Traditional Fiddle Music of the Scottish Borders

CD Included

from the playing of Tom Hughes of Jedburgh

Sixty tunes from Tom’s repertoire inherited from a rich, regional family tradition fully transcribed with an analysis of Tom’s old traditional style. by Peter Shepheard

Traditional Fiddle Music of the Scottish Borders

from the playing of Tom Hughes of Jedburgh

A Player’s Guide to Regional Style Bowing Techniques Repertoire and Dances

Music transcribed from sound and video recordings of Tom Hughes and other Border musicians

by Peter Shepheard

scotlandsmusic

13 Upper Breakish Isle of Skye IV42 8PY . 13 Breacais Ard An t-Eilean Sgitheanach Alba UK Taigh na Teud www.scotlandsmusic.com • Springthyme Music www.springthyme.co.uk [email protected] www.scotlandsmusic.com Taigh na Teud / Scotland’s Music & Springthyme Music

ISBN 978-1-906804-80-0 Library Edition (Perfect Bound) ISBN 978-1-906804-78-7 Performer’s Edition (Spiral Bound) ISBN 978-1-906804-79-4 eBook (Download)

Taigh na Teud Music Publishers 13 Upper Breakish, Isle of Skye IV42 8PY www.scotlandsmusic.com [email protected]

Springthyme Records/ Springthyme Music Balmalcolm House, Balmalcolm, Cupar, Fife KY15 7TJ www.springthyme.co.uk

A catalogue record of this book is available from the British Library.

The writer and publisher acknowledge support from the National Lottery through Creative Scotland towards the writing and publication of this title.

Permission to play, perform and record any of the tunes in this collection is freely given and tunes may be treated as traditional except where copyright is claimed in the section on copyrights. Quotation of the phrase Traditional Arranged by Tom Hughes (and Wattie Robson where relevant) and Published Springthyme Music may be used and will result in distribution of royalties through MCPS and PRS for Music.

Copyright exists in all recordings issued by Springthyme Records which includes the CD of recordings included with this book. Any unauthorised broadcasting, public performance, copying or re-recording constitutes an infringement of copyright. Licences for public performance or broadcasting or distribution by any other means may be obtained from Phonographic Performance Limited, 1 Upper James Street, London W1F 9DE.

The book has been set by Springthyme Music in Plantin Light, Plantin MT, Optima and Opus fonts and also XPTSymbols from Tagg (2012) using InDesign and Sibelius. Dedicated to the memory of Tom Hughes of Jedburgh and to all who love the sound of the traditional fiddle and especially to those intrigued by the complexities of traditional style

& also to my wife Lena without whose support and tolerance this project would never have been completed. Tom Hughes: Fiddle Style of the Scottish Borders

About the Author: Pete is an acknowledged authority on folk song. Originally from Stroud in Gloucestershire, he was a founder member of the Traditional Music and Song Association of Scotland (TMSA) in the mid 1960s while still a student at the University of St Andrews and studying for a BSc in Zoology. His contacts with the Scottish traveller traditions of the Stewarts of Blairgowrie and Jeannie Robertson’s family in Aberdeen led to exploration of traveller tradition and extensive song collecting in Ireland and England as well as Scotland. After graduating he specialised in neurophysiology and animal behaviour obtaining his PhD from St Andrews in 1969. For the next three years he had research fellowships in Canada firstly with the Canadian Fisheries Research Board in New Brunswick and then at the University of Guelph before returning to Glasgow University in 1972. His enthusiasm as a singer and collector resulted in the creation of Springthyme Records in 1973 specialising in the release of traditional music and songs.

He is himself a fine singer and melodeon player with a song repertoire that includes many songs from his own collecting and he has recorded two albums as part of a trio with Tom Spiers and Arthur Watson. He has presented lectures and workshops based on his song and music collecting, on ballad repertoire, traditional singing style, song repertoire among the Romany gypsies of Gloucestershire and among the Scottish travelling and farming communities in Fife, Tayside and Aberdeenshire.

Credits: Special thanks to Tom and Tib of The Fox and Hounds in Denholm who hosted many a great session; the musicians who gave their talents and enthusiasm and patience (including Neil Barron and Roger Dobson who are not on the issued recordings); Alistair Anderson, Tom Anderson, Jim Crawford, John Gall (Beamish Museum), Angus Grant, John Junner, Peter Kennedy, Jimmy Shand snr. and jnr. for advice on tunes and tune titles; Margaret Fairbairn, Thomas Hughes, Diana Mabon, Dr. Michael Robson (Wilton Lodge Museum, Hawick) and John Weatherly (Earlston) for letters and photographs; and Robert Innes of Stirling University for videotaping Tom and Wattie.

A selection of the Border Fiddle recordings was compiled in 1981 and issued as an LP: Tom Hughes and his Border Fiddle (Springthyme SPR 1005) together with a booklet of 24 tune transcriptions. The original recordings of Tom Hughes, Wattie Robson and other Border musicians made between July 1978 and May 1980 comprised over a hundred sets of tunes. In October 2012 Springthyme Music came to an agreement with Taigh na Teud of Skye to publish the Tom Hughes Collection of Traditional Fiddle Music. The archive recordings have been reassessed, over 60 tunes newly transcribed and the music digitised for the new CD.

Tom’s version of Sidlaw Hills is transcribed and printed by permission of Mozart Allan. Tom Hughes is recognised as composer of several of the tunes in the collection including Tam’s Slow March, Tommy Hughes’ March, and Copshawholm Hornpipe (or Copshie Hornpipe). Two tunes, Glen Aln Hornpipe and Redeside Hornpipe were composed by Willie Atkinson and are printed with his permission.

Great assistance has been given in the final preparation for publication of the music transcriptions by Christine Martin of the publishers Taigh na Teud and by Tom’s grandson and Border fiddler Jimmy Nagle of Jedburgh. Any errors, however, are entirely the fault of the author.

Online Update Additional music transcriptions and sound files may be available online at www.springthyme.co.uk/1044/ www.springthyme.co.uk/tomhughes and/or at www.scotlandsmusic.com

– 4 – Contents Introduction Map of the Scottish Borders 6 Inégale Note Division 20 Tom Hughes of Jedburgh (1907-1986) 7 Bowing Techniques 21 1: Hack and Slur Bowing 21 1: Tom Hughes: Biography 2: Scotch Snap 22 3: Shuffle Bowing 23 In his own words 8 4: Snap Bowing 23 Music at Nisbetmill 8 5: The Up-Driven Bow 25 Making Fiddles & Tambourines 8 6: The Down-Driven Bow 26 Tom gets his first fiddle 8 7: The Long Bow 27 Tom’s first tune 9 8: The Birl 27 The Family Band 9 9: Spiccato Bowing 28 Competitions 9 10: Open String Unisons 28 From Nisbetmill to Howden 9 11: Ringing Strings & Drones 29 The Kirn at Howden 9 12: Double Stops & Chords 29 The Orchard at Hawick 10 13: Decoration/ Grace Notes 30 Playing Fiddle for Dances 10 14: Tam’s Fiddle Exercises 30 Fiddle Style: 10 Double Stops 10 Playing in Parts 11 5: Traditional Dance The Flatter Bridge 11 Dance in the Scottish Borders 32 The Old Bow Grip 11 A Spring in the Bow 11 6-12: Tune Types The Hiring Fair at Earlston 11 The Move to Lilliesleaf 11 6: Hornpipes 37 Castin oot wi Willie 12 7: Country Dances & Reels 52 Whitton near Morebattle 12 8: Strathspeys & Schottisches 60 The Kirns around Morebattle 12 9: Marches 66 A new tune at Kelso Hiring Fair 13 10: Jigs 70 Up Kale Water 13 11: Polkas 74 Life at Chatto 13 12: Waltzes & Slow Airs 78 To Ruletownhead 14 The Traditional Music Revival 14 Appendix The Hughes Family Tree 15 Conclusion 88 2: The Musicians Tom’s Life & Music 90 Letters 91 The Hughes Family Fiddlers 16 Notes & References 92 Other Musicians 16 Symbols Used 92 Places in the Borders: Map links 92 3: Recording & Transcription Bibliography 92 Scots Language and Dialect of the Borders 94 Sound & Video Recordings 18 The Music Transcriptions 18 Index Reaper and Transcribe 19 Index of Tunes in the Book 95 4: Traditional Fiddle Style Copyrights 95 Tracks on the Tom Hughes CD 96 Rhythmic Structure of Scottish Music 20

– 5 – Tom Hughes: Fiddle Style of the Scottish Borders

The Borders

Edinburgh

Berwick upon Tweed Lauderdale • SCOTLAND

Lauder • Leader Water River Tweed Gala Water ENGLAND Peebles Eden Water Coldstream • • Galashiels • Earlston • Melrose Kelso River Tweed •  •  • Bowmont Water Scottish Borders Yarrow St Boswells •Selkirk • • Yetholm Yarrow Water Ancrum •Lilliesleaf •  •  •Crailing Morebattle Teviotdale  St Mary’s Loch Ettrick Water Jedburgh Bowmont Water Ale Water Denholm •  • •Hownam • Oxnam Water River Breamish Bedrule  Roberton Hawick  • •  Borthwick Water  e Cheviot Hills River Teviot Kale Water Rule Water River Coquet Slitrig Water Jed Water Teviothead• Allan Water River Rede Redesdale Rothbury•

Liddesdale Northumberland Dumfries Otterburn • & Galloway Liddel Water Kielder Reservoir

River Esk Newcastleton Langholm • River North Tyne •

Cumberland

0 5 10 15 20

Miles

hen Tom Hughes was born in 1908, the In 1931 Tom married and moved with his wife family were on the farm of Butchercoat further into the hills up the Kale Water taking a W(1) where his father and grandfather job as a horseman at Beirhope near Hownam (8) were both fee’d as ploughmen. The family moved and after a couple of years to nearby Chatto (9) from farm to farm around Jedburgh, first to nearby where he stayed for fourteen years setting up his Smailholm (2) then Nisbetmill (3) near Crailing own band the Kalewater Band playing for dances and then to Mervinslaw (4) near Jedburgh. After up and down the valleys of the Cheviot foothills. his grandfather died in 1920 the family moved After the war Tom and his family moved to to The Orchard (5) near Hawick and Tom started Ruletownhead (10) where he joined the Rulewater playing fiddle for dances with his father. In 1925 Band. When Tom’s son took over the farm at they moved to Netherlaw near Lilliesleaf (6) and in Ruletownhead in 1951 Tom retired from farm 1927 to Whitton (7) on the Kale Water. work and moved into Jedburgh.

– 6 – Tom Hughes Fiddle player of Jedburgh (1908–1986)

OM HUGHES – or Tam as he was often known – was born into a farmworking family near St. Boswells in the Scottish Borders in 1908. The family were all talented Tmusicians – his grandfather Henry Hughes, father Thomas Hughes and two uncles Henry jnr. and Bob played together in a family band – two or three fiddles, melodeon and tambourine – and his father also played pipes and tin whistle. Henry Hughes was a talented craftsman and, after he retired from his life as a ploughman, he spent his hours making wheelbarrows, walking sticks, fiddles in three sizes and goat skin tambourines.

As was the custom in those days, farm workers were fee’d to a farm for six months or a year at a time and in the spring usually went to the local hiring fair in search of a farmer who would offer better wages and conditions. Tom’s family were no exception and they followed this insecure lifestyle, regularly moving from farm to farm. Tom was seven years old when he was presented with his first (half size) fiddle made by his grandfather1 and he quickly taught himself the rudiments. By the time Tom left school in 1921, the family were at The Orchard near Hawick and Tom was playing fiddle with his father, travelling by bicycle to play at all the important rural events in the area, at harvest kirns2, village hall dances, hiring fair dances and country weddings firstly around Hawick and later around Jedburgh, Morebattle and Kelso. After moving to Nether Raw near Lilliesleaf (1925) they played in Adam Irvine’s Band, and later at Whitton near Morebattle (1927) they joined Jim Kerse, the farm steward, who also played fiddle.

Tom, like his father and grandfather before him, spent his working life as a ploughman on farms in the Border countryside around Jedburgh. After he married, Tom formed a band of his own – the Kalewater Band when he was ploughman at Chatto near Hownham from 1933, later joining the Rulewater Band when he was farm steward at Ruletownhead near Bonchester Bridge after the war. The traditional music revival of the 1970s gave Tom’s playing a new lease of life. In 1970 Tom met fiddler Wattie Robson of Denholm and they were soon playing in their distinctive style at festivals, clubs and competitions throughout Scotland and south of the Border – at Gretna, Alnwick, Rothbury, Newcastleton, Kinross and Keith.

Like many traditional musicians in days gone by, Tom learned his music by ear within the family circle and Tom’s style and many of his tunes were learnt from family tradition. He not only played fiddle but also melodeon, accordion, pipes, tin whistle and tambourine. Tom also had a pair of ivory bones3 and if anyone in the company had an Irish bodhran4 he could (in the 1970s) show his rhythmic prowess playing the instrument with his thumb or silver topped pipe as if he had been playing the instrument for years. Although Tom’s fiddle style includes many characteristic Scottish elements, it is quite different from any mainstream fiddle style such as that of Scotland’s North East or that of the West Highlands. Through Tom’s playing we are able to gain an insight into an old, traditional, fiddle style that stretches back through his family well into the 1800s and that may well have evolved from or retain much older elements.

Peter Shepheard, Balmalcolm, Fife December 2014

1. Making fiddles was clearly a family tradition, as Tom’s grandfather had also made a small fiddle for Tom’s father back in the late 1800s when Tom’s father Thomas was not yet in school. See the letter from Tom’s cousin Thomas Hughes of Newbiggin-By-Sea, Northumberland (page 91). 2. Kirn – the term used in the Scottish Borders for a Harvest Home gathering. Go to the Scots Language Dictionary link for other words used in the text: http://www.dsl.ac.uk 3. See Wikipedia article: The Bones: http://goo.gl/I8SveH 4. See Wikipedia article: The Bodhran: http://goo.gl/w36IBq – 7 – Tom Hughes: Fiddle Style of the Scottish Borders

Tom Hughes: Oral Biography

he main thrust of the Border Fiddle both solo and with other musicians, the decision project was to record the music of Tom was made to include transcriptions of the tunes in THughes and other Border fiddle players a booklet insert with the LP and also to include and musicians – and this resulted in well over Tom’s life story in his own words – transcribed 100 sets of tunes recorded on tape and video from recorded interviews. The original edition of between 1978 and 1980. Once it became clear the text issued with the album Tom Hughes and his that the outcome of the research would be an LP Border Fiddle in 1981 has now been revised and recording of a selection of tunes played by Tom expanded for this publication.

In his own words: Tom’s life story in his own words transcribed from them. He sometimes worked, for I remember him recorded interviews made between 1978 and 1982. sayin some afternoons that he’d “hae tae gan an help wi the hay.” His fiddle always hung on the Tom: “ I wis born on a farm (by) the name wall an whiles he’d bring it intae ma faither tae of Butchercote in the Mertoun estate near St. hae a tune (together) and then the next day he’d Boswells in 1907 (10th October). Ma faither hae a bit tune hissel. I can remember him playin. (Thomas Hughes) wis fee’d tae the farm as a He had been a good fiddler in his day, but when I plooman. I think we were a couple o year at knew him he juist had a few tunes – simple kind o things mostly, very uncommon.

Tom’s father and grandfather both played fiddle, melodeon, tin whistle and tambourine and there was often music in the house. As a seven year old at Nisbetmill, Tom remembers being given his first fiddle. Making fiddles and tambourines: “ He (grandfather) had a workshop outside. He spent (most of) his time makin anything – violins, wheelbarrows, riddles, tambourines, sticks, stools, salmon fishing rods – everything. An he had a lathe Tom at the old Nisbetmill cottages, 1980. which he drove wi his foot – for turnin the ribs an pegs. But makin the backs an bellies wis aa Smailholm below Kelso, but when I started tae juist be hand. He had a block o wood juist the school we were livin at Nisbetmill, a farm on the dimensions o the fiddle an after he’d boilt the Teviot down Crailing five miles frae Jedburgh. ribs an got them hot he shaped (them) around the block an put clamps on tae hold them. Music at Nisbetmill: Tom gets his first fiddle: “ When we moved tae Nisbetmill (around 1912) I ken ma grandfaither (Henry Hughes) wis already “ I had watched ma grandfaither makin a retired. I had two aunts unmarried, (Tom’s fiddle but I never thought he wis buildin the father’s sisters Jessie and Jeannie) an they were instrument for me, an it wis the biggest surprise fee’d on the farm, an they had the house (next o ma life when on Christmas mornin I found the door) an ma grandfaither wis retired livin wi instrument in a bag on the mantelpiece. – 8 – 1: Biography

He made three sizes o fiddle, the first size, the one “ I never played wi ma grandfaither (for dances) I got when I wis seven wis juist the half size – long as I wis too young an he wis past playin, but (at shaped an narrow wi very long bouts1 (waist) – his one time) ma faither an his two brothers Bob and own dimensions I think. Then he had another Henry did. Ma grandfaither, faither size – the three quarter, an the full size. He an Bob Hughes played fiddles, an Henry played made a lot before I knew him but he made a good the tambourine or fiddle. It wis mostly kirns an few after – mostly for friends an relatives. They weddings – there werenae sae many dances (in werenae like ma (present) violin (labelled as a halls) in those days. Ma faither played the pipes Joseph Guarnerius 1735) but they had a grand tone as well, an the old fashioned melodeon an the some o them mind. I’ve played them at kirns, tin whistle. But mostly it wis three fiddles an white – never varnished – a fair ringer! They’ll be tambourine. up an doon the country somewhere. He made twae sizes o tambourine – big ones Tom’s father continued playing for dances with his about 14 to 16 inches across and small ones about brothers and other local musicians after Tom’s grand- 9 or 10 inches. Sometimes he made them without father could no longer play. jinglers like the Irish bodhran but more often he put on about six pairs o jinglers.2 Competitions: Several other fiddle makers lived nearby – John Tait, “ There were competitions too, now and again. station master at Crailing who also taught fiddle, and There wis singin – an anybody who could play Jim Landells, hedger on the Mertoun estate. anything, whistle or tell a story – juist a social evening. Ma faither yince won it an aa – playin a Tom’s first tune: melodeon. An he got the melodeon as a prize, a melodeon wi yon teaspoon basses. I wisnae at it Tom’s father and grandfather would often play fiddle but I can remember the melodeon well enough. together in the house. From Nisbetmill to Howden: “ I juist listened tae them playin an gradually taught masel tae play. I wis never taught music. “ Ma faither wis one o thae kind o folk (who) I can read tae a certain extent (now), but ma would move for a shillin. If he wanted a rise o a faither an grandfaither they never read music. shillin an the boss wouldnae gie him’t, he would (After) ma grandfaither made us the fiddle, I juist move off. He wis a plooman at Nisbetmill. juist scraped an scratched away till I could play Then (we moved to) Morebattle up the Kale Water a tune an that wis it. I learnt wi aa ma fingers (around 1916) an after that we moved tae Howden lyin on the strings an liftin them off as I didnae a couple of miles out o Jedburgh (May Term 1917) need them. That’s how I got the chording (double where father worked as a labourer in the silk mill, stops). The first tune that ever I played wis The an I cam intae Jedburgh tae the Grammar School. High Road to Linton. It has words tae it: The Kirn at Howden: Betsy is the bed made, The bed made, the bed made, After the harvest was in, it was the custom to hold a Betsy is the bed made, feast-cum-dance for all the workers on the farm. The An is the supper ready? event was known as a ‘kirn’ or ‘harvest home’ in the Scottish Borders but further north it was often called The family band: a ‘maiden’ from the custom of dressing up the last sheaf of corn as a young maiden. At one time Tom’s grandfather Henry had led a family band that played for dances at kirns and weddings “ There were no kirns during the war. The first in the area. kirn I wis at wis at Howden (in 1919). It wis in what we ca’d the grainary – the part o the steedin 1. boucht = a bend. A fiddle has three bouts – the where they kept the grain. The (new) sheaves smaller upper bout, the larger lower bout and the middle wis built intae round stacks outside and thatched, or C bout. Tom is referring to the size of the middle bout – that is, a narrow fiddle with an elongated middle bout. an (by that time) the grainary wis empty. Mebbe 2. Tambourine designs as made by Henry Hughes: there were a wee pickle o the year before’s tae www.springthyme.co.uk/tambourine/ clean out before it got started. The cobwebs in – 9 – Tom Hughes: Fiddle Style of the Scottish Borders the place were swept out an sheaves o corn hung at Kirkton at Christmas (after I was fourteen) an up, an paraffin lamps hangin frae the couples – startit work on the farm drivin a one horse wi a or hangin frae the beams – the old Scotch word cart – for feedin sheep an cartin – leadin in for wis the couples. Everybody wis preparing for the cattle, turnips, an one thing an another. Twelve kirn. We aa killed pigs aboot that time an made an sixpence (a week), I can mind that right away! the potted meat. An you got the potted meat – potted heid. An bread, mostly baked in the old Playing Fiddle for Dances: ovens – round bread, what they ca’d the fadge, wi flour on the top. That wis the home made bread Throughout the 20s Tom played fiddle with his father in those days. Aa sliced wi cheese an butter – at kirns, village hall dances, hiring fair dances and home made again. An then the farmer supplied country weddings, firstly around Hawick and later the drink – ’twas a barrel o beer. They were all around Jedburgh, Morebattle and Kelso. invited around from one farm tae another, an I suppose the farmer that wisnae giein a kirn, he would send along a barrel or something like that. I wisnae playin at that first kirn at Howden, I wis still at the school. Ma faither an some other old fiddlers were playin together. It wis quite common to have the tambourine in those days – a couple of fiddlers an a tambourine, sometimes the tin whistle joinin in as well.

The Orchard 1923. Tom’s sister Agnes (age 12), brother Bill (age 4) and sister Jean (age 14) with their father.

“ There’d be a school dance (at Kirkton) aboot Christmas (1921) an they got ma faither along tae play – an I played along wi him. It would start aboot eight o’clock an it went on tae aboot one in the mornin. That wis the start o playin dances The Orchard 1922. Tom (age 15) and his father together. (After that) we went frae The Orchard at Hawick up to Newmill an further up – aa the It started mostly juist wi the dance they ca’d places up the Teviot, an Roberton up Borthwick The Triumph. One o the more popular dances Water. Mostly Friday nights, very few on the wis Drops o Brandy, plenty Eightsome Reels, Saturday night – kirns, village hall dances an the Foursome Reel, Polka, Waltzes, the Hielan weddings – the receptions wis often held in the Schottische, Corn Rigs, Flowers of Edinburgh, grainary juist the same as the kirns. Distance wis Roxburgh Castle, Dashing White Sergeant – juist no object. Ye had yer bicycle, the fiddle tied on mostly country dances. An there wis singers yer back in its cloth bag. an anybody who could tell a story. Juist a joyful evenin ye ken – dancin and singin aa the night. Fiddle Style: Double Stops: The Orchard at Hawick: “ I play a lot o double string work – which is “ We moved frae there (Howden) tae Mervinslaw considered a fault wi some (people). I’ve heard twa (May Term 1920), an then tae a place ca’d The or three say they dinna ken how I got the double Orchard at Hawick (May Term 1921) an I went string action. It juist comes natural. That’s the tae Kirkton school. Ma faither wis the head way ma faither an ma grandfaither din it, it’s plooman – the plooman steward, he had the comin back in now (into fashion), although in first pair o horse, an they had aboot four pair o competition I’ve been faulted for too many stops horse – four ploomen. I finished ma schooling where they ‘werenae needed’. – 10 – 1: Biography

Playing in Parts: Tom always held the bow that way – with his thumb beneath the frog where it could be moved forwards “ We used tae play together this way at the on to the hair to increase the tension and back again dances. The two o us (Tom and his father), we when a springier bow with less tension was needed. juist got together in the hoose at night an we juist arranged that between us. (One of us) would play A Spring in the Bow: one part an one would play the other. “ I hold the bow wi ma thumb underneath the frog, an sometimes I’m touchin the hair wi ma The Flatter Bridge: thumb. I do that in the middle o a tune if I feel “ We had a straighter brig (i.e. flatter than is the bow’s no right. (Then) I can pit the pinkie in normal nowadays). They’re more rounded now, below the stick at the back of the frog an draw ma but in those days they were nearly flat. Nowadays thumb back again. I’ve always played wi it on the there’s nobody can play (using the flatter bridge) loose side, I like a springy bow – ye canna get the but masel hardly. vibrations wi a tight bow. The Old Bow Grip: The Hiring Fair at Earlston “ Most bows has the frog and screw. But I’ve and the move to Lilliesleaf: seen one or two wi a cork where the frog is now. Ma grandfaither had one, ma faither as well. The “ The first time I went tae a hirin fair wis when stick on those old bows wis bent more the other we left The Orchard. I had worked a single horse way. They used tae push the cork further back or till I wis aboot seventeen, then I got a pair. But it forwards tae loosen or tighten the hair. Ye held wis juist a sort o odd pair. The old farmer, Tattie it be the cork, an if ye wanted the bow tighter ye Willie (Willie Scott), wouldnae pay me for tae juist worked yer thumb on the cork. drive a pair so we had tae move. If ye needed a

The Hiring Fair at Earlston, 1933

– 11 – Tom Hughes: Fiddle Style of the Scottish Borders pair o buits, yer weeks wage wouldnae buy them – an couters for the ley, an when ye gaed on tae ye couldnae get a pair in those days below twenty stubble, ye used the bigger rougher type. Well, it five shillin (two weeks wages). That’s the way (the wis dark in the mornins and I went away doon an reason) we went tae the hirin at Earlston. I changed ma couters an things an I had went one I can remember it wis juist a terrible bad snowy round or mebbe two. An there were dung it wis day. (We) had tae catch the train aboot eight aa pit oot, an th’auld boss, Willie Cranston, he o’clock. There were a good few (people) there, cam doon tae spread the dung, an I wis takin ma everybody that wis tae hire, an a lot that wisnae breakfast ye see. An he says, “If ye’re no gaun’a tae hire, local workers that got the day off. Ye’d dae ony mair juist haud off hame.” I went an tell’d meet in wi one another, have a drink wi yer pals. ma faither what the auld boss had said, an there it Then the hirins would start juist whenever ye met wis – we wis awa tae Earlston hirin (again) an we in wi the farmers that wis needin workers. An hired at Whitton. the farmer would say, “Are ye tae hire, or are ye stayin on?” An ye’d say, “No, I’m leavin.” Or, “Are ye hired?” “No.” “What dae ye want?” “Oh, (what ye caa) a double hin (a double plooman – i.e. to drive a pair).” Ye talked over one thing an another, an if ye come tae any agreement wi a wage an the like o that, he wrote it out and he signed it, (and) he’d gie ye a shillin (to seal the bargain). Then in the afternoon there were always the dance in the town hall – juist a couple of fiddlers an sometimes there could be a pianist. The Farmworkers Union mostly ran the dance - ma faither wis in the union an I was in the union Tom’s father at Whitton 1927 and we were invited tae play. We were paid for it – but it wisnae a big fee in those days. Whitton near Morebattle:

Ye moved at whit we ca’d the term day – the “ Ma faither wisnae a plooman at Whitton, he wis 28th o May. That’s when ye moved tae the place hen man. I wis hired for second plooman – there that ye were hired to, but ye wis hired mebbe six wis aboot eight ploomen, sixteen horses. That’s weeks before that (at one of the Hiring Fairs in the where we met the fiddler, Jim Kerse. He wis the area). There were three, I think. There were one steward an he wis a good fiddler. He wis taught at Earlston (1st Monday in April), an one in Kelsie be John Tait the station master at Nisbet, an he (Kelso) a few weeks later (1st Monday in May), played the same sort o style as us. The three of an one in Jedburgh (a Tuesday mid May). I’ve us (often) played together, an we had a pianist frae been at all those three. There were (also) one at Morebattle. We played at aa the kirns an hirin Hawick but ’twas a very, very small thing. fairs in the area at one time or another. At the term day (May Term, 1925) we went, the whole family, tae a place the name o Nether As Jim Kerse had a similar style to Tom and his fa- Raw at Lilliesleaf. Ma faither wis plooman ther, their playing blended well and they often played steward, I had the third pair. I wis a full plooman the same tunes that Tom had played with his father then, I think it wis twenty one shillin a week! including the duets Braes O Mar and the Spanish Waltz (named here as Henry Hughes’ Favourite). Castin oot wi Willie: The Kirns around Morebattle: “ I know I wis only two years at Nether Raw, because the boss an me cast oot.3 It wis bad “ There were so many kirns in those days. They weather an we were put off stubble. The stubble couldnae clash wi another farm (so they were wis too wet an it had tae be left for a while, an held) from September through to October, aye, one mornin he says tae me, he says, “I think that an November an aa – at Linton, Primside an stubble be dry Tam,” he says, “shift the ploo frae Primside Mill, Caverton Mill an Caverton Hill the ley.” Well, we had special socks for the ley, Head, Graden an Auld Graden, Hoselaw an Spylaw, an our own at Whitton. If it wis bad 3. A Scots word: cast oot = fell out roads ye had tae travel on foot – tae walk among – 12 – 1: Biography

“ It wis 1928 I think an I wis in Kelso at the Hirin Fair for the Whitsun Term. It wis a dark dirty day and an auld travellin fiddler man wis walkin slowly down the middle o Bridge Street playin this tune. John Harvey wis his name as I discovered later, an I juist kep on the pavement an I follaed him along till near the bridge till I got the tune in ma head. An then I juist turned back. I never gave him any money an I’ve been sorry for it ever since for I read in the paper later that they had found his body in the water down at Berwick. He had juist threw hissel o’er the bridge at Kelso that same day. An when they found him he still had his fiddle – in the long pocket at the bottom o his overcoat – an juist three ha’pence tae his name. Up Kale Water:

“ In 1931 I got married (to Margaret Smith) an went away out in the hills up Kale Water tae a place ca’d Beirup (Beirhope). Twenty seven shillins wis the basic pay, but I went ootbye tae this place masel, the only one on the place, an I got a shillin extra – twenty eight, juist masel wi a pair o horse. I din everything – cattle, sheep, Tom’s father at a concert in 1960 horses – everything. Juist the wife an I ye ken. the snow tae get there an back again. There were Tom was just a couple of years at Beirhope before no set time for stopping. It went on for as long moving as ploughman steward to the nearby farm of as the people would dance – three, four or five Chatto where he stayed for fourteen years. o’clock. When it began tae fade away then we stopped – juist tae gie time tae get home for work Life at Chatto: – ye’d tae start work at six and ye’d yer horse tae feed before that. Sometimes ye were never even “ Ma family wis aa born at Chattie. I had six, in yer bed! an there were aboot twae year atween each ye ken. After I moved up Kale Water I’d no special The kirn dances gradually died out in the late 20s, band (to start with) – juist anybody that wanted a while village hall and school dances became more fiddler. I played wi Tommy Graham of Yetholm, common. The last kirn Tom remembers was one he and his father played at – at the farm of Softlaw near Kelso around 1929. Kelso Hiring Fair: Tom never missed an opportunity to pick up a tune he liked. Playing tunes with his father and grandfather at the fireside had provided his older repertoire and it was in this way he had picked up and developed the old traditional fiddle style. Learning a tune by ear and eye never seemed to be a problem to him and Tom recalled one memorable occasion when he acquired an Tom with his fellow workers at Chatto 1942 - his boss Peter old waltz tune from a street fiddler in Kelso – a Anderson on the right, Tom right of centre, Bill Douglas at the tune that came to be called Kelso Hiring Fair. left and also two German POWs. – 13 – Tom Hughes: Fiddle Style of the Scottish Borders an I still played wi Jim Kerse. An Bill Douglas, at a dance in the town hall (in Jedburgh). In 1947 he wis a shepherd on the same farm as masel at I moved frae the Kale Water to Rule Water – I Chattie – twae fiddles. Then I formed ma ain wis farm steward there (at Ruletownhead).and I band, the Kalewater Band, in 1939 – Bill Douglas startit playin wi Jock Tamson frae Cleuch Head at the shepherd (and myself) on fiddle, and we had Bonchester. We both played accordion an fiddle, an accordionist, he wis another herd, Willie Hall. an there were a drummer an piano. It juist went be the name the Rulewater Band. ” The Traditional Music Revival:

Towards the end of 1949 Tom stopped playing regularly for dances. In 1962 he retired from Ruletownhead when his son Thomas took over from him as farm steward and Tom moved into Jedburgh. The 1970s revival of interest in traditional music brought Tom into contact with more musicians than for many years previously. He became a regular supporter of the various Accordion and Fiddle Clubs that had started up in the area, particularly his local club in St Boswells, and was a member of the Border Strathspey and Reel Society (formed 1972).

In 1970, Tom met fiddler Wattie Robson at the Bonchester Accordion Club (when Wattie was in his early 20s) and they soon started playing together, often meeting for sessions in one of the local pubs – The Fox and Hounds in Denholm, Bill Douglas, shepherd at Chatto and fiddle player The Cross Keys or The Plough in Lilliesleaf or at with Tom in the Kalewater Band. Tom’s local The Exchange Bar in Jedburgh where there was always a fiddle ‘ahint the bar’. (Later) I played accordion in the band (because) Willie Hall wis giein it up. But the fiddle wis Tom took part every year in the famous my instrument an, although I wis playin the Newcastleton Traditional Music Festival. He accordion at the dance, I’d always the fiddle wi was successful at fiddle competitions, winning us. I remember the Kalewater Band wis the first at Gretna in 1977 and at the Northumbrian tae play when they opened the hall at Pennymuir. Gathering at Alnwick in 1978. Together Tom These shepherds an their wives comin in frae the and Wattie gained prizes in Instrumental Pairs hills wi their big tackety buits – dancin. There competitions at Alnwick and Rothbury and, in were nae other transport ye ken, there were juist a 1978, they were guests at Kinross Festival along track tae some o thae shepherds’ houses. Muckle with fellow Border musicians Bob Hobkirk, Jack big heavy men wi tackety buits, dancin aa night Carruthers and Roger Dobson. In 1981 they were long, walkin hame again – sometimes carryin the guests at the major North East traditional song and bairn on their back. music festival at Keith. To Ruletownhead: The LP album Tom Hughes and his Border Fiddle was issued in 1981 (Springthyme SPR 1005) with “ I had stopped playin (regularly) wi ma faither Tom Hughes and Wattie Robson on fiddle along after I wis married, but I still played at something with other musicians and friends Bob Hobkirk special. After the war there were fiddlers from (fiddle), Tom Scott (fiddle), Jack Carruthers (tin all around made up a band. Ma faither wis one whistle), Sid Cairns (guitar) and Brian Miller o them an I wis one o them, an there wis Bobby (guitar). Stenhouse an Willie Hall on fiddle, an a piano an drums. We used tae come in frae the hills mebbe once or twice a year an play in the band – 14 – 1: Biography

The Hughes Family Tree1

1: Henry Hughes (Surfaceman, Flemington near Cambuslang) -m- Janet Paterson Henry Hughes (b.18 Aug 1846) at Ayton, Berwickshire

2: Henry Hughes (1846-1919) (24) (Farm servant, Westruther, son of Henry Hughes & Janet Paterson) -m- Agnes Craik (24) (Farm servant, Spotsmains, Smailholm) (m. 27 Jan 1873 at Smailholm, Berwk). Henry (Harry) (b. 3 Aug 1874 at Spots Mains, Smailholm) Mary Hughes (b. 3 Apr 1876 at Brotherstone, Mertoun) Thomas (b. 1879 at Mertoun) Peter (b. 1880 at Selkirk) Robert (Bob) (b. 1882 at Faldonside, Selkirksh) Jessie Hughes (b. 1884 at Faldonside, Selkirksh) Agnes Hughes (b. 1888 at Galashiels) Jeannie Hughes (b. ) Thomas Henry Hughes (b. 1880 at Chirnside or Selkirk) No Birth Cert found.

Tom (i.e. Tam) had no knowledge of the wife of his grandfather Henry Hughes (1846) or the parents or siblings. Henry must have had a brother who had a son, a left handed fiddler, Thomas Hughes of Kelso who died around 1978 (i.e. his nephew). This Thomas Hughes of Kelso also had a fiddle made by grandfather Henry Hughes and, according to his daughter Mrs Steel of Kelso in 1981, this fiddle had been passed to her brother in England.

Henry (Harry) Hughes (1874) married and had a son Thomas Hughes living in Newbiggin on Sea, Northumberland in 1981.

3: Thomas Henry Hughes (1880-1960) (26) (Farm servant, Cherrytrees, Yetholm) -m- Barbara Robertson (26) (Domestic servant, Cherrytrees, Yetholm) (m. 12 Apr 1907 Cherrytrees) Thomas Henry (Tam) (b. 10 Oct 1908 at Butchercote, Mertoun) Jane (b. 1910) (age 7 months in census 1911 Jane Hughes) Agnes Craik (b. 4 May 1912 at Linton reg at Smailholm) Bill Hughes (b. 1919-1986)

Barbara Robertson was from Eyemouth. After her father was killed on the railway, she and her mother returned to work at the herring trade in Eyemouth where her mother had worked before she married.

4: Tom (Tam) Hughes (1908-1986) -m- Margaret (Madge) Smith (1908-1976) Ella Thomas (Tommy) William (Billy) Margaret (m. to Colum Rae) Rose Douglas Barbara Robertson (m. to Richard Nagle)

5: Richard (Ritchie) Nagle (1938-2014) -m- Barbara Robertson Hughes (b. 1941) James (Jimmy) (b. 1961) eldest son with two brothers Ralph and Richard.

6: James (Jimmy) Nagle (1961-) -m- Aileen Rose Greg Andrew

1. An updated Hughes Family Tree may be available online at www.springthyme.co.uk/tomhughes – 15 – Tom Hughes: Fiddle Style of the Scottish Borders

The Hughes Family Fiddlers

Tom’s grandfather Henry Hughes (born 1842) JACK CARRUTHERS (1912-1986) was born died in the flu epidemic of 1920. Tom’s father on a farm at Elsdon near Rothbury just on the Thomas Hughes (born 1880) was still an able English side of the border. He was given a tin fiddler until shortly before he died aged 82 in whistle for Christmas as a seven year old, and 1962. Tom’s uncles Henry and Bob had died picked up tunes from radio and records. After earlier, and their cousin, also Tom Hughes, of spending much of his childhood at Taynuilt Kelso, a left handed fiddler, died around 1976. near Oban, he moved down to Hexham and for None of Tom’s older relatives are known to many years he farmed there with his brother. He have been recorded. Tom’s son Thomas used to returned to Scotland to live at Canonbie and, play the accordion and piano, and Tom’s daughter after he retired in 1977, he travelled widely to take Margaret has played piano with several local part in traditional music festivals winning the tin bands. whistle competition at both Kinross and Keith Tom’s grandson Jimmy Nagle continues the in 1979. Jack can also be heard on the Kinross family tradition after learning fiddle while still Festival record on Springthyme SPR 1003. at school in Jedburgh. Jimmy lives in Jedburgh and, in the years since the Tom Hughes album TOM SCOTT lived in Canonbie in the cottage was first released in 1981, Jimmy spent many where he was born in 1910. He started out on hours playing with his grandfather and picked the mouthorgan when he was five, later picking up elements of his grandfather’s style and further up a number of other instruments including tunes from the family repertoire. He taught some steel guitar, ukulele and fiddle. He was a stage of the family repertoire to younger fiddlers in the musician and acrobat in his younger days but area – in particular, the members of the Small spent most of his life as a joiner and joinery Hall Band. teacher in various parts of the country till he retired in 1975. Tom and Jack Carruthers were The Other Musicians: neighbours and they often met to have a few tunes together. Tom was a member of the Border WATTIE ROBSON. At the time the recordings Strathspey and Reel Society and both were were made, Wattie was a farm mechanic and regular supporters of the local accordion clubs lived in Denholm. He has a natural ability to and the Newcastleton Festival. play seconds – that is, to improvise and play a harmony line to the melody. This led to success SID CAIRNS who had known Wattie Robson in Instrumental Pairs competitions with Tom since they were at school together, was born and at Alnwick (1978) and with Bob Hobkirk at brought up in Hawick. Sid lived in Dunfermline Rothbury (1978). He also had competitive in Fife for a number of years and while there success in his own right taking the cup in 1980 became involved in the folk scene. A plumber to at Rothbury. He is a member of the Border trade, he also wrote songs and played guitar, and Strathspey and Reel Society and the local after returning to Hawick he and Wattie often Accordion and Fiddle Club at St Boswells. played together at sessions.

