Sean Ó Braonain/John Brennan (Ireland) [Breathnach]; fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, County Sligo, Ireland) [Flaherty]. Breathnach (CRÉ I), 1963; No. 15, pg. 8. Flaherty (Trip to Sligo), 1990; pg. 145.

                       

BUCK MORAN’S. Irish, Reel. A Major. Standard. AB.

X:1

T:Buck Moran's

S:Paddy O'Sullivan (fiddle), north Kerry

R:reel

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:A

AF|EFAB cB ~B2|cBAc BcAF|EFAB c2 cf|ecBc A2 AF|

EFAB cB ~B2|cBAc BcAF|EFAB c2 cf|ecBc A2 AB||

ceec d2 fe|ceec BAFA|ceec d2 fd|ecBc A3 B|

c2 ec Ac e2|(3ccc ec BcAB|cefg a2 af|ecAc ~B2 AF||

                       

BUCK MOUNTAIN. Old-Time, Breakdown. D Major. Standard tuning. AABB' (Phillips, Silberberg): AA’BB (Songer). Buck Mountain is in northwestern Albermarle County, Virginia, the only peak in its vicinity and a fairly prominent local feature. The tune is sourced (by Pete Vigour) to a fiddler from Woodridge, in southern Albemarle County, Virginia, by the name of Napoleon Bonaparte "Uncle Nip" Chisholm, active in the 1930’s. “Uncle Nip” derived his nickname from his drinking habits, says Vigour, and not from a shortening of his given name. The tune was popularized regionally by a group called the Virginia Vagabonds, formed in 1932, whose guitar player, Earl Smith, was related to Chisholm and learned the melody from him (the elderly fiddler was perhaps his great uncle). Remarkably, the Virginia Vagabonds survived as a band, with some original and near-original members, into the 21st century. Fiddler Armin Barnet, the source for the tune in The Portland Collection and who is credited with popularizing it among ‘revival’ fiddlers, went to graduate school in Charlottesville, N.C., in the early 1970’s and picked up the tune from regional players. The Vagabonds, however, played the tune in the key of G Major with the parts reversed from the printed versions, and with a more old-fashioned feel, says Vigour. Sources for notated versions: Pete Sutherland (Vermont) [Phillips]; Armin Barnett (Seattle) via Sally White (Scio, Oregon) [Songer]; Gary Moore (New Jersey) [Kuntz]; Peter Boveng [Silberberg]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 39. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 18. Songer (Portland Collection), 1997; pg. 41.

X:1

T:Buck Mountain

M:2/4

L:1/8

S:Gary Moore

Z:Transcribed by Andrew Kuntz

K:D

|: d/B/ | AF/F/ Fd/c/ | BG/G/ Gc/d/ | e/f/e/d/ d/A/B/c/ | d/c/d/e/ f/d/d/B/ | A/FF/ FA/=c/ | BG/G/ Gc/d/ |

e/f/e/d/ c/A/B/c/|d>e d:| (e | :f/)e/d/c/ A/B/d/d/ | (e/f)(e/ f)a/g/ | f/e/d/B/A/B/d/e/ | (e/f)(e/ f)e/f/ |1

g/f/g/f/ e/A/f | g>a ge/f/ | aa2b | a>b a(f :|2 g/f/g/f/ ec | a>b ae/f/|g/f/g/f/ e/A/c|d3||

 

BUCK OF THE CABRACH [1], THE. AKA and see "The Road to Berwick." Scottish, Reel. D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). The original title appears to have been "The Road to Berwick.” The Buck of the Cabrach is the name of a 2,368 foot peak in the Cabrach range with commanding views to Strathdon and Ben Rinnes. It is located on lands once owned by the 4th Duke of Gordon, for whom Marshall became Factor in 1794 with responsibility for the mountainous Cabrach region; perhaps a dubious honor for the region is notorious for the severity of its winters. Moyra Cowie (The Life and Times of William Marshall, 1999) says the name Cabrach comes from the same Gaelic root as does caber, or tree. Interestingly, the area around the mountain is now nearly treeless, she records, although at one time there was a great royal forest there that was the hunting preserve of Alexander III. The story goes that after his victory over Haco, King of the Norwegians, Alexander celebrated by going hunting in the forest, and his wife, furious that he did not return to her, ordered it burned. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 126.

X:1

T:Buck of the Cabrach, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

A|F<DAF BGAF|DAdf e2 EA|F<DAF BGAF|Adce d2D:|

g|fg/a/ fd bgaf|fg/a/ fd b2eg|fg/a/ fd bgag|fdec d2Dg|fg/a/ fd bgaf|

fg/a/ fd b2eg|fdge afbg|fdec d2D||

 

BUCK O' THE CABRACH [2], THE. Scottish, Jig Strathspey (12/8 time). A Major. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 28.

X:1

T: The Buck o' The Cabrach

C: J.Scott Skinner

Z:Jim Garber

M: 12/8

L: 1/8

K: A

"A"e|cBA e2 d cBA e2 d|cBA aed cBA e2 c  |

dfd BdB cec AcA | dcB cBA EFG A2 :|

"B" e| ac'a gbg faf e2 d |c3/2B/2A aed cBA B2 e|

(a/2c'3/2)a (g/2b3/2)g (f/2a3/2)f (e/2a3/2)c  | dcB cBA EFG Ace |

abc' bag fga gfe | def (f/2a3/2)d cBA BGE|

ABc dcB cde fga  | dcB cBA EFG A2 |]

 

BUCK OF TIPPERARY, THE.  Irish, Jig. D Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 10, pg. 5.

 

BUCK REEL. Old‑Time, Breakdown. USA, Nebraska. D Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory), vol. 2, 1984; pg. 52.

X:1

T:Buck Reel

M:2/4

L:1/16

K:D

|:D2FD ADFD|DDGA Bdd2|D2FD ADFD|A,A,CE A,A,CE|!

D2FD ADFD|DDGA Bdd2|faec dBAF|GBAG FDD2|!

|:faed BdAd|BBe2 e3e|efed BAFA|Bd2e d2de|!

faed BdAd|BBe2 e3e|efed BAFA|1Bdde d3e:|2Bdde d2dA|! _

                                   

BUCK SNORT. Old‑Time, Fiddle Tune. USA, Arkansas. G Major. Recorded by musicologist/folklorist Vance Randolph for the Library of Congress from Ozark Mountains fiddlers in the early 1940's, one of whom was Ozark fiddler Lon Jordon.

                       

BUCKASHEEN LANDY, THE. AKA and see “Bottle of Brandy,” “Bully for You,” “Daniel of the Sun.” Irish, Jig. Ireland, County Donegal. The name derives perhaps from a mishearing of yet another title for this tune “Bucky Highlander.” Duval & Jones (A Dossan of Heather: Irish traditional music from Packie Manus Byrne of Donegal for tin whistle, fiddle or flute), 2000.

                                                           

BUCKBOARD. Old‑Time, Quadrille. Appears as part (2nd tune?) of the "Old Red Barn Medley Quadrille" recorded on Edison 51236 (78 RPM) by fiddler John Baltzell in 1923. Baltzell was from Mt. Vernon, Ohio, the same town as minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, and taught Baltzell several tunes.


                                   

BUCKEEN, THE. AKA and see “Cameron House,” “George Gubbin’s Delight,” “Humors of Schull,” "Lord Kelly('s Rant/Reel)," "Mo Ceoil Sibh a Laochra" “The Musical Priest,” "The New Bridge of Erin," “The Old Grey Gander,” “Wedding Ring [2].”

