The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BRAB - BRAM

[COMMENT3] 

 

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

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

 

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

 

 

[COMMENT4] 

BRA LADS OF GALLOWATER. Scottish, Air (4/4 time). G Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 30.

X:1

T:Bra Lads of Gallowater

M:C

L:1/8

R:Air

S:O’FarrellPocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

G/A/ | B2 (A>G) G3B | d3e (dBAG) | B2A2 g3f | ed g>f e2 dd | d2 (ef) g3a |

(b>a)ge g3B | B2A2A2 B>d | e>d (g>f) e3d ||[COMMENT5] [COMMENT6] 

[COMMENT7] [COMMENT8]               

BRABHADH CEARBHALLAIN (Carolan's Devotion). AKA and see "Miss Fetherston."

 

BRACHANLOAM.  Scottish, Air (4/4 time). G Major. Standard tuning. AB. Johnson (Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 1.

 

BRACKEN LANE, THE. Irish, Air (4/4 time). D Major. Standard tuning. One part. Source for notated version: piper Phillip Goodman (Carrickmacross, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 26, pg. 11.

 

BRACKEN’S.  Irish, Jig. E Minor. Standard tuning. AABB. Source for notated version: transcribed by Bernie Stocks from the playing of Ciaran Kelly at a session in Belfast [Miller]. Miller (Fiddler’s Throne), 2004; No. 15, pg. 22. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

 

BRAD WALTERS. Old‑Time. USA; Magoffin County, Ky. A Mixolydian. AEae tuning. ABBCC. The tune was recorded by fiddler John Salyer, Magoffin County, Ky., in 1941 or 1942 on a home disc recording. Named for a fiddler who played the tune, in lieu of another title. Bruce Greene told Jeff Titon that there were two old fiddlers in Magoffin County by the name of Brad Walters, and that one only played hymns. The tune belongs to the “Granny, Will Your Dog Bite? [1][1]”/”Betty Martin”/”Hogeye Man”/”Fire on/in the Mountain [1]” family of tunes. Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky.) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 15, pg. 48. Berea College Appalachian Center AC003, “John M. Salyer – Home Recordings 1940-41, vol. 1” (1993).

 

BRADLEY’S POLKA. See “Pete Bradley’s [2].”

                       

BRADLEY’S REEL. Canadian, Reel. Canada, Prince Edward Island. A Mixolydian/Major. Standard tuning. AABB. Composed by Bear River, North-East Kings County, Prince Edward Island bred fiddler Kenny Chaisson (b. 1947, now resident of Rollo Bay). Source for notated version: Kenny Chaisson [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 103.

                       

BRADY’S (REEL). Irish, Reel. D Major. Standard tuning. AABB. The title probably refers to County Offaly flute player John Brady. Cian (1st CD).

X:1
T:Brady's
R:reel
D:Fisherstreet
Z:id:hn-reel-627

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
fded B2FB|AF~F2 DFAd|fded BAFA|Beed e2de|
fded B2FB|AF~F2 DFAd|fa~a2 bfaf|dBAG FDD2:|
|:fa~a2 bfaf|dB~B2 AF~F2|~A3B defd|e2df edBd|
fa~a2 bfaf|dB~B2 AF~F2|~A3B defe|dBAG FDD2:|
"variation of 1st part"
|:fded B2FB|AF~F2 DFAd|fded BAFA|Beed e2de|
fded B2FB|AF~F2 DFAd|fdad bdaf|dBAG FDD2:|

 

BRADY’S (SLIDE). Irish. A tune recorded by Arty McGlynn and Nollaig Casey on their album “Lead the Knave,” crediting Paul Brady as the source. The tune is actually an untitled composition of the late London-based fiddler Lucy Farr, originally from Galway.

                       

BRAES ABOON BONAW. Scottish, Strathspey. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; Set 13, No. 3, pg. 9.

X:1

T:Braes Aboon Bonaw

M:C

L:1/8

R:Strathspey

S:Kerr – Merry  Melodies, vol. 1, pg. 9  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

D>FA>B A<F A<d|D>FA>F {F}E2 (E<F)|D>FA>B d>ef>e|d>B d<F E2 (E<F):|

|:d>ef>e d<A F<A|d>ef>A B2 (B<e)|d>ef>d e<f d>A|1 B<d A>F E2 (E<F):|2 B<d A>F E2 E<d||

                       

BRAE REEL, THE. AKA and see “Reel du Brae.”

