Ceolas: The Fiddler's Companion

Result of search for "C. M. Hall":

ACE OF DIAMONDS. American, Contra Dance Tune (4/4 time). F Major. Standard. AABBC. Laufman seems indicates the dance, and presumably the tune, are from Scandinavia. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 21.

AIN'T GOING TO WORK TOMORROW. Old-Time, Breakdown and Song. USA, western Virginia. D Major. Marimac 9009, Earnest East - "Old Time Friends" (1987). Rounder 0058, Marshall, Cole & Hall - "Old Originals, Vol. 2" (1978).

AIN'T GONNA GET NO SUPPER HERE TONIGHT. AKA and see "Not Gonna Get No Supper Here Tonight". Old-Time, Breakdown. USA, Texas. Learned from Texas fiddler John Wills (Bob Wills' father) via mandolinist Kenny Hall and fiddler Pete Sutherland. The original key was A Major, though Sutherland plays it in 'G'. A tune called "Not Gonna Have No Supper Tonight," also played in G Major, was recorded for the Library of Congress in 1939 by Tishomingo County, Mississippi fiddler John Brown. Rounder 0132, Bob Carlin - "Fiddle Tunes for Clawhammer Banjo" (1979).

ALL IN A GARDEN GREEN. AKA and see "Gathering Peascods," "The Maid in the Moon (Morn)." English, Dance Tune (2/2 or 4/4 time). G Major (Karpeles, Merryweather, Raven): D Major (Laufman): F Major (Chappell). Standard. AB (Chappell): AABB (Karpeles, Laufman, Merryweather, Raven). The earliest published version extant can be found in John Playford's first edition of The English Dancing Master (1651), though the tune appears earlier in William Ballet's Lute Book (1594), and therefore is probably older than the seventeenth century. In fact, it was already considered part of the established traditional repertoire in Playford's day (Pulver, 1923), the mid-17th century. A ballad was registered with the Stationers' Company (an early form of copyrighting, and mandatory at the time) in 1566 called "All in a garden green, between two lovers," which may or may not have been sung to the tune that later appeared in Ballet's MS and Playford. A further reference can be found in A Handefull of Pleasant Delites (1584) in which mention is made of "An excellent Song of an outcast Lover, to All in a Garden green." Whether these early references referred to the melody printed in Playford is not known, for the opening line, remarks Kines (1964), is common to many songs of the period. It begins:
***
All in a garden green two lovers sat at ease,
As they could scare be seen among, among the leafy trees.
***
Kines attributes the marrying of the "All in a garden green" poem to the air "Gathering Peascods" in William Ballet's book to the musicologist Chappell in the mid-19th century. Merryweather notes that variants of the tune appeared on the Continent, including the Dutch Unter den Linden Grune by Sweelinck, and Onder de Lindegroene by Vallet. Not only was the tune used for ballads and country dancing, continues Merryweather, but it was also absorbed into church hymnody, set, for example to psalm 47 ("All people clap your hands, Sing laud unto the Lord"). Chappell (1859) also prints a version in 6/4 time from the Fitzwilliam Virginal Book. Chappell (Popular Music of the Olden Times), 1859, Vol. 1; pgs. 79-80. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 21 (appears under the dance title "The Maid in the Moon"). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 74. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 25. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1992).

ALL 'ROUND MY HAT [2]. New England, Waltz. D Major. Standard. One part. Front Hall Records 03, Dudley Laufman - "Swinging on a Gate."

AMELIA'S WALTZ [1]. AKA - "Amelia." American, Waltz. USA, New Hampshire. D Major. Standard. AA'BB'. This waltz was composed in 1981 by New Hampshire accordionist and composer Bob McQuillen (Peterboro, N.H.) for three-and-a-half year old Amelia Stiles, daughter of Deana Stiles, a flute player friend who played with Dudley Laufman's Canterbury Country Dance Orchestra. McCutcheon relates that "current legend" has it that Amelia was named because of the fact that her family lived in a house built around a shipping crate for Amelia Earhart's plane. Deana Stiles has been a member of Dudley Laufman's Canterbury Country Orchestra and currently plays with McQuillen in the trio "Old New England." The tune has proved quite popular at New England dances, an instant classic. McQuillen apparently prefers the title to be simply "Amelia." Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), Vol. 1, 1991; pg. 12. Matthiesen (Waltz Book I), 1992; pg. 11. McQuillen, Bob's Notebook #5, 1981. Alcazar FR 2204, Rodney and Randy Miller - "New England Chestnuts, Vol. 2" (1981). BM-91, Buddy MacMaster - "Glencoe Hall." Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982. Learned from Rodney and Randy Miller). Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Whistlers Music, New England Tradition - "Farewell to the Hollow."
T:Amelia's Waltz
M:3/4
L:1/8
S:Gregory Taylor, Ir-trad, april 1997
K:D
"D"D3E3D2|"D"D2F3E|"Bm"D2F2BF|"F#m"A3FA2|\
"G"B2G3B|"D"A2F3E|"Bm"D2B3^A|"G"B4A2|
"D"D3ED2|"D"D2F3E|"Bm"D2F2BF|"G"B3cD2|\
"G"d2e2f2|"A"e2c2A2 :|"A"A3fag|"D"f2a3b|
"D"a2f2df|"A"e3cb2|"A"A3cfe|"Bm"d3cd|\
"Bm"f3ed2|"F#m"c3BA2|"F#m"F3EF2|"G"G2B3G|
"D"F2A2d2|"A"e3ce2|"D"f2d2f2|"G"g3fg2|\
"D"a2f2e2|"A"a2e2c2|"D"d4 |>|

AND HER GOLDEN HAIR WAS HANGING DOWN HER BACK. English, Music Hall Song. A Major. Standard. AB. British music hall tune which may or may not have been associated with the Abbots Bromley (Staffordshire) horn dance (see note for "Bobby Shaftoe") {Bullen}. Bullen, Andrew, Country Dance and Song, May 1987, Vol. 17, pg. 12.

ANDREW POLSON'S. Shetland, Shetland Reel. Named for the fiddler who played it. Front Hall 018, How to Change a Flat Tire - "Traditional Music of Ireland and Shetland."

ANGELINE THE BAKER. AKA and see "Angeline," "Angelina Baker," "Rocky Road" (N.C.), "Coon Dog" (Va.), "Georgia Row," "Walk up Georgia Row" (?). Old-Time; Song, Breakdown. USA, Virginia. D Major. Standard or ADAE. AABB. This old time song and tune was derived from a sentimental song by Stephen Foster, called "Angelina Baker," whose lyrics tell about a slave who is parted from her lover when sold. Foster's original song can be heard played by the Critton Hollow Stringband on their album "Sweet Home" (Yodel-Ay-Hee 002). A similar tune, or an alternate title, is the Patrick County, Va., "Coon Dog." The 'revival' version commonly played today by old-time style musicians comes from fiddler J.W. 'Babe' Spangler (1882-1970), of Patrick County, Virginia. See also the related "Little Betty Brown" and "Cousin Sally Brown." The following lyrics can be heard in various recorded versions of the piece:
***
Angeline the Baker, her age is twenty-three (or 'forty-three'),
Feed her candy by the peck but she won't marry me.
***
Tell how I took Angeline down to the county fair,
Her father chased me halfway home and told me to stay there.
***
Angeline the Baker, Angeline I say,
You caused me to weep, caused me to mourn, caused me to wear that (beat on the) old jawbone.
***
Angeline the Baker, She lived on the village green;
And the way that I love her, beats all to be seen.
***
Angeline in handsome, and Angeline is tall,
She broke her little ankle bone from dancing in the hall.
***
She won't do the baking because she is too stout,
She makes cookies by the peck, throws the coffee out.
***
Angeline the Baker, her age is forty-three,
Little children round her feet and a banjo on her knee
***
John J. Sharp knows these lyrics to a melody more like the Foster original:
***
Angeline the baker lived near the village green,
Way I always loved her, beats all you ever seen.
Father was a baker, they called him Uncle Sam,
I never can forget her, no matter where I am.
*** Chorus:
Angeline the baker, age of 43,
Gave her candy by the peck, but she won't marry me.
Angeline the baker, left me here alone,
Left me here to weep a tear, and play on the old jawbone.
***
Said she couldn't do hard work, because she was not stout,
Baked her biscuits every day, before they called me out.
***
Sixteen horses on my team, the old grey went before,
Almost broke Angelines heart to hear the wagons roar.
Angeline the baker, Angeline I know,
Wished I married Angeline twenty years ago.
***
Bought Angeline a brand new dress, neither black nor brown,
It was the color of a stormy cloud, before the rain pours down.
Sixteen horses in my team, the leader he was blind,
Came close to dying, they sold my Angeline.
***
Sources for notated versions: J.W. Spangler (Virginia) [Reiner & Anick]; Wretched Refuse String Band (N.Y.C.) [Brody]; Stuart Duncan [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 22 (2 versions). Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), Vol. 1, 1991; pg. 2. Krassen (Appalachian Fiddle), 1973; pg. 26-27. Kuntz (Ragged but Right), 1987; pg. 341-342. Phillips (Traditional American Fiddle Tunes), 1994; pg. 15. Reiner & Anick (Old-Time Fiddling Across America), 1989; pg. 88. Bay 727, "Kenny Hall and the Sweet Mills String Band." Beet 7003, "Wretched Refuse." County 201, J.W. Spangler (Va.) - "The Old Virginia Fiddlers." Rounder 0400, "Pickin' Around the Cookstove." Spudchucker Productions, Bert Edwards (N.C.) - "Bert's Bombaree" (appears as "Rocky Road"). Rounder C-11565, Stuart Duncan - "Rounder Fiddle" (1990). Tennvale 002, Roaring Fork Ramblers- "Galax 73."
T:Angeline the Baker
L:1/8
M:2/4
B:Kuntz - Ragged but Right
K:D
(3B/d/B/|AB d>A|B(d d)(3B/d/B/|AB d/B/A|(B2 B)(B/d/B/|
AB d>(e|f)e d/c/d/(e/|f)e (3d/e/d/B|A>B A:|
|:(a|a)g f/g/e|f/g/f/e/ df|{^g}af (3e/f/e/d|B>d B(a|a)g f/g/e|
f/g/f/e/ d/c/d/e/|{=f}^f e (3d/e/d/B|A3:|

ANGUS RONALD BEATON STRATHSPEY. Cape Breton, Strathspey. Composed by Donald Angus Beaton, Cape Breton, Nova Scotia. BM-91, Buddy MacMaster - "Glencoe Hall." Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

ANTIGONISH POLKA [1]. Canadian, Polka. Canada, Cape Breton. D Major. Standard. AABB'. The title refers to a town in Nova Scotia. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 209, pg. 82. Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1980. Learned from a recording by Cape Breton fiddler Winston 'Scotty' Fitzgerald, who himself learned the tune from a 78 RPM disc by Antigonish fiddler Hugh A. MacDonald).

ANTIGONISH POLKA [2]. Canadian, Polka. Canada, Cape Breton. D Major. Standard. AA'BB. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 210, pg. 82. Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1980. Learned from a recording by Cape Breton fiddler Winston 'Scotty' Fitzgerald, who himself learned the tune from a 78 RPM disc by Antigonish fiddler Hugh A. MacDonald).

ART O'KEEFFE'S [1]. AKA and see "The Hare in the Corn" [5]. Irish, Slide (12/8 time) or Double Jig. A Dorian. Standard. AABB. Art O'Keeffe was a fiddler and tin whistle player from west Kerry. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 268, pgs. 152-153. Front Hall 018, How to Change a Flat Tire - "Traditional Music of Ireland and Shetland" (learned from Kerry fiddler Julia Clifford). Gael-Linn CEF092, Julia and Billy Clifford - "Ceol as Sliabh Luachra." Topic 12T311, John & Julia Clifford - "Humours of Lisheen."

ASH GROVE (Llwyn Onn). AKA - "Ashtree Grove"?? AKA and see "Sir Watkin William Wynn." Welsh (originally), Scottish, New England; Waltz. C Major (Laufman): G Major (Johnson). Standard. AB (Kerr): AAB (Johnson, Laufman). The air is considered by some to be an early 18th century melody from Wales, perhaps because it is attributed to that country in Gow's Strathspey Reels (book 4, pg. 24), where it appears as "Sir Watkin William Wynn." In fact the earliest Welsh printing is not until Jones's Bardic Museum (1802), where it is given that it was named after 'Mr. Jones's mansion near Wrexham'. Robin Huw Bowen says it is played in the form 'theme and variations', a form poular with Welsh harpists of the early 18th century. It appears under different guises in period publications and can be found in Gay's Beggar's Opera (1729) and in the repertoire of Irish harper Turlough O'Carolan (1670-1738). "The Ash Grove" was used as a vehicle for English morris dancing, and various words were set to it, bawdy and otherwise. One set begins:
***
Down yonder green valley, where streamlets meander
Where twilight is fading, I pensively rove--
Or at the bright noontide, in solitude wander
Amid the dark shade of the lonely ash tree.
***
Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 1. Kerr (Merry Melodies), Vol. 3; No. 309, pg. 33. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 23. Matthiesen (Waltz Book I), 1992; pg. 13. Flying Fish FF70610, Robin Huw Bowen - "Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land" (1996). Green Mountain Volunteers - "New England Country Dance Music."
T:Ash Grove
R:Waltz
C:Trad.
M:3/4
L:1/8
K:D
|:"A"A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"G"B2G2B2|"D"A2d2"
A"c2|"D"d4:||:efg||"D"a2fgab|a2g2f2|"A7"g2efga|g2f2e2|"D"f2defg|"Bm"f2e2
d2|"A"c2a2^"E"g2|"A"a4A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"
G"B2G2B2|"D"A2d2"A"c2|"D"d4:||

AUTUMN WALTZ [1]. American, Waltz. USA, Massachusetts. A Major. Standard. ABB. Composed in 1981 by Massachusetts musician Dave Kaynor for the wedding of Michael and Karen McKernan, a year before Karen's death. Says Kaynor: "I've played this waltz for her ever since." Matthiesen (The Waltz Book), 1992; pg. 15. Front Hall Records, "Fourgone Conclusions."

BACK OF THE GRAMPIANS. AKA - "Back of the Grampian Hills." AKA and see "North Side of the Grampians." English, Country Dance. England, Northumberland. D Major. AAB. Originally a Scottish tune appearing in Captain Simon Fraser's collection as "North Side of the Grampian's." Hall & Stafford (Charleton Memorial Tune Book), 1974; pg 57. Raven (English Country Dance Tunes), 1984; pg. 187.
T:Back of the Grampians
L:1/8
M:C|
K:D
F>GA>B AFFd|A>dF>A df e2|F>GA>B A>BA>G|G>EC>A, (3CDE G2:|
||g|fd (3fga fddg|fddg (3fga (3gab|fd (3fga fddf|gecA (3cde g2|
fd (3fga fddg|fddg (3fga (3gab|(3agf (3edc (3dcB (3AGF|GECA, (3BDE G2||

BALLYKEAL JIG (Port an Bhaile Chaoil). Irish, Double Jig. G Major (or A Dorian/G Major). Standard. AABB (Brody): AA'BB' (Breathnach). Source for notated versions: fiddler Seán Keane (Ireland) [Breathnach, Brody]. Breathnach (CRE III), 1985; No. 6, pg. 5. Brody (Fiddler's Fakebook), 1983; pg. 33. Claddagh CC17, Sean Keane- "Gusty's Frolicks" (1975). Front Hall 018, How To Change a Flat Tire- "Traditional Music of Ireland and Shetland" (learned from Sean Keane's recording).

