Ceolas: The Fiddler's Companion

Result of search for "Bill":

ABE'S RETREAT. AKA and see "The Battle of Bull Run," "Manassas Junction." Old-Time, Breakdown. USA, W.Va. A Mixolydian. Standard, AEAE or GDGD (Harvey Sampson). AABB. The alternate title makes it clear that the Abe referred to is Abraham Lincoln, who, as President, was Commander in Chief of the Union army which met a disastrous defeat at the Battle of Bull Run (or, in the South, the Battle of 1st Manassas), Virginia, July 21st, 1861. Another famous West Virginia fiddler, Burl Hammons, plays a similar tune, according to Bill Hicks (1975), and remembers a song connected with the tune having to do with Noah's Ark, with the refrain "forty days and forty nights." Sources for notated versions: collected in the 1950's from W.Va. fiddler Emory Bailey by Dr. Malvin Artley of Elon College, N.C., via the Red Clay Ramblers (N.C.) [Spandaro]; Paul Kotapish (Berkeley, CA, c. 1970's) [Songer]. Songer (Portland Collection), 1997, pg. 17. Spandaro (10 Cents a Dance), 1980; pg. 47. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va., fiddler from his father and brother Homer). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Flying Fish 009, Red Clay Ramblers - "Stolen Love" (1975).
T:Abe's Retreat
L:1/8
M:C|
K:A Mix
AdBG A2 cd|efgd e4|A2BA GABA|G E2 G E4|AcBG A2 cd|efgd e3a|
B2a2g2 ed|c A2 B A4:|
|:a3g agef|g2f2 e4|agba gaba|g e2 g e4|a3g agef|g2f2 e3a|b2a2g2 ed|c A2 B A4:|

ALASTAIR HARDIE. Scottish, Reel. E Flat Major. Standard. AB. Composed by Alastair's father, Bill Hardie, both famous Scottish fiddlers. Hardie (Caledonian Companion), 1986; pg. 43.

ANDERSON'S REEL [1] (Ríl Mhic Aindriú). AKA and see "The Flowers of Redhill," "Michael Anderson's," "The Queen of May," "Pretty Girls of the Village" [2], "The Wild Irishman." Irish, Reel. D Major: D Mixolydian (Breathnach). Standard. AB (Breathnach): AAB. Michael Anderson was a piper from County Sligo and an early 20th century comtemporary of the renowned fiddler Michael Coleman (1891-1945, who highly regarded Anderson's playing, according to Harry Bradshaw in his biography of Coleman). Editor David Taylor (1992) notes this tune is frequently played starting on the 'B' part, "especially when coming from a tune in 'G,'" and is sometimes noted that way (as in Irish Tin Whistle Legends, pg. 44). Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]. Black (Music's the Very Best Thing), 1996; No. 170, pg. 89. Breathnach (CRE I), 1963; No. 163, pg. 64. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 10. Taylor (Where's the Crack?), 1992; pg. 4. Taylor (Music for the Sets: Yellow Book), 1995; pg. 33. Shaskeen - "The Joys of Life." Shanachie 29015, Paddy O'Brien & James Kelly - "Is It Yourself?" (1979).
T: Anderson's
S: J.Kelly - P.O'Brien
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Ador
aged BG G2 | BGdG eGdG | aged BG G2 | BddB ABce |
aged BG G2 | BGdG eGdG | aged BG G2 | BddB A2 ae ||
eaaf g3 d | (3efg af gfed | eaaf g2 ba | gede BAAa |
eaaf g3 d | (3efg af gfga | bgaf gedg | eBdB A4 ||

ANDY McGANN'S REEL [1]. AKA - "Andy McGann's No. 1." Irish, Reel. C Major. Standard. AB. The reel is associated with New York City fiddler Andy McGann, who got it from New York fiddler Lad O'Beirne (who may or may not have composed it). Bill Black (1996) remarks that apparently this tune along with the "Humors of Scariff" were played as "Gan Ainm" (untitled) on a tape made by McGann along with other New York musicians, and, for want of a title were called "McGann's #1 and #2" by the Irish-American music community over the years. Black (Music's the Very Best Thing), 1996; No. 73, pg. 38. Cranitch (Irish Fiddle Book), 1996; No. 65, pg. 150. Nimbus NI5415, Martin O'Connor - "Across the Waters."
T: Andy McGann's #1
S: Andy McGann
C: ? Lad O'Beirne
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: C
gf || eccB cGEG | FEDC B,DGF | EFGE FAdc | Bg^fg agfg |
eccB cGEG | FEDC B,DGF | EF (3GFE FAdc | Bg^fg eccB ||
c2 gc ecgc | c2 ag ^fgdB | c2 gc ecgc | BG G2 BcdB |
c2 gc ecgc | c2 ag ^fgdB | cg (3g^fg eg (3g^fg | ag^fa g2 ||

ARKANSAS TRAVELER. Old-Time, Bluegrass, American; Reel, Country Dance. USA, almost universally known. D Major (Rosenberg, Sweet): G Major (Shaw): A Major (Kerr). Standard or ADAE. One part (Burchenal): AB (Shaw): AABB (most versions): AABBA'A' (Phillips, 1994). One of, if not the most famous of American fiddle tunes. E. Southern (1983) calls "Arkansas Traveller" a "plantation fiddle tune" (pg. 186), while Cauthen (1990) writes that it "had been played and sung as (an) anonymous folk tune, claimed and popularized by minstrel performers, then passed into the realm of folk music once more" (pg. 15). It is true that at least some of the elements of the famous dialogue typically attached to the melody (i.e. the conversation between the 'hick' and the 'city-slicker') were in circulation in the 1820's-1830's, during the plantation era, and it has been found that the tune and sketch had been joined and were being performed not long after (Yates and Russell, O.T.M. # 31 Winter 78/79). {For more information see article by H.C. Mercer in JEMFQ VI:2 (18) Summer 1970.} Rosenberg (198-) records that "Arkansas Traveller" was first published by Oliver Ditson and Company of Boston in 1863 and attributed to an itinerant musician or stage comedian named Mose Case, although Cazden (et al, 1982) reports it had been previously published in Buffalo, N.Y., by Blodgett & Bradford in 1858.
***
The music itself was in print in 1847, Rosenberg states, and both the tune and the accompanying skit are presumed by him to have been in oral circulation at the time. Bayard (1981) thinks the whole melody may be an "American amalgam," as he was unable to locate a recognizable version in British Isles traditions. The second strain became a "floater," according to him, and appears in otherwise unrelated tunes, and he speculates a portion of the first part may itself have been a 'floater' that became attached to the tune. In Francis O'Neill's Waifs and Strays of Gaelic Melody (1922), No. 255, "Arkansas Traveller" is regarded as having a 'presumable' Irish history and three tunes are given which are proffered as in part ancestral to the American melody.
***
In Maine the piece was used for the dance "Green Mountain Volunteers" by the Singing Smiths (South Parsonfield, Me.), though the traditional tune for that dance was "Green Mountain Boys." It was one of the 'tune catagories' for an 1899 fiddle contest at Gallatin, Tenn.; i.e. the fiddler who played the best rendition of "Arkansas Traveller" won a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Arthur Tanner (Ga.) remembers his father (Gid Tanner of Sillet Lickers fame) and uncle (Arthur Hugh Tanner) playing it "from the stage (in the 1920's/30's) and setting around the house...It would tear the audience up" (Rosenberg). The piece was found in the repertory of most traditional fiddlers in Union and Snyder counties, Pa. (Guntharp), while Cazden (et al, 1982) found the melody and humerous text well known throughout the Catskill Mountain (New York) region (he recorded a version from that locale in 1949). Cauthen (1990) notes in a very complete statewide survey that it was variously recorded as having been played throughout Alabama: in the northeast part of the state (in reports of the 1926-31 De Kalb County Annual Convention), the northwest (mentioned in a 1925 Univ. of Ala. master's thesis), southwest (recorded in a newspaper account of a contest in Grove Hill, May, 1929, and recalled by Alfred Benners in his 1923 book Slavery and Its Results as having been played by slave fiddler Jim Pritchett in Marengo County), southeast (listed by Robert Park in his book Sketch of the 12th Alabama Infantry as played by Ben Smith, a Georgian in the regiment in the Civil War; and recorded as having been played at a fiddlers' convention in July 1926 at the Pike County Fairgrounds), and finally the central part of the state (played at a contest in Verbena in 1921, as recorded by the Union Banner).
***
In another Deep South state, Mississippi, it was recorded in the field from the playing of old-time fiddlers Stephen B. Tucker, John Hatcher and W.E. Claunch (Mississippi Department of Archives and History). The tune was listed for sale on cylanders in a 1901 Columbia catalogue, and in the same format the next year by Edison (Standard Cylander 8202, played by Len Spencer, Oct. 1902 {The tune was re-released as "Return of the Arkansas Traveller" in 1910 by the same company [Standard Cylander 10356]}). Edison also released a version played by Joseph Samuels in Nov. 1919 contained in the "Devil's Dream Medley" (1st tune). Texas fiddler Eck Robertson's (a duet with fiddler and Confederate veteran Henry Gilliland) recording of the piece (backed by "Turkey in the Straw") was the third best-selling record of 1923. The piece was "very popular" at Southwest dances around turn of the century, according to Arizona fiddler Kenner C. Kartchner. It was cited as having commonly been played for dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and appears in Vance Randolph's list of traditional Ozark Mountain tunes he recorded for the Library of Congress in the early 1940's. Finally, it was recorded as having been in the repertory of Maine fiddler Mellie Dunham, Henry Ford's national champion old-time fiddler, and regularly played by him in the 1920's. During the 78 RPM era an old recording of "Arkansas Traveller" was released in Québec under the title "Reel des Voyagers."
***
Sources for notated versions: Frank George (W.Va.) [Krassen]; James Marr (Mo., 1948) [Bayard]; eleven Pa. sources [Bayard]; Gordon Tanner (Dacula, Gwinnett County, Ga.) [Rosenberg]. Bayard (Dance to the Fiddle), 1981; No. 20 (appendix), pg. 580; No. 74, pg. 49 (an odd variation); and No. 316, pgs. 267-271. Brody (Fiddler's Fakebook), 1983; pg. 25- 26 (3 versions- 1 Bluegrass). Burchenal (American Country Dances, Vol. 1), 1917; pg. 58. Cazden (Dances from Woodland), 1945; pg. 25. Cole (1001 Fiddle Tunes), 1940; pg. 4. Ford (Traditional Music in America), 1940; pg. 46. Jarman, Old-Time Fiddlin' Tunes. Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1988; pg. 1. Kerr (Merry Melodies), Vol. 1; No. 5, pg. 22. Krassen (Appalachian Fiddle), 1973; pg. 44 (includes 'A' part variation). Linscott (Folk Songs from Old New England), 1939 - "The Country Dance," pg. 83. Phillips (Fiddlecase Tunebook), 1989; pg. 3. Phillips (Traditional American Fiddle Tunes), 1994; pg. 17. Rosenberg, 198-; pg. 106. Ruth (Pioneer Western Folk Tunes), 1948; No. 30, pg. 12. Shaw (Cowboy Dances), 1943; pg. 390. Sweet (Fifer's Delight), 1964; pg. 53. American Heritage 516, Jana Greif- "I Love Fiddlin.'" Atlantic Records LP1350, Hobart Smith - "American Folk Songs for Children." Brunswick 225 (78 RPM), The Tennessee Ramblers. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Columbia 15019-D (78 RPM), Gid Tanner & Riley Pucket. County 514, Earl Johnson and His Clodhoppers- "Hell Broke Loose in Georgia" (orig. rec. 1927). County 517, Eck Robertson and Henry Gilliland- "Texas Farewell." County 723, Cockerham, Jarrell, and Jenkins- "Back Home in the Blue Ridge." County 775, Kenny Baker- "Farmyard Swing." Edison 51381 (78 RPM), Jasper Bisbee {appears as 1st tune of "Girl I Left Behind Me" medley}. Flying Fish 102, New Lost City Ramblers - "20 Years/Concert Performances" (1978). Folkways FA2337, Clark Kessinger- "Live at Union Grove." Folkways FA2371, Roger Sprung- "Ragtime Bluegrass 2." Folkways FTS 31089. Heritage 060, Art Galbraith - "Music of the Ozarks" (Brandywine 1984). Kicking Mule 203, Art Rosenbaum- "The Art of the Mountain Banjo." Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes." Old Homestead OHCS-145, the Skillet Lickers --"A Day at the Country Fair" ("The Original Arkansas Traveller"). Paramount 3015 (78 RPM) {the same as Brunswick 8052}, 1927, and Edison 52294 (78 RPM), 1928, John Baltzell (Mt. Vernon, Ohio) {Baltzell was taught to play fiddle in part by minstrel Dan Emmett, d. 1904, who was born in and returned to [1888] the same town}. Rebel 1552, Buck Ryan- "Draggin' the Bow." Rebel 1515, Curly Ray Cline- "My Little Home in West Virginia." Rounder 0100, Byron Berline- "Dad's Favorites." Rounder 0117, "Blaine Sprouse". Sonyatone 201, Eck Robertson (Texas) and Henry Gilliland (Ok.) - "Master Fiddler." Supertone 9172 (78 RPM), Doc Roberts. Tennvale 003, Pete Parish- "Clawhammer Banjo." Victor 18956 (78 RPM), Eck Robertson (Texas) {1922}. Victor 21635 (78 RPM), Jilson Setters (AKA Blind Bill Day, from Rowan Cty. Ky.), 1928. Voyager 301, Byron Berline- "Fiddle Jam Session." Voyager 304, Bill Long and Bill Mitchell- "More Fiddle Jam Sessions." Recorded by Franklin County, Va. fiddler J.W. "Peg" Thatcher in 1939 for Library of Congress, and by Clayton McMichen (Ga.) and Dan Hornsby in 1928. In repertoire of Uncle Jimmy Thompson (Texas/Tenn.) {1848-1931}, Uncle Bunt Stevens (Tenn.), Fiddlin' Cowan Powers (Russell County, S.W. Va.) {1877-1952?}.