                       

BRAEMAR GATHERING, THE. Scottish, Pipe March (6/8 time). A Major. Standard tuning. AABBCCDD. Composed by George S. MacLennan. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 15. Topic TSCD 669, Willy Taylor (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Taylor {b. 1916} was a shepherd, and a fiddler and melodeon player from Wooler, Northumberland).

                       

BRAES OF ABERARDER. AKA and see "Lady Madelina Sinclair." Scottish. Composition claimed by Charles Duff and published 1790, but also appears, retitled, in Gow's Third Collection (1792).

                       

BRAES OF ANGUS. AKA and see "Bridge of Anas." Scottish, Reel. The melody appears in the Gillespie Manuscript (1768), but Glen (1891) finds it earliest in print in James Aird's 1782 collection (No. 154).

                       

BRAES OF ARGYLL, THE. AKA and see “The Marine (Jig).” Scottish.

 

BRAES OF ATHOLE, THE. AKA and see "Athol(e) Brae." Scottish, Reel. G Major. Standard tuning. AABBCCDD (Alburger, Bremner, Gow): AABBCCDDEEFF (McGlashan). Northumbrian musician William Vickers' version of "Athole Brae" differs in detail but not in outline, notes publisher Matt Seattle. The melody was first printed by an anonymous publisher in 1734 in the Duke of Perth MS., written by David Young. Glen (1891), however, could only find the earliest appearance of the tune in print in Robert Bremner's collection. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 17, pg. 38. Bremner (Scots Reels), 1757; pgs. 78-79 (appears as “Braes of Athol”). Carlin (The Gow Collection), 1986; No. 463. Gow (Complete Repository), Part 2, 1802; pg. 18. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 301.

X:1

T:Braes of Athole, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

d|B2 AG B/c/d e/f/g|BAGB A/A/A Ad|B2 AG B/c/d e/f/g|D3B G/G/G G:|

|:f|gdBg dgdB|gdBg f2 Ae/f/|gdBg dgdB|c/B/A/G/ FA G/G/G G:|

|:c|BGBG BG B/c/d|BG B/c/d e/f/g Ac|BG B/c/d e/f/g f/g/a|D3B G/G/G G:|

|:f|gdBg dgdB|g/f/e/d/ Bg f2 Ae/f/|gdBg dgdB|c/B/A/G/ FA G/G/G G:|

 


BRAES OF AUCHTERTYRE [1]. AKA and see "Braes of Auchentyre," "Belles of Tipperary [1]," "Beaus of Albany [1],” “The Music Club,” “The New Policeman." See "Billy/Billie in the Low Ground [1]." Scotland; Reel, Strathspey. C Major (most versions): D Major (Aird, Kennedy). Standard tuning. AB (Alburger, Cole, Gow, Kennedy, Kerr, Skye, Athole): AABB (Aird, Cranford, Perlman). Auchtertyre lies midway between Dornie and Kyle on the northern shore of Loch Alsh, Scotland. This popular tune was first published by Neil Stewart (Collection of the Newest and Best Reels and Country Dances, c. 1761, pg. 45) and later transposed to the key of 'A' and played as a strathspey. Glen (1891) finds it printed about the same time in Joshua Campbell's 1778 collection (pg. 4). The melody is sometimes credited to James Crocket, but evidence for this ascription is wanting according to some reviewers. The tune appears to have developed from a slow 3/4 time Lowland Scots song tune called "O Dear Minnie/Mother (What Shall I Do)?"  Toward the end of the 18th century "Braes of Auchtertyre" was composed from it, which in turn become the direct ancestor of the American tune "Billy in the Lowground/Low Lands." Jack Campin states that at the time “Braes” was fashioned from the “Minnie” song (Gow thought it the other-way-round), the laird of Auchtertyre was wealthy and well-connected; the kind of influential personage and estate that attracted labeling and re-labeling of music. Perlman’s Prince Edward Island-collected version is somewhat distanced from the usual printed versions. The tune is popular on Cape Breton Island, where it was recorded by Scotty Fitzgerald in the 1930’s. Many Cape Breton fiddlers follow the lead of Angus Chisholm and precede “Braes of Auchtertyre” with the strathspey “Rothiemurchus Rant.” Irish derivatives of the melody are, among others, the “Belles of Tipperary [1],” “Connaught Lasses” and “Miss Monaghan.” Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Aird (Selections), Vol. II, 1782; No. 146, pg. 54 (appears as “The Braes of Aughtertyre”). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 37, pg. 60. Cole (1000 Fiddle Tunes), 1940; pg. 42 (version, somewhat altered, appears as "Braes of Auchentyre"). Cranford (Jerry Holland’s), 1995; No. 74, pg. 22. Gow (Complete Repository), Part 1, 1799; pg. 20. Kennedy (Traditional Dance Music of Britain and Ireland, vol. 2: Reels and Rants), 1997; No. 12, pg. 5. Kerr (Merry Melodies), Vol. 1; Set 23, No. 1, pg. 14 (strathspey). Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 106. Middleton’s Collection. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 68. Stewart-Robertson (The Athole Collection), 1884; pg. 62. Vallely (Play 50 Reels with the Armagh Pipers Club), 1982; 40. James F. Dickie’s Delights (1976). Shanachie 14001, "The Early Recordings of Angus Chisholm.” WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Braes of Auchtertyre

