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]

 

 

 

BROACHING THE CIDER. American, Hornpipe. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Phillips notes "this is a new title for an old tune." Source for notated version: The New Hampshire Fiddlers' Union [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 184.

           

BROAD RUN PICNIC. Old-Time, Breakdown. G Major. Standard tuning. AABB. The 'A' part has an irregular measure. Source for notated version: John Ashby [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 37.

           

BROADSTONE, THE. Irish, Reel. A Minor. Standard tuning. AABB. Composed (in G Minor) by button accordion player John Whelan (with help from Dublin banjo player Mick Kenny). Black (Music’s the Very Best Thing), 1996; No. 137, pg. 72. John Whelan - “From the Heart.”

X:1

T: The Broadstone

C: John Whelan

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Am

AB | cABG AGED | EAAG AGED | CAce gedc | BGG^F G2 ed |

cABG AGED | EAAG A2 AB | cE (3EDE BE (3EDE | edcB A2 :|

AB | cABe edcB | Aaag aged | cAed cBAG | EAAG A2 AB |

cege aged | cedc BG G2 | cAag ed (3ded | edcB A2 :|

           

BROADSWORD HORNPIPE, THE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABC. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 51.

X:1

T:Broadsword Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:B_

F2|BABc Bdfd|cBcd fedc|BABc Bdfd|cBcd B2:|

|:d2|cdcB Ac f2|=efge fgaf|cdcB Acf2|=efge f2:|

(3fga|bfff fddd|dBBB F3A|B2 Bd cBcd|edcB AcFf|bfff fddd|

dBBB F3 A|B2 Bd cBcd|B2 BB B2||Bc|d^cde dcde|d^cde d2 A2|

G^FGA BABc|dcBA GABc|d2 d^cd2 dc|d2 d^c d2 A2|G^FGA BABc| DcBA G2||

           

BROADWAY HORNPIPE. AKA and see "Spud's Fancy." American, Hornpipe. D Major. Standard. AABB. Composed in 1978 by A.P. Spandaro. Spandaro (10 Cents a Dance), 1980; pg. 11.

 

BROCCA REEL, THE. Irish, Reel. Composed by Chicago fiddler Liz Carroll, named after the town in County Offaly where her father Kevin Carroll came from. Shanachie 34012, Liz Carroll – “A Friend Indeed.”

           

BROCH DAM, THE. AKA and see “Loch Riach.”

 

BROCHAN LOM (Thin Porridge). AKA and see “Orange and Blue [1].” Scottish, Strathspey. D Major. Standard. AB. Also and famously known as the schottische “Orange and Blue” (see note for “Orange and Blue”). The tune is often played in a set with “Calum Crubach.” See also the Welsh variant “Allt-y-Caethiwed.” Hunter (Fiddle Music of Scotland), 1988; No. 92.

           

BRODACH AIN M’OMISH. AKA and see “Biodag Ain M’Omish,” “Biodag Air Mac Thomais.”

           

BRODERICK'S JIG. AKA and see “The Haunted House,” “The Old Leitrim Jig.” Irish, Jig. Ireland, County Sligo. G Major. Standard. AABB. A similarly titled tune is "Vincent Broderick's," a reel, also from County Sligo. Source for notated version: flutist Colm O'Donnell (b. 1962, Aclare, County Sligo, Ireland) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 13.

           

BRODERICK’S REEL.  AKA and see “The Tinker’s Daughter.” Irish, Reel. Composed by flute player Vincent Broderick, originally from Bullaun, north of Loughrea, County Galway, originally entitled “The Tinker’s Daughter.” Peter Broderick is Vincent’s older brother.

 

BRODERICK’S REEL [2]. AKA and see “Midsummer’s Night,” “Vincent Broderick’s.”

           

BRODIE KIERIC’S.  Irish, Jig. Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004. Learned from concertina player Tim Collins, of the Kilfenora Ceili Band).

 

BRODIE HOUSE. Scottish, Reel. F Major. Standard. AB (Surenne): AABB (Marshall). Marshall attributes the tune to the Duke of Gordon (Alexander, the 4th Duke) in his Kinrara collection (1800).  The beginnings of Brodie House, Moray, also called Brodie Castle, date from around 1560 and were probably initiated by Alexander Brodie of Brodie. Like many fortified structures it has undergone several modifications through the centuries. It was partially burned and razed by the Royalist army in 1645, but remodelled in 1730 by the 19th Brodie of Brodie.  Although the building has been part of the Scottish National Trust since the 1970’s (due to the expense of running it) and thus open to the public, the 25th Brodie of Brodie still guides some of the tours. Marshall, Fiddlecase Edition, 1978; Kinrara Collection (1800), pg. 25. Surenne (Dance Music of Scotland), 1852; pg. 127.

X:1

T:Brodie House

M:C|

L:1/8

R:Reel

S:MarshallKinrara Collection  (1800)

Z:AK/Fiddler’s Companion

K:F

e|f>a a/g/f/e/ f>c cA|Bd d/c/B/A/ BGGe|f>a a/g/f/e/ f>c cA|B>d c>B AFF:|

|:(A/B/)|c>A d>B|c>A FA/c/|c>A d>B (f/e/f/g/ a)A/B/|c>Ad>B cAFA|B>dc>B AFF:|

           

BRODIE OF BRODIE. Scottish, Strathspey. D Major. Standard tuning. AAB. See note for “Brodie House” for more on the family. Stewart-Robertson (The Athole Collection), 1884; pg. 115.

X:1

T:Brodie of Brodie

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

A,>DD>A, A,<D D>B|A>FD>F E2E2|A,>DD>A, A,>DD>B|A>FE>F D2D:|

A<d d>e d/e/f/g/ a>d|g>bf>a e2e2|A<d d>e d/e/f/g/ a>f|B>d F>d D2D2|

A<d d>e d/e/f/g/ a>d|g>bf>a e2e2|A,<D D>A A,<D D>B|A>FE>F D2D2||

           

BROKE DOWN GAMBLER. See “Broken Down Gambler.”

                       

BROKEN BRIDGE [1], THE. Irish, Reel. The reel was recorded by the great County Sligo/Bronx NY fiddler Michael Coleman (1891-1945).  Folktrax FTX 073, Michael “Mickey” Doherty – “The Flowers of Edinburgh” (rec. by Alan Lomax, 1951). Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990. Learned from the late Mickey Doherty). Green Linnet GLCD 3113, “Dermot Byrne” (1995).

 

BROKEN BRIDGE [2], THE. Irish, Hornpipe. Ireland, County Donegal. A Major (Feldman & O’Doherty): G Major (McGuire & Keegan). Standard tuning. AABB. A favorite in west Donegal. Source for notated version: fiddler Danny O’Donnell (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 194. Jordan (Whistle and Sing), vol. 1, 1975; 62. McGuire & Keegan (Irish Tunes by the 100), 1975; No. 82, pg. 22X:1

T:Broken Bridge [2]

M:C|

L:1/8

R:Hornpipe

K:G

dc | BAGB AG (3EFG | DGBd gdBG | FGAB cd^cd | fecB ADFA |

BAGB AG (3EFG | DGBd gdBG | FGAB cd^cd | fecA G2 :: Bc |

(3ded ^cd gdcd | fecA Egfe | (3ded ^cd ed=cB | (3ABA (3GFE D2 Bc |

d2 ^cd gdcd | fecA Egfe | d2 fe (3ded (3cBA | GBAF G2 :|

           


BROKE(N)-LEGGED CHICKEN [1]. Old‑Time, Breakdown. USA; Cumberland Plateau (Ky./Tenn. border area), Arkansas. D Major. Standard tuning. AAB. In the repertoire of the African-American string band the John Lusk Band (Ky.). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. In 1951 some 90 tunes were recorded in the field from Skeeter Walden by Irene Carlisle and Don West, “Broken-Legged Chicken” among them. Walden was an acquaintance of Randolph’s and perhaps his source for the Ozark tune. Drew Beisswenger (2008) points to similarities to other Ozarks tunes such as “White River,” “Bear Creek Sally Goodin’,” and “Old Charlie Deckard.” Source for notated version: Jim ‘Skeeter’ Walden (1879-1956, Busch, north Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 151.

 

BROKEN LEGGED CHICKEN [2]. English, Air (3/4 time). England, Northumberland. G Major (or E Minor 'A' part). Standard tuning. AB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 149. Trailer LER 2030, High Level Ranters – “High Level” (1971).

X:1

T:Broken-Legged Chicken, The

M:3/4

L:1/8

R:Air
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:G

(3efg BG B2|Gggage|(3efg BG B2|Aaagfd|(3efg BG B2|

A/B/c/d/ e/f/g/a/ ge|(3efg BG B2|A/B/c/d/ e/f/g/e/ fd||

(3efg dgBg|Gggage|(3efg dgBg|Aaagfd|

(3efg dgBg|A/B/c/d/ e/f/g/a/ ge|(3efg dgBg|A/B/c/d/ e/f/g/e/ fd||

           

BROKEN DAGGER, THE. Scottish, English; Strathspey. G Major. Standard tuning. AABB. Melodey for Robert Burn's song ("Green Grow the Rushes O" {?}). Raven (English Country Dance Tunes), 1984; pg. 174.

           

BROKEN DOWN GAMBLER. Old‑Time, Breakdown. USA; north Georgia, Missouri. G Major. Standard tuning. AABB (Devil's Box): AABB' (Phillips). The tune was recorded in 1930 by Gid Tanner, Riley Puckett and Lowe Stokes, all members of the north Georgia band The Skillet Lickers. Guthrie Meade sees simiarlties to “Waynesburgh,” “Bitter Creek” and “Scott No. 2,” while Drew Beisswenger (2008) believes the Ozark versions of “Bay Rooster” and “Katy Hill” have similar first strains. Sources for notated versions: The Skillet Lickers (north Georgia) [Devil's Box]; Manco Sneed (N.C.) [Phillips]; H.K. Silvey (b. 1934, Theodosia, Mo.), who had it from his uncle, Jess Silvey, who probably learned it from the Skillet Lickers’ recording [Beissenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 128. . The Devil's Box, Fall, 1983, pg. 17. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 38. County 526, "The Skillet Lickers, vol. 1" (1973). Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band." Rounder 0437-2, H.K. Silvey  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties” (2000. Appears as “Broke Down Gambler”).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Broken Down Gambler

M:2/4

L:1/8

S:From a transcription by Frank Malloy

K:G

D|Gg/a/ g/e/d/c/|B/A/G/B/ A/G/E/D/|G/A/G/E/ D/C/B,/C/|D/E/D/C/ B,/GD/|

Gg/a/ g/e/d/c/|B/A/G/B/ A/G/E/D/|G/A/G/E/ D/C/B,/C/|D/[GB][G/B/] [GB]:|

|:z|a<b b>a|g/f/g/e/ d2|e<a a/b/a/g/|e/g/a/b/ ag|a<b b>a|g/a/g/e/ d>B|de/f/ g/e/d/c/|B/B/A/F/ G:|

           

BROKEN HAMMER, THE. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 33, pg. 10.