BOB HOBKIRK (1925-2002) was a shepherd in BRIAN MILLER was born in Edinburgh in his younger days but at the time of making these 1950 and at the time of making the recordings recordings he was water engineer in charge of he lived in Penicuik. He has sung and played the filter plant at Dodburn up the Allan Water guitar with several folk groups including The from Hawick. He started playing fiddle at the Laggan and Swan Arcade and recorded with age of fourteen and was self taught. He won the John Watt and Davey Stewart on their album Scottish Championships at Perth three times in Shores of the Forth (Springthyme SPRCD 1002). 1968, 1976 and 1977, and also won at Gretna He often plays in a duo with Charlie Soane on (1971) and at Alnwick (1968, 1969). He twice fiddle and together they have appeared at festivals played in concert tours of the USSR and in the throughout Britain and Europe with an album 1970s he adjudicated at fiddle competitions at The Favourite Dram (Celtic Music CM006). Kinross, Newcastleton, Keith and Rothbury. He also played in Roger Dobson’s Band, well known throughout the Borders. – 16 – 2: The Musicians

Bob Hobkirk of Dodburn, Hawick Jack Carruthers of Canonbie

Brian Miller of Penicuik Wattie Robson of Denholm

– 17 – 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 oﬀset CrotchetPairs

1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 oﬀset œ ≈ œ CrotchetPairs

Tom Hughes: Fiddle Style of the Scottish Borders ™ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset œ ≈ œ œ œ CrotchetPairs Sound and Video Recordings Sound recordings of Tom Hughes. Wattie Robson, half and quarter speed.™ Bowings were assessedœ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 1Bob77 oHobkirkffset and other Border musicians were andœ added≈ œ to theœ manuscriptœ transcriptions by œ CrotchetmadePa byir Peters Shepheard between July 1978 and comparison with the video recordings. TheO O May 1980. Informal practice sessions were held manuscript tune transcriptions were then set using in the bar of The Fox and Hounds in Denholm, a combination of music typewriter and Notaset with the main recording sessions taking place transfer™ and 24œ tunes were printed in the booklet™™ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset in the nearby Bedrule Village Hall. Recordings œ ≈ œ includedœ œ with the LPœ issued in 1981. œ œ were made using a crossed pair of microphones, O O CrotchetPairs a Revox A77 recorder and 1/4 inch tape running All tunes have been reset for this publication at 15ips. Biographical interviews with Tom and using the Sibelius music programme. The original other solo recordings were made at Tom’s home™ 24œ transcriptions ™had™ already been reset using™ HB 1Bb_CrotchetPairins2 Jedburgh.SprFiddl e VideotapeCrotchet 7recordings .2/8.0œ/9.≈0 ofœat Tom177 andœoffs etœ Engraverœ and theseœ wereœ scanned and transferredœ ® œ Wattie’s playing were made by Robert Innes of to OSibeliusO using PhotoScore. New transcriptions Stirling University in JedburghCrot andch ate ThetP Ploughairs have been made manually into Sibelius using the in Lilliesleaf in March 1980. Transcribe programme that enables tunes to be ™ œ played™™ at slow speed™ without pitch change. ™ The 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset Tunes and words have been transcribedœ œ from œ Reaperœ œprogramme œ ® hasœ beenœ used≈ œ in preparationœ œ sound and video recordings and the music Oset O of digital files for the CD. A detailed illustration of CrotchetPairs by Peter Shepheard. Transcriptions were initially transcription methods using Reaper and Transcribe made from the 1/4 inch tape recordings played at is given opposite. 3 œ ™™ ™ ™ ™ j 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset œ ≈ œ œ œ œ œ ® œ œ œ œ œ œ œ CrotchetPairs The Music TranscriptionsO O 3 j a) ™ œ b) ≈ œ c) ™™ œ d) ™® œ e) ™ œ f) œ g) œ œ h) eœ œ œ œ œ œ œ œ O O

Music transcription can only ever be an approx- is understandable3 since music notation does not imationœ of what is actually™ played.™ The intention™ lend itselfj easilyœ to representing™™ triplet time. ™™ throughoutœ the bookœ isœ to provideœ ® a œtranscription œ œ œ œ e œ œ œ œ œ thatO is sufficientlyO accurate that the player will In Scotland it has been customary to write horn- be able to understand how the music is played – pipes as dotted quaver/ semi quaver throughout, descriptive but not prescriptive – and as accurate3 whereas in Ireland and North America the horn- as possible™™ whileœ still being visually™ clear. j pipeœ is often written with™™ even™ quavers – that is, œ œ œ œ œ œ œ as ea reel.œ Bothœ waysœ are misleadingœ ® œ and there is Rhythmic complexitiesO O are indicated to the best no satisfactory alternative to proper indication of approximation, but rests are usually not shown. note values. Further discussion on this can be For example, the dotted rhythm of3 a strathspey found in the Hornpipes section. written as (a) may well sound close toj (b). ™™ ™® œ ™™ œ œ eœ œ Many ofœ the tunes in the collection™ œ are played Whereœ the snap bowingœ becomesœ more pro- withœ extensive use of doubleœ stops and open nounced as in Tom’s version of the Marquis of ringing strings and so, to make the melody line Lorne’s Hornpipe, it may be written as (c) but may easier to read, an open notehead symbol is used 3 sound closer to (d) ™™ to indicate ringing open strings (g) jand a miniature ™ œ ™® œ eœ œ œ notehead is used to indicate a doubleœ stop (h). In hornpipesœ the œrhythm often moves in theœ œ opposite direction – from the 3/4:1/4 ratio of (e) In the duet and group tracks on the record, Tom to the 2/3:1/3 ratio of (f). This move into triplet Hughes is placed on the left in the stereo sound 3 time is extremelyj common™ in hornpipe™™ playing picture. but œis oftenœ avoidedœ in œthe writtenœ music.œ This eœ œ

– 18 – 3 œ j ™™ e œ œ œ œ œ

™™ œ œ œ e œ

™™ œ œ 3: Recording & Transcription

Reaper & Transcribe

The graphics show the tune Lady Mary Ramsay (track cd 30) using Reaper and Transcribe software. The original 1/4 inch analogue tape recordings are transferred to digital in Reaper (upper graphic) where the sound quality can be amended with EQ changes and other effects as required. The visual display assists the manual transcription into the Sibelius music programme. Interpretation of notes and note length are greatly aided by playing back at slow speed – but reducing the speed by half with Reaper reduces the pitch by an octave. On the other hand, tunes played back with the Transcribe software (lower graphic) can be played back at slow speed with no change of pitch. In addition, the Transcribe software has a keyboard display that indicates the pitch of each note as it is played. This assists the confirmation of pitch in double stops and chords. The small black triangle above the Transcribe display indicates the sound being analysed in the keyboard display – the open string chord G/D. The loudest peak is for the note D. The low G is just visible and octave harmonics for both notes are also visible.

1Ab_DownDrivenBow2 6.5/8.0/9.5 @100 / 15.4 Down-driven Bow

≤ ≥ ##4 ≤ ≥ ™ ™ & 4 ™ œ. œ œ œ œ œ œ œ- # ≤ ≥ ≤ ™ ≥™ #4 L ™ œ ™ ™ œ & 4 œœ ™ . œO œO œO œ œO - 2 0 Bar 1 3 -5 -10 -20

Volume dB Volume ≥ # ≥ ≤ ≥ ≤ ≤ ≥ 4 ™ œ œ œ œ & 4 œ œ™ œ. œ œ œ œ ˙E O -O

≤ ≥ ≤ ≥ # ≤ ≥ ™ ™ ™ e ≤ ™ ≥ ≤ ≥ œ≤ # L ™ œ œ O™ O™ œ œ O™ œ œ œ œ & œœ œ™ . O œ œ O œ œ O O O O œ -O

Analysis: Lead-in or anacrusis on low A (up bow). Bar 1: Beats 1 & 2: Down-driven bow with a slide into unisons/ Snap bow pair written as dotted quaver G/D with a short note B picked off with a flick of the wrist in the same down direction. Beat 3: Scotch Snap pair (slurred up bow). Beat 4: Snap bow pair (down bow). Bar 2: Beat 1: Scotch Snap pair (slurred up bow). Beat 2: Scotch Snap pair (bowed down/ up). Beat 3: Triplet (bowed). Beat 4: Crotchet chord D/D. See page 65 for full transcription.

– 19 – Tom Hughes: Fiddle Style of the Scottish Borders Traditional Fiddle Style

n the biographical introduction Tom talks of Many of Tom’s tunes differ from published how he learned to play – picking up the music versions and he was often told that he did not Iand the playing styles by ear and eye from his have the tunes ‘right.’ When he took part in father, grandfather and uncles. He never learned fiddle competitions, both solo and with his to read music and he was never taught as such by younger friend Wattie Robson of Hawick, his a trained player. However, he was clearly a very use of double stops and open ringing strings did competent player with a wide range of techniques not always meet with approval and he was often at his disposal. In his later years he became aware told that ‘they were not needed.’ An adjudicator that his family style of playing differed from those would comment, sometimes favourably, of younger players. sometimes otherwise on Tom’s ‘old’ style.

Rhythmic Structure in Scottish Music

We may refer to a particular tune as being in by, or indicated by, the time signature, it is the common time or 4/4, with four crotchets or internal subdivision of the beats that provides the quarter note beats to the bar, or in 3/4 or waltz ‘lift’ that a traditional fiddler will use to inspire time with three crotchet beats to the bar, or in 6/8 the dancer – and it is this internal rhythmic or jig time with two beats to the bar. But, while structure that a fiddle and bow are eminently the overall rhythm of the music is determined suited to provide.

Inégale Note Division

Whether the music is a march, strathspey, The crotchet (Fig 4.1a) may be divided equally hornpipe or polka, the four crotchet divisions of into two quavers (b), but the subdivision is more a 4/4 or 2/2 bar are often treated differently – so commonly unequal (c & d). The two notes are 11AAcreatingbb_I_In1nAéégbgaa_lI lenthee33ég arequiredle3 rhythm. IInnééIggnaaéllgee a NNltheneo oN formallytteeosste referreds to as inégale notes.

Fig 4.1 Inégale note division # # ™ ™ #44 4 ™™ ™™ && 4&4 œœ4 œ œœ œœ œœœ œœœ œœœ œœœ œ (a) (b) (c) (d)

3 3 In traditional# # fiddle music the™ degree of™™ 3 in between. While in many types of music the inequality #44 can4 vary over™™ a wide range™™™ – from jj longerj note precedes the shorter – a forward the&& simple4&4 œœ 3:14 ratioœœ ofœœ the dottedœœœ œœ œquaverœœœ andœœœ œœ inequalityœ (Fig 4.2), in traditional music the semiquaver to a more extreme 7:1 subdivision of ineqality is often reversed – a reversed inequality a double dotted quaver and demisemiquaver or (Fig 4.3) with the shorter note preceding the 33 3 to a lesser 2:1 triplet subdivision – or anywhere longer. ##4 #4 ™™ ™ ™™™ ™™jj j & 4&4 œ4 œœ œœ œœ œœ œœ œ œ œœ œ Fig& 4.24 Forwardœ œ inequalityœ œ œ œ œ œ Fig 4.3 Reversed inequality

33 3 33 3 ## ™™# ™ ™™™ ™™ jj j ## # ™™ ™ ™™™ ™™jj j && &œœ œœœ œœœ œœœ œœœ œœœ œ && &œœ œœœ œœœ œœœ œœœ œœœ œ

– 20 – 4: Traditional Fiddle Style

Bowing Techniques

Numerous publications on fiddle music have part of a larger band. Tom used a wide range referred to the complexities of bowing and how of traditional bowing techniques and it is the bowing styles used in traditional music differ balance and application of these techniques to the from those employed by the classically trained individual tunes that is the essence of his Border player. The unaccompanied fiddle has the Fiddle Style. The techniques will be looked at ability to produce complex rhythms with the individually with short transcriptions from tunes bow that are often obscured when the fiddle is that are included in full later in the book.

1: Hack and Slur Bowing

The most basic use of the bow with alternate transcribed from Tom’s playing where he rarely upward and downward movements is sometimes uses hack bowing for any extended period. The referred to as hack bowing – the down bow three examples shown – a hornpipe, a jig and a usually taking the main first beat of a bar. polka use a combination of hack and slur bowing. Although some tunes can be played throughout 1Ab_HacwithkBow hack3 bowing, it is far more usual for a tune A slur bow is used for the pickup (or anacrusis) in to be played using a range of bowingHac techniques.k Bow intheg Redesdale Hornpipe, and a slur is also used for Tom HThisugh eiss certainly Examp theles case with the tunes the fourth beat of the first bar. Fig 4.4 The Redesdale Hornpipe 1Ab_HackBow3 Hack Bowing ≤ ≥ ≥ ≤ ≥ ≥ Tom Hugh#e2s Eœxaœmœplesœ œ≤ ≥ œ≤ œ œ œ œ œ≤ ≥ œ≤ & 2 3 œ œ 3 œ ˙ 3 J 3 J 3 J 3 J

In the jig St Patrick’s Day (or Tell Me I Am) the 1Ab_HackBow3 ≤ ≥ ≤ ≥ tune# is playedœ almostœ œ entirely≤ ≥ withH≤a hackc≥k bow B withoœwœ inœg ≤ ≥ ≤ ≥ 2 œ 3 œ œ œ œ 3 œ œ œ occasional& 2 ≤ slur. ≥ ≤J ≥ ≤J œ≥ ≤ ≥ ≤ ≥Jj ≤ ≥J ˙≤ #6 3 œ œ œ 3 3 œ 3 Tom Hu&ghe8s Eœxamples œ œ œ œ œ œ œ œ Fig 4.5 St Patrick’s Day Jig (or Tell Her I Am) œ œ

≤ ≤ # ≤ ≥≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ j ≥ ≤ #6 œ œœœ œ≥œ œ≤ œ≥ ≤ ≥ œ œ≥œ œ ≤œ œ≥ ≤ ≥ œ≤ 3 œ≤ œ œœ≥œ ≤œ œ≤ œ3œ œ≥ œ≤ œœ≥ œ≤ & #22 œ œJ 3 J œ œ œJ œ3 œJ ˙œ & 4 3 œ œ œ œ œ œ œ œ 3 œ œ 3 3 In Faudenside Polka the tune is more rhythmically diverse ≥and includes≤ gracings but ≥ # ≤ ≤ ≥≥ ≤≤ ≤ œ œ œ≥≤ ≤ ≥≥ ≤≤ again# #is2 played≤ almost≥ œentirely≤œ ≥ with hack bow œ≥ ≤ ≥ j œ œ œ & 64œ œœ œœ œœ œœ œ œ œœ œ œ œ with& occasional8 œ slurs. œ œœ œ 3 œ œ œ œ 3 Fig 4.6 Faudenside Polka ≥ ≥ # ≤ ≤ ≥ ≤ ≤ œ œ œ≥ ≤ ≥ ≤ #2 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ 3 3

– 21 – Tom Hughes: Fiddle Style of the Scottish Borders

1Bb_ScotchSnapPairs1 SprFiddleCrotchet 7.2/8.0/9.0 at 177 o2:ﬀs eScotcht Snap

ScotchSnapPTheair reverseds inequality has long been recognised dotted quaver or eighth note. In vocal music the as a characteristic element of Scottish song≤ and two notes would be taken by different syllables. music. Referred to since the 17th century≥ ™ as the On the fiddle, the snap can either be taken with 1Bb_ScotchSnapPairs1 SprFiddleCrotchet 7.2/8.0/9.0 at 177 oﬀset Scotch Snap (or more recently as Scotsœ œ Snap), two bow strokes – a short down bow stroke on it is a rhythmic figure typically consisting of the beat followed by a longer up bow as in (a), or ScotchSnapPairs (or written as) a division of a quarter–note (or the snap can be slurred with a single bow stroke crotchet) in the ratio of ≤1:3, that is, a sixteenth down or up as in (b) and (c). note (or semiquaver)≥ on the™ beat followed≥ ™ by a 1Bb_ScotchSnapPairs1 SprFiddleCrotchet 7.2/8.0/9.0 at 177 oﬀset œ œ œ œ ScotchSnapPairs Fig 4.7 Scotch snap pairs ≥ ≤ ™ ≥ ™ ≤ ™ (a) œ œ ( b) œ œ (c) œ œ

Tom uses≥ slurred snaps≤ far more often≥ than bowed snaps.™ Here is a selection™ of bowed™™ and

slurredœ snapsœ taken fromœ œ tunes in theœ collection.œ

Fig 4.8 Bowed and slurred Scotch snaps ≤ ™ ≥ ™™ ≤™ ≤ ≥ ™ # œ œ≥ ≤ ™ ≥œ œ≤ ™ œ œœ ®≤œ ™ ≥ ≤ ≥ ≤ ≥ ≤ ™ ≥ #4 œ œ œ œ œ œ ™ ™ œ œ œ & 4 œ œ œ œ O ≥ ™™ ≤ ≤ More often than not both™ slurred and™ bowed used throughout the collection to indicate an snaps includeœ œ doubleœ stops® œ or openœ stringœ two open string played as secondary to a melody note note chords (or dyads). As discussed in the and a small note head is used in the same way for section on double stops, an open note head is fingered double stop notes. ≤ ≤ 3 Fig 4.9™ Double stopped™ Scotch snaps takenj with a slurred bow œ ® œ œ œ œ œ ≥ ≤ ™ ™ # ≤ ™ ≥ ™ ≤ ™ e™ œ œ ≥ œe ™ œ≤ ™ ≥ #4 O O™ 3 œe œe™ œ O œ O œ œ & 4™ œ œ œ j œ O ™ œ O œ œ œO œ œ œ

1Ab_ScotsInSn Theap5 Wife6.5/5 She.5/9 Brewed.5 at 80 It, bowedSc Scotchotc hsnaps, S napbars. The remaining note pairs have forward played with3 down/upj bow start™ the first two™™ inequality and are played with hack bow. œ œ œ Fig 4.10œ The Wifeœ She Brewed Itœ ™ # ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥™ ≤ œ≥ ≤ ≥™ ≤ ## 4 ™ ™™™ ™ ™ ™ ™ œ œ œ œ œ & œ 4 œœ œ œ œœ œœ œ œ œ œ œ œ œ œ

™™  ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ j ≤ ≥ ≤ #œ2 j œ ™ ™ œ œ œ œ œ œ œ œ œ & 2 œ œ œ ™ œ œ œ œ œ – 22O – œ œ œ O 4: Traditional Fiddle Style

3: Shuffle Bowing 1Ab_ScotsSnap5 6.5/5.5/9.5 at 80 Scotch Snap The shuffle sequence comprises the alternation bluegrass fiddling. Where there is a set of four of a long down-bow stroke followed by small up/ eighth notes, the first two are slurred with the down strokes and then a long up-bow stroke next two played as™ separate bows. Tom uses the 1Bb_followedCrotche tbyPa ismallrs2 S pdown/uprFi≥dd≤leC strokes.rotche≤t 7The.2/8 shuffle.0/9.0 a t 17≥shuffle7 o≤ffset here and≥ there – particularly in his playing (often# called# the≤ simple or ™Nashville≥™ ≥shuffle)≤ ≥ is ≤ of reels.™ ≥ In™ Flouersœ≤ œ œO≤ Edinburgh≥™ ≤ , the long strokes a very# common4 bowing pattern in CAmericanr™otc h™ etParea mostlyirœs played as slurredœ œ Scotch snaps. & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ Fig 4.11 Flouers O Edinburgh ≤ ≤ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset œ ≈ œ CrotchetPairs ≥ j ≤ #  ≤ ≥ ≤ ≥ ≤ ™ ≥ ≤ ™ ≤ ≥ œ ≥ ≤ 2 j œ œ œ œ œ & 2 œ œ œ ™ œ œ œ œ œ œ ≤ ≤ œ œ œ œ œ O O ≤ ™ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset œ ≈ œ œ œ CrotchetPairs 4: Snap Bowing ≤ ≤ ™ ≤ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0Perhaps/9.0 at 1the77 mostoffse tcharacteristic bowing technique as a dotted œquaverœ followed œ by≈ œa semiquaver (a),œ used in Scots fiddle playing consists of two a ratio of 3:1, the technique requires a looseœ flick Crotbowch movementsetPai rins the same direction – the of the wrist in the same direction as the main second note shorter than the first (i.e. forward bow≤ stroke with a short pause between the≤ two inequality). The technique is effectively a broken ≤ notes so that the sound produced≤ ™ will be closer™™ 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offslurset and is known as ‘snap bowing’ and the two œ to≈ œ(b). Whereœ theœ inequality œ isœ greater thisœ mayœ bow movements can be either both up or both be written as (c), a ratio of 7:1, with the sound CrotchetPadown.irs Snap bowing is not to be confused with produced closer to (d) depending on the length of the Scotch snap – a reversed inequality.≤ ≤ the pause. ≤During the pause the bow may≤ lift≤ or ≤ ™may remain stationary™™ in contact with the™ string William C Honeyman in his Strathspey,œ ≈ œ Reel œ andœ the shortœ secondœ noteœ mayœ be taken œ staccato® œ and Hornpipe Tutor of 1898 does not use the term or be quieter than the first longer note. snap bow, but refers to “catching the driven note” and describes the technique as “...one≤ bow to each In hornpipes,≤ where≤ the sub-division≤ of the two notes, the short note being caught off™ the first crotchet is often™ into triplet™ ™rhythm (a ratio≤ 3 j 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset with a slight jerk of the wrist.” œ œ œ closeœ to 2:1),œ the® œslur and œsnap œbow are easilyœ œ CrotchetPairs interchangeable. So a triplet pair taken with a The rhythm produced by snap bowing is slur (e) can alternatively be played with a snap effectively≤ the≤ inverse of the Scotch snap. Written ≤ bow (f) that≤ would then sound≤ ≤close to (g). ™™ 3 j ™ ≤ 3 j 1Bb_CrotchetPairs2 SprFiddleCrotchet 7.2/8.0/9.0 at 177 offset œ ≈ œ œ œ œ œ œ œ œ ® œ œ œ CrotchetPairs Fig 4.12 Snap Bow Pairs ≤ ≤ 3 ≤ ≤ ≤ ≤ ≤ 3 j ≤ 3 j ≤ ≤ (a) ™ (b) (c) ™™ (d) ™ (e) (f) (g) œ œ œ ≈ œ œ œ œ ® œ œ œ œ œ œ ‰ œ

Snap bowing is considered as a technique≤ ≤ one of the following≤ 3 ≤ – a snap bow pair, a Scotch particularly characteristic≤ of strathspey playing, ≤ 3snap,j a single crotchet or ≤one3 ofj several type of ™ ™ but Tomœ usesœ the techniqueœ œ in a rangeœ ® of œtune œ tripletœ run œ– so‰ creatingœ theœ rhythmœ of the four types. In the following four tunes, each 4/4 with tunes – a schottische, a polka, a strathspey and a four crotchet beats to the bar, each beat allocated hornpipe. ≤ ≤ 3 ≤ ™™ ≤ 3 j ≤ 3 j œ œ œ œ œ œ œ œ œ ‰ œ – 23 –

≤ ≤ ≤ ≤ 3 ≤ ™ ™™ ≤ 3 j œ ® œ œ œ œ œ œ ‰ œ

≤ ≤ ≤ 3 ≤ ≤ 3 j ™ œ œ œ ® œ œ ‰ œ

≤ 3 j ≤ 3 j œ œ œ œ

3 ≤ ≤ ≤ 3 j œ ‰ œ œ œ

≤ 3 ≤ œ ‰ œ Tom Hughes: Fiddle Style of the Scottish Borders

In Orange and Blue, a schottische, the pick-up examples of snap bow. A ringing open string (or anacrusis) is played with an up snap bow, the on G or D is added below the melody wherever 1Ab_SnapfirstBow 5full 6.5 /bar5.5 includes/9.5 at 8 0two slurred snaps played possible – indicated with open note head.. Tom Huwithghe downs Ex bowamp andles the second fullS nbara hasp threeBo w Fig 4.13 Orange and Blue 1Ab_SnapBow5 6.5/5.5/9.5 at 80 Tom Hughe#s E≤xa™ mples≥ ™ ≤ S≥nap™ ≤Bow≥™ ≤ ™ ≥ ≤ ™ 4 œ™ œ œ œ™ œ œ œ ™ œ & 4 œ œ œ œ O O œ œ O O œO O O O ≤ ™ ≥ ™ In Lilliesleaf# Polka the first beat≤ is a≥ slurred ≤Scotch ≥beat™ of ≤the next ≥bar uses≤ an up bow to combine a 4 œ œ œ ™ ≤ ™ œ œ œ ≤œ ™ œ snap& followed4 ≤™ by a down≥ œ snapœ bow. The≥œ firstœ ≤ slurred™ ≥ snap3 jwith≥œ a snap≤œ™ 3bow. # 4O ™ œO œ œ œ ™ O O O O j 1Ab_SnapB&ow5# 64.5/5O.5/œ9.5 at 80 œ œ Oœ O O O œ œ œ œ œ Fig 4.14 œLilliesleafO PolkaJ O œ œ œ O O œ Tom Hughes Examples 3 Snap Bow ≤ ≥ ≤ ≥ ≤ ≥ 3 ≤ ≥ # ™ ™ j ≤ 3 & #4 O œ ≥œ œ œ œ œ œ O O œ ≤œ œ ≥œ œ≤ j # 4≤œ  ≤J ≥ ™ ≤ ≥ œ≤ ≥ ™ ™ e™ œ 4 ≤ ™ j ≥O 3 O œ œ O≤ ™ O ≤ e œ œ ™™ œ≤ ≥œ ™ ≤ ≥™ œ œ œ≥œ œ™ œ 4 œ™ œ œ œ O œe œœ™œœ œ™ œO œ™ œ & 4 O O œ œ œ œ œœ œ O O O O œ O The third tune, Tam’s Wild Rose StrathspeyO startsO this case, with the low G the melody note and the 1Ab_SnapwithBow 5a 6double.5≤/5.5 /open9.5 ≥a tstring 80 ≤ chord ≥G/D. The≤ first≥ ≤ open≥ D≤ subservient.≥ The≤e™ second bar starts with a beat #of4 the bar is ja further crotchet note™ entered triplet run™ played as™ a birl,™ followede by snap bow Tom Hughes E≤xa3mpœles ™ ≥ 3 3 œ œ œ from&# a4 grace note,j œ ≥followed3 ≤ ≥ byœ ≤a snapSjnœ bowapj pair,≤ B3 oewœ≥pair,œ aœ slurred≤ Scotch≥œ snapœ≤ 3 and a further snap 2 œ≤ ≥ œ 3 ≤j œ ≥ O ≤œj ≥™ 3 ≤œO≥œ j a slurred# œScotchO œ snap and finishingœ œ theœ œbar with bow pairO œ leadsOj to theœ next≤ 3 bar of the tune. & #24 ™ œœ jœœœ œœœ ™ œ œ œ œ œ 3 œ 3 J œ œj a& repeated4 œdoubleO œ openœ stringJ chord G/Dœ but, inO œO œ œ J œ œ œ O 3 O œ œ O O Fig 4.15≤ Tam’s™3 Wild≥ Rose Strathspey≤ ≥ 3 ≤ 3 ≤ ™ ≥ ≤ # j ≥ 3 ≤ ™≥ ≤ j≥ ™j ≤ 3 ≥≥™ ≤ ≥ ≤™ 3 24 œ ™ œ œ 3 j œ œ j œ™ œ œœ œ œ œœ™ œj & 24 œ œ œj œœ œœ œœ œ œ œ 3 O œ3 œ œ O ≥O œ œ œ Oœ O≤ OJ≥ J O≤ # ≤  ≤ ≥ O ™ ≤ O ≥ ≤ ≥ ™ ™ e™ 4 j ™ œ œe & 4 œ œ œ œ œ O e œ œ œ™ œ œ œ O œ œ œ œ O O ≥ ≤ ≥ 3 ≤ # ≤ ≤ ≥ j ≥ ≤ 3 #4 ™ œ œ œ œ œ ™ œ j The& fourth4 œO tune,œ RedesideJ Hornpipe, hasœ internalO œOdefinitionœ œ is providedœ œ that œwould be absent if the ≤ 3 O 3 O ≥ 3 œ œ 3 O O triplet# rhythm throughout.j ≥ 3 ≤ ≥ After≤ thej anacrusisj ≤ 3 ≥snap bowings≤ were≥ replaced≤ 3 by slurs. A triplet taken 2withœ a slur, the first bar3 startsj œ œ with two hackj run thenœ startsœ œthe secondœ bar,j followed by three & 2 œ œ j œ œ œ œ œ œ 3 O 3 œ œ bowed triplet pairs, theœ tripletœ feel maintained by œfurther snapJ bow pairs.J The Scotch snap is the following snap bow pairs with the ratio of the absent here and≥ is rarely≤ used in hornpipes. two notes# ≤close to 2:1.≥ A≤ lightness≥ and rhythmic≤ ≥ ≤ ≥ ≤ e™ 4 j ™ ™ œ ™ ™ œe & 4 œ œ ™ œ œ e œ œ œ™ œ œ œ œO œ œ œO œ O O Fig 4.16 Redeside Hornpipe

≤ 3 ≥ 3 3 # j ≥ 3 ≤ ≥ ≤ j j ≤ 3 ≥ ≤ ≥ ≤ 3 2 œ 3 j œ œ j œ œ œ œ j & 2 œ œ j œ œ œ œ œ œ 3 O 3 œ œ œ œ œ J J

– 24 – 4: Traditional Fiddle Style

5: The Up-Driven Bow

As shown already, a Scotch snap can be produced to a bowing technique that enables the Scotch either by a short down bow followed by a longer snap in this sequence to be bowed rather than up-bow stroke or by a slurred bow stroke in slurred (c). The first semiquaver is taken with either direction. A slurred Scotch snap followed a short down-bow and the following three notes by snap bow written as (a) would be played and played with three consecutive up-bows – a long sound as (b) with a short silence after the third dotted quaver followed by a second dotted quaver note in the sequence – the silence produced either played with renewed pressure (indicated by the when the bow stops or is lifted prior to playing tenuto sign) – and the final semiquaver played the staccato semiquaver (the ‘driven’ note). The staccato after a short silence. Written as in (c) driven bow (or up-driven bow) is the term given this would sound as in (d). 1Ab_UpDrivenBow2 Up Driven Bow Fig 4.17 The Up-Driven Bow ≤ ≤ ≤ (a) # ≥ ™ ™ (b) # ≥ ™ & # œ œ œ œ & # œ œ œ ≈ œ

≤ ≤ ≤ ≤ ## ≥ ™ ™ ## ≥ ™ (c) & œ œ -œ œ (d) & œ œ -œ ≈ œ

Niel Gow (1727-1807) of Inver near Dunkeld with a down bow followed by three consecutive in Perthshire is credited with creating the up- notes taken with an up bow with the last note a driven bow technique. J Murdoch Henderson short staccato ‘driven’ note. in The Flowers of Scottish Melody (1935) suggests that it was Niel Gow’s ability to “...lift the bow It is interesting to compare the bowings that Tom smartly off the strings with a peculiar jerk of the wrist uses for one of his favourite old strathspeys, The in the rendering of the semiquavers of a strathspey Braes O Mar, with the up-driven bow sequence as that gave the dotted quavers that extra length and specified for the same tune in Honeyman’s Tutor strength...and the whole strathspey a bolder and of 1898 and as also specified by Scott Skinner in more distinctive character.” But perhaps it was his Guide to Bowing (ca. 1900). the influence of ‘Scotland’s Paganini,’ James Scott Skinner (1843-1927), that made the up- The timing of the notes is identical in the two driven bow for some players an essential part of versions but Tom uses a slurred Scotch snap/ snap strathspey playing in Scotland’s North East. bow sequence for the opening phrase (Fig 4.18) whereas the two actions are combined by both However, Tom makes only a very occasional use Honeyman and Skinner into a single up-driven 1Ab_Driveofn Banow up-drivenEx2 6.5/8 bow.0/9 .–0 that is, a short note taken bow sequence (Fig 4.19). 1Ab_DrivenBowEx2 6.5/8.0/9.0 Fig 4.18 The Braes O Mar (as played by Tom Hughes)

™ ™  ™ ≥ # ≤j ≥ ™ ≤ ™ ≥ œ œ œ≤ ≥ ™ j ≤ ™ ≥ ≤ ™ 4 œ™ œ ™ œ œ œ œ™ œ œ ≥ &##4 œ≤j ≥ œ œ≤ œ ≥ œ œ œ≤ ≥ œ™ j œ≤ ™ œ≥ œ≤ œ™ œ #4 œ ™ ™ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ Fig 4.19 The Braes O Mar (as specified by Honeyman and Skinner) ™ ≤ ™ ™ # ≤j ≥ ≤ ™ ™ ≥ œ™ ≥ ≤ ™ ™ ≥ ≤ ™ #4 œ≤ ≥ œ≤ œ œ œ≥™ œ ≤ œ œ œ≤ ™ œ-™ œ. œ≥ œ™ œ≤ ™ œ &##4 j œ ™ -™ . œ œ œ œ œ≥ - . œ & 4 œ œ œ -œ œ. œ œ œ œ œ œ – 25 –≤ 3 ≥ 3 ≤ ≥ œ œ # 2 ≤ 3 ≥j ≤j j ≥ ≤ œ≥ œ≤ œ œ≤ œ œ œ≥ ≤ œ # ≤ ≥ 3≤ ≥ 3œ≤ œ≥ œ≤ ≥3 ≤ ≥3 œJ œ œ 3 ≥ œ≤ œ œ &# 2 œ 3œj œ œj œ j 3 J œ œJ œ œ œJ œ3 J œ # œ œ œ 3 3 J 3 œ 3œ œ & 2 œ œ œ œ œ 3 J J J 3 J 3 ≤ 3 ≤ 3 ≤ œ # ≤ 3 ≥ j ≥ - . œ≥ œ œ œ ≥ ≤ #2 j j ≤œ œ œ ≤ œ œ œ œ œ œ ≤ ≥ 3 ≤ 3 œ œ≥ -3 . ≥3 œJ œ 3 ≥3 ≤ œ &# 2 œ 3œj œ œj œ .j 3 J œ œJ œ œ œJ œ J œ # - œ œ œ 3 3 J 3 œ 3œ œ & 2 œ œ œ œ œ . 3 J J J 3 J - 3 ™ œ≤ œ≥ ™ ≤ ™ ™ ≤ ≥ #2 ≤ ™ ≥ œ™ œ≤ œ™ ≥ œ≤ ™ œ≥ ™ ≤ ™ ≤ ™ ≥ œ œ œ œ œ œ œ≥ O≤ ™ ≥ œ™ œ œ™ ≥O œ≤ ™ œ≥ 2 œ œ œ œ œ œ œ œ œO œ & 2 O œ œ œ 1Ab_DrivenBowEx2 6.5/8.0/9.0

™ ™  ™ ≥ # ≤j ≥ ≤ ≥ œ œ œ≤ ≥ ™ j ≤ ™ ≥ ≤ ™ #4 ™ ™ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ

1Ab_DrivenBowEx2 ≤6.5/8.≥0/9≤.0 ™ ≤ ™ ≥ ™ ≤ 1Ab DrivenBo#wEx2 6j.5/8.0/9.0 ≥ œ ≥ ≤ ™ ™ ™ _ #4 ™ ™ œ œ œ œ œ œ œ- . œ œ œ Tom& Hughes:4 œ Fiddleœ œ Style-œ of the. Scottish Borders œ œ ™ ≤ ≤ ≥™ œ  ™ ≥ When# Tom doesj ≥ use an™ up-driven™ bowœ sequenceœ≤ ™ ≥ alternative™ j ≤ ™ ≥ way≤ of bowing™ a phrase. Shown first #4 ≤ œ™ œ œ œ œ œ œ™ œ œ ≥ it& does# not4 œfollowj ≥ theœ ™conventionalœ≤ ™ œ ≥ pattern.œ œ≤ In ≥ withœ≤ ™ jtheœ≤ ™ anœ≥ up-drivenœ≤ bowœ™ sequenceœ used twice #4 œ 3 ≥ 3 ≤œ œ œ ≥œ œœœ œ œ œ a& solo# performance24 œ≤ 3 ≥jœ œof theœ≤j hornpipeœ j ≥ Millicent’s≤ œ≥ œ ≤ œ inœ theœ firstœ œœ barœœ≥ and≤ thenœœ withœ the same notes Favourite# , the up-driven bow isœ usedœ asœ an 3 3 playedJ with3 hack bow.œ œ œ & 2 œ œ œ œ œ 3 J J J 3 J ™ 3 Fig 4.20 ≤Millicent’s≥ ≤ Favourite –≥ an™ up-driven≤ bow≥ sequence≤ ™ ™ ≥ ™ ≤ ™ ##4 ≤j ™ ™ œ™ œ œ≤ ™ œ œ - . œ™ ≤ &# 4 œj œ≥ œ≤ ™ -œ™ œ. ≥ œ œ œ ≥ œ≤≤ ™ œ™ œ œ≥ œ™ œ #4 ≤ ≥ 3 ≤ 3 œ≥ ≤ - . ≥œ œ œ œ- . ≥ œ≤ &##24 œ 3 jœ œ -œj œ. j œ œ œ œ œ œœ œ œ œ œœœ œ & 2 œ œ œ œ 3 J 3 J 3 J 3 œ œ œ œ - . 3 J J ≤ 3 3 ≥ 3 ≤ ≥ œ œ # ≤ 3 ≥ ≤ j ≥ ≤ ≥ œ≤ œ œ≤ œ œ ≥ ≤ #2 ™ j j 3 ≤ œ œ 3 œ œ œ œ œ &# 2≤≤ 3≥≥ œ™ 3≤ œ≥ ™ œj œ≥ ≤ ≥3 J≤ œ≥ œJ œ œ≤3 J ≥3 ≤ œ #2œœ œœj œ≤j 3 œJ œ ™ œ≥ ™ ™ œ œ≥ œJ œ≤ œ ≥ &# 2 œœ œ œœ œ œ≥ œ≤3™ J 3 J 3 J 3 3™ œ 2 œ œ œ œ 3œJ O œ œ œ œ OJ œ & 2 œ œ 3 œ ≤ In the Marquis of Lorne’s3 ≤Hornpipe3 another≤ sequenceœ is analysed in greater detail when the # ≤ 3 ≥ j ≥ - . œ≥ œ œ œ ≥ ≤ form of#2 up-drivenj bow sequencej is used.≤œ œTheœ tune≤ œis consideredœ œ œin œtheœ section on hornpipes. ≤ ≥ 3 ≤ 3 œ œ≥ -3 . ≥3 œJ œ 3 ≥3 ≤ œ &# 2 œ 3 œj œ œj œ .j 3 J œ œJ œ œ œJ œ J œ # - œ œ œ 3 3 J 3 œ 3œ œ Fig& 4.212 œMarquisœ œof Lorne’sœ œ Hornpipe. 3 J – anotherJ up driven bowJ sequence3 J - 3 ™ ™ ™ œ≤ œ≥ ≤ ™ ≥ ™ ≤ ™ ≥ ≤ #2 ≤ ™ ≥ œ™ œ≤ œ™ ≥ œ≤ ™ œ ≤ ™ ≥ œ œ œ œ œ œ œ≥ O≤ ™ ≥ œ™ œ œ™ ≥O œ≤ ™ œ≥ 2 œ œ œ œ œ œ œ œO & 2 œ O œ œ œ œ 6: The Down-Driven Bow

The down-driven bow is a powerful technique in the first phrase of the tune with a slide into in which two beats of the music are taken with unisons on the first note, an open string chord a single down-bow stroke, the second beat G/D for the emphasised second note, followed 1Ab_DownDrivenBow2 6.5/8.0/9.5 @100 / 15.4 emphasised with renewed pressure. Tom uses the by a staccato driven note semiquaver on B. In down-driven bow inD twoo tuneswn in- dther collectioniven BoNeilw Gow’s famous tune, Farewell to Whisky, the and, in each case, it is combined with a snap down-driven bow is used in a similar way, with a bow to finish the phrase with a driven note. In further G/D chord, an emphasised second note Lady Mary Ramsay the down-driven bow is used with added open string D and staccato finish. # ≤ ≥ ≤ ≥ #4 ™ œ œ ™ ™ œ & 4 œ œ . œ œ œ Fig 4.22 œLady Maryœ Ramsayœ- – the down-driven bow sequence ≤ ≥ # 4 ≤ ≥ ™ ™ #4 LL ™ œ œ O™ O™ œ & 4 œœ œ™ . œO œO œO œ -O Fig 4.23 Farewell to Whisky – with down-driven bow ≤ ≥ # ≥ ™ ≥ ≤ ≤ ≥ 4 œ œ œ œ œ œ œ & 4 œ œ™ . œ œ ˙E O -O

– 26 – ≤ ≥ ≤ ≥ # ≤ ≥ ™ ™ ™ e ≤ ™ ≥ ≤ ≥ œ≤ # LL ™ œ œ O™ O™ œ œ O™ œ œ œ œ & œœ œ™ . O œ œ O œ œ Oœ O O O œ -O 4: Traditional Fiddle Style

7: The Long Bow

Three examples of the use of the long bow – the playing were less. In the Nut Brown Maiden the first two in fairly fast hornpipes where the long long bow is used first time through the tune but 1Ab_TheLongBow2 6.5/8.0/9.4 at 80 bow would probably not be used if the speed of divided into two slurred phrases on the repeat.

Fig 4.24 The Long Bow Millicent’s Favourite ≤ ≥ ≤ œ œ œ ≤ ≥ œ œ A slash quaver is used # 2 3 œ œ œ œ œ œ œ 3 & #2 J œ œ œ œ œ œ œ œ œ J in the transcription of 3 3 3 3 3 some hornpipes – as Greencastle Hornpipe O here in Greencastle ≥ ≤ Hornpipe. This is an # œ≤ œ œ œ œ œ ≥ œ≤ œ œ œ œ œ œ œ ≥ ≤ œ œ alternative way of 4  œ  3 J œ œ indicating the shorter & 4 3 3 note in the triplet time division of an inégale Nut Brown Maiden crotchet pair. ™ # ≤ j ≥ j ≤ #2 œ œ œ™ œ œ œ œ œ œ œ œ œ œ & 4 O O O O

8: The Birl

In Scotland and Cape Breton the birl – three in (a) but may be played with more extreme time notes on the same pitch – is widely used in pipe division (b). Usually starting with a down bow, a tunes that have been taken up by the fiddle. The birl can be used as an alternative to a Scotch snap internal rhythm of the birl is usually written as or to correct bow direction for a following phrase. 1Ab_TheBirl2 Fig 4.25 The Birl 1Ab_TheBirl2 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ (a) (b) ™ ™ & œ œ œ œ œ œ & œ œ œ œ≤ œ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ The &birl is a rhythmic featureœ œ thatœ Tom does& not ™ œ œ œ use widelyœ in hisœ playing.œ œ œ œ

≥ ≤ 3 ≥ Galloway# ≤ Hornpipe≥ ≤ ≥ ≤ 3 j V ≥ ≤ ≥ 3 ≤ ≤ 3 #2 e œ j 3 j j œ j & 2 œ œ œ œO j œ œ œ œ œ œ œ ≥3 O œ œ œ œ œ œ ≤œ ≥ ≤ ≥ ≤ 3 J ≤ 3 ≥ ≤ ≥ ≤ ≥ ≤ 3 # 2 j V œ 3 3 j # œe œ O j  j œ œ j & 2 œ 3 œ j œ œ œ œ œ œ œ œ œ JO œ œ œ œ e≤ ≤ The# 2 Banksœ≥ œ≤ ofœ≥ Kaleœ Waterœ ≥ ≤ ≥ œe ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ & #2 œ œ œ œ œ œ œ œ œ œ œ ≥ ≤O ≥O e≤ ≥ ≤ ≥ e≤ ≥ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ ##2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 2 O O œ œ œ œ

– 27 – TomH_2_6_MorpethRant13 TomH_2_6_MorpethRant13

TomH_2_6_MorpethRant15 SprFiddleSolo3 7.2/6.5/10.25

Second ﬁddle

™ œ œ ™ ™ œ œ œ œ œ œ q = 205 spicc. ≤ > ≥ > ≤ > ≥ > ≤ > ≥ ≤ ≥ j ≥ ≤ Æ ≤ ≥ Æ ≥ ≤ Æ ≤ ≥ Æ ≥ ≤ Æ j ≤ #2 œ j ™ œ œ œ ™ ™ e™ ™ ™ ™ œ œ™ œ œ œ œ & 2 œ e œ œ œ œ œ ™ œ œ œ œ œ œ œO œ O œ œO œO œ O O 4 > > > ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤Æ > ≤ ≥ ≥ Æ # j œ ≤ Æ ≤ ≥ Æ ≤ œ O œ œ œ œ œ œ ™ ™ e™ ™ ™ ™ & œ œ e œ œ œ œ œ ™ œ O O œ œ œ œO œ O œ œO œO œ 7 ≥ Æ ≤ ≥ ≤ j ≥ ≥ # ≥ ≤ j ≥ ≤ ≥ ™ ™ ≤ œ≥ œ œ≤ œ ≥ ≤ ≤ jTom Hughes:œ Fiddleœ Style of the Scottish Borders™ ™ œ œ œ & œ œ œ œ œ œ œ œ œ O œ œ œ O O œ O O O O 9: Spiccato Bowing 10 ≤ ≥ ≥ > ≥ > # jTom preferred≤ a loose,≤ bouncy≥ bow≤ ≥and≤ he used≥ ≤ onto≤ the≥ short≤ second≥ note≤ ≥ of ≤the pair.≥ ≤ A comma œ œ ™ œ j j ™ œ & his thumbœ œ œ onœ œ theœO hairsœ to varye the™ tensione œeandœ œ œ œisO used to ™indicate thee ™lift of thee bow.œe œ œThe so vary the bounceœ of the œbow.œ Inœ theœ Snap Bow techniqueœ œ™ isœ usedœ hereœ andœ œ there in several tunes technique the bow leaves theO string (or movement in thisO collectionO Oproviding lightness and ‘lift’ 1.2. Last Time 14 is stopped) between two bow strokes≤ that™ are and may be marked merely with a staccato mark. # ≥in the≤ same≥ ≤ direction.≥ ≤ In the≥ Spiccatoœ œ œ Bow≥ ≤ ≥ ≤However,≥ ≤ in Morpeth≥ ™ Rant,≥ ≤e the ≥spiccatoE bowing technique theœ bowœ leavesœ the string™ betweenœ twoœ œ provides an important™ rhythmic feature that is & œbow strokesœ œ in oppositeœ directionsœ with a bounce œusedœ throughoutœ œ the firstœ œpart ˙of the tune. œ O O O O O O Fig 4.26 Morpeth Rant spicc. spicc. spicc. spicc. , ≥ , ≤ , ≥ , ≤ # ≥ ≤ Æ ≤ ≥ Æ ≥ ≤ Æ ≤ ≥ Æ 2 e™ ™ & 2 œ ™ e ™ œ œ ™ œ œ ™ ™ œ œ œ œO œ O œ œO œO œ

Corfu M 310: Jun 13 : LOpenistened very cStringarefully to 32 uUnisonssing Transcribe. Made a number of changes to match as played. Tempo to 210. Note to refer to spiccato bowing. Su 3 Nov 1Three3. Listen edifferentd to Tom so lopeno versio nstring V14 an dunisons returned t oD, vid Aeo tandransc rEip tion as ibyn o raig icoulénal LP B–o oak .short Settled slopedon simple rline attached to the bowing leaareding tpossibleo bar 14. U sande oss icana staﬀ be to susedhow 2n dto ﬁ dprovidedle alterna temphasis,ives. Save as v 13. Tnote.empo 2 0 Most5 in the TScottishom solo. players use the fourth finger M 4 Nov 1often3. Adde atd l athest tim ende end iofng . aS aphraseve as v14 .or in the last bar of a to produce the slide but, in Tom’s family, it was T 21 Nov 1tune.3. Title tAno 21 paccuratelyt. Tempo to 12 pitched.6pt. 7.2/7 .5unison/10.25 - u isni qclassicallyue SprFiddle_ Morpeusualth. Save toas v use15 the second or third finger. Tom’s Versions: produced by the fourth finger on the adjacent father usually used the third finger but Tom often V14 To edilowert V14.1 fstring.or new C D By. To msliding Solo into a unison, a richer preferred to use the second finger as this left 32 T&W & Sid used on LP. 53 T&W &sound Sid. 53. 4is is producedbest but not a sdue good to as 3the2. changing beat him the first finger for a double stop on an upper V65 T& Wfrequencies on Lilliesleaf vid createdeo/tape. Fu asn re thecord intwog wi thnotes bar no iapproachse and table t apping. string and his third finger for a double stop on a 1Ab_Unisounison.ns2 In the transcriptions, a slide is indicated lower string.

