BRAES OF GLENDOCHART/GLENDOCHERT. AKA and see "Joe Tanzy's," "Mr./Miss/Mrs. Minzies/Menzies of Culdare('s Reel)," "Paddy Murphy's Wife," "Pat Carney's." Scottish, Reel. D Major. Standard. AAB. The tune was likely composed by Alexander McGlashan, in whose publication it first appears (Third Collection, 1786), however, it was retitled "Mr. Menzies of Culdare's Reel" and attributed to Niel Gow in that composer's First Collection (2nd ed.), 1801, some years after McGlashan died. "The Dochart, a river and glen, is in Perthshire near Crianlarich. It is the burying ground for the Macnabs, and has been called "the Macnab country"... "It now is included in the Breadalbane territory, the clan having emigrated to Canada in the first two decades of the present century" (Ordnance Gazetteer of Scotland,1883). Glen (The Glen Collection of Scottish Music), Vol. 1, 1891; pg. 6. McGlashan (Collection of Strathspey Reels), Vol. 3, 1786; pg. 5.
T:Braes of Glendochert, The
L:1/8
M:C
S:McGlashan - Strathspey Reels
K:D Mixolydian
A|FDAF BGAF|EcGc ECCA|DFAF BGAG|FdAd FDD:|
||g|f/g/a da fdad|e/f/g c>g ecgc|f/g/a da fdad|B/^c/d A>d Fddg|
f/g/a da/ fdad|e/f/g cg ecge|afge fde^c|d/^/c/B/c/ dA FD D||
COUNTESS OF BREADALBANE. Scottish, Reel. B Flat Major. Standard. AAB. The melody appears in Malcolm McDonald's 1797 collection. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 30. Stewart-Robertson (The Athole Collection), 1884; pg. 294.
T:Countess of Breadalbane
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:B_
F|~B>cBF D/E/F/D/ B>D|E>F G/F/E/D/ E>Cc>G|~B<F G>B F>BE>g|
f>B e/d/c/B/ F<B~B:|
g|f2 e/d/c/B/ f>Bb>B|e>f e/d/c/B/ A<c c>g|f2 e/d/c/B/ f>Bb>B|
f<B e/d/c/B/ F<B ~B>g|f2 e/d/c/B/ f<B b>d|e>f e/d/c/B/ A<c c>d|
~B>cB>F D/E/F/D/ B,>g|f>B e/d/c/B/ F<B~B||
EARL OF BREADALBANE'S HERMITAGE. AKA - "Earl of Breadalbane." Scottish, Reel. E Minor. Standard. AAB. The first Earl of Beadalbane was the 17th century Campbell knight Sir John of Glenorchy. Composed by Neil Gow. MacDonald (The Skye Collection), 1887; pg. 96. Stewart-Robertson (The Athole Collection), 1884; pg. 250.
T:Earl of Breadalbane
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:E Minor
g|:E/E/E EF B3^c|dBAd FDAF|E/E/E EF B3g|fdB^d e3f:|
gfef gfeg|feda fadf|gfef gfeg|fdB^d e3f|gfef gfeg|feda fadf|
gbeg bgeg|fdB^d e3f||
MARCHIONESS OF BREADALBANE, THE. Scottish, Reel. C Major. Standard. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 15.
T:Marchioness of Breadalbane, The
L:1/8
M:C
S:Marshall - 1845 Collection
K:C
G|c2 (cB/A/) GcGE|FDEC A,DB,G,|c2 (cB/A/) GcGE|DdBG c2 (cG)|
c2 (cB/A/) GcGE|FdEc DdBG|c2 (cB/A/) GcGE|DfdB c2c||e/f/|gege afaf|
gedc BdBG|gege afaf|AdBG c2 ce/f/|gege afaf|gedc BdBG|AFcA GecE|
DfdB c2 c||
REEL O'/OF TULLOCH, THE ("Ridhle Thulichun" or "Ruighle Thulaichean"). Scottish; Reel and Strathspey. A Major/A Mixolydian. Standard. AB (Athole): AAB (Hunter, Neil, Skinner, Skye): AABB (Emmerson, Kerr): AABB' (Gow): ABCDEFGHIJKLMNO (Johnson). The tune was originally a very popular 17th century bagpipe piece, probably by an unknown composer (although in MacGregor's collection it is confidently stated that the tune was composed by John Dubh Gear, a MacGregor of Glen Lyon). MacDonald once remarked that this reel was composed at Tulloch in Aberdeenshire, and this assertion has survived in tradition. Legend has it, reports Nigel Gatherer, that the reel was improvised on the spot by a MacGregor who had just emerged victorious from a fight with a Robertson for the hand of the Laird o' Tulloch's daughter. Its earliest appearence is in David Young's 1734 Duke of Perth Manuscript (AKA the Drummond Castle Manuscript, where it appears with 160 bars of variations) and it was later reprinted in his 1740 MacFarlane Manuscript (Volume 2, No. 115). Purser (1992) states that it was adapted for the violin "with superb rhythmic pointing and synchopations, mostly composed by David Young in 1740." The piece subsequently appears in Robert Bremner's 1757 collection, the Gillespie Manuscript of Perth (1768), and Davie's 1829 Caledonain Repository (with some pizzicato variations). Johnson (1984) is of the opinion that Young probably composed the three finest sections of the version given in the former's 1984 volume (parts 'F', 'L', and 'O'). This important melody, which at one time was known as 'Righ na' m Port,' or 'King of Airs', has retained its popularity through the ages and is still part of the pipe repertory today.