                                   

BUCKET, THE. AKA and see “The Colonel [2].” AKA – “Kick ye Buckett.” English, Scottish; Jig (9/8 time). England; Northumberland, Lancashire, Lincoln. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers (as “The Buckette”). Unfortunately, nothing is known of him. It also appears in the 1823 music manscripts of H.S.J. Jackson of Wyresdale, Lancahshire. As “Kick ye Buckett” it appears in William Clarke’s (Lincoln) 1770 music manuscript. A published version under the “Bucket” title can be fournd in James Aird’s Selections of Scotch, English, Irish and Foreign Airs, vol. 2 (Glasgow, 1745). However, in Walsh’s Second Book of the Compleat Country Dancing Master, 3rd ed. (London, 1735, reprinted c. 1749), and Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 3 (London, 1744), the melody is found as “The Colonel.”. The air along with dance instructions (“The Colonel”) also appears in the Bodleian Manuscript (kept at Bodleian Library, Oxford), entitled "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 126, pg. 46. Seattle (William Vickers), 1987, Part 2; No. 304.

X:1

T:Bucket, The

M:9/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

c | Bcd dBG G2d | (e/f/g)e dBG G2B | Bcd dBG G2B | ABA AFD D2 :|

|: c | B2E EFE E2c | B2E EFE D2c | B2E EFE EFG | ABA AFD D2 :|

X:2

T:Buckette, The

M:9/8

L:1/8

R:Slip Jig

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

K:G

c|Bcd dBG Bcd|efg dBG ABc|Bcd dBG Bcd|A3 AFD D2:|

|:c|BAB (EFE) EFE|BAB EFE D2c|BAB EFE EFG|A3 AFD D2:|

                                   

BUCKET O’ NAILS, THE. Irish, Polka. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black.

X: 1

T: Bucket o' Nails, The

C: © B.Black

N: With humbly offered alteration by Paul de Grae [accepted with thanks - Z]

N: Dedicated with thanks to the FOOZ (Friends of Ol' Zouki) who came

N: to his defense during the Recent Unpleasantness.

M: 2/4

L: 1/8

Q: 275

R: polka

K: D

A>B AF | EDEF | A/F/A/B/ dB | AF E2 |

A>B AF | ABdA | Bd A/B/A/G/ | FD D2 :|

f>a fd | ge=ce | f>a fd | cd e2 |

f>a fd | ge=ce | f/g/a/f/ g/e/c/e/ | fd d2 :|

                       

BUCKEYE MEDLEY QUADRILLE. American, Quadrille. USA, Ohio. Edison 51354 (78 RPM), 1923, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904) [the composer of 'Dixie']. Emmett returned to the town in 1888, poor, and later taught Baltzell to play the fiddle}.

 

BUCKIN' DUN. American, Breakdown. USA, Arizona. A Major. Standard tuning. AABB. May be "Buckin' Mule." Arizona fiddler Kenner Kartchner said: "A dun horse threw a rider at Magdalena, New Mexico, show about 1900. A fiddler took the hint with this result" (Shumway). Source for notated version: Kenner C. Kartchner (Arizona) [Shumway]. Shumway (Frontier Fiddler), 1990; pg. 266.

 

BUCKING MULE. See "Cumberland Gap on a Buckin' Mule." Old‑Time, Breakdown. USA; north Georgia, western N.C., eastern Tenn., Ky., southwestern Pa. D Major. Standard tuning. AA'BB. The favorite contest tune of north Georgia fiddler A.A. Gray, who recalled in a 1934 interview:

***

I find the tune you play has a lot to do with winning prizes.

A fellow just ahead of me used "Bully of the Town" and

that's a mighty good piece. He won four prizes in a row.

Finally, I happened to think of "Bucking Mule." It's a hard

piece, but its snappy, and you do a lot of fancy work behind

the bridge that makes the fiddle bray like a mule. I won so many

prizes that the other follows got to calling my 'Mule' Gray (Old

Time Music, No. 41, Spring 1985).

***

Georgia duo Gid Tanner and Riley Puckett's version for Columbia Records in 1924 was the first string band record ever released. Further north, the piece was reportedly popular with Tennessee fiddlers. It was in the repertoire of Monticello, Ky., fiddler Dick Burnett and was one of two pieces he remembered getting the most applause for from audiences during his hey-day. "Bucking Mule" was also frequently played by "Natchez the Indian," a contest fiddler in the 1930's and 40's who may or may not have been a Native American; Natchez dressed in beaded buckskins and wore his hair in long braids, and when he fiddled this tune "the animation of his coiffure and the tassles on his buckskins was of greater interest than the quality of his music" (Mark Wilson & Guthrie Meade, 1976). Source for notated version: A manuscript from fifer Thomas Hoge (Greene County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 339, pg. 325. Broadway A‑1963 (78 RPM), 1924, J. Dedrick Harris (Harris was a legendary fiddler from Tennessee who played regularly with Bob Taylor when he ran for Governer of the state in the late 1800's. Harris moved to Western N.C. in the 1920's and influenced a generation of fiddlers there: Manco Sneed, Bill Hensley, Osey Helton, Marcus Martin. This was one of two songs only he recorded [see "Whip the Devil Round the Stump"]). Columbia 110‑D (78 RPM), 1924, Gid Tanner and Riley Puckett. Rounder Records, Gid Tanner and His Skillet Lickers (1934) ‑ "The Kickapoo Medecine Show" (appears as "Cumberland Gap on a Buckin' Mule"). Vocalion 5432 (78 RPM), A.A. Gray (part of "A Fiddler's Tryout in Georgia").

           

BUCKINGHAM HOUSE. AKA and see "Athole Brose," "Niel Gow's Favorite." Scottish, Strathspey. A Mixolydian (Hardie, Skinner) {Skinner reports the original key was D Mixolydian}: D Minor (Gatherer, Glen). Standard tuning. AAB (Glen): AABB (Gatherer, Hardie, Skinner). The melody was composed by either Abraham Mackintosh (1769‑c. 1807) or his father Robert 'Red Rob' Mackintosh (c. 1745‑1807). Glen (1891) maintains the elder Mackintosh set the music to a song called "Athol Brose" in 1796, though it is credited to Abraham in Robert Mackintosh's 3rd Collection (1796). Buckingham is an Anglo-Saxon name, probably stemming from the early years of their invasion of England, meaning ‘the homestead of Bucca’s people.’ Buckingham House developed from a country mansion into Buckingham Palace, the residence of the Queen of England. King George III bought Buckingham House in 1761 for his wife Queen Charlotte to use as a comfortable family home close to St James's Palace, where many court functions were held. Buckingham House became known as the Queen's House, and 14 of George III's 15 children were born there. In 1762 work began on remodelling the house to the King's requirements, to designs by Sir William Chambers, at a cost of £73,000. Still later developments and improvements extended the mansion to the present-day palace. See also the Irish reel “Dogs Amongst the Bushes,” a variant. Gatherer (Gatherer’s Musical Museum), 1987; pg. 37. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 41. Hardie (Caledonian Companion), 1992; pg. 116. Skinner (The Scottish Violinist), pg. 10 (includes a variation).

X:1

T:Buckingham House

T:Athole Brose

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 2   (1895)

Z:AK/Fiddler’s Companion

K:Dmin

A|FD D/D/D A,(DDE)|FD D/D/D (G/A/B) AG|FD D/D/D A,DDF|(E/F/G) (CG) cGEG|

FD D/D/D A,(DDE)|FD D/D/D (G/A/B) (AG)|FD D/D/D A,DDF|(E/F/G) (CE) cGEC||

D(dd>c) dedc|A(dde) fde^c|ddfd ecfd|(c>dc)G ECGE:|

           

BUCKINGHAM’S (WALTZ).  English, Waltz. G Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 100, pg. 24.

 

BUCKLA-GLUINE, AN. AKA and see "The Kneebuckle."

           

BUCKLE MY SHOE. AKA and see "The Foxhunter's Jig [2]," "Don't Be Lazy." English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 296.