           

BROKEN-HEARTED WALTZ. AKA and see "Valse de Coeur Casse."

           

BROKEN HORNPIPE, THE. AKA and see “McCarthy’s Hornpipe.”

           

BROKEN LANTERN, THE (An Lóchrann Briste). American, New England; Jig. C Major (most versions): D Major (Breathnach). Standard tuning. AABB. The jig is popular in Ireland, Cape Breton, and among U.S. contra musicians. Source for notated version: a recording of New York fiddler Larry Redican along with Bronx flute player Jack Coen (originally from County Galway) [Breathnach]. Breathnach (CRÉ V), 1999; No. 45, pg. 23. Cole (1000 Fiddle Tunes), 1940; pg. 71. Cranford (Jerry Holland: The Second Collection), 2000; No. 253, pg. 92. Ford (Traditional Music in America), 1940; pg. 124. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 1. Tolman (Nelson Music Collection), 1969; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 103. White’s Unique Collection, 1896; No. 23, pg. 4. RC2000, George Wilson – “Royal Circus” (2000).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Broken Lantern

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 23

Z:AK/Fiddler’s Companion

K:C

Gcc {d}cBc | Add {e}d^cd | edB G2G | AGE C2G | Gcc {d}cBc |

A2d {e}d^cd | edB GAB | c2e c2 :: g | ecg ceg | efg (a2g) | fdg ecg |

(dB)g G2g | ecg ceg | efg (a2g) | fdg ecg | (dB)g c2:|

X:2
T:The Broken Lantern
R:Jig
S:Catherine McEvoy's record
M:6/8
K:D
B | A2 d ded | B2 e ede | fdB AFA | BAF DFG |
A2 d ded | B2 e ede | fdB ABc | dfe d2 :|
a | fdB Adf | dfa b2 a | geg fdf | ecA A2 a |
fdB Adf | dfa b2 a | geg fdf | ecA d2 :|

                       

BROKEN-LEGGED CHICKEN. AKA and see "Broke‑Legged Chicken [1] or [2]".

           

BROKEN PANEL, THE. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 56. Raven (English Country Dance Tunes), 1984; pg. 185.

X:1

T:Broken Panel, The

M:C|

L:1/8

K:G

DGB,G E2C2|DB c/B/A/G/ FAAd|BGDG E2C2|DGFA BG G2:|

B/c/|dGeG d2 Ge|dGeG FAAc|dGeG dGgG|c/B/A/G/ Fd BGG B/c/|

dGeG d2 Ge|dG c/B/A/G/ FA (3Bcd|BGDG E2C2|DGFA BG G2||

           

BROKEN PITCHER. Northumbrian. One of the "lost tunes" in William Vickers' 1770 Northumbrian dance tune manuscript.

           

BROKEN PLEDGE, THE (An Geall Briste). Irish, Reel.. D Dorian (Flaherty, Taylor/Tweed): D Mixolydian (O'Neill/Krassen, Willaimson): D Mixolydian/Dorian (Cranitch): D Major (O'Neill/1850 & 1001). Standard tuning. AABB. There are several thoughts as to the origin of the title. One is that the pledge refers to a love pledge, in which a young couple, soon to be parted due to sea or military service, pledge their affection for one another and promise to remain faithful during the interim. It is also said the title refers to a failed temperance pledge, from the days of the temperance movement. A related Irish tradition says that at the Church asks children at the age of 11 or 12 to promise not to drink before they reach the age of twenty. Needless to say, few achieved the age not having broken the pledge. Occasionally the tune is played in the key of E Minor. Sources for notated versions: fiddler Philip Duffy (b. 1966, London, now residing in Dublin, Ireland) [Flaherty]; students of New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]; one of the first four tunes Karen Tweed learned from her mentor, accordion player John Whelan [Taylor/Tweed]. Cranitch (Irish Fiddle Book), 1996; No. 70, pg. 152. Cranitch (Irish Session Tunes: Red Book), 2000; 70. Flaherty (Trip to Sligo), 1990; pg. 30. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 6, pg. 3. O'Neill (Krassen), 1976; pg. 91. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1178, pg. 222. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 458, pg. 89. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 25. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 88. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997). Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996. Learned from Séamus Ennis). Shaskeen Records OS‑360, Andy McGann, Joe Burke, Felix Dolan ‑ "A Tribute to Michael Coleman."

X:1

T:Broken Pledge, The

M:C

L:1/8

Q:250

K:D

dc AG A2 dB | cA GF ED C2 | DE FG Ad ~d2 | Ac Gc Ad fe |

dc AG A2 dB | cA GF ED C2 | DE FG Ad ~d2 | Ac Gc AD D2 :|

|: dc AG A2 de | fe df ed AB | cA GE GA cd | ec ~c2 ea ge |

dc AG A2 de | fe df ed cA | F3 E FG AB | cA GE {F}ED D2 :|

           

BROKEN SIXPENCE, THE. Scotch (?), Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 79.

X:1

T:Broken Sixpence

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

[Bg]d/c/ B/c/d/B/|.Aa/g/ f/d/e/f/|[Bg]d/c/ B/c/d/B/|c/A/d/c/ B/G/.G|[Bg]d/c/ B/c/d/B/|

c/e/a/g/ f/d/e/f/|g/b/f/a/ e/g/d/B/|c/e/A/d/ B/G/.G :: B/c/d/B/ c/d/e/c/|B/d/g/g/ b/a/.a|

 b/a/g/f/ g/d/B/G/|c/e/d/c/ B/G/.G|.B(d/^c/d/) .=c/(e/^d/e/)|B(d/^c/d/) c/A/.A|b/g/a/f/ g/d/e/B/ |c/e/d/c/ B/G/.G:|

           

BROLUM, THE. Scottish, Reel. A Major. Standard tuning. AABBCCDD. Composed by Dr. Charles Bannaty. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 46. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

           

BROMACH FAIDHAIN, AN. AKA and see "The Wild Colt."

           

BRONZE HORSE. English, March. A traditional march of the 55th Regiment.

           

BROOK, THE. Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: The Ryan Trio [Mulvihill]. Mulvihill (1st Collection), 1986; No. 30, pg. 8.

           

BROOKLAND. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 61.

           

BROOKLYN LASSES. American, Reel. E Dorian. Standard tuning. AABB. See also the related “Kerry Reel [2],” “John Kelly’s (Reel),” or “Old Concertina Reel [1].” Cole (1000 Fiddle Tunes), 1940; pg. 13. Ryan’s Mammoth Collection, 1883; pg. 37.

X:1

T:Brooklyn Lasses

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Edor

.B/.e/.e/(c/ d/)(c/d/).B/ | (A/F/)(F/D/) F/A/A/c/ | .B/.e/.e/(c/ d/)(c/d/).A/ | (3B/c/d/.A/.c/ BE~E2 |

{f}e/^d/e/c/ d/c/d/B/ | .A(F/D/) F/A/A/c/ | .B/.e/.e/(c/ d/)(c/d/).A/ | (3B/c/d/.A/.c/ BE~E2 :|

|: {f}e/^d/e/f/ {a}g/f/g/e/ | .d/.e/.f/(a/ a/)(f/d/).f/ | e/^d/e/f/ .g(3g/f/e/ | d/B/c/A/ B/E/~E2 |

{f}e/^d/e/f/ {a}g/f/g/e/ | .d/.e/.f/(g/ a/)(f/d/).f/ | (g/f/)(f/e/) (e/d/)(d/c/) | (3B/c/d/.c/.A/ B/E/~E2 :|

           

BROOKS. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 69.

           

BROOKS MAGGOT.  English, Jig. G Major. Standard tuning. AABB. A maggot was a term, like ‘fancy’ or ‘whim’, to a dance tune; from the Italian magioletta, meaning trifle or thing of small consequence. The tune was first printed in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1759), and later in R. Baldwin’s The London Magazine, or The Gentleman’s Monthly  Intelligencer (1762). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2 ), 1765; No. 25.

X:1

T:Brooks Maggot

M:6/8

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:G

G3 BGB|dBd efg|G3 BGB|ABA AFD|G3 BGB|dBd efg|faf ge^c|d3 D3:|

|:dBG GBd|ecG EGc|egf ed^c|dAF D3|G3 BGB|dBd efg|dBG cAF|G3 G3:||

 

BROOKSIDE. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABBCC. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 40.

 

BROOKSIDE HORNPIPE. American, Hornpipe. B Flat Major (Cole, Ryan): G Major (Miller). Standard tuning. AABB (Miller): AA’BB’ (Cole, Ryan). Cole (1000 Fiddle Tunes), 1940; pg. 91. Miller (Fiddler’s Throne), 2004; No. 279, pg. 167.  Ryan’s Mammoth Collection, 1883; pg. 125.

X:1

T:Brookside Hornpipe

M:C|

L:1/8
R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(3FGA | (BA)Bc defg | (ab)fd BABd | (ce)(Be) (Ae)(GA) | (Bd)cB AF(GA) | (BA)Bc defg | abfd BABd |

(ca)gf (=ed’)c’b |1 (ag)d=e f2 :|2 agd=e “tr”f2 (ef) |: gfec Af(ga) | (c’b)fd “tr”(B2AG) | (FcAe) ( || db=ed’) |

(c’b)ag “tr”(f2=ef) | gf=ec Af(ga) | (c’b)fd (e’d’)bg | fdBG FAdc |1 B2b2B2 “tr”(3f=ef :|2 B2b2B2 ||

 

BROOKSIE. Old Time. In the repertoire of fiddler Kirk Sutphin, learned from North Carolina fiddler Lonnie Austin. Similar to "Raven's Gap."

