The Fiddler’s Companion

© 1996-2008 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.

 

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

 

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.

 

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. AABB. Stevens (Massif Central), 1988, Vol. 2; No. 16.

 

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

 

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

 

BRANSON RAG. American, Country Rag. F Major. Standard. 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."

 

BRASS BAND MARCH. Irish, March (cut time). Ireland, County Donegal. G Major. Standard. 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. 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. 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 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. 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. 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:A Minor

(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. 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’NeillMusic 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. 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 and see "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 "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:MorisonHighland 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

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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 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. 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).

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T:Breakin’ Up Christmas

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