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

G,|C2CF EGGA|cded cAGc|A/A/A AG A2a2|gcfe d2c2|C2CF EGGA|

cded cAGc|AcGc FcEc|dBcE D2C||f|efga gecg|afeg edcG|A/A/A ag a2 c’2|

ecfe d2 cf|efga gecg|afdg edcA|AcGc FcEc|dBcE D2C||

X:2

T:Braes of Aughtertyre (sic)

L:1/8

M:C|

R:Reel

B:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

D3E FAAB | defe dBAd | B/B/B BA B2b2 | fdaf e2d2 |

D3E FAAB | defe dBAd | BdAd GdFd | (f/e/)(d/c/) dF “tr”F2D2 :|

|: fgab afda | bgeg fedA | B/B/B ba b2 {b/c’/}d’2 | fdaf “tr”e2d2 |

fgab afda | bgeb fedA | BdAd GdFd | f/e/d/c/ dF “tr”E2 D2 :|

X:3

T:The Braes of Auchtertyre

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 24

% Gore's Index gives earliest publication as Joshua Campbell's

% "Coll. Of Newest & Best Reels & Minuets..." Glasgow 1788

L:1/8

M:C

R:Reel

K:C

C3D (EGGA)|cded cAGc|A/A/A (AG) A2a2 | gcfe Td2c2 |

C2 (CD) (EGGA)|cded cAGc|AcGc FcEc | d/c/B/A/ cE D2C2 ||

efga gecg |afdg edcG|A/A/A ag a2({ab}c'2)| ecfe Td2c2 |

efga gecg |(a/g/f/e/ d)g edcG|AcGc FcEc |(d/c/B/A/) cE TD2 C2|]

 

BRAES O' AUCHTERTYRE [2], THE. Scottish, "Pastoral Air" (Skinner) or Slow Strathspey (Honeyman). A Major. Standard tuning. One Part (Hunter, Skinner): AB (Honeyman, Skinner/Harp). J. Scott Skinner, who fashioned a popular arrangement of the tune for his Harp and Claymore collection, said it was an "admired old air by Crocket." Honeyman (1898) agrees that "this grand melody was composed or adapted about the year 1723 by James Crocket (see note for version #1), but was first transposed from the key of C to that of A, and played as a slow strathspey by James Scott Skinner." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton), “inspired by J. Scott Skinner’s setting and by his friend Angus Chisholm” [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 64, pg. 30. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 36. Hunter (Fiddle Music of Scotland), 1988; No. 26. Skinner (Harp and Claymore Collection), 1904; pg. 6 (arranged for violin and piano). Skinner (The Scottish Violinist), pg. 37.