BANISH MISFORTUNE [1] ("Dibir an Mio-ad" or "Ruaig an Mí-ádh). AKA and see "The (Little) Bag of Meal," "Humours of Mullinafauna," "Máire Ní Eidhinn," "Nancy Hines," "Nancy Hynes," "Parish Girl," "Round the Cart House." Irish, Double Jig. D Mixolydian/Major (Breathnach, Brody, Mitchell, Moylan): D Major (O'Neill/1850 & 1001). Standard. ABC (Moylan, Mitchell): AABBCC (Breathnach, Brody, Mallinson, O'Neill/Krassen): AABB'CC (O'Neill/1850 & 1001): ABBCCDEEFF (Mitchell). O'Neill (1001 Gems) prints the tune under the titles "Banish Misfortune," "The Humours of Mullinafauna" and "Nancy Hines," while Roche has it as "The Humours of Mullinafauna" and "The Little Bag of Meal." P.W. Joyce gives it as "The Bag of Meal" and was the first to print it (in his Ancient Irish Music, 1873), according to Brendan Breathnach. "Máire Ní Eidhinn" is the title in Petrie's 1905 Complete Collection of Irish Music, though O'Neill thought the 3-part version he collected from Cronin to be "much superior." Petrie takes his title from the poem "Máire Ni Éidhin" by Raftery, the blind poet of Connacht, which he wrote in honour of one thought the loveliest girl in Ireland, and which is still sung to this tune. Sources for notated versions: elderly fiddler Edward Cronin, originally from Limerick Junction, County Tipperary [O'Neill]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), who first heard it from fiddler Denis Murphy-- "Himself and (piper) Willie Clancy often played it together" [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 38, pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 33. Mallinson (Essential), 1995; No. 99, pg. 43. Mitchell (Dance Music of Willie Clancy), 1993; No. 137, pg. 108 & No. 148, pgs. 116-117. Moylan (Johnny O'Leary), 1994; No. 286, pg. 165. O'Neill (Krassen), 1903/1976; pg. 22. O'Neill (1850), 1979; No. 776, pg. 145. O'Neill (1001 Gems), 1907/1986; No. 53, pg. 25. Claddagh TA4, "Chieftains #2." Front Hall 009, How To Change a Flat Tire- "A Point of Departure." GR705, Paul Brady, Peter Browne, Andy Irvine, Donal Lunny, Matt Molloy & Tommy Potts - "The Gathering" (1981). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Island ILPS 9501, "The Chieftains Live" (1977). Kells Music KM9505, Tommy Keane & Jacqueline McCarthy - "The Wind Among The Reeds." Rounder 0113, Trapezoid- "Three Forks of Cheat" (1979). Festy Conlan - "Breeze from Erin" (1969). Shanachie 79022, Chieftains - "Chieftains 2" (1969).
T:Banish Misfortune [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (53)
K:D
A/G/|F2D DED|DEF GFG|A3 cAG|ABc d/c/AG|
F2D DED|DEF GFG|AdB cde|d3 d2:|
|:d/e/|fdd dcd|dfa agf|e2 c/c/ cBc|e/d/ef gfe|1 f2 d/d/ dcd|
dfa agf|g/f/ed cde|d3 d2:|2 fga fga|afd ecA|fed cde|d3 d2||
|:d/e/|f/e/df e/d/ce|d/c/AB cAG|F2D DED|DEF GFG|
A/G/AB cAG|AdB cde|fed cde|d3 d2:|

BANKS OF THE DEE. English; Waltz, Jig and Morris Dance Tune. G Major. England; Northumberland, Cotswolds. Standard. AABBCCDD (Hall & Stafford, Raven): AABBBCCCBBB, repeat four times (Mallinson). The tune is better known as a morris dance tune, but is occasionally performed as a waltz. Mallinson's morris version is from the Fieldtown area of England's Cotswolds. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 4. Mallinson (Mally's Cotswold Morris Book), Vol. 1, 1988; No. 43, pg. 27. Raven (English Country Dance Tunes), 1984; pg. 113. Topic 12TS382, New Victory Band - "One More Dance and Then" (1978).

BARNGANN GILL, THE. English, Country Dance (cut time). England, Northumberland. G Major. Standard. AAB. A 'gill' is a type of liquid measure. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 182.

BASTRINGUE, LA. Canadian (originally), American; Air and Reel. Canada; Quebec, Prince Edward Island. USA, New England. D Major ('A' part) & D Mixolydian ('B' part). Standard. AABB (Miller & Perron, Perlman, Sweet): AABB' (Brody). "La Bastringue" has its origins in an old French tune from the 17th or 18th century. In French Canada it became a "party song" which tells of an older man who wants to dance "La Bastringue" with a girl. He soon finds he isn't up to the pace, however, and to save face tries to beg off by feigning concern for the woman's stamina. She proves equal to the task, though, and he finally just has to give up. The first verse goes:
***
Mademoiselle, voulez-vous danser La Bastringue,
Mademoiselle, voulez-vous danser,
La Bastringue est commencee.
***
The song has become as close to being an unofficial French-Canadian national folk anthem as any, though it is perhaps better known now as a dance tune. Transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) recalled it as one of the first dance tunes he learned, and related that his father played it for the first tune of the evening, to get everyone moving in the house. Sources for notated versions: Jean Carignan (Montreal, Canada) [Brody]; Omer Marcoux (Concord, N.H.) [Miskoe & Paul]; Louise Arsenault (b. 1956, Mont Carmel, East Prince County, Prince Edward Island; now resident of Wellington) [Perlman]. Brody (Fiddler's Fakebook), 1983; pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 141. Miskoe & Paul (Omer Marcoux), 1994; pg. 37. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Sweet (Fifer's Delight), 1964/1981; pg. 59. Welling (Welling's Hartford Tunebook), pg. 12. Folkways FG 3532, "Alan Mills and Jean Carignan." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Legacy 120l, Jean Carignan- "French Canadian Fiddle Songs." Philo 2002, "Beaudoin Family." Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989). Voyager 320-S, Frank Ferrel- "Fiddle Tunes."
T:La Bastringue
L:1/8
M:C|
K:D
f2ff f2gf|e2c2d3d|c2d2efec|d2e2f2d2|f2ff f2gf|e2c2d2A2|
g3fe2d2|B2c2d2A2:|
|:d2fd ad fd|=c2ec gc ec|d2fd ad fd|bg ec dc BA|
d2fd ad fd|=c2ec gc ec|d2fd ad fa|bg ec d2 (3ABc:|

BATTERING RAM, THE [1]. Irish, Double Jig. Ireland, Co. Sligo. G Major. Standard. ABC (Flaherty): AABBCC (Brody, Mallinson, Mulvihill, Russell, Sullivan. Tubridy): ABCD (Miller). Doolin, north County Clare, tin whistle player Micho Russell saw the melody as a programmatic piece which reminded him of the battering ram which the English used to evict poor people in Ireland in the 19th century. Each succeeding part represented the increasing force of the ram as it demolished the house. Ciaran Carson, in his book Last Night's Fun (1996) describes flute player Seamus Tansey's rendition:
***
He soars into 'The Battering Ram'-not the standard version, but the
one he got from Jim Donoghue, the great Sligo tin-whistle-player who
perversely played a 'C' whistle ('D' is standard) out of the side of his
mouth, and produced a great strong flute-like tone full of wood and
embouchure and breath, jumping octaves; and he put a funny twist
into this jig; reversing it and generally standing phrases on their
heads. Tansy imputes many of his stylistic traits to Donoghue, and
this tune is a tribute, an hommage, a dedication, Tansey playing it
beautifully as he can because he loves the playing of Jim Donoghue,
and he is beholden to him. (pgs. 60-61)
***
Sources for notated versions: 'Clarke's whistle' {i.e. a conical whistle} player Jim Donoghue, 1910-1990 (Drimacoo, Monasteraden, Co. Sligo, Ireland) [Flaherty]; the Tulla Ceili Band [Mulvihill]; sessions in the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Brody (Fiddler's Fakebook), 1983; pg. 36. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 54. Flaherty (Trip to Sligo), 1990; pg. 178. Mallinson (Essential), 1995; No. 95, pg. 41. Miller & Perron (Traditional Irish Fiddle Music), 1977; Vol. 1, No. 32. Mulvihill (1st Collection), 1986; No. 77, pg. 81. Russell (The Piper's Chair), 1989; pg. 12. Sullivan (Session Tunes), Vol. 2; No. 29, pg. 12. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 35. Front Hall, How To Change a Flat Tire- "A Point of Departure." Shanachie 79021, "Chieftains #1."
T:Battering Ram, The [1]
L:1/8
M:6/8
K:G
B|dBG BAG|dBG G2B|dBG AGE|GED D2B|
dBG BAG|B/c/dG BAG|A3 BAB|GED D2:|
|:B|deg aga|bge edB|deg aga|bge e2b|bag age|ged e/f/ge|dBG AGE|GED D2:|
|:d|B/c/BG A/B/AG|B/c/BD D2B|BAG AGE|GED ded|
B/c/BG A/B/AG|B/c/dG BAG|AGA BAB|GED D2:|

BATTLE OF THE SOMME, THE. Scottish, Retreat March (9/8 time). D Major. Standard. AABB. This pipe tune, a retreat from Army Manual (Book 2) and composed by William Laurie (1882-1916) commemorates one of the greatest and most terrible battles of World War I. Jack Campin communicates that Laurie "just lived to see it become an immediate success before dying of his wounds a few months later." Gatherer (Gatherer's Musicial Museum), 1987; pg. 20. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 39. Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Albion Country Band).
T:The Battle of the Somme
C:Willie Laurie
S:Forgotten
R:march
M:9/8
L:1/8
Z:Nigel Gatherer
K:D
A|f<af d3 d>cd|e>dG B3 A3| B<GB A3 d3|f<af e3 e2 A|f<af d3 d>cd|
e>dG B3 A3|B<GB A3 f3|e>fe d3 d2::z|d>cd e3 A3|e>fg f<af d3|\
f>ef g3 A3|
f<af e3 e2 A|f<af d3 d>cd|e>dG B3 A3|B<GB A3 f3|e>fe d3 d2:|]

BEAULIEU. French-Canadian, Reel. Beaulieu = 'beautiful place'. Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989. Learned from the first record of the band Eritage).

BEAUTIES OF THE BALLROOM. AKA and see "The Lads of Leith." Canadian, Jig. Canada, Cape Breton. A Minor (Cranford/Holland): A Mixolydian/Dorian (Dunlay & Greenberg). Standard. AA'BB'CC'. Originally a Scottish tune called "The Lads of Leith" set in G Minor in James Oswald's c. 1747 The Caledonian Pocket Companion, remarks editor Paul Stewart Cranford (1995), who says the A Minor setting was introduced to Cape Breton repertoire by Little Jack MacDonald. Dunlay and Greenberg (1996) find that in modern times the jig appeared in J. Scott Skinner's Beauties of the Ballroom as the third figure of "Ettrick Vale Quadrille" with no name; on Cape Breton it took its name from Skinner's volume. The more demanding parts of Skinner's setting were omitted by Cape Breton fiddlers, but his fourth part became the third part of the island settings, played an octave lower than Skinner's. Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Cranford (Jerry Holland's), 1995; No. 209, pg. 60. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 108. BM-91, Buddy MacMaster - "Glencoe Hall." Boot Records BOS 7231, Jerry Holland - "Master Cape Breton Fiddler" (1982). Marquis ERA-181, David Greenberg - "Bach Meets Cape Breton"(1996. Appears as "The Lads of Leith").

BEAUX OF OAK HILL [1]. AKA - "Beaux of Oak Hall." AKA and see "The Boys of Bluehill," "Silver Lake" (Pa.), "Jenny Baker," "The Two Sisters." English, Scottish, American; Hornpipe (usually) or Reel. D Major. Standard. AABB (Cole, Kennedy, Jarman, O'Neill): AA'BB (Kerr). The tune appears as "The Two Sisters" in George P. Knauff's Virginia Reels, volume I (1839), though it usually appears as "Beaux of Oak Hill" in mid-nineteenth century collections. Cole (1001 Fiddle Tunes), 1940; pg. 28 (reel setting). Jarman (Old Time Fiddlin' Tunes); No. or pg. 28. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 14, pg. 7 (Hornpipe). Kerr (Merry Melodies), Vol. 2; No. 328, pg. 36. O'Neill (1850), 1903/1979; pg. 316 (as "Boys of Bluehill"). O'Neill (Krassen); pg. 197 (as "Boys of Bluehill").

BEEN TO THE EAST, BEEN TO THE WEST. AKA and see "Great Big Yam Potatoes." Old-Time, Breakdown. G Major. Standard. AB (Phillips): AABB (Kuntz, Songer). A similar tune is "Going to Chattanooga," in the 'A' part.
Well, I've been to the east and I've been to the west,
And I've been to Alabama;
Prettiest girl I ever did see,
And her name was Susianna.
Sources for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Mary Lea [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 29. Songer (Portland Collection), 1997; pg. 26. Columbia 15318 (78 RPM), Leake County Revelers (1928). Varrick VR -038, Yankee Ingenuity - "Heatin' Up the Hall" (1989).
T:Been to the East, Been to the West
L:1/8
M:2/4
S:Liz Slade
N:Sung to 'A' part "I been to the east and I been to the west, and I been to Alabama,
N:Prettiest girl I ever did see, and her name was Susianna."
K:G
B/c/|dd/A/ B/A/B/c/|dd B/A/B/c/|d/B/d/A/ B/A/B/B/|A/ G G/ GB/c/|
d/B/d/A/ B/A/B/B/|d/B/d/A/ B(g|g/)B/d B/A/B/B/|A/ G G/ G:|
|:B|g>e gg/(b/|b)(a a)(a|a)a/a/ a/b/a/g/|f/ d d/ dd|(e/ e) (e/ e)e/f/|
g/f/g/f/ f/e/e/f/|g/f/e/A/ B/A/B|A/ G G/ G:|

BEESWING. English, Reel. England, Northumberland. D Major. Standard. AABB. Not the more famous "Bee's Wing Hornpipe." Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 2.

