The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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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]

 

 

 

BRANCH LINE, THE. AKA and see “Patsy Baker.” Irish, Polka. G Major. Standard tuning. AABB. ‘The Branch Line’ is the named given to an intersection on the road from Woodford to Whitegate, County Galway, near where the Coens were raised. Green Linnet SIF 3067, Jack & Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack & Charlie Coen – “The Branch Line” (1977. Learned from the playing of their father, Galway concertina player Mike Coen).

X: 1

T: Branch Line

S: Jack & Charlie Coen / "The Branch Line" (Topic 12TS337)

M: 2/4

L: 1/8

Z: Transcribed by Bill Black.

R: polka

K: G

g/e/ | dG BG | FG A>e | dG Bd | g2 f>e |

dG BG | FG A>e | ed cA | G3 :|

g/a/ | bg/g/ af/f/ | gf ed | bg/g/ af/f/ | g3 a |

bg/g/ af/f/ | gf ed | Bd ef | g3 :|

 

BRANCHE DU MURIER, LA (Mulberry Tree Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AA(Vocal)BBAA(Vocal)BBAA. Related songs are Dennis McGee's "L'Anse de Belair" and Aldus Roger's and Ambrose Thibodeaux's versions of "Mulberry Waltz." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 54-55. Goldband Records GB-LP7741, Iry LeJeune.

 

BRANDED COW, THE.  Irish, Air (2/4 time). G Major. Standard tuning. AABB. Plays like a polka. The title, remarks P.W. Joyce, is a euphemism for “a private still for making pttheen.” Joyce (Old Irish Folk Music and Songs), 1909; No. 446, pg. 251.

X:1

T:Branded Cow, The

M:2/4

L:1/8

N:”Lively”

B:Joyce – Old Irish Folk Music and Songs, No. 446 (1909)

Z:AK/Fiddler’s Companion

K:G

GG/B/ dg|.e.c.c d/c/|BG/B/ dg/b/|.a.g.g :|

|:b/c’/|d’/c’/b/a/ bb/a/|gg/e/ dB/A/|GG/B/ dg/b/|.a.g.g:|

 

BRANDEVIN, LE.  French, Pipe Tune (6/8 time). D Mixolydian. Standard tuning. AA’BB’. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 15.

 

BRANDFORD HUNT.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 9.

X:1

T:Brandford Hunt

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

a>aa>g|f>ff>e|dd (3ede|ff f2|a>aa>g|f>ff>e|d>d (3def|d2 d2::ee e2|(3fga e2|

(3fga (3agf|ee (3efg|a>aa>g|f>ff>e|dd (3ede|f>f f(d/4e/4f/4g/4)|a>aa>g|f>ff>e|dd (3def|d2d2:||

 

BRANDLING FOR EVER (and Ridley for Aye). English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, published by him c. 1800.

 

BRANDLINGS. AKA and see “Colonel Rodney,” "The Dogs Among(st) the Bushes," "The Fox." Scottish, Reel. A Major. Standard tuning. AB (Athole, Cranford, Hunter): AA'BB' (Kerr). Composed by Abraham Mackintosh (b. 1769, son of ‘Red Rob’ MacKintosh) but appearing in John Watlen's 1798 2nd collection, inscribed: "The Celebrated Circus Tunes performed at Edinburgh this Season..." It apparently first went by the title (and is still sometimes called) "The Fox," with the “Brandling” title first appearing in the 1884 Athole Collection. In Ireland the tune is known under the titles “Colonel Rodney” and “The Dogs Amongst the Bushes.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 84, pg. 36. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 3 (appears as "The Fox"). Hunter (Fiddle Music of Scotland), 1988; No. 226. Kerr (Merry Melodies), vol. 3; No. 108, pg. 13. Stewart-Robertson (The Athole Collection), 1884; pg. 31.

X:1

T:Brandlings

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

e|cA A/A/A eAcA|eagf fedc|dB B/B/B fBdB|fefg bagf|

eA A/A/A aAcA|efga fedc|defg abaf|ecaf e2A||

f|eAcA cecA|aAgA fAfA|fBdB dfdB|bBaB gBfB|

eAcA aAcA|efga fedc|defg abaf|ecaf e2A||

 

BRANDY(, LE). French Canadian, Brandy (3/4 or 3/2 time). D Major: G Major (Hart & Sandell). Standard tuning. ABACBA (Carlin): ABCDA'B' (Begin/Bruneau): ABB’A’CDB” (Hart & Sandell). The tune is not a reel as listed in Carlin's Master Collection, but is a fast, driving tune used to accompany stepdancing and longways sets in Québec. The name “Brandy” originally referred to a type of traditional suite or early dance called the Brasnle. French in origin, the brasnle was imported to England in or about the time of Elizabeth I, where the name was Englished as "Brawl." French-Canadian Brandys were derived from English dance sources in the latter half of the 19th century, rather than the original French, and (according to Hart & Sandell) are related to the Scottish Strip the Willow and English Drops of Brandy. Hart & Sandell mention that the tune was recorded three times on 78 RPM by fiddler Isidore Soucy between 1926 and 1931. They also note ‘G’ is the traditional key for fiddlers to play the tune. Sources for notated versions: learned by French-Canadian accordion great Philippe Bruneau from William Gagnon (1901-1979, of Chicoutimi, Québec) [Begin]; William Gagnon via fiddler Michel Faubert, via Michel Bordeleau [Hart & Sandell]. Begin (Philippe Bruneau), 1993; No. 30, pgs. 44-45. Carlin (Master Collection), 1984; pg. 48, No. 68. Hart & Sandell (Dance ce Soir), 2001; No. 51, pg. 86. La Bottine souriante – “Jusqu’aux p’tites heures (1991). Ornstein & Pépin – “Les Danseries de Québec…de l’autre bord de l’eau” (1986). Philo 2003, “Philippe Bruneau” (1973). Daniel Roy - “Au tour du flageolet” (1996). Voyager 322, Louis Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993).

 

BRANDY BOTTLE, THE. English, Country Dance Tune (4/4 time). England, Yorkshire. D Major. Standard tuning. AABB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 112, pg. 61.

 

BRANDY MOÏSE.  French-Canadian. Composed by fiddler Lisa Ornstein, in honor of her violin. A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

 

BRANDYWINE. Bluegrass, Breakdown. County 2705, Kenny Baker - "Master Fiddler."

 

BRANDYWINE QUICKSTEP. American, March (2/4 time). D Major. Standard tuning. AABBCC. Sweet dates the tune to 1815. Sweet (Fifer’s Delight), 1964; pg. 66.

X:1

T:Brandywine Quickstep

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:D

A | dd AA | F/E/F/G/ AF | DD EE | F/E/F/G/ FA | dd AA | F?E/F/G/ AF | DD E/D/E/F/ | D2 z :|

|: A | ^GG GG | A/^G/A/B/ AA | ^GG GG | A3F | GG GE | FF FD | EE EF | D2 z :|

|: D/E/ | FF FG | FE EE/F/ | GG GA | GF FF/G/ | AA AB | GG GA | F(F/D/) E(E/C/) | D2z :|

 

BRANGILL OF POICTU, THE. A dance tune from the Skene Manuscript c. 1610-20. It is the melody of the song “We be Three Poor Mariners,” in which a line goes:

***

Shall we go dance the round, the round,

***

This verse, plus the similarity of the word ‘Brangill’ in the title strongly suggests the tune was an accompaniment to the dance form called the branle (see note for Branle).

 


BRANLE. AKA – “Bransle.” AKA and see “(Le) Brandy.” A French round dance form in duple time that was very popular in England (where it was often called the 'Brawl') in the 16th and 17th centuries. It is one of the ancestors of musical form, according to Pulver (1923). The name derives from the French 'branler', to sway, and its origins were in the Bassedanse, the archaic progenitor of all European dance, probably a lively circle dance, sung as much as played. The branle is a step in the Bassedanse, in which the body swayed from side to side. Introduced into England around 1550 it became exceedingly popular and is mentioned by numerous writers of the period, including Spenser and Shakespeare (Love's Labour's Lost, Act iii, scene 1, in which the bard plays upon the word). Morley gives a description of the measure in his Plaine and Easaie (Introduction, 1597, pg. 181). It was a popular dance in the courts of James I, Charles I, and, after the Restoration, of Charles II. Samuel Pepys, in 1666, wrote in his diary: "I also to the ball...Presently after the King was come in, he took the Queen, and about fourteen more couple there was, and begun the Bransles." See also the “Horses Bransle,” “Maltese Bransle,” “Torch Bransle,” “Scottish Bransle,” “Pease Bransle” and “Washerwoman's Bransle,” which appear in Thoinot Arbeau’s Orchesography, a treatise on dance from 1588. Alternate spellings of branle include brangill (“The Brangill of Poictu” appears in the Skene Manuscript) and the aforementioned brawl, supposedly because of its similarity to an altercation.

 

BRANLE A SIX DE LA CHATRE. French, Bourree A 3 Temps (3/8 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 16.

 

BRANLE CARRE. French, Bourree a 2 Temps (2/4 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 80.

 

BRANLE DES CHEVAUX. AKA and see “Horses Bransle.”

 

BRANLE DU RAT. French, Dance Tune (2/4 time). G Major. Standard tuning. AB. Stevens (Massif Central), 1988, vol. 2; No. 109.

 

BRANSON RAG. American, Country Rag. F Major. Standard tuning. AA'B. A 'crooked', or irregular, tune. The title refers to a place-name from the Ozarks. Source for notated version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.2, 1995; pg. 25. Rounder 0437, Noel Scott  – “Traditional Fiddle Music of the Ozarks, Vol. 3: Down in the Border Counties.”

 

BRAOININI BRANNDA. AKA and see “Drops of Brandy.”

 

BRAONA BRANNDA. AKA and see "Drops of Brandy."

 

BRAS D’OR HOUSE. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by highland bagpiper Alex MacDonald. Cranford (Jerry Holland: The Second Collection), 2000; No. 83, pg. 33.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

BRASS BAND MARCH. Irish, March (cut time). Ireland, County Donegal. G Major. Standard tuning. ABBC. Source for notated version: fiddler and storyteller Con Cassidy (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 156.

 

BRASS NUTS. AKA ‑ "The Grand Old Duke of York." English, Reel. D Major. Standard tuning. AABBCA. It may be supposed the old Duke had them. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 26 (appears as "The Grand Old Duke of York"). Raven (English Country Dance Tunes), 1984; pg. 149.

 

BRASSE LE COUCHE-COUCHE (Stir the Couche-Couche). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. A(Vocal)ABBB(Vocal). Couche-Couche derives from the arabic word couscous, a meal made from duram wheat, salt and water. Having little wheat, Cajuns substituted cornmeal for their couche-couche. Source for notated version: Leroy Broussard (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 348-349. La Louisiane Records LL-8032, Leroy Broussard.

 

BRATAC GLAS, AN. AKA and see "The Green Banner."

