ATHOLE BROSE. AKA and see "Buckingham House," "The Dogs Amongst the Bushes," "Niel Gow's Favorite." Scottish, Canadian; Reel or Strathspey. Canada; Prince Edward Island, Cape Breton. D Mixolydian or D Mixolydian/Major (Dunlay & Greenberg, Perlman). Standard. ABB (Skye): AABB (Gow, Kerr): AA'BB (Athole): AA'BB' (Perlman). "Athole Brose is, according to one recipe, a drink made from the water in which oatmeal has been soaked, mixed with honey and whisky. Stirred with a silver spoon, it is bottled and kept until needed" (Alburger, 1983). Alburger (1983) and Collinson (1966) credit composition to Abraham MacIntosh {b. 1769} (whose father was Robert 'Red Rob' Macintosh, also a fiddler and composer of notable ability), who first published it under the title "Buckingham House," first appearing in his father's Third Book. Glen (1891) and Emmerson (1971) remark that such belief is largely based on an ascription to 'Mackintosh, junior' in his father's third book, though it could refer to Abraham's brother Robert (though the latter did not publish any collection). Since the sub-title was "Niel Gow's Favourite," and it appears in Gow's Third Collection of Strathspey Reels (Edinburgh, 1792), it has often been mistakenly credited to that famous fiddler. The following lines appear in Alexander Whitelaw's Book of Scottish Song (1844):
***
You've surely heard o' the famous Niel,
The man that played the fiddle weel;
I wat he was a canty chiel,
And dearly loved the whisky, O
And aye sin' he wore tartan hose,
He dearly lo'ed the Athole Brose;
And wae was he, yu may suppose,
To bed 'farewell to whisky', O.
***
Cape Breton fiddlers play it as a strathspey in the key of D, where it is often the vehicle for stepdancing. It is also often the practice on the island to play the reel "General Stewart" (AKA "Lady Muir MacKenzie") following it (Dunlay & Greenberg, 1996). Cape Breton fiddler Jackie Dunn, in her thesis "Tha Bals na Gaidhlig air a h-Uile Fidhleir" (The Sound of Gaelic is in the Fiddler's Music), 1991, remarks that there is known to have been Gaelic words to "Athole Brose." In Ireland the melody is known as "The Dogs Amongst the Bushes." Sources for notated versions: Fr. Angus Morris (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 73, pg. 111. Carlin (The Gow Collection), 1986; No. 5. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 75. Gow (Collection), 1792. Kerr (Merry Melodies), Vol. 2; No. 148, pg. 17. MacDonald (The Skye Collection), 1887; pg. 73 & 74. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Stewart-Robertson (The Athole Collection), 1884; pg. 118. ATL 8835, Dave MacIsaac & Scott MacMillan - "Live" (1993). CAT-WMR004, Wendy MacIsaac - "The 'Reel' Thing" (1994). Decca 14030, CX 005, Angus Allan Gillis (c. 1936). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985). Nimbus NI 5383, Buddy MacMaster - "Traditional Music from Cape Breton Island" (1993). Paddledoo Music PAD 105, Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996).
T:Athole Brose
L:1/8
M:C|
R:Strathspey
B:The Athole Collection
K:D
A|:F>D D/D/D A,>DD>G|F>D D/D/D G<B A>G|1 F>D D/D/D A,<D D>=F|
E/=F/G C>E c>GE>G:|2 F>D D/D/D A,<D D>=F|E/=F/G C>E c<G E>C||
|:D<d d>c d>ed>c|A<d d>e =f>de>c|dd=f>d e>df>d|=c>dc>G E<C G>E:|
CAPTAIN DAVID STEWART 42nd ROYAL HIGHLANDERS. Afterwards GENERAL STEWART. AKA and see "General Stewart," "Lady Muir MacKenzie," "Mrs. Muir MacKenzies." Scottish, Reel. D Mixolydian. Standard. AAB. The 42nd Royal Highlanders were the 1st Battalion of the famous Black Watch. Stewart-Robertson (The Athole Collection), 1884; pg. 112. ACC-49394, Howie MacDonald & Natalie MacMaster - "Gift of Music" (appears as "Captain David Stewart's Reel"). DMP6-27-2-4, Doug MacPhee -"The Reel of Tulloch" (1985. Appears as "Captain David Stewart's Reel").
T:Captain David Stewart 42nd Royal Highlanders-Afterwards General Stewart
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
E|DddA FDAF|E=ccG ECEG|DddA FGAg|fdef d/d/d d:|
g|f>eda fdaf|ge=cg ecge|f>eda dfaf|ecge d/d/d dg|f>eda fdaf|
ge=cg ecge|dfeg fagb|afge d/d/d d||
DAN J. CAMPBELL REEL, A. Canadian, Reel. Canada, Cape Breton. D Major. Standard. AB. A double-tonic reel. Source for notated version: John Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 78. JC 125, John Campbell - "Sound of Cape Breton" (1980. Appears as "Traditional Reel"). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985. Appears as "A Dan J. Campbell Reel").