BEHIND THE BUSH IN THE GARDEN (Taob-iar De'n Sgeac Annsa Gairdin). AKA and see "The Bush Below the Garden" (Shetland), "Fly Buckle Your Belt," "I Won't Do Work" (Cape Breton), "I Sat in the Valley Green," "More Power to Ye," "Over the River/Water to Charlie," "Royal Charlie," "Se'n Righ atha ahuin is fear linn" (We Prefer Our Own King), "Times Are Mighty Hard," "We Have No King But Charley," "Wha'll Be King But Charlie." Irish, Single or Double Jig. A Minor or C Mixolydian (O'Neill, Songer): D Minor (Stanford/Petrie). Standard. AAB (O'Neill/1915, Songer): ABB' (Stanford/Petrie): AABB (Carlin, Sweet): AABB' (O'Neill/Krassen, 1001 & 1850). Ken Perlman (1979) believes it is melodically related to the old-time tune "Kitchen Girl" and to the Northumbrian jig "Elsie Marley." Source for notated version: "As played by Pat Cunningham, a famous W. Meath piper" [Stanford/Petrie]. Carlin ("Master Collection"), 1984; No. 266, pg. 151. O'Neill (1915 ed.), 1987; No. 203, pg. 109. O'Neill (Krassen), 1976; pg. 76. O'Neill (1850), 1903/1979; No. 1114, pg. 210. O'Neill (1001 Gems), 1907/1986; No. 398, pg. 79. Songer (Portland Collection), 1997; pg. 26. Stanford/Petrie (Complete Collection), 1905; No. 769, pg. 192. Sweet (Fifer's Delight), 1964; pg. 33. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993. Learned from Andy McGann and Paddy Reynolds). Globestyle Irish CDORBD 085, John & Julia Clifford with Maurice O'Keefe- "The Rushy Mountain" (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Shanachie 29004, "Andy McGann and Paddy Reynolds." Front Hall FHR029, Fourgone Conclusions - "Contradance Music from Western Massachusetts."
T:Behind the Bush in the Garden
L:1/8
M:6/8
R:Single Jig
S:O'Neill - 1001 Gems (398)
K:A Minor
A/B/|c2A AGE|c2A AGE|G2G GAE|G3 E2B|c2d e2a|g2e d2e|c2A BAG|A3 A2:|
|:A/B/|c2B c2d|efe e2d|c2B c2d|e3 G2G|1 c2B c2d|efe e2d|cBA BAG|A3 A2:|2
c2d e2a|g2e d2e|c2A BAG|A3 A2||

BELIEVE ME IF ALL (THOSE ENDEARING YOUNG CHARMS). AKA and see "Irish Mad Song," "My Lodging Is on the Cold Ground." Irish, English; Air (6/8 or 3/4 time). A Major (Roche): G Major (Hall & Stafford, Johnson). Standard. AB (Johnson): ABC (Roche): AABB (Hall & Stafford). Thomas Moore's (1779-1852) sentimental favorite written for his young wife to reassure her of his devotion in the face of a ravaging illness (perhaps smallpox) which threatened her beauty. It appears arranged as a duet by editor W.J. Stafford in the Charlton Memorial Tune Book. Hall & Stafford (Charleton Memorial Tune Book), 1974; pg. 51. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 12. Roche Collection, 1982; Vol. III, pg. 11, #39. Sampler 8910, Mitzi Collins & Roxanne Ziegler - "St. Patrick's Day in the Morning."

BELLINGHAM BOAT, THE. English, Jig. England, Northumberland. G Major. Standard. AABB'. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 113.

BELLS OF ABERDYFI (Clychau Aberdyfi). Welsh, Air. The tune is known today as a famous Welsh folk-song, although its origins were in the English stage. Harper Bowen's setting imitates the bells of the drowned cities and towns of Cantre'r Gwaelod, whose spectral sounds emanate from the sea off the Welsh coast at Aberdyfi. Although the tune has been incorporated into Welsh tradition, Kidson (Groves) gives that the song was composed (in broken Welsh) by Charles Dibdin (1745-1814) for his opera Liberty Hall in 1786. He explains, "Miss Williams, hearing it traditionally, published a version of it in her collection of 1844, and from that time onward it has been accepted as genuine Welsh. There is certainly no evidence to show that Dibdin used an existing tune (it was quite opposed to his practice), and no copy can be found except Dibdin's of a date prior to 1844."
***

BETTY WASHINGTON. Scottish, Strathspey. D Major. Standard. AB. Betty Washington was a music hall artist, states James Hunter (1988). Composed by the great Scots composer and fiddler J. Scott Skinner (1843-1927), but only first published in 1979 by Hunter. Hunter (Fiddle Music of Scotland), 1988; No. 89.

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:|

BIRD ON THE WING. AKA and see "Mechanic's Hall Jig," "Pea Patch Jig." American, Dance Tune (2/4 time). G Major. Standard. AABB'. Tune is listed as a 'jig' in Cole's 1001, meaning an old-time banjo tune perhaps associated with a type of dancing or a derogatory term for African-Americans; not related to the Irish jig. Cole (1001 Fiddle Tunes), 1940; pg. 83.

BIRK HALL. Scottish, Strathspey. A Mixolydian. Standard. AABB'. Pipe Tune. "From Ross's Collection (Skye)." MacDonald (The Skye Collection), 1887; pg. 10.
T:Birk Hall
L:1/8
M:C
S:Skye Collection
K:A
a|c2 (Ae) A<AeA|c2 (Ae) dB=Ga|c2 (Ae) A<AeA|B=GdB AAA:|
B|A<AeA a2 ef|=g2 ed B=GGe|1 A<AeA a2 ef|=g2 dB AAA:|2
A<AeA c2 (Ae)|=g2 (dB) AA A2||

BIRNAN HALL. Scottish, Jig. D Major. Standard. AAB. Composed by J. Steel. The Birnan Hall of the title is in Dunkeld. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 97, pg. 34.

BLOW AWAY THE MORNING DEW. New England, Contra Dance Tune (4/4 time). G Major. Standard. One part. This famous folk air was adapted for contra dancing by caller Dudley Laufman (Canterbury, New Hampshire) from the singing of Richard Dyer Bennett. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 3.

BLUE BELLS OF SCOTLAND [1]. AKA and see "Blue Bells," "Blue Bells of Challon." Scottish, Strathspey; English, Air and Morris Dance Tune. England; Northumberland, Cotswolds, Shropshire. G Major (Ashman, Hall & Stafford, Kerr, Mallinson): D Major (Bacon, Trim/Hardy). Standard. AB (Hall & Stafford): AAB, x6 (Mallinson): AABB (Ashman, Kerr). Composition credited to the singer, Mrs. Jordon (Walker, 1924). The morris dance version is from the Adderbury, Oxfordshire, area of England's Cotswolds. Dancers sing at the beginning of the dance:
***
Oh where and oh where has my highland laddie/lassie gone? (x2).
***
A Northumbrian version is arranged as a duet by editor W.J. Stafford in the Charlton Memorial Tune Book. The melody proved popular as an air and many songs were set to the tune. One, "John Bull and Bonapart" from the Napoleonic period, gives a sense of the British feelings of vulnerability and defiance in the face of the threat of invasion, while at the same time managing to ridicule the opponent. Source for notated version: a c. 1837-1840 MS by John Moore, Shropshire musician [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 23b, pg. 5. Bacon (The Morris Ring), 1974; pg. 7. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 52. Kerr (Merry Melodies), Vol. 4; No. 96, pg. 13 (appears as "Blue Bells"). Mallinson (Mally's Cotswold Morris Book), Vol. 1, 1988; No. 18, pg. 14. Trim (Thomas Hardy), 1990; No. 25.

BLUEBELL REEL. AKA and see "Glise de/a Sherbrooke," "Reel de Tadoussec." French-Canadian, Reel. G Major. Standard. AB. The tune appears to be a simplified version of "Glise de Sherbrooke." Source for notated versions: learned by Dudley Laufman (Canterbury, New Hampshire) from the playing of Eddie Charet et ses Troubadours "at a great dance in Chicopee" Quebec. Laufman (. Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 19.

BLUEBIRD POLKA, THE. AKA and see "Blue Bird Reel" [2]. French-Canadain, Reel or Polka. D Major. Standard. AABB. Source for notated version: learned by caller Dudley Laufman (Canterbury, New Hampshire) from the playing of Eddie Charet et ses Troubadours "at a great dance in Chicopee." Laufman (. Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 19 (appears as "Bluebird Reel"). Miller & Perron (101 Polkas), 1978; No. 72.

BLUEGRASS AUTUMN. Bluegrass, Breakdown. Composed by Herschel Sizemore. Front Hall FHR-023, Michael, McCreesh & Campbell - "The Host of the Air" (1980).

BLACK HAT, DA. Shetland, Shetland Reel. Shetland, Unst. D Major. Standard. AAB. A traditional tune from the Tingwall area of the Shetlands, and named for the fiddler who played it who always donned a black hat when he played the instument. Source for notated version: W. Manson and A. Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 23. Front Hall 018, How To Change a Flat Tire - "Traditional Music of Ireland and Shetland" (learned from Tom Anderson). Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996).

BLACK JOKE [1]. AKA and see "Black Joker," "Black Jack," "Black Jock," "The Black Joak," "But the House and Ben the House" (Shetland), "Sprig of Shillelah" [1]. English, Scottish, Shetlands; Country Dance, Jig and Morris Dance Tune (6/8 time). England; Northumberland, Yorkshire. G Major (Bacon, Carlin, Cooke, Mallinson, Raven, Vickers): A Major (Bacon, Gow, Merryweather & Seattle). Standard or AEAE (McLean). AB (Bacon {Stanton Harcourt}, Gow): AAB {x6} (Bacon {Ilmington}, Carlin, Cooke (two versions), Mallinson {Adderbury version}): AABB {x4} (Hall & Stafford, Mallinson {Bledington version}, Merryweather & Seattle, Raven, Vickers). "The Black Joke" was a widely popular, vulgar and bawdy street song in England in the early 1700's, though its popularity continued into the 19th century in that country and its colonies (including America). Irregular in form in many versions, its opening phrase has six measures, while the second has ten. It was heard in London as early as 1734 in Henry Carey's burlesque stage piece Chrononhotonthologos where it was called "that lowbrow little tune that has been used as an interval tune for years," referring to the music for dances performed in the entr'acte interval at the playhouses. Early English collections which contain the tune are Johnson's Wrights Collection (London, c. 1742) and Thompson 200 Country Dances Volume II. John Kirkpatrick (1976) dates the tune to 1715 without citing his source.
**
It is played today as the tune for the Lichfield Morris Dance The Barefooted Quaker, and for dances from other morris traditions. Mallinson's morris dance tune versions, for example, are from the Adderbury and Bledington areas of England's Cotswolds, while Bacon's are from the Adderbury, Ascot-under-Wychwood, Bledington, Ilmington, and Stanton Harcourt. A version of the tune from Badby, Northhamptonshire, is known as "Old Black Joe" [1], and lacks the distinctive two measure ending to both parts typical of most "Black Joke" versions. John Kirkpatrick (1976) is of the opinion that the Badby dance "flows more perfectly than any in the Cotswold Morris. No jumps, no jerky backwards movements, no need to fiddle the feet to get them right. An absolute joy." The tune collected with the dance in Bucknell (under the title "Old Black Joe") is perhaps nearest the original.
**
The tune is known as "But the House and Ben the House" in Shetland, and Cooke says some informants gave the first lines as:
But your house and ben your house
This house is like a bridal house.
The tune played by his source from the islands was the one commonly known throughout Britain and Ireland during the 18th century as "The Black Joke" (or Jock). A variety of songs were set to it, all of them bawdy and all concerned with sexual intercourse. "Some of the texts are the creations of music-hall hacks, such as the earliest published verses, entitled 'The Original black Joke, Sent from Dublin', which begin: 'No mortal sure can blame ye man/Who prompted by nature will act as he can'...(song sheet, c. 1720 Mitchell Library, Glasgow). Simple and more direct 'folk' versions were known in Scotland. Burns wrote a parody beginning 'My girl she's airy...'" (Cooke, 1986). The lyrics which appear below are taken from Andrew Crawford's 1826-28 Collection of Ballads and Songs:
**
A wee black thing sat on a cushion
Was hairy without and toothless within
Wi' her black Jock and her belley so white
**
A piper and twa little drummers came there
To play wi the wee thing well covered o'er wi hair
**
The piper went in and he jigged about
The twa little drummers stood ruffling without
**
But when he came out he hang doon his head
He look'd like a snail that was trodden to dead
**
Say's he thay wa'd need to hae something to spare
That meddle wi you or your wee pickle hair. (Cooke)
**
Cooke's informant, John Irvine, played it as a middle tune between two reels for the ceremony of the "bedding of the bride" around the turn of the century. This ceremony, in which the women of the community escorted the bride to her bed, was performed to fiddle music. "The use of the 'Black Joke' in this context is intriguing, Robert Irvine's knowledge of part of the chorus suggests that in earlier days the whole song might have been known and, unless the fiddler was having his own private joke by playing this piece, possibly even sung by the bride's attendants. Genuine bawdry is often found in such situations elsewhere in the world. According to Legman (1964), 'the purpose of such songs...was and is evidently apotropaic, being intended to ward off the evil eye...dangerously present at all moments of happiness, or of success and victory' (The Horn Book, 1964, p. 388). It is likely, too, that such humour served to release anxiety on the part of the young initiate. Finally, if the text were anything like the Crawfurd text, the explicit detail could have served also as a piece of last-minute sex education--an example of how music is sometimes used in a situation that allows one to sing what might be too embarrassing to say" (Cooke, 1986).
**
The Scotch versions are based on an English tune which was known as "Black Jock" in Scotland from about 1735 (Johnson). Johnson thinks the name was changed either on purpose, to 'Scottisize' it (it was known as "Black Jack" in Northumberland), or to distance it from the extremely obscene lyrics. If the latter, the distancing was largely hypocriphal, for the lyrics were well-known throughout the country. The Scots poet Robert Burns (who was no stranger to ribaldry) penned to the melody, in September, 1784, the words "My girl she's airy, she's buxom and gay," one of his earliest bawdy songs:
Her slender neck, her handsome waist,
Her hair well buckl'd, her stays well lad'd,
Her taper white leg with an et, and a, c,
For her a,b,e,d, and her c,u,n,t,
And Oh, for the joys of a long winter night!!!
The tune appears in the McFarlane Manuscript (1740) in a long variation set (18 strains) by Charles McLean, in Bremner's Scots Tunes (1759) in 30 strains, the Gillespie Manuscript (1768), the Sharpe Manuscript (c. 1790) with 18 strains, and a flute MS. of c. 1770; all have basically the same variations, though in different order.
**
In Ireland, Flood (1906) reports that Madame Violante set off a furor in Dublin's Smock-Alley Theatre in December, 1729, when Cummins danced the "White Joke," a set off to the then-popular "Black Joke."
**
American audiences heard the melody as the tune for air 13 in Andrew Barten's ballad opera The Disappointment (New York, 1767).
**
Sources for notated versions: Bremner (Scots Tunes, 1759) [Johnson]; John Mason via Cecil Sharpe (Stow on the Wold, England) [Bacon]; a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Bacon (The Morris Ring), 1974, pgs. 15, 95, 210, 295. Carlin (The Master Collection of Dance Music for Violin), 1984; No. 47, pg. 37. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; pgs. 86-87. Gow (Complete Collection), Part 4, 1817; pg. 10 (appears as "Black Jock"). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 20 (appears as "Black Jack"). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 32, pgs. 86-89. Mallinson (Mally's Cotswold Morris Book), 1988; No. 1, pg. 8 and No. 35, pg. 24. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 81, pgs. 48-49 (includes six sets of variations). Offord (John of Greeny Cheshire Way), 1985; pg. 107. Raven (English Country Dance Tunes), 1984; pg. 116 (Black Jack), 81 & 95. Seattle (William Vickers), 1987, Part 2; No. 206. Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).
T:Black Jock
L:1/8
M:6/8
S:Gow - 4th Repository
K:A
E|E2A AGA|BcB BAB|c>dc cBA|BcB BAF|A3 F2E|EFA A2 E/D/|
(CE)A AGA|(Bd)c BAG|(Ac)e edc|Bdc {c}BAG|~A>Bc ~F>GA|
EFG A2||d|(c2d e2)e|fdf {f}e2d|c2d e>fe|f>ga edc|d2b c2a|BcB {c}BAB|
~c>dc cBA|B>cB BAF|A3 ~F2E|EFA A2d|(cA)c (ec)e|(fd)f e2d|
(cA)c (ec)e|(fd)f {f}e2c|ddd ccc|Bdc B2A|(Ac)e (ed)c|(Bd)c {c}BAG|
~A>Bc ~F>GA|EFG A2||