           


BUCKLEY'S FANCY (Roga Ui Buacalla). AKA ‑ "Buckley's Favourite [1]." AKA and see “After the Sun Goes Down,” "Albany Beef," “Lord St. Clair’s Reel.” American, Irish, Canadian; Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Elias Howe (c. 1867) prints contra-dance directions along with the tune. O’Neill’s “After the Sun Goes Down” is a related reel, fairly close in melodic contour, as is Roche’s “Lord St. Clair’s Reel.” “Albany Beef” shares a part with “Buckley’s Fancy.” Just possibly (although admittedly unlikely), this is an example of “reverse migration,” with U.S. sources predating O’Neill and Irish ones, and it may be that the tune originated with one of the Buckley family of black-face minstrel entertainers (see note for “Dar’s Sugar in the Gourd”). However, this is probably a long-shot, for Buckley was a common name. There was a James Buckely, for example, a Limerick piper who was P.W. Joyce’s source for several tunes in his Old Irish Folk Music and Songs (1909). Some similarities to “Atlantic Wave.” Sources for notated versions: Lorin Simmons (Prince Edward Island, collected in 1930's) [Bayard]; Joseph Doucette (b. 1910, West Prince County, Prince Edward Island) [Perlman]; fiddler Fred Finn (1919-1986, Kiltycreen, Kilavil, County Sligo, Ireland) [Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bayard (Dance to the Fiddle), 1981; Appendix No. 10, pg. 576. Cole (1000 Fiddle Tunes), 1940; pg. 14 (appears as "Buckley's Favorite"). Flaherty (Trip to Sligo), 1990; pg. 80. Harker (300 Tunes from Mike Rafferty), 2005; No. 82, pg. 26. Howe (1000 Jigs and Reels), c. 1867; pg. 90 (appears as “Buckley’s Favorite Reel”). O'Neill (Krassen), 1976; pg. 97. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1211, pg. 228. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 487, pg. 93. O’Neill (O’Neill’s Irish Music), 1915; No. 283, pg. 143. Ryan’s Mammoth Collection, 1883; pg. 43. White’s Unique Collection, 1896; No. 83, pg. 15.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Buckley’s Fancy

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 487

Z:AK/Fiddler’s Companion

K:G

D2 | G2 BG dGBG | ABcd (3efg dB | G2 BG dGBG | ABAG FDEF |

G2 BG dGBG | ABcd e2g2|(3bag (3agf gedB | GBAF G2 ||

ef | gfga gede | gabg ageg|agab agef | gabg e2 de |

gfga gede | gabg agef | gfga gedB | GBAF G2 ||

 

BUCKLEY'S FAVORITE [1]. See "Buckley's Fancy."

 

BUCKLEY'S FAVORITE (JIG) [2]. American, Reel. D Major. Standard tuning. AABA. The melody is listed as a ‘jig’, referring not to the familiar 6/8 time Irish jig, but to a type of duple-time syncopated dance tune that was popular in the mid-to-latter 19th century.  The term ‘jig’ may have been derived from its application to a solo dance, or may have associations to African-American origins. Howe categorizes them among the schottisches. The melody may derive its title from the Buckley family of minstrel performers (for more on, see note for “Dar’s Sugar in the Gourd”). Howe (1000 Jigs and Reels), c. 1867; pg. 52.

X:1

T:Buckley’s Favorite Jig

M:2/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

(3A/A/A/F/D/ (C/E/)D | E/G/F/A/ z/A/G/B/ | z/A/F/D/ (C/E/)D | E/G/F/A/ z/A/d/B/ :|

d/f/e/d/ f/d/g/e/ | f/B/z/B/ f/B/z/B/ | d/f/e/d/ f/d/g/e/ | d/B/A/F/ E/D/F/A/ |

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

 

BUCKLEY'S HORNPIPE. American, Hornpipe. E Flat Major. Standard tuning. AABB. Composition credited to J. Red Buckley, according to Ryan’s/Cole’s, and to Fred Buckley (of the Original Buckely Serenaders) according to White’s, however, the earliest publication, Howe’s 1000 (c. 1867), does not give composer credits at all. See also “Buckley’s Favorite Jig,” presumably by the same family of composers. Cole (1000 Fiddle Tunes), 1940; pg. 101. Howe (1000 Jigs and Reels), c. 1867; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 136. White’s Unique Collection, 1896; No. 144, pg. 25.

X:1

T:Buckley’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 144

Z:AK/Fiddler’s Companion

K:E_

B/<=Ac/4 | B/>G/E/>B,/ G,/>B/=A/>c/ | B/>G/E/>B,/ G,/B/=A/>c/ |

B/>G/E/>g/ d/>e/B/>c’/ | =b/>c’/a/>f/ d/>f/=e/>g/ | f/>d/B/>F/ D/>f/=e/>g/ |

f/>d/B/>F/ D/>f/=e/>f/ | a/>f/d/>B/ A/>F/D/>B,/ | EGE/ z/4 :: e/<d/f/4 |

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

G/>B/e/>g/ b/>e/d/>f/ | e/>c’/a/>c’/ e’/>c’/a/>c’/ | b/>a/g/>f/ e/>g/f/>e/ |

d/>a/f/>d/ B/>A/F/>D/ | EGE/ z/4 :|

 

BUCKLEY'S REEL. Old‑Time, Reel. G Major. Howard Marshall believes the source Pete McMahan “probably got this from Cleo Persinger (d. 1969), a great Boone County fiddler who won first at Weiser in 1964.  Cleo called it Buckeye Reel.  The tune is distinctive in the ‘B’ part for its use of 32nd notes.  The ‘A’ part resembles Hooker's Hornpipe and other tunes (in Missouri).” Missouri State Old Time Fiddler's Association 001, Pete McMahan ‑ "Ozark Mountain Waltz."

           

BUCKLEY’S WALK AROUND. A transcription for fiddle is in the manuscripts of Setauket, Long Island, painter and fiddler William Sidney Mount. It has a different ‘B’ part than that printed in Buckley’s banjo tutor, according to Alan Feldman.

                       

BUCK'S CONTENTION, THE. English, Jig. England, Northumberland. F Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 419.

           

BUCKS OF….  ‘Bucks’ in an Irish title means ‘lads’ or ‘young men’, followed by a place-name.

 

BUCKS OF AHASNAGH, THE.  AKA and see "Banks of Ahasnagh," "Crossing the Bogs," “Mick Mulcahy’s [1],” “Out on the Ocean [1],” “Over the Sea [2],” “O’Connell’s Jig on the Top of Mount Everest,” “The Portroe [1].” Irish, Jig. G Major. Standard tuning. AB. Collector George Petrie said: “A Connaught Jigg.” Stanford/Petrie (Complete Collection), 1905; No. 938, pg. 238.

X:1

T:Bucks of Ahasnagh, The

M:6/8

L:1/8

R:Jig

N:”A Connaught Jigg”

B:Stanford/Petrie – The Complete Petrie Collection of Ancient Irish Music, No. 928  (1905)

Z:AK/Fiddler’s Companion

K:G

d|d>BB BAG|BdB A2B|GEE G2A|GBA GED|dBB BAG|

BdB A2B|G>EE GAB|AGE G2||d|e>fee dB|efe edB|ded dBA|

dge dBA|G2A B2d|g2e dBA|GEE GAB|AGE G2||

 

BUCKS OF CARRANMORE. AKA and see "Bucks of Oranmore."

           

BUCKS OF CRANMORE. AKA and see "Bucks of Oranmore." A miss-titling appearing in the Kerr’s collection.

           

BUCKS O' DROMORE. Scottish, Reel. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 8, pg. 4.

X:1

T:Bucks o’ Dromore

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 8  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d2 (fd) edBA|d2 (fd) efge|d2 (fd) edBc|BdAF D2D2:|
|:FAFA d2d2|FAFA (GE)E2|FAFA d2d2|BdAF E2D2:|

           

BUCKS OF DUBLIN, THE (Boic Bhaile Átha Cliath). Irish, Single Jig (12/8 time). G Major. Standard tuning. AABB. Source for notated version: Bernard Bogue (Counties Monaghan and Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 53, pg. 28.