X:1

T:Braes o’ Auchtertyre, The [2]

M:C

L:1/8

R:Slow Strathspey

S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)

Z:AK/Fiddler’s Companion

K:A

A,2 A,D C<E E>F|A>Bc>B A>F E<A|F<F F>E F2 Ff|eAdc B2 Az|

A,2 A,D C<E E>F|A>Bc>B c/B/A/G/ AE|F>AE>A D>AC>A c/B/A/G/ AC B,2 A,z/||

d/|c>de>f ecAe|f/e/d/c/ Bd c>BAE|Fffe (f2 f)g/a/|eAdc B2 A z/d/|c>de>f ecAe|

f/e/d/c/ Bd c>B AE|F>AE>A D>AC>A|c/B/A/G/ AC B,2 A,z||

 

BRAES OF AUCHENTYRE. See "Braes of Auchtertyre [1]."

 

BRAES OF BALANDINE. AKA and see "Braes of Ballenden."

 

BRAES OF BALLENDEN [1], THE. AKA ‑ "Braes of Balandine." Scottish, Air (3/4 time). B Flat Major. Standard tuning. AABB. The melody also appears in the McLean collection (1772) ascribed to Robert “Red Rob” MacIntosh. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 21.

X:3

T:Braes of Balanden [1]

M:3/4

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1762)

Z:AK/Fiddler’s Companion

K:B_

B>c | {B/c/}d2f2 f>g | “tr”f4 (g/a/b) | (gf)(edcB) | “tr”{d}c4 B>c | d2f2 (f/g/a) |

{a}b3ag2 | f>g {g}f(e/d/) “tr”c>B | B4 :: (D>E) | F3 GBF | G2 (B>c) “tr”(cB/4c/4) |

d2c2 (d/c/B) | G4 (f/g/a) | b2 B2 (B/c/d) | c2d2 f>b | g2 (fe)(de) | {d}c4 Bc | d2f2 (f/g/a) |

{a}b3ag2 | f>g (f<d)”tr”(cB) | G4 Bc | d2f2F2 | G2B2 g>b | (f>g)(f>d)”tr”(c>B) | B4 :|

 


BRAES OF BALLENDEN [2], THE. Scottish, Air (3/4 time). G Major. Standard tuning. AABB. Ballenden is another name for Ballantyne, spelled variously Balandine, Ballandyne, Ballendine etc. Composed by dancing master James Oswald (d. 1769). Alexander Campbell opined that "...had he (Oswald) composed nothing else but 'The Braes of Ballenden' and the air to 'Lovely Nymph', introduced in the burletta of 'Midas', his fame would live as long as a relish exists for genuine Scottish melody." The melody also appears in Johnson’s Scots Musical Museum (I, 1787, pg. 93). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 93.

X:1

T:Braes of Balandine (sic)

T:Braes of Ballenden [2]

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

GA | B2d2 d>e | e2d2 (e>f/2g/4) | e<d c<B A<G | {B}A4 G>A | B2d2 (d>e/2f/4) |

G3fe2 | d>ed{c}B (A>F/2G/4) | G4 :: G | D3E G>D | E2G2 (A>B/2c/4) |

“tr”B2A2 c/B/A/G/ | E4 de/f/ | g2G2 (G>A/2B/4) | A2B2 d>g | fe dc Bc |

B2A2 G>A | B2d2 (d>e/2f/4) | g3f e2 | d>e d<B AG | E4 GA | B2d2D |

“tr”E2G2 (e>f/2g/4) | d>e dB (A>G/2A/4) | G6 :|

 

BRAES OF BALQUIDDER, THE. AKA – “Braes of Balquhither,” “Braes of Balqyheder,” “Braes of Balquhidder.” Scottish; Air, Strathspey and Country Dance Tune (4/4 time). G Major (Aird, Kerr): F Major (Athole, Bremner). Standard tuning. AAB (Aird, Bremner): AABCC (Gow, Kerr): ABCD (McGlashan): AABCCD (Athole). No matter which spelling is used the name 'Balquhither' is pronounced 'Balwhither'. The tune appears in both air and dance versions. Glen (1891) finds the piece first published in Bremner's 1757 collection (pg. 37), however, the tune (and dance instructions) appear in The Bodleian Manuscript (1740), inscribed "A Collection of the Newest Country Dances Performed in Scotland at Edinburgh by D.A. Young, W.M. 1740" (the MS is named for the Bodleian Library, Oxford, where it is housed). Robert Tannahill (1774-1810), bard and weaver of Paisley, wrote a song by this name which appeared twice in R.A. Smith's Scottish Minstrel (1821-1824), vol. 1, pg. 49 and vol. IV, pg. 89 (the latter air is a modification of the first and is called "The Three Carles o' Buchanan"). The song text appears in Henry W. Shoemaker's Mountain Minstrelsy of Pennsylvania (1931), with the following note:

***

Potter County: This very ancient ballad was furnished by Mr.

