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'
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
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 “
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.
BRODERICK’S REEL. AKA and see “The Tinker’s Daughter.” Irish, Reel.
Composed by flute player Vincent Broderick, originally from Bullaun, north of
Loughrea,
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).
X:1
T:Brodie House
M:C|
L:1/8
R:Reel
S:
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
BROKEN
BRIDGE [2], THE. Irish, Hornpipe.
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.
BROKEN LEGGED CHICKEN
[2]. English, Air (3/4 time).
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.
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.
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
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 |
L:1/8
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
A2 d ded | B2 e
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.
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
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.
X:1
T:
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.
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:||
X:1
T:
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
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).
***
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
Who'd lie in his bed till
***
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
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).
***
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
***
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,
In
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
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
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
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
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).
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
X:1
T:Brothers
in
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.
BROUILLARD. French, Scottish (2/4 time). E Dorian. Standard tuning. AABB. Composed
by J.J. Smith. Stevens (
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.
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
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
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
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.
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.”
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
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
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.
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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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.