Fig 4.27 Open String Unisons on D, A and E

1Ab_Unisons2 0 0 0 0 0 0 0 0 _ 0 3 4 4 4 3 4 3 3 4 3 4 3 j L œœ j L œ œœ œœ œœ j L œ œœ œœ & œ œœ 0 0 œ0œ œ0 œ 0 0 0 0 0 0 0 0 0 0 0 3 0 0 4 4 4 3 4 3 3 4 3 3 4 3 4 4 4 3 4 3 3 4 3 j 4 LL 3  L œj œœ  j L œ œœ œœ Fig& 4.28 Usingœœ unisons in the™ jlast barLL of a tune≥œ œœ œœ ≥ #œœ ≥ ≤ ≥ œ œ œœ≤ ™ œœ ≤ # 4 œ œ œ œ O L O & Sidlaw# 4 œHills œ O O œ œ œœ ˙ O O ™™ ≥ ≤ ≥ œ ≤ ™ ≥ ≤ ≥ # # œ œ œ≤ ™ œ O L O # 4 œ œ œ œ œO L O & 4 œO œO O O œ œœ ˙ # ≥O3 ≤jO≥ ≤ ≥ ≤ œ≥ ≤ ≥ ≤ ™ ≥ ≤ ™ ≥ # 4 œ œ œ 3 œ œ O L The# Wifeœ Sheœ Brewedœ ItO J J œ œ œ ˙˙ & 4 3 J 3 ≤ ≥ ™ # ≥ 3 ≤j ≥ ≤ ≥ ≤ œ≥ ≤ ≥ ≤ ™™ ≥ ≤ ™™ ≥ # #4 j ≥ œ≤ œ≥ œ 3 œ œ≥ ≤ ≥ O≤ LL & # 4 œ œ œ œ O J 3 J œ œ œ ˙˙ & 4 3 J 3

– 28 – 4: Traditional Fiddle Style

11: Ringing Strings and Drones

Much of the characteristic sound of Tom Hughes’ tonic on the 3rd string has G a perfect fifth below traditional fiddle style is produced by his free use on the fourth string and A a fifth above on the of open ringing strings or drones sounded at the second string. Any or all of the four open string same time as melody played on an adjacent string. notes G/D/A/E can be made use of as open string The most fundamental harmony in music (after drone notes at different points in a tune. the octave) is produced between the tonic and fifth – a relationship of 3:2 in terms of musical After an open string is touched by the bow to set frequency. Unlike a tempered instrument such it ringing, the sound gradually fades as indicated as the piano, the strings of the fiddle are tuned by the diminuendo hairpin lines until the same in perfect fifths. So a tune played with D as the string is damped or played again. 1Ab_RunningDroneLong1 Fig 4.29 Ringing Strings & Drones Cock Yer Leg Up ≤ ≥ ≤ ≤ ™ ≤ ≥ ≤ ≤ ≥ # 3 j . . . œ≥™ œ œ œ œ œ . œ. . L 3 œ œ œ œ œ œ O O O O œ O œ ˙ & 4 J O J O O Lilliesleaf Polka ≤ 3 > 3 ≤ #4 ≤ ™ ≥ 3 j ≤ ™ ≥ j j œ≥ œ œ O O œ œ & 4 œ œ œ œ œ œ œ œ œ œ O Off To California ≥ ≥  # ≤ œ œ œ≤ œ œ ≤ œj ≥ ≤ ≥ ≤ ≥ # 4 œ œ 3 œ œ œ O O O O œ œ O O & # 4 J œ œ œ œ œ œ 3 3 œ

12: Double Stops and Chords

Tom referred to his method of learning the less curved bridge made his use of “double-string fiddle as “keeping my fingers down on the strings work” (as he referred to it) easier if not inevitable. and lifting them as I needed” – in other words Tom also achieves occasional three note chords – his fingers took up chord shapes much of the sometimes played as broken chords with the lower time. As well as two note chords that include an string, or pair of strings, bowed first and the open string, Tom plays many two note fingered upper double stop immediately following. Here dyads. Tom’s use of a slack bouncy bow and the are two examples from the collection: 1Ab_TrebbleStops Fig 4.30 Double Stops and three note Chords Lady Mary Ramsay D A5 C©‹ D/G5 ≤ ≥ ≤ ≥ ≤ ##4 ™ ™ œ œ O 1 O 1 0 & 4 œ œ 3 e O O 1 œe œ 0 ˙E Greencastle Hornpipe G G ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ # œ œ 1 e 1 e 4 œ œ œ 3 3 & 4 œ œ œ œ œ 0 O – 29 – Tom Hughes: Fiddle Style of the Scottish Borders

13: Decoration/ Grace Notes The term ‘grace note’ implies that the notes are A single grace note (or acciaccatura) when played added to a tune as ‘optional decoration’ rather from below the main note (a and c) is often than being an integral part of a tune. This may referred to as a hammered-on note. A gracing be true, but to a musician who has inherited may also be produced as a short slide (d), often his music orally/aurally the distinction between from less than a full interval below the main optional decoration and being integral to the tune note. When a grace note starts from above the may be academic. In any case, in many of the main note (b) this is often referred to as a cut. tunes in this collection the grace notes often seem Double grace notes (e and f) are referred to as to be as much part of a tune as any of the other mordents. Gracings are often incorporated into stylistic features although the gracings and other longer phrases as in (g) or may form a short run aspects of a tune may vary to some degree from (h). Tom usually plays single grace notes and 1Ab_GracperformanceeNotes3 to performance. mordents quite short and on the beat.

Fig 4.31 Grace Notes (a) (b) (c) (d) (e) (f) (g) (h) j #  œ V œ œ œ j œ j œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ

14: Tam’s Fiddle Exercises YouTube1 Several exercise sequences were taught by Tom to names shown indicate the related root chord his grandson Jimmy Nagle in the 1980s and these although each two note chord (or dyad) in the provide a useful introduction to the double stops sequence comprises a root and 3rd or an inversion 1Ab_ChordExcercise2 SprFiddleSolo3 7.2/8.0/10.0 15/15/15/15/ & 20/10 and chords used in the collection. The chord and also lacks a 5th.

Exercise 1 Double Stops and Chords in the keys of C and G C F G E‹ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ™ 4 2 2 3 3  1 1 0 0 0 j 1 1 1 &4 3 3 œ œ 2 œ 2 œ œ 3 œ œ œ 1 1 œ œ 0 œ 0 œ œ œ œ œ œ œ œ œ œ œ G C D B‹ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ™ 2 2 ≤ 3 3 ≥ 1 ™ # ™ 1 1 0 0 0 j 1 1 ™ 3 3 œ œ 2 œ 2 œ œ 3 œ œ œ 1 1 œ 0 œ 0 œ 0 œ œ 1Ab&_RunDroœnesExcerœcise SprFiddœleSolo3 7œ.2/8.0/10.0 15/1œ5/15/15/œ & 20/1œ0 œ œ œ D G A F©‹ Runs against a drone in the keys of G and D Exercise 2 3 3 1 1 2 2 ≥ ≤  1 1 1 ™ 3 ≥ 3 ≤ 0 ≤ ≥ 0 œ œ 0 j ≤ ≥ ≤ ™ # ™ œ œ ≥ 1 œ 1 œ ≤ 2 2 ≥ œ œ œ 3 œ ™ # œ œ 0 œ œ œ œ 0 œ 0 0 œ ™ &# ≥ ≤ œ ≥ œ œ≤ ≥ ≤ œ ≥œ œ≤ ™ 4 3 2 2 j 3 3 1 0 0 0 0 0 0 0 0 0 1 œ & 4 œ œ 3 2 2 3 œ œ 2 œ 0 0 0 œ 0 œ œ œ œ 1 œ 0 œ 1 œ œ œ 0 œ 0 œ 0 0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

# ≥ ≤ ≥ ≤ ≥ ≤ ≥  ≤ ™ 4 3 ≥ 2 ≥ 2 j 3 ≤ 3 & 4 œ 1 ≤ 0 0 ≥ 0 0 ≤ 0 0 ≥ 0 0 ≤ 0 1 œ œ œ ™3 2œ œ 3 2 1 1 2 3 œ 2 œ j 3 32 ™ # 0™ 0 0 1 0 œ0 0œœ œ0 œ œ 0œ 00œ 0œ 0 œ 0 œœ 00œ 01 0 œ 0 ™ # œ œ 3 œ2 œ œ 2 œ 3 œ œ 2 œ œ0 œ0 0œœ œ0 œ œ œ œ1 œ 0œœ 1 œ œ œ 0œœ œœ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ 0 œ 0 œ 0 œ œ

1. A video of≥ Jimmy Nagle≤ playing these exercises is on YouTube (Jimmy Nagle 2014.3). ≥  ≤ ™3 ≥ ≤ ≥ ≤ j 3 3 ™ # 2 1 1 2 ™ œ 0 0 0 0 0 0 0 0 0 œ œ œ ™ # œ œ 3 2 1 1 2 3 œ œ 2 & 0 0 0 0 œ œœ œ œ œ œ –0 œ 30 – œ œ œœ 0 œ 0 0 0 3 ≥ 2 œ œ œ œ 2 j 3 ≤ 3 œ œ œ 1œ≤ 0œ 0 ≥ 0 0 œ0 0 ≥ 0 0 ≤ œ0 1œ≥ œ œ œ # ™ œ œ 3 2 ≤ 2 3 œ œ 2 œ ™ # ™0 0 0 œ 0 œ œ œ œ 1 œ 0 œ 1 œ œ œ 0 œ 0 œ 0 0 ™ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ  3 ≥ 2 2 j 3 ≤ 3 ™ œ 1 ≤ 0 0 ≥ 0 0 0 0 ≥ 0 0 ≤ 0 1 ≥ œ œ œ ™ # # œ œ 3 2 1 ≤ 1 2 3 œ œ 2 ™0 0 0 0 œ œœ œ œ œ œ 0 œ œ œ œœ 0 œ 0 0 0 ™ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ

F 17 Jan 14. Transcribed from playing on Su 12 Jan 14 by Jimmy Nagle illustrating chord and drone excerices taught him by Tom Hughes. On video and sound recordings. The last chord in the droning runs are from sound recording.

“If you really want to fiddle the old-time way, you’ve got to learn the dance. It’s all in the rhythm of the bow. As the great North Carolina fiddle player Tommy Jarrell said, ‘If a feller can’t bow, he’ll never make a fiddler. He might make a violin player, but he’ll never make no fiddler.’” Alison Krauss American bluegrass-country singer- songwriter and musician.

Exercise 1 Double Stops and Chords in the keys of C and G

– 31 – Tom Hughes: Fiddle Style of the Scottish Borders Traditional Dance

om had roots that were particularly deep an undoubted enthusiast for Scottish dance, but in the Border tradition of Scottish fiddle after noting several versions of a particular reel, Tmusic – his father Thomas Hughes (1880- she would decide on a correct style and this would 1962), grandfather Henry Hughes (1840-1919) be the style that was then taught. As Margaret and uncles all played fiddle and other instruments Bennett (1994) has stated: such as tambourine, melodeon and tin whistle and his grandfather was a fiddle and tambourine “She did not love the wild, undisciplined ways of maker. Tom described the circa 1915 family the ‘untrained’ village hall or kitchen-floor dancers band: ... beginning with footwear (dance-pumps, please) she tackled ‘position’, having decided it should be “Ma grandfaither (Henry), faither (Thomas) an based on classical ballet.” Bob Hughes (Tom’s uncle) played fiddles, and Henry played the tambourine (or the fiddle). It wis mostly The goal was not to revive the Reels or the rural kirns an weddings – there werenae sae many dances adaptations of Country Dance but to re-create (in halls) in those days. Ma faither played the pipes the Country Dance of the 18th century assembly as well, an the old fashioned melodeon an the tin room. The tempo of the strathspeys was therefore whistle. Mostly it wis three fiddles an tambourine.” chosen to be the slower, more legato pace of the days of elegant hoopskirts (Susan Self, 2002). This makes interesting comparison – fiddles and tambourine – with the village band in Thomas In his article Hard Shoe Dancing in Scotland, Hardy’s description of a village dance in 19th Colin Robertson (2011) refers to the changes century Dorset from his novel Far From the that took place in Scottish Dance over the early Madding Crowd: decades of the 20th century:

“So the dance began. As to the merits of The “The soft, flexible Ghillie Dance Shoes, often Soldier’s Joy, there cannot be, and never were, two worn by both Country and Highland Dancers today opinions. It has been observed ... that this melody, first became part of Scottish Country Dance in the at the end of three-quarters of an hour of thunderous 1940s. Until that time a very different style of dance footing, still possesses more stimulative properties for existed ... and the footwear would have been ordinary the heel and toe than the majority of other dances at daywear shoes or even ‘Tackety Boots’.” their first opening. The Soldier’s Joy has, too, an additional charm, in being so admirably adapted to Tom had tunes for several dances including the the tambourine aforesaid – no mean instrument in Petronella and Flowers of Edinburgh known the hands of a performer who understands the proper to have been danced in the Scottish Borders in convulsions, spasms, St. Vitus’s dances, and fearful hard-shoe style. Flett and Flett (1964) report frenzies necessary when exhibiting its tones in their that the art of ‘treepling’ (beating out the rhythm highest perfection.” of the music with the feet) was still practiced at farm kirns in East Lothian as late as 1914. One Hardy’s comment on ‘thunderous footing’ is old lady recalled dances in stone-floored barns also interesting in relation to Tom’s quote on ‘with the men’s tackety boots rattling away.’ shepherds coming in from the hills to dances: Commenting on the survival of stepping in current Northumbrian tradition, an article by the “... shepherds an their wives comin in frae the FARNE group (2011) states: hills wi their big tackety buits – dancin. Muckle big heavy men wi tackety buits, dancin aa night long, “The single most striking factor which sets walkin hame again – sometimes carryin the bairn on Northumbrian traditional dance aside from those their back.” traditional dances known in ... other parts of the British Isles is the number of dances which feature When Miss Jean Milligan co-founded The vigorous stepping ... the most common step being the Scottish Country Dance Society in 1923 she rant step, this being found in such dances as The set in motion a process that brought world-wide Morpeth Rant, The Quaker’s Wife, The Rifleman, popularity to Scottish Country Dance. She was Roxburgh Castle, Soldier’s Joy and The Triumph.” – 32 – 5: Traditional Dance

Tom plays several tunes with strong rhythmic The research of the Fletts (1964, 1996) has features that would suit hard-shoe stepping. His provided an impetus for others to look at solo step version of Flouers O Edinburgh has accented dance and the inclusion of rhythmic stepping slurred snaps on the first beat of many bars (Fig in traditional dance in Britain, in Shetland 5.1) and often also on the middle beat of a bar. and particularly in Canada among émigré This contrasts with the smoother way the tune is populations – the Gaels of Cape Breton and the usually played (Fig 5.2). The stamp of the rant French speaking Québecois. Much argument step occurs on the first beat of each bar and the has followed as to the significance in particular of way Tom plays his old version of The Morpeth Cape Breton styles both of music and step dance Rant with rhythmic slurred snaps and spiccato as possibly indicative of earlier Scottish music and 1Ab TheRantStep 6.5/8.0/9.4 at 80 _ bounce certainly fits the rant stepping (Fig 5.3). dance (Robertson, 2011). 1Ab_The R antStep 6.5/8.0/9.4 at 80 Flouers O Edinburgh (Tom Hughes) 1Ab_TheFigRan t5.1Step 6.5/8.0/9.4 at 80 > > > ≥ ≤ ≥ j ≤ ≥ # ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ ≤ 2 j > ™ >œ ™ œ œ œ œ & 2 œ œ≤ > ™ œ œ œ œ œ≤ ≥ œ ≤ ≥ j ≤ œ≥ œ≤ #  œ œ≥ œ≤ ≥ >≤ ™ ≥ >O ™ œ 2 j > œ ≥ ≤ œ≥ j œ≤ ≥ œ œ≤ ≥O O≤ ≥ O≤ œ œ≥ œ≤ œ œ œ œ œ œ œ≤ 2 j œ œ ™ œ œ œ ™ œO ™ œ œ œ œ & 2 œ œ œ O œ™ O œ œO œ œ œ œ œ œ Fig 5.2 Flouers O œEdinburghœ œ (Standard version) O ≤ ≥O ≤ O≥ ≤ O ≥ ≤ ≥ #2 œ œ œ œ œ & 2 œ≤ œ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ ≥ œ œ œ #2 ≤ ≤ ≥ ≤ œ œ œ œ œ œ œ ≥ ≤ œ≥ œ œ œ ≥ œ œ œ œ œ œspicc. spœicc. œ œ spiccœ. œ œ spicc. & 2 œ œ œ œ œ œ œ œ œ Morpeth≤ Rant> (Tomspic Hughes)c≥. > spicc≤. > spicc≥. > spicc≤. Fig 5.3# j ≥ ≤ Æ ≤ ≥ Æ ≥ ≤ Æ ≤ ≥ Æ 2 œ œ œ > sp™icc≥. > sp™icc≤. > e™ sp™icc≥. > ™ sp™icc≤. & 2 j ≤ œ≥ ≤ Æ œ ≤ ≥ œÆ œ≥ œ≤ œÆ ≤ ™ ≥ œÆ #2 œ > œ œ≥O œ >œO œ ≤ > œ ≥ >œ œO œ ≤ j œ≤ œ ≥ ≤ ™ Æ ≤ ≥™ Æ ≥O e™ ≤ ™ Æ O≤ ™ ≥™ Æ œ œ œ œ œ œ œ ™ œ & 2 œ œ œ œ™ œO œ œO œ™ œ œe™ ™ œ œO™ œ™ œ O œ œ O œ œO œ œ O O™ œ œ œ œ O œ œO œ

hat do we know about the music and lopene, galmonding, stendling bakuart and forduart, dance traditions of the more distant dansand base dansis, pavvans, galzardis, turdions, Wpast? When Mary Queen of Scots ar- braulis and branglis, buffons, vitht mony uther lycht rived at Holyrood palace in Edinburgh in 1551 dances, the quhilk ar over prolixt to be rehersit.” she is said to have been welcomed by the throng playing music with “the vilest fiddles and little The reel is generally thought of as a uniquely rebecs.” When the violin began to acquire its Scottish/ Celtic form. Initially a dance for two modern characteristics in 16th century Italy, mu- couples suited to the small dancing space in a sicians quickly replaced their Mediaeval bowed croft house (Susan Self, 2002), reels developed instruments such as the three stringed rebec and in varied forms for larger numbers (e.g. the the four stringed fiddle and adapted the music eightsome reel) and were danced throughout and their techniques to the new instrument – Scotland. The music for the old foursome while still referring to their instrument as a fiddle. reel comprised two sections – starting with a strathpey reel in dotted time said to have Discussing a shepherd’s revel and the dances originated in the Gaelic-speaking Strath Spey of that the shepherds danced, Robert Wedderburn the central Highlands around 1700 (Flett & Flett (1549) in The Complaynt of Scotland mentions a 1964) and a section in 4/4 reel time. number of dances, many of French origin: The 18th and 19th centuries brought many new “It was ane celest recreation to behald ther lycht dances from Europe and from England. The term – 33 – Tom Hughes: Fiddle Style of the Scottish Borders

Country Dance was first coined in print by John “It started mostly juist wi the dance they ca’d The Playford of London in 1651 in the first of a series Triumph. One o the more popular dances wis Drops of dance volumes The English Dancing Master. By o Brandy, plenty Eightsome Reels, the Foursome 1700 these new dances had spread to Scotland Reel, Polka, Waltzes, the Hielan Schottische, Corn and were taken up by Edinburgh society. Rigs, Flowers of Edinburgh, Roxburgh Castle, Dashing White Sergeant – juist mostly country The new country dances soon spread to the dances. An there wis singers an anybody who could rural areas as itinerant country dancing masters tell a story. It wis juist a joyful evenin ye ken – offered classes in the smaller towns and villages, dancin and singin aa the night.” often carrying a small fiddle, called a ‘kit’, which they could play while dancing to demonstrate Other dances that were normally part of the the steps (Emmerson 1971). By the mid 1700s programme at the farm kirns included Speed the collections of tunes and dances began to appear. Plough, the Spanish Waltz (the Waltz Country James Oswald a fiddle player from Dunfermline Dance), St Bernard’s Waltz and Circle Waltz, published the first of a series of volumes The Morpeth Rant, Circassian Circle and sometimes Caledonian Pocket Companion between 1743 and Strip the Willow – to jig tunes. Tom never 1759. Robert Bremner published A Collection of remembered a strathspey as such being danced, Scots Reels or Country Dances in several volumes but strathspey tunes such as Braes of Mar, Lady (1751-1761). William McGibbon published his Mary Ramsay and Orange and Blue were used Collection of Scots Tunes in several volumes (1742- for the Highland Schottische. Drops of Brandy 1768) and the first of Niel Gow’s A Collection of had at one time been done to the 9/8 tune of the Strathpey Reels appeared in 1784. same name but in the Borders it was done to both hornpipe and strathspey/ schottische tunes. Other dances joined the repertoire: the polka, a Czech peasant dance and the jig in compound A few less common dances such as the Common time, related to the European baroque dance, Schottische, Quadrilles and Old Lancers were the gigue. Around 1800 a dance developed in only requested when the older generation were Europe, the Ecossaise or the Schottische in 4/4 present – at kirns and weddings. The Foursome time, almost certainly inspired by the Strathspey Reel was still danced at kirns until they died but danced with a polka step. In Scotland this out around 1930 and occasionally by request at ‘Common’ Schottische later evolved into the village hall dances and Tom remembered The Highland Schottische with substitution of the reel Rifleman being danced at Howden. By 1938 The or highland fling stepping. Triumph, the Common Schottische and Morpeth Rant had dropped out while other dances such The waltz evolved from a 13th century Bavarian as Dashing White Sergeant had become more peasant dance and arrived in England in 1815. popular and ballroom dances such as the Foxtrot Folk dances in triple time were widespread in and Quickstep became part of the rural dance Europe: the Bourée – a lively French folk dance repertoire and by the time Tom formed the with stepping; the Mazurka – a Polish folk dance Rulewater Band in 1947 the Gay Gordons had that came to Britain in the 1840s. Deriving from appeared. the Mazurka, the Varsovienne originated around 1850 in Warsaw, Poland. The Spanish Waltz, By 1950 the life that Tom had known in his a progressive circle waltz danced in sets of two childhood had changed beyond recognition. couples, originated in England in the 1820s (in Mechanisation had taken over from the recent times known as Waltz Country Dance) Clydesdale horse. Hiring fairs were a distant and the St Bernard’s Waltz in the 1920s. memory. Farm populations were greatly reduced with little communal involvement in bringing in om was able to recall how the dance the harvest and the farm kirn gatherings were a repertoire changed between the 1920s thing of the past. Three generations of Tom’s Twhen he started playing for dances with family had played fiddle in small farm bands – for his father and the later years when he had his own farm kirns, village hall weddings and hiring fair bands – the Kalewater Band (from 1939) and dances. We have no better way of gaining an the Rulewater Band (1947-49). Referring to the insight into the music of that era than through the harvest home/ kirn dance held in the granary at recordings of Tom Hughes and friends. Howden in 1919 Tom recalled: – 34 – 5: Traditional Dance

“Unless you can play the fiddle wi’ a lilt in til it, then that was no use even grapping a bow – it’s the bowing and lilt that (makes) you feel like dancing.” Willie B Henderson Shetland fiddler quoted by Peter Cooke in his monograph The Fiddle Tradition of the Shetland Islands. Peter Cooke (1986).

– 35 – Tom Hughes: Fiddle Style of the Scottish Borders

– 36 – 6: Hornpipes Hornpipes he hornpipe has long been a popular Hughes – and hornpipes have remained one of form in England, Scotland and Ireland the most popular music forms among traditional Tas tunes to accompany solo step dance, musicians of the area. Tom learned many of often in hard shoes. Probably originating in the older tunes such as Millicent’s Favourite England in the 1600s, the earliest hornpipe tunes and Marquis of Lorne’s Hornpipe playing fiddle were in 3/2 time. By the mid 1700s hornpipes along with his father. When playing for dances, as we now know them, in 4/4 and 2/2 time, were hornpipes were sometimes used for the longways being composed, becoming increasingly popular country dance Drops of Brandy, for the Polka and throughout the 1800s for step dance on stage, for the Highland Schottische. in music halls and at fairs and festive events and, by 1900, the older form had dropped out The main distinctive feature of many hornpipes of traditional use. Many well known hornpipe is a general triplet feel to the rhythm – where tunes were composed on Tyneside by the Dundee the eighth notes of the bar are played in pairs born fiddler and Newcastle publican James in an approximately 2:1 ratio. In written music Hill (1811-1853) including The Redesdale in this ratio is difficult to write and, to indicate this this collection. In North America the hornpipe bouncy rhythm, it has been customary to write has been popular particularly among the Irish hornpipes with this ratio ‘implied’ by a dotted and many hornpipes are included in O’Neill’s eighth note/ 16th note division (i.e. a written 3:1 collection compiled in the late 1800s from New ratio). In Scotland it has been customary to write York Irish tradition. Hornpipes in traditional hornpipes in this dotted time (Fig 6.1a), whereas Northumberland/ Scottish Borders style are still in Ireland and in North America hornpipes are being composed and two are included in this often written in even time as reels (Fig 6.1b) collection – The Redeside1Bb_ byH oWilliernpip eAtkinsonRuns5 6 .5/8.0/9.5and, @1 0in0 the/ 15 US,.4 usually played as reels and often of Alnwick and The Copshie Hornpipe by Tom referred to by fiddle players as ‘breakdowns’.

Fig 6.1 Hornpipe Transcription 3 3 (a) # # #4 œ ™ ™ ™ (b) #4 œ & 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ

3 3 # 3 3 3 #    (c) #4 œ j j j (d) #4 œ & 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ

Wm Honeyman (1845-1919) in his Strathspey, Hornpipe,’ and is played mostly with the upper half Reel and Hornpipe Tutor of 1898 (published from of the bow. The third style may be named ‘The Sand his home in Newburgh, Fife) refers to several Dance Style,’ as it produces a very sharp and distinct styles of hornpipe playing – Sailor’s Hornpipe, articulation of every note, and is very effective when Newcastle Style and Sand Dance Style. Highland played pianissimo, as the music is generally wanted Games usually include a competition class for in a sand dance, in which every touch and slide of Sailor’s Hornpipe – often nowadays competed for the feet on the stage must be heard.” by young girls and boys dressed in sailor’s outfit – and these tunes are usually played in even time as Clog dance is still a popular form in the North reels. Hornpipes in Newcastle and Sand Dance of England, and step dancing to hornpipes (and styles both have the triplet feel with differing other tunes) is going through something of a bowing styles described by Honeyman: revival elsewhere – and the tradition still survives among English gypsy travellers to music that is “The second (style) which may be named ‘The often provided on mouthorgan or melodeon with Newcastle Style,’ is used for clog dancing and other tunes such as the Liverpool Hornpipe – or variants step dancing at an easier pace than ‘The Sailor’s of this or other well known hornpipes. – 37 – Tom Hughes: Fiddle Style of the Scottish Borders

Tom’s playing does not fit neatly into any one racehorse of the time. However, the popular tune of Honeyman’s styles. His playing generally is widely known as The Redesdale by players of has an internal triplet feel but also moves freely today – and is played here in the typical triplet between even time and dotted time with inclusion style of the Borders. of occasional Scotch snap. For an accurate transcription, there is no satisfactory alternative The second tune in the set, although widely to proper indication of note values and, where known as The Galway Hornpipe, is often known notes have a clear triplet relationship, they are by its localised title in the Borders. However, the written to show it (Fig 6.1c). In the transcription tune is most likely Irish in origin and is in Allan’s of some hornpipes a slash quaver has been used as Irish Fiddler which has been cheap, popular and a neater alternative to indicate the shorter note in easily available for many years. the inégale crotchet division (Fig 6.1d). The tunes are played here as a set by the full Redesdale Hornpipe/ Galloway Hornpipe session band: Tom Hughes, Wattie Robson, Dundee born James Hill, composer of the High Bob Hobkirk and Tom Scott on fiddles, Jack Level Hornpipe and many other fine fiddle tunes, Carruthers on tin whistle and Brian Miller on wrote The Redesdale in the mid 1800s under guitar – recorded in the Bedrule Village Hall after the title The Underhand, the name of a famous a session in the Fox and Hounds in Denholm. TomHH__11__11aa__RReeddeessddaallee1166 S SpprrFFididddleleSSoololo33 7 7.2.2/8/8.0.0/9/9.0.0 1 155/1/51/51/51/51/51 5& & 2 02/01/010 Redesdale Hornpipe cd 01 qq == 117700

3  ≥ ≥3 3 3 ≤ ≤ ≤≤ ≥≥ ≥ ≤≤ ≥≥ ≥ ≤≤ 3 j j ≤ ≤ 3 ≤3 ≤ ≥ ≥ 3j ## œ œœ œœ ≤≤ ≥≥ ≤≤ ≥ œ œœ œœ ≤≤ ≥≥ ≤≤ ≥ j jœ œ j ≥j ≥ j ≥j ≥3 ≤3 ≤ j 22 œœ œ 33 œœ œœ œœ œœ œ 33œœœœ œœ œœ œœ j j œœ & 22 J 3 J œœ J 3 J œœ œœ œœœ œœ œ œœ 33 J 3 J 33 J 3 J OO œ œœ œ 4 33 ≤ ≥≥ ≤ ≤ ≥≥ ≥ ≥ ≥ 3 ≤3 ≤ ≥ ≤ ≥ ≤ œ ≤≤ œ≥ ≤ ≥ ≤ ≥≥ ≤≤ œ≥ ≤ ≥≥ ≤ ≥ j ## œ≥ œ≤ œ œ œ œ œ œ œœ œ3 œ≤ ≥ œ≤ œ œ œœ 3œœ≤ œ ≤ j œ3 œ ##œœ œQQ œ œ œ œ œ 3 œœ œ œ œ 3 œœ œœ œ & 3 J 3 œ J œ3 J œœ J œ œœœ œœ œ J JJ 3 33 J 3 J 3 3 J 7  3 j ≤ 3 ≤ ≤ ≥ ≤ ≥ ™ ™ ≥ ≤3 3 ≤ 3 # œj≥≥ ≤j ≥≥ 3 ≤j ≥≥ ≤ ≥ ≤ ≥ ™ ™ ™ ™≤≤ ≥ L L j≤ 3 ≥≥3 j≤ 3 # œ œ j j œ œ œœ ™ ™ œ jj j 3 jj j & œ3 œœ œ œœ œ œœ œ œ œœ œ œe œ œœ œœ œ œ œ œ œ & 3 œ œœ œ œ œe œ œ œ œœœ œ œ œ 10 10 3 ≥ 3 3 3≤ ≥ 3≤ 3 ≥ ≤ 3 j ≥ ≤ ≥≥ ≤ ≤≤ ≥ ≤ ≥ ≤ ≥ ≤ 3 ## ≤j j 3 ≥ ≤ j ≥ ≤jj ≥≥ ≥ ≤ œ≥ œ≤ œ ≥ ≤ 3j j œ j j œ œ œ œ œ œ œ œ œ 3œ œ#œ3 œœ œ & œ œ œ œ œ œ œ3 œœ œ œ œ œ œ œ 3J #œ3 œ œ œ & œ œ œ œœ 3 œ œœ œ J JJ œ 13 13 3 3 3  ≥ 3≤ 3 ≤ 3 ≥ 3≤ 3 ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ™ # j ≥ ≤ 3 ≥ 3 3 ≥ ≤ 3 ≥ ≤ 3j ≥ ≤ ≥ ≤≥ ≥ ™ # œj j j ≥ 3≤j j j j ≥ j œ ≥ ≤ œ œ ≤ ≥ ™ & œ œœ œjœj œ œjœj œ œœ œ jœ j œ œ œœ œœ œ œ œ œ œœ œ œ œ œe & œ œ œ œœ œ œ œ œ œ œœœ œ œ œ œœœ œ œ œ œ œe

Fig 6.2 Link from Redesdale to Galloway Hornpipe

≥ ≤ ≥ 3 V ≥ ≤ 3 # ≥ ≤ # ≥ ≤ j ≥ 3 #2 œ œ œ ≤ ≥ ≤ ## ≥ ≤ 3œe j Vœ œ O≤ j & 22 œ œ œ œ œ # œ e œ3 œ j & 2 œ œ œ œ œ œ œ 3Oœ œO œ œ JJO œ – 38 – 6: Hornpipes TomH_1_1b_Galloway20 SprFiddleSolo3 7.2/8.0/9.0 TomH_1_1b_Galloway20 SprFiddleSolo3 7.2/8.0/9.0 Galloway Hornpipe cd 01 q = 170 q = 170 ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ™ ≥ ≤ ≥ ≤ 3 ≤≥3 ≥ ≤ ≥ ≤ ≥ ≤ 3 ≥ ≤ ≥ ≤ ≥ œ # ™ ≤ ™ ≥ ≤ ≥jV≤ 3 ≤ 3 ≥ 3≤ ≥ ≤ ≥ ≤ 3 ≥ ≤ ≥™ ≤ œ œ œ #2 # ™ e œ jV j 3 j j 3œ j e™ œ œ™ œ œœ œ & 2 #2 œ eœ Oœ j j 3 j œ œ j œ j œ e™ œ œ œ œ & 2 œ œ œ œ œ 3œO œ œœ œOœ œj œ œ œœœ œœ œœ œ œ œ œ œ œ œ œ œ J 3 O œœ œ œ œ œ œ œ œ œ Alternatives 4 œ J Alternatives 4 ≤ 3 ≤ ≥3 ≤ ≥ ≥ 3 ≥3 ≤ ≥ ≥ # ≥ œ ≥ ≤≤ ≥ ≤ ≥≤ ≥≤≤ ≥ ≤ ≥≤ 3 ≥ ≤ ≥ 3 ≤ ≤ ≥3 # œ# œ≥œœœ≥ ≤ ≥ ≤ ≤ ≥e V œ V ≤ 3 3 ≥ ≤ j≥ 3 ≤ j≤ 3 # œ œœœœœœ œ œ œ e 3 œ œ j  j 3 j j & œ œœœœœœ œ œ œ œ3 œ j j  œ œj œ œ œ &3 3 œ œœœ œ J œ œœ œ œj œ œ 3œ œ œ 3 3 œ J œ œ œ œ J 3 J 7 1. 2. 7 ≤3 1. 2. ≤3 ≥3 ≤ 3 ≤ ≥ ≥ ≤ ≥3 e ≥≤ 3 e ≥≤ # ≥ # œ≤≥≥ ≤ ≤≥ ≤ ≥ ≥ ≤≤ ≥≤ ≥ e ≤≥ ≤ ™ ≥ ™ ≥ e ≥ TomH_1#_1bœ_Gallowœay2œ0œ SprœFidœdleœSolo3 7.2/8.0/9.0 O ™ O & & #Jœ 3 œ œ œ œœ œœ œœ œ O œ O O3 J J 3 œ œœ œœ O œO œO œ œœ O3 J œ œœ O œO œO œ œ 10 œ 10 ≥ ≥ ≥ ≤ ≥ ≥ 3 ≤ œ œ ≤œ œ ≤ ≥ 3 # q ™= 170™œ≤ œ œ#œœ œ œ œ œ nœœ ≤ œ j ≤ ≥ ≤ ≤ # #œ ™ œ œ #3œ œ œ3 œ œnœ œ œ œ j œ≤ œ≥ ≥œ≤ & #3 Jœ O J J 3 J 3 3 œ œœ œ#œ œ œœ≥ ≤ œ œ & 3 J 3 O ≥ J ≤ 3 J J J ≥3 œ #3œ Jœ œ3 J # ≤ ™ ≥ ≤ ≥ ≤ 3 jV 3 ≥ ≤ ≥ 3≤ J≤ 3 ≥ ≤ ≥ ≤ 3 ™J œ œ œ3 J #2 e œ j 3 j j œ j e™ œ œ œ œ 1&3 2 œ œ œ œO j œ œ œ3 œ œ œ 13 œ œ œ 3 O œ œ œ œ œ ≤ œ3 œ œ œ œ ≤ J ≥ ≤ ≥ ™ V œ≥ ≤ ≥ ≤ ≥ Alte≥rna3tives 4 # œ≥ ≤ ≥œ≥ œ œ≥ ≤≤ ≥ ≤ ≥ ≤ ≥œe ™ ≤ e ™ V Oœ≥ O O ≥ œ ≤œ ≤ ≥ ≤ ≥ 3 # ##œ œ ≤ œ≥ nœœ≤3œ≥œ ≤ ≥ ≤ œ œ Oœ OœO œ œ œœœ ≤ j ≤ 3 # 3#œJ 3 nœœœ≥3 œ œ œ œ œ œ 3œ œ 3 œO œO œ œ j & J 3 3 ≥JJ 3≥3 œ œ œ≤ œ ≥ œ œ J 3 33 OJ O œœ # &≥ œ≤ ≥ ≤ J≥ ≤ J≤J 3≤ ≥ ≤ 3 ≥ ≤ ≥JJ3 ≤ ≥ 3≤ J3 œ # œ œ œ œ J e V œ 3 j J j 1&6 œ œ œ œ œ œ œ 3 œ j j j œ œ 16 3 œ œ œ œ ≤3 œ œ œ œ œ œ œ œ 3 J ≤3 ≥3 œ ≤ 3 J ≤ 3 ≥ 3 ≤ ≤ ≥ ≥ ≤ ≥3 ≥ e ≥≤ 7 # ≤ 3 j≥≥3 ≤ ≤ ≥ 1≤. ≥ ≤ ≥ ≥ ≤≤ 2. ≥ e ≥™ # # j j≤3œ≥œ œ≥œ ≤ ≥ ≤ ≤ ™ & œ # œ jœ œ œœœ≥3 œ œ≤œœœ œ œ œ3 O ≤ O & œœ œ ≥3œJœ≥ 3 ≤ œ3 Jœ 3 e ≥œ œ œ œœ œœ œOe ≥ O # ≥ ≤ ≥ œ ≤ 3 JJ 3 ≤ ≥ 3 JJ 3 ≤ ™œœ≥œ œœ # œ œ œ œ œ œ œ J OJ œ O œ & J 3 œ œ œ œ œ O3 J œ œ O œO œO œ œ Tom’s playing of the Galloway≥ Hornpipe includes≥ further twoœ snap bow pairs. The birl is repeated 10 a wide range≤ of stylisticœ elements≥ – ≤an optionalœ on≥ the≤ first beat of the third bar and, in a solo # œ≤≥ œ œ œ œ#œ œ ≥ œ≤ œ œœ œ œnœ ≤ birl on≤# the2 œfirst# ‰œ œbeat of œthe ‰opening≤ œ œ#barœœ‰ followedœ ≤‰ recordingœ œnœ‰ ≥ œof 3the tune, Tom gives added power # &™ 2 œ#2 œœ‰ #œO œ œ‰ œ n‰œ ‰ œ œ ‰ jœ ≤ ≥ ≤ #by a œsnap& bow32 pair and a third3 fingerO 3 slide3 into aœ 3 withœ aœ birl on double openœ strings D/A.œ œ 3 O3 3 J 3 3 3 3 œ #œ œ œ & J 3 J 3 J J 3 3 J 3 J Fig 6.3 Double open string birl 13 ≤ 3 3 ™ ≥ ≥ ≤ 3 ≥ ≤ ≥≥ ≤ ≥ ≤ e ™ V œ 3 ≥ ≤ ≥ ≥ 3 # œ ≤ œ≥≤ œ œ≥ ≤ ≥ ≤ ≥ ≤ ≤≥3 œ ≥ O≤ O O 3 œ œ ≤ ≤ # ###œ2 # ≤ nœ œ œ eœ≤j 3V eœj V ≥ œ œ≤ œ œ œ œ j & &3 J2 3#J2 3 J O3 O Oœ œ œ œ e œeœœO j 3 j 3 O O J œ œ & 2 œ œJ Oœ OœO œ œ3 O œ œ œœO J J 3 œ œ œ œ œ œ œ œ J 3 O œ 16 œ ≤ J ≤ ≥ 3 ≥ ≥3 ≥ ≤ ≥ # An≤ alternative3 ≥ 3 playingj ≥ of≤ bar 10 shows≥ how≤ slurs≥ ≤ triplet rhythm≤ – the≤ short restse giving a lighter,™ #are easilyj interchangeableœ œ≥ withœ snapœ bowingœ inœ≥ œ bouncierœ feel to the music. & œ œ œ≤ œ œ œJ 3 ≥ ≤ œ Jœ œ 3 ≥œ ≤ œ œ œ O œ O # œ≤ 3 œ œ#œœJ œ 3 œ≤ œ œJœnœ ≤ œ œ œ #2 œ# œ œ #œ3 œ œ3 œ œnœ œ Fig 6.4 Snap#32 bowingœ throughoutO bar 10J 3 3 3 œ œ & 2 J 3 3 JO J J J 3 & 2 J 3 J J J ≤ œ ≥ ≤ œ ≥ ≤ # 2 œ œ œ œ #œ œ œ œ œ nœ œ & #2 ‰ O ‰ ‰ ‰ ‰ œ 3 3 3 3 3

