The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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BRIDGE - BRITT |
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] |
BRIDGE AT
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D Dorian
A | d>edA d/d/d f2 | “tr”e>dce
cdec | dedA d/d/d f2 | “tr”e>dce d/d/d d2 |
dedA d/d/d f2 | “tr”e>dce cdec |
d>ec>d A>cG>A | F>GEd D/D/D D ||
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:B_
(3FGA|B2B2 F>Bd>B|c>bc>d
e>dc>B|A>Bc>d c>BA>G|(3FAc f>g f>ed>c|
B>dF>B (3DFB
d>B|e>gc>e (3FAc e>c|(3Bac (3BAG F2 G>A|B2 d2 B2:|
|:A>B|c>fa>g (3feg
f>e|d>fb>a g2 g>f|(3edc (3dcB (3afe (3dcB|(3FAc f>g
f>ed>c|
B>dF>B (3DFB
d>B|e>gc>e (3FAc e>c|(3Bac (3BAG F2 G>A|B2 d2 B2:|
X:1
T:
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
A,2 e>f edcA|BF F/F/F GEEF|A2 ef edcA|BABc A/A/A A2:|
||g|aece aecA|BF F/F/F GEEg|aece aecA|BABc A/A/A Ag|
aece
aecA|BF F/F/F GEEF|A,2 ef edcA|BABc A/A/A A|]
X:1
T:
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of
Z:AK/Fiddler’s Companion
K:C
g | (a/g/f/e/) cg egcg | (a/g/f/e/)
cg eddg | (a/g/f/e/) cg egde | c>AGE C<CCg |
(a/g/f/e/) cg egcg | (a/g/f/e/) cg eddg | (a/g/f/e/) cg egde | c>AGE
C<CC ||
G | (E/4F/2<G) cG AGcG |
(E/4F/2<G) ce dDDF | (E/4F/2<G) cG EGca | Gede c<ccG |
(E/4F/2<G) cG AGcG | (E/4F/2<G) ce dDDF | (E/4F/2<G)
cG EGca | Gede c<c c2 ||
X:1
T:
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 2, No. 195 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
F|C<FA>F c>Af>d|c>A
B/A/G/F/ E<GG>A|C<FA>F c>Af>d|c>A B/A/G/F/ C<FFF|
C<FA?F c>Af>d|c>A
B/A/G/F/ E<GG>A|C<FA>F c>Af>d|c>A B/A/G/F/ C<FF||
c|f<ag<a f>cd<f|c>F
d/c/B/A/ B<GG>c|f<ag<a f>cd<f|c>f e/f/g/e/ f<FA>c|
(3fga (3efg (3def (3cBA|(3Bcd (3cBA
B<GG>B|(3ABc (3cBA (3Bcd (3dcB|(3def (3efg a<ff||
BRIDGE
OF GARRY, THE. Scottish, Reel. A Major. Standard
tuning. AAB (Gow, McGlashan): AABB' (Kerr, Stewart-Robertson). The
X:1
T:Bridge of Garry, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
a|A/A/A eA cAeA|Bffe fBBa|A/A/A eA cAeA|EFAB cAA:|
g|a2 ea cAec|Bffe fBBg|aeea cAec|EFAB cAA(3e/f/g/|a2 ea cAec|
Bffe
fBBg|afbg afed|ceBe cAA||
X:1
T:
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B_
d|~B2 FE DB,B,D|ECCE DF~FA|B2 FD CFBF|GecA ~B2 B:|
f|dBdf gBbB|fdcB Ac~cf|dBdf gbfg|dfcA ~B2 Bf|dBdf gBbB|
gBfB
Accd|~BGFE DFBF|GecA ~B2B||
BRIDGE OF/AT
***
When of tender mind and body,
I was moved by minstrelsy,
And that air “The
Brought a strange delight to me.
***
In the battle-breathing jingle
Of its forward-footing tune
I could see the armies mingle,
And the columns crushed and hewn.
***
Carlin (Master Collection), 1984; pg. 99 (#170). Raven (English Country Dance Tunes), 1984; pg.
163. Wilson (Companion to the Ballroom),
1816.
X:1
T:
M:C
L:1/8
R:Hornpipe
Z:AK/Fiddler’s Companion
K:D
AF | D2d2d2 cd | ecAc d2 de | fdfd
gege | fdfd ecGE | D2d2d2 cd | ecAc d2 ed |
cecA cBA^G | A2A2A2 :: fg | agfe
dcBA | B2G2G2 ga | bagf edcB | c2A2A2fg |
afaf bgbg | afaf bgbg | afge fdec |
d2d2d2 :|
X:1
T:
M:C|
L:1/8
R:Strathspey
S:MacDonald – Collection of Strathspey Reels, vol. 1 (c. 1788)
Z:AK/Fiddler’s Companion
K:G
(D>G)(BG) cABG | (A>B)cA AG F2
| G3c Bc d2 | (g>d)dg BG G2 :|
g>age d>e=fg | =fdc_B AG =F2 |
(g>ag)e dega | gddg BG G2 | g>age de=fg |
=fdc_B AG F2 | G3c (Bc)(dg) | (gd)dg
BG G2 ||
X:1
T:
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786, pg. 27)
K:A
A/B/c/d/ eA dAfA|cAec ae c2|A/B/c/d/ ed ceAc|Bd=GB gd B2:|
Aaea caea|Aaef eA c2|Aaea caea|=gaeg B=G B2|Aaea caea|Aaef eA c2|
Aaga
eaca|Bgdg BG B2||
X:2
T:
M:C|
L:1/8
R:Reel
B:-Robertson-StewartThe Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|:A/B/c/d/ ed cAed|cAeg ae c2|A/B/c/d/ ed deA=c|B=GGB =gd ~B2:|
|:Aaga
eaca|eacf eA c2|eaga eaca|B=gdg d=G ~B2:|
X: 1
T:
M: 4/4
L: 1/8
Q: 350
R: reel
Z: Transcribed by Bill Black
C: M. Mulhaire
K: A
ed | c2 ec dcBA | EAAG A3 B | cA A2 eA A2 | B=G
G2 DGBd |
c2 ec dcBA | EAAG A3 B | cAeA aAeA | Bd=GB d2 cd
||
e2 ae beae | (3efe ae d2 cd | B=g g2 bg g2 |
edBc d2 cd |
e2 ae beae | (3efe ae d2 cd | B=g g2 bg g2 |
edBc d2 ed ||
ceAc eAce | aeca ecae | fedc dcBA | GABc dfed |
ceAc
eAce | aeca ecae | fedc dfaf | ecdB A4 ||
X:1
T:
T:Boat of Bog
L:1/8
M:C|
S:McGlashan
– Reels
Z:AK/Fiddler’s
Companion
K:D
A,<D
D>A, C<D D>B|A<F E>D B,/B,/B, B,2|A,<D D>A, C<D
D>B|A<F E>F D/D/D D2:|
g |
f>de>c d>AB>d | A<F E>D B,/B,/B, B,>g | f>de>c
d>A B<d | A<F E>F D/D/D Dg |
f>de>c
dA B/c/d/4c/4B/ | A<F E>D B,/B,/B, B,2 | A,<D D>A, C<D D>B
|A<F E>F D/D/D D2 ||
BRIDGE OF THE GARRY AT
STRUAN. Scottish, Reel. A tune "with
Atholl connections" composed by John Crerar (1750‑1840) and printed
in McGlashan's second collection
in 1786 (Alburger, 1983). Perhaps “Bridge of Garry.”
X:1
T:
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 73
(1852)
Z:AK/Fiddler’s Companion
K:G
c | BGG>A G>A Gc | BGG>B
gdec | BGGB G>AG_B | A^FFA c3c | BGG>A G>AGc |
BGG>B gdec | BGGA G>AG_B |
A^FFA c3 || A | Add>e d>edc | Bdd>e gdec |
Bdd>e d>edB | A^FFA c3A |
Bdd>e dedc | Bdde g3d | gbeg dgBd | A^FFA c3c ||
BRIDGET CRUISE [1] (Brighid Cruis). Irish, Planxty (3/4 time). E Minor. Standard
tuning. ABB. Composed by harper Turlough O'Carolan (1670-1738). Bridie Cruise,
from Cruisetown,
BRIDGET CRUISE [2]. Irish, Planxty (3/4 time). G Mixolydian (Complete Collection): F
Mixolydian (O’Neill). Standard tuning. AB (O’Neill): AAB (Complete Collection).
Composed by Turlough O'Carolan (1670-1738), and the only one composed in the
traditional style. O’Neill (1913) relates the story that near his father’s
house was a rath, in the interior of which the fairies were believed to hold
court. After O’Carolan became blind he would prevail upon neighbors and friends
to lead him to the site and leave him for hours, “stretched listlessly before
the sun.” Occasionally he would startle, as if in the midst of visions, and
upon one such occasion he called to his friends to lead him home, whereupon he
took up his harp and in little time played and sang the air and words of this
song addressed to Bridget Cruise, the object of his early mature affections
(who unfortunately did not return his sentiment). O’Neill says, “So sudden and
so captivating was it, that it was confidently attributed to fairy inspiration.
From that hour he became a poet and composer.” Complete Collection of Carolan's Irish Tunes, 1984; No. 27, pg. 39.
O’Neill (1913), pg. 71.
BRIDGET CRUISE [3]. Irish, Planxty (3/4 time). G Major. Standard. One Part. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 28, pg. 39.
North Star NS0031, "Dance Across the Sea: Dances
and Airs from the Celtic Highlands" (1990).
BRIDGET CRUISE [4]. AKA and see "Young Bridget."
Irish, Planxty (3/4 time). G Major. Standard. One Part. Composition often
attributed to Turlough O'Carolan, and though Donal O’Sullivan included the
melody in his definitive work on O’Carolan, he noted that there was not
incontroverable evidence that it was composed by him. Complete Collection of Carolan's Irish Tunes, 1984; No. 29, pg. 40.
BRIDGET FLYNN'S REEL (Ríl Bhríd Ní Fhloinn). Irish, Reel. E Minor/Dorian.
Standard. AB (Black): AAB (Breathnach). Bridget Flynn was the name of Martin
Mulvihill’s mother, and this was one of her tunes. Source for notated version:
fiddler Martin Mulvihill (
X:1
T: Bridget Flynn's
S: M. Mulvihill
Q: 350
Z:Transcribed by Bill Black
R: reel
M: 4/4
L: 1/8
K: Edor
FA | BE (3EFE DEFA | BE (3EFE D2 FA | BE (3EDE BAFA | ABAF E2 FA |
BE (3EFE DEFA | BE (3EFE D2 FA | BE (3EDE BAFA | ABAF E2 :|
FA | Beed e2-ed | (3Bcd ef gfed | Bddc d4 | BcdB ADFA |
Beed
e2 ed | (3Bcd ef gfef | g4 f3 d | BcdB A2 :|
BRIDGET McBRIDE. Irish, Reel. G Major. Standard tuning. AB. O'Neill (Krassen), 1976; pg.
106. Francis O’Neill said of source Cronin: “…he would play on for hours at a
time such tunes as memory presented, his features while so engaged remaining as
set and impassive as the sphinx…it was his open boast that he never forgot nor
forgave an injury…” Source for notated version:
X:1
T:Bridget McBride
M:C|
L:1/8
R:Reel
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
d | gedc BGBd | cBcA ABcA | B>G
(3GGG GBdB | cBAG FGBd |
gedc BGBd | cBcB ABcA | BcdB Bdeg | fdcA
G2 || de |
fefg fedB | cBAG FGAd | g2 ga gfdg |
fgaf g2 de |
f2 fg fedB | cBAG FGAc | BcdB cdeg |
fdef g3 ||
BRIDGET McRORY (Brigid ni Micruaidri). Irish, Double Jig. G Major.
Standard tuning. AABB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 933, pg. 173.
X:1
T:Bridget McRory
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of
Z:AK/Fidder’s Companion
K:G
g | dBG GF G| BAB GFG | dBG Abd |
e2A A2g | dBG GFG |
BAB GAB | gfe dBA | B2G G2 :: g |
gAg gfe | aAa agf |
gag gfe | a2e agf | gfe dBA | B2G G2
:|
BRIDGET MY TREASURE. Irish, Air (3/4 time). G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 34.
X:1
T:Bridget My Treasure
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
G | G2 GB d>G | F2 F2 A>F | E2 D>EF>D | “tr”E>D D2 :: Bc |
d>B d2 g>f | e>d B3d | ed/B/ A2 BG | A>G G2 :|
BRIDGET OF THE MILDEST
SMILE. Irish, Air (2/4 time). F Major.
Standard tuning. One part. Stanford/Petrie (Complete
Collection), 1905; No. 725, pg. 182.
X:1
T:Bridget of the Mildest Sile
M:2/4
L:1/8
S:Stanford/Petrie (1905), No. 725
Z:AK/Fiddler’s Companion
K:F
D/E/ | F>G A=B | c>A d/c/A/G/
| A>G FE | DE FF/G/ | AA de | f2 ed |
f/e/d/c/ d/c/A/G/ | Ad d F/G/ | AA
de | f2 ed | f/e/d/c/ d/c/A/G/ | Ad d D/E/ |
F>G A=B | c>A d/c/A/G/ | AA/G/
FE | DE F2 ||
BRIDGET
O’MALLEY (Brid Og Ni Mhaille). Irish, Air (3/4 time). D Major.
Standard tuning. One part. The original lyrics are in Irish Gaelic. One
translation begins:
***
Oh Bridget O’Malley, you’ve left my heart
shaken,
With a hopeless desolation I’d have you to
know;
It’s the wonders of admiration your quiet face
has taken
And your beauty will haunt me wherever I go.
***
Peter Kennedy
has a somewhat different translation. He recorded the song from Conal O’Donnell
in Ranafast,
BRIDGIE CON MATT’S. AKA and see “Johnny
Leary’s (Polka) [2],” “Willie
Doherty’s.” Irish, Polka.
BRIDGIE CON MATT’S
FAVOURITE. AKA and see “Johnny Leary’s (Polka) [4],”
“Willie Doherty’s.” Irish, Polka. D
Major. Standard tuning. AB. Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 293, pgs.
169-170. Globestyle Irish CDORBD 085, Billy Clifford -
“The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh
Luachra musicians). Topic 12T312, “Billy Clifford” (appears as “Willie
Doherty’s”). Topic 12T358, “Jackie Daly” (appears as “Johnny Leary’s”).
BRIDIE MORLEY’S. AKA and see “The Bangor Reel,” “Cronin’s (Reel) [2]," “Indian on the Rock,” “The Knotted Chord [1],” “Junior Crehan’s (Favorite).” “Bridie Morley’s Reels” were recorded in
BRIDIE’S JOY. AKA and see “Gleanntán
(or Glountane) Reel [3].” Irish, Reel.
BRIDIN BHEASACH. Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. Ó
Canainn (Traditional Slow Airs of
BRIER BUSH. Scottish, Fling (Reel). D Major. Standard tuning. AABB. The melody
appears as “My Little Peggy Love” in the 1821 music manuscript book of fiddler
John Burks. Burks was probably from the north of
X:1
T:Brier Bush
M:C
L:1/8
R:Scotch (Fling)
N:”Allegretto”
S:Harding’s All Round Collection
(1905), No. 7
Z:AK/Fiddler’s Companion
K:D
ABAF Adfd | AFED EDEF | ABAF Adfd |
AFEF Dz[Fd]z :|
|: fgfe dBdB | Adfd edBd | AGFd BAGg
| fdaf fzez |
defe dcBg | fgaf edca | fedB AfdB |
AFEF Dz [Fd]z :|
BRIER PIPE, THE. Irish, Hornpipe. A Major. Standard tuning.
AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south
BRIG, THE. AKA – “Da Brig.” Shetland, Jig. D Major.
Standard tuning. AABB. Composed by Shetland fiddler John Stickle after seeing a
sailing ship, a briganteen (hence 'brig'), pass the
X:1
T:Da Brig
L:1/8
M:6/8
S:Jay Ungar, learned from Aly Bain
K:D
(ABc)|d3 A3|AFD D2z|d3 A2F|E2g
(fef)|d3A3|AFD D2F|(E2F) G2A|B3:|
|:(ABc)|d2e f2d|c2e ecA|d2e f2d|g3 f2g|agf gfe|fed
edc|d2A F2D|B3:|
BRIG O' ABOYNE. Scottish, Strathspey ("slowly"). D Major. Standard tuning.
AA'B. The brig o' Aboyne spans the River Dee. The town of
BRIG(G)/
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Brig of Balater, The
M:C
L:1/8
R:Stathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
E|C>EG>A c>G A<a|g<c g>e d2 d>e|C>EG>A c>G A<a|g<c g>e c2c:|
e/f/|g<c e>c g<c f>a|g<c g>e d2 de/f/|g<c e>c g<c f>a|g>ce>d c2 ce/f/|
g<c
e>c g<c f>a|g<c g>e d2 d>e|C>EG>A c>G A<a|g<c
g>e c2c||
BRIG/BRIDGE O'
X:1
T:Brig O’
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|F<A A>F G>FE>D|F<A A>G F>A d2|F<A A>F G>FE>D|G<A,F<A, E/E/E B:|
c/B/|A<dde/f/ g>Af>A|g>Af>A (3efd (3cBA|A<d de/f/ g>fg>b|(3agf (3gfe d2 dc/B/|
A<dde/f/ g>AF>A|G>Af>A e>fg>b|(3aga (3def (3gfg (3Bcd|(3efd (3cBA (3ABG (3FED||
X:1
T:
M:C
L:1/8
R:Strathspey
S:Mackintosh – Thirty
New Strathspey Reels Etc. (1792)
K:C
F|E<CC>E G>AG>E |F>G
{A}GF/E/ FDDE/F/|E<CC>E G>AB>G|c<AG>F E>CC>F|
E<CC>E G>AG>E|F>G
{A}GF/E/ FDDE/F/|E<CC>E G>AB>G|c>agf ecc||
(g/f/)|e<gc>g e<cg>c|B<dG>d
B<Gd>B|e<gc>g ecg>e|f<dg>f ec (c/a/g/f/)|
e<gc<g ecg>c|B<dG>d
BGdB|e>cd>B cAGF|E<cD>B cCC||
BRIG O' FEUGH, THE. Scottish (originally),
BRIG O' KYLE, THE. Scottish, Strathspey. A Major. Standard
tuning. AB. Composition credited to Hugh Dunlop by Kerr. Kerr (Merry Melodies), vol. 3; No. 77, pg. 10.
X:1
T:Brig o’ Kyle
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 77
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A,>CE>F
E>A,C>E|A>Bc>e d<BB>c|A,>CE>F E>A,C>E|(3dcB (3cBA
(3FBA (3GFE|
A,>CE>F
E>A,C>E|A>Bc>e d>Bc|a>ga>e f>ae>d|c>eB>e
c<AA z || c>ee>f e>Ac>A|
c>e (ef/g/)
a>ed>B|c>ee>f e>Ac>A|G>BE>B B>cd>B|c>ee>f
e>Ac>A|c>e (ef/g/) a>ed>B|
(3agf (3edc (3dcB (3AGF|E<A,
d>B c<AAz ||
BRIG O'
X:1
T:Brig O'
C:Donald Dow
M:4/4
L:1/4
R:Strathspey
Q:120
K:Amix
A>c e>g f>d e>c | A>c
e>^g a>e c2 | A>c e>g f>d e>c | B>GB>d g>dB>G |
A>ce>g f>de>d |
c>Ac>e a2 f>g | a>fg>e f>de>c | d>B G>B g>d
B>G :|
A>ae>a c>ae>a |
c>Ac>e a>ec>B | A>ae>a c>ae>a | B>GB>d
g>dB>G |
A>ae>a c>ae>a |
c>Ac>e a2 f>g | a>fg>e f>de>c | d>BG>B g>dB>G
||
BRIG O' POTARCH, THE. Scottish, Strathspey. E Minor. Standard
tuning. AAB. From J. Scott Skinner's Logie Collection, composed by him for a
place in
X:1
T:Brig o’ Potarch, The
M:C
L:1/8
C:J. Scott Skinner
R:Strathspey
S:Skinner – Logie Collection
Z:AK/Fiddler’s Companion
K:G
B | G>F E<B B,<E G>B |
(AB/^c/ d>)A F<D D>F | G>F E<B B,<E G>A |
B>e ^d<f e<EE :| B | e>g
f<g e<b g>e | (AB/^c/ d>)A FMD [A,D>]^d |
e>g f<g e<b g>e |
(B^c/^d/ e>)B G<E [B,E>]B | e/f/g g/f/^d e/=d/c B/A/G |
(3AB^c (3dAG F<D D>F | G>F
E<B B,<E G>A | (3Beg (3fBb g<e e ||
BRIG OF TILT, THE. Scottish, Reel. D Major. Standard tuning.
AABB'. Kerr (Merry Melodies), vol. 2;
No. 154, pg. 18. MacDonald (The Skye
Collection), 1887; pg. 50. Stewart-Robertson (The Athole Collection), 1884; pg. 103.
X:1
T:Brig o’ Tilt, The
L:1/8
M:C|
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|FD F/G/A d2 AG|FD F/G/A GEEG|FD F/G/A d2 AB|dfeg fdd:|
g|fdad
bdad|fdaf geeg|1 fdad bdad|geag fdd:|2 fadf gbeg|ABde fdd||
BRIG O' TURK. Scottish, Reel. The tune appears in the Drummond Castle Manuscript (1734), with variations, a MS inscribed
"A Collection of the best Highland Reels written by David Young, W.M.
& Accomptant."
BRIGADE MARCH (or OLD NUMBER FOUR). AKA and see "Drunken Sailor [2],"
"Old Three‑part Two‑four,"
"The General [2]." American,
March.
BRIGGHAM HORNPIPE. English, Hornpipe. F Major. Standard tuning. AABB. Knowles (1995)
identifies this as a
BRIGGIE STANES. Scottish, Reel.
BRIGHT BLACK ROSE, THE (An Ros Geal Dub). Irish, Air (3/4 time). D Dorian
(Roche): D Mixolydian (O'Neill). Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 137, pg. 24. Roche
Collection, 1982, vol. 1; No. 27, pg. 15 (appears as "An Ros Geal
Dub").
X:1
T:Bright Black Rose, The
M:3/4
L:1/8
R:Air
N:”Gracefully”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
D/4(E/4F/4G/4A/B/) | =c2 (de) (fd) |
{f}(ed) (cA) (d/4B/4A/4G/>E/) | D2D2 (EC) |
{E}D4 (A/4B/4c/4d/e/) | {e}f2 (fa)
(gf) | f2 (eg) (fe) | d2 (ed) (d/c/A/G/) | A4 ||
(A/4B/4c/4d/e/) | {e}f2 (fa) (gf) | f2
(eg) (fe) | d2 (e>d) (d/4c/4B/4A/G/) |
E4 (E/4F/4G/4A/B/) | =c2 (d>e) (fd) | (e>d) (cA) (d/6e/6d/6A/4G/4E/D/) |
D2 (D>F) (E/D/C/4D/4E/4) | D4 ||
BRIGHT DAWN OF DAY, THE (Fáinne Geal an Lae). AKA and see “The Dawning of the Day [1].”
Irish, Air (2/4 time). F Major/Mixolydian (Stanford/Petrie): G Major
(Shields/Goodman). Standard tuning. One part (Stanford/Petrie): AB
(Shields/Goodman). The tune is better-known by the English title “The Dawning of
the Day” (see note for “Dawning of the Day” [1] for more). Sources for notated
versions: “From Skull. (sculptor) P. MacDowell, Esq.” [Stanford/Petrie]; vol. 1
of the James Goodman manuscript, 1861 [Shields]. Shields (Tunes of the
X:1
T:Bright Dawn of Day, The
M:2/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 390
Z:AK/Fiddler’s Companion
K:F
A/G/ | F>G AG/A/ | c/d/_e/c/ d2 |
c/A/G/F/ G>F | FF F (3c/d/e/ | fd ec |
d>c AG | A/G/A/c/ dd | d3
c/d/4e/4 | fd ec | d>c AG | A/G/A/c/ dd |
d3 A/G/ | F>G AG/A/ | c/d/_e/c/
dc/A/ | c/A/G/F/ GF | F3 ||
BRIGHT EVENING, A. Irish, Air (2/4 time). G Major. Standard tuning. AB. Source for notated
version: M. O’Brien [O’Neill]. O’Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 438, pg. 77.
X:1
T:Bright Evening, A
M:2/4
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D/E/|G>A Bd|eg dB/A/|GE/D/ GG|G3||B/d/|gf
ef/g/|af dB/d/|
ed/B/ d/e/f/a/|g3 B/d/|gf ef/g/|af
dB/d/|e>d B/A/B/d/|e3||
BRIGHT LADY, THE. Irish, Slow Air. D Mixolydian. Standard
tuning. AAB. Howe (1000 Jigs and Reels),
c. 1867; pg. 24. “Drones and Chanters.” Claddagh 4CC
32, Willie Clancy – “The Pipering of Willie Clancy, Vol. 1” (1980. Learned from
Leo Rowsome). Claddagh Records CC17, Seán Keane ‑ "Gusty's
Frolics" (1975).
T:Bright
Lady
M:C
L:1/8
R:Air
N:”Slowly
and tenderly”
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s
Companion
K:D
FG | A2 BG
FD D/G/F/D/ | FGAB =c2 d/c/B/c/ | A2 FD DFGF | D2 CD CD :|
(3A/B/c/ |
[F2d2] d>e f2 ed | e2 d/c/A/G/ A2 (3Abc | d2 dd e2 d/c/A/B/ |
=c3 d>d d3A | d2d2 de=cA | A2
A/G/F/D/ =cdcA | A2 FD DFGF | D2D2D2 ||
BRIGHT LOVE OF MY HEART
[1], THE (Grá Geal Mo
Chroí). AKA-
“Fair Love of My Heart.” Irish, Air (3/4 time). G Minor. Standard. AB. The
title appears in a list of tunes in his repertoire brought by Philip Goodman,
the last professional and traditional piper in Farney, Louth, to the Feis Ceoil
in
X:1
T:Bright Love of My Heart, The [1]
M:3/4
L:1/8
R:Air
N:”Gracefully”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G Minor
d>c | (B2A2G2) | (F2D3C) | (B,3
CDE) | (F2G2A2) | (B2A2G2) | (d3 cBA) |
(G2A2G2) | F2D2 (d>c) | (B2A2G2)
| (F2D3C) | (B,3 CDE) | (F2G2A2) |
B3 (c c/=e/^f) | g4 (dc) | (B2G2)
.G2 | G4 || (G>A) | (B3 cd=e) | f2d2f2 |
(g3 aba) | g2f2 (ga) | (b2a2g2) |
(f2d2c2) | d2g2 {b}a2 | g4 (b>a) | .g.b.a.g.f.e |
d4 (dc) | (B2A2G2) | F2D2 (GA) | B3
(c d/=e/^f) | g4 dc | (B2G2) G2 | G4 ||
BRIGHT LOVE OF MY
HEART [2] (A Grad
X:1
T:Bright Love of My Heart [2]
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
F>G | A>B A/G/F/D/ Adcd | FGAB
=c2 d/^c/B/c/ | A>BAG FDGF | D2G2G2 F>G |
A>B A/G/F/D/ Adcd | FGAB =c2
d/^c/B/c/ | A>BAG FDGF | D2D2D2 || (3A/B/c/ |
d2 d>e f2 ed | e2 d/c/A/G/ A2
(3A/B/c/ | d2 dd e2 d/c/A/B/ | =c2 d>d d3A | d2d2 de=cA |
AGFD cdcA | A>BAG FDGF | D2D2D2
||
BRIGHT MAY MOON, THE (Gealach Gheal na Bealtaine).
Irish, Reel. A Major. Standard tuning. ABC. Editor Jackie Small (CRÉ V, 1999) believes a simpler version
of this reel is “John Stenson’s
No. 2.” Source for notated version: an unknown manuscript [Breathnach].
Breathnach (CRÉ V), 1999; No. 121,
pg..
BRIGHT MAY MORNING, A (Maidin Geal Bealtaine). Irish, Reel. G Major. Standard
tuning. AAB (O'Neill/1001): AABB (O'Neill/Krassen). O'Neill (Krassen), 1976;
pg. 100. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 501, pg. 95.
X:1
T:Bright May Morning, A
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
501
Z:AK/Fiddler’s Companion
K:G
Gged B2 AG|(3FED AD BDAF|Gged B2
AF|DEGA BG G2:|
||gedB dBcd|eaa^g aeef|gedc
BcBA|Ggga bg g2|gedB cBcd|
eaa^g aee=g|bgaf gfeg|dega bg g2||
BRIGHT MORNING, A (Madain Geal). Irish, Air (2/4 time). G Major. Standard
tuning. AB. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
426, pg. 74.
X:1
T:Bright Morning, A
M:2/4
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 426
Z:AK/Fiddler’s Companion
N:”Moderate”
K:G
B/A/|G>A BA/B/|d/e/f/d/
ed/B/|{d}c/B/A/B/ G/B/A/G/|F2 ED/E/|G>A BA/B/|
d/e/f/d/ ed/B/|{d}c/B/A/B/ GG
|G3||(3d/e/f/|gefd|e>d BA|B/A/B/d/ e/g/f/d/|e3 (3d/e/f/|
ge fd|e>d BA|B/A/B/d/ f/a/g/f/|e3
B/A/|G>A BA/B/|d/e/f/d/ ed/B/|{d}c/B/A/B/ GG|G3||
BRIGHT MOUNTAIN. See "White Mountain."
BRIGHT PHEOBUS. English, Air (3/4
time). D Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. III), 1808; pgs. 26-27.
BRIGHT ROSY MORNING, THE.
English (?), Air (3/4 time). C Major. Standard tuning. One part. Howe (Complete Preceptor for the Accordeon), 1843; pg. 26.
X:1
T:Bright
Rosy Morning, The
M:3/4
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
G2 | c e3
dc | d f3 ed | e2c2B2 | c4G2 | c d3 dc | d f3 ed | e2c2B2 | c4 ef |
gfed ef | g4 fe | fg agfe | d4G2 |
c2 e2 dc | df3 ed | e2c2B2 | c4 ||
BRIGHT STAR OF MUNSTER. AKA and see “Birds in the
Bushes,” “Eight O’Clock Train,”
“Kitty’s Wishes,” "The Star of Munster."
BRIGHT SUN'S GLORIOUS
RAY. AKA and see "The Merry Merchant [2]."
BRIGHT VISION, A. AKA and see “Aisling Gheal.”
BRIGHT VISIONS WALTZ. Scottish, Waltz. G Major ('A', 'B', 'C' parts): D Major ('D' part).
Standard tuning. ABCDD. Composed by G.A. de Maur. Kerr (Merry Melodies), vol. 1; No. 1, pg. 50.
BRIGHTEST EYES. AKA and see “Jolly
Clam-Digger’s,” “Old Blackthorn,”
“Rising Sun [2].” American, Reel. D
Major. Standard tuning. AABB. See also variants “Sweeney’s Dream” (as recorded by New
York/Sligo fiddlers Paddy Killoran and Paddy Sweeney) and “Girl With the Laughing Eyes.”
Cole (1000 Fiddle Tunes), 1940; pg.
34. Ryan’s Mammoth Collection, 1883;
pg. 60.
X:1
T:Brightest Eyes
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | B(F/G/) .A/(d/e/f/) |
g/f/e/d/ f/d/B/c/ | d(F/G/) A(A/B/) | A/F/E/G/ F/D/D/A/ |
d(F/G/) .A/(d/e/f/) | g/f/e/d/
f/d/B/c/ | d(F/G/) A(d/e/) | f/a/e/f/ d :: (3e/f/g/ |
a/f/b/f/ a/f/d/f/ | g/f/e/d/
(c/d/)(3e/f/g/ | a/f/b/f/ a/f/d/f/ | a/b/a/g/ (f/d/)(3e/f/g/ |
a/f/b/f/ a/f/d/f/ |g/f/e/d/ f/d/B/c/
| d(F/G/) A(d/e/) | f/a/e/f/ d :|
BRIGHTHELMSTONE HOT BATH. English, Jig. D Major. Standard
tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). The Public Advertiser of October
10th, 1769, published “a letter from Brighthelmstone, Oct. 4th,”
which gives the following:
***
This day Lady Hart and Miss Harriot
Cecil, attended by Dr. Awsiter, laid the first Stone for
erecting at this Place a Set of hot
and cold Sea-Water Baths for the Use of those whose
Health may require more constant
bathing than the sea will naturally admit of, as well as
Persons labouring under particular
Disorders, for the suppression of which hot Baths are
peculiarly efficacious. I cannot but
congratulate the Public on this Event, as all who in future
have Occasion to frequent this Place
may bathe regularly and constantly, and may also vary
that bathing from Cold to Hot, or
otherwise, as their respective Infirmities demand. As these
Baths are planned, and to be
executed under the immediate Care and Director of Dr. Awsiter,
the Gentleman who some Time since
favoured the World with some ingenious Remarks on
the general and particular Use of
bathing in Salt-Water, I have no Doubt that when finished
they will give entire Satisfaction,
and fully evince how weakly and malevolently are founded
those Cavils and Objections that
Ignorance and Envy have raised to this truly laudable and
salutary Scheme.
***
Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 153.
X:1
T:Brighthelmstone Hot Bath
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:D
dfa gec|dfa gec|dfd Bge|ced cBA|dfa gec|dfa gec|dfd Bge|cBc d3:|
|:FGA
AB=c|B^cd cde|dAd eAe|faf {f}”tr”e3|FGA AB=c|B^cd cde|dag fed|ABc d3:||
BRIGHTNESS OF MY HEART
[1] (Gile Mo Chroí). Irish, Air (3/4 time). G Major.
Standard tuning. One part. Tubridy (Irish
Traditional Music, Vol. 1), 1999; pg. 46.
X:1
T:Gile mo Chroí [1]
T:Brightness of My Heart [1]
L:1/8
M:3/4
K:G
G2A2|B2d2c2|B4
A2|G2A2G2|F4E2|(E6|E4)F2|G2F2E2|
G4A2|B4c2|d2B2G2|(A6|A4)A2|G2F2E2|G4A2|B4c2|\
d2B2G2|(A6|A2)G2A2|B2d2c2|B4A2|G2A2G2|F4E2|(E6|E6)||
BRIGHTNESS OF MY HEART
[2] (Gile Mochroidhe). Irish, Air (6/8 time). F Major.
Standard tuning. AAB. “A setting of this has, I think, been printed in
O’Farrell, but the one I give here is much better” (Joyce). Joyce (Old Irish
Folk Music and Songs), 1909; No. 832, pg. 403.
X:1
T:Gile Mochroidhe [2]
T:Brightness of My Heart [2]
M:6/8
L:1/8
N:”Graceful and moderately slow”
S:Joyce – Old Irish Folk Music
and Songs (832)
Z:AK/Fiddler’s Companion
K:F
Bcd G2G | G2F FEF | G2A B2c | d2g
f<d c | Bcd G2G | G2F FEF |
B2c d2B | G2G G2 :| G | B2c c2e |
f2g d2c | B2c def | g3 d2d |
g2a g2f | d2d cBc | d2d cBA | G3 d2c
| Bcd G2G | G2F FEF | G2A B2c |
d2g f<d c | Bcd G2G | G2F FEF |
B2c d2B | G2G G2 ||
BRIGHTON CAMP. AKA and see "Girl
I Left Behind Me [1]," "Blyth Camps," "Bride in Camp," "Spailpin Fanac(h) [1]."
English; Air, Morris Dance (Polka Step), March, or Country Dance Tune (2/2
time). England; North‑West, Sussex. G Major (most versions): E Flat Major
(Chappell, Scott). Standard tuning. One part (Chappell, Scott): ABB’ (Sharp):
AABB (most versions). The name Brighton is derived from a compound Saxon name (Beorhthelm’s tun, or ‘Beorhthelm’s farm
or village’) in which the first part is reduced to one syllable. The town of
Brighton is in east Sussex and was originally a fishing village that became
very popular in the 1760’s with the growing fashion for bathing. While still a
prince, George IV visited the spa starting in 1783 and purchased an estate
nearby, engaging architect John Nash to transform it into the elegant oriental
Pavilion which is today a tourist attraction. William IV also stayed there but
Queen Victoria found it vulgar and sold it to the Brighton Corporation in 1850
for £50,000.
***
English musicologist William
Chappell (1859) dates the song to 1758, reasoning from the fact that there were
encampments on the coast of England in 1758 and 1759 to watch for the French
fleet which had been threatening invasion of the island. When the English navy
defeated the French later in 1759, the fears which established the watch camps
dissipated and then were ridiculed in pantomime and farce in London. The air
was printed in a MS. of c. 1770 once in the possession of a Dr. Rimbault, but
also appears in march form in MS. collections of military music of that time.
Kidson (Groves) says he can only
reliably date it to 1797, from a manuscript collection then in his possession.
The English novelist Thomas Hardy, himself an accordionist and fiddler,
mentions the tune in scene notes to The
Dynasts:
***
A June sunrise; the beams struggling through the window curtains.
A canopied bed in a recess on the left. The quick notes of 'Brighton
from fifes and drums without.
***
Perhaps because the tune was so
commonly found throughout English musical tradition it was collected from
morris dance musicians from many Cotswold villages, including Adderbury,
Bampton, Bidford, Eynsham, and Headington. The Eynsham tune is a bit different
than the usual (in the very early 20th century collector Cecil Sharp thought
the Eynsham team was the most vigorous morris team he witnessed, and was
impressed by their speed and high kicks). In modern times the tune is
considered a ‘beginner’s tune’ at some English sessions. It should be noted
that Irish claims for provenance of the tune are quite robust (see note for “Girl I Left Behind Me”).
***
I'm lonesome since I crossed the hill,
And o'er the moor and valley,
Such heavy thought my heart do fill
Since parting with my Sally.
I seek no more the fine and gay,
For each does but remind me
How swift the hours did pass away
With the girl I left behind me,
With the girl I left behind me.
***
Source for notated version: Joe
Trafford (Headington) [Bacon & the Carey MSS]. Bacon (The Morris Ring), 1974; pgs. 34, 62, 143, 197a. Chappell (Popular Music of the Olden Time), vol.
2, 1859; pgs. 187‑188. Scott (English
Song Book), 1926; pg. 8. Sharp (Country
Dance Tunes), 1909/1994; pg. 1. Trim (Thomas
Hardy), 1990; No. 42. Wade (Mally’s
North West Morris Book), 1988; pg. 4. Topic
TSCD458, John Kirkpatrick - “Plain Capers” (1976).
BRIGHTON HORNPIPE. AKA
and see “Duke of Leinster [3],” “The Five Pound Note,” “Hennessy’s,” “The
Kildare Hornpipe,” “O’Neill’s Hornpipe,” “Peggy Morrissey,” “Pretty Maggie
Morrissey,” “The Strip of Turf (Ciumhais na Móna),” “The Wexford Hornpipe.”
Irish, Hornpipe.
BRIGHTON PUZZLE, THE.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 6.
X:1
T:Brighton Puzzle, The
M:2/4
L:1/8
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:D
F/G/|[FA][FA][FA] F/G/|[FA][FA][FA]
d/c/|B/A/G/F/ EA|FD D F/G/|[FA][FA][FA] F/G/|[FA][FA][FA] d/f/|
edcB|A/^G/A/B/ A::f/g/|aaa f/g/ aaa
a/f/|eg/e/ ce/c/|df/d/ A f/g/|aaa f/g/|aaa g/a/|bgec|d2 d:||
BRIGID INJEN SUIBNE
BAIN. Irish, Air (3/4 time). D Minor.
Standard tuning. One part. Stanford/Petrie (Complete
Collection), 1905; No. 1074, pg. 272.
BRIGID OF KNOCK. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by fiddler and
composer Ed Reavy (1898-1988) of County Cavan/Philadelphia, in honor of his
wife Brigid from the town of Knock. Reavy (The
Collected Compositions of Ed Reavy), No. 97, pg. 110.
X: 1
T:Brigid Of Knock
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:Named for Ed's wife, who came from Knock.
N:She was part of everything he did. To me,
N:she represents the warmth, beauty, and love
N:that inspires each of us to value what
N:we are and what we came from.
K:G
(3DEF | GFGA Bdgf | agfc ed^cd | BGDG cAFG | ABcB AG (3FED |
G,B,D=F ECEG | FDFA GBAc | Bgfd cAFA | G2 GF G2 :: fg |
afdg bgfa | gfge dcBd | ceAc BcdA | FAcA FD (3CB,A, |
G,B,D=f ECEG | FDFA GBAc | Bgfd cAFA | G2 GF G2 :||
BRIGID O’MALLEY (Brighid Ní Mháille). Irish, Air (3/4 time). E Minor. Standard
tuning. AB. Carolan’s song is printed in Hardiman’s Irish Minstrelsy (I, 74). “This is the proper air too, and not
‘Lough Sheelin’, as Hardiman states at p. 128 of the same volume.” Source for
notated version: copied by Joyce around 1873 from a manuscript lent him from
near Lough Conn, County Mayo. Joyce (Old
Irish Folk Music and Songs), 1909; No. 304, pgs. 142-143.
X:1
T:Brigid O’Malley
T:Brighid Ní Mháille
M:3/4
L:1/8
R:Air
N:”Rather slow and with expression”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:E Minor
AG|E2 EGAB|c2 cded|cBA>B
A/G/E/D/|E2E2 AG|E2 EGAB|c2 BAGA|
B2e2e2|e4||ef|g2 fged|e2
e>fdB|A>GAB A/G/E/D/|E2 E>DEG|
A2 AGAB|c>B Ac BG|E2G2G2|G4||
BRIGIDIN DEAS NI
DALAIG. AKA and see "Sweet Biddy Daly."
BRIGIDIN DEAS UA
BAILE-MUIRNE. AKA and see "Sweet Biddy of Ballyvourney."
BRIGIDIN DUB-SUILEAC. AKA and see "Black Eyed Biddy."
BRIGIDIN NI
MAELMOCEIRIGE. AKA and see "Biddy Early."
BRIGIDIN NI
MAOLDOMNAIG. AKA and see "Biddy Maloney."
BRILLIANCE. AKA and see "Brilliancy."
BRILLIANCY. AKA‑ "Brilliance," "Brilliancy Medley." AKA
and see "Liverpool Hornpipe
[1]," "Louisville
Hornpipe." See also related tunes "Drunken Billy Goat," "Miller's Reel," "Wake Up Susan." Old‑Time,
Texas Style. USA, west Texas. A Major. Standard tuning. AABB (Christeson,
Phillips/1994): AABBCC (Phillips/1995): AABBCCDDEE (Brody). John Hartford and
others note that the first strain of "Passaic Hornpipe" is the same as
this tune, as is "Trafalger
Hornpipe" (the latter is cognate with the ‘A’ and ‘C’ parts of
“Brilliancy”). Stacy Phillips remarks that the tune is a combination of "
X:1
T:Brilliancy Medley
B:Dave Swarbrick Takes a Bow
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
g2 | aece aece | aecA BA F2 | E3 B cBcA | B2
e2 e2
eg | aece aece | aecA BA F2 | E2 EF ABcA | B2 A2
A2 :|
E2 | A2 cA G2 BG | FEFG AGFE | D2 FD C2 EC | B,G,B,C B,DCB,|
A,CEF A2 cA | BABc dBAG | Bcde fgaf | edcB
A2 :|]
X:2
T:Brilliancy Medley
D:Eck Robertson, Master Fiddler
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
(3efg | a2 ga f2 eg | aecA BA F2 | A,2 C2 DA,CA, | B,2 E2 G2
eg | aecA Bcde | aecA BA F2 | A,CEG A2 f2 |
ecBG A2 :|
(3EFG | AB c2 GABG | FEFG AGFE | D2 FD C2 EC | B,A,B,C
DCB,C |
A,CEF A2 cA | BABc d2 cB | ABce fgaf | edcB
A2 :|
BRING BACK THE CHILD. Irish, Jig. Green Linnet GLCD 1184, Patrick
Street – “Made in Cork” (1997).
BRING HER BEN AND BORE
HER BETTER. Scottish. The melody appears in the
manuscript James Gillespie made in Perth in 1768.
BRING HOME THE BRIDE. Irish, March (4/4 time). G Dorian. Standard tuning. AB. Joyce notes
this is a ‘hauling home’ tune, i.e. a melody played to accompany the bride and
groom from the church to their house after the wedding. Joyce (Old Irish Folk Music and Songs), 1909;
No. 470, pgs. 261-262.
X:1
T:Bring Home the Bride
M:C
L:1/8
R:March
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G Dorian
C | DGGA B2 AG | AABc d2 eg | fdcA
d3 cA | GFD>D D2C2 | DGGA B2 AG | AABc d2 eg |
fdcA d2 cA | AGGG G2 || c2 | ddef g2
fg | addc B2 AG | BABc d2 cA | GFD>D D2C2 |
DGGA B2 AG | AABc d2 eg | fdcA de/d/
d/c/A/G/ | AGGG G2 ||
BRING OUT THE CIDER. American, Polka. D Major. Standard tuning. AAB. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor
Tavern), 2004; pg. 8.
BRING THAT GAL ALONG. Old‑Time, Breakdown. G Major. Standard tuning. ABB. Ford (Traditional Music in America), 1940; pg.
69.
BRINK OF THE WHITE
ROCKS [1], THE (Bruac Na
Cairraige Báine).
AKA and see "Bruac Na
Carraige Báine," "The West's Asleep," "The Lament for the Milesians."
Irish, Air (6/8 time, "gaily"). E Aeolian. Standard tuning. AB
(O'Neill): AAB (Roche). The three versions are variations of each other.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 83, pg. 15. Roche Collection, 1982; vol. I, pg. 9,
No. 7. Shanachie
SH78041, Solas – “The Hour Before Dawn” (2000).
X:1
T:Brink of the White Rocks, The [1]
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 83
Z:AK/Fiddler’s Companion
K:E Minor
(9A,/4B,/4C/4D/4E/4F/4G/4A/4B/4|c2d
B2G|A>GE D2 B/A/|G>FE DB,D|E3E2||
E/F/|G2F GAB|d2e B2A|G2E
GAB|e>fe/d/ d2 (9A,/4B,/4C/4D/4E/4F/4G/4A/4B/4|
c2d B2G|A>GE D2 B/A/|G>FE
DB,D|E3E2||
BRINK OF THE WHITE
ROCKS [2], THE. Irish, Air (6/8 time). A Aeolian.
Standard. AB. Roche Collection, 1982;
vol. I, pg. 9, No. 8.
BRINK OF THE WHITE
ROCKS [3], THE (Bruac Na
Cairraige Báine).
AKA and see "Bruach Na
Cairraige Báine." Irish, Air (6/8 time, "gaily"). Ireland,
Munster. E Minor (O'Neill): D Minor (O'Sullivan/Bunting). Standard. AB.
O'Sullivan (1983) remarks there are a number of versions of this tune,
including five printed in Petrie's 1855 volume, pgs. 137-143 (one appears under
the title “Ar Thaoibh na Carraige
Baine”), while Ó Canainn (1978) reports the music can be found in John
O’Daly’s Poets and Poetry of Munster
(1849). O'Daly has a story that the song was written for a wedding gift for the
Blacker family about the year 1666. Carrick in this version is identified with
the townland of Carrick Blacker, near Portadown, and O’Daly records that the
song was composed as a welcome home to Elizabeth, daughter of Colonel Robert
Stuart, of the Irry, Co. Tyrone, grand-daughter of the first Lord Castlewart.
Others have suggested that Carrick/Cairraige refers to Carrick-on-Suir on the
Tipperary/Waterford border. The air retains some currency among traditional
musicians today. This, the Munster version, is quite different from northern
versions. Lyrics begin:
***
Is thiar cois abhann gan bhréag gan dabht,
Ta an ainnir chiúin tais mhánla
Is gur ghile a cam ná an eala ar an dtonn
Ó bhaitheas go bonn a gróige.
Is d’fhág sí I m’intinn brónach
Is leigheas le fáil nil agam go brách
Ó dhiúltaighmoghrá gheal domsa.
***
And west by the river, without a doubt or lie
There is a quiet gentle beauty,
And her waist is as bright as any swan on the wave
From the crown of her head to the soles of her feet.
She is the woman that tormented my heart
And left me heartbroken.
There is nothing that will cure me
Since my true love rejected me.
***
Source for notated version: Source
for notated version: The Irish collector Edward Bunting noted the melody for
his 1840 collection from a blind man at Westport in 1802. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 84, pg. 15. O'Sullivan/Bunting,
1983; No. 26, pgs. 42-43. Shanachie SH78041, Solas –
“The Hour Before Dawn” (2000. Learned from the singing of James Begley).
X:1
T:Brink of the White Rocks, The [3]
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 84
Z:AK/Fiddler’s Companion
K:Emin
B2^d e2f|g2f e2=d|BdB AFA|d3
B2A|B2^d e2f|{a}g2f e2=d|BdB AF{A}G/F/|E3E2||
BdB AFD|d2e f2z|e2d BAB/^c/|d3
B2A|B2^d e2f|{a}g2f e2=d|BdB AF{A}G/F/|E3E2||
BRIOGAIS MHIC RUARAIDH. AKA and see "The Stolen Breeks."
BRIOGAN SEAMBO. Scottish, Reel. G Mixolydian. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 158.
X:1
T:Briogan Seambo
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
c|B/c/d dg ecce|BG G/G/G A=FFc|B/c/d dg ecce|BGAF G2G:|
c|BGdG BGG_B|A=FcF AFFA|BGdG BGG_B|A=FcA G2 G>c|
BGdG
BGGc|A=FcF AFFc|BcdB cdec|BGAF G2G||
BRIS NA FUINNEOGA. AKA and see "Smash the
Windows."
BRISEAD BONAPART. AKA and see "Bonaparte's
Retreat."
BRISEADH NA BOINNE. AKA and see "Boyne Water [1]."
BRISK BOB. Scottish, Strathspey. B Minor. Standard tuning. AA'B. Attributed to
Duncan Mackintyre by Gow. Gow (Complete
Collection), Part 1, 1799; pg. 38. Kerr (Merry Melodies), vol. 3; No. 35, pg. 6. Stewart-Robertson (The Athole Collection), 1884; pg. 130.
X:1
T:Brisk Bob
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bmin
B/c/|d<B f>B F<B B>c|d>e f/e/d/c/ d<A AB/c/|1d<B f>B F<B B>d|
ef/g/ f>e d<B~B:|2 B<dc<e d<fe<g|f>g f/e/d/c/ d<B~B||f|b<f g>e f<d B>c|
d>e f/e/d/c/ d<A A>f|b<f g>e f<d B>g|f<d f/e/d/c/ d<B B>f|b>fg>e f>de>c|
d<B
f>B d<A AB/c/|d>Be>c f<d g>e|f>F f/e/d/c/ d<B~B||
BRISK IRISH LAD. AKA and see "Brisk Young Lad(‘s),"
"The Jolly Old Man."
BRISK YOUNG LAD('S), THE. AKA and see "Brisk
Irish Lad," "Mary the Maid,"
"Bung Your Eye," "The Jolly Old Man," "There Came A Young Man." Irish,
English, American; Slide or Jig. USA, New England. G Minor (Raven): A Minor
(Cole, Miller & Perron, Tolman). Standard tuning. AABB. Composition
credited to one Tom Doyle in Ryan’s
Mammoth Collection. Don Meade points out that the set dance Hurry the Jug
is based on this jig. The tune is also popular in Scotland as a pipe jig where
it can be found with a variety of titles: “The Big Headed Man” (Fear a’ Chinn
Mhòir),” “The Bride’s Jig,” “Fear an Dùin-Mhòr” (He of the Big Fort), “Lord Dunmore,” “The Man with the Big
Head,” "Mary the Maid,"
“There Came a Braw Lad to My Daddy’s Door,” “There Came a Young Man,” “There was a Young Man,” “Traverse
the Rough Hills,” “Travelling the Rugged Country” (Shiulbhail na Garbhlich).
Cole (1000 Fiddle Tunes), 1940; pg.
74. Kerr (Merry Melodies), vol. 1;
No. or pg. 31. Miller & Perron (Irish
Traditional Fiddle Music), 1983; No. 16. Raven (English Country Dance Tunes), 1984; pg. 118. Ryan’s Mammoth Collection, 1883; pg. 106. Tolman (Nelson Music Collection), 1969; pg. 1. F&W Records 2, "F&W String Band 2."
Fretless 200a, Yankee Ingenuity‑‑"Kitchen Junket."
X:1
T:Brisk Young Lad’s, The
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:Amin
E | (A>B)A c2d | edc (B2.A) |
(G>A)G B2c | dge dBG | (A>B)A c2d | edc Bcd |
(e2.A) AB^G | (A3a2) :: B |
(c>de/f/) (g2.a) | gec gec | (G>AB/c/) (d2.e) |
dBg dBG | (c>de/f/) (g2.a) | gec
de^g | (a2.A) AB^G | (A3a2) :|
BRISK YOUNG SOLDIER. Old-Time, Breakdown. D Major. Standard tuning. AAB. Source for notated
version: Harvey Taylor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 37.
BRÍSTE BRÉIDÍN, AN. AKA and see "The
Frieze Breeches/Britches [1]."
BRISTIDE NA m-BAN. AKA and see "The Ladies'
Pantalettes."
BRÍSTÍN MIRE, AN (The Frieze Breeches). AKA and see “The Frieze Breeches/Britches
[1].”
X:1
T:Bristol Fair
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:G
GAB “tr”B3|ABc “tr”c3|B/c/dB c2B|ABG FED|GAB “tr”B3|ABc “tr”c2e|dcB AGF|G3 G,3:|
|:GBd
gdB|gdB gdB|A^ce ae^c|ae^c ae^c|GBd gdB|gdB gdB|(AB/c/B) AGF|G3 G,3:||
X:1
T:
L:1/8
M:C
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:A
(3efg|a>ec>e
A>ce>a|f>dB>G A2 B>c|d>ef>e d>cB>A|G>AF>G E2
(3efg|
a>ec>e
A>ce>a|f>dB>G A2 B>c|d>fe>d c>BA>G|B2 (A2 A2):|
|:e>d|ceAe ceAe|dfBf dfBd|ceAe
ceAc|B>AG>F E>fe>d|
ceAe ceAe|fdBf dfBf|e>ag>f
e>dc>B|A2 c2 A2:|
BRISTOL LASSES. English, Reel. England, Northumberland. G Major. Standard tuning. AAB.
The name Bristol (Glouchestershire) is an Anglo-Saxon name, given as Bricgstow
in 1063, ‘the meeting place by the bridge.’ It was an important Saxon town,
having its own mint, and later became England’s second port. Eleanor of
Brittany, the granddaughter of Henry II, was confined by king John in 1203 at
various castles in the area and remained a prisoner for thirty-nine years until
her death at Bristol Castle. Queen Elizabeth I visited Bristol in 1574 and
remarked that the Church of St. Mary’s was the “fairest and goodliest” church
in the land.Seattle (William Vickers),
1987, Part 3; No. 526.
BRISTOL TENNESSEE BLUES. Old-Time, Country Blues. Document 8039, “The Hill Billies/Al Hopkins and His Buckle
Busters: Complete Recorded Works in Chronological Order, vol. 1” (reissue).
BRISTOL WELLS.
English, Jig. G major. Standard tuning. AABB. The melody (with dance
instructions) appeared in two London periodicals in 1755, R. Baldwin’s London
Magazine, or the Gentleman’s Monthly Intelligencer, and John Hinton’s Universal
Magazine of Knowledge and Pleasure. It also appears in John Johnson’s 200
Favourite Country Dances, vol. 8 (1758). There were hot-springs at Bristol
Wells, Gloucestershire, that had a sedative effect and were thought to be
curative of a number of illnesses. Resorts sprung up to serve the needs of the
fashionable class that frequented them. Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 1), 1757; No. 98.
X:98
T:Bristol Wells
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:G
g2b
afd|(e/f/g)e dBG|c2e dBG|FAA A3|g2b afd|(e/f/g)e dBG|(c/d/e)c (B/c/d)B|DGF G3:|
|:dBG Bdg|dBG Bdg|bgd bgd|eAA A3|dBG Bdg|dBG Bdg|dgd (B/c/d)B|DGF G3:||
BRITAINS, THE. AKA and see “Wooden
Shoes.” English, Country Dance Tune (2/2 time). C Major. Standard tuning.
AABB. Sharp notes: “To the tune of ‘Wooden Shoes’.” Sharp (Country Dance Tunes), 1909; pg. 70.
X:1
T:
M:6/4
L:1/8
R:Jig
S:Henry Playford – Dancing Master (Part II, 1696)
K:C Minor
G2|c3d c2c2c2G2|c3d c2c2c2G2|c3d e2
d3 e(dc)|=B4G2 G4_A2|
B2_A2G2 A2G2F2|d2e2f2 =B4 _A2|G3F
E2D4 C2|(C6 c4):|
|:D2|E4F2 G3FE2|G2A2B2 B4 (_AG)|c4d
e2d2c2|d2e2f2 f4(ed)|
g4 _a2b2a2g2|f4e2 f2e2d2|e2d2c2
c4=B2|(c6 c4):|
BRITANNIA. English, Air. The melody appears in the Gillespie Manuscript (1768).
BRITANNIA HORNPIPE, THE. Shetland, Hornpipe. F Major. Standard tuning.
AAB. Composed by Shetland fiddler, teacher, collector and composer Tom Anderson
(1961). Anderson (Ringing Strings),
1983; pg. 78.
BRITCHES FULL OF
STITCHES. AKA and see "O the Breeches Full of Stitches,"
“The Breeches On,” "The
Britches," “The Irish Lad(’s
a Jolly Boy).” Irish, Polka. A Major. Standard tuning. AABB. The American
tune "Leather Breeches"
appears to be a variant. The tune is in the repertoire of County Clare fiddler
Martin Hayes. Peter Wood (in his 1996 book The
Living Note: the Heartbeat of Irish Music), remarks on Hayes version:
***
That's an old tune, played in different settings all over the country.
player from Feakle. When Bane played it in a session it was like a
lull in the converstation, a breathing space. He learned it from Paddy
Canny's father, Martin's uncle. Listening to Martin play it, it's like
music from a séance--it goes way back, that tune.
***
The tune is perhaps first mentioned in Irish
novelist and Fenian Charles Kickham's novel Knocknagow, or the Homes of
Tipperary, first published in 1879, in which this ditty is sung by a jew’s
harp player who first plays the tune for a vistor who has torn his pants, then
sings:
***
Oh, my breeches full of sticthes,
Oh, my breeches buckled on.
***
Mallinson (100 Polkas), 1997; No. 38, pg. 15. Roche Collection, vol. 2; No. 240, pg. 20. Tayor (Crossroads Dance), 1992; No. 62, pg. 47.
Taylor (Music for the Sets: Blue Book),
1995; pg. 7. CCF2, Cape Cod Fiddlers – “Concert
Collection II” (1999). Columbia Legacy CK 48693, "The Best of the
Cheiftains" (1992). Kicking Mule KM‑327, "Scartaglen"
(1984. Learned from the playing of Planxty). Shaskeen ‑ "My Love is
in America."
X:1
T:O, the Britches Full of Stitches
L:1/8
M:2/4
K:A
A>B cA|BA ce|A>B cA|BA FE|A>B
cA|BA (3cde|A>B AF|FE E2:|
|:e>f ec|BA (3Bcd|e>f ec|BA
FE|e>f ec|BA (3cde|A>B AF|FE E2:|
BRITCHES MAKER, THE. Scottish, Jig. G Aeolian. Standard tuning.
AABB. Carlin (The Gow Collection),
1986; No. 323.
BRITISH FIELD MARCH. English (?), March (4/4 time). A Minor. Standard tuning. AABB. Backshift BASH CD51, Chris Coe – “A Wiser Fool” (2001).
X: 1
T:British Field March
M:4/4
L:1/8
Q:90
S:As played by Hookes Law learned
from Janet Kerr
O:Quincy Dillion - (Fifer in the
American Civil War)
Z:Johnny Adams -Village Music
Project
K:Am
AB cd e2 a2 | ga ge dB GB | AB cd e2
a2 | g2 ^f2 e4 |
AB cd e2 a2 | ga ge dB GB | g2 ge dB
AG | EGAB A4 :||:
AB (3cBA BcdB | G2 Bc dB (G2 | G3)B
cB AG | EGAB A4 |
AB (3cBA BcdB | G2 Bc dB G2 | g3 e
dBAG | EGAB A4 :||
BRITISH FIELD MARSHAL
AT NEW ORLEANS. Old-Time, Breakdown. A Minor.
Standard tuning. AABB. Phillips notes the tune should actually be played slower
than a breakdown. Source for notated version: Skip Gorman and Mark Jardine with
the Deseret String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 26.
BRITISH GRENADIERS, THE. English, March, Reel, or Morris Dance Tune
(4/4 time). D Major (Kerr, Raven, Sweet): G Major (Bacon, Wade). Standard
tuning. AABB (Kerr, Raven, Sweet, Wade): ABBABBACCACC (Bacon). The origins of
the “British Genadiers,” one of the most famous of English martial tunes, can
be traced to a song called “The New Bath” published by Playford in the late 17th
century, however it may be older than even that. Walker, in his History of Music in England (1924)
concludes the present melody “is the result of some three centuries’ evolution
of an Elizabethan tune.” One version was printed in the Edinburg Musical Miscellany of 1738, and another version exists
from 1745. By the time of the American Revolution, the tune was quite well
known and had been popular for nearly a century; popular enough certainly to
have fostered many 18th century parodies. According to Christopher
Ward (1952) it was played by British military musicians during the Battle of
Brandywine in September of 1777. The melody appeared in the revised version of
the burletta pantomime Harlequin
Everywhere "which reopened in January, 1780 at Covent Garden {London},
after the Americans had been bloodily thrown back from Savannah, Ga., during
the War of Independence" (Winstock, 1970, pg. 30).
***
It was well-known in the Colonies
and by American musicians during and after the Revolution. It appears in William
William’s 1775 manuscript printed in Pautuxit, Rhode Island. The Henry Brown
and Mr. Thompson manuscripts (1789 and 1790, respectively) included the tune,
both calling it “Vain Britons, Boast No Longer,” an expression of
post-Revolutionary pride.
***
The subjects of the title,
grenadiers serving in the English army, were originally soldiers who threw
grenades "and thus tended to be long in arm, big, tall men" according
to historian Byron Farwell (1981). Grenades went out of fashion for some time
in European warfare, but grenadier companies consisting of the tallest men were
usually attached to battalions and were thought of as specialized, somewhat
elite troops, so that "...by the First World War the term 'grenadier' had
so changed its meaning that when the grenade throwers returned to the
battlefield there were objections to calling them grenadiers and they became
known as 'bombers' (Farwell). It is a tradition, says David Murray (Music of
the Scottish Regiments, Edinburgh, 1994, pg. 179), that “The British
Grenadiers” is the march past of all British fusilier regiments, “an allusion
to the bursting grenade badge which all share in some form or another.”
***
“The British Grenadiers” has entered
morris dance tradition as a polka step tune for North‑West Morris and a
Cotswold morris from the village of Longborough, Gloucestershire.
***
The following lyrics appears with
the tune in the Edinburg Musical
Miscellany:
***
Some talk of Alexander, and some of Hercules,
Of Conon and Lysander, and some miltiades;
But of all the world’s brave heroes there’d none that can compare
With a tow, row, row, row, row to the British Grenadiers;
But of all the world’s brave heroes there’d none that can compare
With a tow, row, row, row, row to the British Grenadiers.
***
Bacon (The Morris Ring), 1974; pg. 252. Jarman (Old Time Fiddlin' Tunes); No. or pg. 33. S. Johnson (The Kitchen Musician No. 4: Collection of
Fine Tunes), 1983 (revised 1991, 2001); pg. 3. Kerr (Merry Melodies), vol. 3; No. 380, pg. 42. Raven (English Country Dance Tunes), 1984; pg.
150. Sweet (Fifer’s Delight), 1964;
pg. 18 (two versions). Wade (Mally’s
North West Morris Book), 1988; No. 16. F&W
Records 4, "The Canterbury Country Orchestra Meets the F&W String
Band."
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:British Grenediers
M:2/4
L:1/8
R:March
S:Kerr – Merry Melodies, vol. 3, No.
380 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A| dAde | fg/f/ ef/g/|ad
f/e/d/c/|d/D/E/F/ G/A/B/c/|dAde|fg/f/ ef/g/|
Ad
f/e/d/c/|d3::f|a>bag|f>gaa|bb a/g/f/e/|(e2c)A|dc/d/ ed/e/|fe/f/ gf/g/|ad
f/e/d/c/|d3:|
BRITISH HERO, THE. English, Scottish; Jig. England, Northumberland.
G Major. Standard tuning. AABB. Glen (1891) finds the tune first in print in Neil Stewart's 1761 collection (pg. 30).
Seattle (William Vickers), 1987, Part
3; No. 442.
BRITISH HORNPIPE, THE. Scottish, Hornpipe. B Flat Major. Standard
tuning. AABB. A hornpipe with nine measures in each part, composed by G.S.
Murray. Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; pg. 56.
T:British Hornpipe, The
L:1/8
M:C
R:Hornpipe
K:Bb
B/2c/2d/2e/2|(3f^ef b>f (3d_ef
B>d|(3F^EF B>F D>FB>d|(3c=Bc e>c A>cF>E|
D>FB>d g>Ag>f|(3f=ef
b>f (3d_ef B>d|(3F=EF B>F D>FB>d|c>=Bc>e
g>Ag>f|(3f=ef (3^fgA (B2 B):|
|: B/2c/2d/2e/2|f3 d B3 F|(3DEF
B,>D F>Bd>=B|c3 B A3 G|F>Ac>e g>Ag>f|
f3 d B3 F|(3DEF B,>D
F>Bd>B|c>=Bc>e g>Ag>f|(3f=ef (3^fga (b2 b):|
BRITISH MARCH.
Old-Time, March (6/8 time). USA, Arkansas. G Major. Standard tuning. AB.
Source Absie Morrison maintained that this march was played by a British army
band while that were stacking their arms at Cornwallis’s surrender at the
Battle of Yorktown in 1781 (see also “The World Turned Upside Down”
for another such tale). The origins of the music remain obscure. Source for
notated version: Absie Morrison (1876-1964, Searcy County, Arkansas)
[Beissenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes),
2008; pg. 102.
(((♫
))) Absie
Morrison (Arkansas) |
BRITISH MUSE. English, Air (cut time). A
Major. Standard tuning. AABB. The melody was published in Samuel Holyoke’s Instrumental Assistant (Exeter, N.H.,
1800). Mattson & Walz (Old
X:1
T:British Muse
M:C|
L:1/8
S:
K:A
c2 dc|B2e2A2 (Bc)|B4 (cd)ed| c2 (BA)
B4|A4 c2 dc|B2e2A2 (Bc)|
B4 (cd)ed|c2 (BA) “tr”B4|A4::c2
de|f2f2e2d2|c4 c2cd|
e2 fe d2c2|B4 c2dc|B2e2A2 Bc|B4
(cd)ed|c2 (BA) “tr”B4|1 A4:|2 A8||
BRITISH NAGGON. AKA and see "Brides Away."
BRITISH PRESS, THE. Scottish, Slow Air (2/4 time). G Minor.
Standard tuning. AAB. Composed by Alexander Walker. According to Paul Stewart
Cranford (1991) the tune still has currency among Cape Breton fiddlers. Walker
(A Collection of Strathspeys, Reels,
Marches, &c.), 1866; No. 194, pg. 67.
BRITISH TARRS, THE. Scottish. Glen (1891) finds the tune first in
print in Daniel Dow's c. 1775 collection
(pg. 10).
BRITONS, STRIKE HOME. English, Air. D Major. Standard
tuning. AB. The air appears in John Gay's Beggar's
Opera (1729), though it had originally been composed by Henry Purcell for
his opera Bonduca. It appears in the Gillespie Manuscript (1768). The melody
was popular in the Revolutionary War with the British army, and presumably
their Tory sympathizers. Sir Henry Clinton, one of the British commanders,
called for it to be played at a ball in occupied New York, to which an American
girl in attendance retorted he must have made a slip and should have said
'Britons, Go Home'" (Winstock, 1970, pg. 73). Still, many Americans of the
period identified with Britain, even if in a state of rebellion, and the tune
perhaps had the meaning for them of supporting a just rebellion as Britions
should. It appears, for example, in the music manuscript copybook of Henry
Livingston, Jr., along with many other British tunes and songs. Livingston purchased the estate of Locust
Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major
in the 3rd New York Regiment, which participated in Montgomery’s
invasion of Canada in a failed attempt to wrest Montreal from British control.
An important land-owner in the Hudson Valley, and a member of the powerful
Livingston family, Henry was also a surveyor and real estate speculator, an
illustrator and map-maker, and a Justice of the Peace for Dutchess County. He
was also a poet and musician, and presumably a dancer, as he was elected a
Manager for the New York Assembly’s dancing season of 1774-1775, along with his
3rd cousin, John Jay, later U.S. Chief Justice of Governor of New
York. Raven (English Country Dance Tunes),
1984; pg. 69. Winstock (Songs and Music
of the Redcoats), 1970; pg. 74.
BRITTANIA’S PROMISE.
English, Country Dance Tune (2/4 time). A Major. Standard tuning.
AABBCC. The melody first appeared in John Hinton’s periodical Universal
Magazine of Knowledge and Pleasure (London, 1759) followed by a printing in R.
Baldwin’s London Magazine, or The Gentleman’s Monthly Intelligencer
(London, 1762). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2), 1765; No. 43.
X:1
T:Brittania’s Promise
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
f|eAcA|GABd|cAeA|fAaA|eAcA|GABd|cAac|A/A/A A:|
|:E|CEAc|BEcE|Beec|BAGE|CEAc|BEcE|afec|A/A/A A:|
|:d|cAGA|EGBd|cAac|{c}BAGB|EGBd|cAac|BdcB|A/A/A
A:||
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.