 

BRAVE BOYS. AKA and see "Cupid's Trepan."

           

BRAVE CORSICAN, THE.  English, Air (6/8 time) or Jig. A Major. Standard tuning. AABB. The melody appear unique in publication to Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773), as “The Brave Corsicans.” It also appears in the 1840 music manuscript collection of Cumbrian musician John Rook. There was considerable sympathy for the Corsicans who resisted occupation of their island in the mid-18th century by the French, despite the islands having been legitimately sold to France by Genoa, who had held it for centuries. James Boswell, Dr. Johnson’s anamnesis, published a volume early in 1769 in support of them called British Essays in Favor of the Brave Corsicans, and was characterized in at least one paper with a cartoon where he is called “Corsican Boswell.” Similarly, when General Paoli escaped Corsica after his defeat later in 1769 and found asylum in Britain, Boswell renewed his acquaintance and friendship with him, and claimed that in Edinburgh he was called “Paoli Boswell.”  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 142.

X:1

T:Brave Corsican, The

M:6/8

L:1/8

S:John Rook manuscript (Cumbria, 1840)

Z:AK/Fiddler’s Companion

K:A

cEA cBA|DFB dcB|Eec BAG|A[Ee][Dd] [Cc][B,B][A,A]|[Cc]EA cBA|

Bcd efg|agf ef^d|e3 e2::e|ABc def|gec d2d|Bcd efg|

af^d e2E|[Cc]EA DFd|Ece Fdf|edc BA^G|A3 A2:||

X:2

T:Brave Corsicans, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

E|CEA cBA|DFB dcB|Eec BAG|AED CB,A,|CEA cBA|Bc^d efg|agf ef^d|e3 e2:|
|:e|ABc def|=gec d2d|Bcd efg|af^d e2E|[Cc]EA DFd|Ece Fdf|edc BAG|A3 A2:||

 

BRAVE DONNELLY. Irish, Song Air (6/8 time). G Major. Standard tuning. One part. “This was Dan Donnelly, the great Dublin boxer of the beginning of last century (i.e. 1800’s)” (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 303, pg. 142.

X:1

T:Brave Donnelly

L:1/8

M:6/8

N:”With life”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G

D|G2G B2d|g2e dBG|A2B G2G|(G3 G2)f|g2f efg|a2g fed|c2d =f2e|(d3 d2) e/f/|

G2f efg|a2g gfe/d/|c2A GA=f/e/|d3 cBA|G2G B2d|g2f edB/G/|A2B G2G|G3 G2||

           

BRAVE IRISH LAD, THE. Irish, Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: “From Tuam P. MacD” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 391, pg. 99.

X:1

T:Brave Irish Lad, The

M:C

L:1/8

R:Air

N:”Moderato”

S:Stanford/Petrie (1905), No. 391

Z:AK/Fiddler’s Companion

K:F

fd | c3A A>GFD | F3G A2c | d3G G3F | F6 AB | c2A2c2de | f3g a3g |

f3e d^cde | d6 d2 | d2 cA c2de | f3g a3g | f3e d2cA | c6 fd | c3A A>GFD |

F3G A2c2 | d3G G3F | F6 ||

           


BRAVE LADS OF JEDBURGH. See "Braw Lads of Jedburgh."

           

BRAVE LEWIE ROY. Scottish, Air (2/4 time). C Major. Standard tuning. One part. The title may refer to one of the French kings, Louis Roi (King Louis), remarks Nigel Gatherer. Kerr (Merry Melodies), c. 1875, vol. 3; No. 411, pg. 43.

X:1

T:Brave Lewie Roy

B:Kerr's Third Collection

M:2/4

L:1/4

Z:Transcribed by Nigel Gatherer

K:C

c2 A>G|G2 e>d|c2 A>G|GA c2|d2 de|g2 eg|a2 ge|de g2|

c2 A>G|G2 e>d|c2 A>G|GA c2|d2 de|g2 eg|a2 ge|d2 c2|]

           

BRAVE RAPPEREE, THE. Irish, March (6/8). A Aeolian. Standard tuning. AABB. Roche Collection, 1982; Vol. III, pg. 78, #204.

X:1

T:Brave Rapperee, The

M:6/8

L:1/8

R:March

S:Roche – vol. III, No. 204, (1912)

Z:AK/Fiddler’s Companion

K:Amin

(ed) | c>Bc A>ed | c>Bc A>Bc | dBG GAG | dBG GAB | c>bc A>ed |

c>Bc AGE | (c>de/g/) ede | cAA A2 :: B2 | (c2c) deg | deg ecA | (B2c) d>ed |

d>ed dBG | (c2c) deg | deg (a2a) | geg ede | cAA A2 :|

           

BRAVE SCOTLAND. AKA and see "Scotland the Brave," "Scotland Forever."

           

BRAVE VOLUNTEERS, THE. Irish, Slow Air (2/4 time). D Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 80, pg. 14.

X:1

T:Brave Volunteers, The

M:2/4

L:1/8

N:”Slow”

R:Air

S:O’Neill – Music of Ireland (1903), No. 80

Z:AK/Fiddler’s Companion

K:D

f>e | (dB A).F | (A>B d).e | f2 (e{f/e/}d) | B{c/B/}A (d>e) | (ea) (ab) | (af d>)e |

f>f {g}(fe/d/) | e2 de | (fa) (ab) | “tr”(af) de | “tr”f2 (e{f/e/}d | BA zA | Bc dB |

AB de | f2 (d/f/)e | d2 ||

           

BRAVE WILKINSON. Northumbrian. One of the "lost tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

           

BRAVE YOUNG BRIAN. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 209.

X:1

T: Brave Young Brian (formerly “Brian the Brave”)

C: © B.Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

D | GFG BAG | efg dBA | GFG BAG | EAB A2 D |

GFG BAG | efg def | gdB cAF | DEF G2 :|

e | gfg aga | bag efg | dBd gdB | GAB A2 e |

gfg aga | bag edB | GAB AGE | DEF G2 :|

           

BRAW LADS OF GALA WATER. AKA and see "Gala Water."

           

BRAW (BRAVE) LADS OF JEDBURGH, THE. AKA – “Braw Lads of Jeddart/Jethart.” AKA and see “Bob of Fettercairn,” "Come Kiss With Me, Come Clap With Me," "Had I the Wight,""Kail and Knockit Corn" (Shetland), "Mrs. Reneau's Reel" (Canada), "Newburn Lads." English/Scottish, Reel. England, Northumberland. G Major. Standard tuning. 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. Miller (Fiddler’s Throne), 2004; No. 131, pg. 87. Raven (English Country Dance Tunes), 1984, pg. 184.

X:1

T:Braw Lads of Jedburgh

M:C|

L:1/8

R:Reel

K:G

dBGB dBGB | dBdg f2 df | ecAc ecAc | edef g2 fe | dBGB dBGB |

dBdf g2 df | gfge edBg | AABd e2 eg :: dgBg dgBg | dgBg f2 df |

eaca eaca | eaca g2 fe | dgBg dgBg | dgBg f2 df | afge edBg | AABd e2 eg :|

           

BRAYE’S MAGGOT.  English, Jig (9/8 time). A Major. Standard tuning. AAB. Attributed to dancing master Thomas Bray, who created dances (and danced them!) for the theatrical stage. His collection was printed in 1699 by William Pearson, “Sold by Mr. Plaiford (i.e Henry Playford) at the Temple Change, Fleet Street,” dedicated to Prince William, Duke of Gloucester. A ‘maggot’ was a small tune, from the Italian word magioletta, for ‘plaything’. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 15.

 

BRAW LADS OF JEDDART/JETHART. AKA and see “Bob of Fettercairn,” "Come Kiss With Me, Come Clap With Me," "Had I the Wight,""Kail and Knockit Corn" (Shetland), "Mrs. Reneau's Reel" (Canada),  "Newburn Lads."

           

BRAZEN MASK. American, Reel. Ryan’s Mammoth Collection, 1883; pg. 24.

 

BREACAN MAIRI HUISTEAN (Mary Huistean’s Plaid). Scottish, Air. G Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1), No. 13, pg. 6.

X:1

T:Breacan mairi Huistean

T:Mary Huistean’s Plaid

M:3/4

L:1/8

R:Air

N:”In moderate time”

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:G

G, | C>D E>D D<C C>G, | C>C c>c A2 G>G | Ac G>G E>D EA | GC E>D D<C C>G, |

C>D E>D D<C C>G, | C>C c>c A2 G>G | A>c G>G E>D EA | GC E>D D<C C2 ||

 

BREACAN MAIRI UISDEAN. Scottish, Slow Air (3/4 time). G Major. Standard tuning. One part. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 23.

                       

BREACH OF AUGHRIM, THE. Irish. The tune was supposedly formed when an Irish harper, the “Great Harper,” Thomas Connellan {born at Cloonmahon, also anciently known as Clonymeaghan, either around 1625 or 1640} added introductory and concluding phrases to Myles O’Reilly’s "The Irish Tune" (he is not to be confused with his brother Laurence, also a harper and, like Thomas, famous in both Ireland and Scotland). The introductory portion also goes by the name “Farewell to Lochaber.” The added parts were played by pipers as a funeral dirge when he died in 1698 at Bourchier's Castle, near Lough Gur, County Limerick, according to Grattan Flood (1906) {It should be noted that Flood’s information is notoriously unreliable}. O’Neill (1913) relates the story that a banshee wailed from the top of Carrig na g-Colur while the funeral procession passed to the burying ground, though “the mournful cooing of the wild pigeons from which the rock takes its name may account for the quaint fancy.” See also “Planxty Davis,” “The Dawning of the Day,” “Love in Secret,” “Bonny Jean” “The Jointure,” “Molly St. George” and “If to a Foreign Clime I Go” for other compositions of this prolific harper (he is said to have composed seven or eight hundred tunes).

           

BREACH OF KILLIECRANKY, THE. AKA and see "Barrack Hill [2],” “Killiecranky [4]." Scottish, English; Reel. A Dorian. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 35, pg. 18.

X:1

T:Breach of Killiecranky, The

T:Barrack Hill

M:C|

L:1/8

K:A Dorian

e2 ed eAAB|dedB GABd|efed efge|dBgB (A2A2):|
|:e2 ef gage|dedB dedB|edef gage|dBgB (A2A2):|

           


BREAD AND BUTTER [1]. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1770/1987, Part 3; No. 424.

 

BREAD N’ BUTTER [2]. Canadian, Reel. A Major. Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, Vol. 3.”

X:1

T:Bread 'N' Butter [2]

C:Ward Allen

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

ABcd|e2eg f2f2|e4 efed|c2Ac B2G2|A4 ABcd|

e2eg f2f2|e4 efed|c2Ac B2G2|A4:|

|:A,2A,C|EECA, B,2C2|D4 efed|c2Ac B2G2|A4 A,2A,C|

EECA, B,2C2|D4 efed|c2Ac B2G2|A4:|

|:"4 times" efed|c2Ac B2G2|A4 EFED|CB,A,C B,2G,2|A,8:|

 

BREAD AND CHEESE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1770/1987, Part 2; No. 279.