– 39 – 3 ≥ ≤ ≥ ≥ ≤ 3 # 2 ≤ ≤ 3 ej V eœ & #2 O O O œ œ œ œO j œ œ œ œ œ œ 3 JO œ

œ ≥ ≤ œ ≥ ≤ # ≤ œ œ œ #œ œ œ œ œ nœ #2 œ 3 3 œ œ 3 O J 3 & 2 J 3 J J J Tom Hughes: Fiddle Style of the Scottish Borders

TomH_1_4_Marquis10 SprFiddleSolo3 7.2/8.0/9.0 Marquis of Lorne’s Hornpipe cd 05

q = 190 ≤ ™ ≥ ™ ≤ ™ ≤ ≤ ≤ # œ œ œ œ œ ≥ ≤ ™ ≥ ™ ™ ≥ ≤ ™ ≥ ≤ ≥™ ≥™ ≤ ≥™ œ 2 œ œ œ œ œ œ œ O œ ™ ™ œ œ œ œ & 2 O œ œ œ œ œ œO O 4 ™ œ œ≤ œ≥ ™ ≤ ™ ™ ≥ ≤ ≥ ≤ ≥ # œ œ œ œ œ œ ≥ œ œ œ ≥ œ≤ ™ œ œ ™ ™ ™ & œ œ œ O œ œ œ œ œ O œ œ 3 3 O œ 7  ≤ ≥ ≤ ™ ≤ œ≥ œj ≤ ™ ≥ ™ ≥™ # ™ ™ ≥™ œ≤ œ≥™ œ œ œ œ ™ ≤ ™ œ≥ ≤ œ ≤ œ & œ œ œ™ œ œ O œ œ ™ œ œ œ œ œ O O 3 10 ≥ ≤ eœ≥ ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 3 J O3 J J O J 13 ™ ™ ™ ™ ™ # ≥ ≤ œ≥ ≤ ≥ ≤ eœ≥™ ≤ ≥™ ≤ ≥™ œ œ œ œ œ œ & œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ O O O 3 O 16 j ™ ™ eœ≥ œ eœ≤ ™ œ≥ ≤ ™ ≥™ ≤ œ≥ ≤ œ≥ ≤ eœ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ™ 3 3 O 3 O3 J J O J 19 ≤ ™ # ≥ œ œ œ œ œ œ≥ œ œ≥ ≤ ≥ ≤ ≥™ ≤ œ≥ ≤ & œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ 3 J O O O 22 3 ™ ™ j ™ # ≥™ ≤ œ≥ ≤ ≥™ ≤ ≥™ œ œ œ œ œ eœ≥ œ eœ≤ ™ œ eœ≥ œ™ œ œ œ œ œ œ œ œ O & O

The Marquis of Lorne’s Hornpipe The Marquis≤ ™ of≥ Lorne’s™ Hornpipe is known in of the tune but also several unusually extended œ œ œ ≤ œ ≥ ≤ ≥ ≤ ™ ≥ ™ ≤ ≥ ≤ ≥ ≤ ≥ Scottish,#2 Irish and Northumbrianœ tradition.œ ™Tomœ œlegato œphrases taken with™ a single bow stroke and learned& 2 this fine version of the≈ tuneœ œ fromœ Ohis the œresulting≈ œversionO is œquiteœ different from any father. It is in Honeyman’s tutor of 1898 under seen in print orœ heardœ elsewhere. The tune moves this title and in O’Neill’s Music of Ireland (1903) from a dotted rhythm in the first part of the tune under the title The Flowers of Antrim. through the bouncy triplet rhythm of the typical Setting Sun 24 March 13. Bowings finalised PS, Mon 25 March 13. Checked ahornpipegainst origin aandl LP tinrac kthe Th 1second6 May an dpart com poflet ethed op etunen strin intog note heads. Tom’s version contains not only some some bars with even rhythm of eight crotchets to Corfu T 28 May 13: Made flip changes and triplets tidy. Changed to 7 staves. Tempo to 190. F 27rhythmically Sep 13. Amended important. Move bowing snaps marks t oin fi rthest no tfirste of slu rpart in ba rs 1, 2, 5,the 10, 1bar.4, 18 , 22. Use same overal slur in bars 8, 19, 25. Improve slurs across systems in bars 3/4, 6/7. Save as v8. T 19 Nov 13. Title to 21pt. Tempo to 12.6pt Style to 7.2/5/5/9/0 i.e SprF–i d40dleS o–lo2. Save as v9. TomH_1_4_Marquis10 SprFiddleSolo3 7.2/8.0/9.0

q = 190 ≤ ™ ≥ ™ ≤ ™ ™ ≤ ≤ ™ ≤ # œ œ œ œ œ ≥ ≤ ™ ≥ ™ ™ ≥ ≤ ™ ≥ ≤ ≥™ ≥™ ≤ ≥™ œ 2 œ œ œ œ œ œ O ™ ™ œ œ œ œ & 2 œ O œ œ œ œ œ œ œO O 4 ™ œ œ≤ œ≥ ™ ≤ ™ ™ ≥ ≤ ≥ ≤ ≥ # œ œ œ œ œ œ ≥ œ œ œ ≥ œ≤ ™ œ œ ™ ™ ™ & œ œ œ O œ œ œ œ œ O œ œ 3 3 O œ 7  ≤ ≥ ≤ ™ ≤ œ≥ œj ≤ ™ ≥ ™ ≥™ # ™ ™ ≥™ œ≤ œ≥™ œ œ œ œ ™ ≤ ™ œ≥ ≤ œ ≤ œ & œ œ œ™ œ œ O œ œ ™ œ œ œ œ œ O O 3 10 ≥ ≤ eœ≥ ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 3 J O3 J J O J 13 ™ ™ ≥™ ™ ≥™ # ≥ ≤ œ ≤ ≥ ≤ eœ™ ≤ ≥™ ≤ ≥™ œ œ œ œ œ œ & œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ O O O 3 O 16 j ™ ™ # eœ≥ œ eœ≤ ™ œ≥ ≤ ™ ≥™ ≤ œ≥ ≤ œ≥ ≤ eœ≥ ≤ ≥ ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ™ 3 3 O 3 O3 J J O6: HornpipesJ 19 ≤ ™ ≥™ The Marquis# ≥ œ of Lorne’sœ œ Hornpipeœ œ œ is oneœ of œ≥thoseœ œ≥ rest,œ≤ the next≥ note≤ Aœ≥ is in≤ realityœ ≤ doubledœ – that tunes& thatœ could not have been easily transcribed is a pairœ ofœ demi-semiquaversœ ™ œ orœ 32nd notesœ œ œ accurately from Tom’s playing without the aid – produced 3byJ a shakeO of wrist on theO openO A of video. This is particularly true of the snap string. When the snap bow is repeated in the 22 3 bowings in the opening bars of the tune. Careful next™ bar, the short 32nd notes are this time on ™ ≥™ ≥ œj ≤ ™ ≥ analysis# œ ≥of the≤ videoœ and≤ soundœ recordings≥™ ≤ ≥™ œ œopenœ stringsœ œ A andœ thenœ D eœ(or A/Deœ ™together).œ eœ indicate& that,™ œin the firstœ bar, afterœ theœ bowœ has This exaggerated formO of the snap bow produces been liftedO from the string to produce the short a percussive rather than melodic effect.

Fig 6.5 An alternative analysis of the opening bars ≤ ™ ≥ ™ ≤ # œ œ œ œ ≥ ≤ ≥ ≤ ™ ≥ ™ ≤ ≥ ≤ ≥ ≤ ≥ 2 œ ≈ œ œ™ œ œ œ œ ≈ ™ & 2 œ œ O œ œ œO œ œ

V34_BoysOfBlueHill11s SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/& 20/10 SettiBoysng Sun 24 Mofarch Blue13. Bowin gsHill finalised PS, Mon 25 March 13. Checked against original LP track Th 16 May and completed open strcding 26 note heads. Corfu T 28q M a=y 1138: M0ade flip changes and triplets tidy. Changed to 7 staves. Tempo to 190. F 27 Sep 13. Amended. Move bowing marks to first note of slur in bars 1, 2, 5, 10, 14, 18, 22. Use same overal slur in bars 8, 19, 25. Improve 3 slurs across systems in bars 3/4, 6/7. Save ≤as v8. ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≥ j ™ ≥  ≥  ≥ 3≤  ≥ ≤ ≥ œ≤ œ œ≤ ≥ œ T 19 Nov 1#3. T4itle tœo 21pt. Teœmpo to ™12.6pt Style to 7.2/5/5/9/0 i.e SprFiddjleSolo2. Save as v9. œœ œœ œ  œœ œœ & #4 œ œ œœœ œO œ O œ œ œ œ œ œœ O œ 3 4 3 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ 3 ≤ ≥ ≤ ≥ ≤ ≥ ## œ œ œ œ œ j œ œ œ œ œ & œ œ œ œ œ œO œ O œ œO œ œ œ œ O O œ 3 7 1. 2. ≤ ≥ ≤ ≤ j ™ j ≤ ≥ ≥ œ œ ≤ # œœ œœ œ≥œ œœœ ≥ œ ≤ ≥ ≤ ™ ≥ œ ≤ ≥ ™ œœ œœ≤ ≥œ≤ œ œœ & # œ œœ œ™ œ œ œœ œ O œ 3 O J 11 ≤ ≥ ≤ # ≥ œ≤ œ≥ œ œ œ œ≤ œ≥ œ œ œ ≥ œ œ œ ≥ œ ≥ ≤ ≥ # œ œ œ œ œ œ œ œ œ & O 14 3 ≤ ≥ ≤ ≥ ≤ ≥ 3 ≤ ≥ ≤ ≥ ≤ œ≥ ≤ ≤ j ™ ## j œ œ œ≥ œ≤ œ œœ œ œ≥ œ œœœ œ≥ œ œ≤ œ œ≥ ™ & œ œ œ œO œ O œ œO œ œ œ œ O  œ 3

Boys of Blue Hill A great tune for tin whistle as well as fiddle, Boys Boys of Oak Hill the same name also given in the of Blue Hill is one of the most widely known and widely printed Scottish collection Kerr’s Merry Mpopularly 21Oct 13: C playedhecked b ohornpipes,wings. Bar 1 o nas th ewell A pa rknownt repeat i sin di fficult but oMelodiesnly played o n(ca.ce in 1875). this solo t aTheke (V ifirstd2/34. 1)appearance. Look at versio nof the TH1/02 T&W. Meantime ignore the difference. Save as v5. SScotland 16 Nov 13. asAd din ti tlEnglande. Recheck thoris aIrelandnd Harve sort L oinng NorthIn Comin g and usetune V34 o nas th eBoys CD. Uofse Bluehillthe origina appearsl, edited tak eto 8 0be of Mina rO’Neill’squis of LAmerica.orne as used oAlthoughn the LP for tgenerallyhe CD. Save aassumeds v5. to be of Music of Ireland (1903). TIrish 21 N oorigin,v 13. Tit lethe to 2 earliest1pt. Temp opublication to 12.6pt. 7.2/5 of.5/ 9the.0 i. etune SprFi ddleSolo2. Checked tempo as 180. Save as v6. Tappearsh 19 Dec 1to3. SbeprF inidd AmericaleSolo3. Sav eunder as v7. the title The Tom’s version of the tune is fairly standard, TTwo 24 D Sistersec 13. A dinde dKnauff’s in Ossia: to Virginiasort out Pla yReels on Re p(1839)eat. and in triplet time throughout and with a simple Flater 14 F einb 1 Ryan’s4. Added sMammothlash triplets an Collectiond extended th (1883)e Ossia. S aasve aThes V8 s. combination of slur and hack bowing. T 6 May 14. Simplified bar 9 to removed B repeat. Save as v11s Recordings:.s – 41 – V34 BoysOfBlueHill/HarvestHome. Tom solo. 2 BoysOfBlueHill/HarvestHome. T&W. Tom Hughes: Fiddle Style of the Scottish Borders

ToMillicent’smH_2_2Millicen t'Favourites12 SprFidleSo lo3 7.2/8.0/9.0 15/15/15/15/ &20/10 cd 24 q = 190 ≤ ™ ≥ ™ ≥ ≤ ≤ œ œ œ ≤ ≥ ≤ ≥ 3≤ ≥ ≤ œ œ ≥ œ œ œ ≥ ≤ ≥ 3≤ ##2 œ œ œ œ ™ œ j ™ œ œ œ œ œ œ œ œ j & 2 O œ ™ œ O 3 œ 3 œ œ œ œ 3 J 3 J œ 4 ≥ ≥ ≤ ≥ 3 ≤ ≥ ≥ ≤ ≤ 3 ≤ ≥ œ œ œ ≤ ™ ≥ ≤ ≥ 3 ≤ ≥ ≤ œ œ ≥ # j j 3 œ œ œ œ ™ œ j ™ œ œ œ œ & # œ œ œ œ J O œ ™ œ O O œ 3 œ œ œ œ 7 9 ≤  ≤ ™ 3 3 ≤ # œ œ œ ≥ j ≥ ≤ ≥ ≥ ™ ™ ≤ 3≥ ≤ ≥ j ≥ ≤ ≥ ≤ # œ œO œ œO œ œ œ œ œ ™ ™ j j œ œ œ & 3 œ œ O œ œ œ œ 3 J 3 J 3 J 3 J œ œ œ 3 J 10 ≤ ≥ œ œ ≤ ≥ 3≤ # œ œ œ œ œ≥ ≤ œ ≥ œ œ œ œ œ œ≤ ˙E≥ ≤ 3≥j j ≥ ≤ œ≥ œ≤ # 3 J 3 œ œ œ œ O O œ O œ œ œ & J 3 J œ œ œ 3 J 3 J 3 O 3 O 14 ≤ ≤ ≤≥ ≤ ≤ ≥ œ œ œ ≥ ≤ ≥ œ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ ™ œ œ ≥œ ≤ # œ œ œ œ œ j œ œ œ ™ ™ 3 œ œœœœ œ œ # 3 J 3 œ œ J 3 œ œ œ œ O J œ œ & J 3 J 3 3 J O 3 3 3 18 ≤ ≤ ≥ œ œ œ≥ œ œ œ ≤ ≥ œ œ # 3 œ œ œ œ œ œ œ 3 & # œ œ œ œ œ œ œ J œ œ œ œ œ œ J 3 3 3 O 3 3 O 3 3 21 ≥ 3 ≤ ≥ # œœ œœœ œ œ≤ œ ≥ ≤ ≥ œ œ œ≤ ≥ ≤ ≥ ≤ œ≥ œ≤ œ≥ ™ & # œ œ œœ œœœ œ œ œ ™ œ œ œ œ O 3 3 œ œ œ 3 J O 3 3 3 O

Millicent’s Favourite/ Tam’s Untitled Hornpipe Millicent’s Favourite is known in Ireland as The Dance tune recorded in Canada as Hillbilly Royal Belfast≤ . The≥ second3 tune,≤ Tam’s3 Untitled≥ ≤ - Calypso. The tune includes birls in bar 3 and ##2 3 j j j œ œ œ Hornpipe& 2, is one of a numberœ of œuntitledœ tunesœ 3elsewhere,J several snap bow pairs and a 3rd finger Tom had learntœ fromœ his father.œ - 3 J slide into unisons in the last bar and, as with Tom’s other hornpipes, the playing has a general Tom considered the first tune a difficult one to triplet feel but with even-note divisions in some play, especially the snap bow in the first bar and, parts of the tune. as with the Marquis of Lorne’s Hornpipe, the range and combination of bowing techniques makes The irregular bar structure suggests Tom’s Tom’s version unique. tune is deficient in some way – although entirely satisfactory as a listening piece. By adding a The second tune, Tam’s Untitled Hornpipe, is repeat and changing a few notes Jimmy Nagle has similar to the second part of a Canadian Barn created an alternative 32 bar tune.

– 42 – 6: Hornpipes

TomH 2 2 Tam'sUntitledHP9 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Tam’s_ _ _ Untitled Hornpipe cd 24 q = 190

% ≤ 3 ≥ 3 ≥ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ # 2 j œ≤ œ œ≤ L ≥ œ≤ œ œ≤ ≥ ≤ ≥ ≤ ≥ œ & #2 O œ œ 3 œ œ œ 3 œ œ œ œ œ œ œ œ O œ O J J 3 J J 4 ≥ ≥ ≤ ≥ ≥ 3 ≥ ≥ ≤ ≥ # œ œ≤ œ œ œ ≤ 3 j œ≤ œ œ≤ L ≥ œ≤ œ œ≤ ≥ ≤ & # 3 J 3 J O œ œ 3 œ œ œ 3 œ œ œ O J J O 3 J J 7 ≥ Fine ≥ ≤ ≥ œ≤ œ œ ≤ ≥ ≤ ≥ ≤ ≥ ™ ™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # 3 J œ œ œ œ ™ ™ œ œ œ œ œ œ & # œ œ œ 3 O œ œ e e œ O J œ œ œ O J 3 J O 3 J 3 10 ≥  ≤ 3 ≤ ≥ ≤ ≥ ≤ ≥ # œ œ œ ≤ j ≥ j ≥™ ™ L %™ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ Tom&H_2_2_Tam'sUntitledHP10 SprFiddleSoœlo3 7.2/8.0/9.0 15/15/15/1œ5 & 20/10 O O D.S. Oal Fine

Corfu F 31 qM a=y 1 31: 9S0aved as HP5. Used open note heads. (R3ed2u cbe laenrg vthe orfs pioortnam) entos in bars 2, 5. Remove Tsloidme in Hto duoguhblee sin/J bimar 1N3. agle Double grace in bar 13. Tempo to 190 (as Millicents). M 30 Sep 13: Reduce size of DS al Fine etc to 11pt. Change slur in bar 11. Keep layoutb of bar 12 - style as other transcriptions - although ≤could change the slur between 3 - 5th notes ≤or add two slurs. Start at bar 0. Save as v6. ≤ 3 ≥3 ≥ ≥ ≥ œ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ 3 4 Nov 1#3. Replaced slijde lines w≤ithœ Cou≤le. SavL e as v7. ≥ ≤ œ ≤ ≥ ≤ ≥ ≤ ≥ œ œ œ≤ œ œœ ≤ j #2 œ œ œ 3 œ œœœ 3 3 T 21 Nov 13. TiOtles to 21ptœ.Tempo 3to 12.6pœt. 7.2/œ5.5/9.0œ i.e SprFiddleSœolo2.œ Save as v8. œœœ O J O & 2 œ œ J J 3 J J J œ œ Th 19 Dec 13. SprFiddleSoOlo3 with Jazz Couke. Save as v9. 5 ≤ ≤ ≥ ≥ 3 ≤ ≥ ≤ ≥ ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ œ œ ≤ ≥ ≤ ≥ ≤ ≥ ™ # œ œ œ L œ œ 3 J œ œ œ œ ™ & # œ 3 œ œ œ 3 œ œ œ œ œ 3 O œ œ e e O J J O 3 J J J 3 J O 9 ≤ ≤ # ™ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ ≥ œ œ œ œ≥ ≤ j ≥ ≤ ≥ ≤ ≥ œ ≥ ≤ ≥ œ≤ # ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 J O3 J œ O œ 3 J œ œ œ O

12 1. ≤ 3 ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ œ œ≥ ≤ j ≥ # œ œ œ œ œ œ œ œ œ œ œ j # 3 3 J O œ O J œ œ œ O œ œ œ œ & J 3 J 3

15 2. ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ ≤ ≥ 3 ≤ ≥ ≤ ≥ ≤ # ™ œ ™ œ œ L ™ ™ œ œ œ L # œ œ œ œ œ œœ œ 3 œ œ & œ œO O œ œO œ œO J J 18 ™ ≥ ™ ≥ œ≤ œ œ # ≥ œ≤ œ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥™ ≤ œ≥ œ≤ œ≥ & # œ 3 œ œ œ œ œ œ œ œ e e 3 J J O

Th 19 Dec 13. SprFiddleSolo3 with Jazz Couke. Save as v9. – 43 – W 29 Jan 14. Converted to 32 bar reel by JN with slight amendments PS to conform to the original where possible. 35_Cowie'sHornpipe5s SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 Tom Hughes: Fiddle Style of the Scottish Borders 35_Cowie'sHornpipe5s SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 Cowie’sq = 16 Hornpipe0 cd 06 ≥ ≤ q = 1≥60j ≥ ≤ 3 ≤ ≥ ™ ™ # L œ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤  ≥ ≤ ≥ ≤ ≥ œ œ ≤ 2 œ œ œ œ     œ œ≥ ≤ œ œ œ œ œ & 2 ≥ j œ œ≥ ≤ œ œ œ3 œ œ ≤ ≥ ™ ™ # L œ ≤ 3 ™ ≥ œ≤ œ≥O œ≤ ≥O œ≤ œ≥O œ≤  ≥ œ≤ ≥ ≤ O≥ œ ≤ 2 œ œ œ   œ   O œ O œ œ œ œ œ œ 4& 2 œ œ œ œ œ œ œ œ œ ≥ 3 ≥ ≤œ œO œ O œ œO œ œ ≥ ≤ ≥ O≤ 3 j  ≤ œ ≥ O O  4 # œ     ≥ ≤ œ≥ œ œ œ≤ œ œ œ œ œ≥ ≤ & j  œ≤ œ≥ œ œ≥ ≤ œ œ œ3 œ # œ  O 3 ≥ œ œO œ O œ œO œ  ≥ œ≤ œ œ œ O œ œ œ œ O   œ   O œ œ 7& œ œ O 1. œ œ O œ O œ O œ 2œ. œ œ œ œ œ ≥ ≥ 3  ≤ ≥ œ≤ ≥ ≤ œ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # ≥ ≤ œ≤ Oœ œ ≤ ≥ j O  œ  ™ Oj    7 œ œ œ œ œ 1œ.œ œ œ œ 2œ. œ œ œ & œ ≥ ≥  ≤ œ œ≥ œ≤ œ≥ œ≤ œ ≤ œ œ≥ œ≤ œ≥ œ≤ ≥ ≤ # ≥ ≤ O œ≤ 3œ œ ≤ ≥ j     ™ j   O O O œ œ œ œ œ œ œ œ O œ 1&0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3  œ œ O ≤ ≥ œj ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≤ O O # O™ ≥ œ œ œ œ œ œ≤ œ≥ œ≤ ≥ œ≤ œ œ≤ œ œ œ œ œ œ≤ œ œ œ œ Oœ œ œ 10 œ  œ œ & ≤ ≥ œj ≥ ≥ ≤ ≥ ≥ ≤ ≥ O≤ O O O O ™ O≥ œ 3 œ ≤ ≥ ≤ ≥ ≤ œ ≤ œ œ ≤ œ œ œ 3 J # ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ œ 1&3 O O O O O O 3 ≥ j ≥ 3 J ≥ œ≤ œ ≥ ≤ ≥ ≤ ≥ œ œ≤ œ œ œ≤ œ œ≥ œ≤ ≥ œ≤ œ œ≤ 3≥ œ ≤ ≥ 13 # œ œ œ œ œ œ œ   œ   œ œ œ 3 œ œ œ j œ & 3≤ J ≥ ≤ ≥ œ ≥ ≥ œ œ O≥ ≤ O≥ O≤ O œ œ3 œ œ œ≤ œ≥ œ≤ ≥ œ≤ œ œ≤ ≥ 3 œ ≤ ≥ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1&6 3 J œ 1. 2. 3 O O O O 3 ≤ ≥ ≤ 3 # ≤ œ≥ ≤ ≥ ™ ≤ ≥ ™ ≤  ≥  ™ ≥ ™ ≤  ≥ 16 œ œ œ œ œ œ œ œ œ œ 1œ. œ œ œ 2œ. & O ≥ ™ ≥O œ œ œ œ≥ ≤O ≥O ≤ ™ ≥O œ œ œ œ≥ # ≤ œ ≤ ≥ 3 ≤ 3 ™ ≤  ™ ™ ≤  œ 3œ œ œ œ œ œ œ œ œ œ O O œ œ œ œ O & O O œ œ œ œ O O O œ œ œ œ 3 3 3 O AOlternative bar 4 O ≥ ≤ Alternj ative bar 4 ≤ ≥ ≤ ≥  # œ  2 œ œ œ œ œ & 2 ≥ œ œ œ≤ ≥ œ≤ Cowie’s Hornpipe/ St Patrick’s Day/ Turkey In j  ≤ œ≥ O  #2 œ œ œ The Straw & 2 œ œ œ œ œ œ œ The first two tunes are almost certainly of Irish Cowie’sA Hornpipelternative there bar 4 are severalœ instancesO of origin. Played as a set – hornpipe, jig and reel Scotch snap taken≥ with a slur (bars 3, 17,≥ 18).≤ Alternjative bar 4 ≤ ≥ ≤  by Tom & Wattie, the first, known by Tom and Ringing# stringsœ on G and D are used throughout 2 œ œ œ œ œ œ œ œ Wattie as Cowie’s Hornpipe, is in O’Neill’s as the tune& and2 in≥ bar 12 a longœ up-bowœ O phrase≥ ≤ is j  ≤ ≥ ≤  Slievenamon. The second, which Tom referred taken against# œ a ringing string on A. Tom varied 2 œ œ œ œ œ œ œ to, probably in error, as St Patrick’s Day is in his playing& 2 of the tune andœ theœ alternativeœO given O’Neill’sGro uasps Tellof 2 oHerr 4 qIu aAmvers. g Theenera lthirdly play etune,d in tr iplet rhythm.for bar 4 is from a different solo recordings of TurkeyM in 5 Ftheeb Straw14. Tra nissc ranibe dAmerican as played in tune 35.1. asBa rwidely 4 alt is fromhis V1 .playing. Checked b Theowing seconds and hap tune,py. St Patrick’s Day played in Scotland as in North America for the (or Tell Her I Am), includes a few fingered double GSarvoeudp as so Vf 12_ Coro w4 iqeu'saHvoersn pgeipnee4ra allnyd p tlhaeyned r ein atmripelde ta rsh 3y5th_Cmo.wie'sHornpipe4 longways dance the Virginia Reel, a dance that stops and a three note chord. In the third tune, M11 5M Faerb 1 144. A. Tmraensdcerdib beadr 4as 4 p alanyde da litn 4 3. 5M.1a.i nB atrra 4n saclrt iipst iforonm m Va1tc. hCesh e3c5k e(tdo bgoow oing Cs Dan)d . hAaltp pmya.tches V1. Save as v5. evolved from the old English county dance Sir Turkey in the Straw, the rhythm is quite variable SNaOveTdE a:s U Vs1e_ Cthoew tirea'snHscorripntpiiopne 4se at nodf tuhnenes r ennuammbeedre ads 3355 _aCnodw dieis'scHarodr nthpeip see4t numbered V1 Roger de Coverley. moving between triplet rhythm and even note 1R1e cMoradri n1g4s. :Amended bar4 4 and alt 4. Main transcription matches 35 (to go on CD) . Alt matches V1. Save as v5. division and with some snap rhythm in the NOTE: Use the transcription set of tunes numbered 35 and discard the set numbered V1 In Cowie’sV1: C oHornpipewie's Horn andpipe/ TurkeySt Patric kin D theay/ TStrawurkey I nthe Th e Strawsecond. Tom so part.lo. Ringing open strings on G and D Recordings: slash quavers31: Tam's areown usedHorn ptoip eindicate (or Cowi ea's ?triplet)/ St Pa tfeel.rick D ay/ Turkareey Iusedn The throughoutStraw. T&W and in bar 4 is there is a slide But theV351 .ratio:1 C Doiwt tibetweenoe.'s T Homor nSpoil pothe.e T/ oS ttwoe Pdaitt r aquaversinckd Dcleaayn/ T a uinnrdk eauy spair eI no Tn h CeD S.trawinto. To munisons solo. on A. is often31 :closer Tam's otown even Horn ratherpipe (or thatCow iae' s2:1?)/ S ratio.t Patric kIn D ay/ Turkey In The Straw. T&W 35.1 Ditto. Tom Solo. To edit and clean and use on CD. – 44 – 6: Hornpipes 35_StPatrick'sDayJig2 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 St Patrick’s Day/ Tell Her I Am cd 06 q = 185 ≤ ≤ ≥ ≥ # ≤ ™ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ j ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ 6 œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ 6 1. 2. ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ # ≥ ≤ ≥ j ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ e e ™ e ≥ ™ ≤ ≥ ≤ ≥ œ≤ œ œ œ œ œ œ ™ œ œ ™ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ J O 11 j œ œ≥ ≥ ≤ ≥ j ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ O JO 15 1. 2. ≥ ≥ ≤ ≥ j ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ # œ œ ≤ ≥ ≤ e e e ™ e œ œ œ œ œ œ œ œ œ ™ œ & œ œ œ œ œ œ œ O œ œ œ 35_TurkeyInTheStraw5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 J 35_TurkeyInTheStraw5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Turkeyq = 1In90 The Straw cd 06 q = 190 Recording V1 is not clean enough to use. Use number 35.1 ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ %j ≤  ≥  ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥   . . . j ≤  Renam#e 4ﬁleœ V1_StPatrick'sDayJig as 35_StPatrick'sDayJig As far as I can see, after checking oœther versions ojn YoL uTube, thœis is œ≤ œ ≥   œ≥ œ≤ ≥ œ≤ œ≥ ≤ ≥ œ≤ œ œ≥. œ≤.œ œ≥. œ≤ œ no&t St #Pa4t%rickj's Day Jig. œTheœ titœle iœn Oœ≥'Nei≤ls is Tell h≥er œI Am≤ ≥ œ≤ œ œ j L j 4 œ œ œ œ œ œ œ œ œœ œ O œ N&OTE: U4se thœe trœanscriœptioœn sœet oœf tuœOnes numbereOd 3œ5 and discOard tœhe sœet nuœmbœereœd V1 œ œ œ œœ œ œ œ R5ecordings: œ œ œ œ œ œ œ 1. O V1: Cowie's Hornpipe/ St Patrick DayO/ Turkey In TOhe Straw. TomO solo. ≥ ≤ ≥ ≤ ≥ 5 ≥   ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤  1.≤ ≥ ≤ ≥ ™ 31: Tam#'s own Hornpipe (or Cowie's?)/ St Patrick Day/ Turkey In The Straw. T&W œ ™ & œ≥ œ œ œ œ≥ ≤  ≥ ≤ ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ ≥ œ ™ 35.1 D#itto. Tom Solo. To edit and cœlean uœp foœr thœe CD. œ œ œ œ O œ ™ & œ œ œ œ œO œ O œ O œ œ œ œ œ œ œ œ œ œ œ œO 9 2. œ œ œ œ œ œ œ œ O ≤ ≥ ≤ ≥ O O ™ ™ O≤ ™ ™ ≤ ™ ™ O 9 #2.   ™ ≤ ≥ . ≥ ≤ ≥ . ≥ ≤ œ™ œ™ ≥ œ≤ œ≥ œ≤ ≥ œ≤ ≥ œ œ™ œ™ œ œ≤. œ œ œ™ œ™ œ œ≤. œ #œ O ™ O ™ œ O O &# œ œ œ œ ™ O≤ œO œO ≥ œ œ≥ O≤ œO œO ≥ œ œ≥ ≤ œ™ œ™ ≥ œ≤ œ≥ & œ œ œ œ œ- œ ™ ™ œ œ ™ ™ œ #œ O O œ O O 13 œ - O O O O O O ≤ ≥ ≤ 13 ≤ ™ ™ ≥ ≤ ≥™ œ œ. ≥. ≤. ≥. ≤. ≥. ≤ ≥ ≤ ™ ≥ ≤ ≥ # œ™ œ™ œ œ™ œe e e œ œ œ œ œ œ œ œ & #œ O ™ O ™ œ O O≥™ ≤. ≥. ≤. œ≥. œ≤. œ≥. œ≤ œ≥ œ≤ ™ ≥ œ œ≤ œ≥ # ≤ œ™ œ™ ≥ œ≤ œ™ œe eœ eœ œ O O ≥ ≤ & #œ O O œ O O œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 17 1. 2. Last Time O O 1. 2. Last Time ≤ 17 # ≤ ≥ ≤ ≥ ™ ≤ ≥ ≤ ≥ % ≤ ≥ ≤ ≥ E™ e œ ™ œ œ≤ Œ ≤ ™ &# ≤ œ≥ œ≤ œ≥ œ œ ™ ≤ œ≥ œ≤ œ≥ œ% œ≥ œ≤ œ≥ œ ˙E™ œe œ œ O O œ œ O œ œ Œ - & œ œ œ œ- œ œ œ œ œ œ ˙ -œ O -O O Alternative bar 13 AlterL native bar™ 13 ™ ≤. ≥ ≤ # œœ≤ œ œ≥ œ≤ œ≥™ œe eœ eœ . . 4 L ≤ ™ O O O≥™ ≤. œ≥. œ≤. œœ œ œ≥ œ≤ œ™ œe eœ eœ œ œ & 4 O O O – 45 – Alternative bar 13 AlternL ativ≤ e bar™ 13 ≥™ ≤. ≥. ≤. # 4 œœ œ œ≥ œ≤ œ™ œe eœ eœ œ œ & 4 L ≤ ™ O O O≥™ ≤. ≥. ≤. # 4 œœ œ œ≥ œ≤ œ™ œe eœ eœ œ œ & 4 O O O

Groups of 2 or 4 quavers generally in triplet rhythm. Example of unisons on E in bar 13.

GS r1o Fupebs o1f4 2. A omr 4e nqdueadv earss pgeern 3e5ra Tlloym in S torilpol.e Ut rshey tthhims v. eErxsiaomn.p Cleh oafn ugne iﬁsolen sn aomn eE f irno mba Vr 11_3T.urkeyInTheStraw3 to 35 TurkeyInTheStraw3 S 1 F_eb 14. Amended as per 35 Tom Solo. Use this version. Change ﬁle name from V1_TurkeyInTheStraw3 W 12 Mar 14. Reassessed. Double stops and bowing checked.Added slash triplets. Save as v4. And further to 35_TurkeyInTheStraw3 amended to give segno, slurred intro notes and Last Time repeat. Save as v5. W 12 Mar 14. Reassessed. Double stops and bowing checked.Added slash triplets. Save as v4. And further Recordings: amended to give segno, slurred intro notes and Last Time repeat. Save as v5. V1: Cowie's Hornpipe/ St Patrick Day/ Turkey In The Straw. Tom solo. NOT good for CD. Recordings: 31: Tam's own Hornpipe (or Cowie's?)/ St Patrick Day/ Turkey In The Straw. T&W V1: Cowie's Hornpipe/ St Patrick Day/ Turkey In The Straw. Tom solo. NOT good for CD. 35.1 Ditto. Tom Solo. Could use this on CD with minor editing. 31: Tam's own Hornpipe (or Cowie's?)/ St Patrick Day/ Turkey In The Straw. T&W 35.1 Ditto. Tom Solo. Could use this on CD with minor editing. Tom Hughes: Fiddle Style of the Scottish Borders

47_1_GreencastleHornpipe1 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Greencastle Hornpipe cd 25 q = 180 ≤ ≥ ™ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ #4 œ ™ œ œ œ œ œ œ œ 3 œ œ œ 3 J œ œ œ & 4 J œ œ œ œ œ 3 œ œ œ œ œ 4 ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ # œ≥ ≤ ≥ ≤ œ≤    œ œ œ œ œ œ œ≤ ≥ œ≤ œ œ œ œ≤  œ œ œ œ œ œ œ 3 J œ œ   œ & œ œ œ œ œ 3 œ 8 1. 2. ≤ ≤ ≥ ≤ ≥ ≤ œ # e ≥ ≤ ™ e ≥ ™ œ≤ œ œœ œ œ ≥ œ≤ œœ œœ œ œ œ ≥ ≤ œ œ œœ ™ ™  œ  œ œ & œ œ œ œ œ œ 3 . O . O 12 ≤ ≤ j œ≥ œ œ ≤ ≥ œ ≥ œ œ ≤ ≤ œ ≥ ≤ ≥ # œ œ œ œ≥ œ œ œ œ œ œ œ≥ œ œ œ œ œ œ≥ œ≤ œ ≤ 3 J  3 œ & J 15  ≤ œj ≥ ≥ ≤ ≥ # ≥ ≤ ≥ œ≤ œ≥ œ œ œ œ œ≤ œ œ≤ ≥ ≤ e ™ & œ œ œ œ œ  œ œ œ œ œ . O 42_OfToCalifornoa1 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/ & 20/10 Off To California cd 25 7 Feb 13: Tqh is= v e1r8si0on of the ﬁle snap bowing shown where probable. The tune includes one of Tom's rare three note chords. ≥ ≤ ≥ ≥ j 21 Nov 13#: Rec≤hecked≥ ag≤ainst sound ﬁle with R≤ eaper. H≥appy w≤ithe b™ow≥ings≤. Addeœd titœl≥e atœ≤ 21œpt. T≤emœpo at 18≥0 in≤ # 4  œ œ  ™ œ œ œ œ  œ œ œ O O 12&.6pt. 7#.2/45.5/9.0 i.eœ SprFidœdleSœolo2. œSavœe as v1.3 œ™ œ œ O œ œ W 29 Jan 14. Aœmended asœ perO JN with some fuœrtheœr chaOnges checking on Tra3nscribe. F4 14 Mar 14. Added SprFiddleSolo3 slash triplets. See swing in bar 11. Save as v5s M 17 Mar 14.Set to 5 lines. Save as v6s. ≤  ≥ ≤ ≥ ≥ ≤ ≥  ≥  ≤ ≥ ™ œj ≤ # # j ≤  ™ ≤ e ™ œ≥ œ œ # O œO œ œ O O œ œ œ œ œ œ œ œ & œ œ œ œO 1 œ œ œ œ œ œ œ™ O 1 œe O œ O 3 7 ≥ j ≤ ≤ # œ≥ œ≤ œ ≤ œ ≥ ≤ ≥ ≤ ≥ ™ ™ ≤ œ œ≥ œ≤ ≥ œ œ ≥ œ #  œ œ œ O O œ œ œ O O ™ ™ œ œ  œ œ œ  & # œ œ œ  œ œ œ 3 10 ≥ ≤ ≤ ≤ # # œ œ œ œ œ œ œ œ ≥ œ œ≥ œ œ œ œ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ & œ œ  œ œ œ œ œnœ 3 13 ≥ ≤ ≥ ≤ ≥ ≥ ≤ j #   ≤ ≥ ≤ e ™ ≥ ≤ œ œ œ œ ≥ œ ≤ ≥ ≤ ≥ ≤ ≥ ™ # œ œ  ™ œ œ œœ  œ œœ O O œ œ œ ™ & # œ œ œ œ œ œ œ™œ œ O œœ œ œœ œ O œ œ O 3 O

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Th 7 Feb 13: Slurs marked where heard. Snap bowings marked where they are probable. Where 4 quavers are joined they generally represent internal triplet rhythm - shown as triplet time in some places. W 22 Nov 13: Checked with Reaper. Title at 21pt. Tempo at 180 in 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v2.2 Th 19 Dec 13. SprFiddleSolo3. Save as v2_3 F 14 Mar 14. SprFiddleSolo3 new with slash 31. Changed bowing in bars 5 and 15 to remove snap bows. Changed bowing bars 7 and made 16 the same. The semiquaver in the Scotch snap bar 15 is C# not A i.e. as bars 2 & 6. Save as v2_4s. 6: Hornpipes

47_3_DundeeHornpipe3 SprFiddleSolo3 7.2/8.0.9.0 15/15/15/15 & 20/10 The Dundee Hornpipe cd 25

q = 180 ≥ 3 j ≥ ≥ ™ # ≤ ≥ ™ ≤ ≥ ≤ ≥ ≤ ≥ > ≤ ≤ ™ ≥ œ œ≤ ≥ ≤  ≤ œe eœ™ ≤ ≥ ≤ #4 œ œ œ œ ™ œ œ œ œ O™ œ œ œ œ œ œ œ œ œ & 4 O  œ œ œ O œ œ . œ œ  4 3  ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ > ≤ ≥ ≤ ≥ œj ≤ ≤ # œ≥ œ œ≥ œ≤ ≥ ≤ œ≤ ≥    ™ œ œ œ≥ & # œ œ œ œ œ œ œ œ œ ™ œ. œ œ œ œO œ œ 3 3 O œ œ 7 ™ 1. 2. ≥ ≥ ≤ ≤ ™ j ≤ ™ ≤ ™ j #  ≤ œe œ œ œ ≥ œ ≥ ≤ ≥ ≤ œ ≥ ≥ ™ œ ≥ ≤ ≥ ≤ œ ≥ & # œ œ œ  œ œ œ œ œ œ œ œ œ œ œ œ œ 3 O 3 O 10 # ™ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ ≥ œ œ≥ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & O O O     13 3  ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ > ≤ ≥ ≤ ≥ œj ≤ ≤ ## œ œ œ œ≤ œ≥ ≤ œ    ™ œ œ œ≥ œ & œ œ œ œ œ œ œ œ ™ œ. œ œ œ œO œ  3 3 O œ O œ 16 1. Last Time ≥ ™ ≥ ≥™  ≥™  # ≥ ≤ œ œ ≤ œ ≤ ≤ ≥ ≤ j ≥ ™ ≤ ≥ ≤ j ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ w% & œ O

The Greencastle Hornpipe/ Off To California/ The Dundee Hornpipe Tom had no names for the individual tunes in ≤of A but Tom sometimes plays a triplet run with this set,# but≤ merely≥ referred≤ ≥ to them≤ as≥ Irish> a b7th (G natural) below the lower tonic as shown Hornpipes.#4 All three are in O’Neill’s Music of ≈ œas an alternative in bar 12 and also played for Ireland& . 4 Whileœ theyœ may beœ tunesœ of Irishœ origin,œ the last beat of bar 4. A distinctive combination Tom’s versions have aœ distinct ScottishO Borders. of inégale pairs is used at the start of bars 2, 6 flavour. The third tune is known in Scotland and and 14 – a snap bow pair, followed by a slurred Northumberland as The Dundee Hornpipe and Scotch snap. Bar 4 has a nice use of a down bow may well be of Scottish origin but is named The followed by a slurred run of notes on an up bow Kildare Fancy in O’Neill’s. with ringing open E string bowed throughout.