           

BUCKS OF ORANMORE, THE ("Boic Óráin Mhóir" or "Og-Fir Uaran-Mor"). AKA and see "The Bucks of Cranmore," "The Bucks of Carranmore," "The Hearty Bucks." Irish, Reel. D Major. Standard tuning. AB (Kerr, Roche): AABB (Kennedy): ABCD (O'Neill/1850 & 1001): ABCD (Breathnach): ABCDE (Mallinson): AA’BCD (Taylor): AA'BB'CCDD'EE' (O'Neill/Krassen): AA'BB'CC'DD'EE' (Alewine): ABCDEFGH (Mitchell). Oranmore is in the west of Ireland in County Galway on the shore of Galway Bay. It is situated at the central point of roads leading to Galway, Dublin and Killarney, and perhaps because of this the area has a remarkable number of ancient ruins and fortified places. Seamus Ennis was of the opinion this tune was the very best of Irish reels. He was once asked what tune might appropriately follow it in a medley, and after thinking a bit he remarked, “You can’t play anything after the ‘Bucks’!” Varlet & Spottswood (1992) note: “’The Bucks’, as Irish musicians often refer to this five-part reel, is a great favourite everywhere Irish music is played and is often performed last, as a crowning piece to mark the end of a musical gathering.” According to Alun Owen (1973) and others, the tune is a celebrated testing piece for uilleann pipers, with many sporting their own versions of it. An early recorded version is by Waterford piper Liam Walsh (1886-1963), a pupil of Willie Rowsome (Leo’s father), who waxed it in London in December, 1933. O’Neill (1913) relates that the accomplished piper Patrick Flannery (renowned especially for his jigs), a native of Ballinasloe, County Galway, who emigrated to New York about 1845, was playing this tune to a “fascinated audience” on the streets of Brooklyn when he died in the year 1855. Source Kelly told Brendan Breathnach that the old musicians used to play what is now the first part of the reel last, and that was how he played it. See also the “Killavil Bucks” for an unusual Sligo version of “Bucks of Oranmore.” Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; fiddler Patrick Kelly (Cree, County Clare) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 11. Breathnach (CRÉ II), 1976; No. 248, pg. 128. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 20. Kennedy (Traditional Dance Music of Britain and Ireland, vol. 2: Reels and Rants), 1997; No. 13, pg. 5. Kerr (Merry Melodies), vol. 4; No. 167, pg. 19 (appears as “Bucks of Cranmore”). Mallinson (Essential), 1995; No. 23, pg. 10. Mitchell (Dance Music of Willie Clancy), 1993; No. 32, pgs. 46-47. O'Neill (Krassen), 1976; pg. 95. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1199, pg. 226. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 476, pg. 91. Roche Collection, 1982; vol. I, pg. 59, #149. Taylor (Music for the Sets: Yellow Book), 1995; pg. 32. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997). Leader LEACD 2004, “Martin Byrnes” (1969). Rounder CD 1087, Liam Walsh – “From Galway to Dublin” (1992. Reissue of 1933 original). Shanachie 79024, "Chieftains 4" (1972/1983). Paddy Glackin & Paddy Keenan – “Doublin’” (1978). Joe Burke (et al) – “The Big Squeeze.”

X:1

T:Bucks of Oranmore

M:4/4

L:1/8

S:Oisin MacDiarmada

R:Reel

O:Ireland

K:D

"D"A2FA (3AAA dB|A2FA "Em"BE (3EEE|"D"A2FA (3AAA Bd|egfd "G"ed{e}dB|

"D"A2FA (3AAA dB|A2FA "Em"BE (3EEE|"D"DEFG AFAB|"Bm"defd

"G"efdB|]"D"AD(3DDD ADBD|ADFA "Em"BE (3EEE|

"D"ADFA (3AAA Bd|egfd "G"efdB|"D"AD (3DDD ADBD|ADFA "Em"BE (3EEE|

"D"DEFG AFAB|"Bm"defd "Em"efge|]!

"D"a2fd efdf|a2fd "Bm"edBd|"D"a2 fd edef|"Em"gefd "G"edBd|"D"a2fd

efdf|adfd "Bm"edBd|"D"faaa agfe|"Bm"defd "Em"eaag|]"D"f2df efde|fedf

"G"edBd|"D"fddd edef|"Em"gafg "G"edBd|"D"f2df efde|fedf

"Bm"edBd|"D"faaa agfe|"Bm"defd "G"efdB|]

"D"Adfd edfd|Adfd "G"edBd|"D"Adfd edef|"Em"gefd "G"edBd|"D"Adfd

edfd|Adfd "Bm"edBd|"D"faaa "Em"agfe|"Bm"defd "G"AddB|]


           

BUCKS OF TIPPERARY. Irish, Jig. D Mixolydian. Standard. AABB. See also the related “Lads of Tipperary.” O’Farrell (Pocket Companion), c. 1805; pg. 25. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:Bucks of Tipperary

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:D

A | dfd B2B | AGF A2B | ded def | g3f2e | dfd B2d | AGF A2B | d2g fge | d3d2 :|

|: A | d2g faf | gbg faf | d2d faf | g3f2e | dfg aff | bgg agf | (edB) (BAB) | g3f2e :|

                       

BUCKS OF WESTMEATH, THE (Oganaig Iarinide). Irish, Single Jig. G Major. Standard. AABBCC. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 979, pg. 182. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 383, pg. 77.

X:1

T:Bucks of Westmeath, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 383

Z:AK/Fiddler’s Companion

K:G

e|d3 BdB|G2A B2c|d3 BdB|cAB c2e|d3 BdB|G2A B2d|gfe dcB|A2B c2:|

|:d|gfg dcB|ege dcB|gfg dcB|A2B c2f|gfg abc’|bag gfe|gfe dcB|A2B c2:|

|:e|dBG G2e|dBG G2e|dBG G2B|A2B c2e|dBG G2e|dBG G2d|gfe dcB|A2B c2:|

           

BUCKS PHAETON.  AKA  - “A Trip to Windsor.” English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 55.

X:1

T:Bucks Phaeton, The, or A Trip to Windsor

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:F

F3A|”tr”G3B|AfcA|{A}G4|F3A|G3f|edc=B|c4::”tr”c3e|”tr”d3a|gfed|e4|Gfed|

cagf|edc=B|c_BAG|F3A|G3B|Afed|cBAG|F3A|G3d|cBAG|F4:||

 

BUCK'S WALTZ. American, Waltz. C Major. Standard tuning. AA'BB'. Composed in 1985 by Will Welling (Averil Park, N.Y.), for an acquaintance named Buck, from Texas, who worked where Welling was gigging in Hartford, Conn. "He was always kind of soggy from beer, and he used to request waltzes. He was from Texas, and could never hear enough waltzes...so I wrote this waltz for him." Matthiesen (The Waltz Book), 1992; pg. 18. Welling, Fiddler's Leaves, 1985.

           

BUCKSHOT. Old-Time, Breakdown. A Major. Standard tuning. AA’BB’. Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 18.

                       

BUCKSKIN BILLY. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.

                       

BUCKSKIN BREECHES. Irish, Hop Jig (Slip Jig, 9/8). G Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 8, pg. 4. Roche Collection, 1927; vol. III, pg. 36, #117.

X:1

T:Buckskin Breeches

M:9/8

L:1/8

R:Hop Jig

S:Roche – vol. III, No. 117  (1927)

Z:AK/Fiddler’s Companion

K:G

(G2B) AGF AGF | (G2B) AGF GED | (G2B) AGF AGF | EGE (c2A) GED :|

fed ded (d2d) | fed dfa gfe | fed ded cBA | EGE (c2A) GED | fed ded (d2d) |

fed dfa gfe | dDD ADD GED | DGD (c2A) GED ||

                       

BUCKSNORT. Old-Time, Breakdown. USA, Ozark region. G Major. Standard tuning. AB. The tune was recorded by collector Vance Randolph from the playing of Ozark fiddler Lon Jordan. Source for notated version: Barry Schultz [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 17.

                       

BUCKTON GAIT. English, Country Dance Tune. E Minor. Standard tuning. AABBCCDDEEFFGG’HHIIJJKK. The first six parts are in ¾ time, the remainder in 2/4 time. Ralph Smethurst is listed as the source. Plain Brown Tune Book, 1997; pg. 2.

                       

BUCKTON RAKE. English, Reel. England, Northumberland. D Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 3; No. 426.

                       

BUCKWHEAT BATTER. Old‑Time, Jig. The melody also appears in a 1950 collection entitled Don Messer’s Favorite Melodies (referencing the great ‘down-east’ style Canadian fiddler Don Messer). E.F. Adams (Old Time Fiddlers Favorite Barn Dance Tunes for the Violin), 1928. Gennett 6604 (78 RPM), 1928, Tweedy Brothers (W.Va. brother band Harry, Charles and George, who played twin fiddles and piano). Gennett 3292 (78 RPM), 1926, Tom Owen’s Barn Dance Trio of WLS (Paul Tyler says that Owens, a caller, was a native of Missouri).

                       

BUCK(E)Y HIGHLANDER. AKA and see "Petticoat Loose [1]," "Teddy/Thady you Gander," "The Bonny Highlander," "The Bottle of Brandy," "Sonny Dan," "Daniel of the Sun [1]" (Donall na Greine), "Bully for You," "O My Dear Father Pity your Daughter," "The Western Jig," "She is/She’s the Girl that can do it," "Nelly's Jig," "I gave to my Nelly," "Girls of the West," "Oh My Dear Judy," "From the Court to the Cottage," "'Tis Sweet to Think," "The Leg of (a) Duck."

                       

BÚCLA GLINE, AN. AKA and see "The Kneebuckle."

                       

BÚCLA GLÚINE AN HÍLEANTÓRA. AKA and see "The Highlander's Kneebuckle."

           

BUDDY AT BIG POND. AKA and see “Little Judique” [2].

           


BUDDY FUREY'S/FURY’S POLKA (Polca Bhodaí Uí Fhoirréidh). Irish, Polka. A Mixolydian (Breathnach): A Major (Black, Mulvihill). Standard tuning. AABB. Buddy Fury was a musician from County Limerick; the title is Mulvihill’s, from the first musician he heard play the tune. Source for notated version: the late fiddler Martin Mulvihill (Bronx, New York) [Black, Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 328, pg. 175. Breathnach (CRE III), 1985; No. 71, pg. 35. Mulvihill (1st Collection), 1986; No. 7, pg. 113 (appears as “Buddy Fury’s Polka”). Green Linnet Records SIF 1012, "Martin Mulvihill" (1978).

X:1

T: Buddy Furey's

S: M. Mulvihill

Q: 250

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: A

e/d/ | cA A/B/c/A/ | dB Be/d/ | cA A/B/c/A/ | BE Ee/d/ |

cA A/B/c/A/ | dB Be/d/ | cA/c/ BE | A2 A :|

B | ce ee | f>g a/f/e/d/ | ce ec | B>c d/c/B/A/ |

ce ee | f>g a/f/e/d/ | cA/c/ BE | A2 A :|

           

BUDDY LAYDEN. Old‑Time, Fiddle Tune. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

BUDDY MACMASTER’S FANCY. Canadian, Jig. Canada, Cape Breton. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), after the style of the great Cape Breton fiddler Buddy MacMaster. Cranford (Jerry Holland: The Second Collection), 2000; No. 219, pg. 82. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

           

BUDDY MACMASTER’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by Cape Breton/Ontario fiddler Sandy MacIntyre in 1972 in honor of Cape Breton fiddler Buddy MacMaster. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 188, pg. 74.

           

BUDDY’S DANCES.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 261, pg. 94.

 

BUDDY’S DETOUR. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AA’BB’. Composed by baroque violinist and Cape Breton-style fiddler David Greenberg. The title references master Cape Breton fiddler Buddy MacMaster. Cranford (Jerry Holland: The Second Collection), 2000; No. 284, pg. 102. Marquis Records, David Greenberg & Doug MacPhee – “Tunes Until Dawn” (2000). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

 

BUDDY’S FAVORITE [1]. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AB. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 6.

 

BUDDY’S FAVORITE [2]. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia), named probably for fiddler Buddy MacMaster. Cranford (Brenda Stubbert), 1994; No. 115, pg. 40. Brenda Stubbert - “Tamerack ‘er Down” (1985).

           

BUDGEON IT IS A DELICATE/FINE TRADE, THE. AKA and see "Jolly Miller." English, Air (6/8 time). G Minor (Chappell): A Minor (Scott). Standard tuning. AAB. Chappell (1859) gives that the 'budge' is a particular type of burglar who "slips into houses in the dark, to steal cloaks and other articles near the door." The air appears in the ballad operas The Quakers' Opera (1728), The Fashionable Lady, and Love in a Village (1762), but the song first appeared in The Canting Academy (2nd ed.) of 1674. Scott ascribes the words to Charles Coffey, from his "The Devil to Pay," and notes the tune is the "Jolly Miller," further stating: "It is interesting to notice how a cheerful song like 'The Miller of Dee' which this most usually is, can take on such an obligingly tragic ring under the persuasion of Mr. Coffey."

***

Tho' ravished from my husband's arms,

To dwell in stench and pain,

I'll break thro' all their Majick charms

And liberty regain.

Then sweet Revenge shall calm my woes,

And every grief asswage;

Whilst all who did my bliss oppose

Shall feel my powerful rage.

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 124. Scott (English Song Book), 1926; pg. 14.

X:1

T:Budgeon it is a Delicate Trade, The

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:Gmin

D|G2G ^F2D|B2B A2c|B2G A2^F|(G3 G2):|

||B/c/|d2d d2B|c2c c2A|B2G c2B|(B3 A2)D|G2G ^F=ED|

B2B A2c|B>AG A2^F|(G3G2)||

 

BUDGIE ON THE GRIDDLE, THE. AKA and see “Billy Banker,” “Billy Brocker.”

           


BUDÓGAÍ CHONNACHT (Connacht Heifers). AKA and see “Connacht Heifers.”


 

BUDS OF MAY, THE.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 21.

X:1

T:Buds of May, The

M:2/4

L:1/8

B: Cahusac – Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 21 (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:D

gb b2|fa a2|eg fd|ec BA|gb b2 fa a2|Bd ce|d2D2:|

|:fa fd|gb ge|fa fd|ce e2|fa fd|gb ge|Ad ce|d2D2:|

           

BUENA VISTA [1]. American, Hornpipe. B Flat Major. Standard tuning. AABB. There are directions to a square dance of the same name in Cole's 1000. Cole (1000 Fiddle Tunes), 1940; pg. 112. Ryan’s Mammoth Collection, 1883; pg. 148.

X:1

T:Buena Vista [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

d/c/ | B/A/B/c/ d/c/d/B/ | e/f/e/d/ cf/e/ | d/f/B/d/ c/e/A/c/ | B/A/B/G/ F(d/e/) |

f/b/d/f/ B/d/F/B/ | D/F/B/d/ fe/d/ | e/g/f/e/ d/c/B/A/ | BBB :|

|: c/B/ | A/B/G/A/ Ff/e/ | d/e/c/d/ Bg/f/ | e/c/f/e/ | d/B/f/d/ | c/B/A/G/ FG/A/ |

B/A/B/c/ d/c/d/B/ | e/f/e/d/ cf/e/ | d/f/B/d/ c/e/A/c/ | BBB :|

 

BUENA VISTA [2]. American, March (2/4 time). D Major. Standard tuning. AABB'. According to Bayard (1981) this was a song and fife piece (apparently not related to version #1) named probably after a Mexican War battle. Several song titles were attached to the tune, some about Lafayette, but the one that attached its name to this version was published in 1852 and began:

***

On Buena Vista's mountain chain,

Hurrah, hurrah, hurrah!

***

Source for notated version: a manuscript by fifer Thomas Hoge (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 279, pg. 233.

 

BUFF AND BLUE [1], THE. English, Reel. G Major. Standard tuning. AABBCC. ‘Buff and Blue’ were the colors of the Whig party in Britain; associated by Charles James Fox in Scotland in the late 18th century. Robert Burns referred to them in his song “Here’s a Health to Them that’s Awa”:

***

Here’a a health to them that’s awa,

Here’s a health to them that’s awa!

And wha winna wish guid luck to our cause,

May never guid luck be their fa’!

It’s guid to be merry and wise,

It’s guid to be honest and true,

It’s guid to support Caledonia’s cause

And bide by the buff and the blue.

***

Huntington (William Litten's), 1977; pg. 23.

 

BUFF AND THE BLUE [2], THE. English, Scottish (?); Reel. England, Northumberland. D Major. Standard tuning. AABB. It is perhaps the "Buff and Blue" composed by Captain (Robert) Riddell (d. 1794), a Scot, which appears in John Anderson's 2nd Collection c. 1790‑1794. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 10. Neil (The Scots Fiddle, vol. 2: Tunes, Tales & Traditions of the Lothians, Borders & Ayrshire). Raven (English Country Dance Tunes), 1984; pg. 179.

X:1

T:Buff and the Blue, The [2]

M:C|

L:1/8

K:D

Adde fddf|geeg fafa|Adde fddf|gedc d4:|

|:affa geeg|fddf ecAg|affa geeg|1 fdgf f2e2:|2 fdec d2d2||

 

BUFF AND BLUE [3], THE. English, Reel. G Major. Standard tuning. AABB. Peter Kennedy says an alternate title is “Mrs. General Campbell,” however, it does not resemble the reel of that name printed by Gow. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 14, pg. 5. 

X:1

T:Buff and Blue [3]

M:C|

L:1/8

K:G

D | GDGB GDGB | dedB A2A2 | GDGB GDGB | dBAB G2G :|

|: G | gabg e2e2 | fgaf d2d2 | gabg dedB | AGAB G2G :|

           

BUFF COAT. See "Buff Coat Has No Fellow, The."

           

BUFF COAT HAS NO FELLOW, THE. AKA and see "Buff Coat," "The Dukes Dang Ower His Daddy," "Excuse Me." English, Air (6/8 time). B Flat Major. Standard tuning. AAB. The air appears in the 4th and all later editions of Playford's Dancing Master, and, attesting to its popularity, in numerous ballad operas of the 18th century. In later editions of the Dancing Master it appears under the title "Excuse Me" or simply as "Buff Coat." Chapell (1859) claims the air, especially in its original form, as English, although it is also claimed by the Scots and Irish. It appears in the music manuscript collection of north English musician Henry Atkinson, dated 1694, in a version very close to that printed by Playford. John Adams also identifies the variant “She Wants a Fellow” (a folk-processed title) from the manuscript of a Lake District musician named Wilson, dated 1833.

***

A buff coat was a distinguishing mark of a soldier of the 17th century and was a very stiff leather jerkin or jacket worn during the English Civil War. "Buff" refers to the color, a result of the tanning process, and the leather was left unpolished and hence undyed. Buff coats were worn by pikemen and cavalry, either under a steel corslet or as a piece by itself, especially as the use of armor declined during the century. The pike was regarded as the "senior" weapon, the one with the most status and the most desired by ‘true gentlemen’. Wielding a pike required considerable strength, and generally the strongest and tallest recruits were issued the weapon. As the use of armor declined, so did the pike, however, the buff coat continued to be worn by the cavalry. Thus the buff coat often denoted the troops with the highest status in the army. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 1.

X: 1

T:Buff Coat Hath No Fellow,The. HA12

M:6/4

L:1/4

Q:140

S:Henry Atkinson 1694/5 transcribed John Stokoe 1883

K:D Major

B/4c/4|d2AF>ED|Eedc2B/c/|d2AF2E|F D2-D2:||:B/c/|dcdBcd|edec>BA|

dcdede|f3a3|f>efBcd|edec>Bc|d2AF2E|FD2-D2:||

X:2

T:She Wants A Fellow. BF12.17

M:6/8

L:1/8

C:Kesswick June 19 1833

S:MS12,dated 1833, Browne Coll., Cumbria

R:Jig

O:England

A:Cumbria

N:Kesswick presumably refers to the town of Keswick rather than a Mr.

N:Kesswick.  But then again, maybe not

Z:vmp.Cherri Graebe.

K:D major

c|d2DF2D|ABA ABc|d2A GFE|FDD Dfe| d2DF2D|ABA ABc|

d2"G in ms"AGFE|FDDD2:|

|:A|dcd Bcd|dfd cBA|dcd efg|fdd def| gfg Bcd|efdcBA|d2"crot"A GFE|FDDD2:||

           

BUFFALO BREAKDOWN. See the “Pigtown Fling” family of tunes.

                       

BUFFALO GALS [1]. See "Alabama Gals (Won't You Come Out Tonight),"  "Bowery Girls," "Brown Town Gals," "Cincinnati Girls,"  "Hagtown Girls," "Hagantown Gals" (Pa),  "I Danced with the Girl with the Hole in Her Stocking," "Jackto(w)n" {or "Jackstown"} (Pa.), "Jimtown (Gals),"  "Johnstown" (Pa.), "Louisiana Gals,"  "Lubly Fan," "Lushbaugh Girls,"  "Midnight Serenade [2]," "Old Johnnie Walker" (English Country Dance),  "Roundtown Gals," "Yellow Gals."  Old‑Time, American, English; Breakdown, Reel or Polka. USA; Oklahoma, Arkansas, Texas, Mississippi, New York, Pa., Arizona. F Major (Shaw): G Major (most versions). Standard tuning. AB (Shaw, Sweet): AAB: AABB (Phillips).  The name Buffalo for the New York town derives from the name of a Native American and was first called Buffalo Creek, becoming simply Buffalo as the town grew. It has been speculated, however, that the name of the tune/song derives from Erie Canal workers who frequented the prostitutes located on Goose Island, in Buffalo. The tune is widespread in American tradition, though as Samuel Bayard (1944) points out, the song is widely disseminated and is now an 'international melody'. Curiously, he thinks the air itself probably originated in Germany, but came to America and was assimilated in 'British style'. Instrumental versions, not surprisingly, are more ornate than vocal settings and display much wider variation, as a comparison of the sources listed below will attest. "Version B ('Johnstown Gals') affords a good example of how the influence of common melodic formulae, combined with tendencies toward attaining easy bowing and fingering will modify the outlines of a tune in instrumental tradition. Version A ('Hagantown Gals') is much like some recorded further south; B is in some ways distinctive...Sets from American tradition are Lomax, American Ballads and Folk Songs, pp. 288‑289; Ford, p. 53; Adam, No. 12; and three play-party versions from Texas in Owens, Swing and Turn, pp. 45, 54, 103. (Bayard, 1944). See also "O Dear Mother My Toes Are Sore [3]" for a 6/8 version ('A' part only).

***

In America it is one of the most frequently mentioned fiddle tunes of the entire repertory. It appears listed in the early 20th century repertories of such geographically disparate musicians as Arizona fiddler Kenner C. Kartchner and Union County, Pa., fiddler Harry Daddario. Musicologist/Folklorist Vance Randolph recorded the tune from Ozark Mountain fiddler for the Library of Congress in the early 1940's. Cauthen (1990) says the tune had folk origins but was published in 1848 as a minstrel tune. "It was already well known in the gulf town of Mobile, Alabama, in 1846, where a woman who had once been "a flower, innocent and beautiful but long since turned from its stem, trampled, soiled and desecrated" was arrested for drunkenly singing 'Mobile gals, won't you come out tonight' on the streets" (pgs. 13‑14). Bronner (1987) says that although the tune had a long traditional history its popularity in America stems from its use in the 19th century popular theater. In the 1840's one Cool White (real name: John Hodges), a blackface performer, sang a tune called "Lubly Fan, Won't You Come Out Tonight" with the popular minstrel troupe the Virginia Serenaders. He claimed to have composed it, and credit is often given to him, but it was first printed on sheet music in New York in 1848 with "author unknown." Alan Jabbour found a tune called "Midnight Serenade" in George P. Knauff's Virginia Reels, volume IV, printed in Baltimore in 1839, that is a set of "Buffalo Gals," and since it precedes the minstrel era or at least publication of "Lubly Fan," he suggests the tune was at the time in oral tradition at least in the Upland South.

***

Overseas the song can be found in English songsters of the 19th and early 20th centuries. In Scott (1926) “Buffalo Gals” appears as sung by the minstrel group the Ethiopian Serenaders. Barry M. Murphy of Sussex, England, writes to say that he finds the song printed in a publication (printed in Soho) of minstrel tunes from the third quarter of the 19th century, with a note on the bottom of the page saying: “Believed to have come from a melody by [the German classical composer] Gluck. The tune briefly entered the British top 20 (rising as high as #9) at the end of 1982 when Malcom McLaren, promoter of the punk bands Sex Pistols and Bow Wow Wow, recorded a version consisting of himself vocalizing dance calls to a music track by East Tennessee's Roan Mountain Hilltoppers (led by septugenarian fiddler Joe Birchfield) and assorted synthesized sounds, scratching and other arranged noise. Bayard (1944) reports that a German version may be seen in Burchenal's volume Folk-Dances of Germany (p. 21), while three Yugoslav sets he finds strongly resemble his American (Pennsylvania-collected) versions, which serves for his to heighten the suggestion that the tune originally came from Germany (these latter are located in Fr. S. Kuhac, Juznoslovjenske Narodne Popievke (Zagreb), II, (1879), pp. 222‑224, Nos. 686‑688, to a song entitled "Liepa Mara"). That the melody has also spread into France is evinced by its presence in J. Tiersot, Chansons Populaires Recueillies dans les Alpes Francaises, p. 532. tune 1, a 'Monferine.' Cf. also J.B. Bouillet, Album Aunergnat, p. 25, first part of the 'Bourree d'Issoire'".  In East Lothian, Scotland, "Buffalo Gals" was the tune invariably played for the country dance called The Lads of Glasgow, which was performed at regional kirns until the 1930's and in some isolated areas until World War II (Flett & Flett, 1964). The melody was better known in East Lothian as tune for the bothy ballad "Whar'll bonnie Annie lie."

***

A feature of the tune has long been the multiplicity of place names attached to it in the title. Bronner notes it has been called "Jimtown Gals," "Brown Town Gals," "Alabama Gals," "Roundtown Gals," "Johnstown Gals," "Lushbaugh Girls," "Louisiana Gals," "Bowery Gals," "Cincinnati Gals," "Hagtown Gals," and "Hagantown Gals," as well as "Buffalo Gals." He speculates that Buffalo (New York) became the primary city name attached to the title because it was a "common terminal point for the minstrel circuit from New York city to Albany across to westernmost Buffalo, the city's name and its frontier reputation made it an easy and appropriate substitute for performances of 'Lubly Fan'" (pg. 216).  Ceclia Conway, in African Banjo Echoes in Appalachia (1995), notes that the term "Buffalo" was used by Native Americans to refer to blacks (as in "Buffalo Soldiers").

***

As I was walking down the street,

Down the street, down the street;

A pretty little girl I chanced to meet,

Oh, she was fair to see.

***

I asked her if she would have some talk,

Have some talk, have some talk;

Her feet covered up the whole sidewalk,

As she stood close to me.

***

I Asked her would she have a dance,

Have a dance, have a dance;

I thought that I might get a chance

To shake a foot with her.

***

I'd like to make that gal my wife,

Gal my wife, gal my wife;

I would be happy all my life,

If I had her by my side.

***

Chorus:

Buffalo gals, ain't you comin' out tonight,

Ain't you comin' out tonight, ain't you comin' out tonight;

Buffalo gals, ain't you comin' out tonight

And dance by the light of the moon.        (Ford).

***

Sources for notated versions: Frank Potter (Nowata County, Oklahoma) [Thede]; Hornellsville Hillbillies, 1943 (New York State) [Bronner]; caller George Van Kleeck (Woodland Valley, Catskill Mtns., New York) [Cazden]. Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943 (learned from his father) [Bayard, 1944]; 10 different fife and violin sources from southwestern Pa. given by Bayard, 1981.Bayard (Hill Country Tunes), 1944; No. 1A. Bayard (Dance to the Music), 1981; No. 167A‑J, pgs. 113‑117. Bronner (Old Time Music Makers of New York State), 1987; No. 20, pg. 90. Cazden (Dances from Woodland), 1945; pg. 13. Ford (Traditional Music in America), 1940; pg. 53. Jarman (Old Time Fiddlin' Tunes); No. or pg. 3. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 56, pg. 28. Miller & Perron (101 Polkas), 1978; No. 26 (polka). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 40 (two versions). Raven (English Country Dance Tunes), 1984; pg. 145 (appears as "Old Johnnie Walker"). Scott (English Song Book), 1926; pg. 74. Shaw (Cowboy Dances), 1943; pg. 382. Sweet (Fifer’s Delight), 1964; pg. 12. Thede (The Fiddle Book), 1967; pg. 119. In the repertoire of Uncle Jimmy Thompson (1848‑1931) {Texas, Tenn.}. Flying Fish FF 90468, Critton Hollow ‑ "Great Dreams" (1988). Missouri State Old Time Fiddlers' Association, Vee Latty (1910-1956) - "Fever in the South." Edden Hammons Collection II, Disc 1.

X:1

T:Buffalo Gals

M:2/4

L:1/8

S:Shaw – Cowboy Dances

Z:AK/Fiddler’s Companion

K:F

z2 zC|FG AB|dc A2|cB G2|dc A3C|FG AB|dc A>f|ec BG|F3z||

f/f/e dc/c/|d/cB/ A2|c/BA/ G2|d/cB/ A2|f/f/e dc/c/ d/cB/ A>f|ec/c/ BG/G/|F3 z||

 


BUFFALO GALS [2]. Old-Time, D Major. Standard tuning. AABB. A Texas-style version of the familiar tune. Source for notated version: Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 40.

 

BUFFALO GALS [3]. AKA – “Buffalo Girl.” Old-Time, Breakdown. A Major. AEae tuning. AB. Recorded by Herbert Halpert in the field in 1939 for the Library of Congress, from the playing of Mississippi fiddler John Hatcher. The tune bears either no or some small similarity to the tune usually known as “Buffalo Gals [1]" in ‘G’, depending on the listener. Unusual is that it starts on the high or fine part of the two parts. Hatcher told Halpert that “Buffalo Gals [1]" was the ‘modern’ way to play the tune. It is currently a popular tune at Old-Time sessions, played cross-key. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 17. Rounder 0361, Bruce Molsky – “Lost Boy” (1996). Rounder 18964-1518-2, Various Artists (John Hatcher) – “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field recordings).

           

BUFFALO GIRLS. See “Buffalo Gals.”

           

BUFFALO HUMP. American. Composed by Skip Gorman.

           

BUFFALO NICKEL [1]. AKA and see "Chinky Pin," "Darling Child," "Farmer Had a Dog," "Fourth of July," “Grey-Eyed Cat,” "Hair in the Butter," "I'm My Momma's Darling (Child)," “Lead Out," "Midnight Serenade [1]," "My Love Is/She's But a Lassie Yet [1],” "Richmond Blues," "Sweet Sixteen," "Too Young to Marry [1]," "Ten Nights in a Bar Room," “Tripping on the Mountain,” "Yellow Eyed Cat." Old-Time, Breakdown. Stella Elam played the tune under this title.