X:1

T:Bread and Cheese

M:C|

L:1/8

R:Reel

S:Willaim Vickers’ music manuscript book (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:D

a|fddd d2c2|BGGG Bddg|fddd e2d2|aAAA Bdd:|

|:g|(3fgf (3efe (3fgf (3efe|gGGA Bddg|(efgf (3efe (3fgf (3efe|aAAA Bdd:|

 

BREAK YOUR BASS DRONE. Scotland, Reel. Composed by Gordon Duncan, of Pitlochry, Scotland. Greentrax, Duncan Gordon - “Just for Seamus.” Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996).

 

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." Interestingly, in County Donegal, Ireland, a breakdown (according to Alan Feldman) referred to two men or women who would face each other (sometimes on the top of a wooden door as a dance floor) and would try to out-do each other steps, generally to the accompaniment of a reel.

***

In Canada and the northernmost US regions a breakdown refers to the third change of a square dance set, according to Paul Gifford.  The traditional tune for the change is a reel at a faster tempo. In southern England, a breakdown is/was a step dance that continued while the musician took a few bars (8/16/32) rest.

***

The term ‘hoedown’ is synonymous with breakdown, although used less frequently. Gifford believes ‘hoedown’ to be primarily a southern Midwest term, and suspects it is a form of the phrase “hoe it down,” meaning ‘to dance’.  He finds early references in the volume Making of America, in George Brewerton’s “The War in Kansas” (1856)  

***
the fiddle and the banjo made constant music in the quarters,
dancing was the rage, and a 'hoe-down' just the thing.
    (p. 67)
***
and
***
Mr. Chowler's grim features relaxed...as he finished up a
hoe-down, with a sort of first-class, back-action double-shuffle,
and cut-the-pigeon-wing step in the most approved Arkansas style.

***

The term hoedown could also be used to refer to a dance event. Gifford cites Harriet E. Bishop’s Floral Home, or First Years of Minnesota (1857):

***

The social pleasure of the vicinity were merged in a weekly
ball for those who enjoyed what, according to the report of
the parties, was little else than, in western parlance, a "whiskey hoe-down."
(p. 101)

 

BREAKDOWN, THE. AKA – “The Break Down.” English, Scottish; Hornpipe. A Major (Kennedy, Raven): AA’BB’ (Kerr). Standard tuning. AABB. The ‘A’ part is shared with Walter Bulwer’s “Shipdham Hornpipe.” Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962, pg. 93) mentions a ‘Breakdown Hornpipe’ as an old blackface minstrel dance or series of dance steps. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 23; pg. 12. Kerr (Merry Melodies), vol. 4; No. 268, pg. 29.  Raven (English Country Dance Tunes), 1984; pg. 176. Seattle (Morpeth Rant). Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.”

X:1

T:Break Down

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 268  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(3efg | a2A2 AcBA | E2A2 AcBA |1 F2B2 BcBA | GABc defg :|2

GABc defg | aece A2 ||: (3BAG | A2a2A3B | B2b2B3A |1 GABc defg |

aefd cABG :|2 GABc defg | a2 ({b}ag) a2 ||

 

BREAKDOWN IN ‘A’ AND ‘D’.  Old-Time, Breakdown. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AA’BB’. Source for notated version: Lacey Hartje (b. 1926, Joplin, Mo.), learned from Lonnie Robertson [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 49. Rounder CD82161-0426-2, Lacey Hartje – “Traditional Fiddle Music of the Ozarks, vol. 2” (2000. Various artists).

 

BREAKDOWN LA LOUISIANE (Louisiana Breakdown). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AABB(Vocal)AB(Vocal)ABB(Vocal)AB. Raymond Francois (1990) finds related songs to include Dennis McGee's and Sady Courville's "Valse a Kathleen", Carrie "Mignonne" Royer Miller's "Valse des Grands Bois [1]," Shirley Bergeron's "Valse de la Belle," Dennis McGee's and Sady Courville's "Valse de l'Anse Maigre," Will Kegley's "Valse a Will Kegley," Joseph Falcon's "Pocheville" (a mixture of "Tolan Waltz" in the turn, or 'B' part, and "Valse des Grands Bois" in the tune or 'A' part), and "Valse de Crowley." Source for notated version: Walker Brothers (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 56-57. Old Timey Records OT-108, The Walker Brothers.

 

BREAKING UP CHRISTMAS (See "Old Breaking Up Christmas"). Old‑Time, Breakdown. USA; western North Carolina, western Va. A Major. AEae or DGdg tunings. 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.

***

Mike Yates (2002) says that the tune is a Galax, Va., area tune, traditionally only played at dances held on January 6th, the date of ‘old Christmas’ (see note for “Old Christmas Morning”).

***

There are verses associated with the tune, which go:

***

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).

X:1

T:Breakin’ Up Christmas

M:C|

L:1/8

S:Pete Sutherland

Z:AK/Fiddler’s Companion

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:|

 

BREARTON’S. AKA and see “Carmel Mahoney Mulhaire.” Irish, Reel. The reel is Martin Mulhaire’s composition “Carmel Mahoney Mulhaire,” here called after accordion player Francie Brereton. Gael-Linn CEFCD 140, Kevin & Séamus Glackin – “Na Soighneáin/Northern Lights” (appears as “Brearton’s”).

 

BREAST KNOT, THE. AKA and see "Bonny Breast Knot(s) [1]," "Looking Glass,” “Topsey Turvey." English, Reel. F Major (Seattle/Vickers). Standard tuning. AABB. Editor Seattle (1987) notes that William Vickers' Northumbrian dance version, from 1770, is fairly different from the tune which usually goes by the title "Bonny Breast Knots," "but with enough in common to suggest they are variants of the same tune, albeit distantly related." See also note for "Bonny Breast Knot" for more information. Seattle (William Vickers), 1987, Part 2; No. 276.

X:1

T:Breast Knot, The  [1]

M:C|

L:1/8

R:Reel

S:Willaim Vickers’ music manuscript book (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:F

fcfc fa ag/f/|ecec eggf/e/|fcfc fa ag/f/|fdcB A2F2:|

|:Bd dc/B/ AF A/B/c/A/|bggf e2c2|Bd dc/B/ A/B/c/A/ FA|fdcB A2F2:||

 

BREAST KNOT [2], THE.  English, Country Dance Tune (whole time). D Major. Standard tuning. AABB. Johnson (Scots Musical Museum, vol. 3), 1790; pg. 222-223. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; pg. 15. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 26.

X:1

T:Breast Knott, The  [2]

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

G B2B FA2F|Ee2d c2A2|GB2B FA2c|d/c/B/A/ dF E2D2:|

|:fdfd f a2 g/f/|ecec eg2 f/e/|fdfd f a2 g/f/|dA2F E2D2:||

 

BRECHIN CASTLE. AKA and see "Miss Douglas of Brigton," "Lady Harriot Hay." Scotland, Strathspey. B Flat Major. Standard tuning. AB (Surenne): AAB (Gow, Hunter): AABB (Honeyman, Kerr's, Skye): AABB' (Athole). The melody was known by the alternate titles until Gow published it under the name above in his 1st Repository (1799). The name Brechin is purportedly derived from Brychan the son of Brychan, who moved to the area from southern Wales. The Round Tower at Brechin probably dates from around c. 990 when Kenneth II took control of the area. Subsequently, around 1150, a cathedral and bishopric were founded there. Hunter (1988) notes that Brechin Castle is the seat of the Earls of Dalhousie. Source for notated version: Malcolm MacDonald’s 3rd Collection (1792) [Henderson]. Gow (Complete Repository), Part 1, 1799; pg. 32. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 28. Hunter (Fiddle Music of Scotland), 1988; No. 166. Kerr (Merry Melodies), vol. 1; Set 27, No. 3, pg. 17. MacDonald (The Skye Collection), 1887; pg. 125. Stewart-Robertson (The Athole Collection), 1884; pg. 278. Surenne (Dance Music of Scotland), 1852; pgs. 4-5.

X:1

T:Brechin Castle

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Bb

F|:B/B/B B2 B>df>d|B/B/B B2 c>B A<F|B/B/B ~B2 B>df>d|

e<gd<f c>B A<F::f>B e/d/c/B/ f<B e>g|fB e/d/c/B/ c>B A<F|

f>B e/d/c/B/ f<B d>f|1 e<gd<f c>B A<F:|2 e<gd<b c>B A<F||

 

BRECHIN LASSES. Scottish, Reel. G Major. Standard tuning. AAB. The tune appears in Charles Stewart's 1799 and James Walker's 1800 collections. Brechin is a town in Angus (see note for Brechin Castle). Glen (The Glen Collection of Scottish Music), vol. 2, 1895; pg. 17.

X:1

T:Brechin Lasses

M:C|

L:1/8

R:Reel

S:Glen Collection, vol 2  (1895)

Z:AK/Fiddler’s Companion

K:G

B|DGGA BGcA|BGcB AGFA|DGGA BGcA|B/c/d DF G2G:|

e/f/|gdBd cedc|BGcB AGFA|gdBd cedc|Bdef g2 de/f/|gdBd cedc|

BdGB cBAF|GBAc Bdce|FADF G2G||

 

BRECKLAND RACES. See “Blanchland Races.”

 

BREECHES LOOSE [1]. English, Jig. England, Northumberland. C Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 454.

X:1

T:Breeches loose [1]

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:C

f|egf edc|Bdc BAG|B/c/d d d2G|B/c/d d d2G|egf edc|

Bdc BAG|A/B/c c c2G|A/B/c c c2::F|E2F GEc|GEc GEC|
(B/c/d)d d2G|E2F GEc|GEc GEC|A/B/c c c2G|A/B/c c c2:||

 

BREECHES LOOSE [2].  English, Jig. G Minor. Standard tuning. AABB. The melody was first published in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1750), and then in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756). Across the Channel, the melody was picked up by Benoit Andrez for his Recueil de Contradances Angloises (Liege, c. 1780). “Breeches Loose” appears on the same page in Thompson’s (1757) collection as the jig “Petticoat Loose,” obviously a companion tune. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 198.

X:1

T:Breeches Loose [2]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

A|BdB cAc|BGG G2A|BdB cAc|AFF F2A|BdB cAc|Bdg f2e|dcB (A/B/c)A|BGG G2:|

|:A|Bd(f f)dB|fdB fdB|ce(g g)ec|gec gec|Bd(f f)dB|bag fdB|(c/d/e)c (A/B/c)A|BGG G2:||

 

BREECHES MAKER, THE.  Scottish, Air (6/8 time). G Minor. Standard tuning. AABB. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pgs. 30-31.