Th 7 FTheeb 1 3first: Slur stune, marke Thed wh Greencastleere heard. Sna Hornpipep bowings m, isar ked where thTheey are third proba btune,le. Wh eThere 4 qDundeeuavers a rHornpipe/e joined they Kildare generally represtakenent inte withrnal tr Tom’siplet rhy tusualhm - s hinternalown as tr itripletplet tim efeel. in so mThee pla ces. Fancy, again includes snap bowings and an W 22 extendedNov 13: Ch eslurscked wtakenith Re aonpe ran. Ti tuple a tbow 21pt .in Te mthepo secondat 180 in 12.6internalpt. 7.2/5.5 triplet/9.0 i.e SrhythmprFiddleS witholo2. Sringingave as v3 .strings2 on D M 17 partMar 1 of4. Rtheevi stuneed thr oareugh ao uparticulart. Changed t hcharacteristice last notes of b aofr 1 to remandove A.sna p The bow. Tfirstaken abars p e(andr JN f oitsr b arepeats)rs 10, 11. Rendsemo vewithd a snap bTom’sow in b astyler 1 an ofd s ohornpipeme elsewh eplayingre and re pandlaced the by htuneack. M alsoade bars strongly3, 7, 16 th eaccented same but nstaccatoot as JN. Ibounce. think this nTheow w ostaccatorks. Save aincludess v3_5s. an example of his occasional use of a note is reached with an up bow slur from F# to an three note chord. accented D, the bow then lifted giving separation from the final staccato semiquaver B produced The second tune, Off To California, is in the key with a short repeated up bow.

– 47 – Tom Hughes: Fiddle Style of the Scottish Borders

CopshieHornpipe(JN)5s SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 7 20/10 Copshawholm Hornpipe (or The Copshie Hornpipe) YouTube1 q = 190 ≤ ≥ ≥ ≥ ≤ # ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥  ≤ j ≤ ≥ e≤ 2    œ œ ™ œ œ œ ™ & 2 ™ e ™ œe ™ œe œ œ œ œ œ œO œO œO œO œO œO œO œ œO œ œ œ œ œ O 4 3 ≥ ≤ 3 ≥ ≤ ≥ # ≥ 3≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ™ œ j 3 j   ™  ™ œ œ œ œ & œ œ œOœ œ O e œe œe œ œ œ œO œO œ œO œO œ œO œ œ œ œ œ O 7 ≤ ≥ ≤ j ≥ ≤ # j ≤ ≥™ e≤ ≥ ≤ ≥ ≤ ≥ e ™ ™ ™ ≥ ≤ e≥ ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œO œ œ œ œ O œ O œ 10 ≥™ ≤ ™ œ œ≤ ≥ œ ≥ ≤ ™ ≥™ ≤ ≥ ≤ ™œ œ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ œ™ œ œ œ œ œ œ L & œ œ œ œ œ œ œ O œ œ œ œ œ œ 3 3 13 ™ ™ j ≥ ≥ ≤ ≥ ≤ ≥ ≤ œ œ œœ≤ œ œ≤ ≥œ ≥ ≤ ™ ≥™ ≤ ≥ ≤ ™œ œ ≥ ≤ ≥ ≤ ≥ ™ # œ e œ œ œ œ œ œ œ œO œœ ™ & œ œ œ œ œ œ œ œ œœ œœœœ 3 3

Copshawholm Hornpipe (or The Copshie Hornpipe) The village of Newcastleton beside the Liddell and his grandson Jimmy Nagle. Never recorded Water in the far south of the Scottish Borders was by Tom, Copshie Hornpipe has been transcribed built on the site of an older community, Copshaw for this collection from Jimmy Nagle’s playing1. HolmAs p l–a y ead nameby Jimm ythat Nag lsignifiese. Transcribe dthe Th 16Viking Jan 14 frrootsom so und recording and video uploaded to YouTube and played back at of the25% settlement. speed. Should pTherobab loldery try in dNorseicating t rnameiplet tim foring i n some moreThe bars. tune shows many of Tom’s distinctive the hvillage,ttp://www. yCopshawholmoutube.com/watch? vor=vK Copshie,_j5kM8yCE is still hornpipe playing traits – played fast with a preferredReset the byslas hlocals. as 17.5 p t. Imprt to SprFiddleSolo3 Notehead 31. Savebouncy as v4s. triplet feel in parts, shown by slash quavers, and the use of open string drones and The annual Newcastleton Traditional Music Scotch snaps. Festival was one of Tom Hughes’ favourite events of the year and, in 1986, Tom entered and won the New Tune Competition with his newly 1. A video of Jimmy Nagle (2014.2) playing the Copshie composed tune – played on the occasion by Tom Hornpipe is on YouTube.

– 48 – 6: Hornpipes

80_HarvestLongInComing16s SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 The Harvest’s Long In Coming cd 26 q = 180 ≤ ≥ ≤ ≥ 3 ≤ ≥ . ≤ ≥ # 3 j ™ ™ ≥ œ≤ œ œ≤ ≥ ≥ œ #4 œ œ O œ œ O™ O œ œ   œ œ œ œ œ & 4 œ œ œ œ œ O  3 3 ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ . ≤ # œ≥ ≤ œ ≤ œ ≤ œ ≤ œ œ œ  3 j ™ ™ # œ œ œ œ œ & O œ O œ œ œ œ œ œ œ œ œO œ œ O™ œO œO œ 3 3 œ œ 80_HarvestLongInComing16s SprFiddleSolo3 7.2/86.0/9.0 15/15/15/15/ & 20/10 ≤ j ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ œ ≥ ≤ j ≥ œ ≤ ≥ ™ # œ œ œ œ œ œ œ œ œ œ O œ œ œ œ ™ q = 180 & # œ œ œ O œ O œ œ 3 O O # ≤ ≥ ≤j ≥ ≤ ≥ . ≤ ≥ ≤ œ≥ ≤ ≥ ≥ #4 3 ™ ™ œ œ œ œ œ œ œ œ≤ & 4 œ œ œO œ œ O™ œ œO œ ™ ≤ ≥ ≤ ≥ ≤ ≥ œ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ œ ## ™ œO œ œ œ j œ œ œ & O œ œ œ œ O œ œ œ O 3 œ 3 3 œ œ œ œ 3 3 J 3 J - J J ≥ ≥ ≤ ≥ 3 ≤ ≥ . ≤ # ≥ ≤ œ≥ ≤ œ ≤ œ≥ ≤ ≥ œ ≤ 11  ≥ ≤j # œ œ œ œ œ œ  3 ™ ™ 3 & O œ O œ œ œ œ œ œ œ œ O œ œ O™ O O œ ≥ ≤ ≥ ≤ 3 ≤ ≥ œ≤ ≥œ ≤ œ≥ ≤ œ≥ ≤ ≥ œ œ ≤  ≥ ≤ ≥ ≤ ≥ . ≤ 3 # œ œ œ œ œœ œ œ œ  3 j ™ ™ # O œ œ O œ O œ O œ œ œ œ œ œ œ O œ œ O™ O œ 6 &    œ œ œ œ œ œ  3 3 œ œ ≤  j ≥ ≤ ≥ ≤ ≥ ≤ ≥ 1≤4 ≥ œ œ ≥ ≤ j ≥ œ ≤ ≥ ™ 1.2. Last Time # œ œ œ œ œ œ œ œ œ œ O œ œ œ œ ™ # œ œ œ O œ O œ œ ≤ j j &   ≥ ≤ ≥ ≤ ≥ ≤  ≥ ≤ ≥ œ œ ≥ ≤ j ≥ œ ≤ ≥ ™ ≥ œ ≤ j ≥ ≤ O # œœ œœ œ œ œ O œ œ œ O œ œ œ œ ™ œ œ œ ˙ ˙ & # œ œœ O œ O œœ O O E E ≤ O O ™ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ## ™ œ œ œ œ j œ œ œ & O œ œ œ œ O œ œ œ O 3 œ 3 3 œ œ œ œ 3 J 3 J - J J The Harvest’s Long In Coming ≤ ≥ ≤ 11 Although Tom was happy to refer to this tune the# first≥ bar of part A and in its≤ repeats≥ – i.e. bars 3 #4 ™ ™ ™ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ by its widely≥ ≤ known≥ ≤ name≥ of≤ Harvest≥ ≤ Home≥ , .he≤ &1, 5 and4 13.™ Afterœ œOthe firstœ twoO ™ beatsœ inœ Otripletœ ## œ œ œ œ œ œ œ preferredœ The Harvest’s Long3 jIn Coming – ™the ™ rhythm, œthe third beat of the barœ uses a snap bow & O œ œ O œ O œ O œ old œnameœ œbyœ whichœ the tuneœ wasO knownœ œ O in™ the O œ with a short staccato semiquaver followed by a 3 œ œ œ œ œ 3Borders and by his family.œ œ slurred Scotch snap in the fourth beat – together 14 1.2. Last Time giving a bouncing lift the tune. Jimmy Nagle ≤ Tom always saidj he had his ownj way for bowing prefers to bow this bar in a slightly different way ≥ ≥ ≥ œ j œ ≤ œ ≤ j # ≥ œ≤ œ œ≤ ≥ ≤ œ œ ≤ œ œ thisœ O≥ tune.≤ œ The≥ mainœ ≥ distinctive™ ≥ bowingœ œ ≥ is in≤ as shown – producing a similar effect. # œ  œœ œ œ œ O œ O  œ œ œ O œ œ O E˙ E˙ & O    O Fig 6.6 An alternative bowing of the opening bar ≤ # ≥ ≥ ™ ≤ ™ ≥ ≤ ™ #4 ™ O ™ O & 4 œ œ œ œ œO œ œ œ

– 49 – Tom Hughes: Fiddle Style of the Scottish Borders

V5Glen7_GlenA AlnlnHor nHornpipepipe8 SprFiddl eSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10

q = 160 Composed by Willie Atkinson ≥ ≤ 3 ≤ œ œ ≤  ≤ 3 ≥ ≤ ≥  #2 ≤ ≥ ≤ ≥ ≤ ≥ œ œ œ œ œ≥ œ œ  ≥ ≤ j  & 2 œ œ œ O œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ 4 ≤ ≥ ≤ ≥ 3 œ œ ≥ ≤  ≥ # œ œ œ œ≥ œ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ œ œ œ œ œ œ œ  & œ J 3 J œ œ œ œ œ œ 3 J œ œ 3 œ 3 3 œ œ œ 7 3 3 ≤ ≥ ≤ ≥ ≤ ≥ ≤ 3 ≥ ™ ™ ≥ ≥ ≤ ≥ # j   ™ œ j ™ ™ ≤ ≤ ≥ ≤ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ 3 œ œ œ œ 3 J œ œ O O 10 ≥ ≤ ≥ ≤ ≥ ≥ ≤ # ≤ œ œ ≥ œ≤   œ ≤ œ œ œ œ≥ œ œ œ≤ ≥ ≤ œ œ œ œ 3 œ œ œ & 3 J œ œ œ œ œ œ œ œ œ œ J œ 3 3 J 3 3 3 13 ≥ ≤ ≥ ≤ ≥ ≤ 3 3   ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ 3 ≥ ™ # ≥ œœ œœœ œ  ≤ j   ™ œ j ™ œ œ œ œœ œ J œ œ œ œ œ™œœ œ œ œ & œ 3 œ œ œœœ 3 œ œ œ œ O O 3 œ O O

Glen Aln Hornpipe Willie Atkinson of Alnwick, border shepherd, The tune shows many of Tom’s distinctive A championhornpipe r emouthorgancorded from T playerom Hu andghes composerat Lillieslea off. P layed hornpipeonce throu playinggh. Aud iotraits, copie snapd from bowing, the vide oan re overallcording (Ttheom HGlenugh eAlns_Vi dHornpipeeo4). Jim mwasy N aa ggoodle ide nfriendtiﬁed ioft a sTom’s a vers ion feelof th ofe G tripletlen Al nrhythm Hornpi pande co usemp oofse dopen by W stringillie Atandkins oofn .similar Tom wo ageuld o–f tWillie,en have bornmet w Januaryith Willie 1908 at mu sical gadrones.therings in the Borders in the 1970s - particularly at being three months younger than Tom. the annual traditional music festival at Rothbury. A version of the tune is in the Northumbrian Pipers' Tune Book, Volume 2. Bowing reassessed PS Tues 19 March 13. T 12 Nov 13.Tidied up and added title and composer. T 21 Nov 13. Title to 21pt.Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v6. F 4 Juy 14. Bowing reassessed and PS tried and approved. Added slash triplets. Spr Fiddle Solo 3 reimported. Save as v8. Recording: V57b On Video4 - not good enough for CD.

– 50 – 6: Hornpipes TomH_2_9_Redeside13 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Redeside Hornpipe cd 35

q = 156 Composed by Willie Atkinson

≤ 3 ≥ 3 3 3 # j ≥ 3≤ ≥ ≤ j j ≤ 3 ≥ ≤ ≥ ≤ 3 ≥ ≤ ≥ ≤ ≥ ≤ TomH_2_29_Redeside13 SprFid3dlejSœolo3 7.2/8.0/9j.0 15/15/1œ5/15œ &œ 20/10 j 3 j 3 j œ & 2 œ œ œ j œ œ œ œ œ O 3 œ œ œ œ œ œ œ œ œ œ 3 J J œ œ œ œ œ œ 3 J 4 q = 1≤356 ≥3 3 ≥ ≥ ≤ ≥ 3 Comp3osed by Willie Atkinson ≤ ≤ ≥ ≤3 ≥ 3≤ ≤ ≤ 3 ≥ 3 # ≥ ≥ 3 j j ≥ ≤ œ ≥ ≤ ≤ ≤ œ3 œ œ  ≥œ3 œ 3 œ≥ j 3 œ œ œ j &# œ j ≥ 3œ≤ œ≥œ≤ j j ≤œ3 œ ≥ j ≤œ œ œ≤ 3œ ≥ œ œ≤ 3 O≥ 3≤ ≥ œ≤ œ 2 œ œ3 œj œœœ j œ œ œ œ œ œ j œ 3 jJ 3 jJœ œ & 2 œ œ j œ œ œ œ œ œ 3 O 3 œ œ œ œ œ 3 7 œ ≥ œ J J œ œ œ œ J ≤ œ ≥ 4 ≥3 œ œ ≥ ≥ 3 ≤ e ≥ ≥ # ≤3œ œ≥3 œ œ ≤ 3 œ ≥ ≤ ™ ™ ≤ œ ≤ œ ≤ ≥ ≤ ≥ ≥ ≤ œ 3 œ ≤œ œ ≥ 3 œ œ3 œ œ 3 œ œ & O J 3 ≤J ≥ ≤ ≥ œ œ œ≥ 3≤J ≥3 ≤œ œ ≤ 3œ ≥ ≤ œ ≥ ≤ ≥ 3œ≤ # œ 3 3 j j 3j J 3 œ3 œJ J 3j J œ œ œ œ œ œ3œ œ J œ œ œ O œ & œ œ œ œ j œ œ œ œ œ œ 3 3 œ œ 10 œ œ œ œ 1. J J ≥ 3 7 ≥ 3 ≤ 3 ≥ 3 ≤ 3 # œ≥ ≤ ≤ j  ≥ 3 ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥3 œœ œ j≥ j 3 ≥ 3 ≤ 3 je j œ œ ≥œ œ œ ≥ œ œ œ &# 3 œ œœ œ ≤ j œ ≥ ≤ œ ™ ™3≤ œ ≤œ œ œ ≤ ≥ ≤ J œ œœœœœ œ œ œ œ œ œ œ J œ œ œ œ œœ 3œœœ œ & O J 3 J œ œœœ œ J œ3 œ œ œ 3 œ œ 3 œ 3 3 J 3 3 J J 3 J 13 3 J 10 ≥ ≥ ≥ 3≤ 1. ≥ 3 ≤ # œ ≤ œ ≤ ≥ ≤ œ≥ ≤ j ≥ 3 ≤ œ 3œ œ ≥ œ≤ ≥ ≤ ≥ ≤ œ ≥œ3 ≤ œ 3 œ œ 3œ ≥ 3 3 ≤ 3 œ3 œ œ # ≥ ≤ œ  ≥ 3 ≤œ ≥3 œ≤ œ ≤ ≥j ≤ j≥ O J ≥ ≤ œ œ & œ 3œ 3j Jj J 33 J J œ3 œ œ œ J 3 œ œ j j j jœœ œ œœ œ œ œ œ 3 œ œ3œ & J œ œ œ œ œ œ œ œ œ 3 œJ œ œ œ œ 16 œ2. œ œ 3 3 13 ≤ 3 ≥ 3 # ≥ 3 œ≤ ≥ ≤ ≥ ™ ≥ ≥ 3 ≤ ≥ 3 ≤ ≥ ≤ j j 3≤ ≥ œ ≥ ™ œ ≥ 3≤ œ ≥ 3 ≤ 3 j œ j # œJ ≤3 œ œ ≤ ≥ œ≤ œœ≥ ≤œ œ j ≥ 3 ≤ œ œ œ œ œ ≥ œ≤œ≥ ≤œ ≥ ≤ & œ œ œ œ3 œ œ œ œ œ œ 3 œ j 3 œœ œ œ œ œ & œ J œ 3 3 œ œ œ œ œj 3 j O Jœ œJ œ œ 3 3 J J 3 J J œ œ œ 3 19 œ œ 3 16 3 2. ≤ ≥ 3 ≥33 œ œ ≥ ≥ ≤ ≥ # ≥ ≤ ≥ ≤ ≤ œ œ ≤ 3 œ≥ 3≥ ≤ ≥ 3 œ≤ ≥ œ≤ ≥œ œ™ ≥ j ≤ ≥ 3 œ≤ œ œ œ ≥œ3 ≤ ≥ ≤ j œ 3≤ &# œ O 3™ œ œ O J 3 J œ œ 3 œj œ J 3j œ œ œ œJ œ œ3 œ œœ œœ œ œ3 œ j & œ 3 œJ Jœ œ œ œ œ œ œ 3 j œ œ œJ œ J 3 œ 3 œ œ 19 3 ≥ Redeside Hornpipe3≤ 3≥ ≤ œ ≥ 3 ≥ ≤ ## ≥ œ≥ ≤ ≤ j ≥≥3 ≤≤ ≥ 3 ≤ ≥ 3 ≤œ œ œ ≤ ≥ ≤ ≤ ≥ 3 œ ≥ ≤ ≥ Another2 tuneœ fromœœ Willieœ œ Atkinsonj 3 ofj Alnwick,3 j Theœj œ tuneœ œœ hasœ beenœ transcribed fromœ the group The&& Redeside2 3 œ HornpipeœO has3 becomeœ œ j a standardO J of œ3recordingJ 3 and fromœ analysisœ œ ofJ a video3 œ ofœ Tom in œ œ J 3 œ œ œœ œœœ œ œ J3 the Border tradition –J playedJœ hereœ by Tom alongœ solo performance.3 The differences betweenJ the with three other fiddle players – Bob Hobkirk, two are not large but, in the group performance, Wattie Robson and Tom Scott along with Brian slurred triplet runs in bars 7 and 20 are played ≥ 3 3 Miller# on≥ guitar.≥≤ ≤ ≤ œ≥ 3 ≤ ≥ ≤ ≥ 3≤with≥ hack≤ bowings. 2# œ œ3 œ œj œ≥ ≤ 3 ≥ ≤ ≥ 3≤ ≥ ≤ œ & 22 3 œ œ j œ œj œ œ j œ j 3 œ & OJ J œ œ3 J œ œ œ œœ œ œœ J 2 œ œ œ 3 œ Fig 6.7 Hack bowing alternative for bars 7 and3 20

Corfu T 4 June 13: Checked V_7s and saved as V_8. Open noteheads. Amended bowings in bars 17 and 21 to match ≥ 3 œ≤ œ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ bar 8 - #an2d as played. Mighœt be beœtter toœ writœe outœ withoœut repeats - and/or in an extra system. Expanded to 7 sytems an&d saved as OV_9. RJemoved do3ubleJ gracenote from opening. œ œ 2 œ 3 Th 3 Oct 13. Amended positions of grace note slurs and bo3wing symbols. Save as v10. Rewrite bar 13 in full. Save as v12. This is better and still in 7 lines. CWor f1u9 T M 4a Jru 1n4e. 1A3m: Cenhdeecdk etdo Vm_7ast cahn dvi dsaevoe dre acso Vrd_8in. gO. pAelnt bnaortse hase– apd l51as.y Ae dm– be yn d4e ﬁdd bdolwe ignrgosu ipn. b Saarsv e1 7as a vn1d3 2. 1 to match bar 8 - and as played. Might be better to write out without repeats - and/or in an extra system. Expanded to 7 sytems and saved as V_9. Removed double gracenote from opening. Th 3 Oct 13. Amended positions of grace note slurs and bowing symbols. Save as v10. Rewrite bar 13 in full. Save as v12. This is better and still in 7 lines. W 19 Mar 14. Amended to match video recording. Alt bars as played by 4 ﬁddle group. Save as v13. Tom Hughes: Fiddle Style of the Scottish Borders Country Dances & Reels

TomH_1_10_Flooers13 SprFiddleSolo3 7.2/8.0/9.0 7.2/8.0/9.0 15/15/15/15/ & 20/10 Flouers O Edinburgh cd 20 q = 220 > > > ≥ ≤ ≥ j ≤ ≥ # ≤ %™ ≥ ≤ ≥ ≤ ≥ ≤ œ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 2 j ™ ™ œ ™ œ œ œ œ & 2 œ œ œ ™ œ œ œ œ œ O œ œ œ œ œ œ œ œ œ œ œ œO œ œO O 4 > ≥ ≤ ≥ > > > ≤ ≥ # ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ œ≥ ≤ ™ œ ™ œ ™ œ œ œ œ & œO œ œ œ œ œ ™ œ œ œ œ œ œ O œ O œO œ O 7 1. 2. ≥ # ≥ ≤ ≥ ≤ ≥ ≤ j ≥ ≤ ≥ ≤ ™ ≥ ≤ e™ œ œ œ œ œ. ™ j ™ œ. ™ & œ œ œ œ œ œ œ™ œ œ œ™ O O O 10    j ≤ ≥ œj j ≤ ≤ œj # ™ ≤ œ œ≥ œ≤ œ≥ œ œ œ œ≤ œ œ≥ œ≤ œ≥ œ œ≥ œ≤ ≥ ≤ ≥ œ œ œ ≥ ≤ Oœ œ œ Oœ œ œ & J 13   ≤ ≥ ≤ ≥ ≤ ≤ œj ™ ≥ j ≤ ≥ œ ≥ ≤ ≥ j≤ ≥ œ œ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ œ & œ O O œ œ œ œ œ O

16 1. 2. ≤ % Last Time # ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤e ≥ ™ ≥ e ≥ ≤ ≥ ≤ ≥ œ œ œ œ. j ™ ™ œ. j ™ j œ. j & œ œ œ œ œ œ œ œ™ œ œ œ™ œ œ œ ˙E O O

Flouers O Edinburgh The #tunes2 Flouers O Edinburgh and East Neuk O threeœ years later in McGibbon’s Collection of Scots Fife& provide2 œ a set for the countryœ danceœ Flowersœ œ œ œTunes, Bookœ œ 3 (1755).œ œ of Edinburghœ and œwere œplayedœ as such by Tom and his father in the 1920s. Both tunes were The opening phrase of the first bar of Tom’s considered old when they were included in James version of Flouers O Edinburgh is a distinctive Oswald’s Caledonian Pocket Companion published traditional variant of the tune with the slurred Cino rpartsfu Th 3 0between May13: U s1745ed ope nand note 1758.heads f o r ringing strings. Tempo to 2Scotch16. Saved snap as #7. Tfromhen n oDtic edownd that t htoe t rB.ans c rTheseiption (1 snapst line anyway) is not as played. Changed to 8. Then amended bowings in 1st linerhythms - get Jimmy on Na gthele to firstcheck. Sbeataved aofs # 9.most This abarsvoids inall tthehe first aThelterna firsttive bo wtuneings o fappeared the ﬁrst line in- a ndBook may be3 p(1751)erfectly acunderceptabl e and mpartuch eofasi ether to ftuneollow - maybut m awelly not indicatebe how Tom that playe dthe - sl utunerred across into ﬁrst bar. In #10 showed the full notation instead of grace note on 3rd beat of bars 1, 2, 5. Wthe 25 title Sep 1 The3: Am Flowerended. St aofcc aEdinburghto dots reposi tandioned .the Ties second for gracen otes 0,was 2, 18 ,played 19, 20 p lathisced mwayanua lforly. C theorrec oldt tim ehard-shoe sig to 2/2 not stepped4/4. Min 4Book May 1 34. F(1752)lipped g runderace note sthelur i ntitle bar 1She1. Sa vGripede as v11. at the form of the dance. As usual, Tom includes double TGreatest 21 Nov 1 3on’t. Tit.le tThiso 21pt .wasTemp republishedo to 12.6pt. 7.2/ 5under.5/9.0 i.e its. Sp nowrFiddl eSolostops2. Sav ein as vhis12. playing whenever possible, and even Tuniversallyh 19 Dec 13. SknownprFiddleS title,olo3 S aTheve as VEast12. Neuk of Fife, the occasional chord of three notes. S 31 May 14. Extend to an extra 6th system. Save as v13. Recordings: 29: Flooers/East Neuk T&W Used 1:10 V10/11 Tom Solo V32 Tom Solos – 52 – 7: Country Dances & Reels TomH_1_10b_EastNeuk9 SprFiddleSolo3 & Jazz Coule 7.2/8.0/9.0 15/15/15/15/ & 20/10 East Neuk O Fife cd 20 q = 220

3 > > ≥ > > %≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ eœ ≤ #2 ™ œ œ œ œ œ œ œ œ œ & 2 œ œ œ œ œ O œ œ œ œ œ œ O O O O 4 œ ≥ j ≤ # œ≥ œ œ œ œ œ œ œ≥ œ œ≥ œ & œ œ œ œ œ œ œ œ œ œ œ œ 7 1. > > 2. > > # ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 3 ™ ≥ ≤ ≥ œ œ œ œ ™ & œ œ œ œ œ œ œe œe œ œ œ œe œe œO O O 10 > > > ™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ # ™ œ œ œ e e œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ O O e e O 3 13 œ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # ≤ œ œ œ œ ≥ ≤ ≥ ≤ ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ O O œ O œ œ œ 17 L 2 ≥ ≤ L ≥ ≤ ≥ ≤ ≥ ™ ™ ≤ L 1 eœ œ ≥ ≤ ≥ ≤ L eœ œ ≥ ≤ ≥ # # ™ ™ œ œ œ œ œ œ œ œ œ ## & œ œe œe O O Oœ O œ 20 L ≥ ≤ L ≥ ≤ L # œ œ ≥ ≤ ≥ ≤ œ œ ≥ ≤ ≥ ≤ L eœ≥ œ≤ ≥ ≤ ≥ ≤ ## œ œ œ œ œ œ œ œ # œ œ œ œ œ & O O O œ O O O œ O O 23 1.2. Last Time L ≤ U # L eœ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ™ ≥ ≤ ≥ ≤ ≥ œ œ œ œ œ œ œ œ ™ & œ œ œ œ œ œ œ œe œe œ œ rall.œ œ œ ˙ % œ ˙ East Neuk O Fife CoTherfu T hEast 30M aNeuky 13: A mOen Fifed v4 tocommonly make new v5. hasTemp onlyo to 2 1two6 - to match Fltheooer s6th o Ed ofinb uthergh . scaleBar 13 /but,14 co uasld bplayede slurred here,across athe furt htuneer is noparts.te, last t w Tom’so notes o fthird 14 the npart bowe isd s esimilarparately. Ctoha onenged bofar 9several to give s lur tbroughto start of b abackr 2. Ch toang concludee bars 23 & 2 on4 to thekey A G. R emajormoved schordnap in in bavariationsr 23. Give slid ebys in Jamesto ﬁrst n oScotttes of m Skinnerany bars in includedpart C. Tidy inup .his the last time ending. WThe 25Se pScottish13: Amen dViolinist. Time sig 2of/2; 1900Bar 8 tr iandplet u thep bo wHarp; Keep andA key - C sharp used. Chord for accompaniment would be A in these two bars even though G sharp not used in tune. T Claymore21 Nov 13. T iCollectiontle to 21pt. T eofmp 1904.o to 12. 6 pThet. 7.2 /5double.5/9.0 i.e .stop SprF iddleSolo2The. Save ashuffle-bowings v7. sequence (a long down-bow Thslides 19 De cin 13 .the Spr FthirdiddleS opartlo3 Sa areve as anv7. unusual feature of followed by a short up/down and then the reverse) S 3Tom’s1 May 1 version4. Extend tando 7th aresyste mnot. Sa vpresente as v8. in Skinner’s is used by Tom throughout the first part of variation as prepared in manuscript by Gavin Flouers O Edinburgh and again in the third part of Greig (1900) for publication in the Harp and East Neuk O Fife. Claymore Collection. The tune naturally ends on

– 53 – Tom Hughes: Fiddle Style of the Scottish Borders

TomH_2_3_FarewellToWhisky14 SprFiddleSolo3 with Jazz Coule 7.2/8.0/9.0 15/15/15/15/ & 20/10 Farewell to Whisky cd 23 q = 190 ≥ %≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ 3 j ≤ ≥ 3≤ ≥ ≤ ≤ #2 œ œ 3 j œ œ œ œ œ & 2 œ™ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œe œe œ œ 3 J O œO O™ O œO O J O 5 1. ≤ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥ # ≥ œ œ ≥ ≤ ≥ œ ≤ j ≥ j ≤ ≥ ™ œ œ œ œ œ œ ™ œ œ œ ™ ™ & O œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O O œO O™ O O O™ 9 - 2. ≥ ≥ ≤ ≥ ≤ ≥ ≤ ™ œ≥ ≤ j ≤ ≥ ≤ ≥ ≤ j ≥ ≤ ™ œ≥ ≤ # œ œ ™ œ œ œ œ œ œ œ & œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ ™ O O O O O O 13 j ≥ ≥ j ≤ ≥ ≥ ≤ # ≥ ≤ ≥ œ≤ œ œ ≤ ≥ œ≤ œ ≤ ≥ ≤ ≥ œ ≤ j œ œ œ œ œ œ œ œ œ œ œ œ œ & O O œ œ œO O 1. 2. Fine 16 < > ≥ U D.S. al Fine ≥ j ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ # ™ œ j ™ ™ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ O ™ œ O -O O O O

TomH_2_3b_Roxburgh11 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 CRoxburghorfu F 31 May 13 :Castle Save 5s as V6. Use open note heads. Amend some of the gracings to match sound. Temcdpo 23to 180. Use some slash notes to indicate triplets in bar 3. Make the notes even in bars 7 and 17 and add tenuto. Check all the gracqin g=s a1n8d0 make several single not double. Add ties in bars 8 & 19. This all works much better. Style 1 decision: Show or hid≥e DS al Fine. 3 1 Oct 13. Ame≤nded pe™r CM. ≥Listen carefully to solo≤ (V≥12) and as used. Ce≥hange several gracin≤gs, change g≤racing # # O™ ≤ œ O ≤ ≥ ≤ ≥ œ œ O ≤ ≥ ≤ œ ≤ O≥ œe≤ ≥ L 1 ≥™ 2 œ œ œ œ 1 e ™ œ slu&rs. R#ese2t baOr 3 intœo stanœdarOd tœriplœet sœtyle. Reposition teœnutœo toœ above & belowœ for claœrity iLn bœears œ7, 15œe. Saveœ as œv8. W 30 Oct 13. Aœmend CMJ2. Remove the doOuble indication of tenuto.O Correct note in bar 3. Save a-s v9. T5 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v10. ≤ ≤ ≥ ≤ ≥ S 1 Mar 14. R≥egularised≥ bar numbers: 8j/8/16. Sav≤e as v12. œ ≥ j # #L ™ ≤ œ O ≤ ≥ œ ≤ ≥ œ œ≥ O≤ ≥ ≤ œ≥ œ œ œ≥ ≤ ≥ ≤ œ ≤ O ™ S 31 M#ar 14. œAœdd inœ DSO alœ Finœe &œ Fine. œRemœove last ﬁsnœishœ baœr. O œ œ œ œ œ œ & J O 9 œ≥ œ≥ ≥ ≤ # # ™ œ≤ œ œ œ œ œ œ œ œ œ œ œ≥ œ œ œ œ L 1 e ≥™œ≤ & # œ œ œ œ O œ œ œ L 1 œe œ œe ™ œ œ

13 ≥ ™ ≥ ≤ ≤ ≤ ≥ ≤ ≥ ≥ # #L ™ ≤ œ O ≤ ≥ ≤ ≥ œ≤ œ≥ ≤ O≥ ≤ œ≥ œ œ œ œ≥ O≤ ™ # O œ O œ œ œ œ œ œ œ œ œ œ O œ O & œœ J œ O œ œ

– 54 –

Corfu F 31 May 13: Save 4s as v5. Open note heads. Tempo to 180. Even up the timings in bars 2, 3, 5 &14 to match as played. Remove top A in bar 3. Add tenuto in bar 5 W 2 Oct 13. Amended. Added open strings in bars 1, 5, 14 (as original LP transcription). Repositioned up bow in bars 4, 13. Removed C# in note 7 bar 11. Kept open E in bar 14 (optional if 3 strings possible). Save as v6. W 30 Oct 13. Amended as per CM2. Tenuto below in bar 4 and also add ﬁngering. Remove double stop E bar 8. Replaced line slides with Coule. Save as v7. T 21 Nov 13. Title to 21pt.Temp to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v9. T 17 Dec 13. Applied SprFiddleStyle3 with 16pt Coule as Jazz Scoop for slides into unisons etc. Save as v10 S 31 May 14. Extended to 5 systems. Save as v12. 7: Country Dances & Reels

Farewell to Whisky/ Roxburgh Castle Composed around 1800 by Niel Gow as a lament The down-driven bow is used in several places in for the prohibition of whisky making in 1799, the first tune – bars 7, 8, 16 and 18 and, as usual, Farewell to Whisky was quickly accepted into the Tom includes plenty of double string work and traditional music repertoire both as a country the occasional Scotch snap and snap bows. The dance tune and as the tune for several songs. The second tune, Roxburgh Castle, includes a couple Atholl Collection (1884) refers to the tune as a of double stop slides, and down beat accents are ‘Scotch Measure’. Tom and his father played the used leading into the final bar in each part – an two tunes in a set as here for the country dance accented down-bow followed by three notes taken Roxburgh Castle, which was still popular in the with an up-bow slur as in bars 7 and 15. Border counties in the 1920s. V3_HighRoadToLinton(Slow)7 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 High Road to Linton cd 13

q = 140 (Slow version)  U j ≤ ≥ ≥ j ≥ ≤ j # ≤ ≥ ≤ ≥ ≤ œ œ≥ œ œ ≤ œ œ œ œ ≤ œ œ œ ≥ ≤ ≥ ≤ œ œ≥ # 2 œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ & # œ J 3 J 3 J œ 4 J 3 J 3 3 3 J 3 6  j ≤ ≥ ≥ ≥ ≥ j ≤ ≥ ≥ # œ œ œ ≤ œ œ ≤ ™ ≤ ≤ ≥ ≤ œ œ≥ œ œ ≤ œ œ œ œ ≤ # œ œ œ œ œ O ™œO O œ œ œ 3 œ œ œ œ œ & # O O J O œ œ œ œ O J O J 3 J 3 3 3 J 3 3 12 j ≤ ≥ j ≥ ≥ ≤ œ œ≥ œ ≥ ≤ œj œ œ≤ œ≥ œ ≤ ™ 21_Hig#hR#oadToLintonœ10 SprFiddle≤Solœ≥o3 7œ.2/8œ.0/9.0 15/15/15/œ≤15/ &œ 20œ/10 œ œ O O # œ œ œ O O O œ œ œ œ & 3 3 J 3 3 J 3 q = 160 A (Regular version with variations) ™ ( ) ≤ œ 3 œ≥ œj ≥ ≤ ≤ œ œ≥ ≥ ≤ œ œ≥ ≤ # # ≤ ™ ≥ ≤ ≥ œ 2 e ≤ œ œ ≥ œ ≤ ≤ ≥ œ e PS 6 Feb 1#3: I 4am nœot convincœed thœat theœre may not also be otœher snap bowings: lasœt pair of notes in baœrs 1, 3 œOand pœerhaœps 7. But the main œ snap& bowings a4re as shown bars 2 & 6 anOd if this works then that is ﬁneO. It would be niceO to make a setting to suit for theO second part of the tune! B S 246 Oct 13: Amended bar numbering (from 0), grace note slur positions and slur bar 2-3 and manual tie e-e bars 4-5. Save as v3. Th 19 Dec 13. SprFidœdleSolo3. ≤In 3 systems Save as Slow% v5. ≥ ≤ œ ≥ ≥ Th 19 De#c 1#3. Inœ 4 systems≥. Save as Slow v6. Better. ™ ™ œ œ ≥ ≤ ≥ ≤ # œ œO œ œ O ™ ™ œ œ œ œ œ œ œO œ œ œ W 5& Feb 14. Converted to 2/4 to make layœout betœter. œ œ œ Recordings: A# V37 on Video1 comprises talk and a slow and fast version of thetune. The slow version is transcribed from here and this will be on the CD. 21a Tom talks of learning his ﬁrst tune. Also a good fast version of the tune transcr≥ibed and toF bien inecluded on the CD. On ELdOrig4 ≤ ≥ 1e ≤e 3 ≤ 3 ≥ # ≥ œ ≥ ≤ ≥ ≤ ≥ ≤ œ ≤ 1 ™ ™ ≥ ≤ ≥ 2 œe eœ œ ≤ # œ œ œ œ œ œ œ œ œ ™ ™ œ œ œ & # œ œ œ œ œ œ O D.S. al Fine 10 L ™ L œj ≥ ≤ ≤ œ œ≥ ≤ œ œ≥ ≥ œ≤ ≤ ≥ ≤ # # œ œ œ≥ œ ™ œ≤ O≥ ≤ œ≥ œe e œ≤ œ œ≥ O œ O O ™ & # O O O œ œ O œ œ œ œ

High Road to Linton Tom remembers working out this, his first tune, the first part at a slower speed. In the regular

onM 1 his1 No newv 13: Ufiddlepdated f roatm the earl ieager tra nofsc riaroundption. Cu t seven.back fro m v3 to givspeede the ess eversion,nce of Tom double's playing stopsin this randecord iringingng - 21a. P rstringsobably la y Usuallyout on the pplayedage with tashe salo reel,w vers iTomon (v3 _HsometimesighRoadToLi nplayedton) abo ve. Incluarede t hfeaturede two recor dparticularlyings one followi ning t hthee ot hvariationser on the CD. (A#).Bowings indicative. Top G sharp is variable, sometimes midway to the ﬂat 7th. Save as V4 in 3 systems. S 16 Nov 13. Unlock format to 4 systems. Tidy and save as V5. T 21 Nov 13. Title to 12pt/12.6pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e S–p r55Fid d–le Solo2. Save as v6. 19 Dec 13. SprFiddleSolo3.Save as v7. Su 9 Feb 14. Corrected grace notrs bars 2, 10. Added A, B, A# rehearsal marks. Save as v8. Recordings: V3 on Video1 comprises talk and a slow and fast version of thetune. The slow version is transcribed from here and this will be on the CD. 21a Tom talks of learning his ﬁrst tune. Also a good fast version of the tune transcribed and to be included on the CD. On EdOrig4 TomH_2_6_MorpethRant13 TomH_2_6_MorpethRant13

Tom Hughes: Fiddle Style of the Scottish Borders

TomH_2_6_MorpethRant15 SprFiddleSolo3 7.2/6.5/10.25 The Morpeth Rant cd 27,28

Second ﬁddle

™ ™ ™ œ œ œ œ œ œ œ œ q = 205 spicc. ≤ > ≥ > ≤ > ≥ > ≤ > ≥ ≤ ≥ # j ≥ ≤ Æ ≤ ≥ Æ ≥ ≤ Æ ≤ ≥ Æ ≥ ≤ Æ j ≤ 2 œ ™ ™ j ™ œ œ & 2 œ œ œ ™ ™ œ e™ ™ ™ œ œ œ™ œ œ œ œ œ œe œ œ O œ œ œ œ œ O™ œ œ O œ O œ O œ O 4 > > > ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤Æ > ≤ ≥ ≥ Æ # j œ ≤ Æ ≤ ≥ Æ ≤ & œ O œ œ œ œ œ œ œ ™ ™ œ e™ ™ ™ ™ œ O O œ e œ œ œ œ œ œ œ ™ œ œ œ œO O œ O œO 7 ≥ Æ ≤ ≥ ≤ j ≥ ≥ # ≥ ≤ j ≥ ≤ ≥ ™ ™ ≤ œ≥ œ œ≤ œ ≥ ≤ ≤ j œ œ ™ ™ œ œ œ & œ œ œ œ œ œ œ œ œ O œ œ œ O O œ O O O O 10 > >  ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ # j ≥ j ≤ ≥ ≤ ≥ ≤ œ œ œ œ e™ eœ œe œ j e™ eœ œe & œ œ œ œO œ œ œ œ œ œ œO ™ œ œ œ œ œ œ œ O œ œO œO O œ 1.2. Last Time 14 ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ≤ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ ≥ ≤ ≥ # œ ™ œ œ œ ™ e E & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ O O O O O O The Morpeth Rant The Morpeth Rant is still a well known long-ways The commonly published tune, dating back at spicc. spicc. spicc. spicc. country dance in Northumberland with its own least to the 1700s is different from Tom’s Border , , , distinctive ‘rant’ steps. Until ≥the 1930s it≥ was ≤ version, particularly≥ in the second, ≤part. However, also popular# North≥ of the≤ BorderÆ in≤ the rural Æ ≥Tom had≤ neverÆ heard≤ any other≥ tuneÆ than the 2 ™ ™ e™ ™ ™ ™ valleys of& the 2Kaleœ Waterœ andœ ethe BowmontO œ onœ œlocally knownœ œone œuntilO he™ heardœ theœ ‘new’ version the northern slopes of the Cheviot.œ Tom learned Oon œthe radio playedO byœ Jack Armstrong and his the tune from his father and often played it for the Barnstormers (perhaps in the late 1940s). dance at weddings either with his father or with his own band, the Kalewater Band.1 The rhythm of the rant is distinctive, with Corfu M 3 Jun 13: Listened very carefully to 32 using Transcribe. Made a itsnum slightlyber of cha nsyncopatedges to match as formplayed . –T ethempo staccatoto 210. Note to refer to spiccato bowing. semiquaver often following the dotted quaver 1.Su 3 TomNov 1 remembered3. Listened to T playingom solo vforers iothen V Morpeth14 and re tRanturned with to vid eo transcription as in original LP Book. Settled on simpler hisbow fathering lead atin gthe to bschoolar 14. U hallse o satsia Kirkton staﬀ to sh nearow 2 nHawickd ﬁddle a whenlternat ives. Saratherve as v1 3sooner. Tempo 2than05 in t hindicated,e Tom solo. giving an internal theyM 4 N wereov 13 at. A Thedded Orchardlast time e n(1921-26)ding. Save aands v1 4later. at Whitton triplet rhythm to the beat (i.e. 2:1 rather than village hall in Hownam up the Kale Water when they T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/7.5/10.25 - unique SprFi3:1)ddle_ M Tomorpeth .plays Save a sthe v15 staccato semiquaver with a were at Chatto (1926-31). The dance was still part of the Versions: bounced bow – that is, spiccato. The emphatic repertoire when Tom had the Kalewater Band when he and hisV14 family To edit Vwere14.1 atfo rChatto new CD and. Tom they Solo played at Mowhaugh rhythm with accents on the first and third beat up32 T the&W Bowmont & Sid used Wateron LP. and at Pennymuir between the of many bars suits the percussive stepping headwaters53 T&W & Si dof. 5the3.4 Oxnamis best bu tand not Kaleas goo Waters.d as 32. movements of the rant dance. V65 T& W on Lilliesleaf video/tape. Fun recording with bar noise and table tapping.

– 56 – 7: Country Dances & Reels V6_SoldierV'sJ6o_Sy8o lSdpierrF'siJdodyl8e SSoplroF3i d7d.2le/8S.o0l/o93.0 7 1.25//81.50//195.0/1 155 &/1 52/01/51/015 & 20/10 The Soldier’s Joy cd 30

q = 200 q = 200  ≤ ≥ ≤ ≥ ≥≤ ≤≥ ≥≤ ≤ ≥. j≥≤ ≤ ≥ ≥j.≤j ≥ j ≤ ≥ ≥≤ ≤≥ ≥≤ ≤ ≥. ≥≤≤ ≥ ≥.≤ # 4 # ≤ œ œ œ œ œ ≤ ≥ œ ≤ j  ≤ ≥ ≤ # #4 œ œ œ œ 1 j & 4 œ&œ 4œ œO œ œœœ OœO œœœO œ œ œO œœœœ OœO œœœ Oœ œ œœ1 œ œ O œ œ Oœ œœ Oœ OœO O O œ Oœ œœ œ 1 œeœ œe e1 œe œe œe O œ O œ O O O O O œ O œ O O 5 5 ≤ 1. 1. 2. 2. ≥ ≤ ≥ ≥≤ ≤≥ ≥≤ ≤ ≥. j≥ ≤ ≥≤  ≥ œ ≤≥ ≥ œ≤≤ ≥ ≤ ™ ™ ™ # # œ ≤ ≥ .eœj ≤ œ≥ eœœ ≤ œœ≥ œœœ≥ ≤≤ ≥ œ≥ ≥≤≤ ≥ ≥™ ≤ ≥≥≤ ™ ≥ ≥ ≤ ≥ # œ O # œœ OO œœO œ œ œ œ œ œ œ O œœOœ œ œœœ eœ œ œœeœœ eœ™œ œ eœ™ & O &œ œ œ OOœœœœœœ OOœ œO œO O O O O O O O 10 10 j  j  œ ≤ œj ≤ ≥ ≤ ≥ œ ≤ œj ≤ ≥ ≤ ≥ # ™ œ≤ # œ≥ ™ œ≤œ œ≥œ≥œ œ≤œ œ≥ œœ≤ œœ≥œ œ≤ œ≥ œ œ œ œœ œ œ≥œ œœ œ≥œ≥œ œ≤œ œ≥ œœ≤ œ œ œ≤ & # O # O O O œ œ œ œ œ œ O O J& J 13 13 j j ≤ ≤ # ≥ # ≥ œ œ≥ œ≤ œœ≥œ≥ œ œ≤œ œ≥œ≥ œœ≤ œ ≥œ≥ œ≤ ≥ œ œ œ œ # œ œ #œ œœ œœ œœ œœ Oœ œ œ œ O œ œ œ œœ œOœ œ œ œœ œ & & O Oœ O O O 16 1.21.6 1.2. Last TimeLast Time ≤ ≤ ™ ™ ≥ œ ≥ ≤≥ ≥œ ≤≥ ≥ ≤ ≤ ≥ ≤ ≥ ™ ≥ œ ≥ ≥œ ≤ ≥ 2 ≤ ≤ 2 ≥ 2 # œ #œ œ œ œœ œ≤ ≥ œ ≥ ≤ ≥ ≤™ œ≥ œ™ œ œ œœ œ ≥ œ ≥ 2 ≤ ≥ # œ œ œœ œœ œ eœœ™ œ œ œ œ œœ ˙œ 1 E˙ ˙ ˙ # O O œ e ™ O O E œ E 1 E & & O O

Fig 7.1 Link from Lady Mary Ramsay to The Soldier’s Joy ≥ ≤ ≥≥≤ ≥ ≤ ≥ ≤ ≤≥ ≤≥ ≥≤ ≤≥ ≥≤ ≤≥ ≤ ≥ ≤ # ≤ ≤ 0 ≤ ≥≤ ≥ 4 j # ™ ™™ ™ 0 2 j j # #4œ j ™1 1 e ™ 3 13 ™ 1 ™ 2 & 4 & œ œ œO œOœ O 1L O 1 e L œ œ Oœ œ œO O œ O œ 4 œ œ 1 œe 3 œ e 3 œ œ œ œ œ œ œ œ œ œ O O O O œ 1 œœœœ-œœ œœ -œœ O œ O O œ œ O œ

Soldier’s Joy There could hardly be a traditional fiddle player century Dorset from his novel Far From the from Shetland to Cornwall or in North America Madding Crowd has already been quoted that: who did not or does not know The Soldier’s Joy: It “... three-quarters of an hour of thunderous T 4 Feb 14is. LTperhapso o4k Fedeb a 1g a4thei.n L ao tomost tkraends ac grpopulariapinti oant .t rMan aandstcrhiep dtwidelyi obno.w Minag tsknownc htoe dV 6b osow oflion. gTs hteo footing,VB 6p saortlo i.s T o(tohnely BThe p plaayr etSoldier’sd i so onncley inpl atJoy)hyiesd V o6 nstill rceec oi npossessesr dthinisg V6 r emorecordi ng but I have alltrabn fiddleusct rIi pheadv eatunes str iafn pslca ryi–ep deand dt wais c iealmostf wpliathye tdh einvariablytw aiccteu awl iethn dthi neasg a schthereuoawl ne ninads ian gla sstimulativeht otiwmne aesn ad ilnags t.properties Ttimhies iesn adsi np gforla. yTe hdthei si ni s Vheel a4s6 p. landayed toein V than46. the Su 23 Marthe 14S.u Akey 2m3e Mnofdae rD.d 1 a4 f.t eArm liestnedneindg a tftoe Vr 4li6st.e In cinogu ltdo Vge4t6 W. Ia tctoieu tlod pgelaty W thatitsi.majoritye S taov ep laasy vt6 hof.i sC . otherShavneg ea ddances.”s vb6o.w Cinhga nd gireedc tbionwsi.n Tgh dei rections. The incipit is actuianlclyip pitla iyse adc tduoawllny /pulpa yaefdte rd oawn nu/pu pb oawft eart aenn du po fb Lowad ayt Menadr yo fR Lamadsya yM (aorry w Ritahm twsaoy u(opr b woiwths taws os huopw bno iwns t hase shown in the transition).According Bturta nmsaitrikoend) .h toBeur eFrancist masa srlkuerd u hpCollinsone breo wa.s Tslhuerr ue p(1966)w bilol wbe. T n hothee sroe u wfirstnidll ﬁblee nwoi tsho utPerhapshnids. ﬁle wi tah dancethis. in the Scottish Borders in the Recordingsappearance: Recordings: in print of the tune is in Joshua early 20th century with the Hughes Family Band V6 Lady MCampbell’sarVy 6R Lamadsya yM ( a11778r6y0 R)/ aSm Aoslda Collectionyie (r'1s6 J0o)y/ (S2o0l 0dof)ies .rthe ' sT Joo mNewesty (s2o0lo0.) Ss .pand Teeodms usopl ofr. oSmpwas e1e8d0s not utop 1f 9rsoo0m. different. 180 to 190. V46 Flour Bestof Vth4 e6Reels QFuloeur nrand /o Lf tah dMinuetsey QMuaerryn /R Lawithmadsya yM Improvements, (a1r6y0 R)/ aSmosldayie (r'1s6 J0o adapted)y/ (S2o1l0d)ie. r T 's &JoWy (210). T&W for the Violin or German Flute. Tom often also played the tune as part of a strathspey/ reel set providing the music for the It was one of the first tunes Tom learned from old Foursome Reel – the strathspey Lady Mary his father and it was played in the family band Ramsay (page 65) leading with a small increase of ca. 1915 – two or three fiddles, whistle and in tempo into the reel of Soldier’s Joy (Fig 7.1) – tambourine for the dance Soldier’s Joy. Thomas no doubt danced at that time to the “thunderous Hardy’s description of a village dance in 19th footing” of tackety boots on the barn floor.

– 57 – Tom Hughes: Fiddle Style of the Scottish Borders

V40_TheTriumph6 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 The Triumph cd 31 q = 180

≤ ≤ ≤  ≤ # œ ™ ≥ ™≤ ≥ j ≥ ≤ ≥ œ œ œ ≥ œ ≥ ™≤ ≥ j ≤ ≥ ≤ ≥ j ≤ ≥ œ # 2 œ ™ œ O O O œ œ≤ œ œ œ O O O œ œ œ œ & # 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 ≤ ≥ ≥ ≥ ≥ ™ ≥ œ≤ œ œ ≥ œ ≥ ™ ≤ j ≥ ™ ≤ # # œ O O≤ O O≤ O ™ ≤ œ œ œ O ™ O O≥ œ ≤ ≥ ≤ O≤ O™ j & # œ œ œ œ œ œ œ œ œ O œ œ œ œ œ œ œ œ œ œ œ 9 ≥ j j œ ™ j # # ≥ œ ≥ œ ≥™ ≤ œ œ≥ ≤ ≥ ≤ ≤ ≥ œ # œ œO œ œ œO œ œ™ œ œ œ œ œ œ O™ œ œ œO œ & œ O O œ O O O J O œ J œ O O 14 ≥ j œ ™ # # ≥ œ ≥™ ≤ œ œ≥ ≤ ™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # œ œO œ œ™ œ œ œ œ œ œ O œ œO œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ O O O J œ J 19 ≤ œ ≥ ≤ ≤ # # ≥ ≤ ≥ ≤ œ≥ œ œ œ≥ O≥ ≤ œ≥ ≤ œ ≥ ≤ ™ ≥ ≥ ≤ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ 23 1.2. Last Time ™ ≥ ≤ ≥ ≤ ≥ E≤ # # ≥ ≤ ≥ ≤ œ œ œ œ≥ œ≤ ≥ ≤ œ œ ™ œ≤ ≥ ≤ j œ ™ # œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ & O O

The Triumph Scotland and the United States. Folk Music Journal Checked with Transcribe! PS. Wed 13 Feb 13 WhenSnap bo wTomings in firstdicated startedwhere mo rplayinge likely th anfiddle separate withup/do wthen or slur. 8.1 (2001). familyF 8 Nov 1band3. Rem inove thed a c o1920suple of dTheouble Triumph stop transc rwasiption often errors. Lined up the bowing marks. Added ties. Tidied up. Saved as v3. Check B's thetailu pfirst or do wdancen. of the night at village hall and The Huntsman’s Chorus kirnT 21 Ndances.ov 13. Tit l eA to longways21pt.Tempo tseto 12 dance,.6pt. 7.2/ 5it.5 /became9.0 i.e Spr Faid dleSoloA2. longwaysSave as v4. dance for 4 to 6 couples, The popularTh 19 Dec country19. SprFid ddanceleSolo3. throughoutSave as v5. the country in Huntsman’s Chorus was popular in the Borders theReco 1800srdings: after being introduced to the London in Tom’s youth. Tom learned the tune from his ballroomsOnly one take :near V40 a sthe here end. Use oofn CtheD. 18th century. The grandfather. A version of the traditional music tune was first published in England in 1790 with and the dance was collected in Yorkshire by Leta versions published in Scotland by 1796 and an M Douglas and published in 1901 in a small edition by Nathaniel Gow in 1805. collection of folk dances entitled Six Dances of the Yorkshire Dales. Tom’s version of the tune is from his family tradition and differs in minor ways from earlier The music started life as a chorus in the 1821 published versions. Sometimes published as opera Der Freischütz (The Marksman) by Carl Lady’s Triumph it is by this title that the dance is Maria von Weber, later finding its way into many known today in the United States. fiddlers’ tune books in the 19th century. It became a staple in the repertoire of English folk An interesting study has been published by dance bands and variations of the dance have Christopher Walker: ‘The Triumph’ in England, been popular in North America.

– 58 – 7: Country Dances & Reels 21_Huntsman'sChorus6 SprFiddleSolo3 with 16pt Jazz Coule 7.2/8.0/9.0 15/15/15/15/ & 20/10 The Huntsman’s Chorus cd 12 q = 186 ≥ ≤ % ≤ ™ ≤ ≤ ˙≥ ≤ œ œ≤ œ≤ ≥ œ œ ≤ # 2 œ j œ≥ œ œ œ œ œ œ œ≥ œ≥ œ œ œ œ œ≥ & #2 œ ™ œ O O O œ O 3 5 ≥™ ≤ ≥ ≥ ≥ œ # j ≥ œ≤ œ œ ˙ œ≤ œ œ œ≤ œ œ œ≤ œ≥ ≤ ≥ ™ # œ™ œ 3 ˙ œ & O œ J 9  2 ≤  ≤ œj ≥™ ≥™ L ™ ≥ ≤ ≥ ≤ œj ≥™ # œ œ œ≤ œ≥ œ≤ ≤ ≥ L 1 eœ™ œ œ œ ≥ j ≤ œ œ œ≤ œ≥ œ≤ # ™ œ œ œ œ J œ œ œ ™ & œO O J œ œO O O 15   ˙≥ ˙≤ ≥ œj ≤ ≥ ≤ œj ≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ## ˙ œ œ œ œ ˙ œ œ œ & O J œ œ œ œ œ O 19 # ≥ ≤ ≥ ≤ ≥ œ≤ ˙≥ ˙≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ≤ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O O 3 œ O O 3 23 1.2. Last Time ≥ ≥ ≥ ˙ ≤ ≥ ≤ ˙ ≤ ≥ ≤ ˙ œ œ ≤ j ≥ -% j ≥ ≤ # œ œ œ œ ˙ œ œ w w & # œ œ ˙ œ 3 3 w w V68_PopGoesTheWeasel5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Pop Goes The Weasel Classical tune: http://classicallife.net/2011/12/16/carlos-kleiber-conducts-the-huntsmens-chorus/ q. = 160 Layout completed Fri 22 March 13. Bowings adjusted for V2 Sat 23 Mar 13. Der Freischütz (Th≥e Marks≥man or The Freesho≤oter.) is an≥ ope≤ra in≥ thre≤e acts by Carl ≥Maria von≥ Web≤er w≥ith a≤ # ≤ ™ ≤ ≤ ≥ j œ ™ ≤ j libret6to by Friedrich Kiœnd. It preœmierœed oœn 1œ8 June 18j21 at theœ Schausœpielhœausœ Berlin. It is cjonsidereœd the ﬁrœst & 8 ™ œ œ J œ œ œ J œ œ œ J importanœt GermanO RomJantic opera, especially in its œnationOal identity and stark emotioOnalitœy. TheO plot is based on 6the German folk legend opfi zthze Freischütz and many of its tunes were inspired by German folk music. Its unearthly portrayal of the supernatural is especially poignant in the famous Wolf's Glen scene. ≥ Æ ™ ≥ ≥ ≤ ≥ ≤ ≥ œ ≤ œ œ ≥ ≤ Th #3 Oct 13. Renumberedœ bars from≤ 0. Tiœdied™ up an™d addœed ﬁœngœeringœ to gœracingœs in bar œ12. Saveœd asœ v3œ. œ œ œ œ ‰ œ œ œ œ J O J œ J J O O &M 5 Nov 13. Revœised for style, bOowinJgs, coule slidœes ™bar 13, tenuto in bar 27, checked speed at 186. SaveJ as v4. T 21Nove 13. TiOtle to 21pt. Tempo to 12.6pt. 7.2/5O.5/9.0 i.e SprFiddleSolo2. Save as v5. 12 pizz Recordin™gs: ≤ ≥ ≤ ™ ≥ 1. 2. ≥ 21 T#&Wœ≥EdOrig3≥ Tom œsolo. The o≤nly recordinœg. Uœse on CDÆ. ≤ ™ ≥ ≤ ™ ™ e™ ™ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ j ™ œ œ œ ™ & O J O œ J œ œ J J J O O œ Pop Goes the Weasel Published in London as a new dance in 1853, Pop has long been a show piece for country fiddlers Goes13 Ma rThe 13: TWeaselranscribe drapidly. Bowing sbecame assessed. very popular, with the fiddle often being flourished when the soon28 Oct acquiring13. Amended theas pe rwell CM. known words and pizzicato open string notes are plucked. 12 Nov 13. Added title and pizz symbol. Check with Transcribe for open strings. Save as v3. becoming a childrens’ singing game. The tune 21 Nov 13. Title to 21pt.Tempo to 12.6pt 7.2/5.5/9.0 i.e SprFiddleSolo2. Make a dotted note with Opus text 'q' Save as V4. 19 Dec 13. SprFiddleSolos3. Save as v4 – 59 – Recording: V68 Vid5/Video4. One recording only - very noisy in Lilliesleaf pub. Bowing indicative. No good for CD. Tom Hughes: Fiddle Style of the Scottish Borders Strathspeys & Schottisches

he music for the old foursome reel with a polka step. When this older Common comprised two sections – starting with a Schottische of the early 1800s danced with Tstrathpey reel in dotted time that is said polka step was adapted to create the Highland to have originated in the Gaelic-speaking Strath Schottische in the mid 1800s with reel stepping, Spey of the central Highlands around 1700, the tunes that were used were the old traditional followed by a section in 4/4 reel time. Around strathspeys – but played a little faster and with the 1800 a dance developed in Europe, the Écossaise emphasis on the first and third beats of the bar or the Schottische in 4/4 time, that was almost rather than the more even pulse of the strathspey. certainly inspired by the strathspey but danced TomH_1_2_BraesOMar(T&W)20 Style: BraesOMar 7.2/7.5/10.25

Braes O Mar (solo) cd 02

Alternative on repeat ™ ≤ ≥ ≤ ™ ™ ™ œ œO œ œO™ A q = 165 ™ ≤ %™ ≥ ≤ ≥™ œ œ ≤ ≥ ™ j ≤ ™ ≥ ≤ ™ ≥™ # 4 ™ ™ ™ œ œ œ™ œ œ œ œ œ œ & #4 œ œO œ œ™ œ ™ O O œ œ™ œ œ œ™ œ O. O O O O O O 1. 2. 3 ™ ≥ ™ ≤ ≥ ≤ ≥™ ≤ ™ ≥ œ≤ œ œ ≥™ ™ ≥ œ œ œ ≤ ™ ≤ ™ # ™ ™ œ œ œ™ œ œ ™ œ™ œ œ≤ œ ™ œ ™ œ™ œ œ≥ œ & # œO œ™ œ™ œ ™ O O O O O O œ O O O O ™ O O O O JO B 6 ≤ ≤ ≥ ™ ™ ™ 2 ≥™ ≥ ≤ ™ ™ ™ ≤ œ œ œ ≥™ ≤ œ≥ 2 ≤ œ œ œ≤ ≥™ œ≤ œ œ œ œ œ≥ ≤ ≥™ ≤ œ≥ # ™ œ œ œ ™ œ 1 e e e œ œ œ ™ œ & # R O O œ O O œ œ O O

C (Bracketed notes added on repeat) 9 ™ ≥ ≤ œ œ œ ≤ ≤ ™ # œ œ œ œ≥ œ ™ : r; ™ ≥ ™ ≤ ™ ≥ ≤ ™ # O O ™ œ œe™ œe™ 2 ™ œe™ & œ œ 2 :œe™; œ 3 JO œ 11 2 1. 1 2 ≥ ≤ ™ ≥ ≤ ™ ≥ ≤ ≥ 2 ≤ ≥ ≤ 1 2 ≥ ≤ ™ ## ™ e™ ™ e ™ j ™ ™ e™ e ™ ™ & œ œ œ œ œ œ œ œ™ œ œ œ œ œ O œ œ ™ œ œ œ O œ œ :œe™; œ O œ œ œe œ œ :O™; :O O™; :O; O œ O™ 13 2. Last Time rit. # ≥ ™ ≤ ≥ ≤ % ≥ ™ ≤ ≥ ≤ ≥ e™ ™ e™ ™ 1 # œ ™ j œ ™ 1 e 3 E & œ œ O œ œ O ™ œ O O 3 L 3 œ œ œ 1 O O œO™ O œ œ œ œ ˙

– 60 – Tom solo version from Video V8. V8_BraesOMar_nr.aif Noise reduced and edited. Ready for ﬁnal studio work. Solo version A/B/A/C// (twice) V8_BraesOMar Tom and Wattie version 2 Braes O Mar Save as (T&W)v20 A/B/A/B&C/A/B&C/A/B// 8: Strathspeys & Schottisches

cd ToBraesmH_1_2_ BOrae sMarOMar 1(duet)9(duet) S tyle: BraesOMar Set at: 7.2/9.0/12.5 02 (Duet section from Tom & Wattie) q = 165 B Fiddle 1 ≤ ≥ ° ≤ ≥ ™ ™ ≥ ≤ ™ ≤ ™ œ≥™ ≤ ≤ œ ™ # 4 œ™ œ ™ œ œ œ œ œ™ œ œ œ œ≥ œ œ œ≥™ œ œ & #4 ™ C Fiddle 2 ≤ ™ ≤ ≤ ≤ ≤ # 4 œ ™ ≥ ™ ™ ≥ ™ ≥ ™ ™ ≥ ™ ™ ¢& #4 ™ œ œ œe™ œe™ œ œ™ œe™ œ œ œ œe œ œ œe œ O œ O™ œ O™ 1. 2. 3 ≤ ≤ ™ ≥™ ≥™ ≥ œ ≤ ™ ≥ œ™ œ ™ ° # œ œ œ œ≤ ≥™ œ≤ œ œ≤ œ œ œ œ œ≥ ≤ ™ œ œ œ œ œ≥ ≤ & # œ œ ™ œ

2 1 2 ≥ ≤ ≥ 2 ≤ ≥ ≤ 1 2 ≥ ≤ ≥ ≤ ≥ ≤ ## j ™ ™ ™ ™ ™ ™ ¢& œ O œe™ ™ œe™ œ œe œ œ O™œ œ œ œe œ O™œ œ O œ œ œ œe™ œ O œ œ œ œ O œ œ œ O O œ e O O O The Braes O Mar TThe&W D tuneuet ver sTheion. T Braesom take sof lo wMarer pa rist. Waa tfavouritetie the uppe rold part . high and low alternative second parts played Wstrathspey 11 Dec 13. A mthatende dwas to m consideredatch Wattie's ve roldsion owhenf the B firstupper part slightltogethery diﬀerent f rasom Tao duet.m's. Tpublished 17 Dec 13. A dbyde dRobert Rehearsa lBremner marks and D inue this Bra cAke tCollections. Save as v18 . Join bar lines. Save as v19 09of B Scotsraes of MReelsar/ Ta mand's U nCountrytitled Horn Dancespipe T&W (1757). 9.2 As us e dThe 1:2 The transcription of Tom’s solo version shows 39original Ditto Tom pipe Solo (tuneTH12 Aism psaidex) to have been played his varied use of Scotch snap – played with a slur Vwhen8/9 Ditt othe To mEarl Solo of& CMarhat. V 4raised8 Ditto Tthe&W .Jacobite V53 Ditto Tstandard&W USE: T om Sorolo with V8 on separatethe CD bow strokes (c.f. the snap at the and assembled the clan as at Braemar on Deeside start of bar 4 and its repeat). The forward inégale in 1715 before the march to Sherriffmuir. The note pairs are variably played with snap bow or song, The Standard on the Braes of Mar, was hack bow as in bar 6 – a slurred snap, a snap bow, written later by Alexander Laing (1787-1857) and a hack bowed pair and finishing with a down bow the traditional song Bonnie Lass Come Ower the on the dotted quaver with the final semiquaver Burn is also sung to the same tune.1 taken as a slur into a slide into a double stopped crotchet at the start of bar 7. In several old collections the high, second part (B) of Braes O Mar is referred to as the ‘old’ set, Extensive use is made of double stops and ringing and the low second part (C) (an octave below) open strings. In the low second part C of the as an alternative ‘new’ set. In Honeyman’s Tutor tune the use of open strings and double stops is (1898), and in several subsequent collections, the varied with addition of the low G open string on two sets have been combined so that the second the second time through the tune. part of the tune consists of the low part followed by the high part each played once. In the duet recording of Tom and Wattie where they are playing parts – and in the duet Tom and Wattie play Braes O Mar in the same transcription – the high B part is as played by way that Tom played the tune with his father – Wattie and shows his slight variations in the tune. the parts first played separately, followed by the

1. Jeannie Robertson (1953)

– 61 – Tom Hughes: Fiddle Style of the Scottish Borders TToommHH_1_1_6_6_S_SididlalawwHHililsls1122 S SpprrFFididddleleSSoololo33 7 7.2.2/8/8.0.0/9/9.0.0

Sidlaw Hills cd 10,11 qq == 1 14455 ≥™™ ≤ ™™ ≤ ≥≥ ≥ ≤ ≥ ™ ≤™ ≥≥ ≤≤™ 33 ## ≤≤ œœ œœ ™™œœ™ œœ œœ œœ ≥ ™™ ™™ ™™ ™™ ≥≥ ≤≤ 4 œœ ™ ™ œœ OO œ œœOO OO OO œ œœOO 33 ##4 œœ œ œ œœ œ œ 1 22 & 4 OO OO œ œœ œœ œ œœ OO 1 œee & 4 3 œœ 1 œe 22œeœe œ 3 1 œe nn 33 ≥ ≤ ≤≥ ™™ ≥≥≥™™ ≤ ≤≥™™ ≤≤ ≤ ≤≤ ≥≥ ≤ ™ ≤≤  ≥≥ ≥≥ ≤≤ ™ ≥≤≥™ ≥≥ ≤≤ œœ ≤ ™ ≥ jj ≤≤ œ œœ œœ œœ ™™ ™™ ## œœ œœ œ œœœœOO≥ OO œœ œœ œœ œ œœ œœ OO œ œœOO OO && ## œœ œœ OO œ œœ œœ œœ OO OO œœ œ œœ œœ OO OO 33 6 6 ≤ ™ 11.. ≥≥ ≤≤ 3 ≥≥≥≥ ≤ ™ ≤ ≥≥ ™ ™™ ≥≥ ≤ 3 ≥≥ ≤≤ œœ ≥≤≥ ≤≤ ™ ≥ ≤≤ ≤≤ ™™ ™ ## OO ™ œœOO™ ≤ œœ œœ ™ œœOO≥ L L OO OO œœ ™™ && ## œœ œœ œœ œœ œœ OO e œee œœ œœ OO OO œœ œœ œœ œœœœ œœ œœ œœ œeœe œœennœ OO OO 9 9 22.. ™ ≥≥ jj ™™ ≥ ™ ™™ ≥≥ ≥ ≤≤ ™ ≤≤™™ œœ≥≥ ≤ ≥ ≤ ™™ œœ≥ ≤ ≥ ≤ ™™ ≥≥ ≤ ≥ ≤ ™™œœœœ≥≥ ≤ ™™ ## œœOO≥ L L OO ™™OO ™ œœ œœ™™ œœ≤ ≥œœ≤ ™™ œœ≤ ≥œœ≤ œœ œœ≤ ≥œœ≤ œœ œœ≤™™ œœ && ##œœ œœ œœœœ œœ œœ OO OO œœ OO OO œœ œœ OO OO

13 13 ™™ ™™ ≤ ™™ ≥ ≥≥™™ ≤≤™™ ≥≥ œœ ≤ ≥ ≤ ™™œœœœ≥≥ ≤ ≥™ ≤ ≥≥œœ≤ ≥™™ ≤ ≥ ≤≤ œœ œœœœ ≥ ≤ ™™ ™™ ≤≤ ## œœ≤ ≥œœ≤ œœ™™ œœ≤ ≥™ œœ≤ œœ œœ≥ OO≤ œœ œœœœ≥OO≤ ™ œœOO™ && ## œœ OO œœ OO œœœœ œœ œœ OO œœ œœ œœ œœ 1166 ≥ ™™ ≥≥ 33 ≤ ≤≥≤ ≤≥≤ ≤≤ ≥≥ ≥≥ ™ ≤≤™ ≥≥ ≤ ≥≥ ≥≥ ≤≤ ≥≤≥ œœ ≥ ™™ ≤≤ ™ ## OO ™ œœ ™ ≤ ™™ œœ œœ OO ™ œœOO L L OO ™™ && ## œœ œœ œœ œœ œœ OO e œee œœqqœœ œœ OO OO œœ œœ œœ œœœœ œœ œœ œeœe œœennœ OO OO

Fig 8.1 Alternative start to the tune ≥™™ ≤ ™™ ≥ ≤ ™ ≥ ≤ ≥ ™ ≥™ ≤ ≥≥ ≤≤ ≥≥™ ≤ 33 ## ≤≤ ™ œœ™ œœ œœ œœ ≥ ≤≤™™ ™™ ™™ ™™ ≤ ≥≥ ≤≤ 4 OO œœ ™ œœ OO œ œœOO OO OO œ œœOO 33 ##4 œœ œœ œ œ œœ œ œ 1 22 & 4 OO OO œ œœ œœ œ œœ OO 1 œee & 4 œœ 1 œe 2 œeœe œ 1 œe 2 nn Sidlaw Hills The tune Sidlaw Hills was composed by Jim The forward inequality between the dotted WatsonSSeettitning g of T T Blairgowrie.2 244 M Maayy 1 133 i nin C TomCoorrfufu .picked .T Thhisis i sis upc clolo stheseerr t ottuneo t hthee s soololo r quaverreeccoorrddinin gandg t htha ansemiquavern t hthee t rtrioio. . is quite variable and fromTThh 5 accordionist5 D Deecc 1 133. .S Seepp aandarraatete dfiddlerd t hthee t iteies s Jockb beetwtw eeeThomsonenn g grroouupps s o ofof f4 4 n nootetiness. .Nplaces Nootete t ht hmovesisis i sis i nin t awayhthee p pipi pfromee s sccaal elae o 3:1onn A Aratio. .T Thhaa ttowards ti sis w witihth Cleuch-headﬂﬂaattetenneedd 7 7tht h around- - G G n naatut u1948.rraal.l .S So o t Tom’shthee k keeyy versions sigignnaatutur reise i sifilleds g giviveenn a ass anD D. . internal T Trrieiedd a a f uftripletulll lt rtraann srhythmsccrripiptitoionn (not (vv111 1shown)) a anndd t ht hineenn thea addd deedd t hthee withaaltlet erinterestingrnnaatitvivee s statarrt ttraditionala ass a ann e exxtrtraa s selementstatavvee a at tt hthe e –e enplentyndd. . of transcription – so the dotted quaver is sometimes Scotch snaps, snap bows, a triplet run where each shorter and the semiquaver longer giving a 2:1 fingerRReeccoor rdcoversdininggss:: two strings, a slide into unisons in triplet ratio. In the reversed inequality, the the last bar of each part, and the usual double semiquaver is often much shorter than shown and 3333 S Sididlalaww H Hilillsls/ /W Wifiefe S Shhee B Brreewweedd I It tT Toomm S Soololo 3 333.1.1,2,2 U Usseedd 1 1:6:6 stops and open strings that are an integral part of the dotted quaver longer giving the distinctive 51 Ditto T&W and Sid 51.3 Used 1:7 Tom’s51 D style.itto T &W and Sid 51.3 Used 1:7 Scotch snap. In the alternative start, the snaps VV3Tom’s300 D Ditit otcommento T Toomm S Soololo .after .V Veerryy scompleting simimilialarr t oto t hthe e thes soolol otrack r reeccoor rddiningg 3 33are3 b buu tbowed tt otonnee a a nrather neeaatntnees thanss b beett etslurrederr i nin 3 333. .and similar withVV661 Wattie1 S Sididlalaww andH Hilill slSid:s ( (oonn l“Oneyly)) T T&& WofW a theanndd bestS Sidid. .yet,N Nooi sievensyy p puu bb s seesssioionnalternative.. bowings are shown in bars 5 and 17. though I say it maself.”

– 62 – TomH_1_6b_TheWifeSheBrewedIt13 SprFiddleSolo3 7.2/8.0/9.0 8: Strathspeys & Schottisches TomH_1_6b_TheWifeSheBrewedIt13 SprFiddleSolo3 7.2/8.0/9.0 The Wife She Brewed It cd 10,11 q = 145 q = 145 ≥ ≤ ™ # ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥™ ™ ≤ œ≥ ≤ ≥™ ≤ ≤## 4≥ ≤ ≥O ≤™ ™ ™ ≥™ ≤ ™ ≥œ œ œ œ # & 4 œ œ O œ œ ≥œO ≤œ ≥O ≤œ ≥œ™ œ≤ œ ≤ ≥™ ≤ œ ## 4 O œ™ ™ ™ œ™ œ œ™ œ œ œ œ œ & 4 œ œ O œ œ œO œ œO œ œ œ 3 œ œ œ 3 # # ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ™ ≥™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ #≥ ≤ ™ ™ ™ ≥ ≤™ œ œ œ≥ ≤ œ≥ ≤ ™ ™ ≥ ≤™ ™ # # &™ ™œ œ≥™ œ≤O œ≥O ≤œ œ œ ™ ≥™ œ≤ œ ≥ ≤œ œ ™O ™œ œ≥™ œ≤O œ™ O œ O œ # ™ ™ œ™ œœ œœ œ œ œ œ ™ ™ ™ œ œ & œ œ œO œ œO œ œ œ œ œ œ œ O œ œ œO œ œO œ œO œ 6 ™  ™ ≥ ≤ œj ™ ™ ≥ ≥ ≥ 6 # ≥ ≤ ™ ≥™ ≤ œ ≤  ≥™ ™ ≥ œ≤ œ ≤ ™ ≤ j ™ ≥ ≤ ™ # ≥™ œ ≤ œj ™ œ ™ œ œ œ ≥ œ O œ ≥ O ≥ ≤ #≥™ œ œ ™ œ œ ≥ ≤ œ≥ ™ ≤ j œ™ œ™ œ œ # # &™ œœ≤œ œ≤ ≥ œ œ œ œ œ œ≤ O œ œ ≥ ≤ Oœ œ & # œ œ œ œ œ œ œ œ œ œ œ 9 9 ™ ≥ ≥ 3 ≤ 3 ≤ ≥ # # œ≤ ™ ≤ œ≥ ≤ j j ≥ 3 j ≥ ≤ œ ≤ ™ # œ œ œ ≥ 3 ≤œ 3 œ ≤ œ œ œ ™ # # ≤ &™ ≥ O ≤ ≥ ≤ 3 j œ jœ ≥ 3 œj ≥ ≤œ 3 ≥œ ≤ œ # œ œ œ œ œ 3 œJ œJ œ œœ œOœ œ œ J 3 ™ J œ œ & O 3 J 3 œ œ œ œ 3 œ œ 11 J O J 3 J œ ≥ 3 ≤ ≥ 3 ≤ 3 11 # ≥ 3 ≤j j ≥ ≤ ≥ ≤ ™ j ≥ ≤ ≥ ≤ ≥ ≤ ≥ 3 ≤j ≤# ≥ 3 ≤ œ œ œ œ œ≥ 3 œ≤ O O œ œ œ œ œ œ≤ 3 j ≥ 3 # j œ œ≤ ≤ ™ œ œ ≥œ œ ≥ 3 3 œ œ œ # # &j œ ≥ œ ≥ œ3 J 3 J j ≥œ ≤ O≤ J≥ ≤3 J j œj œ # œ œ Oœ œ œ œ œO O œ œ œ œ œ œ œ 3œ œ œ œ œJ & œ 3 J 3 J œ O J 3 J 3 œ œ O14 3 J 14 ≤ ≥ ™ # ≥ 3 ≤ ≥ ≤ ≥ ≤ ≥ 3 j ≥ ≤ ≥ ≤ œ ≤ ≥ ≤ ™ ≥ ≤ ™ ≥ # j œ œ œ ≤ ™ œ≥ œ œ 3 œ œ™ O L # ≥ 3 ≤ #≥ ≤ œ œ ≥ ≤œ œ≥ 3 j ≥ œ≤ œ≥ œ≤ œ O≤ J≥ ≤ ™ J≥ ≤ ™ œ≥ œ œ œœ # &j œ œ œ œ J 3™ œ œ œ œ œ3 J3 œ3 œ O L # œ œ O œO3 œ Jœ œ œ O J J œ œ œ œœ & œ J 3 œ œ 3 J 3 O O3 J Fig 8.2 Alternative ending to the tune ≤ ≥ # ≥ 3 j ≥ ≤ œ ≤ ™ ≥ ≤ ™ 0 ≥ ≤ ≤# œ ≥œ œ 3 œ œ O L 3 ≥ 3 # œ œ œ ≤ œO ≤J J™ œ™ 0 ≥œ œ ≤ ˙˙ ˙ # # & j œ≥ 3 œJ œ œ ≥ O≤ L 3 & # œ œ œ œ O J 3 3J œ œ œ ˙˙ ˙ ˙ Corfu: T 28 May 13. Re3moJved par3t A & B repeats. Bowings misinterpreted. ˙ Corfu: T 28 MF 2ay7 1S3e.p R 1e3m. Roveesdet p ianr 6t Asy &st eBm rse. pSepaltist. aBt oswtairntg osf m Bi spinartet.r pRreepteodsi.tioned some grace note slurs. F 27 Sep 13The.T R 2e s1Wifee Nt ionv 6 She1 s3y.sT tBrewedeitmles t. oS p2l1 iIttp ta.t T setmarpt o ft oB 1p2a.r6tp. tR. e7p.2o/s5it.i5o/n9e.0d is.oe.m Sep grFraidced lneoStoel os2lu. rSs.a ve as v12. Tom had known the second tune of the set, The In the B part of the tune, the rhythm becomes T 21 Nov 13W.T i4t lDe teoc 2113p. tC. Toemmppaore tdo a1g2a.i6np tto. 7o.r2ig/5in.5a/l9 v.0id ie.oe. tSrapnrFscirdidplteioSno laon2d. SGaBve Y aosr kvs1h2i.re p37. Wife She Brewed It, for many years but had no more relaxed and settles into triplet rhythm until W 4 Dec 13name.G Cliosms tpforoa rue nitdi s–aog nidentifiedasi nn otow o arsi gCi noforaul l véi usdine oSby pt JimmyrraFnisdcdrliep SShandtitoynle 3an a dt 1G6Bp Yt oabroughtprkpslhieidre a p sto3 J7a .azz halt Arti cwithulati otwon (s cbowedoop). S snapsave as inv1 3the. last Gliss to unissnrons whonow hadas C orecordedulé in Sp ritF imanyddleSt yyearsle3 at earlier.16pt applied as Jazbarz A randticu la tconcludingion (scoop). Sslideave a intos v13 unisons.. Recordings: Recordings:The33 S iAdl apartw H ofills /the Wi ftunee She starts Brewe offd It with Tom aS osharplo 33. 1,2 UsedThe 1:6 tune includes several examples of a down 33 Sidlaw Hbowedi5ll1s /D Witi tfsnapoe S Th&e WonBr eathewnded Sfirst Iidt T 5o1 m.beat3 SUo sloeofd 3 the13:.71 ,2first Use dhalf 1:6 dozen bow followed by an extended up-bowed slur 51 Ditto T&barsVW3 0a n–Dd thei tStoid Treversed 5o1m.3 S Uolsoe .dinequality V e1r:y7 simila rexaggerated to the solo re withcordi ng 33 boverut t othreene a n noteseatnes withs bett eincludedr in 33. gracings and, in a shortened semiquaver and a lengthened dotted several places, an extended up bow finishes with a V30 Ditto ToVm6 1S oSliod.l Vawer yH siilmls i(loarn ltyo) tTh&e Wsol oan rdec Soirdd.i nNgo 3is3y bpuutb t osenses iao nn.eatness better in 33. quaver. The forward inequality of most of the slurred Scotch snap. V61 Sidlaw otherHills ( pairsonly) Tis& closeW an dto S theid. N 3:1ois ratioy pub asse swritten.sion.