Myron Hill, 70 years old. It was sung to my grandfather when a

child, soon after the War of Revolution, by veterans of that war,

and he sang it to me in 1876, in memory of our family soldiers

of 100 years before.- John C. French, 1919.

***

Mr. French's account predates the Tannahill publication by some forty years, and perhaps he was a victim of the human penchant for subscribing increased antiquity to already old items, though it is possible that an older song text to the country dance tune predated the Tannahill publication. Tannahill’s words begin:

***

Will ye go, lassie, go,

To the braes o' Balquhidder?

Where the blaeberries grow,

'Mang the bonnie bloomin' heather;

Where the deer and the roe,

Lightly bounding together,

Sport the lang summer day

'Mang the braes o' Balquhidder.

***

Chorus:

Will ye go, lassie, go,

To the braes o' Balquhidder?

Where the blaeberries grow,

'Mang the bonnie bloomin' heather.

***

The song “Wild Mountain Thyme” is derived from “Braes of Balquidder,” as is “Will You Go, Lassie, Go” reworked by Frank McPeake of Belfast. When the melody was employed in an advertisement for Irish television the McPeakes threatened legal action for coypright infringement.  After some public discussion in the press, followed by a bit of research, the conclusion was that the McPeakes did not compose either the words or the music. The threat of a suit never materialised and the matter was quickly forgotten, according to Harry O’Prey. Gow notes the tune “may be play’d very Slow.” Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 181, pg. 67 (appears as “Braes of Balwhedar”). Bremner (Scots Reels), c. 1757; pg. 37. Gow (Complete Repository), Part 1, 1799; pg. 27. Kerr (Merry Melodies), vol. 1; Set 16, No. 1, pg. 11. McGlashan (A Collection of Reels), c. 1786; pg. 37. Stewart-Robertson (The Athole Collection), 1884; pg. 212. Folk Lyric FL-116, Betsy Miller (Ewan MacColl’s mother). Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum" (1994. Tannahill's song).

X:1

T:Braes of Balquhidder

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

c|A/B/c Fc A2 AB|A/B/c Fc AGGB|A/B/c Fc A2 Ac|defd cAA:|

c|defd cAag|fdcA AGGc|defd cAfg|agfd cAAc|defd caga|~fdcA AGGA|

FCA,C FGAc|defd cAA||

|:c|dFcF A2Ac|dFcF AGGc|dFcF A2Ac|defd cAA:|

c|defd cAag|fdcA AGGc|defd cAfg|agfc A2Ac|defd caga|fdcA AGGA|

FCA,C FGAc|defd cAA||

X:2

T:The Braes o' Balquhidder

B:G.F. Graham, The Popular Songs and Melodies of Scotland (1900)

C:Words written by Robert Tannahill 1774-1810.

N:it's vaguely like The Duke of Bucclugh's Tune in Playford, 1687

M:2/4

L:1/8

R:Air

Q:1/4=96

K:D

% hexatonic, G missing

F>A|B2  A>D|F2  F>A|B2  A>F|F<E F>A|B2  A>D|F2  F>A|B>c d>B     |A<F||

F>A|B>c d>B|A<F f>e|d<B A>F|F<E F>A|B>c d>B|A<F f>e|dB  AF      |F<E||

F>A|B2  A>D|F2  F>A|B2  A>F|F<E F>A|B2  A>D|F2  F>A|B>c e/d/c/B/|A<F|]

                       

BRAES OF BALQUITHIN, THE. Scottish, Reel. G Major. Standard tuning. AA. Hardings All-Round Collection, 1905; No. 170, pg. 54.

