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,
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.
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.
BRANDLINGS. AKA and see “Colonel Rodney,”
"The Dogs Among(st) the Bushes," "The Fox." Scottish, Reel. A Major. Standard tuning. AB (Athole,
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
BRANDY BOTTLE, THE. English, Country Dance Tune (4/4 time).
X:1
T:
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
BRANLE A SIX DE LA
CHATRE. French, Bourree A 3 Temps (3/8
time). G Major. Standard. AABB. Stevens (
BRANLE CARRE. French, Bourree a 2 Temps (2/4 time). G Major. Standard. AABB. Stevens (
BRANLE DU RAT. French, Dance Tune (2/4 time). G Major. Standard. AB.
Stevens (
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).
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.
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
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
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/)
d>ed dBG | (c2c) deg | deg (a2a)
| geg
BRAVE
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’Neill –
Music of
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
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.
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:Morison –
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,
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 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
***
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