X:1

T:Breeches Maker, The

M:6/8

L:1/8

R:Air

N:”Slow”
N:”Original Set”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Gmin

A|(B/c/d).B (A/B/c).A|BGG G2A|(B/A/)(B/c/)(d/e/) (fd).B|AFF ~F2A|(B/c/d).B (A/B/c).A|

(GB).g {g}f2e|{e}d>cB (A>Bc)|(dB).G G2::A|”tr”B>cd/e/ (fd).B|(fd).B (fd).B|

“tr”c>de/f/ (ge).c|(ge).c (ge).c|”tr”B>cd/e/ fga|b>ag {g}fed|{d}cBA {^c}d2A|(BG).G G2:||

 

BREECHES MARY (Maire An Briste). AKA and see “Catholic Bill’s,” “Din Tarrant’s Favorite,” “Humors of Kilkenny.” Irish, Double Jig. A Dorian. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 16, pg. 23. O'Neill (Krassen), 1976; pg, 49. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 990, pg. 184. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 205, pg. 48. Ryan’s Mammoth Collection, 1883; pg. 90.

X:1

T:Breeches Mary

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 205

Z:AK/Fiddler’s Companion

K:Amin

f|eAA BGG|GBd dcB|egg dgg|BGB dcB|eAA BGG|GBd dcB|e/^f/ge dcB|cAA A2:|

|:e|eaa a^ga|e=gg ged|eaa a^ga|BAB dcB|eaa a^ga|e=gg ged|e/^f/ge dcB|cAA A2:|

 


BREECHES ON AKA and see “Irish Boy,” “The Irish Lad(‘s a Jolly Boy),” "Leather Breeches/Britches," “Oh Those Britches Full of Stitches,” “Britches Full of Stitches.” Irish, Polka. B Flat Major. Standard. AB. Source for notated version: “O’Daly’s Kilrush MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 473, pg. 119.

X:1

T:Breeches On, The

M:2/4

L:1/8

S:Stanford/Petrie (1905), No. 473

Z:AK/Fiddler’s Companion

K:Bb

B2 dB | cB dB | B2 dB | cB G>A | B>c de | fg fd \ Bc BG | GF F2 ||

fg fd | cB cd | fg fd | cB G2 | fga bg | fd cd | B>c BG | GF F2 ||

 

BREEKS ARE LOOSE AND THE BUTTON'S AWA'. Scottish, Jig (12/8 time). G Minor ('A' part) & G Dorian ('B' part). Standard tuning. AABB. Despite having a similar title to the Northumbrian jig "Breeches Loose," they appear dissimilar enough to be separate tunes. Stewart-Robertson (The Athole Collection), 1884; pg. 141.

X:1

T:Breeks are Loose and the Button’s Awa’, The

M:12/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:Gmin

A | ~B2B Bcd BGG G2A | ~B2 B AcB AFF F2A | ~B2 c dcB B2g f2e |

CdB Bcd BGG G2:: A | BcB fdB fdB fdB | cdc g=ec gec gec |

BcB fdf bag fdB | cBc Bcd BGG G2 :|

                       

BREEM DOG, THE.  Scottish, Reel. D Major. Standard tuning. AA’B. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927), who explains that a ‘breem dog’ was “an obsolete instrument for removing roots of broom and whin.” Skinner (Harp and Claymore), 1904; pg. 81.

X:1

T:Breem Dog, The

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A/ | d/4d/4d/ (A/d/) f/e/d/c/ | B/A/G/F/ E/D/C/E/ |1 D/4D/4D/ D/F/ D/E/F/G/ | A/F/G/E/ F/D/D/ :|2

D/4D/4D/ (d/A/) B/G/d/B/ | A/F/G/E/ F/D/D/ || c/ | d/4d/4d/ (A/=c/) B/G/G/^d/ | e/4e/4e/ (B/=d/) c/A/A/c/ |

d/D/d/=c/ B/^c/d/B/ | A/F/G/E/ F/D/D/A/ | d/A/F/A/ B/G/G/^d/ | e/B/^G/e/ c/A/A/=g/ |

f/a/g/e/ d/B/A/G/ | F/A/G/E/ F/D/D/ ||

 

BREEN’S FORT. See “Dún Uí Bhraoin.”

                       

BREEN’S HORNPIPE (Cornphíopa Uí Bhraoin). AKA and see "Mahony's Hornpipe," “The Sports of Listowel.” Irish, Hornpipe. A Mixolydian/D Major (Breathnach): D Major (Taylor): A Major (Taylor). Standard tuning. AABB. See also the related “Loughill Hornpipe.” Sources for notated versions: Martin Mulvihill (Bronx, NY) [Breathnach]; “from my mother” [Mulvihill]. Breathnach (CRÉ III), 1985; No. 226, pg. 103. Mulvihill (1st Collection), 1986; No. 41, pg. 101. Taylor (Crossroads Dance), 1992; No. 58, pg. 44. Green Linnet Records SIF 1012, "Martin Mulvihill." Shaskeen ‑ "My Love is in America."

 

BREEN’S REEL. AKA and see “Dan Breen’s Reel [1].”

           

BREESTHEEN MIRA. A version of “Gallagher’s Frolics,” “O’Gallagher’s Frolics.” Joyce (Old Irish Folk Music and Song).

           

BREEZE FROM SCOTLAND WILL BRING MY LOVE, THE. Irish, Air (3/4 time). D Minor. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs), 1909; No. 335, pg. 155.

X:1

T:Breeze from Scotland will bring my love, The

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D Minor

(3A=Bc|d2e2 dc|A2D2 C=B|C2F2E2|D4 A>F|G2D2 A>F|

GD FA de|f2g2e2|d4 A>F|G2D2 A>F|GFDEFG|A2c2d2|

c4 (3A=Bc|d2e2 dc|A3D2 C=B|C2F2E2|D4||

           

BREFNI O’REILLY. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Ed’s son Joseph explains that the title refers to one of the “landed names” of Cavan and of the same, older region called Brefni. Reavy (The Collected Compositions of Ed Reavy), No. 30, pg. 32.

X:1

T:Brefni O'Reilly

M:2/2

L:1/8

C:Ed Reavy

R:Reel

N:Is one of the landed names of Cavan and of old Brefni

N:before it. The O'Reillys have spread far and wide to wherever the

N:immigrant has ventured in his many meanderings. This title could well

N:be our proud county's battlecry, or the triumphant chant of a Cavan

N:footballer scoring a winning goal at Croake Park.

Z:Joe Reavy

K:G

DF ||: G2 dG FDCD | GAcd fgaf | gd (3dcd cAGA | dcAG FDCD |

G2 dG FDCD | GAcd fgaf | gbaf fagf |1dcAF DGGF :|2dcAF DGGA ||

B2 ga fagf | dcBc A=F (3FEF | GABc defg | agfa gfga | (3bag (3agf gfdc |

BGdG A=F (3FEF | GABc dgbg |1 gdcA BGGA :|2 fdcA BGGF :||

           

BREHINES DIDO. See note for “When as the Greeks did enterprise.”

           

BRENDA AT SOUTHWEST MARGAREE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. Composed by Rannie MacLellan for fiddler Brenda Stubbert; see “Rannie MacLellan” for a tune returning the favor. Southwest Margaree is a town in Cape Breton. Source for notated version: Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 108, pg. 38. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).

           


BRENDA STUBBERT'S REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Dorian (Cranford/Holland, Fiddler Magazine, Martin & Hughes): A Minor (Songer). Standard tuning. AAB (Songer): AABB' (Cranford/Holland, Fiddler Magazine, Martin & Hughes, Shears). 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. Martin & Hughes (Ho-ro-gheallaigh), 1990; pg. 18. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 91. Shears (Gathering of the Clans Collection), 1986; pg. 61 (pipe setting). 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.” Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

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|]

           

BRENDAN BEGLEY’S JIG. AKA and see “The Bog of Allen [1],” “Butcher’s March [2]." Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB’. Begley is an accordion player from the Dingle Peninsula in County Kerry, who performs and records solo and with groups such as the Boys of the Lough. Source O’Leary liked to pair this jig with “Winter Apples [2].” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 40, pgs. 24-25.

           

BRENDAN McGLINCHEY’S. AKA and see “McGlinchey’s [2],” “Splendid Isolation.” Irish, Reel. G Dorian. Standard tuning. Composed by Brendan McGlinchey, originally as “Splendid Isolation.”

X:1

T:Brendan McGlinchey’s
T:Splendid Isolation

L:1/8

M:4/4

K:Gdor

F|G2AG FGAF|G2AG FGAc|dAcA G2Ac|dgg^f ~g3 a|

bggf gfde|~f3 g fdcA|GcAG FGAc|dAcA G3 :||

^f|~g2ag fd~d2|gfdc Acdc|AG~G2 Acdc|AG~G2 FGAG|

DFFD ~F3 D|GcAG FGAc|dg~g2 ^fgag|=fdcA G3 :||

                       

BRENDAN McMAHON’S.  Irish, Reel. Brendan McMahon is a flute player and maker from Ennis, County Clare. Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999. Learned from the playing of Jackie Daly). 

           

BRENDAN MULHAIRE’S [1].  AKA and see “Grandpa Tommy’s Céili Band,” “Martin Mulhaire’s [1].”  Irish, Reel.

 

BRENDAN MULHAIRE’S [2].  Irish, Reel. E Minor. Standard tuning. AA’BB’. Sometimes attributed to Bronx accordion player Martin Mulhaire, who has said it is really a composition of his brother Brendan’s. Source for notated version: accordion player Joe Burke (Loughrea, County Galway) [Connolly & Martin]. Connolly & Martin (Forget Me Not), 2002; pgs. 14-15.

           

BRENDDWYD Y BARDD (The Bard’s Dream). Welsh, Air. An air that, unlike many Welsh airs for which antiquity is claimed, is evidently quite old, according to Kidson (Groves). “It is so purely Dorian in character that it must date from a time when the modes were in practical use.”

 

BRENDON McMAHON'S. AKA and see "Brendon McMorrin's." Irish, Reel. G Major. Standard tuning. AABB. The tune was called "Brendon McMorrin's" on Shaskeen's album due to a printing error. David Taylor (1992) says it is also called "Cooley's" because it was a popular tune with influential Irish musician Joe Cooley. Taylor (Crossroads), 1992; No. 19, pg. 15. Shaskeen ‑ "My Love is in America."

X:1

T:Brendon McMahon’s

R:Reel

M:4/4

K:Em

| B2dB BAFB| A2FA DAFA| B2dB BAFB| ABde fedc|

BdcA BAFB| A2FA DAFA| G2EG F2dB| AFDE FEE2 :|

| G2BG dGBG| A2FA DAFA| G2BG dGBG| AFDE FEE2|

G2BG dGBG| A2FA DAFA| G2EG F2dB| AFDE FEE2 :|

 

BRENDON McMORRIN'S. See "Brendon McMahon's."