BLACK NAG, THE. English, Jig and Country Dance Tune (6/8 time). D Minor (Barnes, Karpeles, Raven, Sharp, Spandaro): A Minor (Brody, Carlin). Standard. ABB (Sharp): AABB (most versions). The tune was first published in 1670. It gained some currency in modern times in American country dance cirles where as a jig it is the vehicle for a set dance for three couples, as well retaining popularity with English country dance enthusiasts. Source for notated version: Fennigs All Star String Band (N.Y.) [Brody]. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler's Fakebook), 1983; pg. 48. Carlin (English Concertina), 1977; pg. 19. Karpeles & Schofield (. A Selection of 100 English Folk Dance Airs), 1951; pg. 13 & 46. Raven (English Country Dance Tunes), 1984; pg. 24. Sharp (Country Dance Tunes), 1909/1994; pg. 22. Spandaro (10 Cents a Dance), 1980; pg. 22. CDS 6 (Country Dance & Song Society), Merril & Barron--"By Popular Demand." Front Hall 015, Jack Walton and Roger Nicholson - "Bygone Days." Front Hall 010, Fennigs All Star String Band - "The Hammered Dulcimer Strikes Again." Front Hall 017, Michael and McCreesh - "Dance, Like a Wave of the Sea" (1978). North Star NS0031, "Dance Across the Sea: Dances and AIrs from the Celtic Highlands" (1990).

BLACKBERRY BLOSSOM/BLOSSUM [1] (Blat Na Smeur). AKA and see "Maud Miller," "The Strawberry Beds." Irish (originally), Canadian, American; Reel. USA, southwestern Pa. Canada, Prince Edward Island. G Major (Harding, Kerr, O'Neill, Perlman, Sullivan): E Flat Major (Stanford/Petrie). Standard. AB (Perlman, Stanford/Petrie, Sullivan): AAB (Hardings, Kerr, O'Neill). "The Magic Slipper" is a very similar tune. Familiar to Irish tradition, from at least 1850, if not earlier, according to Bayard (1981). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Sources for notated versions: Planxty [Sullivan]; Shape (Greene County, Pa.; elderly when collected in 1930's) [Bayard]; Sterling Baker (b. Mid-1940's, Montague, North-East Kings County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 71, pg. 18. Bayard (Dance to the Fiddle), 1981; No. 97, pg. 57. Cole (1001 Fiddle Tunes), 1940; pg. 8. Edison 51041 (78 RPM), accordion player John H. Kimmel (appears as one of the tunes in the "Stack of Barley Medley"). Harding's Original Collection; No. 75. Kerr (Merry Melodies), Vol. 1; pg. 34 (appears as "The Strawberry Beds"). O'Neill (Krassen), 1976; pg. 113. O'Neill (1850), 1903/1979; No. 1295, pg. 243. O'Neill (1001 Gems), 1907/1986; No. 560, pg. 104. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 62. Stanford/Petrie (Complete Collection), 1905; No. 475, pg. 120. Sullivan (Session Tunes), Vol. 3; No. 52, pg. 21. BM-91, Buddy MacMaster - "Glencoe Hall." Gael-Linn 069, Kevin Burke - "An Fhidil Straith II." Shanachie 79006, Mary Bergin - "Traditional Irish Music." Shanachie 33004, "The Pure Genius of James Morrison." Shanachie 79010, Planxty - "The Well Below the Valley."
T:Blackberry Blossom, The
R:reel
D:Mary Bergin: Feadoga Stain.
D:Planxty: The Well Below the Valley
Z:id:hn-reel-117
M:C|
K:G
ge|:dBAd BG~G2|dBBA B2ge|dBAd BG~G2|1 eaag abge:|2 eaag agef||
~g3f gaba|~g3b agef|~g3f gbag|ea~a2 agef|
~g3f gaba|~g3b a2ga|agaf gfed|eaag abge||

BLACKWELL HALL. English, Country Dance Tune (6/8 time). D Major. Standard. AABB. The tune was first published in 1713. Barnes (English County Dance Tunes), 1986.

BONN DEIC-PINGINE. AKA and see "The Tenpenny Bit."

BONNIE CHARLIE'S GONE AWA'. AKA and see "Will Ye No' Come Back Again." Scottish, New England; March (4/4 time). A Major. Standard. One part. The tune is not related to "Bonnie Charlie" [1] or [2]. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 11.

BONNY LASS [2]. AKA and see "Bonny Lass of Our Town," "Ellingham Hall," "The Merry Dancers." English, Jig. England, Northumberland. G Major. Standard. AABBCC. Seattle (William Vickers), 1987, Part 2; No. 302.

BONNIE LASS O' BALLOCHMYLE, THE. Scottish, Air (4/4 time). F Major. Standard. One part. The music, a modern air, is by William Jackson, with lyrics by Robert Burns, though he originally set them to the tune "Johnnie's Grey Breeks." Burns wrote his words while on a stroll one evening along the banks of the Ayr river. The braes of Ballochmyle run along the right or north side of the water, about two miles from Burns' farm of Mossgiel. According to Neil (1991) they "form the most distinctive part of the estate of Ballochmyle, owned by Claude Alexander." The 'bonnie lass' was Claude's sister, Wilhelmina Alexander, to whom Burns sent a copy of the verses in 1786, asking her leave to publish them. She did not deign to reply at the time, but later, after the poet had become famous, she had both the song and the letter accompanying it framed and hung in the hall of her home.
***
Fair is the morn in flowery May
And sweet is night in autumn mild,
When roving through the garden gay
Or wandering in the lonely wild.
But woman, nature's darling child!
There all her charms she does compile,
Ev'n there her other works are foil'd
By the bonnie lass o' Ballochmyle.
***
Neil (The Scots Fiddle), 1991; No. 184, pg. 239.

BONNY SWEET ROBIN. AKA and see "My Robin to the Greenwood Gone." Irish, English. D Dorian. Standard. ABB. According to Flood (1906) and Chappell (1859), the tune dates from the 16th century and is referred to by Shakespeare in Hamlet when Ophelia sings:
**
For bonny sweet Robin is all my joy.
**
The original ballad lyrics have been lost, but the air is mentioned as the vehicle for a Christmas carol in 1642, and for a ballad entered at Stationers' Hall in April, 1593. Flood, of course, claims the tune's provenance as Irish, and Chappell as English. It is sometimes attributed to Thomas Simpson (1582-1630). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992).
T:Bonny Sweet Robin
L:1/8
M:3/4
K:D Dorian
D2|F3GF2|E4D2|c4d2|A4A,2|F3G F2|E4D2|c4d2|A6||
|:A2d2c2|B3AG2|c3BAG|F3ED2|c3B AG|F3G A2|G3FE2|D6:||

BORING WITH A/THE GIMLET. English, Slip Jig. England, Northumberland. E Minor/G Major. Standard. AABBCC. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 129.

BOYS OF BLUEHILL, THE (Buacailli Ua Cnoc-Gorm). AKA - "Beaux/Boys of Oak Hill/Hall," "Boys of North Tyne," "Lads of North Tyne," "Silver Lake" (Pa.), "Jenny Baker," "Lonesome Katy." Irish, Hornpipe. D Major. Standard. AABB (most versions): AA'B (Moylan). See "Twin Sisters" [Sherman Wimmer's rendition] for an American version of the tune. O'Neill (who said the melody was unknown to Chicago Irish musicians beforehand) had the tune from a seventeen year old fiddler named George West, who, though gifted musically, was somewhat indigent and did not own a fiddle. He had formed a symbiotic musical relationship of sorts with one O'Malley, who did own a fiddle and who eked out a meager living playing house parties despite the loss of a finger from his left hand. O'Malley, however, invariable could only make it to midnight before he got too drunk to bow, at which time West took over his fiddle and finished the night's engagement. "Thus lived the careless, improvident but talented Georgie, until an incident in his life rendered a trip to the far west advisable." Early American recorded versions give the title as "Boys from the Hill" and "Slieve Gorm." Source for notated version: George West, who had learned it from a strolling fiddler named O'Brien [O'Neill]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Allan's Irish Fiddler, No. 74, pg. 19. Brody (Fiddler's Fakebook), 1983; pg. 54. Cranitch (Irish Fiddle Tunes), 1996; pgs. 73 & 75. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 14, pg. 7 (appears as "Beaux of Oakhill"). Lerwick (Kilted Fiddler), 1985; pg. 56. Moylan (Johnny O'Leary), 1994; No. 120, pg. 70. O'Neill (1915 ed.), 1987; No. 355, pg. 173. O'Neill (Krassen), 1976; pg. 197. O'Neill (1001 Gems), 1907/1986; No. 898. Roche Collection, 1982; Vol. III, pg. 64, #183. Spandaro (10 Cents a Dance), 1980; pg. 11. Sweet (Fifer's Delight), 1964; pg. 69. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 13. Copley DWL-9-617, Jack Wade- "Ceili Music of Ireland." Folkways FG 3575, Barry, Gorman, Ennis, and Heaney- "Irish Music in London Pubs." Gael-Linn CEF132, Johnny O'Leary "An Calmfhear/The Trooper" (1989).
T:Boys of Bluehill, The - Variations
M:4/4
L:1/8
S:Philippe Varlet
N:"These are just a few possible variations derived on the spur of the moment."
R:hornpipe
Z:Philippe Varlet
K:D
FA |{d}BAFA D2 FA | {d}BA (3Bcd e2 de | fa{b}af egfe | dfed B2 dB |
{d}BAFA DA FA | {d}BA (3Bcd e2 de | fa{b}af ef{a}fe | d2 {e}dc dDFA |
{d}BAFA DAFA | {d}BA (3Bcd eAde | fdaf {a}gfef | defd B2 GB |
{d}BAFE DEFA | {d}BAfd e2 de |~f3 a ea{fa}fe | df (3edc defg ||
afdf a2 af | {a}gfga b2 ag | fa{b}af (3efg fe | dfed B2 dB |
{d}BAFD A,DFA | Bcdf e2 de | (3fga fa {ga}gece | dd{e}dc defg |
~a3 f dfaf | gfef gbag | {e}f2 af efde | fded BcdB |
{d}BAFA D3 B | {d}BA (3Bcd ea{b}ag | (3faf df eAce |df (3edc d4 ||

BOYS OF THE LOUGH, THE (Buachaillí na Locha). AKA and see "Rakes of Clonmel," "Barrel Rafferty's Reel," "Johnstown Reel," "The Rose of Castletown." Irish, Reel. D Major. Standard. AAB (Flaherty): AABB (Brody, Allan's): ABCD (Breathnach): ABCDEFGHIJKL (Miller). A very popular reel in Ireland, say the group Boys of the Lough. "Boys of the Lough" was popularized by fiddler Michael Coleman, originally from Kilavil, County Sligo, although the melody was "ever part of the local ...repertoire," according to Blooming Meadows (1998) authors Charlie Piggott and Fintan Vallely. O'Neill (in 400 Choice Selections) prints the tune under the title "Johnstown Reel," while Roche has a version called "The Rose of Castletown." See also similarly titled "Boys From the Lough." Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo, Ireland) [Flaherty]. Allan's Irish Fiddler, No. 37, pg. 9. Boys of the Lough, 1977, pg. 1. Breathnach (CRE I), 1963; No. 159, pg. 63. Brody (Fiddler's Fakebook), 1983; pg. 54. Flaherty (Trip to Sligo), 1990; pg. 63. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 51. Green Linnett SIF 3008, "Matt Molloy." IRC Records, Michael Coleman - "Musical Glory of Old Sligo" (1967). Maggie's Music 107, "Music in the Great Hall" (1992). Mulligan-Lun 004, "Matt Molloy." Trailer LER 2086, The Boys of the Lough- "First Album." Victor 21593B (78 RPM), Ed Reavy (1927).
T:Boys of the Lough, The
M:C
L:1/8
K:D Major
dB|AF (3FFF AFAB|defd B3 d|AF (3FFF dF (3FFF|EDEF E2dB|
AF (3FEF A2 AB|defd B3 d|AF (3FFF dF (3FFF|EDEF E2dB||
AF (3FEF A2 AB|defd dcdB|AF (3FFF dF (3FFF|EG (3FED DFGB|
AF (3FEF A2 AB|defd B3 d|AF (3FFF dF (3FFF|GFEG FDDg||
fg (3agf gfec|defd dcdB|AF (3FFF dF (3FFF|EDEF E2FE|
D2 af gfec|decd BcdB|AF (3FFF dF (3FFF|GFEG FDDg||
fgaf gfec|defd B3 d|AF (3FFF ABde|(3fef gf e2 fg|
(3agf (3gfe fdec|(3dcB (3cBA BcdB|AF (3FFF dF (3FFF|EGFE DEFG||
(3ABA FA A2 FA|defd (3cBA Bd|AF (3FFF dF (3FFF|EDEF E2dB|
AF (3FEF A2 AB|defd B3 d|AF (3FFF dF (3FFF|EDEF E2dB||
AF (3FEF A2 AB|defd B3 d|AF (3FFF AF DF|(3GFE (3FED CDEF|
(3ABA FA A2 FA|de fd (3cBA Bd|AF (3FFF dF (3FFF|GFEG FDDg||
fg (3agf gfec|dB (3BAB GB (3BAB|AF (3FFF dF (3FFF|EDEF E2FE|
D2 af gfec|(3dcB (3cBA BcdB|AF (3FFF dF (3FFF|GEEG FDDg||
fg (3agf gfec|defd dcdB|AF (3FFF ABde|(3fef gf e2fg|
(3agf (3gfe fdec|(3dcB (3cBA BcdB|AF (3FFF dF (3FFF|EA,CE DEFA||
(3ABA FA DAFA|(3ded cd B2 dB|AF (3FFF AFDF|(3GFE (3FED CDEF|
(3ABA FA DAFA|defd BdcB|AF (3FFF dF (3FFF|EA,CE D2 dB||
AF (3FFF AFAB|defd B3 d|AF (3FFF dF (3FFF|AF (3FFF EFGB|
AF (3FFF A2 AB|defd BABd|AF (3FFF dF (3FFF|GFEG FDDg||
fgaf gfec|defd BABd|AF (3FFF dF (3FFF|(3GFE (3FED EG FE|
D2 af gfec|d2 c2 BABd|AF (3FFF dF (3FFF|GFEG FDDg||
fgaf gfec|defd B3 d|AF (3FFF ABde|fdgf e2 fg|
(3agf (3gfe fdec|(3dcB (3cBA BcdB|AF (3FFF dF (3FFF|EDEF D2||

BOYS OF WEXFORD, THE. AKA and see "Snowy Breasted Pearl," "Flight of the Earls," "In Comes the Captain's Daughter." Irish, Air (4/4 time, "with spirit"). Wexford is the southeastern Irish county in which the famous doomed rebellion of 1798 began. O'Neill (1913) classifies this air as belonging to the group with "Willy Reilly" et al (see note for "Willy Reilly" [2]). G Major. Standard. AA (Brody, O'Neill): AB (Roche). Brody, 1983; pg. 55. O'Neill (1915 ed.), 1987; No. 42, pg. 28. O'Neill (1850), 1903/1979; No. 81, pg. 14. Roche Collection, 1982; Vol. III, pg. 12, #42. Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer."