– 63 – Tom Hughes: Fiddle Style of the Scottish Borders 3_Tam'sWildRose7 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Tam’s Wild Rose Strathspey q = 145 ≤ ≥ ≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™  ≤ j ™ ≤ #4 ™ j ™ ™ ™ e™ e j ™ œ ™ œ ™ œ œ œ œ O™ œ™ œ & 4 œ œ œ œ œe œ œ œ™ œ O œ œ O œ œ O œ œ œO œ œO O 4 ≤ ≥ ≤ j ≥™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ # ™œ ™ j ™ e ™ ™ e™ ™ e™ œ O™ œ ™ œ œ & œ œ œ œ œ œ œ œ œ œ œ œe œ œ œ™ œ O œ œ O œ œ O 7 1. 2. ≤ ™ ≥ ™ ≥ ≥ ≤ # ≥™ œ œ œ œ ≤ ™ œ œ≥ œ≤ œ≥ ≤ ≥ ≤ ≤ ™ ≥™ ≤ ™ œ≥ œ≤ œ≥ ≤ ≥ ≤ ≤ ™ ≥™ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 ™ œ 3 3 O 3 10 ™ ™ ≥™ ≤ ™ ≥ ™ ≤ ™ ™ ≥ ™ ≥ ≤ ™ # ™ ≥ ≤ ™ œ œ œ™ ≤ ™ ≥ œ œ œ≥ ≤ L 2 ≤ œ œ œ œ œ œ œ œ œ œ œ œ™ L 1 œe œ œ & O O O œ O Oœ 13 ≤ ™ ™ ≤ ™ ≥ œ œ ≥ ™ ≤ ™ ≥ ≤ ≥ ™ œ≤ ≥ ≤ ™ ≥ ≤ ≥ ™ œ ≥ ≤ # œ ™ œ œ œ œ œ ™ œ œ œ œ œ œ ™ œ œ œ œ ™ & O œ O œ O O œ œ 16 1. 2. ™ ™ ≥ # ≥™ œ≤ ≥ œ ≤ ™ œ œ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ™ ≥™ ≤ ™ œ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≤ ™ e & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 ™ 3 3 O 3 O Tam’s Wild Rose Strathspey When asked about the source of this tune, The opening notes are played by Tom with a 19 Tom thought it was one he had learnt from his form of down-driven≤ ™bow, the≥ second™ note played grandfather. Since Tom and Wattie often played with repeated# ≥™ emphasisœ œ ofœ the downœ bow≤ ™– shownœ it as part of a set after John Mason’s waltz, Wild by the& tenutoœ sign. Tom addsœ complexityœ to the Rose of the Mountain, the tune became known as phrase with a slide into unisons on the first note Tam’s Wild Rose Strathspey. Tom uses the snap D, a chord on the second note (G/D), followed bow throughout, and Scotch snaps more often after a short gap with a downward snap-bow flick slurred than separately bowed. Open string of the wrist leading to a slurred up bow snap, and chords are played here and there, a characteristic concluding the bar with a downward snap-bow double stop slide is used in bar 12 and the tune pair. For the second time through the tune the ends with a three note chord. bowing is different (bar 17), the first note again produced as a slide into unisons – but played Lady Mary Ramsay with an up bow and a down-driven bow avoided. Named for the daughter of George Ramsay, 8th The tune ends with a three note chord (A/E/A) EarlTom of su gDalhousie,gested this was andone o fattributed his family sta thtosp eNathanielys. Suggested title: Tamproduced's Wild Rose Swithtraths ptheey - firstsince h e finger.played i t in a set with John Mason's slow air - The Wild Rose of the Mountain. Tues 19 March 13. Added boost in Reaper at 200Hz (i.e. G open string). File then saved Gow in his Fourth Collection (1800), Lady Mary as 3_Tam'sWildRose_G+ and analysed in Transcribe! This then made the low G more audible. Ramsay was one of Tom’s favourite tunes that he Orange and Blue Th 3 Oct 13. Amended to remove error double stops - problem of 2 fiddles playing together. Discovered the BD double stops at start of bars played2, 6. in a variety of sets. Widely known, the Played by Tom as a schottische, this old tune tune4 No hasv 13 Cevolvedoule for g rinace Scotland,note slide. Sa vIrelande as v3. and North is known throughout Scotland and in North America5 Nov 13: Afrommend estrathspeyd bowings. Sav toe a sschottische, v4. Tune identifi ctoat ioreeln? America and used in the Scottish Borders for the and21 NHighlandov 13: Title t oFling. 21pt.Te mpo to 12.6pt. 7.2/5.5/9.0 i.e. SprFiddleSolocountry2. Save as v dance5. Orange and Blue. Th 19 Dec 13. SprFiddleSolo3 Save as v6. S 1 Mar 14. Regularised bar numbers. Inverted some notes. Save as v7. T 11 Mar 14. Removed error D in bar 4. Corrected bar numberin–g . 64Kee p– as v7. Th 20 Mar 14. Edited the sound file for bars 7 &16. Matched the transcription. Keep as v7.s Recordings: 03 Wild Rose of the Mountain 3.1, 3.2 T&W Good but faulty. 20 ditto: Tom Solo. Faulty. 52 ditto: T&W and Sid. Tone poor. 8: Strathspeys & Schottisches TomH_2_1a_LadyMary11 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Lady Mary Ramsay cd 07,21,30 q = 160 # ≤ ™ ≥ ≤ ™ ≥™ %≤ ™ ≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ™ ≥™ #4 L ™ œ ™ ™ œ ™ œe œ œ œ L ™ œ ™ ™ & 4 ™ œ œO œO œ œO œ œ O ™ œ œO œO œ œ œœ œO O O O O O œœ œO O 4 - - 1. 2. ™ ™ ≤ ≥ ≤ ™ ≤ ≥ ≤ ≥ œ ≤ e ™ e≥™ e ≤ ≥™ # œ ™ œ ™ ™ œ œ œ œ œ œ O œ # œ œ 1 œ œ ™ œ œ & œ œO œ O O œ œO œ œ O œ O O O O O 1 œe œe O O O O œe - 7 ™ ™ ≤ ™ ≥™ ≤ ≥™ œ ≤ e ™ e≥™ e ≤ ≥™ ≤ ≥ ≤ ≥™ œ # e™ e™ œ™ œ œ œ œ œ œ O O œ œ™ # œ œ œ œ O O O œ œ œ œ œ œ O O œ O & O œ œ œ O O O O œ œ œ œe 10 > e ™ e ™ ≥ j ™ ≤ ™ ≥™ e ≤ ™ ≤ ™ ≥™ ≤ ≥ ≤ ™ ≥ œ ≤ ≥ ≤ ≥ ≤ ≥ 3≤ # œ œ œ œ œ œ O O™ e™ e™ ™ œ œ œ œ œ œ j # œ œ œ œ œ™ œ ™ 3 œ œ œ & O œ œ œ O O J 3 J œ D.S. al Fine 13 Fine Alternative ending ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ## ™ ™ ≥ ™ ™ ™ ™ ≤ ≥ œ œ O 1 O L ™ œ œ O O œ œ œ O 1 O 1 e & œ œ œ œ œ œ 3 1 ˙E œ™ 1 œe ˙E O O œœ O O O O œ TomH_2_1b_Orange&Blue11 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10

COrangeorfu Th 30 May 13 : andAmend v3 : BlueOpen string note heads. Flip in bars 4 & 5. Add tenuto in bars 2 & 4. Save as v4. cd 07,21 M 30 Sep 13. Amend. Reduce font size DS al Fine to 11pt. Re-assess the transcription particularly the opening bars i.e. 1&3. Checked with Tom's solo recording 15 on T&WEdq3 . A=dd 1so6m0e ties - bars 4, 5, 9 but not in e.g. bars 10, 11. Placed tenuto in bars 1,3,4 both above and below for clarity. Save as v5. Th 31 Oct 13. Amended as per CM2. Repositioned a couple of bow markings and removed excess tenuto marks. Save≥ as v6. T 21 No#v 13.Ti≤tle t™o 21pt.Tem≥po to 1™2.6≤pt.7.2/5≥.5/9.0 i.™e. S≤prFiddleSo≥lo2™. Save a≤s v7™ ≥ ≤ ™ ≤ ≥ ™ ≤ ™ ≥ Th 19 Dec4 13. SœprF™ iddœleSoloœ3 with Jazz Coule. Save as v8. œ™ œ œ œ ™ œ œ ™ Su& 23 Mar4 14. Add alternative endœing froœm V46. Save œas v10.œ œ œ œ œ œ œ œ œ œ Recordings: œ O O O O O O O O O O 043: WildRoseOfTheM/ LadyMR T&W 08: Flour Of The Quern/ LadyMR T&W ≥ 15: LadyMaryRam≤say≥/ Orange&Blue≤ T&™W ≥ ≤ ≤ ≥ ≥™ ≤ ≤™ ≤ ≥ ≥ ≥ ™ ≥ ≤ 52: Wild#RoseOfTheMOun≤tain≥/ LadyMR T&W&Sid - no™t good t≥one ™ ≤ ≤ ≤ ™ ™ œ œ œ œ™ œ œ œ œ œ œ œœœ œ œ œ œ ™ N1&/15: LadyœMaryœRamœsay/œ Orange&Blue T&W&Brianœ - Uœsed 2:1 - (rœeferrœed to as 15) œ œ O 3 œ œ V6/7: LadyMaryRamsay/ Soldiœer'sJoy Tom solo O œ O O O O 3 J 3 V846: FlourOfThQuern/ LadyMR/ Soldier'sJoy T&W - poor sound recording 3 ≥ ≤ ™ ™ ™ ≤ # ≤ ≥ ≤  ≥ ™ ™ ™ ≥ ≤ ≥ ≤ ≥™ ≤ ≥ ≤ ≥ ™ ™ j œ œ œ œ œ œ œ œ œ œ œ œ & œO ™ œ œ œ œ œ™ ™ ™ ™ œ œ™ œ O O O O O O O O O O O 11 # ≥ ≤ ™ ≥ ™ ≤ ™ ≥ ™ ≤ ≥™ ≤ ≥ ≤ ™ ≥ ™ ≤ ≥ ™ ≤ œ Oœ Oœ Oœ œ œ Oœ Oœ œ #œ œ œ œ œ œ™ nœ œ œ œ œ œ œ & O O O O O 14 ≥™ ≤ ≥™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ # œ œ œ œ œ ™ ™ j ™ œ™ ™ œ œ œ O œ œ œ œ œ œ O ™ œ & œ œ 3 3 œ œ œ œ œ O O O O O J 3 œ 3 O – 65 –

Corfu Th 30 May 13: Amend v5st to make new v6. Tempo 160 as Lady Mary Ramsay. M 30 Sep 13. Amended. Added time sig, amended grace note slurs. Added ties to bars 6, 15. Repositioned bow marks in two bars. T 21 Nov 13. Title to 21pt. Tempo to 12.6pt 7.2/5.5/9.0 i.e. SprFiddle Solo2. Save as v8. W 4 Dec 13. Reassessed bars 7 & 16 again and referrd back to video transcription - Tom & Wattie play this diﬀerently. This is as per Tom. Save as v9. 1 Mar 14. Opened out to 9.5. Save as v11. Tom Hughes: Fiddle Style of the Scottish Borders Marches 40The_3_Inv eInvernessrnessGathering 5Gathering SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10

q = 180 ≤  ≤e™ ≤ ≥™ ≤ ™ ≥ œ ™ œj ≥ ≥ ≤ # œ O ™ O ™ O O ™ O O j œ œ≥ ≤ œ œ ™ ™ #4 œ œ œ œ œ œ œ œ œ œ œ O O œ œ œ œ & 4 œ O œ 4  ≤ ≤ ™  ™ œj ≥ ≥™ ™ ≤ ™ ≥ œ œ œj ≥ ≤ ™ ≥ ≤ ™ # eœ œ œ≤ œ™ O œO ™ O O ™ O O j œ œ≥ œ œ œœ ™ œ & # O œ œœ œœ œœœ œ œ O O œœ œ œ

8 1. 2. j ™ ™ ≥™ ≥ ≤ ≥ ≤ ™ ™ ≥ ≤ ≥ ≤ ™ ≥ œ≤ œ œ≥ œ≤ ≥ ≤ œ ≤ ≥ e ## œL œ œ ™ œL œ œ ™ œ ™ œ œ œ & œœ œ œœ œ œ œO œ œ O œ 12 j ™ ™ ≥ j ≤ ™ ≥™ ≥ ≤ ™ ≤ ≥ ≤ œ ≥ ≤ # ≤ eœ œ œ œ œ ≤ œ™ œ œ≥ e™ œ œ œ œ ≥ & # œ œ œ O œ œ œ œ O O O 15 ™ 1. 2. ≤ ≥ ™ ™ ™ ≤ ™ ≤ ≥ ≤ ≥ # œ™ œ œ≤ ≥ œ œ œ≤ ≥ ≤ ≥™ ≥ ≤ œ≥ L ≤ ™ œ≥ L O & # œ O œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ

The Inverness Gathering Barren Rocks Of Aden/ Nut Brown Maiden

BThereowings rareevisi tmanyed PS, 2 versions0 March 13 .of Se ethism O Kold now traditional. The tattie picking time was an opportunity for Fpipe 6 De march.c 13 Style : TheSprFi dtunedleSo lono3 w doubtith coule started16mm. as a all the family to work together in the fields – and two part tune and this is what Tom plays – but also a time for fun and enjoyment. Tom had the Rthereecord inaregs: pipe versions with as many as six parts. following words to the Barren Rocks of Aden: 4Scott0 Inve rSkinnerness Gathe rincludeding/John Ma ctheMill atunen Of B inarr ahis. To mHarp Solo 4and0.3 0Claymore1 Ditto. T& WCollection 1.2 to 1.4 (1904). Tom maintains the Aa the women wi their breeks tied up, flat 7th of the pipe scale – the tune written in D Their breeks tied up, their breeks tied up, with the flat 7th G. In several places (e.g. bars Aa the women wi their breeks tied up, 1, 4 & 5) the tune is played against a ringing E Tae gaither in the tatties. string. Each part ends with a slide into unisons on A except the final bar where the slide is into a double stop on A/E.

– 66 – 9: Marches

37_BarrenRocksOfAden5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Barren Rocks of Aden cd 14 q = 100 ™  ≤ ≥ ≤ œj # ≤ ™ œ≥ œ œ œ œ ≤ œ ≥ œ≥ ≤ #2 œ œ O œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 O O O O O 5 ™ 1. 2. ≤ ≥   ≤ # œ≥ œ œ œ œ ≤ œ ≥ ≤ œ j ≥ ≤ ™ j ≥ œ œ # O œ œ œ œ œ œ œ œ œ œ œ œ œ œ & O œ œ O O œ O O 10 ™   ≥ ≤ ≥ j ≤ œj ™ # ™ œ œ œ œ œ œ œ œ œ≥ ≤ ≥ œ ≤ œ œ # œ Oœ œ œ œ œ œ & O O O O O œ 14 ™  j 1. 2. ≥ ≤ ≥ j ≤ œ ™   # œ™ œ œ œ œ œ œ œ œ≥ ≤ j ≥ ≤ œ œ ™ j ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ & O O O O O O O O O O O

37_NutBrownMaiden5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 37_NutBNutrownM Brownaiden5 Spr FMaideniddleSolo3 7 .2/8.0/9.0 15/15/15/15 & 20/10 cd 14 Setting PS, Sun 31 Mar, Mon 1 April 13: Layout in 3 systems is a bit cramped but good for comparison with Albie Tedham's. This layout in 4 systems a bqet te=r m 1at0ch0 for the second tune: Nut Brown Maiden. Rqin ud=en 1 F0r 018 Oct 13: Minor amendments to grace note slurs bars 8,9,17,18. Remove notes in bars 11,14. Bar numbering to start zero.   ™ ™ T 21 Nov 13. C≤heck. Title 21≥pt™. Tempo 12.6pt. 7.2/5.5/9≤.0 i.e SprFiddleSolo2≥. Save as v4. œj j ™ ≥ ™ Th 19 D#ec 13. SprFid%dl™eSoj lo3. Save as v5. j œ j œ jœ≤ œ œ œ œ œ œ ≤ 2%™ j ≥™ ™ œ œ œ œ j ≤ œ œ ≥ œ œ ≤ œ œ œ≥ œ œ # Recordin#gs: œ œ œ œ œ œ œ œ œ œ #2& 4 ™œœ œ œ œ œ™ œ œœ œœ œ œ O œ Oœ O O O 37 Tam solo. 37.1 to 3™7.3 CoOuld œuse on CDO œOœ O O O & 4 œ O O œ O O O œ O O O O 462 T&W Messy 50 T&W & Sid 50.1 to 50.4   1. 2. ™ ™ 6 ™ j œj 1. ≤  2. ≤ ™ 57 Albie Tedh≤am 57.1, 2 œ j≥ j j ™ j - ™™ ≥ œ™ œ ≤ # ™ œj œ œœ œœ≤ j œ œ  ≤ ™ œ ≥œ ™ œ œ ™ œ V42≤ Tom# solo Video V4œ2.1≥ on Video 2œ j œ œ œ™ j -œœ œ™ œ œ ≤ œ # &™ œ™ œ ™œ O œœ Oœ œ œ ™ œ œ œ ™ œ œO O ™ œ™ œ ™ #V69œ To™mœ soloO V™ideo V6O9 on Video 5. O O O œ™ œ O™ O & O O O œ O O œ O O O O O O 12 ™ ™  12 j j j j  œ ≥ œ œ ≤ œ ™ ≥ œ ™ œ ≤ ™ œ ≥j œ j # œ œ œ œj œ œ ≥œ œ œ ™ ™ j œ œœ œ œ # œ œ≥ # Oœ œœ O œ œ œ≤ œ œOœ œ O œ œ Oœ œ O ≤ ™ œ™ œœœ™œ œ≥ Oœ œœ O #&O œ O O O O O œ™ œOœ™ O O œ O & O O 17 1. 2. Last Time rall. 17 1. ≤ 2. ≤  Last Time rall. ≥ j - ™ j j % j ™ ≥ j ≥ ≤ ≥  ≤# œ œ  ≤™ jœ œ  ™ œ ≥ œ≤ ≤≥ ™œ ≤ L j ™ O # j # -œœ œ™ O j œ œ %œ jœ≥ ≤ œ≥™ œ≤œ ™ jœ œ œL j œ™ œ™ ˙ #&œ œ œO O œ œ œO œ œ™ œ Oœ œ œ œ œ œ œ™ OO & O O O O œ O œ œ œ O ˙

Fig 9.1 Alternative bowing with 2 strokes per bar ≤ ≤ ≤ j ≥™ j ≤ ≤# œ ™ œ ≤ œ  œ≤≥ ≥≤ œ œ # œ#2 jO≥ œ™ œ œ œ jœ≥ œ œ œ≥œ œœ œœ O #2&O 4œ Jœ™ œOœ œ œ œ O œ œ œO œ Oœ œ œ OO & 4 J O O O O O

– 67 –

Su 20 Oct 13: Corrected the last 3 bars. Change uptake bar to 0. The open strings played much of the time as a continuous drone. The tune is Su 20 Ocpt l1a3y:e dC ornr ercetpeeda tt hwei tlha sttw 3o b baorws. Cstrhoaknegse p uepr tbakare rbaatrh etor t0h.a Tn hoen eo paes ns hsotrwinng. s played much of the time as a continuous drone. The tune is played onT r e2p1e aNt owvi t1h3 t.w Toi tbleo two s2t1ropkt.e Ts epmerp boa tro r 1at2h.6erp th. 7an.2 o/5n.e5 /a9s. 0s hi.oew Snp. rFiddleSolo2. Save as v4. T 21 NovT 1h3 .1 T9 iDtlee cto 1 231. pStp. rTFeimddploe Sto l1o23. w6pitth. 7Ja.2z/z5 C.5o/9u.l0e .i A.ed SdperdF aidltdelrenSaotilvoe2 .s tSaarvte. Saasv ve4 a.s v5. Th 19 Dec 13. SprFiddleSolo3 with Jazz Coule. Added alternative start. Save as v5. Tom Hughes: Fiddle Style of the Scottish Borders

Tam’s Slow March/ Tommy Hughes’ March Tom composed and played this march in two never given his march a name and, after Tom forms – as a slow air or slow march and as a died, his grandson Jimmy Nagle named the tune regular 4/4 march such as is often used for in memory of his grandfather in its two forms as dances such as the Gay Gordons. Tom had Tam’s Slow March and Tommy Hughes’ March.

Tam'sSlowMarch(JN)6 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 per JN 12 Jan 13 Tam’s Slow March YouTube1&2

q = 120 comp. Tom Hughes ≥ ≥ ≤ ≥ ≤ # ≤ ™  ≤ ≥ ≤  ≤ ≥ j ≥ ≤ 4 œ œ œ ™ j ™ j œ œ ™ & 4 œ œ œ œ j ™ j j œ œ œ œ œ œ œ œO ™ œ O™ œ œ œ œ O O œ œO œ O œO 4 ≥ 0 ≤ ≥ ≤ ≥ ≥ ≤ # 3  ≤ ≥ ≤ ≤ ≥ j ≥ ≤ ≥ ≤ L œ œ œ j ™ œ œ & œ œ O œœ œœ œ œ œ œ j ™ j j œ œ œ œ œ ™ œ ™ œ O™ œ O œ œ œ O œ œ O œ œO œ O œO 8 1. 2. ≥ ≤ ≥ ≤  ≥ ≤ ≥ #  . ™  ™ ≥ ≤ j ≥ ≤ e ≥ ≤ ≤ j œ œ œ ™ j ™ œ œ œ œ œ œ œO œ œ œ & œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ O O O O O 12

0 ≥ ≤ j ≥™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ ™ L 3 œ œ j ™ ™ œ œ œ ™ œ œ œ j ™ j  œ & œ œO œ œO œœ œ œ œ œ™ ™ j œ œ œ œ œ O J O O œ œO œO œ œ O 16 1. 2. # ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ ≥ ≤ ™ ≥ ≤ ≥ ≤ œ j ™ ™ j ™ ™ & œ œ ™ œ ˙ œ ˙ œ j œ œ œ œ O œ œ ™ œ œ œ œ O O œ O O O O O œ œ œ œ œ 20 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≤ # ≥ ≤  ™ ≤ ≥  ≥ ≤ ™  ™ j j œe œ j ™ j ™ & O œ œ™ œ œ œ œ œ œO œ œ œ œ œO œ œO O œO œO œ œO O œ œ œ 23 ≤ # ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ j j ™ œ œ œ ™ j œ & œ œO O œ œ œ œ j œ œ œ œ ˙ œ œ œ œ œ O O œ O O O O ™ œ œ œ O œ œ œ œ œ œ œ O O O O 27 ≥ j ≥ ≤ ≤ ≥™ ≤ ≥ ≤ j ≥™ ≤ ≥ ≤ ≥ 0 ≤ ≥ ≤ # œ œ œ e œ œ O œ œ œ ™ L 3 ™ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ O œ™ œ œ & O O œ J œ O O J œ œO œ œ O O œ 31 ≥ ≥ ≤ ≥ ≥ ≤ #  ™ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≤  j j ™ œ œ œ ™ j & œ œ œ O™ j œ œ œ œ œ œ O œ œO œ œ ˙ ˙E œ œ œ O O – 68 – Su 5 Jan 14. Amended with bowings from Lori Watson YouTube video. Bar 23 has some syncopation within triplet rhythm that applies from start of bar 24 and could be transcribed as triplet throughout. Amended as per Jimmy Nagle. Th 30 Mar 14. Checked, added up bow to lead in. Amended bar numbers. Save as (JN)v5. 9: Marches TomHughesMarch(JN)2 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 per JN 12 Jan 13 Tommy Hughes’ March YouTube1 q = 200 comp. Tom Hughes ≤ ™ ≥ ≤ ≥ ≤ ≥. ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ #4 œ œ ™ ™ ™ œ œ œ j ™ j œ œ œ œ œ œ O™ & 4 œ œ O™ œ œ œ œ œ O œ œ œO œ 4 ≥ ≤ ≥ ≥. ≥ # L 3  ™ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≥ ≤ ™ ≥ ≤ œ œ œ j j ™ œ œ œ ™ & œ œO œ œ œ œ œ™ ™ j œ œ œ œ œ O œ œ O O O O O œ œO œ œ O O œ O O œ 8 1. 2. ≥ ≥ ≤  ™ ≤ ≥. ≤. ≥ ≤ #  ≤ ™  ™ ≥ ≤ j ≥ ≤ 1 e ≤ j e ™ j ™ œ œ 3 œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ & ˙ œ ˙ œ O O O J œ O O 12 ≤ j ≥™ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥. ≤. ≥ ≤ # œ œ ™ j ™ ej ™ œ œ œ œ O™ œ œ œ œ œ œ ™ j œ œ & O J O œ œO œ œ O™ œ œ œ œ œ œO œ O O 16 ≤ ≥ 1. ≥ ≤ 2. ≥ ≤ # ≥ ≥ ≤ ™ ≤  ™  ™ ≥ œ œ ™ j j & O œ œO œ ˙ œ œ ˙ œ œ œ œ œ O œ O œ O œ œO œO œO œO 20 # ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ j ™ j œ œ & œ œ™ œ œ œ œ œO œ œ œ œO O œ œ œO œO O œ œ O O œ O 23 # ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ j ™ j œ œ ™ j œ œ & œ œ œ O œ œ™ œ œ œ œ œ ˙ œ œ œ œO œO œO œO œO O œO O O O 27 ≥ ≥ j ≥ ≤ ≤ ≥™ ≤ ≥ ≤ j ≥™ ≤ ≥ ≤ ≥ ≤ # œ œ œ e œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ O™ œ œ œ œ œ œ œ & O O œ J O O J O œ œO O 31 ≥ ≥. ≤. ≥ ≥ ≥ ≤ #  ™ ≤ ≤ ≥ ≤ ≥ ≤ ™ ≤  j j ™ œ œ œ ™ j & œ œ œ ™ j œ œ œ œ œ œ œ œO œ œ ˙ ˙E œO œ œ O O O Both forms of the march are transcribed and tricks – the 3rd finger slide to A on the D string. printed as played by Jimmy Nagle1 and, like The tune became an established part of Border his grandfather,W 15 Jan 14 his. Am playingended a makess per Ji mextensivemy Nagle . Snaps offiddleten les s repertoirepronounce dafter than Jimmy shown .taught it to members 2 use ofT openh 20 Mstringsar 14. Aanddd edoubled up bo wstops to in thattro. Rworkenum bered ofba rthes. S aSmallve as (HallJN)v 2Band. . particularly well in Tom’s favourite key of G. Jimmy also includes another of Tom’s favourite 2. Lori Watson, an original member of the band has recorded a YouTube video of her version of Tam’s Slow 1. Jimmy Nagle’s (2014.1) playing is on YouTube. March. Lori Watson (2006).

– 69 – Tom Hughes: Fiddle Style of the Scottish Borders Jigs 101_Rock&WeePuckle Tow4 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Rock and a Wee Puckle Tow cd 18 q. = 120 ≤ # # ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # 6 j œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 œ œ œ œ œ J J œ œ œ œ œ 5 # # ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ≤ ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ™ # œ œ œ œ œ œ œ œ œ œ ™ & œ œ œ œ œ œ J œ œ œ œ œ 9 ≤ ≤ ≤ ≥ # # ™ œ œ≥ œ œ≥ œ œ≥ œ≤ œ≥ œ≤ œ≥ ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ œ≤ ≥ ≤ ≥ ≤ & # J O J J œ œ œ œ œ

13 ≤ ≥ ≤ # # ≥ ≤ ≥ œ≤ œ≥ œ œ œ≤ ≥ ≤ œ≥ œ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ™ & # œ œ œ œ œ J œ œ œ œ œ œ œ œ œ

Set of Jigs: Rock and a Wee Puckle Tow/ Teviot Brig/ The Stool of Repentance ThreeSettin gjigs M opopularn 25 Ma inrch the 13 wBordersith bow iplayedngs. as a after the Cuttie Stool of the Presbyterian Church set. The first, The Rock and a Wee Puckle Tow, where a sinner was required to sit and repent in If the Set (Tom, Bob, Jack etc & Brian on guitar) is to be included on the CD then it needs editing in Reaper - but is an ancient tune that has long been popular front of the congregation. An early version of the it would be worth it if it can be done. in Scotland and Northumberland.1 Its earliest melody can be found in the William Dixon (1733) knownW 20 npublicationov 13. Chec kwased. Tbyitl eJohn to 2 1Playfordpt. Temp oin d ohistte d to 12manuscript.6pt. 7.2/5.5/ 9of.0 tunes i.e Sp rwrittenFiddleS odownlo2. S abetweenve as v4. 1733 Musick’s Hand-Maid of 1663 under the title and 1738 in Northumberland. The collection Scotish March and later in his Musick’s Recreation was identified by Matt Seattle (1995) as being as Montrose’s March. James Oswald applies the music settings for the Border pipes rather than for usual title A Rock and a wi Pickle Tow in his the fiddle and it is now recognised as the oldest Curious Collection of 1780. Several songs have known manuscript of pipe music from the British been set to the tune. Isles and the most important source of music for the Border pipes. The tune can also be found as The second tune, Teviot Brig, was composed by Border Reel in David Young’s Duke of Perth MS. Alexander Givan (1752-1803) of Kelso where the from the same year. In Northumberland it is still Teviot Bridge is located. The tune is in many considered a local tune and was a favourite played Scottish collections and has become very well on mouthorgan by Willie Atkinson of Alnwick. known in North America and particularly in The tune is in all the major Scottish collections Canada with some variation to the melody. and is a popular tune for Scottish Country Dance and North American Contra Dance. The third tune, The Stool of Repentance, is named All three tunes are played in even triplet time 1. The word puckle or pickle (depending on regional dialect) is a Scots word for a little of something. So the throughout, with the exception of the snap in the title refers to hand spinning using a rock (a distaff) with a final bar of the third tune. This is the typical little tow (flax fibre). Before the invention of the spinning older style of jig rhythm to be expected of fiddle wheel, the spinning of yarn or thread was traditionally players – unlike the strongly dotted rhythm done by women using a spindle and a distaff – and often more usually played on the Highland pipes or by done in the evening at a social gathering – a rocking. accordion based dance bands. – 70 – 10: Jigs

101_TeviotBrig3 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Teviot Brig cd 18

q. = 120 j # # œ œ≤ ≥ ≤ ≥ ≤ ≥j ≤ ≥j ≤ ≥ ≤ ≥ ≤ ≥ ≤ j ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ ≥j # 6 œ œ j œ œ œ œ œ œ œ & 8 J O œ œO œ œO œ œO œ œ œ œ œ J J J O œ œO œ 6 # # ≤ ≥j ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ ™ ≥ ™ ™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ ™ ™ œ œ œ œ œ œ & œO œ œO J œ œ œ œ œ 10 # ≥ ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≥ ## œ œ œ œ œ œ≥ œ≤ ≥ ≤ ≥ œ≤ ≤ œ œ≤ œ≥ ≤ ≥ œ≤ œ≥ & œ œ œ œ œ œ œ J œ œ 14 1. 2. # œ≤ œ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥ ≤ ™ ≥ ™ ≤ ™ ≥ # œ œ œ œ œ œ œ œ ™ œ œ ™ & # œ œ œ œ œ œ œ

101_StoolOfRepentance3 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 101_StoolOfRepentance3 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 cd TheSettin gStool Mon 25 Mofar cRepentanceh 13 with bowings - ve ry straight forward - but it would be interesting to compare with18 a solo frqo.m = T 1am20 - but none. The only other is V66 with T&W and Sid - noisy. qI. f= th e1 2S0et (Tom, Bo≥b, Jack etc & Brian o≥n guitar) is to be include≥d on the CD then it needs ed≥iting in Reaper - but it w#oul#d be w≤ orth™ iœt if it ≤can ≥be do≤ne. œ œ≤ œ≥ ≤ ≥ ≤ œ œ≤ œ≥ œ œ œ≤ ≥ œ≤ œ œ≤ œ œ œ≥ ≤ # 6 œ≥ œ œ ≥œ ≤ œ œ ≥œ œ œ ≥ ≤ œ œ # œ≤ 8™ Jœ œ≤O ≥ J œ≤ œJ œ œ≥ œ≤ œ≥ ≤ œ œ≤ œ≥ œ œ≤ œ≥O œ≤J œ œ œ œ≥ œ≤ J & # 8 J O J œ J œ O J J 5 ™ 5 ≥ ≥ ≥ # # œ ≤ ≥ ≤ œ œ≤ œ≥ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ ™œ œ ≤ ≥ ≤j ™ œ≥# œ œ œ≥œ ≤ ≥ œ œ œ œ ≥œ ≥œ œ œ œ œ≤œ ™ # &# œ≤O ≥J œ≤ J œ œ œ≤ ≥ ≤ ≥ œ≤ œJ œ≤O œJ ≤ œ ≥ j ™ œ & # O J œ J œ œ œ J O J œ œ œ œ 9 9 ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≤ #≥# ™ œ≤ ≥ ≥≤ œ≤ œ≥ ≤ œ≥ ≤ ≥ œ ≥ ≤ œ≥ ≤ ≥ œ œ≥ œ≤ # &# ™ # ≤ œ≥ œœ≤ œ≥ ≤ œ œ ≤ œ≥ œœ≤ œ≥ ≤ ≥œ ≤ ≥ œœ≤ œ≥ ≤ œ ≥œ ≤ ≥ œœ≤ œœ≥ O≤ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O œ 13  ™ 13 j ≥ ≥ ≤ ≥ ≥ ≤ ≥ j  œ ≥ ™ œ ≤ ™ # # œ≤ ≥ ≤ œ≤ ≥ ≤ œ ≥j œ≤ œ ≥œ≤ œ ≤ œ ≥ j ™ ≥#≤ œ≥ ≥ ≤ œ≥ œ jœ œœ ≥ œ œ œ ≤œ ™ # &# œœ≤ œ≥ ≤ œ œ œœ≤ œ≥ ≤ œ ≥ œ≤ œJ œ≤O œJ ≤ œ ≥ j ™ œ & # œ œ œ œ œ œ œ œ œ œ œ J O J œ œ œ œ

Fig 10.1 Ending for the last time through ≥ ™ U # # ™œ œ ≤ ≥. ≥j U ≤ ™ # #≥ 6œ ≤ œ≥. œ œ œ≥ œ ≤ L ˙˙ # &6 œ 8 œ œ j L ™ & # 8 œ œ œ ˙˙

Setting Mon 25 March 13 with bowings - very straight forward - but it would be interesting to compare with a Settings Moloo nfr o2m5 MTaamrc h- b1u3t wniothn eb. oTwhien gosn l-y v oetrhye srt rias iVgh6t6 fworitwha Trd& -W b uatn idt wSiodu -ld n boeis yin. teresting to compare with a – 71 – solo froImf t Thea mSe -t b(Tuot mno, nBeo. bT,h Jea cokn elytc o &th eBrr isa nV 6o6n wguitihta Tr)& iWs t oa nbde iSnicdl u- dneodi soy.n the CD then it needs editing in Reaper - but If the Siet tw (oTuolmd ,b Be owbo, rJtahc kit eift ci t& c aBnr ibaen doonn geu. itar) is to be included on the CD then it needs editing in Reaper - but it wouldW b 2e0 w Norotvh 1it3 i:f Cith ceacnk ebde. Tdoitnle .to 21pt. Tempo dotted to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v2. W 20 NTohv 2163 :J uCnh 1ec4k: eCdh. Tanitgled t ob o2w1pint.g T teom gpivoe dsoluttrereds tdo s1n2a.p6 pat . s7ta.2rt/5 o.f5 /b9a.r0s i8.e & S p1r6F aidnddl erSemolov2e. Sthaev es lausr vb2a.ck to start. Th 26 Jun 14: Changed bowing to give slurresd snap at start of bars 8 & 16 and remove the slur back to start. Tom Hughes: Fiddle Style of the Scottish Borders

V35_FrostIsAllOver5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 V35_FrosThetIsAll OFrostver5 Sp risFi dalldleS Overolo3 7.2 /8.0/9.0 15/15/15/15/ & 20/10 cd 09 V35_FrostIsAllOver5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 q. = 12q0. = 120 q. = 120 ≤ ≤ ™ ≥≥ ≤ ≥ ≤ ≥≥≤ ≤ ≥ ≤ ≥≤ ≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # 6 ≤#j#6™ œ≥j œ≤™ œœ œœ≤ œœ≥ œ≤ œœ≥ ≤ œ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ œ≥ œœ≤ œ≥ œ≤ œ ##&œj 8™ œ≥ ≤ œ≥ ≤ ≥ œ≤ œœ ≥O œ œOO œ œjO ≥ j≤ œ≥ œ œ œœ œ≥œœ≤ œO≥ O≤ Oœ≥ Oœ≤ œ & #68 O ™ Oœ œ O œ œ œ œ œ œ œœ œjœ œœœ œ œ œ œœ œ œ œ œ & 8 œ œ œO œ œ O œ œ œ œ œ O O œ 5 O O œ œ œ 5 1. 1. 2. 2. ≥ ≥ 5 ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 1≥. ≤ 2. # ≥#œ≤ œ≥œ≥œ≤œ≤ ≥œ≤œ≤ œ≥≥ ≤ ≥œ ≤ ≥ ≤ ≥≥≤≤ ≥ ≤ ≥ ≤ ≥≥≤œ≤ œ≥ œ≤™ ≥≥ ™≤ ≥≥≤œ≤ œ≥ œ≤ œ # œ≥ ≤# ≥ ≤ œ≥ œ≤ œœ≤ ≥ œ O≤ œjO ≥ j≤ ≥ ≤ ≥œ≤œ œ≥œœ≤ œ≥œeœ≤ ≥ e™ œœ≥ œ≤ œ≥œeœ≤ œ e O &# &œ œ œ œ œ œ œ œO œ œœO œ œ œ œ œœœ œ œ œ œ œ œ ™ œ œ œ O # O O œ œ O œ œO œj œœ œœœ œ œ O e Oœ Oœ O e OJ J & O œ œ œ œ œ œ œ O OJ J O J 10 10 ≤ J ≥ ≥ ≥ 10 ™ ≥ ≤œ≤ ≥≥ œ≤ ≥ ≥≤ ≤ œ≥≥ ≤œ≤ œ≥œ≥ œ≤ œ≥ ≥œ≤ ≥≥ ≤œ≤ ≥≥ œ≤≤ œ≥œ≥ ≤ œ≤ œ≥ ≤ œ≥œ≤ œ œ # ™ #œ# œ≤™ œœ œ≤ œœ œ≤ œeœ≥œœe eeœ≥ œeœ≤ e≥ œ≤ œ œ≤ œœ œ≤ œœ≥ œ ≥ œœ œ œ≥ œœ≤ ≥œœ &##&™ œO ≤ Oœ≥ œ œ≥ ≤ eœ œe≤ eœ œ œ œ≥ ≤ œ≥ œ œ œ≤ œ œ œ≤ œ œO≤ OœO Oœ O O & # O œ œ œ O O O 14 14 ≤ 1. 1. 2. 2. 14 ≥ œ≤≤ ≥≥ œ≤ ≥≥≤≤ ≥œ≥ œ≤≤ œ≥œ≥ ≤œ œ≥≥œ≤ ≥≥ ≤≤ ≥ œ≤ ≥1. ≤ ≥ ≤ ≥≥ ≤ 2≥. ™ ≥ ≤ ≥ ≤ # œ#œ≤# œœ ≤œ œœ œ≤ œeœœœe eœe œ≤œe ≥e œ œ œ≤ œœ œœ œ≥œ ≤ œœ≥œœ≤ œ≥œ œ≤œ œœ≥œ™ œœ≥ œ™≤ œ≥œ œ≤œ œ eœ &##&œO ≤ œ≥O œ œ≥ ≤ eœ≥ œe≤ eœ≥ œ œ≤ œ≥ ≤ œ≥ œ≤ œ≥ œ≤ œ≥ ≤ ≥ ≤ œO ™ OœO≥ ≤ ≥O e≤ # O œ œ œ œ œ œ œ OJ JO œ œ eœ & J Fig 10.2 Alternative for bars 1,2 and 5,6 second time through ≥ ≥ ≤ ≥ ≤ ≥ # ≥# 6œ≤ œ≥œ≥ œ≤œ≤ œ≥ œ≤ ≤ œ≥ ≥≤ œ≥ ≤ ≤ #6 œ# œ œœ ≤ ≥ 1 j # &≥ 8≤ œ≥ ≤ ≥ œ≤ œ O œ1 œO≤ œ œ j & 68 œ œ œ œ œ œ œ œ 1 œ # O O œ 1 œœ œj œ & 8 œ œO œ œ œ œ O O 1 œ œO œ œ O Fig 10.3 Linked bowing between the first and second tunes ≤ ≥ # ≥# ≤œ≥ ≥≤ ≤ ≥ ≥ ≤ ≥≤ ≥ 6 œ#6œ œœ œ≤œ eœj ≥j j j j 2 j # ≥ ≤O ≥ e O≤ 1 ≥ 12 &# &8 œO 8 œO œ 2 œe #6 œ œ eœ œj œj 1 œe 12 œej O œO 1 & 8 2 e œ œ œ 1 œe œ

CompleCteoIrishdm 6p lFe teJigs:ebd 1 63 .F Theeb 13 Frost. is all Over/ Jackson’s CSuo m27p lOeStcue t d 21 763Morning .OF Aecmbt 1e13n3.d. Aedm Bush/ beanrdse 2d, The b6a ertsc 2Irish t,o 6 p erto cWasherwomanp teor lpy riodpeenrtliyf yi dthene tsifluy rtsh. eD siltutros .t hDei tstlou rtsh cea srlruyrisn cga orvryeirn fgro omve trh fer olamst t he last nSout 2e 7o fO nbcoaTomttr e1s o38f., Ab9includesam, r1se7 n8.d ,S e9td,r i 1manycb7tal.ry sS t t2hr ,ei ofc 6st al eyhismt cteh t eusualos l suparrm osphe double eosrulluyldr i dsbheeon stopsuthilfdoyw bt hnandee cs hsal rourwrinsn.g Dc oaivrtetroirn ftgrho oem vse llura rfssrt o cbmaar rrl ay1si8nt gtbo ao rbv e1ar8 f 1tr ow mbha etrnh 1 e wlahste n rneoptea otifn rbegapringing trehsa et8 it,n u9gn, te 1hopen. 7eS. atSuvtner dstringeic. atSlsya vvt2he .defeatures, B sauasm tv s2ee .e sB lvu u3butrt sfsohe roethere u bvlo3dw fbio nearer g sbsh oa oalsowsw itna gkc sea narr sfi rntoagmk transcriptionoe nvthe frer ofVrmoidm etho le a- Vs wti dbhforeaicorh 1-clarity. i8ws thtohi cibsh ar rie s Thec1 to hwridsh iefirstrnengc !or dbaring ! of Jackson’s clear elements of Irish style in the playing. The Morning Brush has a slurred pair of double stops, rMep 1e2at NinMog vt1 h12e3 N:t uAondve d1. eS3d:a Avtietddlde .ae sSd a vtv2ite.l eBa.s uS vta 2sv.eee a vs3 v f2o.r bowings as taken from the Video - which is this recording! second bar of the first tune, The Frost is all Over, the first (A/E) produced with the first finger M 12 NTo v2 11 3N: oAvd 1d3ed. T title . tSoa 2v1ep ats. Tv2em. po to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v3. T 21 Novincludes 13. Title at otriple 21pt . graceTemp onote to 1 2where.6pt. 7 the.2/5 .first5/9.0 ofi.e theSpr FiddacrossleSolo 2both. Sav estrings, as v3. the second produced by the Recordings: TRe 2c1o rNdionvthreeg s1:3. T comesitle to 2 a1 plittlet. Te mbeforepo to 1the2.6 pbeatt. 7. 2and/5.5 is/9 .also0 i.e SprFiddsecondleSolo2 .and Sav ethird as v3 fingers.. 1R7e.c1o rEdd1ini7tplayedgO.1s:r iEgd1i Tt Oalongomrig S1o T lwithom S theolo ringing open string A. This V173.51 VEidVi2t3is/O5v 3 rshownVi5gi.d112 T T/ovo3m mmore5 .Ss1o Tloo .clearlym V isdoeloo .a Vint iLd Figureieloli eastl eLa ifl10.2.lieslea f In the third tune, The Irish Washerwoman, the key V483 5T VHi1d4428(/ TvA3mH5.p114e Tx(A)o m48 ps.1eox,l2o) .T 4Vo8im.d1e ,oS2 o Talto L.m Bi lSleideosrlolue.l aeBf edrule of G major is repeatedly emphasised with double 4N82 T/1H7 1N42The(A./31m,7 N p Nlinke22x.)8.3 4E,from 8Nd.1O2,.2r8 i gtheT E1od,m2 Ofirst T Sri&oglW1o ,.2tune Ba Tne&d rWBtourl e iaathennd a Btsecond rBiaend raut l etuneBedr ule stops or two note chords and ringing strings with N2/17 N2requires.3, N2.8 aE repeateddOrig1,2 Tup&W bow. and ThisBrian isat oftenBedru termedle the tune finishing on a three note chord B/G linked bowing (Fig 10.3) and is in effect the against a ringing open D. same as snap bowing – normally shown as a line above the two notes but omitted in the main