 

BROOM, THE.  AKA and see “Sheehan’s Reel.” Irish, Reel. Pipers Liam Walsh and Leo Rowsome recorded the tune separately in the same year. HMV B 2549, Liam Walsh.

 

BROOM, GREEN BROOM. English, Air (6/8 time). England, Northumberland. G Major. Standard tuning. One part.

***

There was an auld man, he liv'd in the west,

His trade was the cutting of broom, green broom;

He had a lazy lad, whose name it was Jack,

Who'd lie in his bed till noon, till noon,

Who'd lie in his bed till noon.

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 98.

X:1

T:Broom, Green Broom

M:6/8

L:1/8
S:Bruce & Stokoe – Northumbrian Minstelsy

Z:AK/Fiddler’s Companion

K:G

D|GGG BAB|GBc d2B|ccc AGA|D2A A2D|GGG BAB|GBd d2g|

fed Ad^c|(d3 d2)d|gfg dcB|ecA GFD|GGG BAB|GBd g2e|ded cBA|(G3G2)||

 

BROOM OF THE COWDENKNOWES [1]. AKA and see "Broom, the Bonny, Bonny Broom."

 

BROOM ON CROWDEKNOWS [1], THE. English, Air (4/4 time). G Major. Standard tuning. One part. No relation to the usual tune known as "The Broom of Cowdenknowes" or "Broom, the Bonny, Bonny Broom," but is instead a song melody which appeared in 1780, set for guitar with words entitled "When Summer Comes the Swains on Tweed," as "sung at Sadlers Wells." Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 66, pg. 26.

 

BROOM, THE BONNY, BONNY BROOM. AKA ‑  "Broom of the Cowdenknowes," "Cowden Knowes," "Cowdenknowes," "The Lovely Northerne Lass," "O My King," "O, the Broom."  Scottish, English ; Air and Country Dance Air (2/2 time). England; Northumberland, Shropshire. F Major (Barnes, Karpeles, Raven, Sharp, Williamson): G Major (Ashman). Standard tuning. One part (Ashman, Karpeles, Raven, Sharp, Williamson): AABB (Barnes). This very old Northumbrian air has been set to various words, but most famously appears as "The Broom of the Cowdenknows." Broom is a bush with brilliant yellow flowers that grows all over England and Southern Scotland on hillsides.  Stems of the plant were at one time bundled together and bound to sticks for use as sweepers, hence the name 'broom' for the common implement. Cowdenknowes itself, with its famous broom, is situated on the east bank of the River Leader, five miles northeast of Melrose.

***

The piece can be traced back to the mid‑17th century, probably Scottish in origin, or at least so believed antiquarian researchers William Stenhouse, G.F. Graham, and John Muir Wood. Stenhouse believed it was probably one of those introduced into England after 1603 with the advent of the Stuart monarchy.  Graham says, “This is a very ancient and beautiful air of one strain,” and adds, “That in all the versions given in the older Scottish collections, the air begins on the second note of the scale, while in Playford’s Dancing Master 1651, it begins on the fifth, and in Watt’s Musical Miscellany, and some other works on the key-note itself” (quoted from Glen, Early Scottish Melodies, 1900). The tune was popular, widely known in Britain, and frequently used as the vehicle for numerous lyrics; it appears, for example, set for four different songs in the Tea Table Miscellany (1724), though the earliest English appearance seems to have been in the first edition of John Playford’s English Dancing Master (1651—John Glen thought the Playford version “very insipid”). Playford also included it in his Musick’s Delight on the Cithern (1666). Scots versions predate English ones with the melody used for broadside ballads at least as early as 1632. Later Scots versions of the song are to be found in Orpheus Caledonius (1725) and The Scots Musical Museum (1787). The song was mentioned in the text of the very first ballad opera, The Gentle Shepherd (1725), written by Allan Ramsay (although his work was not performed before Gay's 1729 Beggar's Opera became a hit), and subsequently in the ballad operas Beggar's Opera, The Highland Fair and The Decoy. Even the German composer J.C. Bach (son of the more famous Johan Sebastian) penned a setting of this melody.

***

The name of the tune appears in a 1721 poetic address by Allan Ramsay addressed to the Edinburgh Musical Society.

***

While vocal tubes and consort strings engage

To speak the dialect of the Golden Age,

Then you whose symphony of souls proclaim

Your kin to heaven, add to your country’s fame,

And show that musick may have so good fate

In Albion’s glens, as Umbria’s green retreat:

And with Corelli’s soft Italian song

Mix Cowden Knows, and Winter Nights are long.

***

Playford, The English Dancing Master (1651) {appears as "The Bonny Bonny Broome"}. Ashman (The Ironbridge Hornpipe), 1991; No. 66-67, pg. 26. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 16. John Gay, The Beggar's Opera (1729) {appears as "O, the Broom"}. McGibbon (Scots Tunes, book III), 1762; pg. 67.  Raven (English Country Dance Tunes), 1984; pg. 55. Raven (English Country Dance Tunes), 1984; pgs. 45 & 76. Sharp (Country Dance Tunes), 1909/1994; pg. 34. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 28. Dorian 90238, The Baltimore Consort – “A Trip to Killburn.” Flying Fish Records FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1." Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992. Appears as the tune for the song "The Lovely Northerne Lass").

X:1

T:Broom, the Bonny, Bonny Broom

M:2/2

L:1/8

S:Playford (1651)

K:F

c3dc3d|cBAG F4|f2fg agfe|d6e2|f3ga2ga|f2FG A2GF|G2G2d3B|G8||

X:2

T:Broom of the Cowdenknows, The

M:C

L:1/8

S:Allan Ramsay – Tea Table Misclellany  (1734)

K:C

D3E G3A|GED>C C2 cG|A2 cd e2 d>c|A6 c2|

(G>A) (c>d) e2 (d>c)|c2 CD E2 DC|(F3G) (AB)(cE)|D8||

X:3

T:Broom of the Cowdon knows, The

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Airs, book III, pg. 67  (1762)

Z:AK/Fiddler’s Compainon

K:D Mixolydian

A3Bd3e | (dB) “tr”(A>G) G2 (g>d) | e2(g>a) b2 “tr”(a>g) | ({g}e6)g2 |

(d>e)(g>a) b2 “tr”(ag) | g2 (G>A) B2 “tr”(A>G) | ~c3d (efg)B | ({B}A8 :|

 

BROOM WALTZ. AKA ‑ "Did You Ever See A Lassie (A Lassie, A Lassie)". American, Waltz. G Major. Standard tuning. AB. Ford (Traditional Music in America), 1940; pg. 144.

 

BROOMS’S REEL.  AKA and see "Love in a Village [3],” “Duke of Perth.”

 

BROOMSTICK, THE. AKA and see "Paddy on the Turnpike [2]."

 

BROONE COO, DA. AKA and see “Mrs. MacLeod (of) Raasay.” Shetland.

***

Da broon coo's broken oot and gaen among da coarn

If someone doesn't take her oot De'll be nane left do moarn

So go du in me peerie boy and grab her be da tedder

For du's a peerie supple ting No lake de auld don faider.    (Cooke)

 

BROSE AND BUTTER. AKA and see "The Peacock Followed/Follows the Hen," "Cuddle Me, Cuddy," "Yellow Stockings," "Mad Moll [1]," “Up and Down Again,” "The Virgin Queen." AKA – “Uilleam ‘s Caulm’s Mòrag” (William and Malcolm and Marion). Scottish, Country Dance Tune (9/8 time). D Major (Howe, Kennedy, Kerr, Martin): G Major {Bremner, Gow}. Standard tuning. AAB (Gow, Martin): AABB (Bremner, Kennedy, Kerr). The tune is a member of a very large tune family that also includes “Up with Aley,” “The Faraway Wedding,” “Cummilum,” “Ride a Mile,” “Hey My Nanny/Nancy,” “The Honeymoon,” “The Dusty Miller,” “The Kitten,” “Jerry Houlihan,” “The Cudgel,” “Drops of Brandy/Whiskey,” and “Follow Her over the Border.” According to Ford (Song Histories, 1900, pgs. 189-190) “Brose and Butter” was a favourite air of Charles II in his exile. Despite the reference to the king (which would date it to the 1640’s), John Glen (1891) does not find a printed version until Robert Bremner's 1757 collection. Brose is Scottish dish made with a boiling liquid and meal; "a dish of oat- or pease-meal mixed with boiling water or milk, with salt and butter etc added" (Concise Scots Dictionary). Origins of the term are unclear, although Webster’s suggests perhaps it is an alteration of the Scots bruis broth, from Middle English brewes, from Old French broez, nominative singular of broet, diminutive of breu broth (see also note for “Atholl Brose”).

***

There are suggestive lyrics to the melody printed by Herd (1776, vol. II, pgs. 203-204):

***

CHO:

Gi’e my love brose, brose,

Gi’e my love brose and butter;

Gi’e my love brose, brose,

Yestreen he wanted his supper

***

Jenny sits up in the laft,

Jocky wad fain hae been at her;

There came a wind out of the wast,

Made a’ the windows to clatter.

***

A goose is nae good meat,

A hen is boss within;

In a pye there’s muckle deceit,

A pudding it is a good thing.