BOBBY SHAFTOE/SHAFTO [1]. English, New England; Polka, Reel or Sword Dance. England, Northumberland. C Major (Karpeles, Peacock): D Major (Brody, Raven): G Major (Miller & Perron {polka}, Raven {sword dance version}): B Flat Major (Stokoe). Standard. AB (Raven & Karpeles {sword dance versions}, Bruce & Stokoe): AAB (Brody): AABB (Miller & Perron): AABBCCDD (Raven): AABBCCDDEEFFGG (Peacock). "Bobby Shaftoe" is better known to recent generations as a nursery rhyme and jump-rope song. There is a morris dance {called "Castlering"} from Lichfield, England, which is performed to an altered version of this tune (tune and dance printed in Raven, pg. 87). The 'B' part of the tune is the same as "Lady's Breast Knot," "Bonny Breast Knot," and, in America, "Jaybird," "Skip to My Lou," and "Daddy Shot a Bear." The sword dance version is from the village of Askham Richard, England (Karpeles).
***
Bobby Shaftoe's gaen to sea, Siller buckles on his knee;
He'll come back and marry me, Bonny Boddy Shaftoe.
Bobby Shaftoe's bright and fair, Combing down his yellow hair;
He's me awn for ever mair, Bonny Bobby Shaftoe. (Northumbrian, Stokoe & Bruce)
***
Bobby Shaftoe's gone to sea,
Silver buckles at his knee:
He'll come back and marry me,
Bonny Bobby Shaftoe!
***
Bobby Shaftoe's tall and slim,
Always dressed so neat and trim;
The ladies they all look at him,
Bonny Bobby Shaftoe!
***
Bobby Shaftoe's gone to sea,
Silver buckles at his knee:
He'll come back and marry me,
Bonny Bobby Shaftoe! (English, Time Hart)
***
Bobby Shaftoe's gone to sea,
With silver buckles on his knee;
He'll come back and marry me,
Bonny Bobby Shaftoe.
***
Bobby Shaftoe's bright and fair,
Combing down his yellow hair,
He's ma' ain for ever mair,
Bonny Bobby Shaftoe.
***
Bobby Shaftoe's getten a bairn,
For to dandle in his airm;
In his airm, and on his knee,
Bobby Shaftoe loves me. (Scottish)
***
Source for notated version - Dudley Laufman (N.H.) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 50. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 115. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 32. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 52, pg. 26. Miller & Perron (101 Polkas), 1978; No. 100. Peacock (Peacock's Tunes), c. 1805/1980; No. 44, pg. 20. Raven (English Country Dance Tunes), 1984; pg. 161, pg. 87. Front Hall 03, Dudley Laufman- "Swinging on a Gate." Front Hall 010, Fennigs All Stars- "The Hammered Dulcimer Strikes Again."
T:Bobby Shaftoe
L:1/8
M:2/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:B_
BB Be|df dB|FF FB|Ac AF|BA Be|df dB|ce cA|B2B2||
df dB|df d2|ce cA|ce c2|df dB|df d2 ce cA|B2B2||

BOBBY SHAFTOE [2]. English, Sword Dance (2/2 time). G Major. Standard. AB. It is the first figure in the sword dance from the area of Sleights, England. "One of the tune used in the Abbots Bromley (Stafforshire) horn dance. "In an article published in 1933, Violet Alford noted the dancers used 'Bobby Shaftoe' when she first encountered the horn dance. The arrangement given here is used for the Sleights sword dance. Alford also noted that the musician plays three tunes, 'Bobby Shaftoe,' 'Her Golden Hair' of music hall memory, and a not un-pleasing nondescript tune in 2/4 time (pg. 206). I believe that the 'not un-pleasing ... tune in 2/4 time is Edie Sammons' tune (see "Edie Sammons' Tune"), which, until Sharp published Mr. Robinson's tune in 1911, was considered to be the official music of the dance" [Bullen]. Andrew Bullen, Country Dance and Song, May 1987, Vol. 17, pg. 11. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 28. Raven (English Country Dance Tunes), 1984; pg. 73.
T:Bobby Shaftoe [2]
L:1/8
M:2/2
K:G
G2 BB A2B2|G2BB A2B2|G2e2d2B2|G2B2 A4|G2BB A2B2|G2BB A2B2|
G2e2d2c2|(3BcB A2 G4||g3f g2e2|d2B2G4|g3f g2B2|A6d2|g3f g2B2|
D4 d3c|B2G2A2F2|G4G4||

BODA WALTZ. Swedish, Waltz. E Minor. Standard. AABB. Actually a waltz from Boda, rather than the Boda Waltz, Boda being a town in the Dalarna region of western Sweden. Matthiesen (Waltz Book), 1992; pg. 17. Front Hall Records, "Fourgone Conclusions." Sonet SLP-2047, "Bodalatar i Laggar Anders Kok" (Boda Tunes in Lager Ander's Kitchen). Vandy, Cammy & Edward Kaynor - "Contrablessings."

BOLGER'S HORNPIPE. Irish, Hornpipe. Source for notated version: Eddie Bolger [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 48. Folkways FTS 31039, "The Red Clay Ramblers with Fiddlin' Al McCandless" (1974). Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Gallowglass Ceili Band).

BONAPARTE'S RETREAT [1]. Old-Time, Texas Style; March, Reel. USA; Texas, Oklahoma, Arkansas, Missouri, North Carolina, Kentucky, northeast Alabama, Mississippi, southwestern Va., West Virginia, Pennslyvania. D Major (most versions, though one version in A Major was collected from Mississippi fiddler John Hatcher in 1939). DDAD or DDAE. ABB. A classic old-time quasi-programmatic American fiddle piece that is generally played in a slow march tempo at the beginning and becomes increasingly more quick by the end of the tune, and meant to denote a retreating army. One folklore anecdote regarding this melody has it that the original "Bonaparte's Retreat" was improvised on the bagpipe by a member of a Scots regiment that fought at Waterloo, in remembrance of the occasion. The American collector Ira Ford (1940) (who seemed to manufacture his notions of tune origins from fancy and supposition, or else elaborately embellished snatches of tune-lore) declared the melody to be an "old American traditional novelty, which had its origin after the Napoleonic Wars." He notes that some fiddlers (whom he presumably witnessed) produced effects in performance by drumming the strings with the back of the bow and "other manipulations simulating musket fire and the general din of combat. Pizzicato represents the boom of the cannon, while the movement beginning with Allegro is played with a continuous bow, to imitate bagpipes or fife."
***
In fact, the tune has Irish origins, though Burman-Hall could only find printed variants in sources from that island from 1872 onward. "It has been collected in a variety of functions, including an Irish lullaby and a 'Frog Dance' from the Isle of Man" (Linda Burman-Hall. "Southern American Folk Fiddle Styles," Ethnomusicology, Vol. 19, #1, Jan. 1975). Samuel Bayard (1944) concurs with assigning Irish origins for "Bonaparte's Retreat," and notes that it is an ancient Irish march tune with quite a varied traditional history. The 'ancient march' is called "The Eagle's Whistle" or "The Eagle's Tune," which P.W. Joyce (1909) said was formerly the marching tune of the once powerful O'Donovan family. Still, states Bayard, the evidence of Irish collections indicates that it has long been common property of traditional fiddlers and pipers, and has undergone considerable alteration at various hands.
***
Bayard's primary scope of collecting was in western Pennsylvania in the mid-20th century, where he found the tune still current in fiddle repertoire, though he remarked on its popularity in various parts of the South. His Pennsylvania version has a somewhat simpler melodic outline than most of the other recorded American sets, and, although he notes that these sets vary considerably--even in the number of parts which a version may contain--he finds they are clearly cognate, and all show resemblance's and common traits indicating derivation from the "The Eagle's Whistle." In Southwestern Pennsylvania the march origins were lost and instead "sets of the tune have been recast into the form--and given title-- of 'The Old Man and Old Woman Quarrelin' (Scoldin', Fightin'),' and thus present an alternation of slow and quick parts. Other Pennsylania sets are Bayard Coll., Nos. 81, 84, 252; and see notes to ('Old Man and Old Woman Scoldin'). These refashioned 'Old Man and Woman' sets differ somewhat among themselves, indicating that they have been traditional in their altered form for some time; but whether they assumed this form before their importation into America, or whether the alteration took place here, with an older tune of the type of 'Old Mand and Old Woman Scoldin'' as model, is uncertain. F.P. Provance stated that the fifer from whom he learned this tune played it as a retreat in Civil War days" (Bayard, 1944).
***
According to Blue Ridge Mountain local history the tune was known in the Civil War era. Geoffrey Cantrell, writing in the Asheville Citizen-Times of Feb., 23, 2000 relates the story of the execution of three men by the Confederate Home Guard on April 10th, 1865, the day after Lee's surrender at Appomattox.Courthouse. That news would not have been known to them, given the difficult, but it is documented that Henry Grooms, his brother George and his brother-in-law Mitchell Caldwell, all of north Haywood County, North Carolina, were taken prisoner by the Guard-no one knows why, but the area had been ravaged by scalawags and bushwackers, and the populace had suffered numerous raids of family farms by Union troops hunting provisions. The village of Waynesville had been burned two months earlier, and the citizenry was beleaguered and anxious. Cantrell writes: "The group traveled toward Cataloochee Valley and Henry Grooms, clutching his fiddle and bow, was asked by his captors to play a tune. Realizing he was performing for his own firing squad Grooms struck up Bonaparte's Retreat." When he finished the three men were lined up against an oak tree and shot, the bodies left where they feel. Henry's wife gathered the bodies and buried them in a single grove in Sutton Cemetery No. 1 in the Mount Sterling community, the plain headstone reading only "Murdered."
***
The Kentucky Encyclpedia gives another story which mentions "Bonaparte's Retreat" in connection with an execution. It seems that a Colonel Solomon P. Sharp, a former attorney general of Kentucky, was murdered in the middle of a September night in 1825 by an unidentified assailant who stabbed him in his chest. Sharp had political enemies, all of whom had alibis, but who had circulated rumors that he had seduced one Ann Cook of Bowling Green, fathering her illegitimate child in 1820. Suspicion soon shifted to Ann's husband, Jereboam Beauchamp, who married her after the birth of the supposed love-child but who was infuriated at the circulating handbills containing the rumor. Beauchamp was dully arrested, tried in Frankfort in May, 1826, found guilty and was sentenced to death by hanging. Ann could not bear to be parted from him and somehow gained permission from the jailer to stay with him in his jail cell. The couple tried unsuccessfully to commit suicide by taking an overdose of laudanum, but were still permitted to share the cell. Another suicide attempt with a smuggled knife was made on the day of the execution, with somewhat better results. Ann, mortally wounded, was taken to the jailers house for treatment, but Beauchamp was hustled to the gallows lest he die from his wounds before the sentence was carried out. He proved too weak from his wounds to stand and had to be supported, but he was presumably able to hear the strains of "Bonaparte's Retreat" played before he made the leap, as he had previously requested. Ann and Jereboam were buried in a joint grave in Bloomfield, Kenctucky, graced by a tombstone engraved with an eight-stanza poem written by Ann.
***
The tune was cited (by Mattie Stanfield in her book Sourwood Tonic and Sassafras Tea) as having been played by Etowah County, Alabama, fiddler George Cole at the turn of the century (Cauthen, 1990). Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's. Ed Haley (1883-1951) of Ashland, eastern Ky., played the tune so skillfully that "one old-timer, after hearing Haley play ("Bonaparte's Retreat") declared that 'if two armies could come together and hear him play that tune, they'd kill themselves in piles" (Wolfe, 1982). Haley toured regionally in Kentucky and West Virginia It was "Bonaparte's Retreat" that was the first tune Braxton County fiddler Melvin Wine (1909-1999) learned at the age of nine. His father, Bob, played the fiddle and young Melvin practiced when the elder Wine was out cutting timber or working as a farmhand for neighbors. He finally worked up the nerve to play for his father, and it proved a successful entrée, for afterwards which Bob taught him tunes he had learned from his own father, Nels, and Grandfather "Smithy" (Mountains of Music, John Lilly ed., 1999, pg. 8).
***
Another Kentucky fiddler, William H. Stepp (of Leakeville, Magoffin County, whose name, Kerry Blech points out, is sometimes erroneously given as W.M. Stepp, from a misreading of the old abbreviation Wm., for William), appears to be the source (through his 1937 Library of Congress field recording) for many revival fiddlers' versions. Stepp's version of the tune was transcribed by Ruth Crawford Seegar and was included in John and Alan Lomax's volume Our Singing Country (1941). The Crawford/Seegar version has been credited as the source Aaron Copland adapted for a main theme in his orchestral suite "Hoedown." {Lynn "Chirps" Smith says he has even heard people refer to the tune as "Copland's Fancy" in recent times!}. North Georgia fiddler A.A. Gray (1881-1939) won third place honors playing the tune at the 1920 (10th) Annual Georgia Old Time Fiddler's Association state contest in Atlanta, and four years later recorded it as a solo fiddle tune for OKeh Records. Sources for notated versions: J.S. Price (Pottawatomie County, Oklahoma) [Thede]: F.P. Provance, Point Marion, Pennsylvania, September 19, 1943, who learned it from Sam Waggle, fifer, of Dunbar [Bayard, 1944]: Marion Yoders (Greene County, Pa., 1962) [Bayard, 1981].
***
PRINTED SOURCES: Bayard (Hill Country Tunes), 1944; No. 87. Bayard (Dance to the Fiddle), 1981; No. 238, pg. 199. Brody (Fiddler's Fakebook), 1983; pg. 52. Ford (Traditional Music in America), 1940; pg. 129. Lomax (Our Singing Country), pg 54-55 (appears as "Bonyparte"). Thede (The Fiddle Book), 1967; pg. 36-37. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971-72. County 202, "Eck Robertson: Famous Cowboy Fiddler." County 546, "Arthur Smith and His Dixieliners, Vol. I." County 703, Benny Thomasson- "Texas Hoedown." County 756, Tommy Jarrell- "Sail Away Ladies" (1976). County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). Folkways FA 2325, Mike Seeger- "Old Time Country Music." Folkways FA 2366, The Watson Family (N.C.) - "The Watson Family Album." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist." Heritage XXXIII, Jay Ungar & Neil Rossi - "Visits" (1981. Learned from a 1937 Library of Congress recording of Lakeville, Ky., fiddler W.M.Stepp). Okeh 40110 (78 RPM), A.A. Gray (1924). Philo 1023, Jay Ungar and Lyn Hardy- "Songs Ballads and Fiddle Tunes" (1975. Learned from Kentucky fiddler W.M. Stepp via Library of Congress recording). Rounder 0010, "The Fuzzy Mountain String Band" (1972. Learned from Alan Jabbour). Rounder 0057, Sherman Wimmer (Franklin County, Va.) - "Old Originals, Vol. 1" (1978. Learned from Will Willit, nephew and protege of influential Franklin County fiddler Fount Kinrea). String 802, Emmett Lundy (Galax, Va.) - Library of Congress Recording. Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Audrain County, Missouri, fiddler Warren Elliot in 1967). Yazoo Records, W.M. (William) Stepp - "Music of Kentucky, Vol. 1" (reissue of the 1937 Stepp recording by Alan Lomax. Stepp can be heard on the recording saying in the midst of fiddling: "This is the bony part....That was the bony part").

