The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

BUT- BYR

[COMMENT3] 

[COMMENT4] 

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]

 

 

 

BUT THE HOUSE AND BEN THE HOUSE. AKA and see "Black Jock" (Black Joke). Shetland, Jig or Air. A Major. AEae tuning. AA'B. This is the Whalsay Island (Shetlands) title of the tune commonly known as "Black Jock" (Joke) on the mainland. It was one of the tunes played by John Irvine and Andrew Poleson for the Shetland ritual of "bedding the bride."

***

But your house and ben your house

This house is like a bridal house.

***

Sources for notated versions: Andrew Poleson and John Irvine (Whalsey, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 34, pg. 87.

 

BUTCHER BOY, THE. Irish, Dance Tune (2/4 time). D Major. Standard tuning. AB. Listed as a 'jig' in Cole's 1000, referring to a type of old‑time banjo tune-style rather than the Irish 6/8 jig. Cole (1000 Fiddle Tunes), 1940; pg. 81. Ryan’s Mammoth Collection, 1883; pg. 115. White’s Unique Collection, 1896; No. 30, pg. 6.

X:1

T:Butcher Boy, The

M:2/4

L:1/8

R:’Sand Jig’

S:White’s Unique Collection (1896), No. 30

Z:AK/Fiddler’s Companion

K:D

A/ | dA/d/ B/d/A/d/ | dA/A/ B/e/ z/e/ | dA/d/B/d/A/d/ | g/e/f/d/ B/d/ z/d/ |

dA/d/ B/d/A/d/ | dA/A/ B/e/ z/e/ | dA/d/ B/d/A/f/ | g/e/f/d/ (B/d/) z/ ||

A/ | fa/ z/a/ a z/f/ | g/e/f/d/ e/d/ z/A/ | (f/a/) z/a/ d’ z/a/ | g/e/f/d/ e/d/ z/A/ |

(f/a/) z/a/ a z/f/ | g/e/f/d/ e/d/ z/d/ | g/g/ z/g/ g/d/g/b/ | g/f/e/g/ f/d/ z/ ||

                       

BUTCHER ROW. English, Jig. G Major. Standard tuning. AABBCCDDetc. The melody appears in Walsh’s Third Collection (1730) of Lancashire tunes.

X:1

T:Butcher Row

B: Walsh

M:6/8

L:1/8

K:G

g| fga a2 g| fga gdB:: fga efg| fga gdB:: f2e f/2e/2f/2g/2a|gec fdB::\

efe cAd| cdc fdB:: ABA cAd| cec fdB:: cAd cAd| cac BdB:: a2 e f/2e/2f/2g/2 a|g/2f/2e/2d/2c f/2e/2d/2c/2B ::\

efe f/2e/2f/2g/2a |g/2f/2e/2d/2c f/2e/2d/2c/2B ::\

aec aec| aec BGB:: cB/2c/2 cB/2c/2|cB/2c/2 BGB:: ceA dfA| ceA fdB::\

cac dbd| cac BGB::ABA cAd| cec fdB:: ~e3 ~g3| aec fdB:: efe fga| gec fdB::\

e3 c3| cec fdB|A3 c3| c3 BGB:: cAd cAd| cec fdB:: e3 g3 |a2 c B2 g::\

a2 c a2 c| a2 c B2 g::a3 e3|cdc fdB:: A/2A/2A/2A/2e A/2A/2A/2A/2f |\

A/2A/2A/2A/2e BGB| A/2A/2A/2A/2e A/2A/2A/2A/2g| A/2A/2A/2A/2e BGB::\

A/2A/2A/2A/2A cAc | A/2A/2A/2A/2A BGB :: e/2e/2e/2e/2e cAc|e/2e/2e/2e/2e BGB::\

a/2a/2a/2a/2a cAc |a/2a/2a/2a/2a BGB:: A/2A/2A/2A/2A A/2A/2A/2A/2A|\

A/2A/2A/2A/2A BGB::A3 d3 |c3 BGB:: cAd cAd| cAd BGB::aec aec|aec fdB:|

                                   


BUTCHER'S APRON, THE. Irish, Reel. D Major. Standard tuning. AB (O'Neill {1850}): AA'BB' (O'Neill {Krassen}). Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 148. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1483, pg. 274.

X:1

T:Butcher’s Apron, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1483

Z:AK/Fiddler’s Companion

K:D

d2 (AF) d2 (AF) | Efed cABc | defe dcdB | AdAF EFGE | d2 (AF) d2 (AF) |

Efed cABc | defe dcdB | ABAG FD D2 || a2 (fa) dafa | b2 (gb) ebgb |

a2 (fa) dafa | gefd ceef | a2 (fa) dafa | b2 (gb) ebgb | agfe dcdB | ABAG FD D2 ||

                       

BUTCHER'S BOY, THE. American, "Clog Dance." USA, Pa. D Major. Standard tuning. AABB'. In the repertory of Lewisbury, Pa., fiddler Archie Miller, but found in print in the Scottish collection of Kerr. Kerr (Merry Melodies), Vol. 2; No. 418, pg. 47.

                       

BUTCHER'S CAVE, THE. Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 64. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1067, pg. 201.

X:1

T:Butcher’s Cave, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1067

Z:AK/Fiddler’s Companion

K:D

(A/G/) | FDD FDD | FAG FED | ABA AGF | GAG GFG | ABA cAG |

Ade fed | cAF EAG | EDD D2 :: (d/e/) | fdd add | fdd ded | fdd add |

ged cde | fdd add | (f/a/a)f ecA | cAF EAG | EDD D2 :|

                       

BUTCHER'S HORNPIPE [1], THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Matt Seattle, in notes to his Great Northern Tunebook, a reprinting of the 1770 music manuscripts of Northumbrian musician William Vickers, remarks that the tune is "an early example of dotted rhythms in the Hornpipe, more characteristic of the 19th and 20th centuries.” The tune was printed earlier in the 18th century by J. Johnson in his Wright’s Compleat Collection of Celebrated Country Dances, c. 1740-42, which Bruce Olson believes is probably itself a reprint of an earlier (though apparently lost) collection issued by Daniel Wright. A related version, also under the “Butcher’s Hornpipe” title, appears in the William Calvert (Leburn, Yorkshire) manuscript (1812). Seattle (William Vickers), 1987, Part 2; No. 329.

X:1

T:Butcher’s Hornpipe [1]

M:C|

L:1/8

R:Hornpipe

S:William Vickers’ music manuscripts, pg. 120   (1770)

Z:AK/Fiddler’s Companion

K:G

DE/F/|G2 G>G G2 F>E|DCB,A, G,A,B,G,|G2 G>G G2 c>B|AGFE DEFD|E2 E>E EGFE|

DCB,A, G,2 Bc|dBGB cAFA|G2 G>G G2::Bc|d2 d>d d2 e>f|gefd e2 AB/c/|

d2 d>d d2 ef|gefd e2 cB/A/|B2 BB BdcB|AGFE D2 Bc|dBGB cAFA|G2 G>G G2:|

 

BUTCHER'S HORNPIPE [2], THE. AKA and see "Black Mary's Hornpipe [1]," “The Piping Pie Man,” “Wright’s Whim.” English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. The melody has strong Yorkshire connections. It is a different tune than "Butcher's Hornpipe" [1], and is a variant of William Vickers’ 1770 Northumbrian "Black Mary's Hornpipe" and James Biggins’ 1779 Yorkshire “Piping Pyman Hornpipe.” The tune appears under the “Butcher’s” title in the early19th century music manuscripts of Lawrence Leadley (Helperby, Yorkshire), Joshua Jackson (Harrogate, North Yorkshire), and George Spencer (Leeds, West Yorkshire). Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Callaghan (Hardcore English), 2007; pg. 14. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 7, pg. 29.