***

The melody (which begins on the relative minor chord) is still used as a mess call in Highland regiments. Martin (2002) prints the tune (along with “I Hae a Wife of my Ain” and “Drops of Brandy”) as a vehicle for the dance Strip the Willow. Bremner (Scots Reels), c. 1757; pg. 32. Gow (Complete Repository), vol. 1, 1799, pg. 22. Howe (1000 Jigs and Reels), c. 1867; pg. 73. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; pg. 4, No. 7. Kerr (Merry Melodies), vol. 3; No. 294, pg. 32. Martin (Traditional Scottish Fiddling), 2002; pg. 46. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

X:1

T:Brose and Butter

M:9/8

L:1/8

R:Jig

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:C

c>de AcA c2A|c>de AcA dBG|c>de AcA ABc|B2G Gge dBG:|

cde ege ege|cde ege dBG|cde ege e^fg|^f2d dge dBG|cde ege ege|

cde ege dBG|cde ege e^fg|^f2d dge dBG||

X:2
T:Brose and Butter
S:Johnny Cradden, Edinburgh
Z:Nigel Gatherer
M:9/8
L:1/8
K:D
def dBB dBB | def dBB c2A | def dBB dBB | def fae c2A :|
def aff aff | def aff g2e | def aff aff | def fae c2A :|]

                       

BROSNA POLKA NO. 3. See note for “Captain Byng.”

                       

BROSNA SLIDE [1], THE. AKA and see “The Lonesome Road to Dingle [2],” “Trip to the Jacks.” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Three slides, “The Brosna Slide” [1], “The Scartaglen Slide” and “Padraig O’Keeffe’s Favourite” are played together and are collectively known as “The Brosna Slides;” they are associated with Donal O’Connor according to Moylan (1994). They are also associated with the champion Brosna Céilí Band of North Kerry (winners of the 1972 All-Ireland title), who learned them from local Brosna musician Jack Cahill (Treoir). Source O’Leary sometimes adds a fourth tune to the set, “Nelly Mahony’s.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Cranitch (Irish Fiddle Book), 1996; pg. 64. Moylan (Johnny O’Leary), 1994; No. 84, pg. 48. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 31. Treoir, vol. 34, No. 4, 2002; pg. 21. Globestyle Irish CDORBD 085, Johnny O’Leary - “The Rushy Mountain” (1994. Reissue of Topic recordings). Topic 12T357, Johnny O’Leary - “Music for the Set” (1977). Topic 12T358, “Jackie Daly” (appears as “Trip to the Jacks”). 

X:1

T:Brosna Slide, The [1]

M:12/8

L:1/8

Z:Michael Gregory

K:G

E | D2G G2A BAB d2B | A2D FED A2D FED | D2G G2A BAB d2B | A2D FED G3G2 :|

|:d|g3 efg f2 e d2B|c2B A2B c2d e2f|gfg efg f2e d2B|c2A FGA G3G2:|

 

BROSNA (SLIDE) [2], THE (An Bhrosna). AKA and see "Padraig O Keeffe's Favourite." Irish, Slide (12/8 time). A Dorian. Standard tuning. AABB. Source for notated version: accordion player Denis Doody [Breathnach]. Breathnach (CRÉ III), 1986; No. 53, pg. 24. Treoir, vol. 34, No. 4, 2002; pg. 21.

X:1

T:Brosna Slide, The [2]

M:12/8

L:1/8

R:Slide

S:Treoir, vol. 34, No. 4  (2002)

K:Amix

e3 efe d2f e2d | c2A ABA a3 a2g | e3 efe d2f e2d | c2A BAG A3 A2A :|

|: e2a a2g e2d Bcd | e2a a2g efe d2f | e2a a2g e3 efe | d3 def g2f g2e :|

 


BROSNA SLIDE [3], THE. AKA and see “The Scartaglen Slide.” Irish, Slide. G Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 4, pg. 115. Treoir, vol. 34, No. 4, 2002; pg. 21.

X:1

T:Brosna Slide [3]

M:12/8

L:1/8

R:Slide

S:Treoir, vol. 34, No. 4 (2002)

K:G

B2B cBA G2E D2G | EFG A2B c3 BA2 | B2B cBA G2E D2G | EFG AFD G3 G2A :|

|: D2B BAB d2B BAB | D2A A2B c2A ABA | D2B BAB d2B BAB | ABA DFA G3 G2E :|

 

BROSNAHAN’S FROLICS. Irish, Jig. The tune appears as an untitled jig in Breathnach’s Ceol Rince na hEireann IV (1996, No. 27), where he says “Brosnahan’s Frolic’s” is the name for the tune in County Kerry.

                       

BROSNAN’S. Irish, Reel. B Minor. Standard tuning. AA’BB.

X:1

T:Brosnan's

M:4/4

L:1/8

K:Bm

FBBA Bcde | f2 fe dcBA | FA ~A2 FAEA | FA ~A2 FAEA |

FBBA Bcde | f2 fe dcBA | fdec dcBA|1 FBBA BcBA:||2FBBA Bcde||

fBBA Bcde | f2 ba fede | fB ~B2 fBdf | e2 ce ABce |

fBBA Bcde | f2 ba fede | fdec dcBA | FBBA B4 :||

                       

BROSTUIG GO DTI AN POSAD. AKA and see "Haste to the Wedding."

 

BROTHER TRIP FOOT.  English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB. “Brother Trip Foot” shows up in the 1788 commonplace book of American fiddlers John Turner and William Pitt Turner of Norwich, Conn.  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 151.

X:1

T:Brother trip Foot

M:2/4

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:F

c|AFcF|BcdB|AFcF|defd|ecgc|GABG|Af (e/f/g/e/)|f3:|
|:f|ecgc|fgaf|bgaf|defd|ecdB|GABG|AF (3EFG|F3:||

                       

BROTHERS, THE. English (?), Country Dance Tune (4/4 time). G Major. Standard tuning. AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 165, pg. 60.

X:1

T:Brothers, The

M:C

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

G2 Bd c2B2 | A2 BG F2D2 | G2 BG A2 cA | BdcB B2A2 |

G2 Bd c2B2 | A2 BG F2D2 | G2 BG A2c2 | BGAF G4 :|

|: Bdef gdcB | ABcd ecBA | G2 BG A2 cA | BdcB B2 AB |

cdef gdcB | ABcd ecBA | G2 BG A2 c2 | BGAF G4 :|

                       

BROTHERS IN YORK. AKA and see “Dribbles of Brandy.” English, Jig. G Major. Standard tuning. AABB. The melody appears under this title in the 19th century Welch family manuscripts (Bosham, Sussex). See note for “Dribbles of Brandy” for more.

X:1

T:Brothers in York

C:Welch MS

M:6/8

L:1/8

K:G

EGE G2A|B2e dBG|A2B c2A|B2G FED|

EGE G2A|B2e dBG|A2B c2A|BGE E3:|

|:e3fge|fab fed|e3fge|fed e3|

e2f g2e|fab fed|e2B c2A|B G E E3:|

                       

BROTHER’S JIG, THE. AKA and see “The Friar’s Jig,” “The Monk’s Jig,” “Port an Bráthair,” “Port Padraig na Carra,” “Reverend Brother’s Jig.” Irish, Jig. See also note for “Gander in the Pratie Hole.”

                       

BROTHER'S LETTER. Cape Breton. Shanachie 14001, "The Early Recordings of Angus Chisholm."

                       

BROUILLARD. French, Scottish (2/4 time). E Dorian. Standard tuning. AABB. Composed by J.J. Smith. Stevens (Massif Central), 1988, vol. 2; No. 4.

 

BROUN'S REEL. AKA and see "Brown's Reel."

 

BROUNSWICK WALTZE, THE. See "Brunswick Waltz."

 

BROWN AND WHITE BLOSSOM/GARLAND, THE. AKA and see "Blath Donn is Ban."

 

BROWN BUTTON SHOES. Old‑Time, Breakdown. USA, northeastern Ky. G Major ('A' part) & C Major ('B' part). Standard tuning. AABB (Phillips): AA'BB' (Reiner & Anick). Source for notated version: Joe Stamper & Morris Allen via Buddy Thomas (Ky.) [Reiner & Anick, Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 38. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 102. Rounder 0032, Buddy Thomas (northeast Ky.) ‑ "Kitty Puss: Old Time Fiddle Music From Kentucky" (1974).

 

BROWN CASKET, THE. AKA and see "(An) Comhra Donn," “Brown Chest,” “Brown Coffin,” "Bruce's March," "Caledonian March," "Star of Bethlehem." Irish.

 

BROWN CHEST, THE. AKA and see “The Brown Casket/Coffin,” “(An) Comhra Donn,” “Factory Smoke.”

 

BROWN COFFIN, THE (An Cófra Donn). AKA and see “The Brown Casket/Chest,” “(An) Comhra Donn,” “Factory Smoke Hornpipe,” “Tide Come In [2].” Irish, Hornpipe. G Minor. Standard tuning. AABB. Green Linnet GLCD 1127, “Martin Hayes” (1993).

X:1

T:The Brown Coffin

T:The Factory Smoke

M:4/4

L:1/8

R:Hornpipe

K:Gm

G>A|B>AG>^F G>AB>c|d2G2G2a>g|f>ed>c B>cd>B|(3cdc (3BAG F2d>c|!

B>AG>^F G>AB>c|d>g (3fga g3d|e>dc>B c>ed>c|B2G2G2:|!

g>a|b>gd>B g>dB>G|D>GB>d d>gb>g|a>fc>A f>cA>F|C>FA>c f>cA>c|!

B>AG>^F G>AB>c|d>g (3fga g3d|e>dc>B c>ed>c|B2G2G2:|

 

BROWN COUNTY BREAKDOWN. E Major.

 

BROWN EWE. AKA and see “Old Hornless Cow.”

           

BROWN EYED GIRL, THE. AKA and see "The Primrose Lass," "The Primrose Girl [2]," "The Kilworth Lasses," "The Maids." Irish, Reel. G Major. Standard. AABB. The 'B' part could be substituted for the 'B' part of "The Boys of Portaferry," although the first parts are not compatible. Breathnach (CRÉ II); No. 189, pg. 99 (appears as "Gearrchaile na Samhaircini").

 

BROWN EYED KATE. Irish, Double Jig. A Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 230, pg. 25.

X:1

T:Brown Eyed Kate

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 230  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

cBc Ace|f3 efg|a2e edc|cBB B2d|cBc Ace|f3 efg|a2e dcB|(A3 A2)e:|

|:ece ece|agf agf|efe edc|cBB Bcd|ece ece|agf agf|efe dcB|A3 A2e:|

 

BROWN GIRL'S REEL, THE. AKA and see "The Scartaglen Reel," "I Wish I had a Kerry Cow," "The Old Kerry Cow."