BRAW (BRAVE) LADS OF JEDBURGH, THE. AKA and see "Newburn Lads." English/Scottish, Reel. England, Northumberland. G Major. Standard. AABB. Jedburgh is a city in the Lowlands region of Scotland which once featured a famous abbey. Hall and Stafford (Charlton Memorial Tune Book), 1974; pg. 7. Raven (English Country Dance Tunes), 1984, pg. 184.

BREAKDOWN. A rather obscure term that is nowadays generically applied to any fast reel-like tune, especially in North American tradition. The Oxford English Dictionary defines the term as "a riotous dance in the style of the Negroes" and gives the first use of "breakdown" in a dance or musical sense in New England Tales (1864): "Don't clear out when the quadrilles are over, for we are going to have a break-down to wind up with." Suggestions for the origins of the term vary. One thought is that it derives from the wagon trains of the American frontier, when a fiddler's wagon would 'break down', giving him a chance to take a rest and pull out his fiddle before doing the repair work. Another thought is that fiddlers would vie with each other in fiddle contests until all would 'break down' from the speed and competition except the winner. However, the most likely explanations are proffered by Paul Gifford who identifies a breakdown as a type of dance performed in the slave quarters, along with "cut the pigeon," "pat Juba," "double shuffle," and others. Gerry Milnes cites Roger Abrahams who, in his book Singing the Master, describes ritualized corn shuckings in the ante-bellum South in which the corn was first 'broken-down' out of the fields, collected and shucked, after which there would be a time for relaxation and merriment (though not before the Master was hoisted on shoulders and ritually walked around the house-hence the term 'walk-around' for some old American dance tunes). It may have been this sort of affair referred to in Craigie's A Dictionary of American English, which gives the first example of the term 'breakdown' from 1819: "Lay at Point Pleasant, where Whiting and I visited a Virginia break-down."
***
The term was picked up by blackface minstrels on both sides of the Atlantic and from there entered popular fiddle tradition. Paul Gifford, for example, finds an1877 English reference which cites "Clog-dancers, or nigger duettists, at a Music Hall with a breakdown" (Oxford English Dictionary). Earlier English references record "Lotta, the charming little actress who plays the banjo and dances break-downs" (1875), and in 1864: "She...heard a long impromptu song composed in her honour, with a banjo and breakdown accompaniment."
***
In Canada and the northernmost US regions a breakdown refers to the third change of a square dance set. The traditional tune for the change is a reel at a faster tempo. In southern England, a breakdown is/was a step dance which continued while the musician took a few bars (8/16/32) rest.

BREAKING UP CHRISTMAS (See "Old Breaking Up Christmas"). Old-Time, Breakdown. USA; western North Carolina, western Va. A Major. AEAE or DGDG. AABB. "A popular tune in the Galax/Meadows of Dan/Mt. Airy triangle," say Tom Carter and Blanton Owen (1978), who quote 82 yr. old Meadows of Dan fiddler Lawrence Bolt on the origin of the title:
***
Through this country here, they'd go from house to house almost -
have a dance at one house, then go off to the next one the following
night and all such as that. The week before Christmas and the week
after, that's when the big time was. About a two-week period, usually
winding up about New Year. I wasn't into any of this, but used to
laugh about it. They'd play a tune called BREAKIN' UP CHRISTMAS,
that was the last dance they'd have on Christmas, they'd have Wallace
Spanger play BREAKIN' UP CHRISTMAS. There's an old feller by
the name of Bozwell, he'd cry every time.
***
There are verses associated with the tune which goes:
***
Hoo-ray Jake and Hoo-ray John,
Breakin' Up Christmas all night long.
***
Way back yonder a long time ago
The old folks danced the do-si-do
***
Way down yonder alongside the creek
I seen Santy Claus washin' his feet.
***
Santa Claus come, done and gone,
Breaking up Chrismas right along.
***
Source for notated version: the Fuzzy Mountain String Band (N.C.) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 55. County 713, Tommy Jarrell. County 723, Cockerham, Jarrell and Jenkins- "Back Home in the Blue Ridge." County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). County CD 2702, "Tommy & Fred." Davis Unlimited 33002, Norman Edmonds (southwest Va.). Front Hall 017, Micheal and McCreesh- "Dance, Like a Wave of the Sea" (1978) {learned from Tommy Jarrell}. Kicking Mule 213, Fred Cockerham- "Southern Clawhammer Banjo." Rounder 0057, The Kimble Family- "Old Originals, Vol. I." Rounder 0035, The Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973. Learned from Tommy Jarrell, Mt. Airy, N.C.). Rounder 0192, John McCutcheon- "Winter Solstice" (1984).
T:Breakin' Up Christmas
L:1/8
M:C|
S:Pete Sutherland
K:A
efed c2 cc|BABA c2 cc|efed c2 cc|BcBA F2 FF|efed c2 cc|
BABA c2 cc|e2 fe afed|cABc A2 AA:|
E2 FE A2 AA|BABA c2 cc|E2 FD A2 AA|BcBA F2 FF|
E2 FE A2 AA|BABA c2 cc|e2 fe afed|cABc A2:|

BRENDA STUBBERT'S REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Dorian (Cranford/Holland, Fiddler Magazine): A Minor (Songer). Standard. AAB (Songer): AABB'(Cranford/Holland, Fiddler Magazine). One of the most famous compositions by Inverness, Cape Breton, fiddler, teacher and composer Jerry Holland (originally from Brockton, Mass.) in honor of another Cape Breton fiddler and composer, Brenda Stubbert. Source for notated version: Carl & Jackie Webster (Cardigan, Central Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland's), 1995; No. 40, pg. 12. Fiddler Magazine, Vol. 3, No. 2, Summer 1996; pg. 17. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 91. Songer (Portland Collection), 1997; pg. 40. BM-91, Buddy MacMaster - "Glencoe Hall." Boot Records, Jerry Holland - "Master Cape Breton Fiddler" (1982). Green Linnet SIF 1077, Capercaillie - "Crosswinds" (1987). Green Linnet SIF-1109, Altan - "The Red Crow" (1990). Green Linnett SIF1156, Jerry Holland - "Fiddlesticks Collection." SG155, Alasdair Fraser - "The Road North."
T:Brenda Stubbert's Reel
M:C|
L:1/8
C:Jerry Holland
S:Jerry Holland's Collection
R:Reel
K:ADor
|:B|"Am"A/A/A BA GAAB|A/A/A BA "G"edde|G/G/G BA BGGB|c2BA BGGB|
"Am"A/A/A BA GAAB|A/A/A BA "G"edda|gedB GABd|"Em"{d}e2dB "Am"eAA:|
|:B|A/A/A a2 A/A/A g2|Aage ageg|"G"G/G/G BA BGGB|c2BA BGGB|
[1 "Am"A/A/A a2 A/A/A g2|Aage agea|"G"gedB GABd|"Em"{B}e2dB "Am"eAA:|
[2 "Am"A/A/A BA GAAB|A/A/A BA "G"edda|gedB GABd|"Em"{d}edB "Am"eAA|]

BRIAN BORU'S MARCH. AKA and see "Brian Borouhme." Irish, March (6/8 time). B Aeolian (Roche): A Minor (Mallinson, O'Neill, Sullivan): A Dorian (Tubridy). Standard. AA'B (Feldman & O'Doherty): AABB (Roche): AABBCC (Mallinson, Sullivan, Tubridy): ABCD (O'Neill). This piece was thought by Dr. Sigerson (writing in The Bards of the Gael and Gall) to evidence Scandinavian musical influence stemming from the Norse invasions of Ireland c. 800-1050, though Grattan Flood (1905) believes him erroneous and asserts the tune hardly dates from the Norse period or even, for that matter, from mediaeval days. It was in the repertoire of the man whom O'Neill calls the "last of the great Irish harpers," Patrick Byrne (c. 1784-1863). O'Neill never heard Byrne play, but an account of a Byrne concert which appeared in The Emerald of New York in 1870 caught his eye. Byrne played for an assemblage in the household of a Dublin gentleman in 1860, and O'Neill quotes from the article:
***
Byrne's command of the harp was complete, the writer tells us. His
touch was singularly delicate yet equally firm. He could make the
strings whisper like the sigh of the rising wind on a summer eve,
or clang with a martial fierceness that made your pulses beat quicker.
After quaffing a generous tumbler of punch, he would say, "Now,
ladies and gentlemen, I am going to play you the celebrated march
of the great King Brian to the field of Clontarf, when he gave the
Danes such a drubbing. The Irish army is far off, but if you listen
Attentively you will hear the faint sound of their music." Then his
fingers would wander over the upper range of strings with so delicate
a touch that you might fancy it was fairy music heard from a distance.
Anything more fine, more soft and delicate than this performance, it is
impossible to conceive. "They are coming nearer!" And the sound
increased in volume. "Now here they are!" And the music rolled
loud and full. Thus the march went on; the fingers of the minstrel's
right hand wandering farther down the bass range. You find it hard
to keep your feet quiet, and feel inclined to take part in the march
music assumes a merry, lightsome character, as if it were played for
dancers. "Rejoicing for the victory!" But this abruptly ceases; there
is another shriek and dischord, jangling and confusion in the upper
bass stings. The harper explains as usual, "They have found the old
King murdered in his tent." Then the air becomes much slower and
singularly plaintive. "Mourning for Brian's death." There is a firmer
and louder touch now, with occasional plaintive effects with the left
hand. "They are marching now with the brave old King's body to
Drogheda." The music now assumes a slow and steady tone, the tone
is lowered, and grows momentarily louder and louder, till finally it
dies away...And all these marvellous effects are produced upon what
is used as a simple dance tune in the south of Ireland (pgs. 81-82).
***
O'Neill (1913) also prints an appreciation of the tune from a German gentleman named Kohl, who heard it played on harp at Drogheda in 1843:
***
The music of this march is wildly powerful and at the same time
melancholy. It is at one the music of victory and of mourning.
The rapid modulations and wild beauty of the air was such that
I think this march deserves full to obtain a celebrity equal to that
of the 'Marseillaise' and the 'Ragotsky.'
***
In Drogheda there at one time was performed a dance to this and similar stately music, called the "Droghedy March" or "Dancing Drogheda," reports O'Neill, though the practice had died out by the time of his writing. It was danced by six men or boys, each wielding a stick or shillelagh. They kept time to the music, he states, "with feet, arms and weapons with their bodies swaying right and left." As the dance progressed the movements became more complicated, mimicking the appearance of a rhythmic fencing or battle. "Brian Boru's March" was identified as a pipe tune in the repertoire of Teelin, Donegal, fiddlers Francie and Mickey Byrne, who, according to Feldman & O'Doherty (1979), probably had the tune from travelling piper Mickey Gallagher (a cousin of Donegal fiddler John Doherty's). See also "Dan Sullivan's Reel," "General McBean," "Colonel McBain," "Sean Frank," "The Devonshire Reel," "The Duke of Clarence Reel," "Sporting Molly." Source for notated version: Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 175. Mallinson (Enduring), 1995; No. 96, pg. 40. O'Neill (1850), 1979; No. 1801, pg. 338. Roche Collection, 1982; Vol. II, pg. 58, No. 334. Sullivan (Session Tunes), Vol. 2; No. 50, pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 5. Flying Fish FF 355, Critton Hollow Stringband - "By and By" (1985). Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Gallowglass Ceili Band). Green Linnet SIF-104, Joe Burke, Michael Cooney & Terry Corcoran - "The Celts Rise Again" (1990). Green Linnet SIF-1069, Joe Burke , Michael Cooney & Terry Corcoran - "Happy to Meet & Sorry to Part" (1986).
T:Brian Boru's March
L:1/8
M:6/8
K:A Dorian
ed||:cAA Aed|cAA Adc|BGG Gdc|BGG Ged|cAA Aed|cAA A3E|Acd e2d|cAA A:|
|:Acd e2d|e2d edB|GBc d2B|d2B dBG|Acd e2d|e2d e2d|cBA e2d|cAA A3:|
|:cBA a2A|cBA a2A|BAG g2G|BAG g2G|cBA a2A|cBA a2a|efe e2d|cAA A3:|

BRISTOL HORNPIPE, THE. AKA and see "Blacksmith's Hornpipe," "Slayley Bridge Hornpipe." English, Scottish; Hornpipe. England, Northumberland. A Major (Honeyman, Kennedy, Kerr, Raven): G Major (Hall & Stafford). Standard. AB (Kerr): AABB. The name Bristol (Glouchestershire) is an Anglo-Saxon name, given as Bricgstow in 1063, 'the meeting place by the bridge.' It was an important Saxon town, having its own mint, and later became England's second port. Eleanor of Brittany, the granddaughter of Henry II, was confined by king John in 1203 at various castles in the area and remained a prisoner for thirty-nine years until her death at Bristol Castle. Queen Elizabeth I visited Bristol in 1574 and remarked that the Church of St. Mary's was the "fairest and goodliest" church in the land. Hall & Stafford (Northumbrian Minstrelsy), 1974; pg. 45. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 44. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 24; pg. 12. Kerr (Merry Melodies), Vol. 1; No. 18, pg. 44. Raven (English Country Dance Tunes), 1984; pg. 175.
T:Bristol Hornpipe
L:1/8
M:C
S:Honeyman - Tutor
K:A
(3efg|a>ec>e A>ce>a|f>dB>G A2 B>c|d>ef>e d>cB>A|G>AF>G E2 (3efg|
a>ec>e A>ce>a|f>dB>G A2 B>c|d>fe>d c>BA>G|B2 (A2 A2):|
|:e>d|ceAe ceAe|dfBf dfBd|ceAe ceAc|B>AG>F E>fe>d|ceAe ceAe|
fdBf dfBf|e>ag>f e>dc>B|A2 c2 A2:|

BROKEN DOWN GAMBLER. Old-Time, Breakdown. USA, north Georgia. G Major. Standard. AABB (Devil's Box): AABB' (Phillips). Sources for notated versions: The Skillet Lickers (N. Ga.) [Devil's Box]; Manco Sneed (N.C.) [Phillips]. The Devil's Box, Fall, 1983, pg. 17. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 38. County 526, "The Skillet Lickers, Vol. 1" (1973). Voyager VRLP 328-S, "Kenny Hall and the Long Haul String Band."