DAN J. CAMPBELL STRATHSPEY, A. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard. AAB. Source for notated version: Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 72. AMI-92, Ashley MacIsaac - "Close to the Floor"(1992. Appears as "Traditional Strathspey"). JC 123, John Campbell - "Heritage Remembered" (1978. Appears as 2nd of "Two Traditional Strathspeys"). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985). RMD-CAS1, Rodney MacDonald - "Dancer's Delight" (1995. Appears as "Traditional Strathspey").
DUNCAN MACQUARRIE REEL, A. Canadian, Reel. Canada, Cape Breton. A Mixolydian or A Dorian. Standard. AAB. Source for notated version: Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 81. ACC4-9270, Howie MacDonald - "Live and Lively." DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985). 02 50399, Dave MacIsaac - "Nimble Fingers" (1995. Apppears as "Dan J. Campbell" in "Salute to Cheticamp" medley). SA 93130, Donny LeBlanc - "Rosining Up the Bow" (1993. Appears as "A Traditional Reel").
DUNCAN MACQUARRIE STRATHSPEY, A. Canadian, Strathspey. Canada, Cape Breton. D Mixolydian. Standard. AB. Source for notated version: Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 71. JC 123, John Campbell - "Heritage Remembered" (1978. Appears as 1st of "Two Traditional Strathspeys"). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985).
FOURSOME REEL. Scottish. A Scottish dance which combines reel and strathspey tempos and which, along with the "Reel of Tulloch" and the "Eightsome Reel," held a dominant place on the programmes of Scottish balls of the 18th and 19th centuries. Flett & Flett (1964) call it a 'true Reel', also called the Scotch or Highland Reel, which the setting steps are performed with the dancers in line, and the travelling steps consist of a figure eight with an additional loop added.
HAAD DEE TONGUE, BONNIE LASS. AKA and see "Da Tief On Da Lum" [1]. Shetland, Reel. A Mixolydian. Standard. AABB. Reminiscent in its tonal structure to "The Reel of Tulloch" (Cooke). Source for notated version: Gilber Gray (Unst, Shetland) [Cooke]. Cooke (Fiddle Tradition of the Shetland Isles), 1986; Ex. 43, pg. 102.
LADY GLENORCHY. Scottish, Pipe Reel. A Mixolydian. Standard. AAB. A Scottish country dance from the island of Barra went by this title about 1910; elsewhere the same dance was known as "Round About Hullachan" and "Reel of Tulloch in a Circle" (Flett & Flett, 1964). The 19th century tune is attributed to Duncan MacKercher. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 56, pg. 24. Kerr (Merry Melodies), Vol. 2; No. 32, pg. 6. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 33. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 17).
T:Lady Glenorchy
L:1/8
M:C|
B:The Athole Collection
R:Reel
K:A
g|aefd c2Ae|cA A/A/A aeeg|aefd c2Ad|B=G G/G/G =gBBe:|
cAA=g fded|cAAe ce a2|cAA=g fded|B=GGA Bcde|cAA=g fded|
cAAe ce a2|ceae fdec|B=GGA Bcde||
MIGHTY PRETTY VALLEY, THE. AKA and see "Reel of Tulloch."
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.
***
"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.
***
"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|]
RUIGHLE THULAICHEAN. AKA and see "Reel of Tulloch."
TULLOCHGORUM/TULACH GORM (The Blue-Green Hill). AKA - "The Corn Bunting," "The Blue Hill," "The Green Hill." Scottish, English; Rant or Strathspey. England, Northumberland. G Mixolydian (Alburger, Athole, Cole, Emmerson, Gow, Hardie, Honeyman, Hunter, Kerr, Skinner): G Major (Peacock). Standard: F Mixolydian (Johnson). One part (Hunter): AB (Carlin/Gow, Cole, Hardie, Johnson/Emmerson, Skinner): AAB (Athole, Emmerson, Honeyman, Kerr): AA'B (Carlin - Master): AABB (Alburger): AABBCCDD (Peacock). The title means "Blue-Green Hill" in Gaelic, and port-a-beul words have been set to "Tulach Gorm." The tune and song appear to be quite old; music historian Francis Collinson finds that a tune in the Rowallan lute manuscript (c. 1612-1628) called "Ouir the Deck Davy" has a "distinct resemblance" to "Tullochgorum." The earliest record of this tune appears in David Young's Duke of Perth MS (AKA the Drummond Castle MS) of 1734; it is also found in the Gillespie Manuscript of Perth (1768), and John Glen (1891) finds it in Robert Bremner's 1757 collection (2nd part, pg. 16); these early versions show little of the later strathspey rhythm, at least as noted, and appear as rants. Tullochgorm is also the name of a Scottish dance of twelve steps, and was one of several taught by Cape Breton fiddler Donald "the Tailor" Beaton of South West Margaree (who was an itinerant tailor). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "Tullochgorum" was one of the tunes Niel Gow played for Robert Burns in October, 1787, when Burns visited the fiddler at his home in Dunkeld (see also "Loch Erroch-side," "Lament for Abercairney"). In fact, it is one of the most famous tunes in the repertoire, and must be mastered by every serious strathspey player, according to Hunter (1979); Niel Gow and J. Scott Skinner "built their reputations on the performance of it." Skinner wrote a set of six famous variations on the tune, though those printed in the McGlashan Collection may be the earliest. Words were set to it by the Rev. John Skinner (1721-1807), pastor of the Episcopal Chapel at Langside near Peterhead, which begin:
**
There needsna be sae great a phrase,
Wi' dringing dull Italian lays,
I wadna' gi'e our ain Strathspeys,
For half a hundred score o' 'em.
They're douff and dowie at the best
Douff and dowie, douff and dowie,
They're douff and dowie at the best
Wi' a' the variorum:
They're douff and dowie at the best,
Their allegros and a' the rest,
They canna please a Highland taste,
Compar'd wi' Tullochgorum. (The Songs of Scotland, 1887)
**
Hunter (1979) remarks that Rev. Skinner came to the defense of Scottish folk music at a time when fashion ran to the Italian musical influence among the middle and upper classes of Scotland. Robert Burns ("Amang the trees") and Robert Fergusson (1750-1774), in "Daft Days" (in Scotland the 'daft days' are the Christmas-New Years holiday period), also joined his fight. "Daft Days" includes the following excerpt:
**
Fiddlers! your pins in temper fix
And roset weel your fiddlesticks;
But banish vile Italian tricks
Frae out your quorum;
Nor fortes wi' pianos mix----
Gie's Tullochgorum.
**
Source for notated version: Mary MacDonald, who learned her setting from fiddler Sarah (Mrs. John Angus) MacArthur of Mabou Coal Mines, Cape Breton [Dunlay & Greenberg]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 15, pg. 36. Carlin (Master Collection), 1984; No. 137, pg. 84. Carlin (The Gow Collection), 1986; No. 226. Cole (1001 Fiddle Tunes), 1940; pg. 3. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1966; pg. 89. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 58, pg. 149. Hardie (Caledonian Companion), 1992; pg. 109. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 86. Johnson (Scots Musical Museum), 1790; No. 289. Kerr (Merry Melodies), Vol. 1; Set 15, No. 1, pg. 10. McGlashan (Collection of Strathspey Reels), Vol. 3, 1786; pg. 4. MacDonald (The Skye Collection), 1887; pg. 87. Peacock (Peacock's Tunes), c. 1805/1980; No. 38, pg. 17. Skinner (The Scottish Violinist, with six variations), pg. 26-27 {also appears in his collection Harp and Claymore}. Stewart-Robertson (The Athole Collection), 1884; pg. 158. Celtic CX 24, Alexander MacLean - "Piano Stylings of the Cape Breton Scott." CLM 1000, Carl MacKenzie - "Tullochgorum" (1979). Topic 12TS280, J. Scott Skinner (originally recorded in 1905). Topic 12TS354, Mary MacDonald - "Cape Breton Scottish Fiddle" (1978). NQD-5447, Doug MacPhee - "Cape Breton Master of the Keyboard."
T:Tullochgorum
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G
d/c/|:B<Gd<G c<=F A>c|B<Gd<G B>c d<g|B<Gd<G c<=F A>c|
B<Gd<G A/B/c BA:|
G>gd>g =f<=F A2|G>gd>g B>gd>g|G>gd>g =f<=F A2|
G>gd>B ~c2 BA|G>gd>g =f<=F A2|G>gd>e !=f<c f>g|
A/g/f/e/ =fd c<=FA<a|g>d g/a/b e>gd>g||
T:Tulloch Goirm
L:1/8
M:C
S:McGlashan - Strathspey Reels
K:C
G>gd>e f>cA>F|G>gd>g B>gd>g|B>gd>e f>cA>F|G>gd>g B>GA>G|
G>gd>e f>cA>F|G>gd>e f>cf>a|g>efd cFAf|gdgb g2 de||
|:B>Gd>G c>Fc>A|B>Gd>G e>Gd>(g|g)>Gd>G c>Fc>A|B>Gd>G B2 AG:|
|:G>g a/g/f/e/ f>c d/c/B/A/|G>gd>g B>gd>g|G>g a/g/f/e/ f>c d/c/B/A/|
G>gd>g B>GA>G|G>g a/g/f/e/ f>c d/c/B/A/|B>g a/g/f/e/ f>cf>a|gefd cFA^f|
g>dg>b g2 de:|
|:BG B/c/d/B/ cF A/B/c/A/|BGGA B/A/B/c/ dg|BG B/c/d/B/ cF A/B/c/A/|1
BGGc B2 AG:|2 GDDC B2 A,G,||
G>gd>e f>c f2|e>gd>g B>gd>g|B>gd>e f>c f2|e>gd>g B2 AG|Ggdg fc f2|
G>gd>e f>cf>a|gefd cFAf|gded B/d/d e2||
|:B,>GD>G, C>B,A,>C|B,>GD>G, E>G,D>G|G>G,D>G, C>B,A,>C|
B,>GD>G, D2 C>B,:|