 

BROWN HAIRED BOY [1], THE. AKA and see "The Yellow Haired Laddie [2]." Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 155, pg. 27.

X:1

T:Brown Haired Boy, The [1]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 155

Z:AK/Fiddler’s Companion

K:G

G>A|B2d2 ef|g3 a b2|d2 edcB|B2 A2 G>A|B2d2 ef|g3 a b2|d>e d>B A>B|G4||

g>a|b2 c’ba>g|f>g afed|e>f gdcB|B2A2 G>A|B2d2 e>f|g3a b2|d>e d>B A>B|G4||

 

BROWN HAIRED BOY [2], THE (An Buachaillín Donn). Irish, Air (3/4 time). C Major. Standard tuning. AAB. No relation to O’Neill’s “Brown Haired Boy.” Joyce (Old Irish Folk Music and Songs), 1909; No. 81, pg. 43.

X:1

T:Brown Haired Boy, The [2]

T:An Buachaillín Donn

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Song (1909)

Z:AK/Fiddler’s Companion

K:C

G2|f2e2c2|e2 cA G2|c2E2GA|c2e2 cA|A2G2G2|G4:|

GA|c2c2e2|g2 ed c2|e2G2GA|c2c2e2|g2 ed c2|d4 de|

g2 ge d2|c2 ed c2|c2E2G2|f2e2 dc|A2G2G2|G4||

 

BROWN-HAIRED GIRL, THE. AKA and see "Cailin Donn (Dhonn)", "Collendoon."

                       

BROWN HAIRED LAD, THE. See “(An) Gille Donn.”

                       

BROWN HAIRED MARY. See “Mairi dhonn.”

 

BROWN JOAK, THE. English, “Old” Hornpipe (6/4 time). G Minor. Standard tuning. AABB. The melody appears in Walsh’s Third Collection of Lancashire Jigs, Hornpipes, Joaks etc. (c. 1730).

X:1

T:Brown Joak

B:Walsh

M:6/4

L:1/8

K:Gm

GA| B3 A G2 d3 g ^f| g3 ab2 f2 d2 B2| f6 A4 G2| ^F2 f2 c2 =B2 g2 f2| \

b3 a g2 A2 B2 ^F2| G6 G,4::gf| g3 a b2 ^f2 d2 ^f2| g3 ab c'3 b a2| ^f6 e4 ^f2|\

g3 a b2 ^f2 d2 ^f2| g2 d2 B2 c2 d2 ^F2| G6 G,3:|

                       

BROWN KELLY WALTZ. AKA – “Brown’s Kelly Waltz.” AKA and see "Kelly Waltz." Old‑Time, Waltz. USA, Texas. Recorded by Texas fiddler Eck Robertson for Victor Records with his family band in 1929 (released in 1930), the waltz was, according to Blanton Owen, one of the most performed numbers at live shows. Charles Wolfe (1997) believes this tune may have come from another Texas fiddler named Matt Brown, who composed “Done Gone,” and whose hey-day was in the early 20th century. Actually, the core of the tune is the well-known “Kelly Waltz,” popular in fiddling circles throughout the western United States, to which a part was added by Brown, starting on the IV chord. Victor 40334 (78 RPM), Eck Robertson (Texas) {1929}.

                       

BROWN LEAF RAG. AKA and see “Little Brown Hand.” Old‑Time, Country Rag. USA, Missouri. G Major. Standard tuning. AA’BB’. The melody is similar to “Walking in My Sleep [1]” and, indeed, is  sometimes called by that name by fiddlers in Missouri and elsewhere [Beisswenger, 2008]. Mark Wilson posits that “Walking in My Sleep” was derived from “Brown Leaf Rag.” Source for notated version: Lonnie Robertson (1908-1982, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 115. Caney Mountain CEP 213 (extended play, privately issued), Lonnie Robertson (Mo.), 1965‑66.

                       

BROWN MAID, THE (An Cailin Donn). AKA and see "Oh! Touch, Dear Maid, That String," "Oh! Breathe Not His Name." Irish, Air (4/4 time). F Major. Standard tuning. AB. 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. 154, pg. 27.

X:1

T:Brown Maid, The

M:C

L:1/8

R:Air

N:”With expression”

S:O’Neill – Music of Ireland (1903), No. 154

Z:AK/Fiddler’s Companion

K:F

f>e | dcAc BAGF | G>AFF F2 zF | BAGF A>Bcc | d/e/f ed c2 zc |

BAGF F2 zG>A | cfef {e}d2 f>e | d>cAc BAGF | DFF>G F2 ||

F>G | ABcd cAGF | Acde f2 zc | fedc AdcA | DEFA G2 F>G |

ABcd cAGF | Acde f2 f>e | dcAc BAGF |DFF>G F2 ||

                       

BROWN MALLET, THE. Irish, Air (2/4 time). G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 448, pg. 78.

X:1

T:Brown Mallet, The

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 448

Z:AK/Fiddler’s Companion

K:G

D|GG B>G|B d3|GG BA/G/|F A3|GG B>G|B d3|ed/B/ GA|G3:|

|:(3d/e/f/|gf ef|ed z(3d/e/f/|gf ef|d3 (3d/e/f/|gf ed|B e3|d>B G>A|G3 :|

                       

BROWN MILKMAID, THE (A Bhanarach Dhonn A' Chruidh). AKA and see "The Dairymaid [3].” Scottish, Air. The melody appears in Patrick MacDonald's Collection of Highland Vocal Airs (Edinburgh, 1784). Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

                       

BROWN OXEN, THE (Berry Dhoan). Irish/English, Air (6/8 time). Ireland/England, Isle of Mann. E Major. Standard tuning. AB. Petrie (1855) notes this air was set in 2/4 time by one Major Wallis. Stanford/Petrie (Complete Collection), 1905; No. 773, pg. 193.

X:1

T:Berry Dhoan “The brown oxen”

M:6/8

L:1/8

N:”A Manx Air.”

S:Stanford/Petrie (1905), No. 773

Z:AK/Fiddler’s Companion

K:E

e2 E (G>A)B | e>fg f2d | (e>f)g e<BG | A<FD E E2 ||

E>FE GAG | g>eg f2d | (e>f)g (e<B)G | A<FD E E2 ||

                       

BROWN PAPER HORNPIPE.  AKA – “Johnston’s Hornpipe.” English, Hornpipe. D Major. Standard tuning. AABB. The tune appears in the music manuscripts of Joshua Burnett (Worsborough, South Yorkshire), and G. Huddeswell of Leeds, West Yorkshire. Kidson gives the attribution “by Thos. Pickering, MS 40, p. 27,” and notes the 'A' part is very much like "Johnston's Hornpipe." Callaghan (Hardcore English), 2007; pg. 14.

 

BROWN RED GIRL, THE. AKA and see "Rolling on the Ryegrass," "Maureen Playboy," "Old Molly Ahern," "The Piper's Lass," "The Rathkeale Hunt," "The Shannon Breeze [1]," "The Ladies Tight Dress," "The Ladies Top Dress," "The Telegraph," "What the Devil Ails You [2]" "Roll Her on the Banks", "Boil the Kettle Early," "Kitty got a clinking (coming from the races) [1]," "Punch for the Ladies [2]," "The Listowel Lasses," "The Lady on the Railroad," "Love among the Roses," "The Kilfinane Reel," "The Railway Station," "The Connachtman's Rambles," "McCaffrey's Reel," "Sean‑Mhaire Ni Eachthighearn."

 


BROWN-SAILED BOAT, THE. Irish; Reel, Highland or Strathspey. Ireland, County Donegal. The tune is a County Donegal adaptation of the Scottish strathspey "Peter Bail(l)ie [1]." According to Caoimhin Mac Aoidh, the title comes from the Kilcar area and references the story of a young woman, daughter of a wealthy local man, whom her father had betrothed to a rich man she did not want to marry. Instead, she gave her heart to a young fisherman from the area, and when her disapproving father found out he forbade her ever to see her lover. She and the young man contrived to meet in secret, and arranged that should he be able to meet her he would use a brown sail on his return from fishing in Donegal Bay, and if he could not he would show his white one. The lovers continued to meet for some time, planned their independence, and when they had enough saved they eloped. The first tune played at the hauling home dance was this strathspey, which as it was untitled was given the name “The Brown-Sailed Boat” by the fiddlers in honor of the couple. Green Linnett GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994).

 

BROWN SKIN GAL. See "There's a Brown Skin Gal (Down the Road Somewhere)," "That Brownskin Gal [2]." Old‑Time. USA, Texas. In the repertoire of Texas fiddlers, especially Eck Robertson who recorded the tune in 1929 as “There‘s a Brown Skin Gal Down the Road Somewhere,” nowadays shortened to “Brown Skin Gal.” Yazoo Records, Curt Massey – “Times Ain’t Like They Used to Be, vol. 2.”

 

BROWN THORN [1], THE (Draoignean Donn). AKA and see "St. Seanus and the Lady," "Why do Lovely Virgins Mourn?" "The Bark is on the Swelling Shore," "The Sloe Tree." Irish, Slow Air (3/4 time). G Major. Standard tuning. AB. This air appears in Bunting’s Ancient Irish Music of 1796, a collection of 66 airs, mostly from performers at the Belfast Harp Festival of 1792. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 31, pg. 6.

X:1

T:Brown Thorn, The [1]

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 31

Z:AK/Fiddler’s Companion

K:G

c B>c | d2 Bd ef | gf/g/ dd ed/c/ | B2 GB A>G | G2 Gc Bc | d2 Bd ef |

gf/g/ dd ed/c/ | B2 GB A>G | G3 || c B>c | d2 Bd ef | g2 b2 {b}a/g/ f/e/ |

e4 z>d | d3c B>c |  d2 Bd ef | g2 dd ed/c/ | B2 GB A>G | G3 ||

 

BROWN THORN [2], THE (An Droignean Donn). Irish, Slow Air (3/4 time). F Major (Roche): D Major (Ó Canainn, O'Neill): E Flat Major (Stanford/Petrie). Standard tuning. One part (Ó Canainn, O’Neill, Roche): AAB (Stanford/Petrie). Two versions of the song appear in “Amhrain Mhuighe Seola” (1927), collected by Mrs. Costello, “both collected in Mayo but one, in fact, a Galway version” (Ó Canainn). Ó Canainn (1978) remarks that it is interesting that the song was alive in the tradition one hundred years after Bunting collected the same song in the same area. Stanford claims his version of the air is “correctly set.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 32, pg. 6. Roche Collection, 1982, Vol. 1; No. 10, pg. 9. Stanford/Petrie (Complete Collection), 1905; No. 451.