ARTHUR('S) SEAT [1]. Scottish, Hornpipe. B-Flat Major. Standard. AABB (Hardie): AA'BB (Brody). Composed by the famous Scots composer and fiddler J. Scott Skinner, appearing first in his Cairngorm Series (Pt. 6), titled after a prominent Edinburgh landmark, a high volcanic plug. In fact, the name is quite ancient having been first recorded by Giraldus Cambrensis in the 12th century as 'Cathedra Arturi' (the Greek word cathedra means throne), and stems from the time the area was Brittonic, prior to the invasions of the Anglo-Saxon tribes. Bill Hardie notes that the cross bowing he indicates in his printed version of the tune "is particularly suited to the chromatic writing in the second strain." Skinner recorded the tune in the early 1920's as part of "The Celebrated Hornpipes" medley. Source for notated version: Jean Carignan (Montreal, Canada) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 26. Hardie (Caledonian Companion), 1986; pg. 39. Flying Fish FF 70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Folkways FG3531, Jean Carignan- "Old Time Fiddle Tunes" (first tune of 'Bank'). Philo 2001, "Jean Carignan" (first tune of 'Banks Medley'). Topic 12T280, J. Scott Skinner- "The Strathspey King."

ASHMOLEAN HOUSE (Teach Ashmolean). AKA - "Ash Maley House." Irish, Reel. Ireland, Belfast. D Major. Standard. AABB. Breathnach (1996) attributes the composition to Belfast/Derrylin, County Fermanagh, fiddler Tommy Gunn. The Ashmolean is the university museum of Oxford, University, England. A cousin to the tune "Mullingar Races." Sources for notated version: Martin Mulvihill (Bronx, NY), Joe & Willie Kelly, Jerry O'Sullivan (Yonkers, NY) [Black]; County Fermanagh & Belfast fiddler Tommy Gunn via the mid-20th century Liam Donnolly (County Tyrone & Belfast) collection [Breathnach]. Black (Music's the Very Best Thing), 1996; No. 87, pg. 45. Breathnach (CRE IV), 1996; No. 200, pg. 92. Taylor (Crossroads Dance), 1992; No. 25, pg. 19. Green Linnet GLCD 1175, Cherish the Ladies - "New Day Dawning." Green Linnet SIF-1074, Jerry O'Sullivan - "The Invasion" (1987). Green Linnet SIF-104, Jerry O'Sullivan - "The Celts Rise Again" (1990). Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998. Appears as "Ashmaleen House"). Shaskeen - "My Love is in America."
X:1
T: Ashmolean House
C: Tommy Gunn
S: J. O'Sullivan / Kelly Bros.
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
AF F2 EDB,A, | D2 FD FA A2 | defd efdB | AFDE FE E2 |
AF F2 EDB,A, | D2 FD FAAB | ABde dBAF | A,CEG FD D2 :|
defg a3 b | afdf eB (3BAB | defg a3 b | afdf e3 f |
fd (3ddd ad (3ddd | edBd egfe | dBAF A3 F | A,CEG FD D2 :|
X:2
T:Ashmolean, the
C:Tommy Sands
R:reel
S:Mike Rafferty
H:The Ashmolean is a museum in York (UK),
H:named after its founder, a fellow named Ashmole.
N:Ashmolean House title courtesy of Andrew Kuntz.
D:Jerry O'Sullivan
Z:Lesl Harker [lmh@rcons.com]
M:C
L:1/8
K:Dmix
d3B|:AF~F2 EDBA|D2ED FA A2|defd efdB|AFDE FEE2|
AF~F2 EDBA|D2EDFA A2|ABde dBA2|BDEG FDD2:|
|:defg a~a2b|afdf edBA|defg a2ab|afdf e2eg|
fdd2 Addf|edAd e2fe|dBAF A~A3|BDEG FDD2:|
X:3
T:Ashmolean House
R:reel
C:Tommy Gunn (fiddle), Derrylin, Co. Fermanagh
B:Ceol Rince na hÉireann 4, no. 200
M:4/4
L:1/8
K:D
AF (3FFF EDB,A,|D2 (3FED FAAB|defd efdB|AFDE FEEE|
AF (3FFF EDB,A,|D2 (3FED FAAB|ABde dBAF|A,B,DF ED D2:|:
defg a2 ab|afdf eB{c}BA|defg a2 ab|afdf {g}feef|
fd (3ddd ad (3ddd|edBd egfe|dBAF ABAF|A,B,DF ED D2:|
X:4
T:Ashmolean House
R:reel
Z:Transcribed by Bill Reeder
M:4/4
L:1/8
K:D
"D"AF~F2 EDBA|"D"D2 (3FED FAA2|"D"d2 fd efdB|"D"AFDE "A"FEE2|!
"D"AF~F2 EDBA|"D"D2 (3FED FAAB|"D"ABde dBAF|"A"AFEG "D"FDD2:||!
"D"defg a2ab|"D"afdf "Em"eBB2|"D"defg a2ab|"D"afdf "A"e4|!
"D"fd~d2 Ad~d2|"A"ed^cd egfe|"D"dBAF A2AB|"A"AFEG "D"FDD2:||

AUCHENCRUIVE'S WELCOME. Scottish, March (4/4 time). A Major. Standard. AB. Composed by William Hardie, Jr. Bill Hardie, William Jr.'s grandson, says "I could only have been in my early teens when I first heard my grandfather play this march. On inquiring as to its origins he replied: 'I composed this tune for you, Bill.' It has been in my memory ever since..." Hardie (Caledonian Companion), 1986; pg. 26.

BACK UP AND PUSH. AKA and see "Rubber Dolly." Bluegrass; Breakdown. USA, widely known. C Major. Standard. One part (Lowinger): AABB (Brody): AA'BB (Phillips): AA'BB' (Reiner). Gid Tanner and the Skillet Lickers' 1934 version of the piece (backed with "Down Yonder") became the third best-selling country music record for that year. Gid's son, 17 year old Gordon Tanner, played uncredited fiddle lead at the session, according to Tony Russell. Sources for notated versions: Kenny Baker [Brody]; Curley Ray Cline [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 31. Lowinger (Bluegrass Fiddle), 1974; pg. 62. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 18. Reiner (Anthology of Fiddle Styles), 1977; pg. 41. County 770, Kenny Baker- "Frost on the Pumpkin." RCA Camden CAL-719, Bill Moinroe- "The Father of Bluegrass Music." Magg 3901, Marion Sumner and Jesse McReynolds- "Old Friends." Rounder 7002, Graham Townsend- "Le Violin/ The Fiddle." Rebel 1552, Buck Ryan- "Draggin' the Bow." CMH 9006, Benny Martin - "The Fiddle Collection." Condor 977-1489, "Graham & Eleanor Townsend Live at Barre, Vermont." Fretless 101, "The Campbell Family--Champion Fiddlers." Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970." F&W Records 6, The Fireside String Band- "Square Dance Tunes For a Yankee Caller." Bluebird 5562B (78 RPM), Skillet Lickers (Ga.) {1934}.

BACON AND CABBAGE. Old-Time. USA, Ky. Recorded for Victor in 1928 by Blind Joe Mangrum (b. 1853), Paducah, Ky., probably the second oldest fiddler to be recorded. "Bacon and Cabbage" and "Bill Cheatam" were his only released sides.

BAKER'S BREAKDOWN. Bluegrass, Breakdown. USA, Ky. G Major & D Major. Standard. AABC. Composed by fiddler Kenny Baker and Bill Monroe, in whose band Baker played for twenty years. Brody (Fiddler's Fakebook), 1983; pg. 32. County 750, Kenny Baker- "Grassy Fiddle Blues." MCA-97 (Formerly Decca DI7-4382), Bill Monroe- " Bluegrass Special."

BALLYGAR HERMITAGE. Irish, Jig. G Minor ('A' and 'B' parts) & G Major/Mixolydian ('C' part). Standard. AABB'CC. Composed by Joe Kelly. Ballygar, explains Bill Black, is in the western part of Roscommon, close to the Galway border. Black (Music's the Very Best Thing), 1996; No. 285, pg. 153.
T: Ballygar Hermitage
S: Joe & Willie Kelly
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: Gdor
A | BAG FDC | DGG DGG | BAG ABc | d^cd gd=c |
BAG FDC | DGG GAB | AGF DCA,- | A,G,G, G,2 :|
A | BGd BGd | BAB dcB | AFc fcB | AFA cBA |
BGd BGd | BAB dcB |1 AFA cBc | AG^F G2 :|
|2 AGF DCA,- | A,G,G, G,2 ||
K: G
B | dgg dgg | gfg bag | c=ff c=ff | cBc ag=f |
dgg dgg | gfg bag | afd cAF | AGF G2 :|

BALLYMUN REGATTA. Irish. Hemisphere 7243 8 31216 25, Bill Whelan - "Celtic Graces" (1994).

BANBURY BILL. English, Morris Dance Tune (4/4 time). D Major. Standard. ABBB,ABBB,ABBB,A. From the village of Bampton, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 47. Journal of the ECDSS, 1956. Mallinson (Waltz Book), 1988; No. 8, pg. 11.

BASKET OF TURF (An Cliaban/Cliabh Móna). "Bundle and Go" [1], "The Creel of Turf," "The Disconsolate Buck," "The Lass from Collegeland," "The Unfortunate Rake," "The Wandering Harper," "The Wee Wee Man." Irish, Double Jig. E Minor. Standard. AABB. Some versions are set in the dorian mode, and it is sometimes played with the parts reversed in the order given in Breathnach's CRE II (1976). The song "The Wandering Harper" is set to this air. Holden (Collection of the most esteemed old Irish Melodies, Dublin, 1807) gives it as "The Unfortunate Rake." The melody compares with "Winter Garden Quadrille" in O'Neill's Waifs and Strays of Gaelic Melody (No. 97). Sources for notated versions: accordion player Bill Harte, 1968 (Dublin, Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; fiddler Con Cassidy (County Donegal) [Feldman & O'Doherty]. Breathnach (CRE II), 1976; No. 52, pg. 28. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 152 (appears as 1st "Untitled Jig"). Mulvihill (1st Collection), 1986; No. 12, pg. 67. O'Neill (1850), 1903/1979; No. 735, pg. 137. O'Neill (1001 Gems), 1907/1986; No. 32, pg. 22.
T:Basket of Turf, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (32)
K:E Minor
E|EBB BAG|FDF AGF|EBB Bcd|AGF E2E|EGB BAG|FDF AGF|GAB Bcd|AGF E2:|
|:B|Bee efg|dcB AGF|Eee efg|f^df e2e|Eee efg|dcB AGF|GAB Bcd|AGF E2:|

BAY OF FUNDY. Canadian, Reel. D Major. Standard. AABB. Composed by fiddler Bill Guest, originally from Halifax, Nova Scotia, but lately a resident of Goodlettsville, Tennessee, who has composed a number of traditional sounding tunes and published several collections. The Bay of Fundy is located between New Brunswick and Nova Scotia, and is the location of some of the most dramatic tides in the world. Source for notated version: John Roberts (Eng./Vt.) [Spandaro]. Guest, A Hundred Favorite Fiddle Tunes. Johnson, No. 1, 1991; pg. 5. Spandaro (10 Cents a Dance), 1980; pg. 15. Songer (Portland Collection), 1997; pg. 24. Audat 477-3002, Bill Guest - "50 Great Fiddle Hits" (c. 1970's). Dorian Discovery DIS-80103, Helicon - "Horizons" (1992). Rooster Records RSTR 117, "Swallowtail."
T:Bay of Fundy
C:Bill Guest
L:1/8
M:2/2
Q:420
K:D
fg |"D"a2 ab afdf |afbf a2 ef |"C"gfga ge=ce |geae g2 fg |"D"a2 ab afdf |
afbf a2 ef |"A"gfeg "D"fedf |"A"ecAc "D"d2 :: cB |"D"Adfd edfd |
"G"Bdgd Bdgd |"D"Adfd Adfd |"A"cAcd efec |"D"Adfd edfd |"G"Bdgd Bdgd |
"D"fedf "A"edce |"D"d2 f2 d2 :|

BEANS IN THE POT. Irish, Polka. C Major. Standard. ABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music's the Very Best Thing), 1996; No. 198, pg. 105.
T: Beans in the Pot
C: (c) B. Black
Q: 300
R: polka
M: 4/4
L: 1/8
K: C
cGGB c>ded | cGcG ED D2 | cGGB c>def | g>ecA AG G2 |
cGGB c>ded | cGcG EDDB | cFGF EcAF | E>FGE DC C2 ||
e>cea g>dgb | abag ed g2 | affe eddc | Bcde cB A2 :|

BEAUMONT RAG. Old-Time, Bluegrass, Texas, Western Swing; Country Rag. USA, Texas. F Major. Standard. AB (Brody): ABBC (Phillips/1989): ABC (Phillips/1995): AA'BB'CC'D (Reiner). Named after the town of Beaumont, Texas. "Beaumont Rag" was first recorded by Cleburne, Texas, fiddler Samuel Morgan Peacock in 1929, under the name Smith's Garage Fiddle Band (Wolfe, 1997). Peacock was a barber by trade who died after collapsing on the sidewalk in front of his barber shop in 1932. The tune was popularized by Texas swing fiddler Bob Wills, though an influential version was recorded by Terrell, Texas, fiddler Oscar Harper--another barber. The parts are variable in length, some versions having 12 measures while others have sixteen. A fourth part is sometimes added to the tune which features double-shuffle bowing. See the related "Oklahoma Rag" and "White River Stomp." Sources for notated versions: Bill Driver (Missouri) and Red Williams (Texas) [Christeson]; Bill Boyd [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 38. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 149. Phillips (Fiddlecase Tunebook), 1989; pg. 4. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 18. Reiner (Anthology of Fiddle Styles), 1977; pg. 65. County 202, "Eck Robertson: Famous Cowboy Fiddler." County 410, "East Texas Serenaders - 1927-1936" (1977). County 517, Smith's Garage Fiddle Band- "Texas Farewell." County 703, Vernon Solomon- "Texas Hoedown." Folkways FTS31098, Ken Perlman - "Clawhammer Banjo and Fingerstyle Guitar Solos." Gusto 104, Bob Wills- "30 Fiddler's Greatest Hits." June Appal 015, Plank Road String Band- "Vocal and Instrumental Blend." June Appal 030, Marion Sumner- "Road to Home." Omac-1, Mark O'Conner- "A Texas Jam Session." Omac-2, Berline, Bush and O'Conner- "In Concert." RCA AXM2 5503 (Bluebird Reissue), "Bill Boyd's Cowboy Ramblers." Rounder 0117, "Blaine Sprouse." Rounder RO7023, Natalie MacMaster - "No Boundaries" (1996). Vanguard VSD 45/46, Doc Watson- "The Essential Doc Watson."