X:1

T:Braes of Balquithin, The

M:C

L:1/8

R:Reel

S:Harding’s All Round Collection  (1905)

Z:AK/Fiddler’s Companion

K:G

cB|d2 dg e2 AB|dgeB AGAB|dedB e2 Ac|BcBA AGAB|g2 be g2 Bd|

gagf edBd|g2 be g2 Bd|e2 dB AGAB|gagf edBd|b2 af g2 Bd|e2 dB (AG):|

                       

BRAES OF BANFF. Scottish. Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner" (appears as second tune of "Kimmel Straight Jigs"; Kimmel was a N.Y.C. accordion player who recorded in the 1920's).

                       


BRAES OF BUSBY [1], THE (Mala Bhusby). Irish, Reel. G Major (Mitchell): G Minor (O’Neill). Standard tuning. ABC (Mitchell): AABBCC’ (O’Neill). The tune is an adaptation of John Bowie’s Slow March “Braes of Bushbie” (c. 1789), set in reel time (see note for “Braes of Bushbie”) and generally played in a major key in Ireland. The Scots tune is in four parts, and a similar setting appears in the 19th County Leitrim manuscript of Stephen Grier, presumably derived from Scottish sources. There is a Scottish dance called The Braes of Busby which is one of the fifteen or so Scottish country dances either wholly or in part in strathspey tempo (Flett, 1964). See also the important minor-key variant “Dowd’s Favorite.” Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 48, pg. 57. O’Neill (O’Neill’s Irish Music), 1915; No. 237, pg. 125. Drumlin Records, Brian McNamara – “A Piper’s Dream” (2000).

X:1

T:Braes of Bushbie [1]

M:C

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G Minor

F | D<G G>A B>AG>F | C<F F>G Ac B/A/G/F/ | G>AB>c {Bc}d>cB>d | c/B/A/G/ FA BGG :|

|: A | B>cdB fBdB | Acfd cAFA | B>cdB fBdB | c<A F>A BGG :: f | g2 dg dg/a/ bg | f2 cf cf/g/ af |

g2 d>g d>cB>d | c/B/A/G/ FA BGG :: A | B<dG<B GB/c/ dB | A<cF<A FA/B/ cA |1

B<dG<B GB/c/ dB | c<A F>A BGG :|2 B>df>b f<dBd | c/B/A/G/ FA BGG ||

                       

BRAES OF BUSHBIE [2]. AKA – “Braes of Busbie.” Scottish, Slow March (4/4 time) or Strathspey. A Dorian (O’Farrell): G Minor (Cole, Hardie): G Dorian (Cranford). Standard tuning. ABC (Cole, Hardy): AABBCC (O’Farrell): ABABCCD (Howe): AABBCCD (Cranford). In lowland Scots dialect, a brae is a hillside. Busby is a district in Renfrewshire, Scotland. Hardie (1992) says the melody was a favorite of Niel Gow's, composed perhaps by John Bowie and first appearing in the latter’s Collection, 1789. Reworked as “Dowd’s Favorite,” the tune is played as a reel and was recorded by Sligo/New York City fiddler Michael Coleman. Piper Willie Clancy had a reel time setting of the tune, called “Braes of Busby,” in a major tonality. Source for notated version: Cape Breton strathspey setting is from fiddler Bill Lamey via Jerry Holland (Inverness, Cape Breton) [Cranford]; McFadyen’s Repository (1795) [Henderson]. Cole (1000 Fiddle Tunes), 1940; pg. 128. Cranford (Jerry Holland’s), 1995; No. 187, pg. 53. Hardie (Caledonian Companion), 1992; pg. 85. Henderson (Flowers of Scottish Melody), 1935. Howe (1000 Jigs and Reels), c. 1867; pg. 134. McFadyen, Repository of Scots and Irish Airs, vol. 1 (c. 1795). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 140 (appears as “Braes of Busbie”). Ryan’s Mammoth Collection, 1883; pg. 167 (strathspey setting). Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:The Braes of Bushbie