 

BRENDAN MULHAIRE'S [1]. AKA and see “Grandpa Tommy’s Céili Band,” “Martin Mulhaire’s.” Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing in Dublin, Ireland) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 28.

 

BRENDAN MULHAIRE’S [2].  Irish, Reel. E Minor. Standard tuning. AA’BB’. Connolly & Martin (Forget Me Not), 2002; pgs. 14-15.

 

BRENDAN MULVIHILL’S PICK.  Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AAB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009), dedicated to Irish-American fiddler Brendan Mulvihill. Cranford (Jerry Holland: The Second Collection), 2000; No. 166, pg. 62.

 

BRENDAN TONRA’S. See “Tone Rowe’s Jig,” “Tonra’s Jig.”

 

BRENDAN’S FANCY. Irish, Hornpipe. G Major. Standard tuning. AABB. Paul de Grae finds the tune in O’Neill’s Music of Ireland (1903, No. 1682) as “The Bath Road Hornpipe.” It was recorded as the “Concertina Hornpipe [2]” by Seattle fiddler Randal Bays. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 44, pg. 102. Randal Bays – “Out of the Woods.”

 

BRENDA’S NEW FIDDLE. Canadian, Reel. Canada, Cape Breton. E Major. Standard tuning. AABB. Composed by editor Paul Stewart Cranford {Little River, Cape Breton} (in honor of the fiddle made for her by Otis Thomas?). Cranford (Brenda Stubbert’s), 1994; No. 65, pg. 23. 

 


BRENNAN ON THE MOOR. Irish, Air. D Major. Standard tuning. AB. "One of the most celebrated bagpipe tunes in 1770," states Grattan Flood (1906), who identified it as a setting of a song written in praise of a noted Irish Tory or Rapparee named William Brennan. Joyce (1909) states Brennan was a noted highwayman of the 18th century whose ballywhick was the Kilworth Mountains near Fermoy in Cork. Joyce had the ballad on broadsheets printed by Haly of Cork in the 1840’s, but states that he prints the melody for the first time, taken from a ballad-singer in Trim in the 1850’s. Joyce (Old Irish Folk Music and Songs), 1909; No. 379, pgs. 186-187.

X:1

T:Brennan on the Moor

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

D/E/ | FF FF A2 GF | FE D>D D3A | dc ec dF GA | =cB A>F F3A | \

dc ec dF GA |=c>B AF F3d | cBB BB B>c d>B | AB AG F3z ||

DE D>D D3z | DF A>A A3d |c>B Bc BA F>E | ED D>D D3 ||

                       

BRENNAN’S FAVOURITE. AKA and see “Richard Brennan’s Delight,” “Richard Brennan’s Favorite,” “Shaun Maguire’s,” “Tell Her I Am [3].” Irish, Double Jig. D Major. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 19, pg. 132. Cranitch (Irish Session Tunes: The Red Book), 2000; pg. 19. Peoples (Fifty Irish Fiddle Tunes), 1986; pg. 8. Copley Records EP9-20 (45 RPM), Paddy O’Brien (195?).

                       

BRERETON’S REEL. AKA and see “Carmel Mahoney Mulhaire.” Irish, Reel. Shanachie 79061 Boys of the Lough – “Welcoming Paddy Home.”

                       

BRETON WEDDING MARCH. French, March. France, Brittany. A Major. Standard tuning. AA’BBCC’DD. Philo CD PH 1051‑‑, Boys of the Lough ‑ "Good Friends, Good Music" (1977/1997).

X:1

T:Breton Wedding March

C:trad.

D:Boys of the Lough, "Good Friends - Good Music"

Z:actually played by "friends" Tony McMahon and Barney McKenna,

Z:and (as is usual for Tony) a half-tone sharper than written.

R:march

Q:130

M:2/4

K:A

E2 A/G/A/B/|A3 E|A/G/A/B/ cB/c/|A3 (3A/B/c/|

d>c de|d3 c|B>A Bc|1 B3 z/^D/:|2 B3 c/d/|

e>f ec|A4|d/c/d/e/ d>c|B3 E|

A>c BA|E2 A>B|c2 B>A|A4:|

E2 A>A|A3 E|A/G/A/B/ cB/c/|A3 (3A/B/c/|

d>c de|d3 c|B>A Bc|1 B3 z/^D/:|2 B3 c/d/|

e>f ec|A4|d/c/d/e/ d>c|B3 E|

A>c BA|e2 A>B|c2 B/A/c/B/|A4:|

 

BREWER'S HORSE, THE. AKA and see "Blake's Hornpipe [2].” 1st part similar to "Stony Steps Hornpipe."

 

BREZON VALSE. French, Valse (3/4 time). C Major. Standard tuning. ABCB. Stevens (Massif Central), 1988, vol. 2; No. 68.

 

BRIAIN UA RLOINN. AKA and see "Bryan/Brian O'Lynn/O'Linn."

 

BRIAN BOROUHME. Scottish, Jig. A Minor. Standard tuning. AABB. A version of "Brian Boru's March." Kerr (Merry Melodies), vol. 3; No. 286, pg. 31.

X:1

T:Brian Borouhme

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 286  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

e | cBA Aed | cBA A2c | BAG Gdc | BAG G2e | cBA Aed |

cBA A2B | cde e2d | cAA A2 :: B | cde efe | efe edc | Bcd ded |

ded dcB | cde efe | efe edc | e3 e2d | cAA A2 :|

 

BRIAN BORU'S MARCH [1]. AKA and see "Brian Borouhme,” “The Piper’s March.” Irish, March (6/8 time). B Aeolian (Roche): A Minor (S. Johnson, Mallinson, O'Neill, Sullivan): A Dorian (Tubridy). Standard tuning. AA’B (Feldman & O’Doherty): AABB (S. Johnson, 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. Printed versions have no great antiquity: the earliest is in the Levey Collection, Vol. 2 (1873), although Fleischmann found a version in an issue of the Dublin Monthly Magazine from 1842 under the title “The March of Brian Borumha” (it also later appears in Kerr’s Caledonian Collection as “Brian Borumha”).  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 the duple time melodies (which some believe are related) "Dan Sullivan's Reel," "General McBean," "Colonel McBain’s," "Sean Frank," "The Devonshire Reel [1]," "The Duke of Clarence Reel" and "Sporting Molly." Source for notated version: Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 175. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 3. Mallinson (Enduring), 1995; No. 96, pg. 40. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1801, pg. 338. O’Neill (O’Neill’s Irish Music), 1915; No. 96, pg. 54. 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).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Brian Boru’s March [1]

M:6/8

L:1/8

R:March

K:Ador

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:|

X:2

T:Brian Boru’s March [1]

M:6/8

L:1/8

R:March

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Amin

(e/d/) | c>BA A2 (e/d/) | c>BA A2 (d/c/) | B>AG G2 (d/c/) | B>AG G2 (e/d/) | c>BA A2 (e/d/) |

c>BA A2a | e>fe e2d | (c<A)A A2 || G | Acd (e2{fe}d) | (e2{fe}d) edB | GBc (d2{ed}B) |

(d2{ed}B) dBG | Acd (e2(ed}B) |(e2{fe}d) ecA | cBA (e2{fe}d) | (c<A)A A2 || B | cBA {b}a^ga |

cBA {b}a^ga | BAG {a}=g^fg | BAG {a}g^fg | cBA {b}a^ga | cBA a2b | c’ba gfe | dcB A2 ||

B | (cd/e/^f) g2a | g2a gdB | (GA/B/c) de | dge dBG | (cd/e/^f) ga | g2a geB | {d}cBA (e2{fe}d) | (cA>)A A2 ||

 

BRIAN BORU'S MARCH [2]. Irish, March (4/4 time). This duple-time march, a different tune than “Brian Boru’s March [1],” was printed in J. Clinton’s Gems of Ireland (c. 1840).

           

BRIAN MACCOWALL. AKA – “Needa MacCowall.” Irish, Air (3/4 time). C Major. Standard tuning. ABB. Joyce (Old Irish Folk Music and Songs), 1909; No. 478, pg. 265.

X:1

T:Brian MacCowall

M:3/4

L:1/8

R:Air

N:”With expression”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:C

Bc | d2G2 cd | e2g2 {g}fe | d2 cB BA | A4 Bc | d2G2cd | e2g2 {g}fe | d2 BGAB | c4 z2 ||

|: g | a2 fdef | g2 eceg | fedcBA | G4 Bc | d2 BG cd | e2g2{g}fe | d2 BGAB | c4 :|

 

BRIAN MAGUIRE. Irish, Planxty. F Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 95, pg. 74. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993).

           

BRIAN O’KANE’S (MARCH) [1]. Irish, March (2/4 time). G Major (‘A’ part), D Major (‘B’ part) & A Major (‘C’ part). Standard tuning. AABBCC. “Recorded in Ireland, 1972" (Mulvihill). Mulvihill (1st Collection), 1986; No. 13, pg. 106.

 

BRIAN O’KANE’S (MARCH) [2]. Irish, March (2/4 time). D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AA’B. Mulvihill (1st Collection), 1986; No. 14, pg. 106.

           

BRIAN Ó LÁIMHÍN (Brian Hand). Irish, Reel. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. Source for notated version: whistle player Pat White/Padraic de Faoite (Ireland), who had it from the man named in the title [Breathnach]. Breathnach (CRÉ I), 1963; No. 95, pg. 41.

 

BRIAN O'LINN [1]. AKA and see "Bryan O'Lynn." Irish, Jig. D Major. Standard tuning. AABB. Similar to the dorian-mode "Bryan O'Lynn," though a distinct variant. Kerr (Merry Melodies), vol. 1; No. 26, pg. 38.

 


BRIAN O'LINN [2]. Irish, Slip Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 237, pg. 26.

X:1

T:Brian O’Linn [2]

M:9/8

L:1/8

R:Slip Jig

S:Kerr – Merry Melodies, vol. 2  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d3 faf gfe|d3 fdf ecA|d3 fdf efg|agf efd cBA:|

|:fge fdB B3|fge fdB cde|fge fdB Bcd|e3 efd cBA:|

 

BRIAN QUINN’S. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988). Joe Reavy’s notes give that piano accordion player Brian Quinn is also a successfully established physician in Flemington, New Jersey. Reavy, No. 16, pg. 17.

X:1

T:Brian Quinn's

M:2/2

L:1/8

C:Ed Reavy

R:Reel

N:Brian is now a very successful physician in Flemington,

N:New Jersey. He is also a brilliant piano accordionist and a great lover

N:of traditional music. He is the second of Lou's five boys (two girls),

N:and they all play music instruments.

