The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
BRA LADS OF GALLOWATER. Scottish, Air (4/4 time). G Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 30.
X:1
T:Bra Lads of Gallowater
M:C
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
G/A/ | B2 (A>G) G3B | d3e (dBAG) | B2A2 g3f | ed g>f e2 dd | d2 (ef) g3a |
(b>a)ge
g3B | B2A2A2 B>d | e>d (g>f) e3d ||[COMMENT5][COMMENT6]
BRABHADH CEARBHALLAIN (Carolan's Devotion). AKA and see "Miss Fetherston."
BRACHANLOAM. Scottish, Air (4/4 time). G
Major. Standard tuning. AB. Johnson (Kitchen
Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised
2001); pg. 1.
BRACKEN LANE, THE. Irish, Air (4/4 time). D Major. Standard
tuning. One part. Source for notated version: piper Phillip Goodman (
BRACKEN’S. Irish, Jig. E Minor. Standard
tuning. AABB. Source for notated version: transcribed by Bernie Stocks from the
playing of Ciaran Kelly at a session in
BRAD WALTERS. Old‑Time.
BRADLEY’S (JIG).
Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009).
Cranford (Jerry Holland: The Second Collection), 2000; No. 246, pg. 90.
BRADLEY’S POLKA. See “Pete Bradley’s [2].”
BRADLEY’S REEL. Canadian, Reel.
BRADY’S (REEL). Irish, Reel. D Major. Standard tuning.
AABB. The title probably refers to
X:1
T:Brady's
R:reel
D:Fisherstreet
Z:id:hn-reel-627
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
fded B2FB|AF~F2 DFAd|fded BAFA|Beed e2de|
fded B2FB|AF~F2 DFAd|fa~a2 bfaf|dBAG FDD2:|
|:fa~a2 bfaf|dB~B2 AF~F2|~A3B defd|e2df edBd|
fa~a2 bfaf|dB~B2 AF~F2|~A3B defe|dBAG FDD2:|
"variation of 1st part"
|:fded B2FB|AF~F2 DFAd|fded BAFA|Beed e2de|
fded B2FB|AF~F2 DFAd|fdad bdaf|dBAG FDD2:|
BRADY’S (SLIDE). Irish. A tune recorded by Arty
McGlynn and Nollaig Casey on their album “Lead the Knave,” crediting Paul Brady
as the source. The tune is actually an untitled composition of the late
London-based fiddler Lucy Farr, originally from
BRAES ABOON BONAW. Scottish, Strathspey. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; Set 13, No. 3,
pg. 9.
X:1
T:Braes Aboon Bonaw
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 1, pg.
9 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
D>FA>B A<F
A<d|D>FA>F {F}E2 (E<F)|D>FA>B d>ef>e|d>B d<F E2
(E<F):|
|:d>ef>e d<A
F<A|d>ef>A B2 (B<e)|d>ef>d e<f d>A|1 B<d A>F E2
(E<F):|2 B<d A>F E2 E<d||
BRAE REEL, THE. AKA and see “Reel
du Brae.”
BRAEMAR GATHERING, THE. Scottish, Pipe March (6/8 time). A Major.
Standard tuning. AABBCCDD. Composed by George S. MacLennan. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 15. Topic TSCD 669, Willy Taylor (et al) – “Ranting and Reeling:
Dance Music of the north of
BRAES OF ABERARDER. AKA and see "Lady
Madelina Sinclair." Scottish. Composition claimed by Charles Duff and published 1790, but also
appears, retitled, in Gow's Third
Collection (1792).
BRAES OF ANGUS. AKA and see "Bridge of
Anas." Scottish, Reel. The melody appears in the Gillespie Manuscript (1768), but Glen (1891) finds it earliest in
print in James Aird's 1782 collection
(No. 154).
BRAES OF ARGYLL, THE. AKA and see “The Marine (Jig).” Scottish.
BRAES
OF ATHOLE, THE. AKA and see "Athol(e) Brae." Scottish, Reel. G
Major. Standard tuning. AABBCCDD (Alburger, Bremner, Gow): AABBCCDDEEFF
(McGlashan). Northumbrian musician William Vickers' version of "Athole
Brae" differs in detail but not in outline, notes publisher Matt Seattle.
The melody was first printed by an anonymous publisher in 1734 in the Duke of
Perth MS., written by David Young. Glen (1891), however, could only find the
earliest appearance of the tune in print in Robert Bremner's collection. Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 17, pg. 38. Bremner (Scots
Reels), 1757; pgs. 78-79 (appears as “Braes of Athol”). Carlin (The
Gow Collection), 1986; No. 463. Gow (Complete
Repository), Part 2, 1802; pg. 18. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 15. Stewart-Robertson
(The Athole Collection), 1884; pg.
301.
X:1
T:Braes of Athole, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
d|B2 AG B/c/d e/f/g|BAGB A/A/A Ad|B2 AG B/c/d e/f/g|D3B G/G/G G:|
|:f|gdBg dgdB|gdBg f2 Ae/f/|gdBg dgdB|c/B/A/G/ FA G/G/G G:|
|:c|BGBG BG B/c/d|BG B/c/d e/f/g Ac|BG B/c/d e/f/g f/g/a|D3B G/G/G G:|
|:f|gdBg
dgdB|g/f/e/d/ Bg f2 Ae/f/|gdBg dgdB|c/B/A/G/ FA G/G/G G:|
BRAES OF AUCHTERTYRE [1].
AKA and see "Braes of Auchentyre,"
"Belles of Tipperary [1],"
"Beaus of Albany [1],” “The Music Club,” “The New Policeman." See "Billy/Billie in the Low
Ground [1]."
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Braes of Auchtertyre
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
G,|C2CF EGGA|cded cAGc|A/A/A AG A2a2|gcfe d2c2|C2CF EGGA|
cded cAGc|AcGc FcEc|dBcE D2C||f|efga gecg|afeg edcG|A/A/A ag a2 c’2|
ecfe d2 cf|efga gecg|afdg edcA|AcGc FcEc|dBcE D2C||
X:2
T:Braes of Aughtertyre (sic)
L:1/8
M:C|
R:Reel
B:Aird, Vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
D3E FAAB | defe dBAd | B/B/B BA B2b2 | fdaf e2d2 |
D3E FAAB | defe dBAd | BdAd GdFd | (f/e/)(d/c/) dF “tr”F2D2 :|
|: fgab afda | bgeg fedA | B/B/B ba b2 {b/c’/}d’2 | fdaf “tr”e2d2 |
fgab afda | bgeb fedA | BdAd GdFd | f/e/d/c/ dF “tr”E2 D2 :|
X:3
T:The
Braes of Auchtertyre
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 24
%
Gore's Index gives earliest publication as Joshua Campbell's
%
"Coll. Of Newest & Best Reels & Minuets..."
L:1/8
M:C
R:Reel
K:C
C3D
(EGGA)|cded cAGc|A/A/A (AG) A2a2 | gcfe Td2c2 |
C2
(CD) (EGGA)|cded cAGc|AcGc FcEc | d/c/B/A/ cE D2C2 ||
efga
gecg |afdg edcG|A/A/A ag a2({ab}c'2)| ecfe Td2c2 |
efga
gecg |(a/g/f/e/ d)g edcG|AcGc FcEc |(d/c/B/A/) cE TD2 C2|]
BRAES O' AUCHTERTYRE [2], THE. Scottish, "Pastoral Air" (Skinner) or Slow Strathspey (Honeyman). A Major. Standard tuning. One Part (Hunter, Skinner): AB (Honeyman, Skinner/Harp). J. Scott Skinner, who fashioned a popular arrangement of the tune for his Harp and Claymore collection, said it was an "admired old air by Crocket." Honeyman (1898) agrees that "this grand melody was composed or adapted about the year 1723 by James Crocket (see note for version #1), but was first transposed from the key of C to that of A, and played as a slow strathspey by James Scott Skinner." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton), “inspired by J. Scott Skinner’s setting and by his friend Angus Chisholm” [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 64, pg. 30. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 36. Hunter (Fiddle Music of Scotland), 1988; No. 26. Skinner (Harp and Claymore Collection), 1904; pg. 6 (arranged for violin and piano). Skinner (The Scottish Violinist), pg. 37.
X:1
T:Braes o’ Auchtertyre, The [2]
M:C
L:1/8
R:Slow Strathspey
S:Honeyman
– Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:A
A,2 A,D C<E E>F|A>Bc>B A>F E<A|F<F F>E F2 Ff|eAdc B2 Az|
A,2 A,D C<E E>F|A>Bc>B c/B/A/G/ AE|F>AE>A D>AC>A c/B/A/G/ AC B,2 A,z/||
d/|c>de>f ecAe|f/e/d/c/ Bd c>BAE|Fffe (f2 f)g/a/|eAdc B2 A z/d/|c>de>f ecAe|
f/e/d/c/
Bd c>B AE|F>AE>A D>AC>A|c/B/A/G/ AC B,2 A,z||
BRAES OF AUCHENTYRE. See "Braes of Auchtertyre [1]."
BRAES OF BALANDINE. AKA and see "Braes of Ballenden."
BRAES
OF BALLENDEN [1], THE. AKA ‑ "Braes of
Balandine." Scottish, Air (3/4 time). B Flat Major. Standard tuning. AABB.
The melody also appears in the
X:3
T:Braes of
Balanden [1]
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:B_
B>c |
{B/c/}d2f2 f>g | “tr”f4 (g/a/b) | (gf)(edcB) | “tr”{d}c4 B>c | d2f2
(f/g/a) |
{a}b3ag2 |
f>g {g}f(e/d/) “tr”c>B | B4 :: (D>E) | F3 GBF | G2 (B>c)
“tr”(cB/4c/4) |
d2c2
(d/c/B) | G4 (f/g/a) | b2 B2 (B/c/d) | c2d2 f>b | g2 (fe)(de) | {d}c4 Bc |
d2f2 (f/g/a) |
{a}b3ag2 |
f>g (f<d)”tr”(cB) | G4 Bc | d2f2F2 | G2B2 g>b |
(f>g)(f>d)”tr”(c>B) | B4 :|
BRAES OF BALLENDEN [2], THE. Scottish, Air (3/4 time). G Major. Standard tuning. AABB. Ballenden is another name for Ballantyne, spelled variously Balandine, Ballandyne, Ballendine etc. Composed by dancing master James Oswald (d. 1769). Alexander Campbell opined that "...had he (Oswald) composed nothing else but 'The Braes of Ballenden' and the air to 'Lovely Nymph', introduced in the burletta of 'Midas', his fame would live as long as a relish exists for genuine Scottish melody." The melody also appears in Johnson’s Scots Musical Museum (I, 1787, pg. 93). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 93.
X:1
T:Braes of Balandine (sic)
T:Braes of Ballenden [2]
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:G
G3fe2 | d>ed{c}B (A>F/2G/4) | G4 :: G | D3E G>D | E2G2 (A>B/2c/4) |
“tr”B2A2 c/B/A/G/ | E4 de/f/ | g2G2 (G>A/2B/4) | A2B2 d>g | fe dc Bc |
B2A2 G>A | B2d2 (d>e/2f/4) | g3f e2 | d>e d<B AG | E4 GA | B2d2D |
“tr”E2G2
(e>f/2g/4) | d>e dB (A>G/2A/4) | G6 :|
BRAES OF BALQUIDDER, THE. AKA – “Braes of Balquhither,” “Braes of Balqyheder,”
“Braes of Balquhidder.” Scottish; Air, Strathspey and Country Dance Tune (4/4
time). G Major (Aird, Kerr): F Major (Athole, Bremner). Standard tuning. AAB
(Aird, Bremner): AABCC (Gow, Kerr): ABCD (McGlashan): AABCCD (Athole). No
matter which spelling is used the name 'Balquhither' is pronounced
'Balwhither'. The tune appears in both air and dance versions. Glen (1891)
finds the piece first published in Bremner's
1757 collection (pg. 37), however, the tune (and dance instructions) appear in The Bodleian Manuscript (1740),
inscribed "A Collection of the Newest Country Dances Performed in Scotland
at Edinburgh by D.A. Young, W.M. 1740" (the MS is named for the Bodleian
Library, Oxford, where it is housed). Robert Tannahill (1774-1810), bard and
weaver of Paisley, wrote a song by this name which appeared twice in R.A.
Smith's Scottish Minstrel
(1821-1824), vol. 1, pg. 49 and vol. IV, pg. 89 (the latter air is a
modification of the first and is called "The Three Carles o'
Buchanan"). The song text appears in Henry W. Shoemaker's Mountain Minstrelsy of Pennsylvania
(1931), with the following note:
***
Potter County: This very ancient ballad was furnished by Mr.
child, soon after the War of Revolution, by veterans of that war,
and he sang it to me in 1876, in memory of our family soldiers
of 100 years before.- John C. French, 1919.
***
Mr. French's account predates the
Tannahill publication by some forty years, and perhaps he was a victim of the
human penchant for subscribing increased antiquity to already old items, though
it is possible that an older song text to the country dance tune predated the
Tannahill publication. Tannahill’s words begin:
***
Will ye go, lassie, go,
To the braes o' Balquhidder?
Where the blaeberries grow,
'Mang the bonnie bloomin' heather;
Where the deer and the roe,
Lightly bounding together,
Sport the lang summer day
'Mang the braes o' Balquhidder.
***
Chorus:
Will ye go, lassie, go,
To the braes o' Balquhidder?
Where the blaeberries grow,
'Mang the bonnie bloomin' heather.
***
The song “Wild Mountain Thyme” is
derived from “Braes of Balquidder,” as is “Will You Go, Lassie, Go” reworked by
Frank McPeake of Belfast. When the melody was employed in an advertisement for
Irish television the McPeakes threatened legal action for coypright
infringement. After some public
discussion in the press, followed by a bit of research, the conclusion was that
the McPeakes did not compose either the words or the music. The threat of a
suit never materialised and the matter was quickly forgotten, according to
Harry O’Prey. Gow notes the tune “may be play’d very Slow.” Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 181, pg. 67
(appears as “Braes of Balwhedar”). Bremner (Scots
Reels), c. 1757; pg. 37. Gow (Complete
Repository), Part 1, 1799; pg. 27. Kerr (Merry Melodies), vol. 1; Set 16, No. 1, pg. 11. McGlashan (A Collection of Reels), c. 1786; pg. 37. Stewart-Robertson
(The Athole Collection), 1884; pg.
212. Folk Lyric FL-116, Betsy Miller (Ewan MacColl’s
mother). Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum"
(1994. Tannahill's song).
X:1
T:Braes of Balquhidder
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c|A/B/c Fc A2 AB|A/B/c Fc AGGB|A/B/c Fc A2 Ac|defd cAA:|
c|defd cAag|fdcA AGGc|defd cAfg|agfd cAAc|defd caga|~fdcA AGGA|
FCA,C FGAc|defd cAA||
|:c|dFcF A2Ac|dFcF AGGc|dFcF A2Ac|defd cAA:|
c|defd cAag|fdcA AGGc|defd cAfg|agfc A2Ac|defd caga|fdcA AGGA|
FCA,C
FGAc|defd cAA||
X:2
T:The Braes o' Balquhidder
B:G.F. Graham, The Popular Songs and
Melodies of Scotland (1900)
C:Words written by Robert Tannahill
1774-1810.
N:it's vaguely like The Duke of
Bucclugh's Tune in Playford, 1687
M:2/4
L:1/8
R:Air
Q:1/4=96
K:D
% hexatonic, G missing
F>A|B2 A>D|F2 F>A|B2 A>F|F<E F>A|B2 A>D|F2
F>A|B>c d>B
|A<F||
F>A|B>c d>B|A<F
f>e|d<B A>F|F<E F>A|B>c d>B|A<F f>e|dB AF
|F<E||
F>A|B2 A>D|F2 F>A|B2 A>F|F<E F>A|B2 A>D|F2
F>A|B>c e/d/c/B/|A<F|]
BRAES OF BALQUITHIN, THE. Scottish, Reel. G Major. Standard tuning. AA. Hardings All-Round Collection, 1905; No.
170, pg. 54.
X:1
T:Braes of Balquithin, The
M:C
L:1/8
R:Reel
S:Harding’s All Round Collection
(1905)
Z:AK/Fiddler’s Companion
K:G
cB|d2 dg e2 AB|dgeB AGAB|dedB e2
Ac|BcBA AGAB|g2 be g2 Bd|
gagf edBd|g2 be g2 Bd|e2 dB
AGAB|gagf edBd|b2 af g2 Bd|e2 dB (AG):|
BRAES OF BANFF. Scottish. Philo FI 2018, "Jean Carignan
Plays the Music of Coleman, Morrison & Skinner" (appears as second
tune of "Kimmel Straight Jigs"; Kimmel was a N.Y.C. accordion player
who recorded in the 1920's).