C:John Bowie, 1789

R:strathspey

Z:Transcirbed by Juergen Gier

M:C

L:1/8

K:GDor

F/|D<GG>A ~B>AG>F|C>DF>G A<c B/A/G/F/|G>AB>c ~d>cB>d|\

c/B/A/G/ F>A B<GG3/::A/|B>cd>B f>Bd>B|A<cf>d c/B/A/G/ F>A|\

B>cd<B f>Bd>B|~c>AF>A B<GG3/::B/|~g2d>g (3dga (3bag|\

f2c>f (3cfg (3agf|~g>fd>g ~d>cB>d|c/B/A/G/ ~F>A B<GG3/:|A/|\

B<dG>d (3GBc (3dcB|A>cF>c (3FAB c>A|B<dG>d (3GBc d>B|\

~c>AF>A B<GG>A|(3Bcd G>d (3GBc (3dcB|A>cF>A (3FAB (3cBA|\

B>df<b f>dB>d|c/B/A/G/ F>A B<GG3/|]

                       

BRAES OF CASTLE GRANT, THE. Scottish, Pipe March (2/4 time). A Major. Standard tuning. AABB’CCDD’. The first two parts were composed by Duncan MacDonald, and the last two by Pipe Major G.S. MacLennan. Christine Martin (2002) says the tune is often played as a stately pipe march in competitions, and warns it should not be speeded up. Source for notated version: fiddler Jean-Ann Callender (Aberdeen) [Martin]. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 32. Martin (Traditional Scottish Fiddling), 2002; pg. 66.

                       

BRAES OF DORNOCH.  Scottish, Country Dance Tune (2/2 time). G Major. Standard tuning. AB. The melody is sourced to John Johnson’s Tow Hundred Favourite Country Dances, vol. 7 (London, 1757). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 14.

 

BRAES OF DUMBLANE. AKA and see “The Five Cross Roads,” “Kiss Your Partner.” Scottish, Reel. G Major. Standard tuning. AAB (Kerr): AABB (Cole). Cole (1000 Fiddle Tunes), 1940; pg. 11. Kerr (Merry Melodies), vol. 2; No. 295, pg. 32. Ryan’s Mammoth Collection, 1883.

X:1

T:Braes of Dumblane, The

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:G

g/e/|dB/d/ e/f/g/e/|d/B/G/B/ A/G/E|dB/d/ e/f/g/b/|a/f/d/f/ g(3g/f/e/|

dB/d/ e/f/g/e/|dB/G/B/ A/G/E|dB/d/ e/f/g/b/|a/f/d/f/ g:|

|:d|g({a}g/)f/ g/b/a/g/|f/d/a/d/ b/d/a/d/|g({a}g/)f/ g/b/a/g/|f/d/e/f/ gd|

g({a}g/)f/ g/b/a/g/|f/d/a/d/ b/d/a/d/|e/d/e/g/ f/d/f/b/|a/f/d/f/ g:|

 

BRAES O'/OF ELACHIE/ELCHIES. Scottish (originally), Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’. The tune was recorded in the 1950's in a medley with “Miss Anderson’s” by Joe MacLean (Cape Breton). Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 98, pg. 35. Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977).

 

BRAES OF GLENCOE. AKA and see “Argyle('s) Bowling Green.” Cape Breton. Shanachie 14001, "The Early Recordings of Angus Chisholm."

 

BRAES OF GLENDOCHART/GLENDOCHERT. AKA and see “Joe Tanzy’s,” “Miss Menzies of Culdare(s) [1],
 "Mr./Miss/Mrs. Minzies/Menzies of Culdare('s Reel),” “Paddy Murphy’s Wife [1],” “Pat Carney’s." Scottish, Reel. D Major. Standard tuning. AAB. The tune was likely composed by Alexander McGlashan, in whose publication it first appears (Third Collection, 1786), however, it was retitled "Mr. Menzies of Culdare's Reel" and attributed to Niel Gow in that composer's First Collection (2nd ed.), 1801, some years after McGlashan died. “The Dochart, a river and glen, is in Perthshire near Crianlarich. It is the burying ground for the Macnabs, and has been called "the Macnab country"... "It now is included in the Breadalbane territory, the clan having emigrated to Canada in the first two decades of the present century” (Ordnance Gazetteer of Scotland,1883). Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 6. S.
Johnson (A Twenty Year Anniversary Collection), 2003; pg. 43. McGlashan (Collection of Strathspey Reels), vol. 3, 1786; pg. 5.