BELLES OF TIPPERARY [2]. AKA and see "The Barrow Castle," "The Blea-berry Blossom," "An Ceolchumann" (The Music Society), "Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "The Kerry Star," "Lamont's Reel," "Jackson's Welcome to Cork," "Johnny Shooting in the Glen," "Kerry Star," "Lamont's," "Mel Roddy's Tune" (northeast Kings County, PEI), "Miss Monaghan," "New Policeman" [1], "O'Connell in Clare," "Shannon's Shores," "Stormy Weather," "The White-haired Piper." Irish, Reel. D Major. Standard. AB (Mulvihill): AABB (Black). Related to "The New Policeman" [1] and "Miss Monaghan" family of tunes. Philippe Varlet finds the first recording of the tune, called "Bells of Tipperary," by Frank Quinn on a 78 RPM released in 1934. Source for notated version: Joe Coleman (New York) [Mulvihill]. Black (Music's the Very Best Thing), 1997; No. 190, pg. 101. Mulvihill (1st Collection), 1986; No. 229, pg. 62 (appears as "Bells of Tipperary"). CCE, Charlie Lennon & Mick O'Connor - "Lucky in Love." Green Linnet SIF 1069, Joe Burke - "Happy to Meet and Sorry to Part." GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Michael Cooney - "Happy to Meet and Sorry to Part." Shanachie 34008, "Andy McGann & Paddy Reynolds."
T: The Belles of Tipperary
S: McGann - Conway
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
D2 (3FED FAAB | d2 fe dBBA | B2 AF ABde | fafd fe e2 |
D2 (3FED FAAB | d2 fe dBBA | B2 AF ABdB | FAEG FD D2 :|
agab afdf | gfed cdef | g2 gf gbag | faaf egfe |
dB B2 AF F2 | DF F2 ABde | fedc dBAF | A2 ag fd d2 :|

BERLIN POLKA [2]. Old-Time, Polka. USA, Oklahoma. Unrelated to above tune. C Major. Standard. AABBCDD. The first part has some similarity to the first part in "Up Jumped the Devil." Source for notated version: Bill Baker (Texas County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 146.

BIG SANDY RIVER. Bluegrass, Breakdown. USA, Kentucky. A Major. Standard. AABB. Composed by Kenny Baker and Bill Monroe (1963). Brody (Fiddler's Fakebook), 1983; pg. 40. County 761, "Kenny Baker Plays Bill Monroe." Vetco 506, Fiddlin' Van Kidwell - "Midnight Ride." Voyager 316-S, Vivian Williams and Barbara Lamb - "Twin Sisters."

BIG SCIOTY/SCIOTA, THE. Old-Time, Breakdown. USA, West Virginia. G Major. Standard. AABB. A popular tune in the old-timey revival repertoire. It is named for the Scioto/Sciota River, which flows through Ohio and emptys into the Ohio River. The source for most of the versions, Marlinton, West Virginia, fiddler Burl Hammons, evidently played different versions of the tune (or perhaps it was a tune in evolution), for recordings of his playing by different collectors reveal variations of the melody. These different versions have influenced different revival bands -- contrast, for example, the Red Clay Rambler's version (learned from a 1970 field recording of Hammons by Malcolm Owen, Blanton Owen and Bert Levy) with versions based on the Alan Jabbour-collected recording of Burl which appears on the Library of Congress recording "The Hammons Family." See John Salyer's "Kentucky Winder" for a Magoffin County, Ky., variant of "Big Sciota." Sources for notated versions: Burl Hammonds (Marlinton, West Virginia) via Ship in the Clouds (Indiana) [Brody]; Zenith String Band (Connecticut) [Carlin]; Bill Christopherson & Tom Phillips [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 41. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 24. Bay 209, "The Gypsy Gyppo String Band" (1977. Learned from Burl Hammons via Jenny Cleland {of the Highwoods Stringband}). Carryon Records 005, "The Renegades" (1993). Flying Fish, Red Clay Ramblers - "Stolen Love" (1975. Collected from Burl Hammons in 1970). Folkways 31062, Ship in the Clouds - "Old Time Instrumental Music" (1978). Green Linnet, "Pigtown Fling." Reed Island Ramblers - "Wolves in the Wood" (1997). Rounder 0018, Burl Hammonds - "Shaking Down the Acorns." Rounder 0132, Bob Carlin - "Fiddle Tunes for the Clawhammer Banjo" (1979). Wheatland Records, the Henrie Brothers - "Wheatland Festival 1978."
T:Big Scioty
L:1/8
M:4/4
K:G
|:DE|GA BG AGED|EDEF G2 ((3D/E/F/|G)ABG AGED|EDEF G2 ({DEF}G2)|
GFGA Bc d2|e3 f e2 d2|BAGB AGEG|E G2 F G2:|
|:z e|gfga gedg|egab a3 e|gfga gedc|Bdef e3 (e|e)fgf edBd|B e2 f e2 (e2|e)fgf edBd|
B e2 f e2 A2|BAGB AGED|D {EF}G2 F G2:|

BIG SNUG'S REEL. Irish, Reel. D Major. Standard. ACCDD. Composed by accordion player John Whelan for one of his students. Black (Music's the Very Best Thing), 1996; No. 254, pg. 136.
T: Big Snug's Reel
C: John Whelan
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
f2 ed f2 ed | BdAd BdAd | f2 ed f2 ed | BABc dAFA |
f2 ed f2 ed | BdAd BdAd | f2 ed f2 ed | BABc dAFE ||
FA (3AAA FADd | cA (3AAA EFGE | FA (3AAA FADd | cded cAGE :|
FD (3DDD A,DFA | GE (3EEE =CEGE | FD (3DDD A,DFA | (3Bcd ed cAGE :|

BILL BAILEY. American, Song Tune. Recorded by Chatanooga, Tenn., fiddler Jesse Young for Columbia in the late 1920's.

BILL BROWN. Old-Time, Breakdown. USA; Magoffin County, Ky. AEAC# tuning (Molsky). In repertoire of fiddler John Salyer (Magoffin County, Ky.), and named for the fiddler who played the tune, perhaps because the real name was forgotten or unlearned. Rounder 0361, Bruce Molsky - "Lost Boy."

BILL CHARLTON'S FANCY. English. Composed by Northumbrian smallpipes player Billy Pigg. Northumbrian Piper's Tune Book. Front Hall FHR-08, Alistair Anderson - "Tradtional Tunes" (1976). Leader LER 4006, Billy Pigg - "The Border Linstrel."

BILL CHEATUM [1]. AKA - "Bill Cheatem," "Bill Cheatham," "Cheatum," "Cheat 'Em." Old-Time, Breakdown. USA, widely known. A Major. Standard. AABB: AA'BB' (Kaufman). Krassen and others note this is a common fiddle tune throughout the Southern part of the United States, where it probably originated (Christeson says he did not hear the tune in Missouri until the mid-1940's). The tune was a fiddle contest "category" tune in 1899 in Gallatin, Tenn.--each fiddler would play a version, with the best rendition being awarded a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Sources for notated versions: Floyd Smith (Cole County, Missouri) [Christeson]: Max Collins (Pottawatomie County, Oklahoma) [Thede]: Krassen credits the Texas based Red Headed Fiddlers and Henry Reed (Va.) for the version he gives in his book: A.L. Steeley & the Red Headed Fiddlers [Kaufman]. Brody (Fiddler's Fakebook), 1983: pg. 41. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 34, pg. 24. Kaufman (Beginning Old Time Fiddle), 1977; pg. 61. Krassen (Appalachian Fiddle), 1973; pg. 68. Lowinger (Bluegrass Fiddle), 1974; pg. 16. Phillips (Fiddlecase Tunebook), 1989; pg. 5. Phillips (Traditional American Fiddle Tunes), 1994; pg. 24. Reiner (Anthology of Fiddle Styles), 1977; pg. 31. Thede (The Fiddle Book), 1967; pg. 103 (appears as "Bill Cheatem"). Alcazar Dance Series ALC 202, Sandy Bradley - "Potluck & Dance Tonite!" (1979). County 515, "Mountain Banjo Songs and Tunes." County 542, Blind Joe Mangrum (b. 1853, Paducah, Ky.) - "Nashville: the Early String Bands, Vol. 2" (originally recorded in 1928 for Victor). County 719, Kenny Baker - "Portrait of a Bluegrass Fiddler" (1968). Front Hall 010, Fennigs All Star String Band - "The Hammered Dulcimer Strikes Again." Kicking Mule 202, John Burke - "Fancy Pickin' and Plain Singing." Library of Congress recording, 1939, W.A. Bledsoe, Meridian, Mississippi. Mountain 301, Kyle Creed - "Blue Ridge Style Square Dance Time." Rounder 0016, Vasser Clements - "Crossing the Catskills." Rounder 0093, Jerry Douglas - "Fluxology." Rounder 7002, Graham Townsend--"Le Violin/The Fiddle."
T:Bill Cheatum [1]
L:1/8
M:C|
S:Jay Ungar
Z:Transcribed by Andrew Kuntz
K:A
[A,2E2] [E2A2] [E4c4]|cBAc BAFE|DFAc d2 de|fgaf ecBc|[A,2E2] [E2A2] [E3c3]B|
cBAc BAcA|dcde fgaf|1 ecBc A4:|2ecBc A3||
|:af|ecea fdfa|gefg a2 af|ecea fdfa|ecAc B2 af|ecea fdfa|gefg a2 (3efg|agae faed|
cABc A3:|

BILL CHEATHAM [2]. Bluegrass, Breakdown. A Major. Standard. ABB. Brody (Fiddler's Fakebook), 1983; pg. 42. Brunswick 470 (78 RPM), Red Headed Fiddler. County 506, Arthur Smith & the Delmore Brothers - "Old Time Fiddle Classics." Folkways 2492, New Lost City Ramblers - "String Band Instrumentals" (1964. Learned from recordings of the Red Headed Fiddler and Eck Robertson). Folkways FTS 31036, Roger Sprung - "Grassy Licks." June Appal 030, Marion Sumner - "Road to Home." Prize 498-02, Carl Jackson- "Bluegrass Festival." Rounder 7002, Graham Townsend - "Le Violin/The Fiddle." Vanguard VSD 9/10, Doc Watson - "On Stage." Victor 40298A (78 RPM), Eck Robertson - "Brilliancy Medley."

BILL CLANCY'S DELIGHT (Taitneam Uilliam Mic Flanncada). AKA and see "Pretty Peggy" [5]. Irish, Reel. D Major. Standard. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The tune is the same as "Pretty Peggy" [5], with the parts reversed. See also "Milestone in the Garden." O'Neill (Krassen); pg. 144. O'Neill (1850), 1903/1979; No. 1465, pg. 271. O'Neill (1001 Gems), 1907/1986; No. 696, pg. 123.
T:Bill Clancy's Delight
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (696)
K:D
d2 fd AFDF|d2 fd egfe|d2 fd AFDF|GEFD EDB,A,|d2 fd AFDF|d2 fd egfe|
d2 fd AFDF|dfeg fd d2||(3FED AD BDAD|(3FED AD CEEG|(3FED AD BDAD|
GEFD A,DDG|(3FED AD BDAD|(3FED AD CEEG|Agdf cedB|Agfe fd d2||

BILL COLLINS'. AKA and see "Collins' Jig," "Dan Collins' Father's Jig." Irish, Double Jig. D Major. Standard. AABB. Irish musician Bill Collins came from Gort, County Galway, not far from Kinvara. He is the father of Shanachie records' Dan Collins. The tune is sometimes called "The Hearty Boys of Ballymoate," the name of another tune, after it was recorded by the group De Dannan in a set called "The Hearty Boys..."; "Bill Collins" was the untitled follow-up tune. See also "Johnny Dennehy's." Source for notated version: Sean & Breda Smyth via Dan Compton (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 29. Sullivan (Session Tunes), Vol. 2; No. 24, pg. 10. Green Linnett SIF1144, Kevin Burke & Open House - "Second Story." Nimbus NI5415, Martin O'Connor - "Across the Waters."
T:Bills Collins' Jig
T:Dan Collins's Father's Jig
S:Session, Green Tree, Edinburgh 5/9/95
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
d2 A BAB|def a2 f|aba f2 e|dBB BAB|d2 A BAB|def a2 f|aba f2 e|fdB d3:|]
faa faa|afe f3|aaa f2 e|dBB BAB|d2 A BAB|def a2 f|aba f2 e|fdB d3:|]

BILL CRAWFORD'S FIDDLE. Canadian, Jig. Canada, Cape Breton. A Major. Standard. AA'BB'. Composed by the popular Troy, Cape Breton, fiddler and step dancer Natalie MacMaster (b. 1972), grand-niece of master fiddler Buddy MacMaster. Cook (Night in the Kitchen Collection), 1986; pg. 26.

BILL ELLIS' HORNPIPE. Irish, Hornpipe. A Major. Standard. AABB. O'Neill (Krassen); pg. 203. O'Neill (1850), 1903/1979; No. 1722, pg. 320.

BILL FULMER'S HORNPIPE. American, Reel. USA, southwestern Pa. D Major. Standard. AB. Named after the fiddler from whom it was learned. Source for notated version: then elderly fiddler J. Morris (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 86, pg. 53.

BILL HARTE'S JIG (Port Liam Uí Airt). AKA and see "Did you see my man looking for me?" Irish, Double Jig. D Mixolydian. Standard. AB (Breathnach): AABB (Mallinson). Breathnach (1976) notes the tune was not original with source Harte, and that it was related to "Bímid ag ól," "Jackson's Humours of Panteen" and "Huish the Cat." In fact, the melody was used as an air, and Breathnach notes that Sligo musician John Brennan used to sing "Did you see my man looking for me? to it. The mother of Tom Barrett, from Knockbrack, Lyreacrompane, near Tralee, would sing to it this soothing song for a child:
***
Bú dí bú sin, neataí nóinín,
Bú dí bú sin, was every bit of her;
See how she goes on the tip of her toes,
Bú dí bú sin, was every bit of her,
See how she dances, see how she prances,
See how she dances, every bit of her;
See how she goes on the tip of her toes,
Bú dí bú sin, was every bit of her.
(Breathnach, CRE II, 1976)
***
Sources for notated versions: accordion player Bill Harte, 1968 (Dublin, Ireland) [Breathnach]; session at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Breathnach (CRE II), 1976; No. 39, pg. 22. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 55. Mallinson (Enduring), 1995; No. 39, pg. 17.

BILL HARTE'S REEL (Ríl Liam Uí Airt). Irish, Reel. G Major/A Dorian. Standard. AB. Bill Harte was a Dublin accordion player. Source for notated version: accordionist Sonny Brogan (County Sligo/Dublin, Ireland), learned from Bill Harte [Breathnach]. Breathnach (CRE I), 1963; No. 110, pg. 46.

BILL HOARE'S. Irish, Reel. G Major. Standard. AABB. Green Linnet 1034, Billy McComisky - "Makin' the Rounds."
T:Bill Hoare's
R:reel
C:Bill Hoare
S:Billy McComiskey, "Makin' the Rounds"
H:See CD notes
N:transcribed to G for flute
D:Billy McComiskey, "Makin' the Rounds"
Z:Jeff Myers
M:C|L:1/8
K:G
GE|D ~G3 BGGA|BGBd e2de|g ~d3 egde|gedB AB
GE|D ~G3 BGGA|BGBd e2de|g ~d3 egdB|cAFA G2:|
Bd|~g2 bg c'gbg|gabg agef|~g2 bg c'gbg|abag efge|
~g2 bg c'gbg|gabg agef|~g2 fg edBG|FA (3DEF G2:||

BILL JOHNSON. Old-Time, Breakdown. Rounder Records, Gid Tanner and His Skillet Lickers - "The Kickapoo Medicine Show" (appears as 6th tune of the Kickapoo Medecine Show skit).

BILL KATON'S TUNE. Old-Time, Breakdown. G Major. Standard. AABB. Katon, or Caton, was an influential black fiddler from Missouri who unfortunately never recorded. Source for notated version: Charlie Walden (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 24.

BILL KEIM. Old-Time, Breakdown. USA, southwestern Pa. G Major. Standard. AB. Bayard (1981) thinks the 'A' part reminiscent of Henry Clay Works' "Kingdom Coming" (Year of Jubilo). Named for the source's father's cousin, from whom it was learned. Source for notated version: Harmon McCullough (Indianna County, Pa., 1959) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 368, pg. 360.

BILL LAMEY JIG. Cape Breton, Jig. Composed by fiddler Donald Angus Beaton (b. 1912). Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

BILL MALLEY'S BARNDANCE. Irish, Barndance. G Major. Standard. AA'BB'. Bill Malley was a fiddler from Glandree, County Clare. The name is sometimes given as Bill O'Malley. Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995).
T:Bill Malley's Barndance
D:Calua: bo/thar gan briseadh/down the line
M:4/4
L:1/8
Q:1/4=170
K:G
G3 A B2 GB|dedB G3 A|B2 G2 d2 G2|BAGB A3 F|
G3 A B2 GB|dedB G2 Ac|B2 AG E2 (3DEF|1GBAF GDEF:|
2GBAF G2 g2|:
e2 d2 g3 e|dedB G3 g|e2 d2 g3 d|BAGB A2 g2|
e2 d2 gfge|dedB G2 Ac|B2 AG E2 (3DEF|1GBAF G2 g2:|
2GBAF G3||

BILL MALLEY'S SCHOTTISCHE. Irish, Schottische. Bill Malley was a fiddler from Glandree, County Clare. Recorded by Martin Hayes on his first album.

BILL MATHES WAGONER. AKA and see "Wagoner," "Tennessee Wagoner." Old-Time, Breakdown. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.

BILL NICHILSON'S 67th. Canadian, Jig. Canada, Cape Breton. G Major. Standard. AABB'. Composed by luthier, fiddler and composer Otis Tomas (Goose Cove, St. Ann's Bay, Cape Breton). Cook (Night in the Kitchen collection), 1996; pg. 16. Cranford (Jerry Holland's), 1995; No. 266, pg. 77. Shanachie SH-78010, Solas - "Sunny Spells and Scattered Showers" (1997).

BILL OF RIGHTS. English. England, Northumberland. One of the "lost tunes" of William Vickers' 1770 dance tune manuscript.

BILL O'KEEDDE'S [1]. Irish, Reel. B Minor. Standard. AB. Source for notated version: fiddler Bill O'Keeffe via his brother, fiddler Padraig O'Keeffe, via accordion player Johnny O'Leary (all from the Sliabh Luachra region of the Cork-Kerry border); recorded by the latter in recital at Na Piobairi Uilleann, March, 1987 [Moylan]. Moylan (Johnny O'Leary), 1994; No. 162, pgs. 93-94.

BILL O'KEEFFE'S [2]. Irish, Reel. B Minor. Standard. AABB'. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, March, 1987 [Moylan]. Moylan (Johnny O'Leary), 1994; No. 163, pg. 94.

BILL PATTEN'S JIG. Canadian, Jig. B Flat Major. Standard. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 159, pg. 108.

BILL POWELL'S WALTZ. Old-Time, Waltz. USA, Nebraska. A Major ('A' part) & D Major ('B' part). Standard. AABB. Source for notated version: Bob Walters (Lincoln, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; No. 195, pg. 151.

BILL SIMMONS. American, Reel or Breakdown. A Major. Standard. AABB. Ford (Traditional Music in America), 1940; pg. 115.

BILL SMITH'S HOEDOWN. American, Reel or Breakdown. C Major. Standard. AABB. Composed by Bill Smith. Smith was a Saskatchewan cattleman and rancher who moved to South Dakota in 1913, and was a popular dance fiddler who played Canadian style, according to Pancerzewski. Pancerzewski (The Pleasures of Home), 1988; pg. 21.

BILL SULLIVAN'S. AKA and see "Denis Murphy's," "Micky chewing bubblegum." Irish, Polka. A Major (Mallinson, Taylor): G Major. Standard. AABB. Composed by Terry "Cuz" Teahan as a youngster prior to leaving Ireland for America. Philippe Varlet says tha Teahan composed the tune while still taking lessons with the great Sliabh Luachra fiddler Padraig O'Keeffe. O'Keeffe liked the composition and continued to teach it after Teahan's departure, and it eventually circulated among local musicians; hence the name "Bill Sullivan's." Taylor (Crossroads Dance), 1992; No. 61, pg. 47. Taylor (Music for the Sets: Blue Book), 1995; pg. 7. Mallinson (100 Polkas), 1997; No. 66, pg. 25. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. Learned from County Cork accordion player Jackie Daly). Shaskeen - "My Love is in America." CEF 057, Jackie Daly & Seamus Creagh.

BILL THE WAIVER'S. AKA and see "Bill the Weaver's."

BILL THE WEAVER('S JIG) [1]. AKA and see "An Seanchai Muimhneach." Irish, Jig. Ireland, Slibah Luachra region of the Cork-Kerry border. D Major. Standard. AABBCC. Source for notated version: flute and tin whistle player Bill Murphy (father of fiddlers Denis Murphy and Julia Clifford), known as "The Weaver," via accordion player Johnny O'Leary (Sliabh Luachra region), recorded in concert at Na Piobairi Uilleann, February, 1981 [Moylan]. Moylan (Johnny O'Leary), 1994; No. 60, pgs. 34-35. GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."

BILL THE WEAVER'S JIG [2]. Irish, Jig. D Major. Standard. AA'B. Named for concert flute and tin whistle player Bill Murphy (father of fiddler Denis Murphy), called "Bill the Weaver" because his mother and father were both weavers. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 211, pgs. 121-122.

BILL THE WEAVER [3]. AKA and see "The Cuban"???

BILL THE WEAVER'S (POLKA) [1]. Irish, Polka. D Major. Standard. AABB. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 219, pg. 126. Topic 12T312, "Billy Clifford."

BILL THE WEAVER'S (POLKA) [2]. AKA and see "Din Tarrant's." Irish, Polka. D Major. Standard. AABB. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 269, pg. 153. Gael-Linn CEF092, Julia and Billy Clifford - "Ceol as Sliabh Luachra" (appears as "Din Tarrant's"). Globestyle Irish CDORBD 085, Julia Clifford - "The Rushy Mountain" (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Topic 12T311, John & Julia Clifford - "Humours of Lisheen."
T:Din Tarrant's
D:Julia and Billy Clifford, "Ceol as Sliabh Luachra"
R:polka
M:24
L:1/8
K:D
a>f df|Ad e2|e/f/e/d/ cA|Bc df|
a>f df|A/B/c/d/ ee/f/|g/f/e/d/ cA|1Bc d2:|2 Bc dB/c/|
|:dB fB|dB fe/d/|cA eA|BA ce|
fb ba|fb ba|f/g/f/e/ cA|1Bc dB/c/:|2 Bc d2||

BILL THE WEAVER'S (POLKA) [3]. AKA and see "Din Tarrant's," "Lackagh Cross" [2]. Irish, Polka. B Minor.

BILL THE WEAVER (SLIDE) [1]. AKA and see "The Trooper." Irish, Slide.

BILL THE WEAVER [2]. AKA and see "The Lonesome Jig." Irish, Slide.

BILL WILSON. See "Billy Wilson."

BILL'S WALTZ. Old-Time, Waltz. G Major ('A' part) & C Major ('B' part). Standard. AB. Source for notated version: Rebecca Koehler [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 240.

BILLY/BILLIE IN THE LOW GROUND. AKA and see "Beaus of Albany," "Billy in the Low Land," "Braes of Auchtertyre," "Fiddler's Drunk and the Fun's All Over," "Jinny in the Lowland," "Kerry Fulton's Schottishe," "The Kerryman's Daughter." Old-Time, Bluegrass; Breakdown. USA, known under this title throughout the American South, Midwest, and Southwest. C Major (most versions): D Major (Bayard-Marr). Standard. AABB. See also related tune "Apple Blossum" and the related part 'A' of "Shelvin Rock." Miles Krassen (1973) identifies an Irish version called "The Kerryman's Daughter" which may be cognate or ancestral, while R.P. Christeson suggests it can be traced to the Scottish "Braes of Auchentyre" in (Cole's 1001) {as John Hartford has supported} and "Beaus of Albany" in Howe. Samuel Bayard (1981) agrees with Stenhouse-Johnson in concluding that the tune originated in Britain as a slow 3/4 time song tune from c. 1710 or earlier, called "O Dear Mother (Minnie) What Shall I Do?" He sees the development of the tune as having then split into two branches, and that during the 1740's a 6/8 "giga" or jig form was composed called variously "All the Blue Bonnets Are Over the Border," "Blue Bonnets Over the Border," "Over the Border," or "Blue Bonnets." Later in the century the second branch was fashioned from the original 3/4 tune into a fast duple time (4/4) dancing air which went by several titles including "The Braes of Auchtertyre/ Auchentyre" (the oldest and most common title), "The Belles of Tipperary," and "The Beaus of Albany." These latter tunes are the immediate ancestor of the "Billy in the Lowground" group of tunes in America.
**
The melody is widely disseminated through the United States. Bayard (1944) writes that when he collected the melody it was "current as a marching tune in Greene County, Pennsylvania, and is known to its 'Billy' form of the title farther south (as the tune resembles another Pa. tune called 'Jinny in the Lowlands'). The resemblances between this tune and 'Jinny in the Lowlands' may be fortuitous; but they have at any rate attracted enough notice from the players to cause confusion of the titles..." Tom Carter and Blanton Owen (1976) maintain the tune and title are characteristic of the Franklin, Floyd and Patrick County area of southwestern Virginia, and represent an older fiddle repertoire which predates the later development of stringband or fiddle/clawhammer banjo tunes. "Billy in the Lowground" was played by Arizona fiddler Kenner C. Kartchner for dances in the Southwest at the beginning of the twentieth century (the piece was identified by him as having come to that region from the American South, and assessed it as "a good one"). It was recorded from the playing of an Ozark fiddler for the Library of Congress by musicologist/folklorist Vance Randolph who collected in the early 1940's, and, likewise, by Herbert Halpert (also for the Library of Congress) in 1939 from Tishomingo County, Mississippi, fiddler John Hatcher. Cauthen (1990) collected evidence from period newspapers and other accounts in Alabama and records that it was one of the tunes commonly played throughout every region of that state in the first part of the 20th century. The Marion Standard of April 30th, 1909, reported it was one of the tunes (along with "Miss McLeod") played at a housewarming in Perry County, Ala., in 1827. Elsewhere in the deep South, a Georgia fiddler named Ben Smith, serving with the 12th Alabama Infantry in the Civil War, played the tune in that conflict according to a memoir of the unit. It is also known to have been associated with Kentucky fiddlers (Wolfe, 1982). The famous Kentucky fiddler Dick Burnett related this improbable story about the origin of the tune and title:
**
You know how come them to make that? There was a man a goin'
through an old field one time and he had his fiddle with him and
he walked out on the bank of a sink hole and it broke off and he
fell down in that hole and couldn't get out. He just sat down there
and took his fiddle and played that tune. His name was Billy
something but I forgot his full name. (Charles Wolfe)
**
Early American printings of the piece can be found from the early 19th century onwards. The melody appears under the "Billy/Low Grounds" title in George P. Knauff 's Virginia Reels," volume III (Baltimore, 1839). Folklorist and fiddler Alan Jabbour finds that, in some sources, the title changed around 1800 to "Johnny in the Nether Mains."
**
The tune was in the repertories of Uncle Jimmy Thompson 1848-1931 (Texas, Tenn.), Fiddlin' Cowan Powers 1877-1952? (Russell County, southwest Virginia) [and recorded by him for Victor, though the side was unissued], Bob Wills (Texas), black Kentucky fiddler Cuje Bertram. and Alabama fiddlers Monkey Brown (1897-1972) and D. Dix Hollis. Sources for notated versions: black fiddler Bill Driver (Miller County, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen]; David P. Gilpin, 9/22/1943 (played at Connellsville, Fayette County, Pa. but learned at Dunbar, Pa., though Gilpin did not have the title) [Bayard, 1944]; Irvin Yaugher, John Meighen, Frank Lowry, John Filby & Wiley Jobes (from Greene or Fayette Counties, southwestern Pa.) [Bayard, 1981]; James Marr (Mo., age 93 in 1949) [Bayard]; Howdy Forrester via John Hartford [The Devil's Box]; Lowe Stokes (Ga.) [Kaufman]; Billy Baker & Forest Daugherty (Texas) [Phillips]; John Johnson [Phillips]; Clyde Davenport (Indiana) [Phillips]. Adam, 1938; No. 42. Bayard (Hill Country Tunes), 1944; No. 5 (appears as "Reel"). Bayard (Dance to the Fiddle), 1981; No. 234A-E, pgs. 192-194. Bayard (Dance to the Fiddle), 1981; Appendix No. 23, pg. 581. Brody (Fiddler's Fakebook), 1983; pg. 42-43. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 54, pg. 41. The Devil's Box, pg.s 51-53. Fiddler Magazine, Vol. 3, No. 2, Summer 1996; pg. 30. Ford (Traditional Music in America), 1940; pg. 65 (as "Billy in the Low Land"). Kaufman (Beginning Old Time Fiddle), 1977; pgs. 68-69. Krassen (Appalachian Fiddle), 1973; pg. 74 (an irregular version with nine measure parts instead of eight). Lowinger (Bluegrass Fiddle), 1974; No. 21. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 65, pg. 39. Phillips (Fiddlecase Tunebook), 1989; pg. 6. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 25 (three versions). Ruth (Pioneer Western Folk Tunes), 1948; No. 74, pg. 27. Thede (The Fiddle Book), 1967; pg. 78. Welling (Welling's Hartford Tunebook), 1976; pg. 1. Brunswick 239 (78 RPM), Dr. Humphrey Bate and His Possum Hunters {1928) (Nashville, Tenn. Columbia 15209-D (78 RPM), Burnett and Rutherford (1927). Columbia 15620 (78 RPM), Lowe Stokes (1930). County 202, "Eck Robertson: Famous Cowboy Fiddler." County 507, Lowe Stokes (North Ga.) {1930} - "Old Time Fiddle Classics." County 512, The Fiddlin' Bootleggers - "A Day in the Mountains" (orig. rec. in 1928). County 703, Benny Thomasson - "Texas Hoedown." County 733, Clark Kessinger - "The Legend of Clark Kessinger." Davis Unlimited 33015, Doc Roberts (Ky.) - "Classic Fiddle Tunes" (One of the first tunes recorded by this fiddler). Folkways 2337, Clark Kessinger (Va.) - "Live at Union Grove." Gennet 3235 (78 RPM), Doc Roberts (1925). Gennet 6390 (78 RPM), Doc Roberts (1927). Library of Congress 1010A2, Jilson Setters, recorded for Alan Lomax and the Library of Congress in June, 1937. Marimac 9110, Dr. Humphrey Bate and his Possum Hunters - "It'll Never Happen Again: Old Time String Bands Vol. 1." Missouri State Old Time Fiddlers' Association, Casey Jones (1910-1967) - "Rocky Road to Jordon." Missouri State Old Time Fiddlers' Association, Cyrill Stinnett - "Plain Old Time Fiddling." Okeh 40020 (78 RPM), John Carson. Okeh 45397 (78 RPPM), Oscar and Doc Harper. Omac 1, Thomasson, Shorty, Morris, and O'Connor - "A Texas Jam Session." Rounder 0046, Mark O'Connor - "National Junior Fiddle Champion." Rounder 1004, "Ramblin' Reckless Hobo: The Songs of Dick Burnett and Leonard Rutherford." Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. Appears as part of "Billy in Waynesboro"). Sonyatone 201, Eck Robertson (Texas) - "Master Fiddler." Vanguard VSD 9/10, Doc Watson - "On Stage." Vetco 102, Jilson Setters (under the name Blind Bill Day) {b. 1860, Rowan County, Ky.}, originally recorded on Victor 21407 (78 RPM) in 1928 (as "Billy in the Low Land"). Victor 19372 (78 RPM), Eck Robertson (Texas) {1922}. Recorded by Burnett and Rutherford (Ky.), 78 RPM, and Uncle Am Stuart (b. 1856, Morristown, Tenn.) in 1924 for Vocalation. Voyager 309, Benny and Jerry Thomasson - "The Weiser Reunion: A Texas Jam Session" (1993).
T:Billy in the Lowground
L:1/8
M:C|
S:Jay Ungar
K:C
CA,|:G,A,CD EGAB|cBcd cAGB|ABAG EGAB|1 cAGE DCA,C:|2 cAGE D C3||
|:e g2 e g3 (g|g)age d c3|e a2 e a3 (a|a)bag edcd|e g2 e g3 (g|g)age d c3|ABAG EGAB|
cBGE D C3:|

BILLY WILSON [2]. AKA - "Bill Wilson," "Old Bill Wilson." Old-Time, Breakdown. USA; Texas, Tennessee. The tune is related to the Texas fiddle favorite "Bull at the Wagon" and the West Virginia tune "Red Bird." Texas fiddler Eck Robertson used parts of this tune in his amalagmated tune named "Brilliancy." One of four sides recorded by 77 yr. old Texas/Tennessee fiddler Uncle Jimmy Thompson for Columbia (15118-D) in 1929. Columbia 15118 (78 RPM), Uncle Jimmy Thompson (1926). County 542, Uncle Jimmy Thompson - "Nashville, Early String Bands, Vol. 2."

BLACK EYED SUSIE [1]. AKA and see variant "(Hop Up) Kitty Puss" (northeast Ky.). Old-Time, Breakdown. USA; southwestern Virginia, Alabama, Mississippi, Arkansas, Nebraska, Kentucky. D Major. Standard. AB (Christeson, Krassen/1983): AABB (Brody, Krassen /1973): AA'BB' (Phillips). "One of the most popular breakdown tunes," note the New Lost City Ramblers (1964).
**
Bayard (1981) traces the history of the tune, beginning in the British Isles with a melody called "Rosasolis," set by Giles Farnaby (c. 1560- c.1600), which appears in the the Fitzwilliam Virginal Book. Another version of the melody is called "Morris Off" and appears in Jehan Tabourot's Orchesographie (1588); it is still used for English morris dances and has been called the earliest recorded morris tune. Still another version appears as a Welsh harp tune, "Alawon Fy Ngwlad." Later developments of the tune were popular in England and Scotland from the early 17th century through the 18th, under the title "Three (Jolly) Sheep Skins;" while in Ireland a variation became known as "Aillilliu mo Mhailin" (Alas My Little Bag) {a humorous lament for a stolen bag of sundries}.
**
Transported to the United States from these various sources the melody developed into an old-time standard, "Black Eyed Susie," well-known throughout the South and Midwest. It was mentioned in reports from 1926-31 of the De Kalb County, northeast Alabama, Annual (Fiddler's) Convention, and at a 1929 Grove Hill, southwest Alabama, contest (Cauthen, 1990). Musicologist Vance Randolph collected and recorded the breakdown in the early 1940's for the Library of Congress from Ozark Mountains fiddlers, and it was similarly waxed in 1939 from the playing of Tishomingo County, Mississippi, fiddler John Hatcher for the same institution. Sources for notated versions: John Hilt (Tazewell County, Virginia) [Krassen, 1983]; Bob Walters (Lincoln, Nebraska) [Christeson]; New Lost City Ramblers [Brody, Kuntz]; John Tustin & S. Clark (southwestern Pa., mid-1900's) [Bayard]; Uncle Tom West (Boyd County, Ky., 1911) [Thomas & Leeder]; Doc Roberts (Ky.) [Phillips]. Bayard (Dance to the Fiddle), 1981; No. 185A-B, pg. 142. Brody (Fiddler's Fakebook), 1983; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, Vol.1) , 1973; No. 71, pg. 54 (appears as "Black Eyed Susan"). Krassen (Masters of Old Time Fiddle), 1983; pg. 110. Krassen (Appalachian Fiddle), 1973; pg. 51 (appears as "Blackeyed Susan"). Kuntz (Ragged but Right), 1986; pg. 327. Phillips (Traditional American Fiddle Tunes), 1994; pg. 28. Thomas & Leeder (The Singin' Gathering), 1939; pg. 61. Anachronistic 001, John Hilt - "Swope's Knobs." County 405, "The Hill-Billies." County 713, Cockerham, Jarrell, and Jenkins - "Down to the Cider Mill." County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Davis Unlimited 33015, Doc Roberts - "Classic Fiddle Tunes." Folkways FA 2492, New Lost City Ramblers - "String Band Instrumentals" (1964. Learned from J.P. Nestor & Whitter's Virginia Breakdowners). Gennett 6257 (78 RPM), Doc Roberts (Ky.), c. 1928. Marimac 9009, Rafe Stefanini - "Old Time Friends" (1987). Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountains" (1992). Okeh 40320 (78 RPM), Whitter's Virginia Breakdowners (Henry Whitter, John Rector, James Sutphin). Rounder 0032, Buddy Thomas (northest Ky.) - "Kitty Puss: Old Time Fiddle Music From Kentucky." Victor 21070 (78 RPM), J.P. Nestor and Edmonds (Galax, Va.) {1927}. Victor 40127 (78 RPM), Jilson Setters (as Blind Bill Day; b. 1860, Rowan County, Ky.) {1928}.
T:Blackeyed Susie [1]
L:1/8
M:2/4
S:Kuntz - Ragged but Right
K:D
(a>b) a(e/f/)|(g>a) ga|fd/d/ [d/e/][d/e/]d|BA FA:|
|:dd/d/ f/d/e/d/|dc/c/ Bc|dd/d/ f/d/e/d/ BAFA:|

BLACK SALLY GOODIN. Old-Time, Breakdown. USA, Missouri. G Major (Christeson): D Major (Pete McMaham). Standard. ABCC. Source for notated version: Black fiddler Bill Caton via Vee Latty (Callaway County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 134, pg. 95. Missouri State Old Time Fiddlers Association 001, Pete McMahan - "Ozark Mountain Waltz."

BONNY CATHERINE. Irish, Reel. D Major. Standard. AA'. Composed by Boston musician Brendan Tonra in 1990 to celebrae the birth of Catherine Mary Joyce. Black (Music's the Very Best Thing), 1996; No. 175, pg. 92.
T: Bonny Katherine
C: B. Tonra
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
df f2 edBc | dfed BFDE | F3 E DEFD | E2 DF ED B,2 |
df f2 edBc | dfed BFDE | F3 E DFBd | efde fd d2 ||
f3 e defg | adfa dfec | f3 e dfaf |1 defd edeg |
f3 e defg | adfa dfec | (3dcB cA BcdB | (3efe de fd d2 :|
|2 defd eg (3efg | afeg f3 e | dcBA BAFA | BdAF DEFD | (3EFE DE FD D2 ||

BONNY MAID, THE. Old-Time, Reel. D Major. Standard. ABB. "Both the title and first part of this reel have the appearance of being importations from Great Britain. The second part is a common enough strain, compounded of familiar formulae, and one would not be surprised to find it serving as a component part of other tunes. Noticeable in American country dance music is the frequent occurrence of tunes with a good first part joined to a mediocre second strain. sometimes the second strains of such compounds are plainly modern, while the first parts bear clearer marks of antiquity. See note for 'Rocky Mountain Hornpipe'" (Bayard, 1944). Source for notated version: "Whistled by F.P. Provance (as he formerly played it on the violin), Point Marion, Fayette County, Pennsylvania, October 16, 1943. Learned from Bill Martin (brother of Emery Martin), a fiddler of Dunbar, Pennsylvania" [Bayard, 1944]. Bayard (Hill Country Tunes), 1944; No. 15.

BOOGERMAN (WILL GET YOU). AKA and see "Whip the Devil Around the Stump." Old-Time, Breakdown. USA, "Most common in North Carolina," but known throughout the Appalachians (Krassen, 1973). G Major ('A' part) & E Minor or E Major ('B' part). Standard. AABB. In repertoire of Samantha Bumgarner (Asheville, N.C.), J. Dedrick Harris (Eastern Tenn.), and Osey Helton (Western N.C.) {who knew it as "Whip the Devil Around the Stump"}. Helton may have learned the tune from influential fiddler J.D. Harris, who moved to Western N.C. from Eastern Tenn. in the 1920's, and who recorded the tune on Broadway A1964 (78 RPM). Harris, who once played regularly with Bob Taylor when he was running for Governor of Tenn. in the late 1800's, also influenced other N.C. fiddlers of Helton's generation such as Manco Sneed, Bill Hensley, and Marcus Martin. The tune was also in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border. Krassen (Appalachian Fiddle), 1973; pg. 30.

BOSTON BOY. AKA and see "Take Me Back to Georgia," "Rattlesnake Bit the Baby." Old-Time, Bluegrass; Breakdown. The tune was a favorite of "Uncle Pen" Vanderver, a fiddler made famous by Bill Monroe's famous song. Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - "Willow" (1996).

BOWELS OF THE EARTH, THE. Irish, Jig. C Major. Standard. AA'BB. Composed by banjo player Peter Fitzgerald, originally from County Meath and late of Baltimore. Black (Music's the Very Best Thing), 1996; No. 241, pg. 129.
T: Bowels of the Earth
C: Peter Fitzgerald
Q: 330
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: C
A | GcB G2 A | B2 c dcB | AGG FDD | EDE DEF |
GcB G2 A | B2 c dcB | GBd fdd |1 dBG F2 :|2 dBG c2 ||
d | edc BGG | FGA G2 A | GEE C2 E | FDD D2 G |
ECE DGA | BGE F2 D | GBd fdd | dBG c2 :|

BOG AN LOCHA(I)N (The Water-ouzel). AKA and see "Athole Cummers." Scottish (orginally), Canadian; Strathspey. Canada, Cape Breton. E Minor. Standard. AABB'CD (Skye): AA'BCD (Gow). The melody is popular on Cape Breton Island. The Gaelic title translates as 'water-ouzel', a bird. Cape Breton fiddler Buddy MacMaster plays the tune as "Bog on a Small Lake" on a recent video instructor. Gow (Complete Repository), Part 1, 1799; pg. 16. Lowe's Collection, 1844. MacDonald (The Skye Collection), 1887; pg. 90. Green Linnet GLCD 1117, Altan - "Harvest Storm" (1992. "Inspired" by the playing of Bill Lamey). Topic 12TS354, Mike MacDougall - "Cape Breton Scottish Fiddle"(1978).
T:Bog an Lochan
T:Athole Cummers
L:1/8
M:C
S:MacDonald - Skye Collection
K:E Minor
F|:E/E/E ~E2 E>FB>F|E/E/E ~E2 F<D A>F|E/E/E ~E2 E>FB>A|1 B<d A>d F<DA>F:|2
B<dA<d F<D D>d||
|:B<E (B>A) B<E E>e|B<E (B>A) (F<D) D>d|B<E B>A d>e(f>e)|1
(d/^c/)B/A/ d>A (F<D) D>d:|2 (d/^c/)B/A/ d>A F<D D>f||e/e/e e2 (e>f)(b>f)|
e/e/e e2 f>da>f|e/e/e e2 (e>f)b>f|(g<e) b>e (df/g/) a>f|(g>e)(b>e) (g<e) (b>e)|
(g<e) (b>e) (df/g/) a<f|(g<e)(b<e) d>e(f>e)|(d/^c/)B/A/ d>A F<D D>d||
B<E (B>A) (B<E) E>e|B<E (B>A) (F<D) D>d|B<E (B>A) d>e(f>e)|
(d/^c/)B/A/ d>A F<D D>d|B<E (B>A) (B<E) E>e|B<E (B>A) (F<D) D>d|
B<E (B>A) d>e(f>e)|(d/^c/)B/A/ (dA) F>DD||

BRAES OF BUSHBIE. Scottish, Slow March (4/4 time) or Strathspey. G Minor (Cole, Hardie): G Dorian (Cranford). Standard. ABC (Cole, Hardy): AABBCCD (Cranford). Hardie (1992) says the melody was a favorite of Niel Gow's, composed perhaps by John Bowie and first appearing in the latter's Collection, 1789. Reworked as "Dowd's Favourite," the tune is played as a reel and was recorded by Sligo/New York City fiddler Michael Coleman. Source for notated version: Cape Breton strathspey setting is from fiddler Bill Lamey via Jerry Holland (Inverness, Cape Breton) [Cranford]. Cole (1001 Fiddle Tunes), 1940; pg. 128. Cranford (Jerry Holland's), 1995; No. 187, pg. 53. Hardie (Caledonian Companion), 1992; pg. 85. Henderson, Flowers of Scottish Melody. McFadyen, Repository of Scots and Irish Airs, Vol. 1 (c. 1795).
T:The Braes of Bushbie
C:John Bowie, 1789
R:strathspey
Z:Transcirbed by Juergen Gier
M:C
L:1/8
K:GDor
F/|D<GG>A ~B>AG>F|C>DF>G A<c B/A/G/F/|G>AB>c ~d>cB>d|\
c/B/A/G/ F>A B<GG3/::A/|B>cd>B f>Bd>B|A<cf>d c/B/A/G/ F>A|\
B>cd<B f>Bd>B|~c>AF>A B<GG3/::B/|~g2d>g (3dga (3bag|\
f2c>f (3cfg (3agf|~g>fd>g ~d>cB>d|c/B/A/G/ ~F>A B<GG3/:|A/|\
B<dG>d (3GBc (3dcB|A>cF>c (3FAB c>A|B<dG>d (3GBc d>B|\
~c>AF>A B<GG>A|(3Bcd G>d (3GBc (3dcB|A>cF>A (3FAB (3cBA|\
B>df<b f>dB>d|c/B/A/G/ F>A B<GG3/|]

BRIAN THE BRAVE [5]. Irish, Jig. G Major. Standard. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, dedicated to a young Brian Lawrence Reynolds. Black (Music's the Very Best Thing), 1996; No. 209, pg. 112.

BRIARPICKER BROWN. Old-Time, Breakdown. USA; Ky., Ohio. D Major. Standard or ADAE. AABB. The melody is known as a Kentucky tune in modern times, largely due to an influential recording by fiddler Buddy Thomas (who died at age 39 in the mid-1970's). Thomas had the tune from a elderly Portsmouth, Ohio, fiddler named Morris Allen. The tune structurally resembles West Virginia fiddler Clark Kessinger's "Everybody to the Punchin' (Puncheon) Floor," and Allen was in fact a friend of Kessinger. Sources for notated versions: Norman Blake (Ga.) [Brody]; Bill Christopherson (Conn.) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 56. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 36. Songer (Portland Collection), 1997; pg. 41. Flying Fish FF 266, Malcolm Dalglish & Grey Larsen- "Thunderhead" (1982). Rounder 0032, Buddy Thomas (Northeastern Ky.) - "Kitty Puss - Old Time Fiddle Music From Kentucky." Rounder 0122, Norman Blake- "The Rising Fawn String Ensemble." Rounder 0172, Bob Carlin - "Where Did You Get That Hat?" (1982).

BRIDGET FLYNN'S REEL (Ríl Bhríd Ní Fhloinn). Irish, Reel. E Minor/Dorian. Standard. AB (Black): AAB (Breathnach). Bridget Flynn was the name of Martin Mulvihill's mother, and this was one of her tunes. Source for notated version: fiddler Martin Mulvihill (County Limerick, Ireland/Bronx, NY) [Black, Breathnach]. Black (Music's the Very Best Thing), 1996; No. 335, pg. 179. Breathnach (CRE III), 1985; No. 187, pg. 84. Green Linnet Records SIF 1012, "Martin Mulvihill."
T: Bridget Flynn's
S: M. Mulvihill
Q: 350
Z:Transcribed by Bill Black
R: reel
M: 4/4
L: 1/8
K: Edor
FA | BE (3EFE DEFA | BE (3EFE D2 FA | BE (3EDE BAFA | ABAF E2 FA |
BE (3EFE DEFA | BE (3EFE D2 FA | BE (3EDE BAFA | ABAF E2 :|
FA | Beed e2-ed | (3Bcd ef gfed | Bddc d4 | BcdB ADFA |
Beed e2 ed | (3Bcd ef gfef | g4 f3 d | BcdB A2 :|

BRILLIANCY. AKA- "Brilliance," "Brilliancy Medley." AKA and see "Liverpool Hornpipe," "Louisville Hornpipe." See also related tunes "Drunken Billy Goat," "Miller's Reel," "Wake Up Susan." Old-Time, Texas Style. USA, west Texas. A Major. Standard. AABB (Christeson, Phillips/1994): AABBCC (Phillips/1995): AABBCCDDEE (Brody). John Hartford and others note that the first strain of "Passaic Hornpipe" is the same as this tune, as is "Trafalger Hornpipe" (the latter is cognate with the 'A' and 'C' parts of "Brilliancy"). Stacy Phillips remarks that the tune is a combination of "Passaic," "Trafalgar" and "Dew Drop" (the 'B' part) hornpipes. See also the related tune "Butterfly Hornpipe." There is some thought that "Brilliancy" was Eck Robertson's name for the set of variations he developed for "Drunken Billy Goat," though Charles Wolfe (1997) states the tune is an amalgum of several fiddle tunes including "Drunken Billygoat" in combination with "Wake Up Susan," "Old Billy Wilson" and "Bill Cheatum." The piece was one of Robertson's best known pieces and sold over 2,600 copies when it was released in September, 1930 (Wolfe, 1997). Sources for notated versions: Red Williams [Christeson]; Eck Robertson (West Texas) [Brody]; Howard Forrester [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 5. Brody (Fiddler's Fakebook), 1983; pg. 57-58. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 37. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 183. County 507, Eck Robertson- "Old-Time Fiddle Classics." Folkways FA2952, Eck Robertson (1922) - "American Folk Music, Vol. 2." Rounder 0046, Mark O'Conner- "National Junior Fiddle Champion." Sonyatone 201, Eck Robertson- "Master Fiddler." Victor 40298 (78 RPM), Eck Robertson {1929. 2nd fiddle by Dr. J.B. Cranfill}.

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. 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"). Vocalation 5432 (78 RPM), A.A. Gray (part of "A Fiddler's Tryout in Georgia").

BUDDY FUREY'S/FURY'S POLKA (Polca Bhodaí Uí Fhoirréidh). Irish, Polka. A Mixolydian (Breathnach): A Major (Black, Mulvihill). Standard. 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).
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 :|

BULLY OF THE TOWN. Old-Time, Country Rag and Song Tune. USA; Georgia, North Carolina, West Virginia, Arkansas, Arizona, Missouri, northeast Tenn. G Major. Standard. AABB. The song "Bully of the Town" was originally written by Charles E. Trevathan (a southern sports writer, horse judge and amateur musician) in 1895 for the stage show "The Widow Jones" which opened at the Bijou Theater, New York City that September. It was sung in the production by Trevathan's girl-friend, May Irwin. "Bully of the Town" is mentioned as one of the frequently played tunes in a 1931 account of a LaFollette, northeast Tennessee fiddlers' contest. It was in the repertoire of Skillet Licker fiddler Clayton McMichen (Ga.) who recorded the tune with that group in a triple fiddle version at their first recording session in 1926. Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's.
**
John Garst finds that the song "Bully of the Town" was developed from an earlier blues ballad called "Ella Speed," based on a real-life incident in New Orleans in the middle years of the "Gay 90's." Garst relates that in September, 1894, Ella was a twenty-eight year old black or mullato prostitute living in a "sporting house" on what is now Iberville Street in the French Quarter. She was the object of the obsessive attentions of Louis "Bull" Martin or Martini, a bartending white Italian-American whom she had met several months previously at another establishment, and who wanted to set her up in an apartment as his mistress, a not uncommon arrangement at the time. Ella, however was lukewarm to him-she liked his money, but didn't care much for the man-and at any rate, she already had a husband, one Willie Speed. Louis was a bully who had been arrested and tried on three separate occasions on assault and battery charges, and who at the time of the murder was wanted by the constable for yet another brutal beating, that of an elderly black man near his place of work. Louis reportedly became enraged at the thought that she might be fond of another man (whether Willie or not). One night, after a day spent recreating, dining and drinking, they returned late to the bordello in which she was staying and, feeling the effects of their partying, retired at around 2:00 AM. The next time Ella was seen was in the morning when she screamed and emerged from her second story room, saying "Help me, Miss Pauline!, Louis shot me!" She collapsed in the hallway, just as the onrushing Madame spied Louis in the doorway, holding a smoking pistol. Louis disappeared, and soon a deputy arrived followed by an ambulance; but too late, for Ella had been shot through the breast with the bullet piecing her heart, left lung and liver, from which wounds she soon bleed to death.
**
A manhunt was raised to find Louis, who after a day turned himself in at the residence of a police Captain. He was arrested, held and charged with murder. After a trial a jury found him guilty of manslaughter, despite Louis's claim the shooting was an accident, and if Louis had counted on getting off easy with the reduced finding he was mistaken, for Judge John H. Ferguson (originally from Massachusetts) sentenced him to twenty years in prison, which Garst says was a stiff sentence for the time.
**
Garst thinks that the song "Ella Speed" appeared soon after the initial shooting and was based on newspaper accounts. "Ella Speed" appears in the collected papers of John A. Lomax (in a Texas version from 1909) and Carl Sandburg included it in his volume American Songbag (1927). Under the title "Bill Martin and Ella Speed," it was recorded several times by Leadbelly between 1933 and 1950, and in fact was recorded by several blues performers, including Mance Lipscomb, Tom Shaw, Tricky Same, Finious Rockmore, Lightnin' Hopkins and Jewel Long (as researched by John Cowley). Garst bases his hypothesis that "Ella Speed" was the model for "Bully of the Town" on three points: 1) the fact that "Bully" appeared a year or two after the "Ella" song, 2) the fact that Louis was a bully and the subject of a massive police hunt, as intimated in both songs, and 3) the similarity between the melodies of "Ella" and "Bully." He believes Trevathan heard "Ella Speed" from a black musician friend named Cooley, and that Trevathan substantially rewrote it, ending up with "Bully of the Town" (Trevathan gave several accounts of how he came to write the song).
**
Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 26. Ruth (Pioneer Western Folk Tunes), 1948; No. 96, pg. 34. County 526, "The Skillet Lickers, Vol. 1" (1973. Orig. rec. 1926). Gennett 6447 (78 RPM), 1928, Tweedy Brothers (W.Va. brothers Harry, Charles, and George who played twin fiddles and piano). Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." Rounder Records, Gid Tanner and His Skillet Lickers - "The Kickapoo Medicine Show" (appears as the 4th tune of the Kickapoo Medecine Show skit). Tradition TLP 1007, Etta Baker - "Instrumental Music of the Southern Appalachians" (1956).
T:Bully of the Town
L:1/8
M:2/4
S:Viola "Mom" Ruth - Pioneer Western Folk Tunes (1948)
K:G
D|D[GB][G>B>][GB]|[GB] [G2B2] [GB]|[GB][GB][G_B][G=B]|
G3F|[CE][C2E2][CE]|[Ge][G2e2][Ge]|cc c/B/A|(F2 F)(F/E/)|
D d3 ^c/=c/|ccBA|(G4|G3)||
|:(B/c/)|(d2 d)(3c/d/^d/|ed AB|c2 cA|F3 (A/B/)|(c2 c)(3B/c/^c/|
dc A_B|=B2 BG|D3G|(B2 B)(3A/B/c/|(d2 d)(3c/d/^d/|eecA|
E3_E|D d3 ^c/=c/|ccBA|(G4|G3:|

BURKE COUNTY. Old-Time. The tune is a version of "(Give the) Fiddler a Dram." It was in the repertoire of North Carolina's Fiddlin' Bill Hesley.

BURNT LEG, THE. AKA and see "The Bonnet Makers of Dundee," "Sweet Mally." Scottish (originally), Canadian; Reel or Strathspey. Scotland, Skye. Canada; Prince Edward Island, Cape Breton. E Dorian (MacDonald, Perlman): E Minor (Cranford). Standard. AA'B (Perlman): AABB (Cranford, MacDonald). The melody is from the Isle of Skye, according to editor MacDonald, however, Paul Stewart Cranford finds the tune printed in earlier collections under different titles: in Aird's 1st (1782) as "Sweet Mally" and in Bremner's 1757 collection as "The Bonnet Makers of Dundee." Cranford mentions that the tune is popular among Cape Breton fiddlers. It was in the repertoire of Cape Breton fiddlers Bill Lamey (who played it as a strathspey) and was recorded by Joe MacLean (as a reel). Source for notated version: Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland's), 1995; No. 141, pg. 41. MacDonald (The Skye Collection), 1887; pg. 71. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 109.
T:Burnt Leg, The
L:1/8
M:C
B:The Skye Collection
K:D
(F/G/)|A>BA>F A>Bd>f|(A>B)A>F E/E/E (EF/G/)|A>B A<F A>Bd>f|F>DE>F D/D/D D:|
(f/g/)|a>fd>f (A<d)f>d|(e>d)f>d e/e/e e(f/g/)|a>f d<f e<df<d|B>AB>d D/D/D F(f/g/)|
a>f d<f (A>d)f>d|(e<d) f>d e/e/e e2|f>de>d B>Ad>F|E>DE>F D/D/D D||

BUTCHER'S MARCH, THE [2] (Mairseail na mBuisteiri). AKA and see "The Bog of Allen," "Brendan Begley's Jig." Irish, Double Jig. G Major/A Dorian? Standard. AABB (Taylor): AABBCCDD (Breathnach). See also the variant appearing in Breatnach's Ceol Rince na hÉireann, vol. II, no. 21 (pg. 13, appears as "Gan ainm"), from County Clare fiddler Bill O'Mally. Source for notated version: fiddler Mrs. Murphy, 1967 (Co. Cork, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 27 [2], pg. 16. Taylor (Music for the Sets: Blue Book), 1995; pg. 10.
T:Butcher's March, The
M:6/8
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||

CARMEL'S BIRTHDAY. Irish, Reel. A Mixolydian. Standard. AA'BB'. Composed by Peter Fitzgerald. Black (Music's the Very Best Thing), 1996; No. 260.
T: Carmel's Birthday
C: Peter Fitzgerald
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Amix
ed |: c2 AE FAEC | ACEC FCEC | A,B,CE A2 cA | G2 eG dGed |
c2 AE FAEC | AC C2 FCEC | A,CEF EGBd |1 (3Bcd BG A^GAB :|
|2 (3cde cA A4 || ae e2 defa | gedB cAGE | A2 ED CECA, |
G,2 EG, DG,EG | AE E2 GABG | AECA G,B,DE | ^GBEF D=GBd |
|1 (3Bcd BG A2 Ae :|2 (3Bcd BG A4 ||

CAT IN THE CORNER, THE [3]. Irish, Slide (12/8 time). G Major. Standard. AAB. Source O'Leary liked to pair this tune with "A Night at the Fair." Source for notated version: Bill the Weaver via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 348, pg. 196.

CALEDONIA'S WAIL FOR NIEL GOW, HER FAVOURITE MINSTREL (Caoidh Na H-alb Airson Neill Ghobha). Scottish, Slow Strathspey. B Minor. Standard. AB (Emmerson, Hunter): AAB (Fraser, Skye). The air was the work of the Scottish fiddler and composer Captain Simon Fraser of Knockie (1773-1852), born at Ardachie near Fort Augustus. Regarding the composer, Hunter (1988) reports that Fraser's contemporary, a fiddler named Captain Macdiarmid, said of him "I never heard anyone make the fiddle speak Gaelic so beautifully." Fraser himself says of his tribute to that most famous of Scots fiddlers, Niel Gow: "This is an effort of the editor's to pay a public tribute of admiration to the memory of that sterling and original genius, Niel Gow, attempted in his own strain. The editor is aware how unnecessary this was, as while there exists any taste for the sprightly national style, brought to such perfection by this individual and his family, his name will live in the models his genius carved out for the cheerful, innocent, and rational amusement of youth; the strain of his music inducing a style of dancing highly conducive to health, athletic agility, and a general elevation of the spirits; and when prudently combined with their juvenile lessons for acquiring a prompt and genteel address, tends to the same effect throughout their advance in years, by giving universal delight. Were this tribute, therefore, worthy of its object, it becomes more due to a self-taught genius, who has rendered it innecessary by bequeathing to posterity so very captivating a memorial of himself. Vide Vignette." Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 99, pg. 177. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 148, pg. 60. Hunter (The Fiddle Music of Scotland), 1988; No. 15. MacDonald (The Skye Collection), 1887; pg. 183. Lismor Records, Ron Gonella - "Fiddle Gems" (1976). Scottish Records, Yla Steven - "Back to the Hills" (c. 1977). Rounder Records 82161-7032-2, Bill Lamey - "Full Circle."
T:Caledonia's Wail for Niel Gow Her favourite Minstrel
T:Caoidh na h-Alb airson Neill Ghobha
L:1/8
M:C
S:Fraser Collection
K:D
F|:D<B, B,>C D>EFB|A>FF>E DA,A,(F/E/)|D<B, B,>C D>E Fg|
f>d (e/d/)c/d/ B2 (Bc/d/|D<B, B,>C D>EF>B|A<F F>E D>E/F/ A,(F/E/)|
D<B, B,>C D>E Fg|f>d (e/d/)c/d/ (B2B):|
f/^a/|b>c' d'>c' b>=af>d|a<f f>e dAAf/^a/|b>c' d'>c' b>a f/^a/b/c/'|
d'f (e/d/)(c/e/) B/d/f/d/ B(d/e/)|f[fd'][fd']e/>d/ c[ca][ca]d/>c/|
[DB]>c d/c/d/^e/ f[F^A][F^A] D/=E/|[DF][DF][DF] (C/D/) [CE][CE][CE] (D/C/)|
B,/C/D/^E/ F<^A, (B,2 B,)||

CAMP CHASE [2]. Old-Time, Breakdown. A Major. AEAE, DGDG (Harvey Sampson) or Standard. AABB. No relation to version #1. The legend attached to the tune has been related by several writers (with slight variations) but most versions begin at the point that Solly "Devil Sol" Carpenter (fiddler French Carpenter's grandfather and himself one of the most influential fiddlers in West Virginia history) is imprisoned during the Civil War at a Union prison in Camp Chase, located near the west side of Columbus, Ohio, where the present-day Fort Hayes is situated. Little remains of the prison camp save for a cemetary on West Sullivan Ave., and a small stone retaining wall on West Broad Street, Columbus.
**
The story goes that while he was incarcerated the commandant held fiddler's contest to give the best player a chance to fiddle his way to freedom, or, as some versions go, to win a reprieve from a death sentance. Devil Sol, a man named Bowie and others played and apparently all the fiddlers played the same tune. Solly won by adding some unusual new notes to the tune according to his fancy (or perhaps, as one writer suggests, in desperation). West Virginia fiddler Wilson Douglas, a protege of French Carpenter, relates "There was quite a few who played in the contest; but Saul put these two high notes in. That tune, he called it 'Camp Chase.' It was some kind of a tune before but they hadn't named it yet. And when he got out of there he called it 'Camp Chase,' and it's gone by that name ever since." Although Sol gained his freedom in the contest he had to sign a parole, pledging not to take up arms against the Union; as the story goes, he ignored this and headed south to join another Confederate unit.
**
Alan Jabbour notes a similarity between one of the versions of "Camp Chase" and "George Booker," and suspects it may be the latter that was played in the contest; the name "Camp Chase" may then have been applied to the tune by W.Va. fiddlers who were familiar with the legend and Solly's Carpenter's music (Bill Hicks {1972}; Krassen {1983}). "George Booker" seems related, notes Jabbour, to the 18th century Scottish strathspey "The Marquis of Huntly's Farewell."
**
It will be noted that there are similar such legends in British Isles and other traditions in which a fiddler tries to play his way to freedom (or plays a masterpiece just before he is executed). Perhaps the oldest, and certainly one of the most famous, is the myth of the Greek harper Orpheus, who played his way out of Hades. See also the tunes "MacPherson's Farewell," "Last of Callahan," "Callahan" and the Cajun "Guilbeau's Waltz" and "Valse a Napoleon" which have similar tales attached.
**
Sources for notated versions: French Carpenter (WVa) [Krassen]; Bruce Molsky [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg 58-59. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 44. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson, probably from one of the Carpenter family). Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond - "Hell Up Coal Holler" (1999).

CANNIFAX. Old-Time, Breakdown. USA, Missouri. D Major. Standard, ADAE. AABB. Source for notated version: Bill Driver (Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 51.

CHALK AND CHEESE. Irish, Reel. C Major. Standard. AA'BB'. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music's the Very Best Thing), 1996; No. 89.
T: Chalk and Cheese
C: (c) B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: C
G,A,B, |: C2 EC DEFA | ^FAdA G2 AB | c2 Bc AG G2 | FDEC DGGE |
C2 EC DEFA | ^FAdA G2 AB | cE (3EDE FA (3AGA |1 GEDE CG,A,B, :|
|2 GEDE C3 || D | EGAB cege | d^faf g2 g=f | ecBc acBc | efdc BGAB |
c2 ec gcec | ag^fa g2 g=f | ec (3cBc AF (3FEF |1 GEDE C3 :|2 GEDE C4 ||

CHATEAUGUAY REEL. AKA and see "The Chatagee," "Chateau Gai," "Chateagaie," "Reel de Chateauguay," "Reel de la caserne." French-Canadian, Reel. G Major. Standard. AABB (Carlin, Messer, Miller & Perron): AA'BB' (Cuillerier). Source for notated version: Bill Christopherson and Tom Phillips with the Fish Family [Phillips]. Carlin (Master Collection), 1984; pg. 50, No. 73 (appears as "Reel de Chateauguay"). Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 14 (appears as "Reel de Chateauguay"). Jarman (Jim Magill's Square Dance Tunes); No. or pg. 6. Messer (Way Down East), 1948; No. 11 (appears as "The Chatagee"). Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 31, pg. 27. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 151 (appears as "Chatagee Reel"). Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 338 (appears as "Chateau Gai"). Victor 263578-b (78 RPM), Joseph Allard.
T:Chateauguay Reel
T:Chatagee Reel
L:1/8
M:C|
K:G
ga|b2bg a2af|gbge d2g2|fdAB cBce|dBGA B2ga|b2bg a2af|
gbge d2g2|fdAB cdef|gagf g2:|
|:d2|G2GB d2 (3gag|efge d2g2|fdAB cBce|dBGA B2BA|
G2GB d2 (3gag|efge d2g2|fdAB cdef|gagf g2:|

CHEAT 'EM. AKA and see "Bill Cheatam."

CHEATUM. See "Bill Cheatham."

CHESHIRE ROUNDS [1]. English, Country Dance Tune (3/4 time). D Major. Standard. AABB. This melody appears in Playford's Dancing Master (2nd and subsequent editions), Walsh's Compleat Country Dancing Master (vol. i), and Gay's Polly and other ballad operas. The Cheshire Rounds was also a once-popular dance, and Chappell (1859) found several references to its performance:
***
In Bartholomew Fiar, at the Coach-house on the pav'd
stones at Hosier-Lane end, you will see a Black that dances
the Cheshire Rounds to the admiration of all spectators."
(Play-bill by Dogget, 1691. In fact, the only known portrait
of Dogget shows him dancing the Cheshire Round.)
***
John Sleepe now keeps the Whelp and Bacon in Smithfield
Rounds, where are to be seen a young lad that dances a
Cheshire Round to the admiration of all people." (Playbill)
***
It is one of the tunes called for by "the hobnailed fellows"
in A Second Tale of a Tub (8vo, 1715).
***
The name Cheshire is an ancient contraction of Chestershire. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 167. Raven (English Country Dance Tunes), 1984; pg. 15.

CHEYENNE. Bluegrass, Breakdown. Composed by Bill Monroe (Ky.) and Bobby Hicks (N.C). Rounder C11565, Bobby Hicks - "Rounder Fiddle" (1990). Rounder 0210, Bobby Hicks - "Bluegrass Album, Volume 4."

CHOCTAW BILL. Old-Time, Breakdown. C Major. Standard. AA'BB. Source for notated version: Bob Douglas [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 50.

CHRISTMAS AT THE MAHERS. Irish, Slip Jig. G Major. Standard. AB. Composed by Falmouth, Massachusetts, musician and writer Bill Black for Boston fiddler Aidan Maher and his wife Gerry, both originally from Dublin. Black (Music's the Very Best Thing), 1996; No. 288, pg. 155.
T: Christmas at the Mahers'
C: (c) B. Black
Q: 325
R: slip jig
M: 9/8
L: 1/8
K: G
E | DGB Adc BGG | DGB ded A2 E | DBG Adc BGD | ECE DEF G2 :|
e | gdg ece dBG | gfg efg a2 e | gdg ecA BGE | DGB AFA G2 :|

CHRUCH STREET (POLKA) [1]. AKA and see "St. Mary's Polka." Irish, Polka. Ireland, west Kerry. G Major. Standard. AABB. The correct title of this tune is "St. Mary's Polka" but became associated with "Church Street Polka" after the two were paired on the Chieftains first record. Carlin (Master Collection), 1984; pg. 156; No. 277. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 21, pg. 20 (appears as "Gan Ainm" {untitled}). Front Hall FHR-010, Bill Spence & Fennig's All Stars - "The Hammered Dulcimer Strikes Again" (1977). Old Hat Music OH!02, "The Old Hat Dance Band" (1992).
T:St. Mary's Polka
T:Church Street [1]
T:Gurkin Cross
R:polka
D:Ben Lennon, The Natural Bridge
Z:Jeff Myers
M:2/4
L:1/8
K:G
D/|GB AB/A/|Gg e/f/g/e/|dB AG/A/|B-B/A/ G/F/E/D/|
GB AB/A/|Gg e/f/g/e/|dBAG/A/|BG G-G/:|
A/|Bd g-g/A/|Bd g-g/A/|Bd ge|f-f/g/ fg|ag e/f/g/e/|dB AG/A/|
Be d/B/A/B/|G2{B}G-G/:||

CHURCH STREET POLKA [2]. AKA and see "Killoran's Polka," "Pete's Polka." Irish, Polka. G Major. Standard. AAB (Moylan): AABB' (Mallinson, Phillips). This tune appears on the Chieftains first record, paired with "St. Mary's Polka." Source O'Leary associated this tune with west Kerry fiddler Julia Clifford. The tune (and "St. Mary's Polka") was probably named for the St. Mary's Society or club, later called the Church Street Club, formed in 1956 around a core of Sligo/Leitrim musicians who had moved to Dublin, including flute player John Egan, John Brennan, Dessie O'Connor, Tom Mulligan, Bill Harte, John Ryan, John Kelly, Sonny Brogan and John Clarke. The session helped nuture younger players such as Tommy Peoples and Tony McMahonevery important and was a haven for nearly every traditional musician of the time who was in or visited Dublin. The session eventually moved to Hughes's Pub in Chancery Street, where it still continues under the leadership of Pearl O'Shaughnessy. Sources for notated versions: fiddler Pete Sutherland (Vt.) [Phillips]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 69. Mallinson (100 Polkas), 1997; No. 90, pg. 35. Moylan (Johnny O'Leary), 1994; No. 321, pg. 183. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 338. "Chieftains #1."
T:Church Street
L:1/4
M:2/4
K:G
d/c/|:BG D>D|Ec cA/B/|cE F>E|Dd d/e/d/c/|
BG D>D|Ec cA/B/|c/B/A/G/ F/D/E/F/|1 GB Gd/c/:|2 GB GB/d/||
|:gg ff|c7/2 e/|ee dd|B3 B/c/|
d>e dB|A2 AB/A/|1 G>A Bc|d2 de/f/:|2 Gg fa|g2 g||

CINDY [2]. Bluegrass, Breakdown. A Major. Standard. AB. Sosurce for notated version: Kenny Baker with Bill Monroe and the Bluegrass Boys [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 53.

CLAUDY'S FANCY. Irish, Reel. E Minor ('A' part) & G Major ('B' part). Standard. AA'BB'. Composed by banjo player Peter Fitzgerald, originally from County Meath and late of Baltimore. Black (Music's the Very Best Thing), 1996; No. 240, pg. 128.
T: Claudy's Fancy
C: Peter Fitzgerald
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
F |: GEEF GE E2 | AB B2 A2 BG | D3 A BGED | FD D2 DFGA |
GEEF GE E2 | AB B2 A2 BG | E2 BE dEBd |1 dBcA dABA :|
|2 dBcA BEEe || dBcA G3 e | dBcA GBdG | FDAD FADA |
Adfg feed | dBcA G3 e | dBcA GBde | fedB AGFE |1 ADEG FDDd :|
|2 ADEG GE E2 ||

CLUCK OLD HEN [4]. Old-Time, Breakdown. D Major. Cross tuned. Howdy Forrester. Voyager Records, Bill Long - "Fiddle Jam Session." Voyager Records, Vivian Williams - "Fiddler."

COCK LORREL. AKA and see "An Old Man is a Bed Full of Bones." English, Country Dance Tune (6/8 time). G Minor. Standard. One part. Chappell (1859) states the tune appears in 180 Loyal Songs (1685), Pills to Purge Melacholy, and The Dancing Master (1650 and all later editions, under a different name). As is usual with ballad tunes, which it once was, this melody was used as the vehicle for several songs and so is also variously known by the titles "The Rump roughly but righteously handled", "The City's Feast to the Lord Protector," "St. George for England," "The Painter('s Pastime)," "Michaelmas-Term," "The Rambling Clerke," and "A Bill of Fare," among others. The song "The Cock Lorrel" is in Ben Jonson's masque The Gipsies Metamorphosed and Pepys collection of ballads in addition to Pills to Purge Melacholy. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 40-41.

COCK OF THE NORTH [3]. Irish, Slide.
T:Cock o' the North
D:Jackie Daly, "Many's a Wild Night", track 13(b)
M:12/8
N:From the album notes by Ma/ire O'Keeffe:
N:[T]he last two slides are versions of the well known
N:"Cock o'the North". This is a common Scottish piping
N:tune which can be found in 6/8 time in James Hunter's
N:"The Fiddle music of Scotland" No. 299, where we are
N:told that the Cock o' the North was an honorary title
N:for the Duke of Gordon. The second tune came from
N:the playing of Maurice O'Keeffe of Kishkeam who
N:attributed this version to the playing of Johnny Billy,
N:a far-out relation of Tom Billy's who was renowned
N:for the sweetness of his playing. According to
N:Maurice, Johnny Bill was a shy man and was never
N:recorded.
L:1/8
R:slide
K:A
"A" c3 "Bm" dcd "A" e3-e2 e | efe cBA "E" B3 BAB |
"A" c3 "D" dcd "A" e3-e2 e |1 efe "E" c2 B "A" A3 A2 B :||
2 "E" efe c2 "A" B A3-A2 e ||
||: "D" a2 e "A"c2 e "D" a2 "A" e c2 e | efe cBA "E" B3 B2 e |
"D" a2 e "A" c2 e "D" a2 e "A" c2 e |
1 efe "E" c2 B "A" A3 A2 e :|| 2 "E" efe c2 B "A" A3 A3 ||
***
A Bm A / | / / E / | A D A / |1 / E A / :|| 2 E / A / ||
||: D A D A | / / E / | D A D A | 1 / E A / :|| 2 E / A / ||

COLD SPRINGS BREAKDOWN. Canadian, Breakdown. C Major ('A' part) & G Major ('B' part). Standard. AA'BB. Composed by Canadian fiddler Bill Guest. Bohrer (Vic Kibler), 1992; No. 26, pg. 26.

COLORED ARISTOCRACY. AKA and see "Southern Aristocracy." Old-Time, Breakdown. USA, West Virginia. G Major. Standard. AA'BB'. This late 19th century or c. 1900 tune is more correctly categorized as a cakewalk (which suggests ragtime from its syncopated rhythms) rather than a fiddle tune though the popularized version apparently comes from old-time fiddler Sanford Rich, a resident of Arthurdale, West Virginia in August of 1936. Arthurdale, according to Kerry Blech and Gerald Milnes, was a resettlement camp for displaced persons during the depression, a project of Elanor Roosevelt's, and it was there at a festival of folk heritage that musicologist Charles Seeger (father of New Lost City Ramblers member Mike Seeger) recorded the Rich Family for the Library of Congress (AFS 3306 B2). Gerald Milnes has located Sanford's son, Elmer Rich, an elderly man who still fiddles and who remembers the event. Mike Seegar learned the tune at a young age by playing the aluminum recordings in his parent's house. It became one of the first tunes recorded by his group the New Lost City Ramblers in the early 1960's, and introduced the song to "revival" era fiddlers.
***
The second chord in the accompaniment has been variously played as both an E minor and an E major. The origin of the title remained obscure, although it was speculated that it derived from Reconstruction sentiments (or resentments) about the perceived attitude (either within or without the black community) of some African-Americans (i.e. that "Colored Aristocracy" was a gentrification of "Uppity Nigger"). However, Peter Shenkin tracked the title to a piece of sheet music from a 1902 revue entitled "In Dahomey," which starred the famous African-American vaudeville duo Williams and Waltker. The music (entitled "Leader of the Colored Aristocracy") is credited to Will Marion Cook, words by James Weldon Johnson (later of Harlem Renaissance fame), published by Harry Von Tilzer. Another "Coloered Aristocarcy" dates from 1899 credited to one Gus W. Bernard (published by the Groene Co.); it is listed as a "Cake-walk" on the cover. Neither the Bernard tune or the one published by Tilzer is the "Colored Aristocracy" played by fiddlers, however. Bob Buckingham reports that a fiddling preacher of his aquaintance named Buck Rife (originally from the Beckley WV area) calls the tune "The Young Man Who Wouldn't Hoe Corn" and gave that he had it as a youngster learning clawhammer banjo from an uncle. Brody (Fiddler's Fakebook), 1983; pg. 72. Phillips (Fiddlecase Tunebook), 1989; pg. 11. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 33. Columbia GP18, Taj Mahal - "De Old Folds at Home." Folkways FA 2396, New Lost City Ramblers- "Vol. 1." Folkways 2494, New Lost City Ramblers - "Sing Songs of the New Lost City Ramblers" (1978. Learned from a Library of Congress recording of the Riche Brothers at the 1936 Athurdale, W.Va. fiddler's Convention). Fretless FR 200A, Yankee Ingenuity - "Kitchen Junket" (1977). Front Hall FHR-01, Bill Spence & Fennig's All Stars - "The Hammered Dulcimer." Rounder 0002, Spark Gap Wonder Boys- "Cluck Old Hen." Rounder 0075, Richard Greene- "Duets." Smithsonian/Folkways SF CD 40098, New Lost City Ramblers - "There Ain't no Way Out" (learned from the Library of Congress field recording of Sanford Rich).

COON DOG [1]. AKA and see "Raccoon's Tail," "Lynchburg Town." Old-Time, Breakdown. USA, Oklahoma (Delaware County in version from Thede). G Major. Standard. AABB. Bill Grant (Thede). Thede (The Fiddle Book), 1967; pg. 127.

CORN WHISKEY. Old-Time, Breakdown. USA, Missouri. D Major. Standard or ADAE. AABB. Source for notated version: Bill Katon (or Caton), Missouri [Christeson]. R.P. Christeson (Old Time Fidders Repertory, Vol. 2), 1984; pg. 60.

COROFIN SLIDE. Irish, Single Jig or Slide (12/8 time). Ireland, County Clare. G Major. Standard. AABB. The title is from Falmouth, Massachusetts, banjo player Bill Black. Source for notated version: Jimmy Hogan [Black]. Black (Music's the Very Best Thing), 1996; No. 123, pg. 64.
T: Corofin Slide
S: Jimmy Hogan
Z: transcribed by B.Black
Q: 375
R: slide
M: 12/8
L: 1/8
K: G
D | D2 E G2 A B3 B AB | c2 B c2 B A3-A2 G |
D2 E G2 A B2 A B2 d | edB dBA G3-G2 :|
B | ded B2 c ded B2 c | ded BAG E3-E2 B |
ded BAB ded B2 d | edB dBA G3-G2 :|

CRANBERRY BOG, THE. Irish, Reel. G Major. Standard. AA'BB'. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music's the Very Best Thing), 1996; No. 33, pg. 147.
T: Cranberry Bog
C: (c) B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
A | dBge dBBc | dedc BAGF | EBBc BGEG | (3FED AF BDAD |
dBge dBBc | dBcA BGGF | ECEG B,DGB |1 cdAF GABc :|2 cdAF G3 ||
B | dg (3gfg bg (3gfg | afdf gece | d2 Bd cAEA | (3FED AF BDAD |
dg (3gfg agba | gecA dBGF | ECEG B,DGB |1 cdAF GABc :|2 cdAF G3 ||

CRANNCIUIL LIAM DUIB. AKA and see "Bill Black's Hornpipe."

CRASHING AT QUINLAN'S. Irish, Reel. D Major. Standard. AABB. Composed by Falmouth, Massachusetts, musician and writer

Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion