The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

BRAB - BRAM

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

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] 

[COMMENT7] [COMMENT8]               

BRABHADH CEARBHALLAIN (Carolan's Devotion). AKA and see "Miss Fetherston."

 

BRACE BRIDGE.  Canadian, Reel. RC2000, George Wilson – “Royal Circus” (2000).

 

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 (Carrickmacross, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 26, pg. 11.

 

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 Belfast [Miller]. Miller (Fiddler’s Throne), 2004; No. 15, pg. 22. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

 

BRAD WALTERS. Old‑Time. USA; Magoffin County, Ky. A Mixolydian. AEae tuning. ABBCC. The tune was recorded by fiddler John Salyer, Magoffin County, Ky., in 1941 or 1942 on a home disc recording. Named for a fiddler who played the tune, in lieu of another title. Bruce Greene told Jeff Titon that there were two old fiddlers in Magoffin County by the name of Brad Walters, and that one only played hymns. The tune belongs to the “Granny, Will Your Dog Bite? [1][1]”/”Betty Martin”/”Hogeye Man”/”Fire on/in the Mountain [1]” family of tunes. Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky.) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 15, pg. 48. Berea College Appalachian Center AC003, “John M. Salyer – Home Recordings 1940-41, vol. 1” (1993).

 

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. Canada, Prince Edward Island. A Mixolydian/Major. Standard tuning. AABB. Composed by Bear River, North-East Kings County, Prince Edward Island bred fiddler Kenny Chaisson (b. 1947, now resident of Rollo Bay). Source for notated version: Kenny Chaisson [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 103.

                       

BRADY’S (REEL). Irish, Reel. D Major. Standard tuning. AABB. The title probably refers to County Offaly flute player John Brady. Cian (1st CD).

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 Galway.

                       

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 England” (1998. Taylor {b. 1916} was a shepherd, and a fiddler and melodeon player from Wooler, Northumberland).

                       

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]." Scotland; Reel, Strathspey. C Major (most versions): D Major (Aird, Kennedy). Standard tuning. AB (Alburger, Cole, Gow, Kennedy, Kerr, Skye, Athole): AABB (Aird, Cranford, Perlman). Auchtertyre lies midway between Dornie and Kyle on the northern shore of Loch Alsh, Scotland. This popular tune was first published by Neil Stewart (Collection of the Newest and Best Reels and Country Dances, c. 1761, pg. 45) and later transposed to the key of 'A' and played as a strathspey. Glen (1891) finds it printed about the same time in Joshua Campbell's 1778 collection (pg. 4). The melody is sometimes credited to James Crocket, but evidence for this ascription is wanting according to some reviewers. The tune appears to have developed from a slow 3/4 time Lowland Scots song tune called "O Dear Minnie/Mother (What Shall I Do)?"  Toward the end of the 18th century "Braes of Auchtertyre" was composed from it, which in turn become the direct ancestor of the American tune "Billy in the Lowground/Low Lands." Jack Campin states that at the time “Braes” was fashioned from the “Minnie” song (Gow thought it the other-way-round), the laird of Auchtertyre was wealthy and well-connected; the kind of influential personage and estate that attracted labeling and re-labeling of music. Perlman’s Prince Edward Island-collected version is somewhat distanced from the usual printed versions. The tune is popular on Cape Breton Island, where it was recorded by Scotty Fitzgerald in the 1930’s. Many Cape Breton fiddlers follow the lead of Angus Chisholm and precede “Braes of Auchtertyre” with the strathspey “Rothiemurchus Rant.” Irish derivatives of the melody are, among others, the “Belles of Tipperary [1],” “Connaught Lasses” and “Miss Monaghan.” Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Aird (Selections), Vol. II, 1782; No. 146, pg. 54 (appears as “The Braes of Aughtertyre”). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 37, pg. 60. Cole (1000 Fiddle Tunes), 1940; pg. 42 (version, somewhat altered, appears as "Braes of Auchentyre"). Cranford (Jerry Holland’s), 1995; No. 74, pg. 22. Gow (Complete Repository), Part 1, 1799; pg. 20. Kennedy (Traditional Dance Music of Britain and Ireland, vol. 2: Reels and Rants), 1997; No. 12, pg. 5. Kerr (Merry Melodies), Vol. 1; Set 23, No. 1, pg. 14 (strathspey). Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 106. Middleton’s Collection. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 68. Stewart-Robertson (The Athole Collection), 1884; pg. 62. Vallely (Play 50 Reels with the Armagh Pipers Club), 1982; 40. James F. Dickie’s Delights (1976). Shanachie 14001, "The Early Recordings of Angus Chisholm.” WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

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>, 6/11/04

N:Petrie's Second Collection, page 24

% Gore's Index gives earliest publication as Joshua Campbell's

% "Coll. Of Newest & Best Reels & Minuets..." Glasgow 1788

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 McLean collection (1772) ascribed to Robert “Red Rob” MacIntosh. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 21.

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]

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

GA | B2d2 d>e | e2d2 (e>f/2g/4) | e<d c<B A<G | {B}A4 G>A | B2d2 (d>e/2f/4) |

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.

Myron Hill, 70 years old. It was sung to my grandfather when a

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 Ireland. The Scots tune is in four parts, and a similar setting appears in the 19th County Leitrim manuscript of Stephen Grier, presumably derived from Scottish sources. There is a Scottish dance called The Braes of Busby which is one of the fifteen or so Scottish country dances either wholly or in part in strathspey tempo (Flett, 1964). See also the important minor-key variant “Dowd’s Favorite.” Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 48, pg. 57. O’Neill (O’Neill’s Irish Music), 1915; No. 237, pg. 125. Drumlin Records, Brian McNamara – “A Piper’s Dream” (2000).

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 Sligo/New York City fiddler Michael Coleman. Piper Willie Clancy had a reel time setting of the tune, called “Braes of Busby,” in a major tonality. Source for notated version: Cape Breton strathspey setting is from fiddler Bill Lamey via Jerry Holland (Inverness, Cape Breton) [Cranford]; McFadyen’s Repository (1795) [Henderson]. Cole (1000 Fiddle Tunes), 1940; pg. 128. Cranford (Jerry Holland’s), 1995; No. 187, pg. 53. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 27. Hardie (Caledonian Companion), 1992; pg. 85. Henderson (Flowers of Scottish Melody), 1935. Howe (1000 Jigs and Reels), c. 1867; pg. 134. McFadyen, Repository of Scots and Irish Airs, vol. 1 (c. 1795). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 140 (appears as “Braes of Busbie”). Ryan’s Mammoth Collection, 1883; pg. 167 (strathspey setting). Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

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 (Aberdeen) [Martin]. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 32. Martin (Traditional Scottish Fiddling), 2002; pg. 66.

                       

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 (Cape Breton). Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 98, pg. 35. Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977).

 

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 Cape Breton), 1996; pgs. 68-69 (three versions). Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 50. Gow (Complete Repository), Part 2, 1802; pg. 35. Gow (Complete Repository), Part 3, 1806; pg. 10 (“Original Sett”). Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 90. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 18 (appears as "Some Say the Devil's Dead"). Kerr (Merry Melodies), vol. 1; No. 4, pg. 19. Lowe (A Collection of Reels and Strathspeys), 1844.  MacDonald (The Skye Collection), 1887; pg. 63 & 64 {Old Set}. Martin (Traditional Scottish Fiddling), 2002; pg. 21. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 34, pg. 19. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 191. Skinner, Harp and Claymore, 1904; pg. 86. Stewart-Robertson (The Athole Collection), 1884; pg. 89 {Old Set}. ACC-49393, Hector MacKenzie- “MacNeil’s Highland Ceilidh” (1992). Beltona BL2135 (78 RPM), Edinburgh Highland Reel and Strathspey Society (1936). Celtic 011 (78 RPM), "Dan J. Campbell and Angus Allan Gillis." Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988. A 4-part setting based on Cape Breton fiddlers). Decca 14026 (78 RPM), "Colin Boyd." GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, vol. 1” (reissue). GRT Records 9230-1031, “The Best of Ward Allen” (1973). Rounder 7009, Doug MacPhee‑ "Cape Breton Piano" (1977). Rounder 7012, Winnie Chafe - “Highland Melodies of Cape Breton” (1979). SA 93130, Donny LeBlanc - “Roisining Up the Bow” (1993). Silver Apple 7588-90193-4, Tommy Basker - “The Tin Sandwich” (1994). Univ. College of Cape Breton 1007, Dan Joe MacInnis‑ "Celtic Music of Cape Breton, vol. I." Jerry Holland – “Crystal Clear” (2000).

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.

X:1

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

D>EFA d>efe | dBAF BEEF | D>EFA d>efe | dB(AG/F/) AD 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, Cranford, Gow, Honeyman, Hunter, Kerr, Martin, Skye): AABB (S. Johnson, Williamson): AABB' (Kerr, vol. 2): ABCDEFF (McGlashan). The braes, or hillsides, referred to in the title lie in Perthshire. Robert Petrie (1767‑1830) is often credited with the composition of this tune, though he himself did not claim it when he printed it in his Fourth Collection of Strathspeys, Reels, Jiggs & Country Dances (Edinburgh, 1805, pg. 3). Alburger (1983), doubting the ascription, notes that it was published before his birth. Petrie was born in Kirkmichael in Perthshire, where he garnered the local reputation as a profligate and fiddler (a not uncommon combination). As a young man he won either a prized silver bow in a fiddle contest at Edinburgh or a cup at a competition in Aberdeen in 1822, or both. He published four collections of reels and strathspeys and country dances between 1790 and 1796. "It is an interesting aside that (Petrie's birthplace) Kirkmichael was famous for the number of its ghosts, spirits, and fairies. Many places with the word "michael" in the name were so noted, probably because the early Christians were in the habit of building churches to that saint on the site of the confluence of ancient druidical lines of force.  These were called "ley lines" or "dragon lines," and St. Michael was often represented with his foot on a dragon's neck.  The Spauldings, the lairds of Ashintully at Kirkmichael, died out entirely from the effects of a death curse put upon them by a tinker they had hanged for trespassing" (Williamson, 1976). Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 64), and another early printing is in McGlashan’s 1780 Collection. The Braes of Tulliemet is the name of a Scottish country dance from Selkirkshire, one of the fifteen or so either wholly or in part in strathspey tempo (Flett, 1964). Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; Neil Stewart’s collection (1761) [Henderson]; Robert Petrie’s 4th Collection, 1805 [S. Johnson]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 36, pgs. 59‑60. Cranford (Winston Fitzgerald), 1997; No. 159, pg. 63. Gow (Complete Repository), Part 1, 1799; pg. 8. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 26. Hunter (Fiddle Music of Scotland), 1988; No. 167. Johnson (Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 16. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 20. Kerr (Merry Melodies), vol. 1; No. 2, pg. 19 (Highland Schottische, appears as "Braes of Tulimet"). Kerr (Merry Melodies), vol. 2; No. 210, pg. 23. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 29. MacDonald (The Skye Collection), 1887; pg. 134. Martin (Traditional Scottish Fiddling), 2002; pg. 130.  Stewart-Robertson (The Athole Collection), 1884; pg. 185. Surenne (Dance Music of Scotland), 1852; pgs. 12-13. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 64 (appears as "Braes of Tullimet"). Greentrax CDTRAX 9009, John ‘Dancie’ Reid (1869-1942) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998. Holland cites Winston “Scotty” Fitzgerald for his source). Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

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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