 

BUTCHER’S HORNPIPE [3], THE.  English, “Old” Hornpipe (3/2 time). G Major. Standard tuning. ABC. Printed in the Dancing Master series, editions 1718 and 1728 (printed by John Young, who had taken over the series from the Playfords), Walsh’s Compleat Country Dancing Master (3rd ed., 1735), and Daniel Wright’s 24 Country Dances for the Year 1719.

X:1

T:Butcher’s Hornpipe [3]

M:3/2

L:1/8

R:Triple Hornpipe

K:G

GFGA B2 c2 d4|edcB cBAG F2D2|E2d2 E2c2 D2B2|D2 EF G2D2 B,2 G,2||

g4 Bc d2 g2 G2|cd e2 A2 a2 f4|e2 ce d2 Bd c2 Ac|D2G2 GABc A2 G2||

G3 A GABc d2G2|F2A4B2c2E2|E3F EFEF G2 C2|A,2 D2 DEDC B,2 G,2|]

 

BUTCHER'S JIG, THE. AKA and see "The Butcher's March."

 


BUTCHER'S MARCH [1], THE ("Mairseail na mBuisteiri" or "Triall An Bustoir"). AKA and see "The Butcher's Jig," “Ree Raw.” Irish, March or Double Jig. G Major. Standard tuning. AAB (Stanford/Petrie): AABB (Breathnach, Cole, Flaherty, O’Neill): AABBCCDDEEFF (O’Farrell). O’Neill (1913) records that the tune was associated with a tradition of butchers performing a long dance on "May‑Eve." In the city of Limerick in the 18th century the dance, Rinnce Fada, was witnessed by Sylvester O’Halloran, an eminent native historian. In ‘modern’ times, states O’Neill, the tune in two strains is danced as a double jig, though he points out the setting in O’Farrell’s Pocket Companion for the Irish or Union Pipes (Vol. 2, Book 1, c. 1810) has six parts. Breathnach gives that Sliabh Luachra fiddler Denis Murphy called the tune “Along with the Girls I’d like to be.” See also “Rub the Bag,” and variants listed under “Butcher’s March [2],” below. Don Meade points out this is not the tune usually known as “The Butcher’s March” in Irish sessions today. There may be some relation to the “Gold Ring [1]” family of tunes. Sources for notated versions: accordionist and fiddler John Keane (Co. Kerry, Ireland) [Breathnach]; fiddler Fred Finn (1919-1986, Kiltycreen, Kilavil, Co. Sligo, Ireland) [Flaherty]. Breathnach (CRÉ II), 1976; No. 27 [1], pg. 16. Breathnach (CRÉ II), 1976; No. 21 (appears as “Gan ainm/No title”), pg. 13. Cole (1000 Fiddle Tunes), 1940; pg. 70. Flaherty (Trip to Sligo), 1990; pg. 84. Giblin (Collection of Traditional Irish Dance Music), 1928; No. 68. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 36, pg. 15 (appears as untitled jig). O’Farrell (c. 1810). O'Neill (Krassen), 1976; pg. 36. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 867, pg. 161. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 127, pg. 36. O’Neill (1913), pg. 429 (reprint of O’Farrell’s setting). Ryan’s Mammoth Collection, 1883; pg. 100.

X:1

T:Butcher’s March, The [1]

M:6/8

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 127

Z:AK/Fiddler’s Companion

K:G

g|fAA eAA|~d2B A2g|fAA eAA|~d2B G2g|fAA eAA|fAA efg|faf gfe|~d2B G2:|

|:B/c/|ded BAB|~d2B A2B|ded BAB|~d2B G2B|ded BAB|~d2B A2g|faf gfe|~d2B G2:|

X:2
T:Butcher’s March [1]
M:6/8
L:1/8
R:Jig
S:Levey - Dance Music of Ireland, 2nd Collection (1873)

N:Appears as untitled jig
Z:AK/Fiddler's Companion
K:G
g | fAA eAA | B>(ed/B/) A2g | fAA eAA | (B/c/d)B G2g | fAA eAA |
(B>ed/B/) A2g | (f/g/a)f {a}geg | dBA G2 :: B | d>(ed/B/) dAB |
d>(ed/B/) A2B | d>(3ed/B/) (dAc) | (B/c/)dB G2B | d>(ed/B/) (dAB) |
d>(e/d/B/) A2g | (f/g/af) ({a}g)eg | (dBA) G2 :|

 

BUTCHER'S MARCH [2], THE (Mairseail na mBuisteiri). AKA and see “Bloody Oul’ Hag, is it Tay You Want?” “The Bog of Allen [1],” “Brendan Begley’s Jig,” “The Butchers of Bristol,” “The Lark’s March.” Irish, Double Jig. G Major. Standard tuning. AABB (Mulvihill, O’Neill, Taylor): AABB’ (Harker/Rafferty): AABBCCDD (Breathnach). The original tune was a six‑part jig published in the 18th century under the same title; see note for version #1. O'Neill and Taylor have the parts reversed from each other. See also the variant appearing in Breathnach’s Ceol Rince na hÉireann, vol. II, no. 21 (pg. 13, appears as “Gan ainm”), from County Clare fiddler Bill O’Mally. Sources for notated versions: fiddler Mrs. Murphy, 1967 (Co. Cork, Ireland) [Breathnach]; “From my mother” [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II); No. 21, pg. 13 ("Gan Ainm" {untitled}). Breathnach (CRÉ II), 1976; No. 27 [2], pg. 16. Harker (300 Tunes from Mike Rafferty), 2005; No. 233, pg. 72. Mulvihill (1st Collection), 1986; No. 5, pg. 65 (appears as “The Butchers Jig”). O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (1001 Gems). Taylor (Crossroads Dance), 1992; No. 51, pg. 38. Taylor (Music for the Sets: Blue Book), 1995; pg. 10. Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996. Learned from piper Tommy Kearney). Shaskeen ‑ "My Love is in America."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Butcher’s March, The

M:6/8

L:1/8

S:Tom Ennis & James Morrison

Z:Philippe Varlet

K:G Major

~d3 BAB|dBA A2B|~d3 BAB|dBG G2B|

~d3 BAB|dBA A2g|faf gfe|1 dBG G2B:|2 dBG GBd||

|eAA fAA|edB ABd|eAA gfe|dBG GBd|eAA fAA|

edB A2g|faf gfe|1 dBG GBd:|2 dBG G2B||

X:2

T:Butcher’s March [2]

M:6/8

L:1/8

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:G

B|ded (3BcB A/B/|dAA A2B|ded (3BcB A/B/|dBG G2B|

ded (3BcB A/B/|dAA A2g|faf gfe|dBG G2:|

|:(3Bcd|eAA fAA|ecB A2 B/d/|eAA gfe|dBG G2 (3Bcd|

eAA fAA|1 edB A2g|faf gfe|dBG G2:|2 eAA efg|faf gfe|dBG G2||

 

BUTCHER'S MARCH [3], THE (Mairseail na mBuisteiri). Irish, Double Jig. D Major. Standard tuning. AABBCCDDEEFF. Breathnach (CRÉ II), 1976; No. 27 [3], pg. 17.

..........................            

BUTCHERS OF BRISTOL [1], THE. AKA and see “Bliven’s Favorite,” "Bobbing for Eels," "The Bottle of Punch," "By your leave, Larry Grogan," "Coppers and Brass [2]," “The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," “Green Sleeves [3],” "Groom," "Hartigan's Fancy," “The Humors of Ennistymon [1],” "The Humours of Miltown [2],” "Ioc an Reicneail,” "Jackson's Bottle/Jug of Punch/Brandy," “The Jug of Punch [5],” "Larry Grogan('s) [1]," "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.”

 

BUTCHERS OF BRISTOL [2], THE. AKA and see “Bealltaine,” “Five Miles from Town [2],” “Geary’s Hornpipe,” “Mullingar Races [2],” “Raven Through the Bog,” “Rover through the Bogs,” “Taylor's (Hornpipe).” Irish, Hornpipe.

 

BUTCHER'S ROW [1], THE. Irish?, American, Canadian; Reel. G Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 34, pg. 10. Howe (1000 Jigs and Reels), c. 1867; pg. 70. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 29, pg. 27.

X:1

T:Butcher's Row

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

BcdB G2gf|edef gedc|BcdB G2Bd|cBAG F2D2|

BcdB G2gf|edef gdef|gfge dedc|BGAF G2d2:|

|:gfga b2b2|abag f2d2|edef gdBd|cBAG F2D2|

GFGB AGAc|BGBd edef|gfge dedc|BGAF G4:|

X2

T:Butcher’s Row [1]

M:4/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

A | B2 (dB) G2d2 | egfa gfed | BcdB G2d | edcB B2 (AG) | BcdB G2d |

egfa gfed | gfge edcB | BcAB G2 :: g2 (ga) b2b2 | abag e2a2 | gfed efge |

DBAG B2G2 | GFGE EDEG | EGBd gfed | gfge edcB | BcAB G3 :|

 


BUTCHER'S ROW [2], THE. AKA and see "Far from Home." American, Reel. Southwestern Pa. G Major. Standard tuning. AB. Not related to version #1. The 'A' part is similar to the minstrel piece "Root Hog." Source for notated version: Wilbur Neal (Jefferson County, Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 132, pgs. 72‑73.

                       

BUTLER COUNTY. AKA and see "Perry's Victory [1]." American, Jig. USA, Southwestern Pa. G Major. Standard tuning. AABB. From the alternate title Bayard dates it to the late 18th century, Perry being the American admiral who was victorious against the British on Lake Erie in the Revolutionary War. He suggests the tune bears resemblance to the Irish "Southern Breeze," and is generally similar to "The Men of Garvagh" and "The Black Dance." Source for notated version: a manuscript by fifer Hoge, 1944 (Greene County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 565B, pg. 502.

                       

BUTLER’S JIG. See note for “Gander in the Pratie Hole.”

                       

BUTLERS OF GLEN AVENUE, THE. AKA and see “Christy Barry’s [2],” “Tony O’Sullivan’s.” Irish, Reel. G Major. Standard tuning. AABB. Composed by banjo player Tony “Sully” Sullivan, who lives in England and who has published several collections of session tunes. The title refers to friends of his, Maire and the late Johnny Butler who lived in Glen Avenue, Blackley. Johnny was the leader of The Manchester Céilí Band, who performed at St.Brendan's. The “Butlers of Glen Avenue” tune on the Lunasa album is miss-titled, and is in reality another of Sullivan’s compositions called “The Barmaid.” Sullivan (Sully’s Irish Music Book, vol. 1), 1979. Kevin Crawford – “D Flute Album” (appears as 2nd tune in the Christy Barry set). Tabache – “Are You Willing.”

X:1

T:Butlers of Glen Avenue, The

M:6/8

L:1/8

S:Setting: Noel Kilkenny

R:Jig

K:G

DEG EDB, | DEG ~B3 | DEG ABe | dBe dBA |

DEG EDB | DEG ~B3 | dB/c/d gfe | dBA G3:||:

gab age | deg ~B3 | gab gab | dB/c/d e2d |

gab age | deg ~B3 | dB/c/d gfe | dBA G3:||

 

BUTTER THE OTHER SIDE. Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AA’BB’. Composed by Missouri fiddler Fred Stoneking (b. 1933). Drew Beisswenger (2008) relates that Fred had not title for the tune (which he had been playing for some 20 years), but hit upon it one day when his wife charred one side of his toast at breakfast. She buttered the light side, but Fred suggested buttering the other side to mask the taste. Source for notated version: Fred Stoneking (Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 136. Fred Stoneking – “Butter the Other Side” (privately issued cassette, c. 1980’s). 

 

BUTTERCUPS AND DAISIES. Irish, Air (4/4 time). G Minor. Standard tuning. AB. Source for notated version: O’Reilly [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 516, pg. 90.

X:1

T:Buttercups and Daisies

M:4/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 516

Z:AK/Fiddler’s Companion

K:G Minor

(B>c) | d2G2d3c | (cB)(A>G) G3A | B3c d>cdf | g2 (c>d) c2 (B>c) |

d2f2 (ed)(cB) | d2d2b3a | g>bgf d>cdf | A2 B>A G2 || (d>=e) | f3g (gf)(ed) |

b2 f>g f2 ba | g3a (ba) (bc’) | d’2 (g>a) g2 (f>e) | d2b2 (fd)(cB) |

c2d2 b3a | g>bgf | d>cdf | A2 B>A G2 ||

 

BUTTERED PEAS(E) [1]. AKA and see “Highland Wedding [1],” "Jack's Be The Daddy On't," "Reel of Stumpie," “Stumpie/Stumpey,” "No Man's Jig." English; Air, Reel or Country Dance Tune. England, Northumberland. G Major. Standard tuning. AABB. The tune can be found in James Ralph’s Fashionable Lady (1730), and subsequently appeared in English ballad operas of the early 1730's such as John Gay's Achilles (1733, whose version of the words appear below), The Fashionable Lady, or Harlequin’s Opera (1730), The Female Parson (1730), The Boarding School (1732), The Decoy (1733) and The Whim (1734). It became popular enough to have been transported to the Continent in the 18th century, where, for example it could be heard in Italy as “Piselli al Burro.” “Buttered Pease” appears in several tune books and fiddlers’ manuscripts from the 18th century. It was published by Walsh in his Compleat Country Dancing Master (London, 1731) and in a later (1754) edition of the same volume; by Johnson in (Daniel) Wright’s Complete Collection of Celebrated Country Dances (London, 1740); by Charles and Samuel Thompson in their Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765); and by James Aird in vol. 1 of his Selections of Scotch, English, Irish and Foreign Airs (Glasgow, 1782). It was included in the 1790 music manuscript copybook of London musician Thomas Hammersley, and the 1747 music manuscript of Walter Rainstorp, also from (Cheapside) London.