X:1

T:Brown Thorn, The [2]

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 32

Z:AK/Fiddler’s Companion

K:D

DE | F>E FABc | d3c BA/F/ | E4 D2 | {E}D2 z2 AB/c/ | d2 d>e fd |

{f}e2 d>c BA | F>A B3c | B>A A2 AB/c/ | d2 d>e fd | {f}e2 d>c BA |

FA Bd c/d/e/f/ | d2 z2 A,>B, | D>E F>E FA | Bc d>c BA/F/ | E4 D2 | D4 ||

 

BROWN THORN [3], THE. Irish, Slow Air (3/4 time). G Major. Standard. AB. Source for notated version: Mrs. Lavin [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 33, pg. 6.

X:1

T:Brown Thorn, The [3]

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 33

Z:AK/Fiddler’s Companion

K:G

D2 | G2 B/d/ f/a/ g2 | f>e dB/G/ A2 | B2 {d}(3cAF G>G | G4 || de/f/ |

g>f ga b<g | a>f d3 f/a/ | g>e fd (3edB | d4 de/f/ | g>f ga b<g | a<f d3 f/a/ |

g>e fd (3edB | d4 B>A | G2 B/d/ f/a/ g2 | f>e dB/G/ A2 | B2 {d}(3cAF G>G | G4 ||

 

BROWN TOWN GALS. AKA and see "Buffalo Gals [1]."

 

BROWN WALLET. AKA and see "The Silken Wallet," "An Sioda Ata id' Bhalluit, a Bhuachaill?" (Is It Silk That's in Your Bag, My Boy?). Irish. Bayard (1981) identifies this as a variant of "Over the River/Water to Charlie." JIFSS, No. 12, pg. 21.

 


BROWNIE SPECIAL. Old‑Time, Breakdown. G Major. Standard tuning. AAB. Source for notated version: Cecil Brower with Milton Brown and His Musical Brownies [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pg. 8. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 26.

 

BROWNING. AKA and see "The Nutts be Browne," "The Leaves be Green."

                       

BROWNLOW’S DREAM. Old-Time, Breakdown. Eastern Kentucky fiddler Ed Haley’s title for the tune usually known as “Brown’s Dream,” or more frequently “John Brown’s Dream.” It is a member of a large tune family, however. See notes for “John Brown’s Dream” and “Pretty Little Gal [1].” Rounder CD 1131/1132, Ed Haley.

                       

BROWN’S COWS. Irish, Jig. F Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Antrim. The title refers to a trip Keegan took that turned into a disaster of confused venues and mistakes in planning. The group seemed to her to imitate the anecdotal ‘Brown’s cows’, who went out to pasture in ones and twos in the morning and came home the same way in evening. Keegan (The Keegan Tunes), 2002; pg. 58.

                       

BROWN'S DREAM [1]. AKA and see “Brownlow’s Dream,” “Brownstream,” "Herve Brown's Dream," "John Brown's Dream," "Little Rabbit," “Pretty Little Gal [1],” "Pretty Little Miss [1]," "Red Steer" (Tenn.), “Stillhouse Branch,” “Table Mountain Road.” Old‑Time, Breakdown. USA: Round Peak, western N.C.; Galax and southwest Va.; Tenn. A Major. Standard or AEae (Tommy Jarrell). AABBC. According to Miles Krassen (1973) the title of this tune was originally "Herve Brown's Dream," but was shortened to 'Brown's Dream' in common usage.  As the tune circulated, the surname Brown came to be identified with the most famous personage of the era with that name, the abolitionist John Brown, and references to the obscure Herve (who may or may not have composed the tune) became rare. Krassen’s assertion may or may not be true, as there is no source given to check, however, the “Herv Brown” title seems to have come from West Virginia fiddler Frank George. The tune is one of a large tune family known by several titles, and apparently originated in the Blue Ridge area, although since fairly widely disseminated. Mt. Airy, North Carolina, fiddler Tommy Jarrell had the tune from his father, fiddler Ben Jarrell, and Tony Lowe. See notes for “John Brown’s Dream” and “Pretty Little Gal.” Source for notated version: Henry Reed (Va.) [Krassen]. Krassen (Appalachian Fiddle), 1973; pgs. 66‑67. Crockett Family, 78 RPM (appears as "Little Rabbit"). Old Homestead OHCS191, Dykes Majic City Trio (Eastern Tenn.) [appears as "Red Steer"] {originally recorded for Brunswick, 1927}. In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (Russell County, S.W. Va.) and recorded by him in 1924 for Victor, though unissued.

 

BROWN'S DREAM [2]. AKA and see "McGraw's Ford." Old-Time, Breakdown. USA, Missouri. The tune is in the repertoire of Ava, southewestern Missouri Ozarks, fiddler Bob Holt (b. 1930), learned from local sources. The late Missouri fiddler Art Galbraith called it “McCraw’s Ford.”

 

BROWN'S HORNPIPE. AKA and see "Cincinnati Hornpipe [1]," "Cliff Hornpipe."

 

BROWN’S HORNPIPE [2].  English, Hornpipe. D Major. Standard. AABB. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 58.

 

BROWN’S KELLY WALTZ. See “Brown Kelly Waltz.”

 

BROWN'S RANT. English, Rant (4/4 time). England, North‑West. D Major. Standard. AABB'. Not "Brown's Reel" [1] or [2]. Knowles (Northern Frisk), 1988; No. 40.

 

BROWN'S REEL [1]. AKA - "Broun's Reel." AKA and see “Bonintown Well.” Scottish, Reel. C Major. Standard. AB (Gow): AAB (Athole, Hunter, McGlashan). Carlin (The Gow Collection), 1986; No. 469. Gow (Complete Repository), Part 2, 1802; pg. 20. Hunter (Fiddle Music of Scotland), 1988; No. 188. McGlashan (A Collection of Reels), c. 1786; pg. 29. Stewart-Robertson (The Athole Collection), 1884; pg. 67.

X:1

T:Broun’s Reel

T:Brown’s Reel [1]

M:C|

L:1/8

R:Reel

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:C

e|c2ec dBAG|A/B/c BA GEEG|c/d/e/f/ ge dBAG|A/B/c BA GCC:|

f|ecgc dBgB|cAdc BGGB|AFcF GecE|FDGF ECCf|egcg dgBg|

caAc BGG_B|AcFc GcEc|Aagf ecc||

 


BROWN'S REEL [2]. Scottish, Reel. B Flat Major. Standard. AAB. Glen (1891) finds the tune earliest in print in Neil Stewart's 1761 collection (pg. 41). There is a once popular Scottish country dance by this title in Angus, which is also called "The Duke of Perth" in East Fife and Perthshire.  Flett & Flett (1964) suggest that it is likely that "Brown's Reel" was a district dance of its own, accompanied by a melody also known as "Brown's Reel." They speculate the "Browns Reel" tune may be the reel of that name in the MS collection of Peter Hardie, a fiddler from Tullymet born about 1775, and that the Brown of the title may in fact be one of the Browns of Kincardine in Strathspey, a fiddling family credited with being the originators of the strathspey style. MacDonald (The Skye Collection), 1887; pg. 192.

X:1

T:Brown’s Reel [2]

M:C

L:1/8

S:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:B_

B,DFB AFcF|Bdce dfBd|B,DCE DFBd|1 cAFA B2B2:|2 cAFA B2||de|fdBd bagf|

EdcB AFcF|BFdF cFec|AFGA Bcde|fdBd bagf|edcB AFcF|Bdce dfeg|fFGA B2B2||

                       

BROWNSKIN GAL. AKA and see "Brown Skin Gal."

                       

BROWNSTOWN GIRL. Old-Time, Breakdown. A West Virginia/Kentucky regional tune recorded by Clark Kessinger (1896-1975) for Brunswick Records in 1930, probably learned by him as a boy growing up in West Virginia’s Kanawha Valley.

                       

BROWNSTREAM. See “John Brown’s Dream.” North-east Kentucky fiddler Buddy Thomas recorded the tune under the “Stillhouse Branch” title but also knew the piece alternately as “Brown Stream,” a mondegreen for “Brown’s Dream.” He believed the “Brown Stream” title to refer to the stream of whiskey that emerges from a moonshine still, according to Mike Yates (2002). Rounder 0032, Buddy Thomas (Northeast Ky.) ‑ "Kitty Puss: Old Time Fiddle Music From Kentucky."

                       

BRUACA LOCA GAMNA. AKA and see "The Banks of Lough Gowna."

                       

BRUACA NA OIDLM. AKA and see "The Banks of the Ilen."

                       

BRUACH AN CHLADAIGH. AKA and see "The Banks of Claudy."

                       

BRUACH DHÚINN RÉIMHRE. Irish, Air. 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).

                       

BRUACH NA CAIRRAIGE BÁINE (The Edge/Brink of the White Rock). AKA and see “Brink of the White Rocks [1].”

                       

BRUACHA CAONAIGH, NA. AKA and see "The Mossy Banks."

                       

BRUACHA LOCH GABHNA. AKA and see “Banks of Lough Gowna.”

                       

BRUACA NA AMNE-DUBA. AKA and see “Banks of the Black Water.”

                       

BRUACHA NA LIFE AKA and see "The Liffey Banks."

                       

BRUACHA THALAMH AN ÉISC. AKA and see “The Banks of Newfoundland [2].”

                       

BRUACHAN LOCH NIS. AKA and see "The Banks of Loch Ness."

 

BRUACHAN MHELINIS. See “The Braes of Mellinish.”

                       

BRUACHANNA GRÉINE, NA (The Sunny Banks). AKA and see “The Sunny Banks.”

                       

BRUCE'S MARCH [1]. AKA and see "The Star of Bethlehem," "Caledonian March," "Dirge of the Berlin (Pa.) Band,"  "Loch Na Gar [1]," "Bonaparte Crossing the Rhine [1]" (infrequently). American, March. USA, Southwestern Pa. D Major. Standard tuning. AB. The tune is apparently Scottish, according to Bayard, but he was unable to trace it. Some forms of the tune were used for shape-note hymns. Sources for notated versions: Edgar Work (Indiana County, Pa., 1949), elderly fiddler Emery Martin (Dunbar, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 156, pgs 92‑93.

 

BRUCE’S MARCH [2].  Scottish, March (4/4 time). D Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). No relateion to “Bruce’s March [1].” Skinner (Harp and Claymore Collection), 1904; pg. 30 (includes variation sets).

X:1

T:Bruce’s March [2]

M:C

L:1/8

R:March

C:J. Scott Skinner

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A, | ({A,}[DD>])E FD .E.A, .D2 | ({D}d>)c .B/.A/.G/.F/ ({D}FEEF | [DD>]E FD G>A B>B |

.A/.B/.c/.d/ .e/.f/.g/.e/ fdd :| .a/.g/ | fDaD b(G,G,) b/a/ | ^gEbE a(A,A,) a/=g/ | fDaD b(G,G,) B, |

A,/B,/C/D/ E/F/G/A/ FDD a | d’dDd’ b(G,G,) b | e’b E^g a(A,A,>)C | [DD>]E FD EA, D2 |

.A,/.B,/.C/.D/ .E/.F/.G/.A/ FDD ||

                       


BRUCKLESS SHORE, THE. AKA and see “Arthur Darley’s,” “The Swedish Jig.” Irish, Air or Jig. Ireland, County Donegal. Composed by classically trained Irish musician Arthur Darley, who had an appreciation for traditional music and who performed and collected it in the early 20th century (see Darley & McCall's collection). Darley, who was employed as a Chruch of Ireland organist based in Bruckless (County Donegal), lived for a time in Dunkineely, County Donegal, and influenced Donegal traditional fiddlers, especially John Doherty and Donny O'Donnell (Caoimhin Mac Aoidh, 1994). It is Darley himself who passed the tune to the Doherty family, with whom he was on friendly terms, and John Doherty was supposedly quite taken with the melody. Mac Aoidh explains the origin of the alternate title, “Swedish Jig,” thus: it seems that fiddler Danny Meehan returned to Donegal on vacation from London and was playing with John Doherty, when the latter fiddler happened to play a tune he learned from “Mr. Darley.” Meehan picked up the tune but not the name, and on his return to London he began playing it around. Someone voiced the opinion that it sounded Scandinavian and afterwards people began to request that Meehan play “that Swedish jig,” and the name spread from there. There is an extra beat in the second measure. Philippe Varlet believes that the alternate title “The Swedish Jig” first appeared on the 1978 LP "Lord Mayo" by the London band Le Cheile, (featuring Danny Meehan on fiddle), though he says the ultimate source for that name may have been Dublin fiddler John Kelly Sr.  Paddy Glackin – “Ceol ar an bhFidil le Paddy Glackin” (appears as “Arthur Darley’s”).  Gerald Trimble – “First Flight.” Mick Moloney – “Strings Attached.” Green Linnet SIF 3107. Aly Bain & Phil Cunningham – “The Pearl” (1994. Appears as “The Swedish Jig”).

X:1
T:Arthur Darley's
T:Bruckless Shore
T:The Swedish Jig
C:Arthur Darley Senior
D:Mick Moloney, Strings Attached
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:6/8
L:1/8
K:D
ABA AGF|

M:9/8

L:1/8

EDC D2D Ade |

M:6/8

L:1/8

fed efc | d2 d Ade | fed edc | d3 BAG | FED ECD | DA,B, CDE |

Ddd ede | fef g2 g | fed edc |1d2 d dcB :|2 d2 d d=c_B |]
K:Dm
A2 f fef|A2 f fef|Aff Agg|Aaa Abb|A2 f fef|A2 f f2 g|
fed ed^c|1d3 dcB:|]2d3-d2|]
K:D
e|fed edc|(3ddd d BAG|
FED EDC|DA,B, CDE|Ddd ede|fef g2 g|fed edc|d3 d2 e:|]

                       

BRUDDER BONES. American, Cakewalk ('Walk-around'). B Flat Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 26. Ryan’s Mammoth Collection, 1883.

X:1

T:Brudder Bones

M:2/4

L:1/8

R:Cakewalk

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B Flat

G,2 A,2|B,2 C2|D2 (E<C)|(D<B,) G,2|]d2b2][d2b2]|[d2b2] [ca][Bg]|[A2^f2] [Bg>]d|=f2 ec|

G,2 A,2|B,2 C2|D2 E<C|D<B, G,2|[_d2b2][d2b2]|[=d2b2] ag|f2 cd|B3||

“dance”

(d/e/)f/g/f/g/ f/d/B/d/|f/g/f/g/ f/d/B/d/|ee/c/ dd/B/|c/B/A/G/ F(d/e/)|

f/g/f/g/ f/d/B/d/|f/g/f/g/ f/d/B/d/|ee/c/ dd/B/|(c/B/)A/c/ B||

“break”

ba/g/ fe|dcBz||

                       

BRÚIGH ISTEACH LIOM, A SHIOBHÁININ. AKA and see “Shove into Me, Siobháinín.”

                       

BRUISE THE PEASE. Irish, Single Jig. D Dorian. Standard tuning. AAB. Roche Collection, 1982; vol. III, pg. 34, #108.

                       

BRUISUS, THE. AKA and see "Clonmel(l) Lassies," "Kiss the Maid behind the Barrel(s)," "Kiss the Maid behind the Barn," "The Maid behind the Bar [2]," "An Gearrchaile taobh thiar den Bhear."

                       

BRUMLEY BRAE, THE. AKA – “Bramley Brae.” Scottish, Reel. D Major. Standard tuning. AAB. Composed by William MacPherson (1919-1974). Brumley Brae is a steep hill in Elgin (north-east Scotland) that is situated north‑east of the Bow Brig in the direction of Spyme and the road to Burghead and Hopeman, relates Neil (1991). "It was probably a favorite place for picking brambles as the name suggests." The tune was composed by William Macpherson (1919-1974), a native of Elgin. The tune has some currency among musicians from northern Ireland (Donegal), where it is known as “Charlie Fleming’s,” probably Chuck Fleming, a onetime member of the JSD Band and Five Hand Reel. Neil (The Scots Fiddle), 1991; No. 74, pg. 98.

X:1

T:Bramley Brae

T:Charlie Fleming’s

M:C|

L:1/8

R:Reel

N:A version of the Scots tune “Brumley Brae”

K:D

d2 cd AFDd| cdAF DFAF| E3 F GFED| C2 AE BEcE| !

d2 cd AFDd|cdAF DFAF|1 Gfgf efed| ecAc d3 c:||2 Gfgf edcB| Acec d3 a||!

^gafd Aa^ga| fdAa ^gafd| eB ~B2 bagf| edcB Aa^ga| !

^gafd Aa^ga| fdAa ^gafd| eB ~B2 cBAG| FDECD3 a|!

^gafd Aa^ga| fdAa ^gafd| eB ~B2 bagf|edcB AGFE|!

 D2 cd AFDd|cdAF DFAF|Gfgf efed|cAGE D3 c||!
X:2
T:Brumley Brae, The
C:William MacPherson (1919-1974)
B:The Scots Fiddle, J Murray Neil (Moffat 1991)
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8
K:D
A2|d2 cd AFDd|cdAF DFAF|E2 EF GFED|CEGB =cA^cA|d2 cd AFDd|cdAF DFAF|
Begf edcB|AGFE D2:|]a2|^gafd Aa^ga|fdAa ^gafd|eBBe bagf|
edcB A^ABc|d2 cd AFDd|cdAF DFAF|G,B,DB, A,CEG|F2 D2 D2:|]

                       

BRUNETTE, LA. English (?), Country Dance Tune (2/4 time). G Major. Standard. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 18.

X:1

T:La Brunette

M:2/4

L:1/8

B:McGlashan – Collection of Scots Measures  (c. 1780)

Z:AK/Fiddler’s Companion

K:G

de/f/ gd|dc B2|GB/G/ Ac/A/| d/c/B/A/ G/F/E/D/|de/f/ gd|dc B2 AedF|G2G2:|

|:B2 AG|cc c2|ef/g/ fe|ed d2|g/f/g/a/ ba|gfed|d>edc|B2G2:|

                       

BRUNETTE ITALIENNE, LA.  French, Country Dance (2/4 time). C Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 43.

X:1

T:Brunette Italienne, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 43

Z:AK/Fiddler’s Companion

K:C

{d}(c/4B/)<c {a}(g/4f/)<g | {d}(c/4B/)<c {b}(a/4g/)<a | .e/(f/g/f/) .e/(f/e/d/) | c2C2 |

{d}(c/4B/)<c {a}(g/4f/)<g | {d}c/B/c {b}a/g/a | .e/(f/g/f/) .e/(g/a/^f/) | g2g2 :|

|: (G/A/B/c/) {e}(d/4c/)<d | (A/B/c/d/) {f}(e/4f/)<e | (B/c/d/e/) {g}(f/4e/)<f |

(c/d/e/f/) .g/(e/f/g/) | a/g/f/e/ d/e/f/d/ | {^f}g2 g2 | f/e/d/c/ B/c/d/B/ | c2C2 :|

                       

BRUNO’S REEL (Reel a Bruno). French-Canadian. G Major. Standard tuning. AA’BB’CC’. Source for notated version: Robert Arsenault (b. 1946, Meadow Bank, East Prince County, Prince Edward Island) from a recording by Quebec accordionist Phillippe Bruno [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 56.

                       

BRUNSWICK WALTZ. AKA and see "Brounswick Waltz." English, Scottish, American; Waltz. G Major (Kerr): F Major (Howe/Diamond, Wilson): C Major (Howe/Accordeon): D Major (Kennedy, Sumner). Standard tuning. AABBCC (Kennedy, Kerr, Sumner): AABBCCBB (Howe). According to Bruce Olson’s index, the “Brunswick Waltz” first appears in Longman and Broderips 5th collection (30) c. 1791-96. The title perhaps has associations with Princes Charlotte Augusta (1737-1813), granddaughter of king George II and sister of George III. She married, in 1764, Karl Wilhelm Ferdinand, Duke of Brunswick, a ducal house to which she already belonged. During the Napoleonic Wars the Duke was commander of the Prussian forces at the battle of Auerstadt (1806) where he was mortally wounded. Princes Augusta fled with her family to Jutland and a year later prevailed upon her brother to allow her to move to England. She settled at Montague House, Blackheath, Greenwich, but fell out with her daughter with whom she lived, and purchased the house next door, renaming it Brunswick House. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Howe (Complete Preceptor for the Accordeon), 1843; pg. 21. Howe (Diamond School for the Violin), c. 1861. Huntington (William Litten's), 1977; pg. 34 (appears as "Brounswick Waltze"). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 99, pg. 24. Kerr (Merry Melodies), vol. 1; No. 7, pg. 50. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pgs. 73 & 79 (originally set in the key of ‘F’ major in the ms.). Wilson (Companion to the Ballroom), 1816; pg. 147.

X:1

T:Brunswick Waltz

L:1/8

M:3/8

S:Elias Howe – Diamond School for the Violin (c. 1861)

Z:AK/Fiddler’s Companion

K:F

F/>G/ | AAB | c2 f/d/ | cc d/B/ | AA F/G/ | AAB | cfa | gg/f/g/a/ | f2 :|

|: c | bbg | aaf | ee/g/f/a/ | ggc | bbg | aaf | f/e/d/c/d/e/ | f2 :|

|: A/B/ | cc f/d/ | ccA | BBG | AA A/B/ | cc f/d/ | ccf | f/e/d/c/d/e/ | f2 :|

|: c | bbg | aaf | ee/g/f/a/ | ggc | bbg | aaf | f/e/d/c/d/e/ | f2 :|

                       

BRUNTSFIELD LINKS. Scottish, Strathspey. From the Sharpe MS., composed by Robert Ferguson in the latter 1700's. Bruntsfield Links refers to a place in Edinburgh.

                       


BRUREMARSJ (Wedding March). Norwegian. The title is a generic title for a principal form of Norwegian traditional music. A wedding march from the Seljord region is the first long piece a hardranger fiddle pupil often learns (see also "Star yguten").

                       

BRUSH CREEK REEL. Old‑Time. Caney Mountain Records CEP 208 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.

                       

BRUSHY FORK. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Kenny Sidle [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 38.

                       

BRUSHY FORK OF JOHN'S CREEK [1]. AKA – “Brushy Fork of Buckthorn,” “The Long Fork of Buckthorn.” Old‑time, Breakdown. USA, eastern Kentucky. A Mixolydian. AEae tuning. AB (Titon/Stamper): AAB (Titon/Salyer): ABB'CC (Phillips). In the repertoire's of Kentucky fiddlers Hiram Stamper and John Sayler. See also the closely related tunes "Long Fork of Buckhorn” and “Old Christmas Morning.” Versions of tune were in the repertoires of West Virginia fiddlers Burl Hammons and Ed Haley (see below). Kentucky fiddler Hiram Stamper learned the tune from Shade Sloan, a Civil War veteran, and said that Alton Sizemore played it and called it “Brushy Fork of Buckhorn.” Hiram’s son, the late Art Stamper, recorded a version in standard tuning he called “The Long Fork of Buckhorn.” Gerry Milnes suggests the title may relate to John’s Creek in West Virginia’s Big Sandy Valley, at the mouth of which one branch of the Hammonds family settled in 1791 (members of the family spell their last name differently). John Hartford (Fiddler) says older informants have told him the title commemorates a Civil War battle either on Brushy Fork of John’s Creek in Pike County, Kentucky, or near Old Bedstead Mountain in southern Floyd County, Kentucky. The battle was supposedly one of the last of the war, according to the veteran Sloan. Sources for notated versions: Stuart Duncan [Phillips]; John M. Salyer (Salyersville, Maggofin County, Ky., 1941) [Titon]; Hiram Stamper (Hindman, Knott County, Kentucky, 1977) [Fiddler Magazine, Titon]; Art Stamper, via Jody Stecher [Fiddler Magazine]. Fiddler Magazine, Winter 2005/06, vol. 12, No. 4; pgs. 46-47 (two versions). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 39. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 18A, 18B, pgs. 52-53. Berea College Appalachian Center AC003, “John M. Salyer – Home Recordings 1940-41, vol. 1” (1993). County 779, Art Stamper (appears as “The Long Fork of Buckhorn”). County CO-CD-2729, Art Stamper – “Goodbye Girls I’m Going to Boston” (2000). Rounder 0361, Bruce Molsky – “Lost Boy” (1996). Yodel-Ay-Hee 003, “Dirk Powell and John Hermann” (1992). Yodel-Ay-Hee 05, The Wildcats - "On Our Knees" (1992).

 

BRUSHY FORK OF JOHN'S CREEK [2]. Old-Time, Breakdown. A Mixolydian. AA’BB’C. Ed Haley via John Hartford [Fiddler]. Fiddler Magazine, vol. 8, No. 2, Summer 2001; pgs. 36-37.

                       

BRUSHY RUN. Old-Time, Breakdown. USA, West Virginia. G Major. Standard (Art Stamper) or DGdg (Harvey Sampson) tunings. AB. Clay County, West Virginia, fiddler Wilson Douglas identifies the locale of this tune as "over beyond Widen. It was just a big holler, with so much underbrush--some old fiddler was bacheloring there and he just composed this and he called it the 'Brushy Run.' Just a bushy ravine, so to speak. (French) Carpenter could really play that. Where these young fiddlers get lost is in the bowing over the high part. You do it with the bow. You don't do it with the notes at all!" (interview with Nancy McClellan). According to Kerry Blech, Ward Jarvis learned the tune from eastern Kentucky fiddler Ed Haley, and that Jarvis played it in standard tuning. Source for notated version: Danny Gardella [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 39. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County CO-CD-2729, Art Stamper – “Goodbye Girls I’m Going to Boston” (2000). Rounder 0047, Wilson Douglas - "The Right Hand Fork of Rush's Creek" (1975).

                       

BRYAN MACCOWALL. Irish, Air (3/4 time). B Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 739, pg. 185.

X:1

T:Bryan MacCowall
M:3/4

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 739

Z:AK/Fiddler’s Companion

K:B_

A>B | c2F2 B>c | d2f2 {f}ed | c2 BA A>G | G4 A>B | (cA) F2 B>c | d2f2 {f}ed |

c2 BGFG | B4 || f2 | (g2 ecde) | f2 dBcd | ed cB A>G | G4 A>B | c2 AF B>c |

de f2 {f}ed | {d}c2 {c}BGFG | B4 ||

                       

BRYAN O'LYNN [1] (Briain Ua Rloinn). AKA and see “Banks of Lough Gowna [2],” "Brian O'Lynn," “The Cockled Old Man [1],” “Eamonn a’ Chnoic,” “Emon Acnuck,” "Hitler's Downfall," “Humors of Ballinafad,” "The Planting Stick." Irish, Double Jig. A Dorian (Harker/Rafferty, Mitchell, O'Neill/Krassen): A Minor (O'Neill/1850). Standard tuning. ABB (Mitchell): AABB (Miller & Perron, O’Neill). The alternate title “The Planting Stick” comes from a dance performed to the melody in the Province of Connacht in olden times which pantomimed the process of planting cabbages or potatoes with a stick. English morris dance tradition has a stylized imitation of the work in “Bean Setting.” “Hitler’s Downfall” is the title County Galway fiddler Martin Byrnes had for the tune. See also the related “Cailín gan Chiall (a girl without sense),” “Guiry’s Favorite” and “Maiden that Jigs it in Style,” “Petticoat Loose [1].”  Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Máirtín Byrnes (Co. Galway) [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 231, pg. 71. Miller & Perron (Traditional Irish Fiddle Music, 2nd Edition), 2006; pg. 16. Mitchell (Dance Music of Willie Clancy), 1993; No. 125, pg. 101 (Appears as “Brian O’Lynn”). O'Neill (Krassen), 1976; pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 881, pg. 163. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 221, pg. 50. O’Neill (1913), pg. 429. Ryan’s Mammoth Collection, 1883; pg. 86. Vallely (Learn to Play Tin Whistle with the Armagh Pipers Club, vol. 3); No. 2. Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001). Leader LEACD 2004, “Martin Byrnes” (1969. Appears as “Hitler’s Downfall”).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Bryan O’Lynn’ [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 221

Z:AK/Fiddler’s Companion

K:A Minor

B|cAd cAG|EGE GAB|cAd cAG|EAA A2B|cAd cAG|EGE GAB|cde fed|cAA A2:|

|:e/^f/|gag ged|cAB cde|eaa age|edd d2 e/^f/|gag ged|cAB cde|fed cAG|EAA A2:|

 

BRYAN O’LYNN [2]. See “Ducks and the Oats.”

                       

BRYANT'S BARBECUE. Irish, Reel. A Dorian. Standard tuning. AABB. Composed by Falmoth, Massachusetts, writer and musician Bill Black.  

X: 1

T: Bryant's Barbecue

C: © B.Black

M: 4/4

R: reel

L: 1/8

K: Ador

AB | cedc AEAc | BGBd edcB | cA (3AGA dB (3BAB | edcB A2 AB |

ce (3ede ge (3ede | aged cABG | EG (3GFG cEBE | AGEG A2 :|

eg | aABc ABcA | eABc ABcA | gd (3d^cd Bd (3d^cd | gdgb ageg |

aABc ABcA | eABc ABcA | gdBG EFGB | cABG A2 :|

                       


BRYANT'S FAVORITE HORNPIPE. AKA and see “Byrne’s Hornpipe [1],” “Tommy Hill’s Favorite.” Irish, Hornpipe. D Major. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 161 (No. 286). Edison 52488 (78 RPM), John H. Kimmel, 1928.

                       

BRYDEN MACLEAN’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by fiddler and baroque violinist David Greenberg. Cranford (Jerry Holland: The Second Collection), 2000; No. 260, pg. 94. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

 

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