Z:Joe Reavy

K:G

GF  |DGGB dBGB | A=FFE FGAF | DGGB dBGE | =FGAF DGG^F |

DGGB dBGB | A=FFE FGAF | GABc dgbg |1 fdcA (3Bcd GF :|2

fdcA BGGA || (3Bcd gd Bdgd | BABd cA=FA | (3Bcd gd Bdga |

bgfa gfga | (3bag (3agf gfdc | (3Bcd =fd cA=FD | GABc (3dcB (3cBA |1

BdcA BGGA :|2 BdcA BGGF ||

 

BRIAN THE BRAVE [1]. AKA and see "Poll/Moll/Paul Ha'Penny," “Boys of Ballysimon,” "Carolan's Dream," “Garrai na bhFeileoig,” “Hawke’s Hornpipe,” “Molly Mac Alpin,” "O'Carolan's Farewell to Music," "Remember the Glories of Brian the Brave," “The Stranger [1].” Irish, Hornpipe. A Aeolian. Standard tuning. AABB. The title is taken from Thomas Moore’s song “Remember the Glories of Brian the Brave”:

***

Remember the glories of Brian the brave,
Tho' the days of the hero are o'er;
Tho' lost to Mononia and cold in the grave,
He returns to Kinkora no more.
That star of the field, which so often hath pour'd
Its beam on the battle, is set;
But enough of its glory remains on each sword, 

To light us to victory yet.

***

Roche Collection, 1912/1982; vol. II, pg. 11, #212. Claddagh CC27, Michael Tubridy - “The Eagle’s Whistle.”

X:1

T:Brian the Brave [1]

M:C|

L:1/8

R:Hornpipe

S:Roche – vol II, pg. 11 (1912)

Z:AK/Fiddler’s Companion

K:Amin

cd | ed (3cAG A2 B>c | d>cA>^F G2 cd | e>dc>A d>cA>G | A2 AA A2 de |

f2 fd e2 ec | {e}dcde g2 eg | aged cAdc | A2 A>A A2 :: ef | {a}g>fg>a g2 f>e |

{a}g>ed>e g2 e>d | e>aa>b a>ge>d | e>aa>b a2 ag | {e}f2 {a}g>f e2 {g}f>e |

d>cd>e g2 e>g | a>ge>d c>Ad>c | A2 A>A A2 :|

 

BRIAN THE BRAVE [2]. AKA‑ "Fraoc Na N‑Ae." Irish, Hornpipe. A Aeolian. Standard tuning. AABB. A variation of version #1. Roche Collection, 1982; vol. III, pg. 63, #179.

 

BRIAN THE BRAVE [3] (Briain Buaideac). Irish, Air (4/4 time, "tenderly"). A Major. Standard tuning. AAB. Appears to be a variation of the hornpipe melodies in #1 and #2. Source for notated version: Chicago fiddler John McFadden, originally from County Mayo, who had a large repertoire and whose playing O’Neill admired [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 255, pg. 44.

X:1

T:Brian the Brave [3]

M:C

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 255

Z:AK/Fiddler’s Companion

K:A

(e>d) | c2 A>B A2 (G(3A/B/c/) | (d>c) (AG/F/) G2 (Ac/d/) |

(e>d)(c<A) (d>c) (A<G) | A6 :| (ef) | (gfga) g2 (ef) | (gag)e d2 (3efg |

(ab)(ag) ed (3efg | a6 (ba/g/) | f2 (fe/d/) e2 (ed/c/) | (dcde) (a3g) |
(eage) d2 (e<d) | c2 A>G A2 ||

 

BRIAN THE BRAVE [4]. AKA and see "Princess Royal [1]." The melody, by Turlough O'Carolan, appears printed under this title in the Journal of the Irish Folk Song Society, volume XII, pg. 17.

 

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

 

BRIAN UA NEILL. AKA and see "Barney O'Neill."

 

BRIANACH ÓG, AN. Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 42, pg. 39.

 

BRIAR PATCH. Old‑Time, Breakdown. USA, Texas. One of the "Sally Ann" variants, though at least one tune by this title is a variant of "Sally Johnson."

 


BRIARPICKER BROWN. Old‑Time, Breakdown. USA; Ky., Ohio. D Major. Standard or ADae tunings. AABB. Presumably one picks briars as a consequence of hunting; either from oneself, or from any canines involved. The melody is known as a Kentucky tune in modern times, largely due to an influential recording by fiddler Buddy Thomas (who died at age 39 in the mid-1970's). Thomas had the tune from an elderly Portsmouth, Ohio, fiddler named Morris Allen. The tune structurally resembles West Virginia fiddler Clark Kessinger’s “Everybody to the Punchin’ (Puncheon) Floor,” and Allen was in fact a friend of Kessinger. Jeff Titon (2001) points out the low part of the tune is the same as that of the English country dance melody “The Rose Tree.” Sources for notated versions: Norman Blake (Ga.) [Brody]; Bill Christopherson (Conn.) [Phillips]; Buddy Thomas (Emerson, Lewis County, Ky.), 1974 [Titon]. Brody (Fiddler’s Fakebook), 1983; pg. 56. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 36. Silberberg (Tunes I Leaned at Tractor Tavern), 2002; pg. 16. Songer (Portland Collection), 1997; pg. 41. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 16, pg. 49. Flying Fish FF 266, Malcolm Dalglish & Grey Larsen‑ "Thunderhead" (1982). Rounder 0032, Buddy Thomas (Northeastern Ky.) ‑ "Kitty Puss ‑ Old Time Fiddle Music From Kentucky” (1976). Rounder 0122, Norman Blake‑ "The Rising Fawn String Ensemble." Rounder 0172, Bob Carlin - "Where Did You Get That Hat?" (1982).

See also listing at:

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

X:1

T:Briar Picker Brown

M:C

L:1/8

Z:AK/Fiddler’s Companion

K:D

fe | d2B2A2F2 | ABAF E2 AB | d2 dd edeg | fedA BABc |

d2B/d/BA2F2 | ABAF E2 FE | D2 dA Bded | [de] [d2f2] [de] [d2f2] :|

|: de | f2 af a2 aa | beae fe d2 | f af a2 ff | eBdB ABde | f2 af a2 aa | beae fdBd |

fgfe dBAB | e d2d [d2f2 ] :|

X:2

T:Briar Picker Brown

M:C|

L:1/8

R:Reel

S:Buddy Thomas

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

AB |: d2 (3BcB A2F2 | ABAF D2D2 | dcdf edea | fedA (3BcB AB |

dABd A2 FG | ABAF DB,A,D | ABdf Bc d2 |1 e2 [(d2f2][d2)f2] AB :|2

e2 [(d2f2][d2)f2] fg ||: a2 ab a2f2 | bfaf eafg | a2 ab a2f2 |

e2d2 BdAA | a2aba2f2 | abaf edge | fedB A2 Bd |1 e2 [(d2f2][d2)f2] fg :|2 e2 [(d2f2][d4)f4]||

 

BRICKMAKER MARCH.  American, March. The melody appears in Connecticut fifer Giles Gibb Jr.’s (1760-1780) music manuscript collection (1777), killed by a British raiding party in Royalton, Vermont in October, 1780. The melody is presumed British in origin, although no British sources for it have yet been located. New World Records 80276-2, “Music of the American Revolution: The Birth of Liberty” (1976).

 

BRICK MAKERS, THE. AKA – “Brickmaker’s Frolick.” English, Country Dance Tune (2/4 time). G Minor. Standard tuning. AABB. The melody was first published by David Rutherford in his Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750), reprinted in his Compleat Collection of 200 Country Dances, vol. 2 (London, 1760). In addition to London publishers Charles and Samuel Thompson (1757), it was also issued by John Johnson in 200 Favourite Country Dances, vol. 8 (London, 1758), and, again by the Thompsons in Compleat Tutor for the Hautboy [ed. Oboe] (London, c. 1770). It is in the earlier edition of the latter volume, Charles and Ann Thompson’s Compleat Tutor for the Hautboy (London, 1758), that an expanded title, “The Brick makers in the Genii,” is given, and this perhaps is a clue to the tune’s origin on the stage. “The Brick Makers” also appears in a number of musicians’ manuscript books, including those of William Vickers (Northumberland, 1770, as “Brickmaker’s Frolick”) and fiddler Thomas Hammersley (London, 1790). In America, it can be found in the copybooks of flute player Henry Beck (1786), fiddler George White (Cherry Valley, New York, c. 1790), flute player Micah Hawkins (New York, 1794), and Morris Woodruff (Litchfield, Conn., 1790). Barnes (English Country Dance Tunes), 1986. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 177.

X:1

T:Brick Makers, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

(B/c/)|d B2 d|c A2 c|B G2 B|A^F D2|G2 AB|cAG^F|G2 G2|G3:|
|:B/c/|d b2 (a|a) g2 (f|f2) gf|f2 gA|B2 cd|e2 fg|fdcB|{B}A2 GF|

B A2 (c|c) B2 (d|d)ceG|{G}^F2 ED|G2 AB|cAG^F|G2 G2|G3:||

                       

BRICKLAYER'S HORNPIPE [1]. American, Scottish; Hornpipe. F Major. Standard tuning. AABB. Cole and Howe both print directions to a dance of the same name. Source for notated version: the New Hampshire Fiddlers' Union [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 91. Ford (Traditional Music in America), 1940; pg. 93. Howe (1000 Jigs and Reels), c. 1867; pg. 80. Kerr (Merry Melodies), vol. 2; No. 337, pg. 37. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 182. Ryan’s Mammoth Collection, 1883; pg. 126. White's Unique Collection, 1896; No. 105, pg. 19.

X:1

T:Bricklayer’s Hornpipe [1]

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896); No. 105

Z:AK/Fiddler’s Companion

K:F

c | c/=B/c/A/ F/A/c/f/ | f/e/g/e/ c/d/c/B/ | c/B/d/B/ B/A/c/A/ | A/G/B/G/ F/E/D/C/ |

c/=B/c/A/ F/A/c/f/ | f/e/g/e/ c/e/g/b/ | b/a/a/g/ g/f/e/g/ | fa[Af] :|

|: G | G/^F/G/E/ C/E/G/B/ | B/A/c/A/ F/A/c/f/ | d/f/c/f/ d/f/c/f/ | d/f/b/a/ g/f/e/d/ |

c/=B/c/A/ F/A/c/f/ | f/e/g/e/ c/e/g/b/ | b/a/a/g/ g/f/e/g/ | fa[Af] :|

 

BRICKLAYER'S HORNPIPE [2]. American, Hornpipe. USA, Southwestern, Pa. G Major. Standard tuning. AAB. Source for notated version: James Taylor (W.Va. & Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 93, pg. 56.

                       

BRICKMAKERS [1], THE. English, English Hornpipe (3/8 time). C Major. Standard tuning. AAB. Carlin (Master Collection), 1984; pg. 26 (#25).

 

BRICKMAKERS, THE. See "The Brick Makers."

