The Longford Collector

After the recent challenges of The Tarbolton Reel, the Improvers and Beyond class looked at the next reel in the Michael Coleman set, The Longford Collector.

This tune in G sits nicely on flutes and whistle and offers some scope for variation, particularly in the B part. There is not much known abut this tune, which is strongly associated with this set. There are a few variations on the title, and an account of how Michael Coleman gave it its current title on Alan Kuntz’s Tune Archive web site.

Some information on recordings of the tune can be found on Alan Ng’s site Irishtune.info, which puts the earliest source of the tune as 1936, when it was first recorded.

I have put resources for this tune and The Sailor’s Bonnet up on the Resources page for this year.

Photo: Summer sky in Longford, Ireland by Paul Wilson, some rights reserved.

Katie Bairdie: a 500 year old children’s tune

Katie Bairdie is the most recent tune we have covered can be played as a strathspey, a schottische, a reel, a waltz and it was originally a march on the highland pipes.

Resources for this can be found on the Resources page for the year.

The tune is one with a very ancient and coloured history. It’s often taught in schools as a playground song, Katie Bairdie, which has lots of variations. It’s great to teach in schools as a spur for songwriting. Singer Christine Kydd has recorded some of these with schools and written on the background of the song, with one suggestion being it can be traced back to 1628.

However, there is evidence that the melody goes back further than that. Katherine Campbell and Ewan McVicar include it in their schools’ anthology, Scottish Traditional Songs and Music. There is it called Sherramuir March or The Stewart’s March. It was originally a pipe tune with 9 parts entitled Gabhaidh Sin An Rathad Mór (We Will Take the High Road), and associated with the MacIntyres of Cruachan, Argyll. The Stewarts of Appin then claimed it and played it when returning from the Battle of Pinkie in 1547. The Gaelic title refers to the Battle of Inverlochy of 1644.

It was played by the Stewarts of Perthshire at the Battle of Sherrifmuir of 1715, which is where the English title comes from. James Hogg may have added lyrics to the tune and Robert Burns also wrote about the battle.

Eventually the Katie Bairdie lyrics are added and at some point it also becomes the tune for London Bridge is Falling Down, itself an old song. More information from Education Scotland, which also quotes from Campbell and McVicar.

However the story doesn’t end there, as it is also goes by the title Kafoozalum, the title of a bawdy song to the tune printed in the USA in the mid 19thC. I have seen reference to it being in vaudeville theatre and a search shows that Rudyard Kipling and James Joyce referenced it in their own ways.

More recently, Belfast flute Harry Bradley recorded it on his first CD and called it Davy Maguire’s after the flute player he associated with it. Davy Maguire teaches flute in Belfast and else where. Here the snaps have been smoothed out, but it is recognisably the same tune:

The Tarbolton: A Scottish reel in Ireland

Tarbolton in Ayrshire has strong associations with Robert Burns, so it is sometimes a surprise to discover a very popular Irish reel that bears its name. The Tarbolton — sometimes called The Tarbolton Reel — was popularised by County Sligo fiddle master Michael Coleman in a set that is often played today.

The tune is originally Scottish, entitled Tarbolton Lodge in some collections but doesn’t seem to be as well known in Scotland, or not in my experience. It is in the Athole Collection and Skye Collection (both 19th Century), for example. Some background information on publications can be found on the Fiddler’s Companion.

Some information on recordings of this tune can be found on the Folk Music Index and at irishtuneinfo. From a flute player’s perspective it is definitely worth checking out Matt Molloy’s version on his first solo album, although this is on an Eb flute.

I have recorded the version that we learned in the class and the notation that was handed out in the lesson will go online there very soon.

Michael Coleman’s 1934 version is below. We will also be learning the other tunes in this set. Comhaltas have other versions of the set as well.

Photo of The Bachelor’s Club, Tarbolton, by Rosser1954, Wikipedia Commons.

 

February Break News

Sandy Bell's music session

A couple of quick news points at the end of this February Break.

Firstly, check out the recent  Fragments Project post to learn more about our composition project inspired by a piece of Medieval music from Hawick.

Secondly, top Scottish flute player Calum Stewart is playing at Smailholm Village Hall on Friday 21st March. If you can go, you won’t forget it as his music is extraordinary. A good excuse for a FluteFling trip!

Next, things are in motion for a FluteFling Scottish Flute Day on Saturday 10th May as part of Tradfest Edinburgh. Tutors Kenny Hadden (Aberdeen) and Sharon Creasey (Glasgow) will be teaching, as well as myself. There will be a new page with updates and information on this site very soon.

Finally, be sure to check the Diary page as classes skip a week due to the February break.

Photo: Sandy Bell’s music session (c) Gordon Turnbull. Flute player is David Begg, Pete McClements plays fiddle, Robert Chalmers concertina.

Brochan Lom: food for the feet

Brochan Lom is a Gaelic song or port a beul (“mouth music”) that is well-known in Scottish music circles. Perhaps almost too well-known because many people have grown up with it, meaning it tends to get overlooked by many musicians. The title translates as Thin Porridge and it is often taught in Scottish schools, including those where Gaelic is not otherwise spoken.

Some background and lyrics can be found on Wikipedia. The ever-helpful Tobar an Dualchais/ Kist o’ Riches web site has many recordings, both vocal and instrumental, including one by Kate Buchanan and Nan Bryan (Mary Anne) Buchanan, collected in 1965 by Thorkild Knudsen.

It is undoubtedly a tune that swings along nicely and has much rhythmic emphasis. In G, it suits the flute and whistle very nicely and allows the D and G notes to punch through, providing lift for dancers. When I play this in celidhs, it’s great for setting up a good rhythm and giving the dancers a boost as they latch onto it.

Resources for the tune are now up, as are those for Katie Bairdie, another school favourite that we will be learning next.

Photo: Record-breaking porridge by chatirygirl, some rights reserved.