***

Angus Mackay arranged the tune for the Highland pipes and called it "The Highland Wedding".  See Bayard's note for the Pennsylvania collected "The Drunken Sailor," of which this tune forms the second strain. It is arranged as a duet by W.J. Stafford in Hall & Stafford's Charlton Memorial Tune Book.

***

Should the Beast of the noblest race

Act the Brute of the lowest class;

Tell me which do you think most base,

Or the Lion or the Ass?

***

Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 53. Peacock’s Tunes, c. 1805/1980; No. 41, pg. 18. Raven (English Country Dane Tunes), 1984; pg. 142. Scott (English Song Book), 1926; pg. 12. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 173. Wilson (Companion to the Ball Room), 1816; pg. 87. Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Buttered Peas [1]

M:2/4

L:1/8

K:G

d/c/ | Bd dc/B/ | ce ed/c/ | Bd dc/B/ | cA Ad/c/ | Bd dc/B/ | ce ed/c/ | Bd Ac | BGG :|

|: d/c/ | Bd g>a | g/f/e/d/ gd | Bd gf/g/ | aA Ad/c/ | Bd g>a | g/f/e/d/ gd/c/ | Bd Ac | BGG :|

X:2

T:Butter’d Pease  [1]

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

K:G

B2d2 d2 cB|c2e2 e4|B2d2 d2cB|c2A2 A4|B2d2 d2cB|c2e2 e4|BcdB ABcA|B2G2 G4:|

|:B2d2d2 ef|gfga g4|B2d2d2cB|c2A2 A4|B2d2d2 ef|gfga g4|BcdB ABcA|B2G2 G4:||

 

BUTTERED PEASE [2]. AKA and see “Jockey has gotten a wife.” Country Dance Tune (6/4 time). The melody, a version of “Jockey had gotten a wife,” appears under this title in the ballad opera The Female Parson (1730); the same opera has a version of “Buttered Pease” under the “Jockey” title, thus the two titles were reversed, according to Bruce Olson.

 

BUTTERFLY CHAIN, THE. Scottish.  C Major. Standard tuning. Composed by ex-Battlefield Band fiddler Brian McNeil.

 

BUTTERFLY HORNPIPE. Old‑Time, Breakdown. USA, Nebraska. A Major. Standard or AEae tunings. AABB. See the related tune "Brilliancy." Source for notated versions: Bob Walters (Burt County, Nebraska) [Christeson, Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 9. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 184.

 


BUTTERFLY [1], THE. Irish, Polka. D Major ('A' part), A Major ('B' part) & G Major ('Trio'). Standard tuning. AAB and Trio. Roche Collection, 1982; vol. III, pg. 47, #146.

 

BUTTERFLY [2], THE. English, Country Dance Tune (2/2 time). A Major. Standard tuning. ABA’. The tune is apparently a folk‑process derivation of "I'd be a Butterfly," words and melody by Thomas Haynes Bayly. The melody was printed by Playford. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 76. Sharp (Country Dance Tunes), 1909/1994; pg. 2.

X:1

T:Butterfly, The [2]

M:2/2

L:1/8

K:A

c4d2d2|e2c2A4|a4g2f2|f2e2e4|c4d2d2|e4 (3fga|c4d2B2|A4A4||

B3BB2B2|c2B2B4|B4BB2B2|c2B2B4|B3BB2B2|c3cc2c2|d3dd2d2|e8||

c4d4|e2d2A4|a4g2f2|f2e2e4|c4d2d2|e4 (3fga|c4d2B2|A4A4||

 

BUTTERFLY [3], THE. AKA and see “Óró, a Thaidhg, a Ghrá,” "Skin the Peeler(s)." Irish, Slip Jig. E Minor/Dorian. Standard tuning. AABBCC. Composition of the “The Butterfly” is credited to the late fiddler Tommy Potts, who knew the first two parts of the tune from his father, Sean, an Uilleann piper (the two-part tune appears in Coles 1000 as “Skin the Peeler” and “Barney’s Goat”). Caoimhin Mac Aoidh gives that Potts was working in his garden one day when he noticed the erratic flight of a butterfly flitting about. Intrigued, Potts tried to mimick the rhythm of the insect while he continued to work in the garden, and was inspired to come up with the third part of the tune. The first two existing parts were altered rhythmically to fit. It has become a commonly heard tune at sessions, to the dismay of many who find overplaying has made it unpalatable. The tune is called “Skin the Peeler” by Highland bagpipers. “Barney’s Goat” resembles the second and third parts of the slip jig. “Óró a Thaidhg a Ghrá” and “Stoneybatter” are related tunes. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 47 (appears as “The Friendly Brooke”, the name of a country dance by Chris Sackett written in 2001 to the tune). Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 79. Mallinson (Enduring), 1995; No. 91, pg. 38. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 38. Green Linnett SIF3011, The Bothy Band - “1975.”  North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Tommy Potts - “The Liffey Banks.” Paddy Glackin & Jolyon Jackson – “On Hidden Ground.”

X:1

T:Butterfly, The

L:1/8

M:9/8

K:Emin

|: ”Em”B2E G2E F3 | ”Em”B2E G2E “Bm”FED | ”Em”B2E G2E FGA |

”G”B2d d2B “D”AFA | ”Em”B2E G2E F3 | ”C”B2E G2E FED | ”C#/A”B2E G2E FGA |

”D”B2d d2B AFA || “Cmaj7”B2d e2f g3|”Cmaj7”B2d g2e “Bm”dBA |

“Cmaj7”B2d e2f g2a | “Cmaj7”b2a g2e “Bm”dBA  | “Cmaj7”B2d e2f g3 |

”Cmaj7”B2d g2e “Bm”dBA | “Cmaj7”B2d e2f “Bm”g2a | “Am”b2a g2e “D#B7”dBA ||

|: ”Em”B3 B2A G2A | “Em”B3 BAB “Bm”dBA | “Cmaj7”B3 B2A G2A | “Am”B2d g2e “D”dBA :|

 

BUTTERFLY [4], THE. AKA and see "Souters o’ Selkirk." English, Jig (9/8 time). England, Northumberland.

 

BUTTERFLY [5], THE. Irish, Harp Air (6/8 time). A Minor. Standard tuning. AB. Bunting noted in his manuscript that this was either the second, third or fourth tune learned by beginning harpers. Ann Heymann notes that there is an old Irish belief that the butterfly represented a dead soul waiting to enter Purgatory, and that folklore has it that the spirit of a living person can also leave the body while asleep and travel in the form of the insect. Source for notated version: Bunting's manuscript, noted from the ancient harper Patrick Quin of County Armagh, one of ten harpers in attendance at the Belfast Harp Festival, held in 1792 [Heymann]. Heymann (Secrets of the Gaelic Harp), 1988; pg. 55.

                       

BUTTERFLY REEL [1], THE. Irish, Reel. G Major. Standard tuning. AABB. Green Linnet SIF 1159, “Trian II.”

X:1

T:Butterfly Reel, The [1]

R:reel

S:Billy McComiskey

D:Trian II

Z:Adrian Scahill

M:4/4

L:1/8

K:G

B3A GEE2|EBEB dBAd|(3B^cd BA GABe|dBAd BEE2:||\

(3B^cd ef gefA|(3B^cd ge dBAd|(3B^cd ef g3a|bage dBAd:||

 

BUTTERFLY REEL [2], THE. American, Reel. G Major. Standard tuning. AABB. White’s Unique Collection, 1896; No. 89, pg. 16.

X:1

T:Butterfly Reel [2]

M:C|

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 89

Z:AK/Fiddler’s Companion

K:G

(3DEF | G2 (BG) cGBG | cGBG ADEF | G2 (BG) cGBG | AdcA G2 :|

|: (3def | g2 (3agf gaba | g2 (3agf gaba | g2 (3agf gdBd | egfa g2 :|

                       

BUTTERFLY WALTZ.  AKA and see “Life Let Us Cherish.” Old‑Time, Waltz. USA, Texas. C Major. Standard tuning. AB. Christeson noted the tune at the Texas Fiddlers’ Association in 1950. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 236, pg. 191.

X:1

T:Butterfly Waltz

M:3/4

L:1/8

R:Waltz

S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 236  (1973)

Z:AK/Fiddler’s Companion

K:C

E2|E4G2|c4 de|g4 a2|g6|ga ge cA|GA GE CA,|B,6|G,6|

F4G2|B3c ^cd|g4a2|g6|gag a ga|gag a g^f|a4g2|e6|

E4G2|c4 de|g4a2|g6|ga ge cA|GA GF Ec|d4 c2|A4c’2|

c’6|b4a2|(g6|g2)G2f2|e4G2|e4d2|[(E6c5][E4)c4]||

gf|e2 ed (c2|c2)g2f2|e2 ed (c2|c2)g2f2|e3d e2|

a4e2|g4^f2|=f2a2g2|f2 fe (d2|d2)a2g2|

f2 fe(d2|d2)a2g2|f3 g ag|b3 f ab|a4^g2|g4 gf||


                       

BUTTERMILK AND CIDER. AKA and see "Off/Going to California [1]," "Old Towser," "Fireman's Reel," "You Bet," "Miss Johnson's Hornpipe," "Portsmouth Hornpipe," "The Silver Cluster," "Belle of the Kitchen [2]," "Whiskey, You're the Devil," "Whiskey in the Jar," "Gypsy Hornpipe [4]," "Possum Up a Gum Stump(, Coonie in the Hollow) [1]," "Lexington." Old‑Time, Reel. USA, southwestern Pa. A Major. Standard tuning. AB. Bayard (1981) states that this tune, sometimes played as a hornpipe, sometimes a reel, is the local southwestern Pa. title for a member of the large and well‑known "Off/Going To California" tune family. Sources for notated versions: Irvin Yaugher Jr. (Mt. Independence, Pennsylvania, 1943, learned from a regional fiddler, Jim Lawry) [Bayard, 1944]: Sam Losch, Brown Hall, Wilbur Neal, James Smalley (southwestern Pa.) [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 18. Bayard (Dance to the Fiddle), 1981; No. 351A‑D, pgs. 345‑346. Cole (1000 Fiddle Tunes), 1940; p. 8, (appears as "The Silver Cluster"), pg. 20 (appears as "You Bet"), pg. 86 ("Portsmouth Hornpipe"), pg. 104 (appears as "Miss Johnson's Hornpipe"). Ford (Traditional Music in America), 1940; p. 108 (appears as "Old Towser"). Harding’s Original Collection, No. 108. Jigs and Reels, p. 14 (appears as "Fireman's Reel"). O'Neill (Music of Ireland), 1903; No. 341. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; Nos. 1567, 1628, 1629, 1639. Robbins, No. 126 (1st part). Scanlon, p. 75 (appears as "Whiskey, You're the Devil"). White's Excelsior Collection, pg. 22 (appears as "Belle of the Kitchen", a 6/8 version), pg. 24 (first part of "The Silver Cluster").

 

BUTTERMILK AND PRATEES [1]. Irish, Jig. D Major. Standard tuning. AABB. Composed by one Tom Doyle according to Ryan’s Mammoth Collection. Cole (1000 Fiddle Tunes), 1940, pg. 71. Ryan’s Mammoth Collection, 1883; pg. 103.

X:1

T:Buttermilk and Pratees [1]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(ag) | fed fga|fed AFD|FAd def|({g}f)ee eag|fed fga|fed AFD|FAd efg|(fd)d d:|

|:(ag)|fdd fdd|fdd fga|e=cc e=cc|e=cc e^fg|fdd fdd|fdd fga|bc’d’ afd|(ed)d d:|

 

BUTTERMILK AND PRATIES [2]. Irish, Slip Jig. C Major. Standard tuning. AABB. Harding’s All-Round Collection, 1905; No. 1, pg. 1.

X:1

T:Buttermilk and Praties [2]

M:9/8

L:1/8

R:Slip Jig

S:Harding’s All-Round Collection, No. 1 (1905)

Z:AK/Fiddler’s Companion

K:C

c2d e2f gec|d2ef2g a3|c2d e2f gec|g2e gec d2z:|

|:g2c cec BAG|ABA cBA G2E|FGF AGF EFG| ABc dcB c2z:|

 

BUTTERMILK MARY('S) [1] (Maire Na Blaitce). Irish, Double Jig. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 64. O'Neill (Krassen), 1976; pg. 52. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1002, pg. 187. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 217, pg. 50. Ryan’s Mammoth Collection, 1883; pg. 95. 

X:1

T:Buttermilk Mary [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 217

Z:AK/Fiddler’s Companion

K:A

A/B/| cAF FEC| Eac ecA| def edc| cBB Bed| cea ecA| daf ecA| dfd ced| cAA A2:|

|:c/d/| eaa agf| ecA Ace| fbb b2a| gee efg| aba gag| fgf efg| aec Bed| cAA A2:|

 


BUTTERMILK MARY [2]. AKA and see “Scarce o’ Taties [2],” "Sweeney's Buttermilk," "Charlie Lennon's No. 2." Irish, Reel. B Minor. Standard tuning. AABB. Sometimes called “Charlie’s Buttermilk Mary,” and perhaps because of this it has been attributed to Charlie Lennon. Lennon, however, denied having anything to due with the tune which was actually written by fiddler Brendan McGlinchey of County Armagh, who called it “Sweeney’s Buttermilk.” Mallinson (Essential), 1995; No. 34, pg. 16.

 

BUTTERMILK MARY [3]. AKA and see AKA and see “Coleman’s Favourite,” “Coleman’s (Jig) [3],” “Fond of the Ladies,” “The Frolicksome Dame,” “Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche “To the Ladies,” “Sweet Biddy Daly.”

 

BUTTON THAT SUITS THE CLOTH, THE.  English, Jig. England, Northumberland. G Major. Standard tuning. AABB. The melody appears in the 1770 music manuscripts of William Vickers’, about whom, unfortunately, little is known.

X:1

T:Button that Suits the Cloth, The

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pg. 48  (1770)

Z:AK/Fiddler’s Companion

K:G

BAB GBG|GAB gdc|BAB GBG|A2B c3|BAB GBG|

GAB gdB|cac BgB|A2B c3::Bcd ded|def gdc|

Bcd ded|e2f g3|Bcd ded|def gdB|cac BgB|A2B c3:|

 

BUTTON'D SMOCK, THE. AKA and see "London is a Fine Town," "Watton Town's End." The tune appears under this title in "Pills to Purge Melancholy."

 

BUTTONHOLE [1], THE. AKA and see "The Rose of Rochester."

 

BUTTONHOLE [2], THE. Irish, Air (4/4 time). A Minor. Standard tuning. AB. Source for notated version: the manuscirpts of the 19th century Irish collector Bunting [Heymann]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 102, pg. 37. Heymann (Secrets of the Gaelic Harp), 1988; pgs. 114-115.

X:1

T:Button Hole, The [2]

M:2/4

L:1/8

S:Aird, vol. II (1785)         

Z:AK/Fiddler’s Companion

K:Ador

f/g/ | aAAd | BG Gf/g/ | aAAB/c/ | d/c/B/A/ Gf/g/ | aAaA | aA Af/g/ |

a/g/f/e/ d/e/d/c/ | BGG || B/c/ | d/c/d/f/ ed | cAAc | G/B/d gd |

BG GB/c/ | d/^c/e/=f/ ed | cAAf/g/ | a/g/f/e/ d/e/d/c/ | BGG ||

 

BUTTONS THREE FARTHINGS A PAIR [1]. AKA and see "The Thrashers."

 

BUTTONS THREE FARTHINGS A PAIR [2]. English, Slip Jig. England, Northumberland. D Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript copybook of Northumbrian musician William Vickers, about whom little is known. Seattle (William Vickers), 1987, Part 3; No. 453.

X:1

T:Buttons Three Farthings a Pair [2]

M:9/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pg. 134  (1770)

Z:AK/Fiddler’s Companion

K:D

D2g fec d3|ecA BGB AFD}D2g fed d3}cde EFG A3:|

|:ABc cBA BAG|Bcd dcB cBA|efg ede ecA|BGB AFA D3:|

 

BUXTON RACES. English, Jig. England, North‑West. C Major. Standard tuning. AABB. The town of Buxton is in Derbyshire and was famous as a spa town. Mary, Queen of Scots, was allowed to visit it in 1573 in the hope the waters would improve her health. Knowles (Northern Frisk), 1988; No. 46.

 

BUY-A-BROOM WALTZ. AKA – “Union Waltz.” AKA and see “Broom Waltz.” English, Waltz (3/8 time). C Major (Ashman, Howe): D Major (Sumner): D Major {‘A’ and ‘B’ parts} & D Minor {‘C’ and ‘D’ parts} (Kennedy). Standard tuning. AABB (Ashman, Howe): AABBCC (Sumner): AABBCCDD (Kennedy). The tune is familiar as the vehicle for the words to the nursery song known variously as "Did you Ever See a Lassie," "I'm a Little Dutch Girl" or "Lieber Augustine." Editor Ashman notes that Dutch and Deutsch (for 'German') seem to have been confused in Shropshire {as they were in the United States when the German immigrant Amish were labelled Pennsylvania Dutch'}, and that 'buy-a-broom' girls from Bavaria were in trouble as itinerants in England in the early 19th century. In fact, the tune is an adaptation of the German melody “O Du Lieber Augustin.” Wulf Stratowa, writing in Oesterreichishce Lyrik aus Neun Jahrhunderten (Vienna, 1848) identifies the composer as Marx Augustin, an itinerant bagpiper who was said to have survived a number of calamities, including the plague in 1679 and the Turkish occupation of Vienna in 1683. Augustin died on an Austrian highway in October, 1705. “Buy a Broom” was popularized in England in the early 19th century by the famous singer and actress, Madame (Eliza) Vestris (1797-1856), who sang the song on the London stage in 1826, dressed as a Bavarian peasant. The “Buy a Broom” title appears in a list of Maine fiddler Mellie Dunham's tunes (Dunham was Henry Ford's champion fiddler in the latter 1920's). The song was published in Philadelphia by George Willig in 1827. Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 44b, pg. 16. Howe (Complete Preceptor for the Accordeon), 1843; pg. 23. Howe (Diamond School for the Violin), c. 1861. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 103, pg. 25. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 79.

X:1

T:Union Waltz

T:Buy a Broom

L:1/8

M:3/4

S:Elias Howe – Diamond School for the Violin (c. 1861)

Z:AK/Fiddler’s Companion

K:D

df | a2 abag | f2d2d2 | e2A A2 | fede fg | a2 abag | f2d2d2 | e2A2A2 | d4 :|

|: cd | e2A2A2 | f2d2d2 | e2A2A2 | fede fg | a2 abag | f2d2d2 | e2A2A2 | d4 :|

 


BUY BROOM BUZZEMS. English, Scottish; Country Dance and Song Tune (3/4 time). England, Northumberland. G Major. Standard. AB. "This unique little ballad, quaint and simple alike in music and words, is popularly attributed to William Purvis, commonly called 'Blind Willie', one the the most worthy and famous of the Newcastle eccentrics. He was the son of John Purvis, waterman, and born about the beginning of 1752, having been baptized at All Saints Church on the 16th February of that year. This eccentric character never enjoyed the faculty of sight, and many still living remember the cosy, contented, and sightless face of Willie as he trudged along the streets without a covering on his head. Several attempts were made by presenting him with a hat to induce him to wear one; but after having borne the infliction for a day or two, it was thrown aside, and the 'Minstrel', as he was called, again appeared uncovered, preferring the exposure of his hoary but well‑thatched pate to the pelting of the pitiless storm. Blind Willie was perfectly acquainted with all the streets, lanes, and chares of his native town, and made his way everywhere without a guide, only using a long stick. His happy, contented nature made him a universal favourite with all ranks of society; and he had his regular places of call, where he was always welcome and duly served. At the inns and public houses of the town Blind Willie's presence in the taproom was a sure attraction, and his voice and fiddle in harmony, singing some quaint local ditty, gave never failing delight to his appreciative audiences. 'Buy Broom Buzzems' was usually considered to be Willie's chef‑d'oeure, and he was in the habit of adding new verses, either made by himself or made for him, having no connection with the original theme. They have, therefore, been omitted here. Blind Willie died in All Saint's Poorhouse on 20th July, 1832, upwards of eighty years of age" (Bruce & Stokoe).

***

If ye want a buzzem

For to sweep yor hoose,

Come to me, ma honey,

Ye may hae yor choose.

***

CHO:

Buy Broom buzzems,

Buy them when they’re new

Fine heather bred uns

Better never grew.

***

Raven (English Country Dance Tunes), 1984; pg. 134. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 118. Welling (Welling’s Hartford Tune Book), 1976; pg. 18. Tidy House Music THM 011999, The Fosbrooks – “As Pants the Hart.”

X:1

T:Buy Broom Buzzems

M:3/4

L:1/8

S: Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:G

GB de cA|GB de c2|GB de cA|BG GE c2||

A2A2 FD|GG GB c2|A2 AG FD|GB cA G2||


                       

BUZZARD IN A PEA PATCH. AKA and see “Turkey in a Pea Patch.” Old-Time, Breakdown. D Major. Standard tuning. AB. The tune is traced to Kentucky fiddler Buddy Thomas, who recorded it as “Turkey in a Pea Patch” on his influential “Kitty Puss” album. The use of “Buzzard” in the title is apparently from the Stonekings. Source for notated version: Glenn Berry [Silberberg]; Fred Stoneking (b. 1933, Missouri), learned from Buddy Thomas (Kentucky) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 136. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 19. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996).

                       

BWLCH LLANBERIS (Llanberis Pass).  Welsh, Waltz or Air (3/4 time). D Major. Standard tuning. AABB. Llanberis Pass is in Snowdonia, north Wales (bwlch means a mountain pass). The tune comes from The Welsh Harper, vol. 2 (1848), a collection by harpist John Parry (1776-1851), ‘Bardd Alaw’.

X:1

T:Bwlch Llanberis

M:3/4

L:1/8
Q:160

C:Trad

S:Blodau’r Grug Collection vol. 1

R:Waltz

A:Wales

Z:brian_martin12345@yahoo.com

K:D

de|f2af ef|d2A2Bc|d2af df|e4de|fg fe dc|B2A2de|f2gf ef|d4:||!

fg|a2fa gf|f2e2dc|d2fd Bd|c4de|fg fe dc|B2A2de|f2gf ef|d4:||

 

BY A BANK AS I LAY. English, Air (4/4 and 3/2 time). F Major. Standard tuning. One part. The song appears in the British Museum MSS Reg. Appendix 58. A sixteenth century ballad, it was recorded in period accounts as a favorite of Henry VIII, a skilled amateur musician who liked to sing. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 46‑47.

           

BY GOLLY.  AKA and see “Neary’s.”

 

BY MEN BELOV’D. English, Air (4/4 time). G Major. Standard tuning. AB. The air appears in Muses Delight (1754) and Bickham’s Musical Entertainer, vol. 2 (1740). Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 27.

X:1

T:By Men Belov’d

M:C

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

d2 | (BG)(AF) G2c2 | (BG)(AF) G3A | B>AB^c d2zG | F>GA>B A2 zA | (3AGF (3FED (3Dd^d d>B |

(3AGF G>E D2 || d2B2^G3G | A2B2c2A2 | c2A2F3F | G2A2B2G2 | A2g2^c3d | dc/B/AG F4 |

z2 c2 (BG) (AF) | G2c2 (BG) (AF) | G2c2 (BA) (BG) | (gf/e/)dc B2A2 | G8 ||

           

BY SUMMERS. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 5.

 

BY THE BROOKSIDE (Ann Aice an Srutan). Irish, Air (4/4 time). C Major. Standard tuning. AB. Source for notated version: credited to Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 373, pg. 65.

X:1

T:By the Brookside

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 373

Z:AK/Fiddler’s Companion

K:C

d|e>dcA GED>C|EGG>c c3d|e>deg Bcf>e|e2d2 z2 c>d|e>dcA GED>C|

EGG>c c3d|e>deg Bcfe|d2 c2 z2||e2|d>^cde A3e|d>^cde A3B|=c>dcA Gcfe|

e4 d2d2|e>fec AB c2|f>gfd Bc d2|g>age cdec|agge d2c2|E>D C2 c>d e2|

F>E D2 d>e f2|G>F E2 e>fgf|ecfe d2 c2||

 

BY THE FIRESIDE [1] n. Canadian, Polka. C Major. Standard tuning. AABB. Composed by Canadian fiddler Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 103, pg. 66.

 

BY THE FIRESIDE [2]. Canadian, Jig. C Major (‘A” part) & G Major (‘B’ part). Standard tuning. AABB’. Source for notated version: Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 146.

 

BY THE FORT HOW SAD WAS I. Irish, March (4/4 time). Ireland, northern Ireland. D Major. Standard tuning. AABB. Source for notated version: fiddler John McKeown [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 245.

 

BY THE LIGHT OF THE MOON. American?, Country Dance (6/8 time). C Major ('A' part) & G Major ('B' part). Standard tuning. AABB. Hardings All Round Collection, 1905; No. 47, pg. 14.

 

BY THE OLD FAIRY FORT. AKA and see “Her Golden Hair Was Curling Down.” Irish, Hornpipe. From the repertoire of Sliabh Luachra fiddler Padraig O’Keeffe. Recorded under the “Fairy Fort” title by County Cork accordion player Jacky Daly. Gael-Linn CEF 176, Jacky Daly - “Many’s the Wild Night.” John Brosnan - “The Cook in the Kitchen.”

 

BY YOUR LEAVE, LARRY GROGAN. AKA and see “Bliven’s Favorite,” "The Butchers of Bristol [1]", "Coppers and Brass [2]", “The County Limerick Buckhunt," "Finerty's Frolic," “Green Sleeves [3]," "Groom," "Hartigan's Fancy," “The Humours of Ennistymon [1]," "The Humours of Miltown [2]," "Larry Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Jig. A member of a large tune family. O’Neill prints another variant as “Hartigan’s Fancy.” See note for “Groom.” O’Neill (1000 Gems), 1907/1986; No. 132.

 

BYE-BYE MY HONEY, I'M GONE. AKA and see “Goodbye, My Honey, I’m Gone.” Old-Time, Breakdown. D Major. Standard tuning. AABB. See also the Ozarks version (“Goodbye, My Honey, I’m Gone”). Source for notated version: Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 43.

                       

BYER’S MAGGOT.  AKA and see “Boyer’s Maggot,” “Capt. Jas. Robertson 76th Regts. Reel.” English, Reel. G Major. Standard tuning. AABB. The tune appears under the “Byer’s Maggot” title in the 1770 music manuscript collection of Northumbrian musician William Vickers. Unfortunately, nothing is known of him. However, the melody was printed in several London dance music publications as “Boyer’s Maggot”, including John Hinton’s Universal Magazine of Knowledge and Pleasure (1758), David Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (1750) and his Compleat Collection of 200 Country Dances, vol. 2 (1760), and Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 8.

X:1

T:Byer’s Maggor

M:C|

L:1/8

R:Reel

S:William Vickers’ 1770 music manuscript (Northumberland)

K:G

DGGB GABG|ADDF ABcA|BGGA BcdB|cAdB G/G/G G2:|

Bd d2 BdBG|ce e2 cecA|Bd d2 ef g2|dBcA G/G/G G2:|

X:2

T:Boyer’s Maggot

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

K:G

G>DD>E G>AB>G|A>FE>D A>Bc>A|B>GG>A B>cd>B|cAdB G2G2:|

|:(B/c/d) d2 BcdB|(c/d/e) e2 cdec|(B/c/d) d2 (e/f/g) g2|cAdB G2G2:||

                       


BYRNE'S FAVORITE (HORNPIPE). AKA and see "Alexander's Hornpipe." American (?), Hornpipe. D Major. Standard tuning. AABB (Cole): AA'BB' (Kerr). Not Williamson's "Byrne's Hornpipe.” O’Neill prints the tune as “Alexander’s Hornpipe.” Cole (1000 Fiddle Tunes), 1940; pg. 108. Kerr (Merry Melodies), vol. 2; No. 374, pg. 41. Ryan’s Mammoth Collection, 1883; pg. 145.