X:1

T:Braes of Glendochert, The

M:C

L:1/8

R:Reel
S:McGlashan – Strathspey Reels (1786)

Z:AK/Fiddler’s Companion

K:D Mixolydian

A|FDAF BGAF|EcGc ECCA|DFAF BGAG|FdAd FDD:|

||g|f/g/a da fdad|e/f/g c>g ecgc|f/g/a da fdad|B/^c/d A>d Fddg|

f/g/a da/ fdad|e/f/g cg ecge|afge fde^c|d/^/c/B/c/ dA FD D||

 

BRAES OF GLENORCHY [1]. AKA and see "Mason's Apron," "The Mason Laddie," "The Isla Reel." Scottish, Reel. G Major. Standard. AB. Glen (1891) finds the tune first in print in Alexander McGlashan first collection, 1780/81. McGlashan (Collection of Strathspey Reels), c. 1781; pg. 12.

X:1

T:Braes of Glenorchy [1]

M:C|

L:1/8

R:Reel

S:McGlashan – Strathspey Reels  (c. 1781)

Z:AK/Fiddler’s Companion

K:G

c|B>AGA GAGE|D>EG>A B2 A>G|cAA>B ABAG|AGAB c2 Ad|BGGA G>AGE|

DEGA B2 AG|ABcd e>deg|G/G/G B>A G2||

c|B>GdG B>GdG|BGdG B2 Gd|^cAeA fAeA|^cAeA c2 Ad|BGdG eGdG|

D>EG>A B2 AG|ABcd edeg|G/G/G BG G2||

 

BRAES OF GLENORCHY [2] (Braigh Ghlinn Urchaidh). Scottish, Jig. The tune appears first in print in Alexander Mackay’s 1805 collection. It is an early setting of the jig better known as “The Jolly Corkonian” or “Hills of Glenorchy [1].” Gore (A Fiddler’s Book of Scottish Jigs), 1997.

 

BRAES OF GLENTURROTE. Scottish, Slow Air (6/8 time). C Major. Standard tuning. AAB. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 42.

 


BRAES OF KILLIEKRANKIE. Scottish. "First printed in 'Scotch Presbyterian Eloquence', 1692, adapted for religious use. It is still well known in Scotland, both as a song and a fiddle tune. ... Seems to have been written soon after the battle (it commemorates) {the Battle of Killiekrankie, 27 July, 1689} [Williamson]." Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

 

BRAES OF LETTERFOURIE, THE. Scottish, Strathspey. A Major. Standard tuning. AA'B. Composed by Alexander Walker, born 1810, Rhynie, Strathbogie, Aberdeenshire. Emmerson (1971) calls it the best‑known of his earlier compositions, while according to Paul Stewart Cranford (1991) it still has currency among Cape Breton fiddlers. Once employed (as a gardener) and patronized by Sir Charles Forbes of Castle Newe, Walker emmigrated to the United States at age 51 to join his brother in Vermont, and later in Williamstown, Mass., where he "was still going strong in 1898 as a farmer and land surveyor". He published 200 of his melodies before he left Scotland, and a further 180 in America (of which the latter appear lost). Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 11, pg. 4.

 

BRAES OF LOCHIEL, THE. AKA and see “Banks of Locheil,” "Braighe Lochiall." Scottish, Slow Air or Waltz. A Minor. Standard tuning. AA'BB'. This tune "reports the intention of an individual, seemingly long absent, to return to the braes of Lochiel, where he could enjoy the pleasure of the chase in perfection. The circumstances of the times banished so many from their native country, that it is difficult to trace the allusion" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 44, pg. 16. CUL 009 Alasdair Fraser – “Portrait of a Scottish Fiddler.” Rounder 3067, Alan Stivell ‑ "Renaissance of the Celtic Harp" (1982). Billy Ross & John Martin – “Braes of Lochiel.”

X:1

T:Braes of Lochiel, The

T:Braighe Lochiall

M:3/4

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A Minor

A|:E4 ^G2|A4 c>d|e4 c2|d2e2g2|e4 G2|A4 c2|1 d4 cB|e4 A2:|2 d4 c2|B2 e2||

|:B>A|G E3 ^G2|A4 ce|a3 e g2|1 e4 d>c|B2e2A2|G E3 ^G2|A4:|2 e4 d>B|

c2e2a2|Be3 ^G2|A4||

 

BRAES OF MAR [1], THE. AKA – “Braes o’ Mar,” “Braes of Marr,” “Braes of Mor.” AKA and