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"The Reel of Tulloch" has for several centuries been used in Scotland for a specific dance for males which is always performed to the tune, and it has been quite dominent at Highland dances for several centuries. Instructions for the popular dance, but not the melody, appear in the Menzies Manuscript (contained in the Atholl Collection of the Sandeman Library, Perth), 1749, which carries the alternate title "The Mighty Pretty Valley." J. Scott Skinner, the celebrated violinist who was also dancing master, routinely taught the dance to his students throughout the latter 19th century. Another "Reel of Tulloch" (Ruidhleadh Thulachain), for two mixed couples, was composed around 1800, and appears in dance literature in 1844 (in The Ballroom Annual), though it was mentioned in accounts of dances from the year 1819 onward. Flett & Flett conclude the dance was originally a 'society' dance which was developed at the Breadalbane Balls. It was a particular favorite of Queen Victoria, states Hunter (1979), who first witnessed its performance at a ball at Taywouth Castle given by the Marquis of Breadalbane (the dancers on the occasion were the Marquis of Abercorn, the Hon. Fox Maule, Cluny Macpherson and Davidson of Tulloch). In most parts of Scotland the dance was performed to the tune "The Reel of Tulloch" but in Roxburghshire and Berwickshire, where the dance was often known as "The Hullachan Jig," a double jig such as "The Irish Washerwoman" was played. For an extensive discussion of the dance and its origins see Flett & Flett (Traditional Dancing in Scotland), 1964, pgs. 132-155.
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"The 'Reel of Tulloch' should be played first as a Strathspey and then as a Reel followed by 'Stumpie' and 'The Deil Among the Tailors,' a welcome combination to enthusiastic dancers" notes MacDonald in his Skye Collection. Paul Stewart Cranford (1995) remarks that versions of this reel vary in late 20th century Cape Breton, from a simple reel setting to J. Scott Skinner's elaborate strathspey variations. Emmerson (1971) finds that the tune on close examination reveals itself to be a rant. Sources for notated versions: Bremner's Scots Tunes, pg. 4 (Bremner clearly meant that parts were only to be repeated once, stated Johnson) [Johnson]; fiddler Mike MacDougall (Ingonish, Cape Breton, 1928-1982), whose style was greatly influences by the highland pipes [Cranford]. Cranford (Jerry Holland's), 1995; No. 3, pg. 2. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 42, pg. 136. Gow (Complete Collection), Part 1, 1799; pg. 25. Hunter (Fiddle Music of Scotland), 1988; No. 250. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 30, pgs. 82-83. Kerr (Merry Melodies), Vol. 1; Set 5, No. 4, pg. 5. MacDonald (The Skye Collection), 1887; pg. 3. Neil (The Scots Fiddle), 1991; No. 132, pg. 171. Purser (Scotland's Music), 1992; Ex. 2, pg. 174. Skinner (The Scottish Violinist, with seven variations by the author), pg. 24-25. Skinner (Harp and Claymore), 1904. Stewart-Robertson (The Athole Collection), 1884; pg. 6. Cranford Publications CP-R2, "Jerry Holland Solo" (1988). Green Linnet GLDC 1108, The Tannahill Weavers - "Cullen Bay." "The Caledonian Companion" (1975).
T:Reel of Tulloch
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
a/f/|e2 a>c e>cA>a|e2 A>c d>B=G>f|e2 A>c e>Ac>A|B>E c/d/e d>B=G>f|
e2 e>c ecAa|e2 e>c dB=Gf|e2 e>a e>Ac>A|Bece d>B=G>B|]
c>A c/d/e cAAB|c>A c/d/e dB=GB|cA c/d/e cAcA|BEBe dB=GB|
cA c/d/e cAAB|cA c/d/e dB=GB|cA c/d/e c2 c>e|Bece d>B=G>f|]