X:1

T:Byrne’s Favorite

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

d/c/ | d/A/F/A/ D/F/A/d/ | f/d/A/d/ F/A/d/f/ | g/f/g/e/ f/e/f/d/ | e/d/c/B/ A/B/c/A/ |

d/A/F/A/ D/F/A/d/ | f/d/A/d/ F/A/d/f/ | g/a/b/g/ f/a/c/e/ | ddd :|

|: A/G/ | F/A/d/A F/A/d/A/ | G/B/d/B/ G/B/d/B/ | A/c/e/c/ A/c/e/c/ |

d/f/a/f/ g/e/c/A/ | F/A/d/A/ F/A/d/A/ | G/B/d/B/ G/B/d/B/ | A/c/e/g/ f/a/c/e/ | ddd :|

 

BYRNE'S HORNPIPE [1] ("Cornphíopa Uí Bhrion" or "Crannciuil Ui Broin). AKA and see “Bryant’s Favorite Hornpipe,” "Tommy Hill's Favorite." Irish, Hornpipe. D Major (O'Neill, Sullivan): D Mixolydian (Breathnach). Standard tuning. AABB. The alternate title “Bryant’s Favorite” comes from early recordings by New York accordion player John J. Kimmel. Renowned County Sligo fiddler Michael Coleman (1891-1945) recorded the tune in New York in 1927, the first tune in a medley with “Tommy Hill’s Favourite” by which name it is sometimes (erroneously) called. It was also recorded on a 78RPM by the old Ballinakill Ceili Band of Galway in the early 1930’s. Mike Rafferty says that Byrne was from the same east County Galway parish as were the Rafferty family (Harker, 2005). Sources for notated versions: piper Seán Potts (Ireland) [Breathnach]; piper (and Chicago Police) Sergeant James Early [O’Neill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926, a setting from the Ballinakill Traditional Dance Players [Harker]. Breathnach (CRÉ I), 1963; No. 208, pg. 84. Carlin (Master Collection), 1984; No. 286, pg. 161 (appears as “Bryant’s Favorite”). Harker (300 Tunes from Mike Rafferty), 2005; No. 256, pg. 79. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 47. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 10 (appears as “Tommy Hill’s Favorite”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 113. O'Neill (Krassen), 1976; pg. 183. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 865, pg. 149. O’Neill (Music of Ireland), 1903; No. 1638. Sullivan (Session Tunes), vol. 2; No. 44, pg. 18. Edison 52488 (78 RPM), John H. Kimmel (1928. Appears as “Bryant’s Favorite”). Intrepid Records, Michael Coleman (appears as “Tommy Hill’s Favorite”). Kells Music 9509, Mike and Mary Rafferty – “The Dangerous Reel” (1996). Larraga MMR112000, Mike & Mary Rafferty – “The Road from Ballinakill” (2001). Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Byrne’s Hornpipe [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 865

Z:AK/Fiddler’s Companion

K:D

A>G|F>EF>G A>FD>c|d>Bc>d e>cA>g|f>dg>e f>de>c|(3dcB c>d e>cA>G|

F>EF>G A>FD>c|d>Bc>d e>cA>g|(3faf d>f (3ege c>e|d>fe>c d2:|

|:c>d|e>cA>c e>fg>e|a>fd>f b>ge>g|a>fd>f g>ea>f|(3gfe f>d e>cA>G|

F>EF>G A>FD>c|d>Bc>d e>cA>g|(3faf d>f (3ege c>e|d>fe>c d2:|

X:2

T:Byrne’s Hornpipe [1]

R:Hornpipe

Z:id:hn-hornpipe-53

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

M:C|

L:1/8

K:D

AG|F2GE AFD2|dA (3Bcd ecAe|fdge fded|cA (3Bcd ecAG|

F2GE AFD2|dA (3Bcd ecAe|fdge fdec|Addc d2:|

|:cd|eA~A2 efge|afdf bgeg|afdf geaf|gefd ecAG|

F2GE AFD2|dA (3Bcd ecAe|fdge fdec|Addc d2:|

 


BYRNE'S HORNPIPE [2]. AKA and see “Alexander’s Hornpipe,” “The Sandlark.” Irish, Hornpipe. D Major. Standard tuning. AABB. The tune is usually known as “Alexander’s Hornpipe.” Source for notated version: fiddler and miller Nicholas Furlong (Mill of Rags, Wexford, Ireland), noted from his playing at one of the Feis Ceoil competitions at the turn of the 20th century [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 84, pg. 39.

 

BYRNE'S HORNPIPE [3]. Scottish, Hornpipe. B Minor. Standard tuning. AABB. Williamson (1976) believes there are several possibilities as to the person referred to in the title, including a Border minstrel named Burne the Violer, a famous Irish giant named Charles Byrne (who Williamson says died in Margate at the age of twenty‑three after requesting that his coffin, which measured nine feet, four inches, be thrown into the ocean because of his fears his body would be medically dissected), and finally the Irish blind fiddler Michael Byrn (who was hired by the notorious Captain Bligh at the beginning of the ill‑fated voyage of The Bounty). Kerr (Merry Melodies), Vol. 3; No. 337, pg. 36. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 57.

                                   

BYRNES OF GLEANN CHOLM CILLE, THE.  Irish. A ‘family tune’, say the notes. Duval & Jones (A Dossan of Heather: Irish traditional music from Packie Manus Byrne of Donegal for tin whistle, fiddle or flute), 2000.

                                   

BYRNE’S REEL. AKA and see “Burn’s Reel,” “Within a Mile of Clonbur.” Irish, Reel. Ireland, County Donegal. G Major. Standard tuning. AAB. Source for notated version: fiddler John McKeown [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 235.

                       

BYRNS MARCH. Irish, March (cut time). D Major. Standard tuning. AABB. O’Farrell notes this is “a very old tune” to be played “rather Slowish.” O’Farrell (Pocket Companion for the Irish or Union Pipes, Vol. 1), c. 1805; pgs. 30-31.

X:1

T:Byrns March

M:C|

L:1/8

R:March

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

Z:AK/Fiddler’s Companion

K:D

A | d2 dc ABcA | d2 dc A2GF | d2 dc ABcA | d2 dc A2 GF | BcBA F3A |

BcBA F2 ED | d2 dA BcBF | A2 AE F2 ED | D3E DEFD | EDEG F2 ED |

D2D2 DEFD | EDEF D3E | D3E DEFD | EDEG F2ED | D2D2 DEFD |

EDEF D3 :: ABAG F2F2 | ABAG F2ED | BcBA F3A | BcBA F2 ED |

A2 Bc d3 c/B/ | A2D2F2ED | dedA BcBF | ABAE F2 ED | d3e defd |

edeg f2 ed | d3e defd | edef dBAB | d2d2 defd | edeg f2 ed | d3e defd | edef d2 :|

                       

BYRON AND DONNA STUBBERT. Canadian, Jig. Canada, Cape Breton. G Dorian. Standard tuning. AABB’. Composed by fiddler Donna Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 116, pg. 41. Brenda Stubbert - “Tamerack ‘er Down” (1985).

 

BYRON’S.  Irish,  Copely Records 9-114 (78 RPM), Paddy Cronin (195?).

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 

 

 


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.