 

BUFFALO NICKEL [2]. AKA and see “New Five Cents [1].” Old-Time, Breakdown. USA, Ozarks. Mark Wilson dates the tune from 1913, the year the new nickel featuring an engraving of a buffalo appeared in circulation.

           

BUFFENS. AKA and see "Bouffons."

           

BUFFONS. AKA and see "Bouffons."

           

BUFFOON [1], THE. English, Morris Dance Tune (4/4 time). G Major (Mallinson): F Major (Bacon). Standard tuning. AB (x5), A. Collected in the village of Adderbury, Oxfordshire in England's Cotswolds. The tune was used for a handclapping dance which comically mimiced a confrontation in which the combatants claped hands, tweaked noses, pulled ears and banging on heads. John Kirkpatrick (1976) notes that fighting movements were fairly common in morris dances, though they were not always this explicit. Bacon (The Morris Ring), 1974; pg. 15. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 28, pg. 15.

 

BUFFOON [2], THE. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AB. A related tune to the Adderbury version, collected in the village of Ilmington, Warwickshire, England. Bacon (The Morris  Ring), 1974; pg. 221. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

           

BUG HOUSE. Old-Time. The title of a mysterious, unissued 78 RPM side by the Stripling Brothers.

                       

BUG RAN AWAY WITH A PILLOW. AKA and see “Old Missouri,” “Love Somebody [2].”

           

BUGAIL YR HAFOD (The Shepherd of Hafod). Welsh, Air. An air that, unlike many Welsh airs for which antiquity is claimed, is evidently quite old, according to Kidson (Groves).

           

BUGGERBOO. AKA and see “Booger-Boo.” Old‑Time, Fiddle Tune/Song. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Dan Tate (b. 1896), of Fancy Gap, Carroll County, Virginia, sang verses to the tune, the first three of which go:

***

Come all you jolly boatman boys,

Who want to learn my trade.

The very first wrong I ever done,

Was courting of a maid.

***

I courted her the winter’s night,

And a summer season too;

And when I gained her free good will,

I knew not what to do.

***

Last night I lay in a fine feather bed,

With the squire and a baby;

Tonight I’ll lay in a barn of hay,

In the arms of Egyptian Daisy.

***

Mike Yates (2002) says that in its original form the ballad relates the seduction of a master’s daughter by an apprentice, with the aid of a friend disguised as a ghost, or bugaboo. It is this term bugaboo that was altered in the process of transmission to the famous “Foggy Dew” (See Bob Thompson’s article “The Frightful Foggy Dew”, Folk Music Journal IV:1, 1980 pp. 35-61). Musical Traditions MTCD321-2, Dan Tate (et al)  – “Far in the Mountains, Volumes 1 & 2” (2002).

           

BUG(S) IN THE 'TATER(S). AKA and see "Ragtime Annie [1]," "Sister Ann." Old‑Time, Breakdown. D Major. Standard tuning. AA'BCC'DD'. Recorded in the late 1920's by fiddler Charlie Bowman with the Hillbillies. Folklorist/musicologist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. The tune is similar to the old-time standard "Ragtime Annie." Source for notated version: Charlie Bowman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 41. Document 8041, The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 3.”

           

American, Jig. G Major. Standard tuning. AB. Source for notated version: Amasiah Thomas (elderly fiddler from Jefferson County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 595, pg. 523.

           


(THE) BUGLE BLOWS, THE TRUMPET BLOWS. American, Polka. G Major ('A' and 'B' parts) & C Major ('C' part). Standard tuning. ABCC'CC". Source for notated version: Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 336.

           

BUGLE HORN, THE. AKA and see “Bugle Quickstep,” "The Lady in the Boat," "The Gettysburg March," "Fermanagh Quickstep," "The McCarthy March."

           

BUGLE HORN QUICKSTEP, THE.  English, Quickstep (6/8 time). G Major. Standard tuning. AABB. A different tune than the “Bugle Horn” (AKA – “Bugle Quickstep,” “Lady in the Boat”), although both tunes try to imitate the sounds of a bugle call. Gibbons originally set the tune in the key of ‘C’ major in his ms. 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. 62.

 

BUGLE QUICKSTEP, THE. AKA and see "The Lady in the Boat." AKA – “The Bugle Horn.” English, Jig or Quickstep. D Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book, vol. 1), 1951; No. 98, pg. 48 (appears as "The Lady in the Boat"). Raven (English Country Dance Tunes), 1984; pg. 110.

X:1

T:Bugle Quickstep, The

T:Lady in the Boat

L:1/8

M:6/8

K:D

A|dfA d2A|dfA d2f|a2f fed|efe ecA|dfA d2A|dfA d2f|a2f efe|(d3d2):|

|:A|f3 gfg|a3f2g|agf fed|efe ecA|f3 gfg|a3 f2g|agf gec|edd d2:|

 

BUGLE QUICKSTEP [2], THE.  English, Quickstep March (6/8 time). D Major. Standard tuning. AABBCC. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 11, pg. 5.

X:1

T:Bugle Quickstep [2]

M:6/8

L:1/8

K:D

a|agf edc|ded d2A|dAf dAf|d3 ff|efe dcB|

 

BUGLE QUICKSTEP [3], THE.  English, Quickstep March (6/8 time). D Major. Standard tuning. AABBCC. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 12, pg. 5.

X:1

T:Bugle Quickstep [3]

M:6/8

L:1/8

K:D

d|dcd A2f|d3 A2e|e^de B2e|c2A ABc|dcd A2f|

 

BUGLE QUICKSTEP [4], THE.  English, Quickstep March (6/8 time). A Major. Standard tuning. ABBACC. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 13, pg. 5.

X:1

T:Bugle Quickstep [4]

M:6/8

L:1/8

K:A

A||A2c A2A|A2c A2c|c2e c2c|c2e c2e|

           

BUGLE (WALTZ), THE.  English (?), Waltz. A Major. Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 101, pg. 24.

 

BUGLER'S DANCE. American, Jig. C Major. Standard tuning. AABB. Not the "Bugle Quickstep." A military-influence, quadrille-sounding dance tune. Hardings All Round Collection, 1905; No. 119, pg. 38.

X:1

T:Bugler’s Dance

M:6/8

L:1/8

R:Jig

S:Harding’s All-Round Collection, No. 119 (1905)

Z:AK/Fiddler’s Companion

K:C

g/f/|eze ede|eze ede|dzd BAB|cGA Bcd|eze ede|

eze ededzB BAB|czG c2::g|c2c B2d|cgf edc|g2g ^f2a|

gdc BAG|c2c B2B|c2^c d2f|efg GAB|(d3c2):|

           

BUILD UP THE NEW GROUND. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

BUILDINGS IN HARLIQUIN, THE.  English, Jig. B Flat Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom unfortunately nothing is known. There were numerous tunes with the name ‘Harlequin’ in the title, presumably deriving from the popularity of James Ralph’s Harlequin’s Opera (1730), however, whether there is a direct connection is not known.

X:1

T:Buildings in Harliquin, The

M:6/8

L:1/8

R:Jig

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

K:B Flat

B2B f2f|d>cd B3|B,2B, C2D|EFE DCB,|B2B f2f|

dcd B3|B2,B, C2D|E2F B,3::B2B f2f|bag f3|

F2F e2e|gfe d3|E2E c2c|edc B2b|B2g fed|c3 B3:|

 

BUILEAM TREAL CHUM TSEOIL. See "Bualadh Triaill Chum Tseoil."

           

BUILLE AR NA UIGAIB. AKA and see "(A) Whack at the Whigs."

           

BUISSON FLEURI. French, Valse (3/4 time). France, central France. C Major. Standard tuning. AAB. Stevens (Massif Central), 1987; No. 60.

 

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