BROKEN PANEL, THE. English, Reel. England, Northumberland. G Major. Standard. AAB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 56. Raven (English Country Dance Tunes), 1984; pg. 185.

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

BUNGALO, THE. Scottish, Reel. A Major. Standard. One part. One of the tunes composed and inlcuded by J. Scott Skinner in his 1921 concert tour set romantically named "Spey's Fury's." The 'bungalo' refers to the cottage in Forgue which Skinner's friend, the 'Laird o' Drumblair', gave to the musician rent-free for several years. Hunter (Fiddle Music of Scotland), 1988; No. 228. BM-91, Buddy MacMaster - "Glencoe Hall."

BURN'S CLUB REEL, THE. Scottish, Reel. D Major. Standard. AB. Composed by John Hall (c. 1788-1862). Printed in the McNaughton MS. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 92, pg. 147.

BUTTERED PEAS(E) [1]. AKA and see "Highland Wedding" [1], "Jack's Be The Daddy On't," "Reel of Stumpie," "No Man's Jig." English; Air, Reel or Country Dance Tune. England, Northumberland. G Major. Standard. AABB. The tune can be found in James Ralph's Fashionable Lady (1730), and subsequently appeared in English ballad operas of the early 1730's such as John Gay's Achilles (1733, whose version of the words appear below), The Boarding School (1732), The Decoy (1733) and The Whim (1734). It became popular enough to have been transported to the Continent in the 18th century, where, for example it could be heard in Italy as "Piselli al Burro." Angus Mackay arranged the tune for the Highland pipes and called it "The Highland Wedding". See Bayard's note for the Pennsylvania collected "The Drunken Sailor," of which this tune forms the second strain. It is arranged as a duet by W.J. Stafford in Hall & Stafford's Charlton Memorial Tune Book.
***
Should the Beast of the noblest race
Act the Brute of the lowest class;
Tell me which do you think most base,
Or the Lion or the Ass?
***
Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 53. Peacock's Tunes, c. 1805/1980; No. 41, pg. 18. Raven (English Country Dane Tunes), 1984; pg. 142. Scott (English Song Book), 1926; pg. 12. Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).

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

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

CAPTAIN JINKS/JINX. AKA and see "Down the Ohio." American (originally), Canadian; Single Jig and Air. USA; Pa., New York State: Canada, Ottawa Valley. G Major (Bronner, Ford, Guntharp, Roche, Shaw): D Major (Bayard, Begin, Phillips, Sweet). Standard. AB (Begin, Shaw, Sweet): AAB (Guntharp, Phillips): ABB (Bayard): AABB (Bronner, Ford, Roche). The title is taken from a popular song of the 19th century, "Captain Jinks of the Horse Marines," which Sigmund Spaeth (A History of Popular Music in America) states was composed by an English music hall singer named William Horace Lingard who came to America in 1871. Confirming that Lingard wrote the lyrics, Denes Agay (Best Loved Songs of the American People, pgs. 156-157) however, credits the music to a T. Maclagan. Musicologist Sam Bayard (1991) traces the tune "ultimately (and indirectly)" back to a piece called "The Mill Mill O," a commonly printed and played duple time march from the 18th and early 19th centuries, and to the jig "Merrily Danced the Quaker('s Wife)," one of which was derived from the other. Another researcher cited by Bayard traces the melodic material in these tunes all the way back to 14th century plain-chant, although Bayard himself does not confirm or deny that line of thinking. He does believe that the mid-19th century tune known as "Captain Jinks" (and also the melody "Hundred Pipers") is an offshoot of the first part of the Mill air, via "The Quaker's Wife." It was listed as having been commonly played in the Orange County, N.Y. area for dances in the 1930's (Lettie Osborn, New York Folklore Quarterly, pgs. 211-215), about the same time Bayard collected the melody from western Pennsylvania sources, and Norman Cazden collected it from Catskill Mountian, N.Y. dances of the era. The original words to the song begin:
***
I'm Captain Jinks of the Horse Marines,
I feed my horse on corn and beans,
And often live beyond my means,
Tho a captain in the army.
***
Bronner (1987) notes that the lyrics reinforce the tune's connection to dancing:
***
I teach young ladies how to dance,
How to dance, how to dance,
I teach young ladies how to dance,
For I'm the pet of the army.
***
Bruce E. Baker communicates that he finds reference to the tune in WPA-collected narratives from 1937 with former slaves in South Carolina (reprinted in Edmund L. Drago's Hurrah For Hampton: Black Red Shirts in South Carolina During Reconstruction, Fayetteville: University of Arkansas Press, 1998, pg.100). One interviewee, Charley Barber, born near Winnsboro, Fairfield County, South Carolina, remembered the piece from his slavery days. He recalled "Captain Jenks" (sic) thus:
***
A tune was much sung by de white folks on de place and took wid de
niggers. It went lak dis:
'I'm Captain Jenks of de Horse Marines
I feed my horse on corn and beans.
Oh! I'm Captain Jenks of de Horse Marines
And captain in de army!'"
***
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Archie Miller (Lewisburg, Pa.) [Guntharp]; Walter Neal (Armstrong County, Pa., 1952) [Bayard]; Don Woodcock [Phillips]; caller George Van Kleek (Woodland Valley, Catsekill Mtns., New York) [Cazden]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Adam, No. 11. Bayard (Dance to the Fiddle), 1981; No. 596, pg. 523-524. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 69, pg. 79. Bronner (Old Time Music Makers of New York State), 1987; No. 17, pg. 80. Cazden (Dances from Woodland), 1945; pg. 16. Cazden, 1955; pg. 15. Ford (Traditional Music in America), 1940; pg. 120. Guntharp (Learning the Fiddler's Ways), 1980; pg. 77. Kraus, pg. 65. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 361. Roche Collection, 1982; Vol. 2, pg. 23, No. 249. Shaw (Cowboy Dances), 1943; pg. 379. Sweet (Fifer's Delight), 1964/1981; pg. 19. Victor 36401A (78 RPM), Woodhull's Old Tyme Masters, 1941.
X:1
T:Captain Jinks
L:1/8
M:6/8
S:Shaw - Cowboy Dances
K:G
B2D D^CD|E2D G2B|A2c E2F|G2A B3|B2D D^CD|E2D G2B|
A2c E2F|G3G3||c2c ccc|c2B B3|B2A A3|A2G G3|c2c ccc|
c2B B3|B2A AB^c|d3 d3||
X:2
T:Captain Jinks
L:1/8
M:6/8
K:D
f2d ABA|{B/c/}(B2A) [D2d2]f|efg (B2c)|(d2e)(f2g)|aba A>AA|
[D2B2]A d2 (3fgf|efg (B2c)|e2[Dd] [Dd]Ad||[B3g3] [Bg]ag|
(f2d) Adf|e^de ede|fdB B/c/BA|[B3g3] gag|(f2d) f>gf|e>^de e>f^g|
a>ba (ag)||

CAPTAIN JOHN WHITE. Irish, Jig. Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the McCusker Brothers Ceili Band).

CAPTAIN MULLIGAN. English, Jig. England, Northumberland. G Major. Standard. AABB'. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 34.

CAPTAIN O'KANE/O'KAIN. AKA and see "Cailin tighe moir," "Captain Henry O'Kain," "Giolla an Bimhoir," "The Wounded Hussar," "The Small Birds Rejoice." Irish, Air or Planxty (6/8 time). E Aeolian (Matthiesen, O'Neill): G Aeolian (Gow). Standard. AB (Complete Collection, Matthiesen, O'Neill): AABB (Gow). "Captain O'Kane" is thought to have been composed by blind Irish harper Turlough O'Carolan (1670-1738) for his friend Captain O'Kane (or O'Cahan), a sporting Irishman of a distinguished County Antrim family well-known in his day as "Slasher O'Kane"(Donal O'Sullivan, Carolan, The Life and Times). O'Sullivan's attribution is based on a comment by Hardimann (who said O'Carolan wrote it) and because of stylistic similarities with other O'Carolan works. O'Neill (1913) quotes Patrick O'Leary, an Austrailian correspondent, who wrote that the Captain of the title was "the hero of a hundred fights, from Landon to Oudenarde, who, when old an war-worn, tottered back from the Low Countries to his birthplace to die, and found himself not only a stranger, but an outlawed, disinherited, homeless wanderer in the ancient territroy that his fathers ruled as Lords of Limavady." The earliest printing of the tune Captain Francis O'Neill could located was in Aird's 1788 Selection of Scotch, English, Irish and Foreign Airs, though he also found it (under the title "Captain Oakhain: A Favourite Irish Tune") in McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc.(Glasgow, 1803)-the same title and presumably the same tune was printed in McGlashan's 1786 collection. The song "The Wounded Hussar" was written to the melody by Alexander Campbell (O'Sullivan gives his name as Thomas) and appears in Smith's Irish Minstrel (Edinburgh, 1825). It was also included in Surenne's Songs of Ireland without Words (Edinburgh, 1854). Carlin (The Gow Collection), 1986; No. 325. Complete Collection of Carolan's Irish Tunes, 1984; No. 133, pg. 95. Hardiman, Irish Minstrelsy, 1831. Matthiesen (Waltz Book II), 1995; pg. 10. McGlashan (A Collection of Reels), c. 1786; pg. 36 (appears as "Captain Oakhain"). O'Farrell (Collection of National Irish Music for the Union Pipes), c.1799-1800. O'Neill (1850), 1979; No. 627, pg. 111. O'Neill (Krassen), 1976; pg. 245. O'Neill (Waifs and Strays of Gaelic Melody), 1922. Green Linnet GLCD 1151, Seamus McGuire - "The Wishing Tree" (1995). Maggie's Music MM107, "Music in the Great Hall" (1992).
T:Captain O'Kain, or The Wounded Hussar
B:O'Neill's Waifs & Strays of Gaelic Melody, 1922
Z:transcribed by Paul de Grae
R:air
M:6/8
L:1/8
K:Em
E/D/|B,EF G2 F/E/|F/G/A/G/F/E/ DEF|GBG B/A/G/F/E/D/|
B,EE E2 E/D/|B,EF G2 F/E/|F/G/A/G/F/E/ DEF|
GBB B/A/G/F/E/D/|B,EE E2 E/F/|
GBB B2 A/G/|FAA A2 d/c/|Be^d e>fg|Be^d e2 e/f/|
g>fe d>cB|AFd DEF|GBG B/A/G/F/E/D/|B,EE E2||
T:Captain Oakhain
L:1/8
M:6/8
N:"A favourite Irish Tune"
S:McGlashan - Reels
K:G Minor
G/F/|DBA B2 A/G/|A/B/c/B/A/G/ FGA|BdB cB/A/G/F/|DGG G2:|
|:G/A/|Bdd d2 c/B/|Acc c2f|d>g^f g>ab|dg^f g2 g/a/|bag f>ed|
d/c/B/A/f FGA|BdB d/c/B/A/G/F/|DGG G2:|

CAPTAIN ROSS [2]. English, Reel. England, Northumberland. G Major. Standard. AAB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 37. Raven (English Country Dance Tunes), 1984; pg. 184.

CAPTAIN WITH HIS WHISKERS, THE. AKA and see "The Month of May," "The Captain and His Whiskers." English, Morris Dance Tune (4/4 or 2/2 time). G Major. Standard. AB x7, A. A comic music hall song by Hayness Bayly that found its way into traditional dance accompaniment and military use. The morris version is from the village of Brackley, Northamptonshire, England. The following ditty was sung by the morris dancers during the performance of the dance:
***
Oh! I wish he'd do it now,
Oh! I wish he'd do it now,
Oh! the captain with his whiskers,
Oh! I wish he'd do it now.
***
The above appears to come from a bawdy song to the same tune called "I Wish They'd Do it Now," which begins "I was born of Geordie parents, one day when I was young..."
The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954. Source for notated version: Cecil Sharpe, and Dr. Kenworthy Schofield from Blackwell & Giles, 1937 [Bacon]. Bacon (The Morris Ring), 1974; pgs. 100 & 104. Howe (Diamond School for the Violin), 1861; pg 78. Journel of the English Folk Dance and Song Society, Dec. 1955. Mallinson (Mally's Cotswold Morris Book), 1988; No. 27, pg. 19. Raven (English Country Dance Tunes), 1984; pg. 81.

CARINSKYE LODGE. English, Reel. England, Northumberland. G Major. Standard. AABB. Composed by George Rutherford. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 9.

CAT IN THE HOPPER. AKA and see "Lord Doneraille," "Boys in the Gap," "Laird O' Cockpen." American; Jig. USA, New England. G Dorian. Standard. AABB. Philippe Varlet finds the tune on an old recording by the Four Provinces Orchestra of Philadelphia who called it "If Ever I Go to a Wedding," however, despite that fact that this Irish band recorded it the tune has no known Irish antecedents. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Cole (1001 Fiddle Tunes), 1940; pg. 69. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 361. Tolman (Nelson Music Collection), 1969; pg. 3. Flying Fish FF-266, Malcolm Dalglish & Grey Larsen - "Thunderhead" (1982). Rounder 0215, James Bryan - "The First of May." Smithsonian Folkways SFW CD 40126, Rodney Miller - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989).
T:Cat in the Hopper
M:6/8
L:1/8
Q:120
K:G Dorian
GF|:DGA B2c| AFF F2A|G2G gfe| fdd d2e|fag fed| {e}dcA B2c|1ded B2c| dBG
G2F:|2ded B2c| dBG G2g|
|:gdg gab| aff fga|~g3 gfe| fdd d2e|fag fed| {e}dcA B2c|1ded d2c| dBG G2g:|2
ded d2c| dBG G3|

CATTERTHUN. Scottish, English; Reel. England, Northumberland. G Major. Standard. AB (Hardie): AAB (Hall & Stafford, Raven). Composed by Robert Lowe and published in his Collection of Reels, Strathspeys and Jigs, Book 4 (1844-5). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 35. Hardie (Caledonian Companion), 1986; pg. 13. Raven (English Country Dance Tunes), 1984; pg. 186.
T:Catterthun
L:1/8
M:C|
D:G
D|G2 BG EGBG|EcAG FADF|G2 BG DGBG|EcAF G2 G:|
||d|g2 bg dgBd|ceaf fadf|g2 btg dgBd|cAaf g2 gd|g2 bg dgBd|
ceaf fadf|gdBg ecAG|FADF G2 G:|

CABRI WALTZ. Canadian, American; Waltz. American, New England. G Major. Standard. AB (Matthiesen): AA'BB' (Brody). Source for notated version: Fennig's All Stars (N.Y. State) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 60. Matthiesen (Waltz Book I), 1992; pg. 19. Front Hall 01, Fennig's All Stars- "The Hammered Dulcimer." Vermont Performing Arts League - "A Vermont Sampler." Voyager 306-S, Joe Pancerzewski- "The Fiddling Engineer."

CADER IDRIS. AKA and see "Sweet Jenny Jones." Welsh, Harp Air. A composition of the 19th century harper John Parry, 'Bardd Alaw', and named by him after the mountain in Meirionnydd, Wales. Parry did much to promote and popularize Welsh music in England in both music hall and fashionable society settings. Flying Fish FF70610, Robin Huw Bowen - "Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp" (1996).

CAMPBELL'S FAREWELL TO RED GAP. AKA and see "Steph's Reel," "Campbell's Farewell to Redcastle." Old-Time, Breakdown. A Mixolydian. Standard. AABCC. The tune is a setting of the Scottish march "Campbell's Farewell to Redcastle." Source for notated version: Kenny Hall (Califorinia) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 61 (appears as "Steph's Reel"). Folkways FA2402, Bruce Hutton- "Old Time Music, Its All Around." June Appal 014, John McCutecheon- "The Wind That Shakes the Barley" (1977. Learned from Kenny Hall via Greg Jowaises). Philo 1008, "Kenny Hall."

CANIAD MARWNAD IFAN AB Y GO. Welsh, Air. The melody can be found in the 15th century MSS of Robert ap Huw. Maggie's Music MM107, "Music in the Great Hall" (1992).

CHANTER'S TUNE, THE (Fonn an Ceolraide). AKA - "Song of the Chanter." Irish, Slow Air (2/4 time) or March. G Mixolydian (O'Neill): G Minor (O'Sullivan/Bunting). Standard. AB. Probably a piper's piece, from the title. Source for notated version: the melody was given to the Irish collector Edward Bunting by one "E. Shannon, Esq." in 1839, though no words have been found [O'Sullivan/Bunting]. Source for notated version: Clare piper Willie Clancy (Miltown Malbay) [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 79. O'Neill (1850), 1979; No. 143, pg. 25. O'Sullivan/Bunting, 1983; No. 147, pgs. 204-205. Front Hall FHR-08, Alistair Anderson - "Tradtional Tunes" (1976. Learned from a recording by Irish piper Willy Clancy).
T:Song of the Chanter, The
C:trad
B:H. C Clarke "The New Approach to Uilleann Piping"
Z:Mistakes by Phil Sexton
M:4/4
L:1/8
Q:60
K:G
GF|D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|c2BcA2GF|!
D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|D4{A}D2FG|!
A2{d}ABc2Bc|AGABc2c2|d2A2{d}A2GF|c2BcA2GF|!
D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|D4{A}D2:|

CHEROKEE SHUFFLE. Old-Time, Bluegrass; Breakdown. USA. A Major (Phillips) or D Major. Standard or ADAE. AAB (Brody): AABB (Phillips/1989): AABB' (Phillips/1994): AABC (Kuntz). Banjo player Howard Bursen identifies the tune as a West Coast version of "Lonesome Indian," and that it was derived from fiddler Tommy Magness who recorded the "Indian" tune in the 1930's. Along with "Lonesome Indian" (or "Lost Indian" [3] as it is sometimes known), the melody "Colored Aristocracy" bears some resemblance to "Cherokee Shuffle." Tommy Jackson is generally credited with transforming Magness's "Lonesome Indian" into "Cherokee Shuffle." There appears to be two versions of the tune in circulation, one "square" (with the 'A' and 'B' parts the same length) and one not. Sources for notated versions: Old Reliable String Band [Brody]; Liz Slade (Yorktown, New York) [Kuntz]. Brody (Fiddler's Fakebook), 1983; pg. 65. Kuntz, Private Collection. Phillips (Fiddlecase Tunebook), 1989; pg. 9. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 47. Adelphi AD 2004, Delaware Water Gap- "String Band Music." Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980). Folkways FA 2475, "Old Reliable String Band." Front Hall Records 05, Fennigs All Stars- "Saturday Night in the Provinces." Global Village Records C-302 - Snakelips - "New York City's 1st Annual String Band Contest - 1984." Rounder 0122, Norman Blake- "The Rising Fawn String Ensemble."
X:1
T:Cherokee Shuffle
L:1/8
M:2/4
N:ADAE tuning
S:Liz Slade
Z:Transcribed by Andrew Kuntz
K:D
(D|D)D/D/ FF|D/E/D/G,/ A,/G,/A,/G,/|D/C/D/E/ FA|B>A B/A/B/A/|
B/A/B/B/ d/A/B|A/F/E D(F|F/)E/F/D/ E/D/E|D/ D D/ D:|
(e|f/)e/f/(f/ a)(a|a/)b/a/e/ (f/e/)d/(e/|f/e/)f/d/ e/(A/d/)(A/|B>)B B>(A|
B/)A/B/(B/ d)B/F/|A/F/E D(F|F/)E/F/D/ E/D/E|D/ D D/ D||
A|B/A/B/B/ d/A/B/A/|A/B/A/D/ F>A|B/A/B/B/ de|f>(e f>)A|
B/A/B/B/ dB/A/|A/B/A/D/ F/F/A/A/|B/B/A/D/ F/F/A|(A/ B) (A/ B/)A/B/(B/|
d/)A/B/(B/ A/)F/E|D/ D D/ D||
X:2
T:Cherokee Shuffle
M:4/4
L:1/4
K:A
F/2G/2|"A"AA/2B/2 AA/2B/2|"A"c/2B/2A "D"FE/2F/2|"A"AA/2B/2c/2d/2e|\
"F#m"f/2e/2f/2g/2 ff/2g/2|"D"aa/2b/2 aa/2f/2|"A"e/2f/2e/2d/2c/2B/2A|
"F#m"F/2G/2A/2c/2 "E7"B/2A/2G|"A"A3\
::e|"D"f/2e/2f/2g/2 a/2e/2f/2e/2|"A"c/2d/2e/2f/2 ee|"D"f/2e/2f/2g/2 "A"a/2e/2f|\
"E"e3"(A7)"e|"D"f/2e/2f/2g/2 a/2e/2f/2e/2|"A"c/2d/2e/2f/2ef/2g/2|\
"D"a/2e/2g/2f/2 "E7"e/2d/2c/2B/2|"A"AA/2B/2 A:|

CHILDGROVE (Child Grove). English, American; Air, March or Country Dance Tune (2/2 time). USA; New England, Northwest. D Dorian or D Minor. Standard. AABB. The tune, still popular at country dances, dates to around 1701 and appears in many English country dance collections, including Playford's English Dancing Master. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler's Fakebook), 1983; pg. 67. Carlin (English Concertina), 1977; pgs. 44-45. Fleming-Williams (English Dance Airs; Popular Selection, Book 1), 1965; pg. 10. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991 (revised); pg. 9. Karpeles (100 English Country Dance Airs), 1951; pg. 22. Raven (English Country Dance Tunes), 1984; pg. 23. Sharp (Country Dance Tunes), 1909/1994; pg. 71. Songer (Portland Collection), 1997; pg. 49. Spandaro (10 Cents a Dance), 1980; pg. 5. Bristlecone CO1, Bonnie Carol & Doug Berch- "New Brew for Hammer Dulcimer." Country Dance and Song Society CDS-9, Claremont Country Dance Band- "Juice of Barley." Front Hall 01, Fennig's All Stars- "The Hammered Dulcimer." R.P. Hale- "Garden Roses" (privately issued, Concord N.H.). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992). Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).
T: Childgrove
L: 1/8
M:C
K: Dm
A2| "Dm"A2d2d2e2|f4 e2d2|"Gm"g2f2e2d2|"Am"e3d cBA2|"Dm"A2d2d2e2|
F4 e2a2|"Gm"g2f2 "A7"efed|"Dm"d6:|
|: fg|"F"a2f2f2a2|"C"g2e2e2g2|"Dm"f2d2 defd|"A7"e2A4 fg|"F"a2g2f2a2|
"C"g3f efge|"Dm"f2ed "A7"e2d^c| "Dm"d6:|

CHIMES OF DUNKIRK, THE. New England, Contra Dance Tune (4/4 time). D Major. Standard. AABB. Source for notated version: Joe Ryan [Laufman]. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 7.

CHIPS AND SHAVENS. English, Reel. England, Northumberland. D Major. Standard. AAB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 8. Raven (English Country Dance Tunes), 1984; pg. 182.

CHRISTMAS DAY IDA MORNIN' [1]. AKA and see "Da Day Dawn." Shetland, Air (12/8 or 6/8 time). D Major. Standard. AABB. A listening tune from the Shetland Island of Unst. Patrick Shuldham-Shaw collected the tune from John Stickle of Unst, whose ancestor Friedemann Stickle was famous as a fiddler in the eighteenth and early 19th century. Although some think Stickle composed it, Pat Shuldham-Shaw though it might have been older. Friedemann was paid to play this tune every year on Christmas morning in the hall of his laird, the Laird of Muness {or Buness}." The late Sheltland fiddler, collector and teacher Tom Anderson stated that Feidemann had composed the tune on the road from his croft at Burrafirth to Buness and also remembered that Stickle was called 'Stumpie' because he walked with a limp. It is possible that the tune's rhythm reflects the rhythm of Stickle's walk. Anderson also maintained the words "Christmas Day ida Mournin'" can be heard at the end of the tune. Source for notated version: Tom Anderson (Shetland) via Boys of the Lough [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 68. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 55. Familiar Records 59, Pyewackett - "This Crazy Paradise" (1986). Kicking Mule 205, Delaware Water Gap- "From the Rivers of Babylon to the Land of Jazz." Rounder 3006, Boys of the Lough- "Second Album" (1974).
T:Christmas Day Ida Mornin'
L:1/8
M:6/8
K:D Major
f2 d f3 | e2 d c2 A | B2 G d2 c | B2 G G3 | e2 f g2 f | e2 d c2 B |
A2 A ABc | d3 d3 :||: e3 (4edef | g3 B3 | A3 A A3 A | B3 c d3 B |
e3 (4edef | g3 B3 | A3 e d3 B | +E3A3+ +E3A3+ :||

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/:||

CITY OF SAVANNAH. American (originally), Irish; Hornpipe. D Major. Standard. AABB. Composition credited to Frank Livingston in Cole's 1001. Cole (1001 Fiddle Tunes), 1940; pg. 105. Kerr (Merry Melodies), Vol. 2; No. 354, pg. 39. Mallinson (Enduring), 1995; No. 73, pg. 30. McNulty (Dance Music of Ireland), 1965; pg. 23. Flying Fish FF 70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989).
T:City of Savannah
R:Hornpipe
S:Trad via Lesley Dolman
M:4/4
L:1/8
K:D
% Nottingham Music Database
P:A
FG|(3ABAFA dfaf|gaba gfed|cded cdBc|ABGA FFG^G|
(3ABAFA dfaf|gaba gfed|cbag fABc|d2f2 d2:|
P:B
e2|(3efece aec'e|be^ge aebe|(3efece aec'e|be^ge a4|
(3abaga eac2|(3abafa daA2|(3gagGg (3fgfAf|eABc d2:|

CLEAN PEA(SE) STRAW/STRAE. AKA and see "Pea Straw," "Pease Strae," "Pease Straw," "What'll All the Lasses Do" (Shetland). English, Scottish, Shetland; Hornpipe or Reel. England, Northumberland. D Mixolydian. Standard. AAB. Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection (pg. 65). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 21. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 12. Kerr (Merry Melodies), Vol. 1; Set 14, No. 6, pg. 10. MacDonald (The Skye Collection), 1887; pg. 72. Mooney (Choicest Tunes/Lowland Pipes), pg. 25. Raven, 1984; pg. 184. Seattle (William Vickers), 1987, Part 2; No. 203. "Fiddle Me Jig" (c. 1978).

CLERGY'S LAMENTATION, THE. Irish, Air. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O'Sullivan, in his definitive work on the bard could find no incontrovertable evidence of its origin. Maggie's Music MM107, "Music in the Great Hall" (1992).

COKET SIDE. AKA and see "Coquetside." English, Reel. English, Northumberland. G Major. Standard. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 30.

COLERAINE. Irish, Double Jig. A Minor (Brody, Kerr, Miller & Perron, Reiner, Spandaro, Sweet, Tolman): B Minor (Sullivan). Standard. AABB. Coleraine is a town in northern Ireland. The tune has long been a staple of New England contra dances. Source for notated version: Fennigs All Stars (New York) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 70-71. Jarman (Old Time Fiddlin' Tunes), No. or pg. 19. Kerr (Merry Melodies), Vol. 4; No. 234, pg. 26. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 15. Reiner, 1977; pg. 48. Sannella, Balance and Swing (CDSS). Spandaro (10 Cents a Dance), 1980; pg. 45. Sullivan (Session Tunes), Vol. 2; No. 25, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 29. Tolman (Nelson Music Collection), 1969; pg. 5. F&W Records 3, "Canterbury Country Dance Orchestra." Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Revonah RS-924, "The West Orrtanna String Band" (1976. Learned from Fennig's All Stars' recording). Smithsonian Folkways SFW CD 40126, Rodney Miller - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999).
T:Coleraine
M:6/8
L:1/8
Z:transcribed by Jürgen Gier
R:jig
K:ADor
E|EAA ABc|Bee e2d|cBA ABc|B^GE E2D|\
EAA ABc|Bee e2d|cBA B^GE|ABA A2:|
|:B|~c3 cdc|Bdg g2^g|aed cBA|^GBG EFG|\
~A3 BAB|cde =fed|cBA B^GE|ABA A2:|

COLLEGE HORNPIPE. AKA and see "Sailor's Hornpipe," "Lancashire Hornpipe," "Jack's the Lad." English, Scottish, Irish, Canadian, American; Hornpipe. D Major (Ashman, Huntington): G Major (Johnson, Perlman): C Major (Harding, Raven): B Flat Major (Athole, Burchenal, Cole, Cranford, Emmerson, Honeyman, Howe, Hunter, Kerr, McGlashan, Skinner, Vickers). Standard. AABB (most versions): AA'BB' (Cranford). A country dance and

Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion