The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

BRIDGE - BRITT

[COMMENT3] 

 

[COMMENT4] 

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 NEWTOWN, THE. Irish, Reel. E Major. Standard tuning. AA’BBCC’. Composed in 1989 by Irish fiddler Seamus Connolly (who has lived in eastern Massachusetts since 1976) in honor of accordion player and composer Paddy O’Brien (1922-1991, Newtown, near Nenagh, Co. Tipperary). The Bridge is where O’Brien lived, and was a focus of Irish traditional music in the region. Seamus and Paddy played together in the group Innis Cealtra and later as a duo for many years. Arhoolie C‑334, Seamus Connolly ‑ "Masters of the Folk Violin" (1989).

See also listing at:

Alan Ng’s Irishtune.info

           

BRIDGE OF ALFORD [1], THE. Scottish, Reel. D Major. Standard tuning. Composed by A. Troup in the 19th century. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 80, pg. 28.

 

BRIDGE OF ALFORD [2], THE. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1966; No. 195, pg. 67.

           

BRIDGE OF ANAS. AKA and see "Braes of Angus." Scottish, Reel. D Dorian. Standard tuning. AAB. Glen (1891) finds the piece first in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 58.

X:1

T:Bridge of Anas, The

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:D Dorian

A | D/D/D F>D E2c2 | GFED CDEC | D/D/D FD E2d2 | c>Ac>E D/D/D D :|

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 ||

                       

BRIDGE OF ATHLONE [1], THE (Droicead Ata Luain). AKA and see "Humours of Whiskey [2]," "Dever the Dancer," "The Peeler's/Policeman's Return," "Deel of the Dance," "Dillon's Fancy [2]," "The Crossroads Frolic," "Humours of Derry." Irish, Long Dance. D Major. Standard tuning. ABCD (Roche): ABCDD’ (Mulvihill). The Bridge of Athlone, over the river Shannon, connects Connaught and Leinster. It was built in 1566, the ninth year of the reign of the English Queen Elizabeth. Originally built of wood, it was 360 feet long and 14 feet wide, had nine arches with pillars built on stones thrown into the river and held in position by wooden pilings. During the late 17th century the Bridge of Athlone was the site of a fierce struggle in 1691 between the Jacobite forces and the forces of William of Orange, led by the Dutch general Ginkel, who eventually succeeded in crossing the flow. A new bridge was constructed in 1884, featuring a swivel span to accommodate larger boats, and was itself replaced by a fixed span in the 1960’s. The tune has long been used for a group (ceili) dance of the same name. The ‘B’ part differs from “The Humours of Whiskey” family of tunes. Jordan (Whistle and Sing), 1975; 48. Mulvihill (1st Collection), 1986; No. 16, pg. 122. Roche Collection, 1982; vol. III, pg. 44, #140.

 


BRIDGE OF ATHLONE [2], THE. Irish, Hornpipe. B Flat Major. Standard tuning. AABB. The hornpipe was famously recorded on 78 RPM by Sligo fiddle great Michael Coleman in New York. O'Neill (Krassen), 1976; pg. 202. Connolly & Martin (Forget Me Not), 2002; pgs. 16-17. O'Neill (Music of Ireland: 1850 Melodies), 1979/1979; No. 1721, pg. 320. Green Linnet GLCD, Joe Derrane – “Return to Inis Mor” (1996).

X:1

T:Bridge of Athlone, The [2]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1721

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:|

 

BRIDGE OF ATHLONE [3], THE. Irish, Set Dance (Consisting of March:Jig:March:Jig: March:Jig:March). G Major. Standard tuning. Marches are AABB, Jigs are one part. Allan's Irish Fiddler, No. 121, pg. 32.

                       

BRIDGE OF BALATER. See "Brig of Balater."

                       

BRIDGE OF BAMORE, THE. Scottish (originally), Canadian; Reel. Canada; Cape Breton, Prince Edward Island. A Major. Standard or AEae (Cape Breton) tunings. AAB (Dunlay & Greenberg, Stewart-Robertson): AA’B (Perlman). The tune is frequently played in raised or ‘high’ bass tuning on Cape Breton. See notes under "High Bass Reel." Sources for notated versions: Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 135. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 94. Stewart-Robertson (Athole Collection), 1884; pg. 3. ACC-4968, Kinnon Beaton - “A Sprig of Ivy” (1989). CLM 1001, Carl MacKenzie - “And his Sound is Cape Breton” (1981). Overton 1829-I-LM 88, Dwayne Cote - “Introduction” (1992). Rounder 7012, Winnie Chafe - “Highland Memories of Cape Breton” (1979). Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned from her uncle, Buddy MacMaster). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

X:1

T:Bridge of Bamore

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|]

           

BRIDGE OF BANFF, THE. Scottish, Reel. A Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 37, pg. 14.

           

BRIDGE OF BRACKLIN, THE.  Scottish, Reel. C Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 70.

X:1

T:Bridge of Bracklin, The

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 70  (1852)

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 ||

 

BRIDGE OF BRECHIN, THE. Scottish, Strathspey. F Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 2; No. 195, pg. 22.

X:1

T:Bridge of Brechin, The

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 BUCKET, THE. Scottish, Reel. A Major. Standard tuning (or ADae, a la Allie Bennett). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 20, pg. 7. Allie Bennett – “Its About Time” (2004).

           

BRIDGE OF DEE. See "Brig of Dee."

           

BRIDGE OF FORTH, THE. Scottish. Glen (1891) finds the tune first in print in Joshua Campbell's 1778 collection (pg. 65).

           

BRIDGE OF FOSS, THE. Scottish. Glen (1891) finds the tune first in print in Robert Ross's 1780 collection (pg. 1).

           

BRIDGE OF GAIRN, THE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 93, pg. 32.

           

BRIDGE OF GARRY, THE. Scottish, Reel. A Major. Standard tuning. AAB (Gow, McGlashan): AABB' (Kerr, Stewart-Robertson). The bridge of Garry is “at Struan,” notes McGlashan. Gow (Complete Repository), Part 4, 1817; pg. 34. Kerr (Merry Melodies), vol. 2; No. 18, pg. 5. McGlashan (A Collection of Reels), c. 1786; pg. 32 (appears as “Bridge of Gary”). Stewart-Robertson (The Athole Collection), 1884; pg. 20.

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||

           

BRIDGE OF INVER, THE. AKA and see "MacIntosh of MacIntosh." Scottish (originally), Canadian; Reel. Canada; Cape Breton, Prince Edward Island. B Flat Major. Standard tuning. AAB. Composed by James Macintosh. James Macintosh (1791-1879) was, according to J. Murray Neil (The Scots Fiddle, 1991), a member of a musical family that produced six skilled fiddlers in three generations. James’ father was a contemporary, friend and neighbour of the famous Scots fiddler Niel Gow’s in Inver, Dunkeld, Perthshire, and played in the latter’s band. James and his brother Charles took lessons from Niel and remained close to the family. James attempted a career as a joiner, explains J. Murray Neil, but, when invited to Edinburgh by the Gow sons to play in their band (the ‘Reel players of Scotland’, a celebrated string band of up to 20 skilled musicians), he at once departed for the city. In addition to his professional playing, Macintosh established a reputation as a music teacher in Edinburgh and had several compositions printed by Lowe (1840) and later Kerr. Source for notated version: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resides in Rollo Bay) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 55, pg. 16. MacDonald (The Skye Collection), 1887; pg. 126. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 114. Stewart-Robertson (The Athole Collection), 1884; pg. 286.

X:1

T:Bridge of Inver, The

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 LODI, THE. AKA and see “Down Back o’ Shoddy,” "Hell on the Potomac [3],” "Hunter's Hornpipe [1]," "Huntsman's Hornpipe," "The Lochmaben Hornpipe," "Lord Nelson's Hornpipe," "Nelson's (Hornpipe) [2]," "Saxon's Hornpipe," “Worcestershire Hornpipe.” Scottish, English; Hornpipe. C Major (Carlin): D Major (Raven). Standard tuning. AABB. A very popular hornpipe melody that exists in 19th century musicians’ copybooks under a variety of titles. The Bridge of Lodi was the site of one of Napoleon’s earliest and most important victories in Italy, early in his career. The melody appears under this title in the music manuscripts of William Clarke (Feltwell, Norfolk) dated 1858. Dorset writer Thomas Hardy wrote a poem called “The Bridge of Lodi,” inspired two fold by the hornpipe and by a trip to Italy in the Spring of 1887. The first two stanzas begin:

***

When of tender mind and body,

I was moved by minstrelsy,

And that air “The Bridge of Lodi

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:Bridge of Lodi, The

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 :|

           

BRIDGE OF LYON.  Scottish, Strathspey. G Major. Standard tuning. AAB. Composed by Malcolm MacDonald, the melody first appears in his first collection of 1788, dedicated to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1), c. 1788; pg. 22-23.

X:1

T:Bridge of Lyon

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 ||

 

BRIDGE OF NAIRN, THE. AKA and see "The Old Man ill never die." Scottish. John Glen (1891) finds the tune earliest in print in Robert Bremner's second collection, 1768 (pg. 109).

           

BRIDGE OF NEWE, THE. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 128, pg. 44.

           

BRIDGE OF PERTH, THE. Scottish, Reel. A Mixolydian. Standard tuning. AB (Surenne): AAB (Gow, McGlashan, Skye): AABB (Athole). Composed by Daniel Dow, probably to commemorate the opening of the Tay bridge at Perth, which was completed in 1772. The tune was first published the following year. John Glen (1891) finds the tune first printed in Dow's c. 1775 collection (pg. 9). Gow (Complete Repository), Part 4, 1817; pg. 28. MacDonald (The Skye Collection), 1887; pg. 15. McGlashan (A Collection of Reels), c. 1786; pg. 27. Stewart-Robertson (The Athole Collection), 1884; pg. 23. Surenne (Dance Music of Scotland), 1852; pg. 51.

X:1

T:Bridge of Perth, The

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:Bridge of Perth

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:|

                         

BRIDGE OF PORTUMNA.  Irish, Reel. A Major. Standard tuning. ABC. Composed by Martin Mulhaire.

X: 1

T: Bridge of Portumna

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 ||

                       

BRIDGE OF SPEY, THE. AKA – “The Boat of Bog.” Scottish, Strathspey ("Slow when not danced"). D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). The stone four-arched bridge across the river Spey at Fochabers was completed in 1804 and took three years to erect. Its cornerstone was laid by the Marquis of Huntly, the son of Marshall’s employer the 4th Duke of Gordon, with great public ceremony. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 33. McGlashan (A Collection of Reels), c. 1786; pg. 13 (appears as “The Boat of Bog”).

X:1

T:Bridge of Spey

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.”

           

BRIDGE OF TILT, THE. Scottish, Reel. D Major. Standard tuning. AAB. Hunter (Fiddle Music of Scotland), 1988; No. 208 ("as played by Angus Cameron").

           

BRIDGE OF TURK, THE.  Scottish, Reel. G Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 73.

X:1

T:Bridge of Turk, The

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, County Longford, was the object of O'Carolan's unrequited love affair thought he met her after he lost his sight. Unfortunately, Bridget did not return his affections, but even so, O’Carolan composed fifteen songs in her honor (O’Neill, 1913). The family was not adverse to harpers, however. Arthur O’Neill (1734-1818) mentions in his Memoirs that he stopped at the seat of Peter Cruise, “nephew to Carolan’s favorite, Bridget Cruise,” on his way home from the third and last Granard harp competition in the 1780’s. Complete Collection of Carolan's Irish Tunes, 1984; No. 26, pg. 39. Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

 


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 (County Limerick, Ireland/Bronx, NY) [Black, Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 335, pg. 179. Breathnach (CRÉ III), 1985; No. 187, pg. 84. Green Linnet Records SIF 1012, "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: Chicago fiddler Edward Cronin, originally from County Tipperary; a composer, weaver and machinist [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1254, pg. 236.

X:1

T:Bridget McBride

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1254

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 Ireland (1903), No. 933

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, County Donegal, although O’Donnell told Kennedy the song had come from a friend who was a Gaelic teacher in County Mayo. The friend had brought it back with him to Donegal,  where it had become very popular. The earliest printed versions is in the Hardebeck manuscripts (1939, Government Publications, M.103, Dublin). Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 9. Kennedy (Folksongs of Britain and Ireland), 1975; No. 27, pg. 82. Shanachie SHAN-CD79016, Silly Wizard – “So Many Partings” (1990).

                                               


BRIDGIE CON MATT’S. AKA and see “Johnny Leary’s (Polka) [2],” “Willie Doherty’s.” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major/E Minor. Standard tuning. AABB. The tune is named for fiddler Bridgie Kelleher. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 101, pg. 59. Gael-Linn CEF 132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

 

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 New York in 1937 by the flute duet of Edward Meehan and John McKenna, although they are better-known today under the titles “Knotted Cord” and “Hunter’s Purse.”

                       

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 Ireland), 1995; No. 111, pg. 94.

                       

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 England, although nothing is known of him. Harding’s All Round Collection, 1905; No. 7, pg. 2‑3.

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 County Armagh. Keegan (The Keegan Tunes), 2002; pg. 67.

                       

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 island of Unst. Shanachie 79002, "The Boys of the Lough" (1973).

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 Aboyne, reports Neil (1991), was developed in the latter half of the 19th century, but was originally a settlement surrounding the castle which lies to the north of the modern town. The composer of the tune was Peter Milne, "The Tarland Minstrel," who was born in Kincardine O'Neil in 1824. He was a self‑taught fiddler but proved a prodigy who at the age of 17 was playing in the Theatre Royal in Aberdeen, and later led an orchestra in Edinburgh. Scott Skinner was one of Milne's pupils and musical partners and was greatly influenced by the man, naming him one of the finest native musicians Scotland ever produced. Unfortunately, Milne's later life was one of poverty and debilitated circumstances which began after he became addicted to laudanum (an opiate) which he originally took for rheumatism. Neil (The Scots Fiddle), 1991; No. 61, pg. 85.

                       

BRIG(G)/BRIDGE OF BAL(L)ATER, THE. AKA and see "Mr. Fletcher's Delight." Scottish, ("Very Slow") Strathspey. C Major. Standard tuning. AB (Skye): AAB (Athole, Gow, Glen): AABB' (Kerr). Brig is the Scottish for 'bridge.'  The Bridge of Ballater, spanning the river Dee, was built by James Robertson of Banff and was completed in 1783. It was a five-span masonry structure, however, it did not last long for in 1799 the Dee was in spate and it was totally destroyed. It is this bridge that was referenced in the title. A replacement structure was not completed until 1809, built on plans from the great engineer Thomas Telford. It was again a five-span bridge, but this time built of granite. It too, however was carried away, this time in the “Great Spate” of 1829. The present bridge is the 4th Bridge of Ballater, a Victorian span dating from 1885. The melody is attributed to Scots fiddler-composer Niel Gow (1727-1807) in his First Collection (1784/1801). Carlin (The Gow Collection), 1986; No. 16. Glen (The Glen Collection of Scottish Music), vol. 2, 1895; pg. 17. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 24. Kerr (Merry Melodies), vol. 2; No. 84, pg. 11. MacDonald (The Skye Collection), 1887; pg. 186. Stewart-Robertson (The Athole Collection), 1884; pg. 67. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

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' DEE [1], THE. Scottish, Strathspey. D Major (Athole, Honeyman, Hunter, Kerr, Skinner): C Major (Glen). Standard tuning. AB (Glen, Honeyman, Hunter, Kerr): AAB (Athole, Skinner). A well‑known strathspey composed by James Young (1815‑1851), born in Montrose, who later moved to Aberdeen to teach and lead an orchestra in the Theatre Royal, Marischal Street (Hunter, 1988). The bridge has stood since the year 1520, a seven-arched structure over the River Dee in Aberdeen. It was restored in 1718-21 and widened in the 19th century by architect John Smith, but still features the original 16th century piers, coats of arms and passing places. The Brig o’ Dee also refers to the surrounding area of the city of Aberdeen. Source for notated version: “As played by P(eter) Milne” [Skinner]. Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 34. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 8. Hunter (The Fiddle Music of Scotland), 1988; No. 91. Kerr (Merry Melodies), vol. 2; No. 149, pg. 18. Skinner (Harp and Claymore), 1904; pg. 73. Stewart-Robertson (The Athole Collection), 1884; pg. 93.

X:1

T:Brig O’ Dee, The  [1]

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||

 

BRIDGE OF DEE [2], THE. Scottish, Reel. D Major. Standard tuning. AAB. The companion reel to the strathspey of the same name, also composed by James Young (1815-1851). Source for notated version: Joseph Lowe’s Collection, Book 4 [Henderson]. Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 207.

 

BRIDGE OF DEE [3], THE.  Scottish, Strathspey. C Major. Standard tuning. AB. Composed by Abraham Macintosh, the strathspey appears in his Thirty New Strathspey Reels Etc. (Edinburgh, c. 1792). Johnson (A Twenty Year Anniversary Collection), 2003; pg. 16.

X:1

T:Bridge of Dee [3], The

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||

                       

BRIDGEPORT. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 17.

                       

BRIG O' FEUGH, THE. Scottish (originally), Cape Breton. Composed by J. Scott Skinner for a place in Scotland he visited. There is also a “Brig o’ Feugh” credited to fiddler Peter Milne, a mentor and sometime partner of Skinners, in Charles Middleton’s Selection of Strathspeys & Reels,  etc.,  arranged Expressly . . . by Peter Milne,   Violinist late of Aberdeen . . . Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977).

                       

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' PERTH, THE. Scottish, Strathspey or Highland Schottische. A Mixolydian. Standard tuning. AB (Kerr): AAB (Honeyman, Martin, Skinner). Composed by Donald Dow, an Edinburgh composer and music teacher who lived from 1732 to 1783, perhaps most famous as the composer of “Money Musk.” Dow published a collection of Scots tunes called Thirty-seven new reels and strathspeys (1775) which appears to be the first collection to include the word "strathspey" in its title. His family is known to have stayed in Strathardle and his son (John Dow) was born "at Kirkmichael. Dow, whose first name has been given as Daniel or Donald (both acceptable translations for the Gaelic ‘Domhnull’) was buried in the Canongate Kirk, Edinburgh on January 20th, 1783. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 20 (Strathspey). Kerr (Merry Melodies), vol. 1; No. 17, pg. 20 (Highland Schottische). Martin (Traditional Scottish Fiddling), 2002; pg. 22. Skinner (Harp and Claymore), 1904; pg. 103. Topic 12TS266, John Grant – “The Caledonian Companion” (1975).

X:1

T:Brig O' Perth, The

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 Scotland he had visited. Hunter (Fiddle Music of Scotland), 1988; No. 71. Skinner (The Scottish Violinist), pg. 23.

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. USA, Southwestern Pa. G Major. Standard. ABC. The well-known “What shall we do with a drunken sailor” tune. The name comes from fifers in the Civil War, who played the piece in performances, when the tunes were often numbered. Collected by Bayard from the Mount Pleasant Tablatures in the 1950's. Bayard (Dance to the Fiddle), 1981; No. 224B, pgs. 180‑181.

                       

BRIGGHAM HORNPIPE. English, Hornpipe. F Major. Standard tuning. AABB. Knowles (1995) identifies this as a Lake District tune. Knowles (A Northern Lass), 1995; pg. 18.

           

BRIGGIE STANES.  Scottish, Reel. Scotland, Shetland Isles. F Major. Standard tuning. AAB. Composed by Shetland fiddler Ronnie Jamieson, who explained that the title refers to the stones which form the path in front of traditional croft houses in Shetland (Miller). Miller (Fiddler’s Throne), 2004; No. 132, pg. 87. Farmhouse Music CD-FHM 010, Ronnie Jamieson – “Jarl Summers Time” (1998). HRM 01, Henderson, Reid & MacKenzie – “Da Homin” (2006). 

           

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 Ireland (1903), No. 137

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 Munster Pipers), 1998; No. 1, pg. 5. Stanford/Petrie (Complete Collection), 1905; No. 390, pg. 99.

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 Ireland (1903), No. 438

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).

X:1

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 Belfast in 1898 (Breathnach, 1997). Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 43, pg. 8. O’Neill (O’Neill’s Irish Music), 1915; No. 1, pg. 11.

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 Ireland (1903), No. 43

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 Geal Mo Croide). Irish, Air (4/4 time). D Mixolydian. Standard tuning. AB. Source for notated version: credited to Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s Collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 379, pg. 66.

X:1

T:Bright Love of My Heart [2]

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 379

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

Camp' or 'The Girl I Left Behind Me,' strike sharply into the room

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 "Passaic," "Trafalgar" and "Dew Drop" (the ‘B’ part) hornpipes. See also the related tune "Butterfly Hornpipe." There is some thought that "Brilliancy" was Eck Robertson's name for the set of variations he developed for "Drunken Billy Goat," though Charles Wolfe (1997) states the tune is an amalgam of several fiddle tunes including “Drunken Billygoat” in combination with “Wake Up Susan,” “Old Billy Wilson” and “Bill Cheatum.” The piece was one of Robertson’s best known pieces and sold over 2,600 copies when it was released in September, 1930 (Wolfe, 1997). Harry Smith (Folkways FA2952, 1952) writes: “’Eck’ Robertson was one of the pioneer rural recording artists, with unaccompanied solos issued by Victor thirty years ago. His playing in the present recording is quite archaic in its studied and exaltant formality, but the medley of traditional tunes is more suited to the popular dance steps of the 1920’s than for the square dance.” Sources for notated versions: Red Williams [Christeson]; Eck Robertson (West Texas) [Brody]; Howard Forrester [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 5. Brody (Fiddler’s Fakebook), 1983; pg. 57‑58. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 37. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 183. County 507, Eck Robertson‑ "Old‑Time Fiddle Classics." Folkways FA2952, Eck Robertson (1922) ‑ "American Folk Music, vol. 2." Rounder 0046, Mark O'Conner‑ "National Junior Fiddle Champion." Sonyatone 201, Eck Robertson‑ "Master Fiddler." Victor 40298A (78 RPM), Eck Robertson & Family {1929. 2nd fiddle by Dr. J.B. Cranfill}.

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.

‘Si an stáidbhean í a chráigh ma chroí

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].”

 

BRISTOL FAIR. English, Jig. G Major. Standard tuning. AABB. The melody first appeared in Sylvanus Urban’s periodical The Gentleman’s Magazine and Historical Chronical (as “Bristol Fair, A Dance”) printed in London in 1753. It was later published by John Johnson in Choice Collection of 200 Favourite Country Dances, vol. 7 (London, 1756) and Charles and Samuel Thompson’s 1757 country dance collection. In manuscript, it appears in the music copybooks of Cheapside, London, musician Walter Rainstorp (dated 1747) and Northumbrian musician William Vickers (1770). The name Bristol (Glouchestershire) is an Anglo-Saxon name, given as Bricgstow in 1063, ‘the meeting place by the bridge.’ The fair at Bristol was a major economic and cultural event, drawing traders and merchants from throughout England’s West Country and Ireland. Seattle (William Vickers), 1987, Part 3; No. 524. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 49.

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:||

 

BRISTOL HORNPIPE, THE. AKA and see "Blacksmith's Hornpipe [2]," "Slayley Bridge Hornpipe." English, Scottish; Hornpipe. England, Northumberland. A Major (Honeyman, Kennedy, Kerr, Raven): G Major (Hall & Stafford). Standard tuning. AB (Kerr): AABB. 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. See also the related “Lemmie Brazil’s No. 2.” Peter Kennedy (1951) gave “Blacksmith’s Hornpipe” as an alternate title for the tune, although his source for that title is unknown. Philip Heath-Coleman who researched “Bristol Hornpipe” says that it is found in Wales as “Smith’s Hornpipe,” although “The Blacksmith’s Hornpipe” usually refers to a variant of “Fisher’s Hornpipe.” Hall & Stafford (Northumbrian Minstrelsy), 1974; pg. 45. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 44. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 24; pg. 12. Kerr (Merry Melodies), vol. 1; No. 18, pg. 44. Raven (English Country Dance Tunes), 1984; pg. 175.

X:1

T:Bristol Hornpipe

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.

 

BRITAINS [2], THE.  English, Jig (6/4 time). C Minor. Standard tuning. AABB. The melody appears in Henry Playford’s Dancing Master, Part II (1696, supplement to the 9th edition) and in John Walsh’s Compleat Country Dancing Master (London, 1718). Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; pg. 84, No. 350. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 15.

X:1

T:Britains [2], The

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):|

                       

BRITAIN’S SUCCESS.  English, Jig. A Minor. Standard tuning. AABB. The melody was first printed in London publisher John Young’s Part II of the Dancing Master (3rd edition, 1718, and later in the 4th edition of 1728), and in John Walsh’s Second Book of the Compleat Country Dancing Master (London, 1719). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 15.

 

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.

It's a simple tune and his version of it follows Joe Bane, the whistle

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 Fort Snelling), 1974; pg. 54 (set as a duet for two fifes).

X:1

T:British Muse

M:C|

L:1/8

S:HolyokeInstrumental Assistant (1800)

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:||

 

BRITTANY. See “Llydaw.”

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 


 [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.