BRAES OF BUSBY [1], THE (Mala Bhusby).
Irish, Reel. G Major (Mitchell): G Minor (O’Neill). Standard tuning. ABC (Mitchell):
AABBCC’ (O’Neill). The tune is an adaptation of John Bowie’s Slow March “Braes
of Bushbie” (c. 1789), set in reel time (see note for “Braes of Bushbie”) and generally played in a
major key in
X:1
T:Braes of Bushbie [1]
M:C
L:1/8
R:Reel
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:Gmin
F | D<G G>A B>AG>F | C<F F>G Ac B/A/G/F/ | G>AB>c {Bc}d>cB>d | c/B/A/G/ FA BGG :|
|: A | B>cdB fBdB | Acfd cAFA | B>cdB fBdB | c<A F>A BGG :: f | g2 dg dg/a/ bg | f2 cf cf/g/ af |
g2 d>g d>cB>d | c/B/A/G/ FA BGG :: A | B<dG<B GB/c/ dB | A<cF<A FA/B/ cA |1
B<dG<B GB/c/ dB | c<A F>A BGG :|2 B>df>b f<dBd | c/B/A/G/ FA BGG ||
BRAES OF BUSHBIE [2]. AKA – “Braes of Busbie.” Scottish, Slow March (4/4 time) or Strathspey.
A Dorian (O’Farrell): G Minor (Cole, Hardie): G Dorian (Cranford). Standard
tuning. ABC (Cole, Hardy): AABBCC (O’Farrell): ABABCCD (Howe): AABBCCD
(Cranford). In lowland Scots dialect, a brae
is a hillside. Busby is a district in Renfrewshire, Scotland. The melody may
have been composed by John Bowie,
and first appears in his Collection (1789). A note in Nathaniel
Gow’s Sixth Collection (1822) says that it was favorite of Niel Gow’s,
and that it is “Old”. Reworked as “Dowd’s
Favorite,” the tune is played as a reel and was recorded by
X:1
T:Braes of Bushbie, The
C:John Bowie, 1789
R:strathspey
Z:Transcirbed by Juergen Gier
M:C
L:1/8
K:Gdor
F/|D<GG>A
~B>AG>F|C>DF>G A<c B/A/G/F/|G>AB>c ~d>cB>d|\
c/B/A/G/ F>A
B<GG3/::A/|B>cd>B f>Bd>B|A<cf>d c/B/A/G/ F>A|\
B>cd<B
f>Bd>B|~c>AF>A B<GG3/::B/|~g2d>g (3dga (3bag|\
f2c>f (3cfg (3agf|~g>fd>g
~d>cB>d|c/B/A/G/ ~F>A B<GG3/:|A/|\
B<dG>d (3GBc
(3dcB|A>cF>c (3FAB c>A|B<dG>d (3GBc d>B|\
~c>AF>A B<GG>A|(3Bcd
G>d (3GBc (3dcB|A>cF>A (3FAB (3cBA|\
B>df<b f>dB>d|c/B/A/G/
F>A B<GG3/|]
X:2
T:Braes of Bushbie, The
M:C|
L:1/8
R:Strathspey
N:”Slowly”
N:”A Favorite of Niel Gow.”
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Gmin
F|D<G”tr”G>A
B>AG>F|(C<F)”tr”F>G A<c (B/A/)(G/F/)|G>A B>c
{Bc}d>cB>d|c/B/A/G/ FA BGG:||:
A|”tr”B>cdB fBdB|Acfd “tr”c>A
FA|B>cdB fBd>B|”tr”c>A F>A BGG:||^f|~G2 dg dg/a/ bg|
“tr”f2 {=ef}cf cf/g/ af|~g2 d>g
d>cB>d|(c/B/)(A/G/) FA BGG ^f|~g2 dg dg/a/ bg|”tr”f2 {=e/f/}cf cf/g/ af|
~g2 d>g d>cB>d|(c/B/)(A/G/)
FA BGG||A|B<dG>B GB/c/ dB|A<cF>A FA/B/ cA|B<dG>B GB/c/ dB|
“tr”c>A F>A BGGA|B<dG>B
GB/c/ dB|A<c F>A FA/B/ cA|B>dfb f<dBd|(c/B/)(A/G/) FA BGG||
BRAES OF CASTLE GRANT, THE. Scottish, Pipe March (2/4 time). A Major.
Standard tuning. AABB’CCDD’. The first two parts were composed by Duncan MacDonald,
and the last two by Pipe Major G.S. MacLennan. Christine Martin (2002) says the
tune is often played as a stately pipe march in competitions, and warns it
should not be speeded up. Source for notated version: fiddler Jean-Ann
Callender (
BRAES OF DORNOCH. Scottish, Country Dance Tune
(2/2 time). G Major. Standard tuning. AB. The melody is sourced to John
Johnson’s Tow Hundred Favourite Country Dances, vol. 7 (London, 1757). Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 14.
BRAES OF DUMBLANE. AKA and see “The Five Cross
Roads,” “Kiss Your Partner.”
Scottish, Reel. G Major. Standard tuning. AAB (Kerr): AABB (Cole). Cole (1000 Fiddle Tunes), 1940; pg. 11. Kerr (Merry Melodies), vol. 2; No. 295, pg.
32. Ryan’s Mammoth Collection, 1883.
X:1
T:Braes of Dumblane, The
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
g/e/|dB/d/ e/f/g/e/|d/B/G/B/
A/G/E|dB/d/ e/f/g/b/|a/f/d/f/ g(3g/f/e/|
dB/d/ e/f/g/e/|dB/G/B/ A/G/E|dB/d/
e/f/g/b/|a/f/d/f/ g:|
|:d|g({a}g/)f/ g/b/a/g/|f/d/a/d/
b/d/a/d/|g({a}g/)f/ g/b/a/g/|f/d/e/f/ gd|
g({a}g/)f/ g/b/a/g/|f/d/a/d/
b/d/a/d/|e/d/e/g/ f/d/f/b/|a/f/d/f/ g:|
BRAES O'/OF
ELACHIE/ELCHIES. Scottish (originally), Canadian,
Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’. The tune was
recorded in the 1950's in a medley with “Miss Anderson’s” by Joe MacLean (
BRAES OF GLENCOE. AKA and see “Argyle('s)
Bowling Green.” Cape Breton. Shanachie 14001,
"The Early Recordings of Angus Chisholm."
BRAES OF
GLENDOCHART/GLENDOCHERT. AKA and see “Joe Tanzy’s,” “Miss Menzies of
Culdare(s) [1],
"Mr./Miss/Mrs. Minzies/Menzies of
Culdare('s Reel),” “Paddy
Murphy’s Wife [1],” “Pat Carney’s."
Scottish, Reel. D Major. Standard tuning. AAB. The tune was likely composed by Alexander McGlashan, in whose
publication it first appears (Third
Collection, 1786), however, it was retitled "Mr. Menzies of Culdare's
Reel" and attributed to Niel Gow in that composer's First Collection (2nd ed.), 1801, some years after McGlashan died.
“The Dochart, a river and glen, is in Perthshire near Crianlarich. It is the
burying ground for the Macnabs, and has been called "the Macnab
country"... "It now is included in the Breadalbane territory, the
clan having emigrated to Canada in the first two decades of the present
century” (Ordnance Gazetteer of Scotland,1883).
Glen (The Glen Collection of Scottish
Music), vol. 1, 1891; pg. 6. S. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 43. McGlashan
(Collection of Strathspey Reels),
vol. 3, 1786; pg. 5.
X:1
T:Braes of Glendochert, The
M:C
L:1/8
R:Reel
S:McGlashan – Strathspey Reels (1786)
Z:AK/Fiddler’s Companion
K:Dmix
A|FDAF BGAF|EcGc ECCA|DFAF BGAG|FdAd FDD:|
||g|f/g/a da fdad|e/f/g c>g ecgc|f/g/a da fdad|B/^c/d A>d Fddg|
f/g/a
da/ fdad|e/f/g cg ecge|afge fde^c|d/^/c/B/c/ dA FD D||
BRAES OF GLENORCHY [1]. AKA and see "Mason's Apron,"
"The Mason Laddie," "The Isla Reel." Scottish, Reel. G Major.
Standard. AB. Glen (1891) finds the tune first in print in Alexander McGlashan first
collection, 1780/81. McGlashan (Collection
of Strathspey Reels), c. 1781; pg. 12.
X:1
T:Braes of Glenorchy [1]
M:C|
L:1/8
R:Reel
S:McGlashan – Strathspey Reels (c. 1781)
Z:AK/Fiddler’s Companion
K:G
c|B>AGA GAGE|D>EG>A B2
A>G|cAA>B ABAG|AGAB c2 Ad|BGGA G>AGE|
DEGA B2 AG|ABcd e>deg|G/G/G
B>A G2||
c|B>GdG B>GdG|BGdG B2 Gd|^cAeA
fAeA|^cAeA c2 Ad|BGdG eGdG|
D>EG>A B2 AG|ABcd edeg|G/G/G
BG G2||
BRAES OF GLENORCHY [2] (Braigh Ghlinn Urchaidh). Scottish, Jig. The tune appears
first in print in Alexander Mackay’s 1805 collection. It is an early setting of
the jig better known as “The Jolly
Corkonian” or “Hills of
Glenorchy [1].” Gore (A Fiddler’s
Book of Scottish Jigs), 1997.
BRAES OF GLENTURROTE. Scottish, Slow Air (6/8 time). C Major. Standard tuning. AAB. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 42.
BRAES OF KILLIEKRANKIE. Scottish. "First printed in 'Scotch Presbyterian Eloquence', 1692,
adapted for religious use. It is still well known in Scotland, both as a song
and a fiddle tune. ... Seems to have been written soon after the battle (it
commemorates) {the Battle of Killiekrankie, 27 July, 1689} [Williamson]." Flying Fish FF358, Robin Williamson ‑ "Legacy of
the Scottish Harpers, vol. 1."
BRAES OF LETTERFOURIE, THE. Scottish, Strathspey. A Major. Standard
tuning. AA'B. Composed by Alexander Walker, born 1810, Rhynie, Strathbogie,
Aberdeenshire. Emmerson (1971) calls it the best‑known of his earlier
compositions, while according to Paul Stewart Cranford (1991) it still has
currency among Cape Breton fiddlers. Once employed (as a gardener) and
patronized by Sir Charles Forbes of Castle Newe, Walker emmigrated to the
United States at age 51 to join his brother in Vermont, and later in
Williamstown, Mass., where he "was still going strong in 1898 as a farmer
and land surveyor". He published 200 of his melodies before he left
Scotland, and a further 180 in America (of which the latter appear lost).
Walker (A Collection of Strathspeys,
Reels, Marches, &c.), 1866; No. 11, pg. 4.
BRAES OF LOCHIEL, THE. AKA and see “Banks of Locheil,” "Braighe
Lochiall." Scottish, Slow Air or Waltz. A Minor. Standard tuning. AA'BB'.
This tune "reports the intention of an individual, seemingly long absent,
to return to the braes of Lochiel, where he could enjoy the pleasure of the
chase in perfection. The circumstances of the times banished so many from their
native country, that it is difficult to trace the allusion" (Fraser).
Fraser (The Airs and Melodies Peculiar to
the Highlands of Scotland and the Isles), 1874; No. 44, pg. 16. CUL 009 Alasdair Fraser – “Portrait of a Scottish Fiddler.”
Rounder 3067, Alan Stivell ‑ "Renaissance of the Celtic Harp"
(1982). Billy Ross & John Martin – “Braes of Lochiel.”
X:1
T:Braes of Lochiel, The
T:Braighe Lochiall
M:3/4
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Amin
A|:E4 ^G2|A4 c>d|e4 c2|d2e2g2|e4 G2|A4 c2|1 d4 cB|e4 A2:|2
d4 c2|B2 e2||:B>A|G E3 ^G2|A4 ce|a3 e g2|1 e4 d>c|B2e2A2|
G E3 ^G2|A4:|2 e4 d>B|c2e2a2|Be3 ^G2|A4||
BRAES OF MAR [1], THE. AKA – “Braes o’ Mar,” “Braes of Marr,” “Braes
of Mor.” AKA and see "Johnny Will You Marry Me,"
“Lasses of Donnybrook,” “Lord MacDonald's [1],” "Love Won't You Marry Me,"
"Reel des Noces," “Sir Alexander McDonald,” "Some Say the Devil's Dead."
Scottish, Canadian; Strathspey. Canada; Prince Edward Island, Cape Breton. D
Major. Standard tuning. AAB (Gow): AABB (Athole, Kennedy, Kerr, Skye [Old Set
version]): AABB' (Perlman, Skye): AABBC (Cranford/Holland): AABCD (Dunlay &
Greenberg/Campbell): AABBCCD (Martin): AABBCDD (Dunlay and Reich): AABB’CCDD’
(Skinner). Attributed to John Coutts of Deeside, and used for the dance the
Highland Fling or Highland Schottische. Skinner, in Harp and Claymore (1904), remarks the tune “is almost a parody of
“Lord MacDonald’s Strathspey” (as printed in MacDonald’s Skye Collection). The melody appears in the Drummond Castle Manuscript (also called the Duke of Perth MS), in the possession of the Earl of Ancaster (at
Drummond Castle) as a country dance; it is inscribed 'A Collection of Country
Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734.'
In that MS the title is “Sir Alexander McDonald’s Reel.” Glen (1891) finds the
tune earliest in print in Robert Bremner's
1757 collection, Part 3 (pg. 34), where it appears as “Sir Alexander McDonald.”
***
Imported by Scottish emigrants to
the new world, “Braes of Marr” is considered an old tune in the Cape Breton,
Nova Scotia, fiddling repertoire. Dunlay & Greenberg mention that one of
Buddy MacMaster’s aunts recalled that the strathspey was often played by
Domhnull Iain an Taillear (Donald John the Tailor) Beaton (1856-1919). The
third turn may be of Cape Breton origins. From there it perhaps entered into
French-Canadian fiddling repertoire, for Willie Ringuette recorded the melody
as a reel in 1927 under the title "Reel des Noces." Interestingly,
Dunlay & Greenberg report that Cape Breton fiddler Jackie Dunn (in her 1991
Master’s thesis “The Sound of Gaelic is in the Fiddler’s Music”) states the
strathspey is known to have Gaelic words and is called “‘S Math a Dhannsadh”
(It is good to dance). Paul Stewart Cranford (2000) notes that Cape Breton
versions are often four parts, although the one he prints (sourced to Mike
MacDougall) condenses the 3rd and 4th part into one.
***
In western Ireland the tune is known
as "Johnny, Will You Marry Me," and is used for the dance "the
Fling;" Irish versions of strathspeys usually are played as reels, without
the distinctive dotted rhythm. Set in jig time, an Irish variant is “Kate/Katy
Carnery.” The melody as “Braes of Marr, a Strathspey” appears in the music
manuscript copybook of fiddler John Burks, dated 1821. Although nothing is
known of Burks, it appears he may have been from the north of England. French
Canadian versions can be found under the titles “Reel des Noces,” “La Belle
Catharine” (a different tune the more famous tune by that title) and “Reel de
Pius Boudreau.”
***
Sources for notated versions: Dan J.
Campbell and Angus Allan Gillis (Cape Breton) [Dunlay & Greenberg, Dunlay
and Reich]; Hector MacKenzie (Cape Breton) [Dunlay & Greenberg]; Mary
MacDonald (Cape Breton) [Dunlay & Greenberg]; Angus McPhee (b. c. 1929, Mt.
Stewart, Queens County, Prince Edward Island) [Perlman]; Mike MacDougall (Cape
Breton) [Cranford/Holland]. Robert Bremner’s 1757 collection [Henderson].
***
Carlin (The Gow Collection), 1986; No. 519. Cranford (Jerry Holland: The
Second Collection), 2000; No. 96, pg. 38. Dunlay & Greenberg (Traditional Celtic Violin Music of
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Braes of Mar [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A/G/|F<A A>B d>ef>e|d<B B>A B>d BA/G/|F<A A>B d>ef>d|e>dg>f e2d:|
|:A/G/|F<A A>D FD AG/F/|G<B B>E G<E BA/G/|1 F<A A>D FD AG/F/|
(3GBG (3FAF E2D:|2 F<A A>G F>A d>e/f/g|f>dg>f e2d||
X:2
T:Braes of Mar (Old Set)
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|F<A AB/c/ d>ef>e|d<B B>A d<B BA/G/|F<A A>B d>ef>d|e<gf<a e2d:|
|:g|f<a a2 f<d a>f|g<b b2 g<e b>g|f<a a2 f<d a>f|g<bf<a e2d:|
X:3
T:Braes of Mar [1]
M:C
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps, vol. II, No. 34 (c. 1882)
Z:AK/Fiddler’s Companion
K:D
dB | A>B AB/c/ d>e f>e | dB BA/(B/ d)B Bd/B/ | A>B AB/c/ d>e fd
| ed a>f e2d2 :|
{g}fd ad {g}fd ad | ge B/g/f/e/ ge ag/a/ | fd ad fd ad | ga/g/ fa/f/ {f}e2d2 ||
{g}fd ad fd ad | ge B/g/f/e/ ge ag/a/ | fa ef df Bd | Ad f/a/g/f/ {f}e2d2 ||
BRAES OF MARR [2], THE. Scottish, Reel. D Major (most versions): C
Major (Surenne). Standard tuning. AB (Surenne): AAB (Athole): AABB (Bremner,
Kerr). The setting printed by McGlashan
was essentially repeated by the Gows. Bremner
(Scots Reels), c. 1757; pg. 34. Kerr
(Merry Melodies), vol. 2; No. 144,
pg. 17. Lowe’s Collection, 1844.
McGlashan (A Collection of Reels), c.
1786; pg. 37. Middleton’s, 1870. Stewart-Robertson
(The Athole Collection), 1884; pg.
85. Surenne (Dance Music of Scotland),
1852; pg. 157.
X:1
T:Braes of Mar [2]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|d3f (3ddd df|BEBA BEEc|dcde defg|a(AA)F E2D:|
G|FAAc dBAF|GBAF EFGE|F(AA)B ABde|fdgf e2dA|F(AA)c dBAF|
GBAF EFGE|F(AA)B ABde|fdgf faef||
X:2
T:Braes of Mar, The [2]
L:1/8
M:C|
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
f|d/d/d df dedf|E/E/E B>A BEBe|d/d/d d>f d>efg|aAFD E2 Df|d/d/d d>f
d/d/d d>f|
E/E/E BA BEBe|d/d/d d>f defg|aAFD E2 D||FAAB/c/ dAFD|G>BF>A E/E/E BE|
FAA>B ABde|fdgf e2 d2|FAAB/c/ d/c/B/A/ G/F/E/D/|B>GA>F E/E/E BE|
F>AD>B
A>Bde|fdg>f e2 d2||
BRAES OF MAYEN, THE. Scottish, Jig. A Minor. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 35, pg. 13.
BRAES OF MELLINISH, THE.
AKA and see “Bruachan Mhelinis.”
Scottish, Pipe Jig or March. The march version is sometimes attributed to
Captain MacKay. Wildcat Records WILDCD 101, Ronan
Martin – “Ronan Martin” (2008).
BRAES OF MORAN, THE. Scottish, Reel. D Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 148.
T:Braes of Moran
M:C
L:1/8
R:Reel
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:D
|:
A | d>efg (ab)af | ddfa beef | defe dBAF | A2 (B/A/G/F/) ADD :|
BRAES OF MORVEN, THE. Scottish, Reel. G Minor. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 190, pg. 65.
BRAES OF NEWE, THE. Scottish, Strathspey. F Major. Standard
tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
147, pg. 50.
BRAES OF RHYNIE, THE. Scottish, Strathspey. D Major. Standard
tuning. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
87, pg. 30.
BRAES OF TULLIEMET. See "Braes of Tullymet."
BRAES OF TULLYMET, THE. AKA and see "The Barrack St. Boys," "Birnie‑boozle,"
"Brides Away," "The
Bride to Bed," "Bride(s)
to Bed," "The British
Naggon," "Cheese It,"
"Corney is Coming,"
"Crawford's Reel [1],"
"D. Dick's Favourite,"
"The Honeymoon (Reel) [2],"
"I saw her," "Kelly's Reel," "Miss Grant of Grant [1],” "Miss Wilson," ">Merry Bits of Timber," "My Love is in America," "My Love is in the House [1],”
"Shannon Breeze [2],"
"Six Mile Bridge.” Scottish,
Strathspey or Highland Schottische. G Minor/Dorian (Alburger, Gow, Honeyman,
Kerr/vol. 2, Skye, Williamson): E Minor (Kerr vol. 1, Surenne); D Minor (S.
Johnson). Standard tuning. AB (Surenne): AAB (Athole,
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Braes of Tullymet, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G Minor
c|A<d d>c d>c d<f|A>Fc>F d>Fc>F|A<d d>c d>cd>g|f>d cB/A/ G2G:|
d|g>d g<b g>d g<b|f>c f<a f>c f<a|g>d g<b g>d g<b|f>d cB/A/ g2 g>d|
g>dg>b dg/a/ b>g|f>c f<a cf/g/ a>f|g<d d>=e f>ga>g|f>d d/c/B/A/ G2G ||
X:2
T:Braes o’ Tullymet, The
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of Scotland, pgs. 12-13 (1852)
Z:AK/Fiddler’s Companion
K:E Minor
A | (F<B)B>A (B>A(B<d) | (F<D)A>D B>DA>G | (F<B)B>A B>A(B<e) | d>B({B}A>)F E3A |
(F<B)B>A B>A (B<d) | (F<D)A>D B>DA>G | (F<B)B>A B>A(B<e) | d>B({B}A)F E3 ||
B | e>B(e<g) e>B(e<g) | d>A(d<f) f>A(d<f) | e>B(e<g) e>B(e<g) | d>B({B}A>)F (E2E)B |
e>B(e<g) B(e/f/) g>e | d>A(d<f) A(d/e/) f>^d | (e<B)B>^c =d>e({d/e/}f>)e | d>B (B/A/G/F/) ({F}E3) ||
BRAGAN LASSES, THE. Irish, Reel. G Major. Standard tuning. AABB. “Packie Sweeney;s Reel” is a
related tune. Source for notated version: obtained by fiddler Séan McGuire from
his father Jack (County Cavan), a piccolo, flute and tin whistle player
[McGuire & Keegan]. McGuire & Keegan (Irish Tune by the 100, vol. 1), 1975; No. 58, pg. 15.
BRAGGING MAN, THE. Irish, Reel. G Major/Mixolydian. Standard
tuning. AAB. Source for notated version: “A Cork Reel. From P. Carew’s MSS”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 900, pg. 228.
X:1
T:Bragging Man, The
M:C
L:1/8
R:Reel
S:Stanford/Petrie, No. 900 (1905)
N:”A Cork Reel.”
Z:AK/Fiddler’s Companion
K:G
g|fdcA BG (3ABc|BGAG FAAg|fdcA BG
(3ABc|BGAF DG G:||
f|gfgb afde|=fefd ABc^f|gfgb
afde|=fdcA BGG^f|gfgb afde|
=fefd ABcA|ga (3gab afde|=fdcA BG
G||
BRAGG'S RETREAT. AKA and see "Forked Deer."
Old‑Time, Breakdown. USA, Mississippi. D Major. ADae tuning. AABB. The
tune, usually known as "Forked Deer," is older than the title, which
undoubtedly refers to the unfortunate Confederate general Baxton Bragg of the
western theatre of the American Civil War. Bragg commanded the Army of the
Tennessee from mid-1862 to the end of 1963, and was neither well-liked nor
well-respected. He could often be irascible, sullen and rigid, and was
consistently out-generaled by his Union opposites. Private Sam Watkins, who
served in the Army of the Tennessee during Bragg’s tenure wrote in his memoirs
that one of the common sayings among the men of his company while on march was
“Bully for Bragg! He’s hell on retreat!” The source for the tune under this
title is Meridian, Mississippi, fiddler Stephen B. Tucker, who recorded it for
the Library of Congress in 1939. Mississippi
Department of Archives and History AH‑002, Stephen B. Tucker (1939) ‑
"Great Big Yam Potates: Anglo‑American Fiddle Music from
Mississippi" (1985). PearlMae Muisc
004-2, Jim Taylor – “The Civil War Collection” (1996).
BRAHMS POLKA. American, Polka. D Major. Standard tuning. AABB. Indeed, a melodic
passage from the classical composer. Source for notated version: Vivian
Williams (Seattle) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 335.
BRAIDLEY HORNPIPE. English, Hornpipe. England, Northumberland. G Major. Standard tuning.
AABBCC. Composed by Robert Whinham (1814-1893), a musician, teacher, composer,
dancing master and fiddler, originally from Morpeth. Graham Dixon (1995) finds
that Braidley Hall and Farm are located west of Housesteads, Northumberland, on
the Roman Wall. Source for notated version: an un-attributed manuscript in the
collection of Tommy Breckon [Dixon]. Dixon (Remember
Me), 1995; pg. 34. Hall & Stafford (Charlton
Memorial Tune Book), (appears as “A Hornpipe”).
BRAIGH LOCH IALL [1]. See "Braes of Lochiel,"
BRAIGH LOCH IALL [2]. See "Banks of Locheil."
BRAIGH LOCHIALL [3]. Scottish, Air (4/4 time). C Major. Standard
tuning. From MacDonald’s Gesto Collection.
X:1
T:Braigh Lochiall
T:The Braes of Locheil
B:The Gesto Collection
Z:Nigel Gatherer
L:1/8
M:4/4
K:C
C | DE D2 D4 | d2 d4 cA | G2 A2 c4 | ED C2 G4 | A2 d4 cA | G2 A2 c4 |
F<E D2 C4 | D6 |]
BRAIGHE BHANBH. AKA and see "The
Highlands of Banffshire."
BRAIGHE LOCHIALL. AKA and see "Braes of Lochiel."
BRAILLE PAS, PETITS
YEUX BLEUS. Cajun. The tune has been popularized
in recent years by Steve Riley. Swallow SW-6131, The
Tracy Schwarz Trio - “Mes Amis!”
BRAKES OF LITTLE SANDY. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph,
published in 1954. Little Sandy is a river.
BRAKKIN' BAA. Shetland, March (?). B Flat Major. Standard tuning. AAB. Composed by
the late Shetland fiddler, teacher, composer and collector Tom Anderson (1972).
The melody was inspired by the sea breaking (brakkin') over a half hidden reef
(baa). Anderson (Ringing Strings),
1983; pg. 55.
BRAMBLE, THE (An Sceach). AKA and see "The Old Bush [2]," "The Five Leaved Clover,” “The Hawthorne [1],” “The Haymaker,” “Heel of the Hunt,” “The Hunter’s Purse,” “Paddy Kelly’s (Reel) [3]."
Irish, Reel. A Dorian. Standard tuning. AABB. Source for notated version: piper
Matthew Tiernan [Breathnach]. Breathnach (CRÉ
I), 1963; No. 119, pg. 49.
BRAMLEY BRAE. See “Brumley Brae.”
_______________________________
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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.
[COMMENT5]This was Font/Pitch 1,10 - Off.
[COMMENT6]This was Font/Pitch 1,10 - On.
[COMMENT7]This was Font/Pitch 1,10 - Off.
[COMMENT8]Note: The change to pitch (12) and font (1) must be converted manually.