                       

BRICKYARD JOE [1].  Old‑Time, Breakdown. USA; northeast and central Kentucky (as per Titon), Missouri. G Major. Standard tuning. AABB (Christeson, Brody): AABBA'A'BB (Phillips). The tune is closely related in one part to “Martha Campbell.” It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Jeff Titon (2001) notes the low part of this tune is related to the high strain of “Martha Campbell.” He finds the title in Kentucky fiddlers’ tune lists from the year 1915, kept at Berea College. Early recordings are by Doc Roberts (Ky.) in 1928, and Captain McKinney (Texas) in 1929. “The Dead Slave,” another Missouri fiddle tune, has a similar first strain, while fiddler Pete McMahon’s (Missouri) “Fiddler’s Hoedown” has a ‘B’ part that is similar to the ‘A’ part of “Brickyard Joe” (Beisswenger & McCann). Sources for notated versions: Tony Gilmore (Jefferson City, Missouri) [Christeson]; Doc Roberts (Richmond, Indiana, August 24, 1928. Roberts was a Kentucky fiddler who probably learned from Owen Walker, an older African-American fiddler from Madison County, Ky.  Gus Meade thinks 70% of Roberts' repertoire was derived from Walker) [Brody, Phillips, Titon]; Lymon Enloe (1906-1997, Missouri), who had the tune from Tony Gilmore [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Tunes), 2008; pg. 27. R.P. Christeson (Old-Time Fiddler’s Repertory) 1984; pg. 89. Brody (Fiddler’s Fakebook), 1983; pg. 56. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 36. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 17A, pg. 50. County 412, “Fiddlin’ Doc Roberts: Old Time Tunes” (1983). County 762, Lyman Enloe‑ "Fiddle Tunes I Recall." Davis Unlimited 33015, Doc Roberts‑ "Classic Fiddle Tunes” (1975). Gennett 6535 (78 RPM), Doc Roberts (1928). Missouri State Old Time Fiddlers' Association, Tony Gilmore - "Old Time Fiddler's Repertory" (1976). Morning Star 45004, Doc Roberts - "Wish I Had My Time Again." Okeh Records {78 RPM}, Captain McKinney (1929). Vetco 502, "Fiddlin' Van Kidwell."

See also listing at:

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

 

BRICKYARD JOE [2]. AKA - "Morris Allen's Brickyard Joe." Old-Time, Breakdown. USA, Kentucky. G Major. Standard. One part. In the repertoire of Kelly Gilbert. John Harrod believes this to be the older of the two Kentucky versions of the tune, according to Jeff Titon, more common in the central part of the state. Source for notated version: Buddy Thomas (Ky.) [Phillips]; Kelly Gilbert (Frankfort, Kentucky, 1978) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 36. Titon (Old-Time Kentucky Fiddle Tunes),  2001; No. 17B, pg. 51.  Rounder CD 0380, Roger Cooper (Lewis County, KY.)- "Going Back to Old Kentucky" (1996. Appears as "Morris Allen's Brickyard Joe"). Rounder 0377, Kelly Gilbert – “Traditional Fiddle Music of Kentucky, vol. 2: Along the Kentucky River” (1997).

                       

BRID HARPER’S. AKA and see “Kevin Coyne’s,” “Matt Molloy’s [4],” “Pride of the Bronx.” Irish, Reel. C Major. Standard tuning. AABB’. Fiddler Brid Harper Rafferty, originally from Castlefin, Donegal, now lives in Tyrone. Source for notated version: fiddler Brid Harper (Donegal) [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 24.

                       

BRID OG NA gCIABH. AKA and see "Young Bridget," "Bridget Cruise [4]."


                       

BRID OG NI MHAILLE. AKA and see “Bridget O’Malley,” “Young Bridie O’Malley.”

                       

BRIDAL FESTIVAL QUADRILLE. AKA - "Partie de Lancier [2]." French-Canadian, Jig. A Minor ('A' part), C Major ('B' part) and F Major ('C' part). Standard tuning. AA'BB'CC'A"A"'B"B"'C"C"'. Composed around 1910 by Edmond Beaudry as "The Bridal Festival Quadrille," it appeared in a violin manuscript. Source for notated version: French-Canadian button accordion great Philippe Bruneau (Quebec) [Begin]. Begin (Philippe Bruneau), 1993; No. 29, pg. 43 (appears as "Partie de Lancier").

                       

BRIDAL FETE, THE. American (?), Jig. C Major. Standard tuning. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 18.

X:1

T:Bridal Fete, The

M:6/8

L:1/8

R:Jig

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

G/A/ | GFE G2A | GFE G2F | E2E EDE | FDD Dz G/A/ |GFE G2A|

GFE G2F | E2E FDD | DCC C2z :: DFA c2e | edc B2d | dcB A2c |

cBA G2E | DFA c2e | edc B2d | dcB A2B | G3 Gz :|

                       

BRIDAL JIG [1], THE (Port An Posta). AKA and see "Beside the Bann,” “Humors of Quarry Cross,” “Kennedy’s Bridal Jig,” “The Priest’s Leap [1]." Irish, Jig. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB' (Allan's): AABB (Cole, Kerr): AABB’ (Moylan, Perlman). Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Reuben Smith (b. 1931, Blooming Point, Queen’s County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 31, pg. 8. Cole (1000 Fiddle Tunes), 1940; pg. 58. Kerr (Merry Melodies), vol. 2; No. 262, pg. 29. Moylan (Johnny O’Leary), 1994; No. 311, pg. 179. O’Neill (O’Neill’s Irish Music), 1915; No.190, pg. 103. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 310, pg. 66. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 130. Ryan’s Mammoth Collection, 1883; pg. 87.

X:1

T:Bridal Jig, The [1]

M:6/8

L:1/8
R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 310

Z:AK/Fiddler’s Companion

K:G

D|G3 BGB|def gdB|ecA dBG|FAG FED|G2G BGB|def gdB|ecA dBG|FEF G2:|

|:B|Bee edB|def g2a|bgb afa|geg fdB|Bee edB|def g2a|bgb afa|1 gee e2:|2 g2g gdB||

 

BRIDAL JIG [2], THE. AKA and see “Tenpenny Bit [3].” Irish, Jig. E Minor. Standard tuning. AABB. Source for notated version: fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, Co. Sligo, Ireland) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 43.

 

BRIDAL O’T, THE. Scottish. The name of a song composed to the melody “Lucy Campbell's [1]” or “Miss Louisa Campbell’s Delight.”

 

BRIDAL POLKA [1]. English, Polka. England, Dorset. D Major ('A' part), A Major ('B' part), G Major ('C' part), & D/G Major ('D' part). Standard tuning. AABBAACCD. Trim (Thomas Hardy), 1990; No. 76.

 

BRIDAL POLKA [2] (Polca na Brídí). AKA and see “Jenny Lind (Polka) [1].” Irish, Polka. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AB. Source for notated version: a late 19th century manuscript written by Thomas McGuire (An Lios Dubh, County Cavan) [Breathnach]. Breathnach (CRÉ V), 1999; No. 94, pg. 49.

 

BRIDAL (SLIP JIG), THE. AKA and see “Blithesome Bridal,” “Come fy, Let’s A’ to the Bridal,” “Come to the Bridal,” “I’m the Boy for Bewitching Them,” “Let us waa to the wedding.” “The Jolly Pedler’s [4].” Irish, Slip Jig. G Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 8, pg. 108.

 

BRIDE, THE. Scottish. Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1782 collection (pg. 9).

 

BRIDE HAS A BONNY THING. Scottish. A bawdy twist on the title "Bride's a Bonny Thing" from the 18th century.

 

BRIDE IN CAMP. AKA and see "Brighton Camp."

 

BRIDE IS A BONNY THING, THE. See "Bride's a Bonny Thing."

 

BRIDE NEXT. AKA and see "My Wife's a Wanton Wee Thing [1]." Scottish, Jig (6/8 or 6/4). D Mixolydian. Standard tuning. AB. A "double‑tonic" (e.g. G Major‑A Major) tune. Printed in Henry Playford's 1700 collection of Scottish dance airs, Original Scotch‑Tunes (pg. 8). In the 18th century it acquired the alternate title "My Wife's a Wanton Wee Thing," still current. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 10, pg. 27. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 10, pg. 26.

X:1

T:Bride Next

M:6/4

L:1/8

R:Jig

K:D

Bc | d4A2 BcdcBA | d6 A4B2 | =c3d c2c2G2E2 | =c6E4 B^c | d4 A2 BcdcBA |

d6 A4G2 | F2D2F2 E2C2E2 | D6 D4 || FG | A3B A2 F2D2F2 | A6F6 | G3A G2 E2=C2E2 |

G6E4 FG | A3B A2 F2D2F2 | A6a4g2 | f2 de f2e2 cd e2 | d6D4 ||

                          

BRIDE OF KILDARE. Irish, Reel. D Major. Standard tuning. ABC. Cole (1000 Fiddle Tunes), 1940; pg. 10. Ryan’s Mammoth Collection, 1883; pg. 32.

X:1

T:Bride of Kildare

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3ABc|d2 Ac d2Ac|dfed dcBA|(Ee)(3.e.e.e edef|gefd edBD|

d2Ac d2Ac|dfec dcBA|G2 eG F2dE|EFGA B2 (dB)||.A.D(3FED ADBD|

.A.D(3FED FAdc|.B.G(3FED BEdE|.B.E(3FED FAag|fgef dcBA|

BcdB AFDF|G2 eG F2dF|EFGA B2 ag||fdad fddf|fdad gfed|

g2 ba gfeF|GFEF G2g|fdec dcBA|BcdB AFDF|G2 eG F2 dF|EFGA B2||

 

BRIDE OF MALAHIDE, THE (An Ceile Ua m’Alacide). Irish, Air (3/4 time). G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 249, pg. 43.

X:1

T:Bride of Malahide, The

M:3/4

L:1/8

N:”Moderate”

R:Air

S:O’Neill – Music of Ireland (1903), No. 249

Z:AK/Fiddler’s Companion

K:G

(d/ef) | g2 (gf)(ed) | d2 (ed)(c{d/c/}B) | c2B2 {B}(A>G) | E4 (A/Bd) |

e2 (fe)(dB) | (A>B) d2D2 | E2 {B}A3G | G4 :| (D/E/F) | G2A2 BA |

B2B2AG | c2d2 ef | g4 (d/eg) | a2b2 (a/g/e) | d2 e2 (e/d/B) | A2 dB AB |

A4 {d}cB | c2d2 ef | g2g2 (gf/e/) | d2B2 A>G | E4 (D/E/F) | G2 (FE)(DC) |

B,2 A,>B, G,2 | E2 {B}”tr”A3G | G4 ||

 

BRIDE OF THE WINDS. AKA and see “Anoy’s Jig.” Canadian, Jig. C Major. Standard tuning. AABB (Jarman): AA'AA'BB'BB' (Phillips). Composition credited to Jim Magill in Jarman's 1944 (Anglo-)Canadian publication; however, the tune had been recorded by French-Canadian fiddler Joseph Bouchard as the first part of his "Lancier Bouchard" in 1938. Even earlier, in 1924, it was recorded by John A. Pattee as the 1st change in his “Old Catville Quadrille,” according to Paul Gifford, who also finds it as “Anoy’s Jig” in Don Messer’s repertoire. It is related (set in 2/4 time) to “Whalen’s Breakdown” which Messer popularized during his career. Versions of the melody appear in R.P. Christeson’s Fiddler’s Repertory, vol. 1 (No. 182) and in Bayard’s Dance to the Fiddle, March to the Fife (No. 523), Gifford further reports. Source for notated version: Stuart Williams [Phillips]. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 1. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 360.

