The Bonnie Briar Bush (1897)...Jacob Henry Ellis.

[Steve Harrison]

This an arrangement by Ellis of two traditional songs. The first is Robin Adair which is a song written in the 18th century by Lady Caroline Keppel, the tune to which is a traditional Irish jig called Eileen Aroon and the second is Annie Laurie which he used as the trio. Ellis took the name of his arrangement from the book "Beside The Bonnie Briar Bush" by Ian McClaren  which was published in 1893 and he's arranged the piece as a jig in 6/8 time.

I've used the 4th string to try and emulate the way a fiddle player bows the lower strings of the fiddle to produce harmonies and drone effects, once you've worked out how the 4th string fits in, it's a good tune to play. I've added my suggested fingering, much of it leaning towards melodic style. The score and midi are in the library...Steve.

[Jody Stecher]

The origins of Eileen Aroon seems to be in the London theatre of of the mid 1700s, although the melody may be older with origins in Ireland or Scotland or both.  But one thing for sure: it's not a jig. Early transcriptions were in 3/4 time. It could be equally well represented in 6/8 time but 6/8 time doth not a jig make.  There are hundreds of slow airs in 6/8 time and Eileen Aroon is always sung very slowly. Robin Adair is also a slow song whether sung in English as 19th century Pop Music  or in  German as volkslied.

 Then there are 6/8 marches. These are not confined to Scotland. The classic banjo repertoire has many. It seems to me that Jacob Henry Ellis makes his intentions clear on the cover where it says "March and Two-Step". 

This is not to say that, at least in some cases, the melody would not be improved by a faster rendition. I cannot forget, although I have tried, being subjected to a painfully out-of-tune slow rendition of Eileen Aroon  by a vocalist who rendered it as "Irene A Loon" without parodic intentions. 

[Jody Stecher]

Maybe that should have rendered as "Irene, a loon".

Jody Stecher said:

The origins of Eileen Aroon seems to be in the London theatre of of the mid 1700s, although the melody may be older with origins in Ireland or Scotland or both.  But one thing for sure: it's not a jig. Early transcriptions were in 3/4 time. It could be equally well represented in 6/8 time but 6/8 time doth not a jig make.  There are hundreds of slow airs in 6/8 time and Eileen Aroon is always sung very slowly. Robin Adair is also a slow song whether sung in English as 19th century Pop Music  or in  German as volkslied.

 Then there are 6/8 marches. These are not confined to Scotland. The classic banjo repertoire has many. It seems to me that Jacob Henry Ellis makes his intentions clear on the cover where it says "March and Two-Step". 

This is not to say that, at least in some cases, the melody would not be improved by a faster rendition. I cannot forget, although I have tried, being subjected to a painfully out-of-tune slow rendition of Eileen Aroon  by a vocalist who rendered it as "Irene A Loon" without parodic intentions. 

[Steve Harrison]

Hi Jody. many thanks for your usual well informed reply. When I called it a jig, I had my other head on as an accordionist for traditional dance sides.If I'd have played the arrangement to any of the dancers, the'y have probably identified it as a jig....Steve. 
Jody Stecher said:

Maybe that should have rendered as "Irene, a loon".

Jody Stecher said:

The origins of Eileen Aroon seems to be in the London theatre of of the mid 1700s, although the melody may be older with origins in Ireland or Scotland or both.  But one thing for sure: it's not a jig. Early transcriptions were in 3/4 time. It could be equally well represented in 6/8 time but 6/8 time doth not a jig make.  There are hundreds of slow airs in 6/8 time and Eileen Aroon is always sung very slowly. Robin Adair is also a slow song whether sung in English as 19th century Pop Music  or in  German as volkslied.

 Then there are 6/8 marches. These are not confined to Scotland. The classic banjo repertoire has many. It seems to me that Jacob Henry Ellis makes his intentions clear on the cover where it says "March and Two-Step". 

This is not to say that, at least in some cases, the melody would not be improved by a faster rendition. I cannot forget, although I have tried, being subjected to a painfully out-of-tune slow rendition of Eileen Aroon  by a vocalist who rendered it as "Irene A Loon" without parodic intentions.