X: 1

T: Bride of the Wind

N: Tune No.182 in Robert P. Christeson's book, "The Old-Time Fiddler's

N: Repertory"

S: Uncle Bob Walters, Nebraska

L: 1/8

M: 6/8

Z: ABC by Joel Shimberg from Christeson's notation.

K: D %Transposed from C

f/2g/2 | a^ga baf | dcB A2 d | cde B2 c | dcB A2 a|

a^ga baf | dcB A2 d | cde B2 c | [d3F3][d2F] :|

F/2G/2 |A^GA d2 c | BGB e2 d | caa a^ga | bag f2 A |

A^GA d2 c | BGB e2 d | caa baf |[d3 f3][d2f2]:|

                       

BRIDEGROOM GEITS, THE. AKA – “The bridegroom grat.” Scottish, Air (4/4 time). D Major. Standard tuning. One part. The basic strain was fitted by Lady Anne Lindsay to the words of her "Auld Robin Gray.” However, notes Walker (1924), “it has now been completely supplanted by a nineteenth-century English production of vastly inferior quality.” Walker goes on to decry the practice in that century of London composers deliberately composing pseudo-Scottish tunes, “a favourite industry.” Gatherer (Gatherer’s Musical Museum), 1987; pg. 27. Hamilton, Select Songs of Scotland, 1848.

X:1

T:The Bridegroom Grat

M:C

L:1/8

S:WalkerHistory of Music in England (1924)

K:C

EG|AcAG E2 DC|D>CDE A2 EG|AcAG E2 DC|D>CDE c3d|

edcA G2 ed|cA GE D2 EG|AcAG E2 cd|e3 E E2||

           

BRIDEGROOM'S RONDO, THE. French Canadian, Reel (irregular). D Major. Standard tuning. AAAABBC. Carlin (Master Collection), 1984; pg. 59 (#91).

           

BRIDEKIRK'S HUNTING. AKA and see "Fill up your bumpers high," "Scots wha hae," "Hey Tuttie Taiti." Scottish, Air. A song collected by Kirkpatrick Sharpe (c. 1830) in Annandale, set to the famous tune.

           

BRIDEOG SGEINEAC, AN. AKA and see "The Runaway Bride."

           


BRIDE'S A BONNIE THING, THE. AKA – “The Bride has a Bonnie Thing.” AKA and see "Scotland." Shetland, Scottish; March or Jig. A Major. AEae or Standard tuning. AABB (Bremner, Brody, Cooke): AAB (Gow). A Scottish tune played on the Shetland Island of Unst as a march; it is a variation of the tune of the same name printed in early Scottish collections. John Stickle played the tune in the key of G; Tom Anderson in A (AEae). It was the traditionally played to welcome the bride into the ben (best) room after the wedding, and thus has had some renewed currency in modern times as a wedding processional among trad enthusiasts. The piece appears in James Oswald's collection, but Glen finds it first printed by Robert Bremner in his 1757 collection. It was printed the same year that London publishers Charles and Samuel Thompson printed the tune in their Compleat Collection of 200 Favourite Country Dances, vol. 1 (1757), albeit under the much more risqué title “The Bride has a Bonnie Thing.” James Oswald again printed the tune a few years later in his Caledonian Pocket Companion (Book VIII, pg. 21, London, 1760) with the same title the Thompson’s employed (which appears to have been the original one). Sources for notated versions: Tom Anderson and Aly Bain (Shetland) [Brody]; John Stickle (Unst, Shetland) [Cooke]. Bremner (Scots Reels), c. 1757; pg. 34. Brody (Fiddler’s Fakebook), 1983; pg. 57. Carlin (The Gow Collection), 1986; No. 413. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 31, pg. 84. Gow (Complete Repository), Part 3, 1806; pg. 25. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 28. Philo 2019, Tom Anderson and Aly Bain‑ "The Silver Bow." Shanachie 79002, "The Boys of the Lough" (1973). Trailer LER 2086, Boys of the Lough‑ "First Album."

X:1

T:Bride’s a Bonnie Thing, The

M:6/8

L:1/8

R:Jig or March

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:A

eAA ecc|fBB Baf|eAA ecc|eAA ecc|fdd ecc|fBB Baf|eAA ecc|

eAA Aaf:|e2d (f/g/a)f|-g2B Bcd|e2e (f/g/a)f|ece ae=g|fdf ece|

f2(B Bc)d|e2e (f/g/a)f|e2A A2c/d/|e2e (f/g/a)f|(=g2B) Bcd|

e2e (f/g/a)f|ece ae=g|fdf ece|f2B Bcd|e2d (f/g/a)f|e2A Aaf||

X:2

T:Bride has a Bonnie Thing, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Amix

eAA ecc|fBB Baf|eAA ecc|eAA ecc|fdd ecc|

fBB Baf|eAA ecc|eAA Aaf::e3 f/g/af|e2A ABc|

e3 (f/g/a)f|g2B Bcd|e3 (f/g/a)f|(ec)e (ae)g|(fd)f (ec)e|fBB Bcd:||

           

BRIDES AWAY. AKA and see “Banks of the Ilen,” "The Barrack Street Boys," "The Bride to Bed," "Bride(s) to Bed," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel [1]," "Girl From the Country," "Ha'Penny Reel," "I Saw Her," "Kelly's Reel," "Knit the Pocky," “Lumberjack’s Reel,” "Merry Bits of Timber," “Miss Grant of Grant [1],” "Miss Wilson," "My Love in is America," "My Love is in the House [1]," "Rooney's Reel," "Shannon Breeze [2],” "Six Mile Bridge.”

           

BRIDE'S FAVOURITE. AKA and see “Barness Gap,” “The King of the Pipers,” “O’Brien’s.” Irish, Jig. G Major. Standard tuning. AA’BB’CC. This three-part jig is sometimes credited to the great Co. Mayo/New York fiddler John McGrath (1900-1955), although this cannot be verified. The titles of this tune and “Tansey’s Favourite [2]" were reversed on the Steeleye Span album “Below the Salt.” Sources for notated versions: sessions from the Regent Hotel, Leeds, England [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 60. Harker (300 Tunes from Mike Rafferty), 2005; No. 198, pg. 61. Mallinson (Enduring), 1995; No. 37, pg. 16. Taylor (Music for the Sets: Blue Book), 1995; pg. 10. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 36.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Bride's Favourite, The

R:jig

L:1/8

M:6/8

K:G

D|~G3 BAB|GBd gdB|AFD cBA|GBd gdB|~G3 ~B3|

GBd gdB|AFD cBA|1 BGF G2:|2 BGF GBd||

|:g2a f2a|gdB GBd|~g3 fed|egf e2f|

~g3 gaf|gdB GBd|AFD cBA|1 BGF GBd:|2 BGF G2D||

|:GBd ~g3|edc BcA|GBd g2g|faf g2a|bgb afa|~g3 fdf|ed^c def|gaf gdB:|

           

BRIDE'S MARCH, THE. AKA and see "A Scottish March." Shetland, Air (3/4 or 12/8 time). Shetland, West side. G Major. Standard tuning. AAB. Cooke (1986) finds that Stickle's version of "The Bride's March" is similar to the Northumbrian song air called "The Rock and the/a Wee Pickle Tow." According to Stickle (who related the story to the collector Pat Shuldham-Shaw), the melody was a processional tune used to accompany the wedding party from the kirk after the marriage. "From almost every house passed on the way," related Stickle, "there would come a fiddler on the doorstep who would play this tune as the procession passed." Cooke remarks that if the locals were aware of the traditional text of the song, it must have been the cause for some levity, "and, at the same time, could serve as a warning to future young wives, for it takes the form of an 'auld wife's' lament of the difficulties of learning the wifely art of spinning."   John Playford published the tune in his Musick's Handmaid (1678) under the title "A Scottish March," which suggests to Cooke that the piece may well have been used as a bridal march in Scotland at an earlier time.  Source for notated version: John Stickle (Shetland) [Cooke]; Peter Fraser (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 11. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 32 (b), pg. 84.

           


BRIDE'S REEL [1], THE. AKA and see "Mrs. Scott Skinner [2]." Scottish, Reel. D Major. Standard tuning. AB (Hunter, Skinner/Harp & Claymore): AABB (Cranford/Fitzgerald). Composed by the Scottish composer and violinist J. Scott Skinner (1842-1927) on the occasion of his wedding. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 125, pg. 51 (includes variations). Hunter (Fiddle Music of Scotland), 1988; No. 206. Skinner (The Scottish Violinist), pg. 7. Skinner, Harp and Claymore, 1904 ; pg. 72 (includes variations). Skinner, The Scottish Music Maker (includes variations). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). Altan - “Runaway Sunday” (from Donegal fiddler John Doherty who played it in a medley he called “Flood on the Holm” which included the tunes “Spinning Wheel” and “The Auld Wheel”).

X:1

T:Bride’s Reel, The [1]

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:D

({A/4B/4c/4}[Dd]).A/.G/ .F/.D/.A,/.D/ | .B,/.D/.A,/.D/ .C/.E/.A/.c/ | ({c}d)A/F/ G/B/e/d/ |

c/A/a/g/ f/d/d/A/ | ({c}[Dd]).A/.G/ .F/.D/.A,/.D/ | .B,/.D/.A,/.D/ .C/.E/.A/.c/ |

d/c/d/A/ B/G/d/B/ | A/F/G/E/ F/D/[G,/D/] || g | f/g/a/f/ d/A/F/D/ | G/B/e/d/ c/A/a/g/ |

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

d/f/e/g/ f/a/g/b/ | a/f/g/e/ f/d/[Fd] ||

 

BRIDE'S REEL [2], A. Shetland, Slow Air (9/8 time). D Dorian. Standard tuning. ABB. "...It is interesting that so many of the Shetland and Scottish wedding tunes are in slow jig time. One could hazard the guess that such tunes derive from old Scottish dance‑songs used for circle dancers (or possibly dances of the Faroese chain type) and that, as in the case of bride's reels today, their close attachment to the wedding rite ensured their survival into the present century" (Cooke, 1986). Source for notated version: John Fraser (Papa Stour {Island}, Shetlands) [Cooke] {Fraser learned the tune from his father, but did not know the name}. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 35, pg. 88.

           

BRIDE(S) TO BED, THE. AKA and see "Bride Away."

           

BRIDE'S WELCOME HOME, DA. AKA and see "Jean(n)ie Chock/Shoke (Shocked) Da Bairn."

 

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