– 72 – 10: Jigs

V35_Jackson'sMorningBrush7 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 20/10 Jackson’s Morning Brush cd 09

q. = 120 j ≥ ≤ ≥ ≤ ≥ j ≤ ≥ ≤ œ ≥ ™ # ≤ ™ ≤ ≥ ≤ ≥ œ œ œ œ œ œ œ≤ ™ #6 j j 2 j œ O 1 œ œ O œ œ œ œ O O O O & 8 2 e œ œ œ 1 œe œ œ œ œ O O O O 5 1. 2. j ≥ ≥ ≤ ≥ ≤ ≥ j ≤ j ≥ ≥ ™ ≥ ≤ œ # ≤ ≥ ≤ ≥ œ œ œ≤ œ ≤ ≥ ≤ ™ œ ≤ ≥ œ # O j j œ œ O œ œ œ œ œ O œ œ eœ™ O œ œ eœ O & œ œ œe œe œ œ œ O O O J J 10 j ≥ j j ≥ # ™ œ œ ≤ ≥ œ≤ œ œ≤ œ≥ œ œ œ œ œ≥ œ œ œ œ≥ œ≤ œ≥ ≤ œ œ # O œ œ O œ œ O œ œ O Oœ O & J 14 1. 2. j j j j ≥ j œ ≤ œ≥ ≤ ≥ œ œ ≥ ≤ ≥ j ≤ ≥ œ ≤ œ œ # œ œ≤ ≥ œ œ œ œ œ œ œ œ œ œ≤ œ≥ œ œ ™ œ ≤ ≥ ≤ # O œ O œ œ œ œ œ O O O œ œ œ & O J J

Irish Washerwoman≤ ≤ ≥ ≤ ≥ cd 09 V35_IrishWas#herwoemj an5≥ SprFijdd≥leSolo3 7.2≤/8.0≥/9.0≤ 15/15/15/15 & 20/10 #6 2 j & 8 O 1 œ œ O œ œ œ 1 œe 2 œe œ œ q. = 120 œ œ O

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ j ≥ ≤ j ≥ ≤ ≥ ≤ #6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 J œ œ œ œ œ œ œ œ œ œ œ œ O œ œ œ œ O œ O O O œO 6  ≤ ≥ ≤ ≥ ≤ j ≥ ≤ ≥ ≤e ≥e e ™ ™ œ ≤ œ≥ œ≤ ≥ œ≤ œ≥ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ ™ ™ œ œ œ œ & O œ O œ œ œ œ J 11 ≤ # œ≥ œ œ≤ œ œ≥ œ œ œ œ œ≥ œ œ ≤ œ œ ≥ œ œ ≤ & œ œ œ œ œ œ œ œ 15 1. Last Time ™ j ≥ ≤ ≥ ≤ e ≤ ≥ # œ ≥ ≤ e e ™ ≥ ≤ ≥ ≤ œ≥ eœ ˙™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ˙™ & œ œ œ O O

M 28 Oct 13. Bowings as taken from the Video - which is this recording! May need to give a ﬁnish bar. Save as v1. But I think the snap boings at the end of sections are probably wrong - should be slur across to ﬁrst note of start bars. This is set out in this v2 with full repeats although the tune is not played twice in this take. M 12 Nov 13: Added title. Renumber from 0. Save as v2. T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e. SprFid–d le73Sol o–2. Save as v3. Th 19 Dec 14. SprFiddleSolo3. Save as v4. Recordings: 17.1 EditOrig1 Tom Solo V35 Vid2/v35.1 Tom solo. Video at Lilliesleaf 48 TH14(Ampex) 48.1,2 Tom Solo. Bedrule N2/17 N2.3, N2.8 EdOrig1,2 T&W and Brian at Bedrule Tom Hughes: Fiddle Style of the Scottish Borders

ToPolkasmH_1_8_FaudensidePolka12 SprFiddleSolo3 7.2/8.0/9.0 Faudenside Polka cd 17 q = 96 ≥ ≥ ≤ ≤ # ≤ ™ ≤ ≥ ≤ ≥ ≤ œ œ œ≥ ≤ ≥ ≤ ≥ #2 ™ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ O œ œ œ œ œ O O O 3 3 4 ≥ ≤ ≥ ≤ ≤ ≤ j ≤ ≥ ≤ œ≥ ≤ ≥ j ≤ ≥ ≥ œ ≥ # œ œ œ œ œ œ j œ œ œ œ # œ œ œ œ œ O œ O & O O œO œ œO O 7 ≥ 1. 2. # ≤ œ œ≥ œ≤ eœ œ≤ O≥ œ≤ œ≥ œ≤ œ≥ ™ œ≥ œ≤ œ≥ & # œ O œ e e O O O O J 10  ≤ ™   ≤ œj ≥ ≤ ≥ œ ≤ œj ≥ j ≥ # ™ œ œ œ œ œ œ œ≥ œ œ O≤ ≥ œ≤ œ≥ ≤ œ≥ œ≤ œ œ œ≤ # O O œ œ O œ O O & O 13 ™ ≤ j ≥ ≤ ≥ ≤ j ≥ # ≥ ≤ œ≥ œ œ œ≥ œ≤ œ œ œ œ œ œ œ≥ œ≤ œ œ ≤ ≥ œ≤ ≥ ≤ ≥ œ≤ eœ≥ ≤ ≥ ≤ # œ Oœ œO œ O Oœ œ Oœ œ œO œ & O O 17 1. 2. ≤ ™ ≤ ™ ≤ ≥ ≤ ≥ ™ ≥ ≤ ≥ ™ ≤ ≥ œ ≥ ≤ ™ ≥ ≤ ≥ œ ≥ ≤ ™ ≥ j ## œ œ eœ ™ œ œ œ ™ œ œ œ œ ™ œ & œ œ œ œ œ œ œ œ™ œ O O JO O 21 ™ 3 ≤ ≤ ™ # j ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ œ≥ ≤ ≥ ≤ # œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O O œ O 24 ≤ ™ 1. 2. ≥ œ ≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ j ≥ ≤ ≥ ™ ≥ ≤ ≥ # œ œ ™ œ œ œ œ œ œ œ ™ œ œ œ & # œ œ™ œ œ œ œ œ O œ e e e O O O O J O O

Faudenside Polka When Tom first started playing for dances in discovered by Alistair Anderson in a manuscript YetholmCorfu W 2with9 M ahisy 1 father3: Cha ninge thed to earlyopen 1920s,string n othete heads. Rbookemov ofed tunestriplet (cain b 1850)ar 23. Cinh aBeamishnged tem pmuseum.o to 96. In folkF 2 7from Sep 2the3. A nearbymended farm. Res eatt g Faudensiderace note slu rweres. Mo ved bowtheing manuscriptmarks above theﬁrst tune note isba rattributed 4. Correct toed Jamesbowing s alwaysbar 11. askingCorrec tfored 1a6 polka.th note nTom:ote he Theyads ba werers 21 ,always 22, 25 , 26Hill. Cu twho, ﬁrst gthoughrace no tborne in b inar 2Dundee,2. Saved aliveds v9. many cryinT 21 forNo av 1polka3. Tit lande to that’s21pt. T theem ptuneo to we12 .played6pt. St y–le I 7 .2/5.5years/9.0 i. eat. S TheprFi dHawk,dleSolo a2 .pub Sav ein a sGateshead. v11. The juist met a man in Jed recently and he says to me, third part of the tune may have been composed F 13 Jun 13. Expand to 8 systems. Save as v12. “Can ye mind Faudenside Polka?” I never heard by Tom’s father. The tune is played with subtle it by any other name. The first two parts of the use of ringing strings and delicately played double tune are similar to a tune entitled Hawk’s Polka stop progressions as in bars 7 and 16. – 74 – 11: Polkas

Liberton Pipe Band The tune belongs to a large family of related The opening bars are clearly related to the older tunes known throughout the British Isles and Faudenside Polka/ Hawk’s Polka. Tom's third part North America dating back at least to the 1840s may have been added from another polka The and appears to have gained its name from the Kilberry Ball Polka – a two part tune – the two Liberton Boys Pipe Band formed in 1883 at Dr tunes often nowadays played together to make a Guthrie’s Ragged School in Liberton, Edinburgh. four part Liberton Pipe Band. TomH_2_8_Liberton8 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 TomH_2_8_Liberton8 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15/ & 20/10 Liberton Pipe Band cd 34 q = 100 q = 100  ≥ j j ≤ % ≥ j ≤ j ≤ œ ≥ œ œ ≤ ≤ œ ≥ ≥ œ #  œ œ œ ≥ œj œ≥ œ œ œ≤ ≥j ≤ ≥ œ≤ œ ≤ #2 j œ % ≥ j œ≤ j ≤ œ ≥ œ œ ≤ ≥ ≤ œœœ≥ œ ≤œ ≥ ≤ ≥ ≤ ≥ œ & 4 œ œ # 2œ jœO œ œ œ Oœ œ Oœ œ œO œ œ Oœ œ œ œ O # œ Oœ œ O O O O œ & 4 œO œ œO O œO O O 5 ≥ Fine ≥ 5 ≤ ≤≥ ≤ j ≤ Fine j œ ≥ œ œ ≤ ≤ ≥ ≥ # œ ≥ ≤ œ ≤≥ ≤ œ œj œ≥ œ œ œ œ ≤ ≤ ™ # # # œ œ œ j ≥ ≤ œ ≥ œ œ ≤ ≥ œ≤ œœ œ œ ≥ # ≤ ™ # & œ #œ œOœ œ œ œ Oœ œ Oœ œ œ œ œO œ œ œ œ ™ # O & # œ œO œ œO œO œ O O œ O O # 9 O O O O O   e ≥  9≥ œj œj ≥ ≤ ≤ ≤≥ ≤ œj ≥ # # ™ œ ≤  œ ≥ e≤ œ ≥ ≤ ≤œ ≤ # ™ œ œ ≥œ œj œ œ œœj ≥ ≤œ œ œ ≥ ≤œ œOj ≥ & # # ™ œ œO œ ≤ œ Oœ O œ≥ œ≤ œœ œ œ œ œ O≤ & # œ O œ O O œ œ 13 ≤ ≥≥  ≥  13j ≤ j ≥ e≤ ≥ # # œ œ ≥≥≤  ≥ œ œ ≥ e≤ œ≥ ≤ ≥ ≤ ≤ % ™ # œ œ œ œj œ ≤ œ œœj œ≥ ≤œ œ œ ≥ œ œ ≥ ™ ≤ % & O # # œ œO œ œ O O œ≥ œ≤ œœ œ≤ ≥ œ ≤ œ œ ™ & # O œ O œ O O œ œ œ Oœ œ œ 17 O 17 ≥ ≤ j ≥ ≤ ≥ j ™ œ œ œ ≤ ≥ œ ≥ œ  ≤ œ ≥  # # ™ œ œ œ≥ œ≤ œ œ O≤≥ j œ œ œ œ≥ ≤ ≥ œ ≤œ ≤ j œ & # # #O ™ œOœ Oœ Oœ≤ œ≥ Oœ œ œœ œ œ Oœ O≤ œ œœ œ œœ œ≥O œ ≤ œ # O O O O O œ O œ œ œ O & D.C. al Fine 21 D.C. al Fine 2≥1 ≤ j ≥ ≤ ≥ œ œ œ ≤ ≥ œ ≥ œ  ≤ j ≥ ≤ # # œ œ ≥œ œ≤ œ œ ≥O≤ j œ œ œ ≥ ≤ ≥ œ ≥ # #O# œOœ œO œ≤ œ≥ Oœ œ œ œ œ O ≤ œ œœ ≤œ œ œj ≤ & # œ œ œO œ œ œ œ Oœ œ & O O O O O œ œO

Fig 11.1 Bowing for the first time start of the tune ≥ ≥ j ≤ j ≤ j ≤ œ ≥  # 2 j œ ≤  ≥œ œ ≤  ≥œ œj # œ œ #œ œ Oj œ œ j O ≤ œ≥ & 4 O #2 j œœ œ O O O œ œ & 4 œ œO œ œO œO O œO O Tom usually starts his tunes with an up bow and the first bar now starts with the more normal does so here (Fig 11.1). The first beat of the first down bow. Ringing open strings on D, A and bar of a tune would normally be played with a E are used throughout and several staccato snap strong down bow and this would often follow bowings are indicated in the second and third pick-up notes played with an up bow, but here parts giving lightness and bounce. there is no pick-up. When the tune is repeated – 75 – Tom Hughes: Fiddle Style of the Scottish Borders V24_TheLilliesleafPolka12 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 cd V2The4_The LLilliesleafilliesleafPolka1 2Polka SprFidd leSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 22 q = 155 q = 155 ≥  ≥ 3 ≤ ≤  ≤ j ≤ ≤ ≥ j ≥ ≤ 3 ≥ 3 j j ≥ ≤ ## 4 ™ œ œ œ ™ ™ j œ œO œ œO ≤O œ ≥  œ ≥œ ≤O O ≥œ3 ≤œ≥œ œ≤O  œ≤œ & 4 œ J j ≤ œ j ≤œ3 œ ≥œ3 j 3 Jj ≥ 3 # 4 ™ œO3 œ O ™ œ œ ™ O O j œ œO œ O J & # 4 O œ œ œ œ O O™ œ œ œ œ œ O œ œ œ 4 œ O J O œ œ œ O O œ œ 3 J 3 J 3 j ≥ 4 ≥ œ ≤ ™ ≤ ≥ j ≥ ≥ 3 ≤ ≥ ≤ 3 # ≤ œ≥ œ ™ œ ≤ ™ ≤ j # œ œ œ j ≥œ œ œ œ ™ ≤œ j & ≥ 3 ≤ 3 ≥Jœ ≤O ™ ≤œO œ ≥ 3 j ≤ ≥œ ≤ œ ≥œ3 j ≥œ ≤œ3 œ ## œ œJ œ œ œ œ œ ™ œ œJœ ™ œ œ ™ O j 3 O O œ œ œ œ œ œ 7& 3 J J œ 3 J œ œ œ œ1.  2. œ œ O ≤  j 7 3 j ≥ œ ≤ ≥™™ ™ ≤ j ≥ # ≥ j œ O œ O ≤ 1. ≥  œ r ™2. ≥ œ œ ≤ ™ ≥ 3 ≤ ™ ≥ # œ≤ œ  œ œ œ œ j ≥œ œ ˙ j & ≥ 3 j O J j ≥ œ≤ ≥ œ ≤ ™™™™ œ ™ ≥ ≤ j ≥ ≤œ œ≥ œ≤œ œ œ œ≥ ## œ œ3œO œ œO 3 J 3œJ œO œ œO r ™ œO œ œ ˙O ™ œ3 j ™ œ & œ O œ œ ™™ œ œ œ œ œ 11 œ 3 J 3 J 3 J O O O O œ œ œ œ œ j ≥ j ≥ 11 # ≤ 3 j > 3 j ≥ ≤ œ œ≥ ≤ œ œ ≤ ≥ ≤ ≥ œ œ≤ ™ œ j œ ≥ œ O œ œ œj œ # ≤ 3 3 ≤ œ ≤ 3 3 œ ≥ œ œ ≥™ &# œ œjO >œO œj ≥ œ œ≥O œJ œ J ≤ 3 ≤J 3 ≥O œ≤ œ # œO O œ 3 œ œO œ œ œ œJ œ & œ œO O œ œ O 3 J J 3 3 O 14 œ O O J J œ j ≥ 14 ≤ 3 > 3 ≤ œ ≤  # ≤ ≥ 3 ≤ ≥ j j ≥ œ≥ œ œ ≤ j ≥ ≤ ≥ # ™ j œ j œ ≥ œ œ œ œ œ E˙ ≤ œ ≤œ3 O >O3 œ ≤œ œ ≥O ≤O J 3 ≤ œ j &# ≤œ œ™ ≥œ3 œ œ œ ≥œ œj œ j ≥ œ œ 3œ œ œJ 3 œ ≥ ≤ ≥ # j œO O 3 œ J œ œO E˙ & œ œ œ œ œ œO O œ œ O O J J œ œ œ œ œ œ O O 3 3 J O Fig 11.2a/b Variation in snap bow timing ≤ ≤ ≥™ j ≤ ≥ ≤ ≥ 3 j ≥ ## ™ œ œ. œ j™ K ™ ≤ & ≤O œ ≥™™ ‰ j ≤œ ≥œ ® r ≤O O ≥œ 3 jœ ≥œ # œ ™ œ .R œ j™ œ™ # O O™ ‰3 œ œO ® œrK. œ O™ O œ O & œ œ OJ R O œ œ œO œ œO œO J 3 . ≤ ≤ ≥™ j ≤ ≥ ≤ ≥ 3 j ≥ # ™ œ . œ j™ ™ ≤ # ≤O œ ≥™™ ‰ œ j ≤œ ≥œ ≈ ≤O O ≥œ3 jœ ≥œ &# œ ™ œ .R œ j™ œ™ # O œ O™ ‰3 œ œO œ ≈ Oœ O™ œO œ œO & œ OJ R O œ œ O O J 3

The Lilliesleaf Polka Champagne Charlie This rather fine old-style polka from Tom’s Champagne Charlie is a music hall song family is named after the small village of composed by Alfred Lee with lyrics by George Lilliesleaf near Denholm. Tom uses a range of Leybourne. Leybourne was a popular music hall snap bowings, Scotch snaps, double stops and performer and this was the most famous of his T 14ringing Dec 13. R strings.eversed bo w Theings in extent bar 12 a sto pe rwhich bar 16. Dtheitto bowbars 1 0 to 14. Nsongs,ow works premieredwell. in August 1866 at the Princess TR 1e4m leavesDoveec t1h3e. aRthelteevren rastringsteidve bs o-w bi unduringtg sin icnl ubdaer 1stheo2m ase snappshero rbta sr n bowings1a6p. bDoiwttos absa r–ilsl u1s0tr taot i1o4n. NShoowConcertr tweno rskesv wereal ll .Hallof the tinran Leeds.scribed snap bows to give 32nd note (demisemiquaver) - the last snap bow in bars 1, 4. 5, 13. Remoparticularlyve the alternativ eins - btheut in lastclude notes some s hofort barssnap b 1,ow s4, as 5ill uandstrati o13n. S horten several of the transcribed snap bows to give 32nd nSo t1e4 (– dJ ueismn i1exploreds4e.m Riqeuvearvteerd) -tino t hs eiFiguren lgalset dsnoattp e 11.2.db onwo tiens biThena rbs a1r,s 4second1. , 54, , 153, .13 .‘driven’ Reversed bowinHamnavoegs (again) in ba rPolkas 5, 6 to match bars 1 etc. Added extra bars at the end to illustrate timings for bars 1 etc. Save as v13. S 14 Jnoteun 14 .of Re vtheerte dpair to sin maygle do tbeted nveryotes i nshortened: bars 1, 4, 5, 1 3Shown. Reversed bowingToms (again and) in b aWattiers 5, 6 to mpickedatch bar sup 1 e tthisc. Ad dtuneed ext rasa part of a bars aast th ae esemiquavernd to illustrate t iormi n16thgs for binars the1 etc main. Save a stranscription v13. set of Shetland tunes from Tom Anderson and (e.g bar 1), the note may be closer to a demi- Aly Bain when they were all guests at the Kinross semiquaver or 32nd (Fig 11.2a) or can disappear Festival in the early 1970s. completely, the bow left ‘hanging’ (Fig 11.2b).

– 76 – 11: Polkas

49_1_ChampagneCharlie6 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 Champagne Charlie cd 15 q = 180 %≥ ≥ ≤ ≥ ≤ ™ ™ # ≤ ™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ eœ≥ œ≤ eœ≥™ ≤ 4 œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ & 4 œ O O œ O J O O J 5 ≤ ≤ 1. ™ # eœ≥ œ œ œ≥ ≤ eœ≥ œ œ≥ œ≤ œ≥ œ≤ œ œ œ≥ ≤ ≥ ≤ ≥ œ≤ ≥ ≤ ≥™ ≤ ™ œ ™ J œ œ œ œ œ œ œ™ œ ™ & O O O J 9 2. ≥ ≥™ œ œ≤ ≥™ œ≤ œ œ ≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ ≤ œe ™ œ≤ œ œ ≥ ≤ ≥ ≤ # œ œ œ œ œ j œe œ œ œ œ œ œ & J œ œ ˙ œ œ œ J œ œ - 3 J 14  ™ œj ≤ ≤ ™ ™ j ≥ ≤ ™ ≤ # ≥ œ™ œ- ≥ œ ≥ ≤ œ≥™ ≤ ≥ ≤ ≥™ œ≤ œ œ œ œ≥™ œ œ œ O ™ O ˙ œ™ œ œ œ œ O œ œ eœ eœ™ O O O O œ & O O O O J O O J J J O O J 19 ™ ™ ≥ ≤ ≥ œ ≥ ≤ ≥ œ ≤ # - œ j ≤ œ≥ œ œ œ œ œ œ œ≤ œ œ≤ ™ œ ˙≥ œ œ & ˙ œ œ œ œ O O O O œ œ œ œ œ O J #œ O3 O O O O J O O 24 1. Last Time  ™ ≥ ™ œj ™ ≤ ≤ ≤ # œ≥ œ≤ œ≥™ œ≤ œœ ≤ œ≥™ œ≤ ≥ ≤ L 2 ≥™ j ≥ ™ j% ≥% E œ œ œ L 1 eœ™ & O O O O O O J œ ˙ œ™ œ w ˙ J O 25_Hamnavoe Polka3 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10 HamnavoeSetting Sut 24 March 13 . BPolkaowings fina lised PS, Mon 25 March 13. Bowings not the same both times particuarly in the first half of second part. The tenqu t=o s i1gn4 a0bove notes in bars 17 and 25 indicate repeated emphasis with the same bow stroke. M 21 Oct 13: Removed s≥nap b≤owings i≥n bars 3, 11 but kept in 16, 22. Amended op≤en string use in bars 25, 26 and added fingering and slide to bar 31. Save as v2. Save a.s 49_1._Champ.agneC≤.harlie3≥ ≤ ™ ≥ . ≥. ≤. ≥. ≤ ≥ ≤. # ≤ ™   ™ ≥ ≤ ≥ ≤ ™™ ™ ™ ≤ ≥ ™ T 21 Nov4 13. Title to 2j1pt. Tjempo to 12.6pt. 7.2/5.5/9.0 i.eœ Spr FiddlœeSolo2. Save as v5œ. œ œ œ œ e™ œ & 4 œ œ œ O œ œ O œ™ œ œœ œœ œ œ œ™ œœ™ œ œ S 14 June 14. œCorrected bowinœg slurs iœn barœs 14, 15O. Save as v5. O O œ O S 14 JUne 14.O Used repeat in part A to reduce systems to 6 from 7. Save as v6. T6une identified by Jimmy Shand jnr as Champaign Charlie. Confirmed online e.g. ≥ http://www.youtube.com/wat≥ch?v=R≤OsI7cOZvJU ™ ™ ™ # ≥. ≤. . . ≥ ≤ ≥ ≤ ≥ ≤ ™ ≥ ≤ eœ™ eœ™ ≤ eœ™ eœ- ≥. ≤. ≥ Champagne Charlie is a music hall song from t™he 19œth century cœomposed by Alfred Lee with lyrics by George Leybourne. Leybourne popularised the œsoœngO whicœh pOremièOred in Auœgust œ1866 atœ theœ Princess'œ Concert Haœll in Leeds. œ & œ œ œ œ œ œ œ œ œ ˙ Champagne Charlie is ma name, Champagne drinking is ma game, O T1h0ere's no drink as good as fizz, fizz, fizz, I'll drink every drop there is, is, is. All around town it is the same, By pop, pop, pop I rose to fame, 1 j 2 ≤ ≤ ™ ≥  I'm the idol ofgœ the barma≥id, And Champagne Charlie is ma name.≤ ≥ ≤ ≥ ≤ ≥ j ≤ ≥ ≤ # ™ 1 eœ œ œ œœ ≤ ≥ ™ ≥ ™ œ œ œ œ œ œ ™ œ ™ œ e™ T&he tune was published as a polka arranged by Joseph L. Schœmitz œin 18œ69 andœ waœs recoœrded aœs a poœlka bœy Jimmœy Shœand œin theœ 1930sœ. œ O J 14  j 2 ≤ 1œ ≥ ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ j ™ ≤ ≥ ™ # 1 eœ œ ≤ ™ œ œ œ ≤ ≥ ™ ™ ™ œ œ œ œ œ œ œ ™ œ œ œ œ œ & O œO œ œ œ œ œ œ œ œ ˙ O O – 77 –

Setting T 16 April 13. As played by Tom Hughes & Wattie Robson - draft version. The tune was sent to Aly to identify if Shetland. Up bow at start of B cannot follow end of A.

Recording: 25: T&W played the ﬁrst part only once. In a set of Resting Chair/ Hamnavoe Polka/ Da Fashion O da Delting Lasses. See also: http://www.folktuneﬁnder.com/tune/108210/ Tom Hughes: Fiddle Style of the Scottish Borders Waltzes & Slow Airs TomH_2_7_AuldGraden13 SprFiddleSolo3 with 16pt Jazz Coule 7.2/8.0/9.0 15/15/15/15 & 20/10 Auld Graden Kirn cd 33 q = 156 ™ j ≤ ≤ ™ œ ≥ ≤ ≥ 3 ≤ 3≥ ≤ ™ ≥ ≤ ≥ ≤ ≥ œ œ ≤ œ≥ œ œ # 3 ™ œ œ œ j j œ œ œ œ œ œ œ œ œ # œ O œ œ œ O 3 œ œ ˙E O & 4 3 J 3 J œ œ O J O O 6 ≥ ≥ j œ ≥ ≥ 3 ™ # œ œ ≤ ≥ ≤ ≥ ≤ œ≤ ≤ ≤ 3≥ ≤ œ≥ ≤ ≥ ≤ # œ œœ œ œ ˙ O œœ j j œ œ œ œ œ œ & œ 3 œ O œ 3 J 3 œœ œ œ O 3 œ œ 3 J J 3 J J œ O J O O O 12  ™ ≥ ≥ ™ ≥ œj ≥ ≤ œ ™ ™ ≤ ≥ # œ≤ œ œ œœ œ œ œ œ≤ ≥ œ≤ ≥ ≤ œ≥œ œ œ œ œ≤ œ œ≤ # œ œ œ œ œ œ 3 J 3 & ˙E O 3 J J 18 2 j ≥ ≤ L ≥ ≤ œ ≥ ™ ≤ ≥ œ œ ≤ ≥ 1 ˙ œ œ œ œ œ œ ≤ ≥ ≤ # œ œ œ œ L E œ œ œ œ œ œ œ & # œ œ œ 3 J œ œ

24 ≥ ™ L 2 ≥ ≥ ≥ ≤ ≥ ≥ ≤ œ ≤ œ œ ≤ œ ≤ œ ≥ L 1 ˙ œ œ œ œ ≥ ≤ # œ œ œ 3 œ œ œ œ œ E œ œ œ & # ˙E O J œ œ œ 3 O3 J 30 Coda j ≥ ≤ j ≥™ ≤ ≥ ≤ ™ œ ≥ ≤ ≥ ≤ ≥ 3 ≤ 3≥ ™ ≤ ≥ # œ œ œ œ œ ˙ ™ œ œ œ j j œ œ œ œ # œ œ E œ 3 œ œ œ O 3 & J O O J 3 J œ œ O J 35 ≤ ≤ ™ ≥ ≥ # ≥ ≤ ≥ œ œ œ≤ œ≥ œ œ œ œ œ≤ ≥ ≤ ≤ ≥ # œ œ œ œ œ ˙E O œ œ œ œ œ E˙ & O O O 3 J

Auld Graden Kirn Henry Hughes’ Favourite ThisCor fuis T a 4 tuneJune 1 3that: Bow Tomings qu oftenite varia bplayedle. Remo withve segn o and DS al segTomno. Pu thad in no norma lname repeat inforste athisd. Am tune,ended f rao mfavourite of his histh efather LP Boo fork tra thenscri pSttio nBernard’ss to closer m aWaltztch as p l–ay aned. T oldemp o to 156. Sagrandfather,ved from v_8 to v_ 9now. named Henry Hughes’ Favourite timeTh 3dance Oct 13. thatReass ehasssed : remainedthe bowings o popular.n the LP/CD Tom record ing diﬀer froinm thishos ememory. on the video aThend th itunes has r ewasquire dused a new for the look at the transcription. The problem of the bowings in bars 3, 11, 18, 26 has now been sorted and bars 15, 16 are now remembers it being requested when he and his Spanish Waltz – a popular dance in the Border correct I hope. The bowings are variable in the repeats. This is better and it works. fatherTh 31 playedOct 13. A formen dtheed t oannual add ﬁng ekirnrings bdancesars 24, 27 at. R etheplac ed slide lincountieses by Coul eat. A dthatded t rtime,ial title ain progressivePapyrus font. circle dance farmSave dof a sAuld v11. Graden in the 1920s and Tom danced in sets of two couples. namedT 21 N othev 13 tune: Title tino 2 1memorypt. Tempo t oof 1 2those.6pt. 7. 2days./5.5/9.0 i.e SprFiddleS olo2 TheSave a stwo v12. parts of the tune have the same ThThe 19 D etunec 13. Sispr FplayediddleSol owith3 Save internal as v13 triplet chord sequence and so were often played in duet rhythm, plentiful use of ringing strings, as here, adding harmonic content and strength occasional use of a broken slur or snap bow, and that would be beneficial when the band comprised a couple of double stop slides. The bowing is only two fiddles. Both fiddle parts include slightly varied in the repeats. plentiful use of double stops and ringing strings. – 78 – 12: Waltzes & Slow Airs

TomH_1_5_HenryHughesFav18 Set at: 7.2/7.0/9.25 Margins 10/15/15/15 & 17/10 Henry Hughes’ Favourite cd 08 A q = 170 ≤ ≤ ≤ ≤ ≤ ##3 ≥ ≥ ≥ e e ≥ e e ≥ ≤ ≥ ≤ & 4 œO œ œO œO œ œO œO œ œ œ œ œ œ e e e e œ œ œ œ œ œ œ œ œ œ œ œ 7 3 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ## e e e œe œ œ & œ œ œO œO œ œ œO œO œ œ œO œO œ œ œO œO œ œ œ œ œ œ œ 13 B % j j j ≤ j j ≥ œ ≥ œ œ≤ œ≥ œ œ ≤ # O œ ≥ œ O œ ≥ ≤ œ ™™ ≤ ≥ œ ≤ ≥ œ≤ ˙ œ œ # œ œ œ œ œ œ œ œ œ œ E˙ œ œ œ œ O & R O O O O O 20 ≤ ≥ œ j ≥ ≤ ≥ j ≥ œ œ œ œ≤ ˙≥ ≤ œ ≥ œjœ≤ # ˙ œ œ œ≤ ˙ #œ œ ≥ œ≤ ˙ # œ œ œ œ O E œ œ œ œ O E & O O O 27 Fine ≥ œ ≤ œ œ ≤ ≥ œ œ œ ≥ œ œ ≤ ≥™™ ## nœ œ ˙ œ œ œ œ œ≤ œ≥ œ œ œ œ œ≤ ˙≥ & 3 R O C Both parts played together as a duet: 33 Fiddle 1 j ≤ ° ≤ œ ≥ œjœ≤ œ≥ œ œ ≤ ≥ ≤ ≥ j ≥ œ # ™ ≥ œ≤ ˙ œ œ ˙ œ œ œ≤ ˙ # ™ œ œ œ O O œ œ œ œ O E & O O O Fiddle 2 ≤ ≥ ≤ ≤ ≤ ≤ ## ™ ≥ ≥ e e ≥ e e ≥ ≤ ≥ ≤ ¢& œO œ œO œO œ œO œO œ œ œ œ œ œ e e e e œ œ œ œ œ œ œ œ œ œ œ œ 39 ≥ œ œ ≤ ≥ ≤ j j ≤ ≥ œ ° # œ œ #œ ˙ ≥ ≤ œ ˙≥ œ œ œ œ nœ≤ œ # œ œ œ œ œ E & O Oœ O O ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ## ≥ e e ¢& œ œ œO œO œ œ œO œO œ œ œO œO œ œ œO œO œ œ œ œ 44 ≤ ° ≥ œ œ œ ≥ œ œ ≤ ≥™™ ## ˙ œ œ œ œ œ≤ œ≥ œ œ œ œ œ≤ ˙≥ & 3 R O D.S. al Fine 3 ≥ ≤ j ≤ j j ≥ # ≥ O œ œ O œ ≥ ≤ œ ™™ ≤ ≥ # e œe œ œ œ œ œ œ œ œ œ œ E˙ ¢& œ œ œ œ œ R O

– 79 – Tom Hughes: Fiddle Style of the Scottish Borders

TomH_2_4_Kelso15 SprFiddleSolo3 with 16pt Jazz Coule. 7.2/8.0/9.6 Margins 10/15/15/10 & 20/10 Kelso Hiring Fair cd 29 q = 176

%≤ 3 ™ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 3 j ™ j j œ e e œ e e œ e e œ &4 œ œ œ œ œ œ œ#œ œ œ œ O O O O O œ œ O œ œ O œ œ O œO œ œ œO œ œ 7 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ j j œ œ e e œ e e œ e e œ & œ#œ O œ œ œ œ œ œ œ œ#œ O œ œ œ O O O O œ œ O œ œ O œ œ O œO œ œ 13 1.Fine 2. 3 ™™ ≥ 3 ≥ 3≤ 3 ™ ≥ œ œ ≤ ≥ ≤ ≤j j ≥ ≤ j ™ ≥ # r ≤ œ ™ œ™™ œ œ œ œ e™™ r e™™ & # O R 3 & O O œ#œ O œ œœœ œ œ œ œ œ J œO œ œ O œ O O œ O 18 ≥ L ™ ≤ 1.≥ # ≥ ≤ ≤ ≥ ≤ L eœ≥™ œ eœ œe ≥™ ≤ ≤ # ˙ œ œ e e e J œ™ œ œ O & œO œ œ œ œO O J œ œ œ œ œ œ œ 24 2. ≥ ≤ ≥ ≤ ≤ ≤ 3 3 ≤ 3 3 # ™ ≤ ≥ ™ œ≥ ≤ 3 œ 3 œ ≥ j j ≥ j j # œ œ O O œ L œ œ œ œ œ œ œ & œ œ œ œ. ˙˙ O œ J œ J œ œ œ œ œ. 30 ≥ ≥ # ≤ 3 j 3 j ≥ ≤ 3 3 ≥ ≤ ≥ ≤ ≤ ≥ ™ ™ ≤ ≥ œ ≤ # œ œ œ œ œœœ O e ™ ™ œ œ ˙ œ œ & œ œ œœ œ œ J œ J œ œ œ œ L ˙˙ O 3 O œ 1. 36  œj ≥ ≤ ≥ œ≤ œ œ ≥ œ œ ≤ ≤ ≥ # ≥ ≤ ˙ œ ˙ ˙ œ ≥ œ≤ œ≥ œ≤ œ≥ œ œ œ≥ ≤ ™ j ™ # O˙ œ O˙ 4 œ œ™ œ & 4 O 43 2. pizz. pizz. pizz. ≤ ≥ ≥ # œ≥ œ≤ œ≥ œ œ œ ˙≥ # ≤ ™ ≥ Æ Æ Æ Æ ≥ ≤ ≥ ≤ ≥ ≤ Æ Æ #3 œ œ ™ œ œ œ œ œ œ œ œ œe & 4 & 3 J O O O œ œ O œO œO O œO œO O O 49 pizz. pizz. pizz. ≥ ≥ # Æ Æ ≥ ≤ ≥ ≤ Æ Æ ≥ Æ Æ ≥ ≤ ≥ ≤ ≥ ≤ œe e œ œ œ œ œ œ œ œ œ œ œe & œ œ œ œ J œ œ œ O O3 O3 O O œ œ O œ œ O O O J O O O O D.S. al Fine 54 pizz. pizz. ≥ Æ Æ ≥ Æ Æ ≥ ≤ 1. ≥ ≤ 2. ≥ # ≥ ≤ œ e™™ ™ ™™ r œe œe œe œ œ œ œ œ œ œ œ œ & œ œ œ œ O J O O œ O O J œ™™ œ O O O O 3 3 J R 3 O % – 80 – 12: Waltzes & Slow Airs

Kelso Hiring Fair/ Victoria Waltz The tune here named as Kelso Hiring Fair is bar structure which suggests errors due to oral referred to as Victoria Valse in one of the few transmission. The version in Köhler has a places it has ever been printed – in Köhler’s Violin regular 16 bar structure and Tom’s version would Repository of 1882 (Book 1, p 42), but the dance correspond to this if the indicated bars (*) were seems to have died out, in the Borders at any repeated an extra time and the 4/4 bar in the rate, by the 1920s. Tom acquired the tune from fourth part reduced to 3/4. a traveller fiddler playing in the street in Kelso during the Hiring Fair of 1928. Tam’s Victoria Waltz The tune, and perhaps the dance too, lingered Tom had this further tune for the Victoria Waltz on in Orkney and was recorded there in 1955 but had no other name for the tune. As played by by Peter Kennedy from The Garson Trio with Tom this tune also has an irregular bar structure Jim Garson of Kirkwall on fiddle. Jim Garson with two bars in 4/4 that would presumably not had, like Tom, learnt the tune from a street have suited the tune when played for dance. An musician. Both versions have a slightly irregular alternative bar in 3/4 is given below the tune. 11_4_VictoriaWaltz9 SprFiddleSolo3 with 16pt Jazz Coule 7.2/8.0/9.0 15/15/15/15/ & 20/10 Tam’s Victoria Waltz cd 04 q = 155  ≤ ≥ ≤ ≥ ≤ ≥ ≤ œj ≥ ≤ #% ™™ ≤ ≥ ≥ ≤ ˙ œœœ ˙≥ ≤ L 2 3 œ œ ˙ O O 1 & 4 O œ r œ œ œ œ œ#œ œ L ˙E œ œ œ. œ O œ O O O 8   ≤ œj œj ≥ # œ œ œ≥ ≤. ≤. ≥ ≤ ≥ ≥ ≤ ˙≥ œ≤ œ≥ ≤ ≥ ≤ ≤ œ œ œ œ ˙ œ ˙ œ œ œ œ œ & O œ œ œ O œ O O 14 1. 2. j ™™ ™ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ œ≥ ™ ˙≥ ≤ œ≥ ≤ œ≥ œ # j œ r ™ œ œ œ O œ œ J & œ œ œO œ œ œ . 19 * ≤ ≥  œ œ ≥ œj ≤ œ ≥ ≤ ≥ ≤  ≤ ≥ ≤ ≥ ≤ ≥ #4 œ œ œ œ œ 3 j O O œ nœ #˙ œ œ œ œ œ œ œ œ œ œ O œe œ ˙ œ œ œ & 4 œ 4 œ - 24 *  2 ≤ ™ ≤ ≥ 1 œj œ ≥ ≤ œ≥™ ≤ œ≥ œ œ œ œ ≥ ≤ ≥ ≤ # 1 œ e ˙ œ e œ 4 œ œ œ œ œ & ˙ J 4 œ œ œ œ O O 28 1.2. Last Time   ≥ ™ œj ≤ ≥ ≥ ≥ j ≥™ ≤ ™  ≤ ≥ ≤ ≥ . . ≤ ≤ ≥ ≤ ≥ ≤ ˙ % œ ˙™ ˙™ #3 j œ ˙E ™ œ œ œ œ j œ E E œ O œe O œ œ œ & 4 œ - ˙ œ œ œ * Alternative to the irregular bars œ œ ≤ #3 œ œ œ≥ œ & 4 œ œ

– 81 – Tom Hughes: Fiddle Style of the Scottish Borders 79_CockYerLegUp10 SprFiddleSolo3 with Jazz Coule 7.2/8.0/9.0 15/15/15/15 & 20/10 Cock Yer Leg Up cd 19 q = 150

% ≥ ≤. ≤. ≥ ≤. ≤. ≥  ≤. ≤. 0 ≥ # ≤ 1 ™ ™ ™ j 3 ≤ 3 3 3 e™ e e™ e e™ œ e e L & 4 œ œ œ œ œ œ œ œ œ œ ˙˙ œO 0 O œO O œO O œO 5 ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≤ # ≥ . . ≥ . . ≥ . . ≥ ™ ™ j . . . 2 e™ e e™ e e™ ™ ™ œ œ œ & 2 0 œ œ œ œ œ œ œ ˙ œ œ 2 œe œe œe O O O O O O œO œO O 11 j ™ 2 ≥ 2 ≤ œ ≥ ≤ ≤ ≥ ≤ 3 ≥ ≤ ≤ ≤ œ 3 ˙E œ œ . . . j . . . ≥ œ œ # 1 e œ œ L œ™ œ œ & J O œ ˙˙ œ œ œ œ œ œ O O O O 3 J O J 16 1. 2. Last Time ≥ ≤ ≤ ≥ ≤ ≤ ≤ ≤ L 2 ≥™ . . . ≤ ™ ≥ . . ≥ % ≥ . . 1 ˙™ # œ œ œ L ™ œ j œ œ œ L O ˙ œ œ œ œ O O & O O O J œ ˙ O 3 O Cock Yer Leg Up (Varsovienne) Known by a confusing range of names including simple repetitive tune often has accompanying ShoeSett intheg F rDonkeyi 25 Oct 1 3and. Am eCocknded a sYour per co Legmme nUpts fr,o them C M. words such as ‘Shoe the donkey, shoe the donkey, Varsovienne5 Nov 13: Ch eevolvedcked with T inran thescrib e1850s, speed cfromhecked theat 15 0, added more shoeﬁngeri nthegs, a mdonkey’sended and bigsaved toe’ as v7 .or ‘Cock yer leg up, MazurkaT 21 Nov ,1 3a. TPolishitle to 2 1dancept. Tem pintroducedo to 12.6pt. 7.2 from/5.5/9.0 Europe i.e SprFid dleScockolo2. S ayerve a sleg v8. up, cock yer leg up, said she’ – the inT theh 19 1830s.Dec 13. S TheprFid ddance,leSolo3. Sinav e3/4 as v 9time,. has a strong latter as known by Tom and his family – with the beatT 2 9on Jan the 14. A2ndmend anded as 3rdper JN beats. of the bar. The words often sung along during the dance.

ToAuldmH_1_9 _RobinAuldRobi nGrey14 SprF iddleDuet 7.2/7.0/10.5 Margins 10/15/15/15 & 17/10 cd 16

Free Time q = 56

3 Fiddle1 1 1 1 ≤0 1 ≥1 ≤ ≤3 ≥ ° ≤ ≥ ≤ j ≥ P ≤ # 5 j nœ ™ 4 œ ™ 3 œnœ & # 8 œ O™ œ œ œ œ bœ œ bœ 8 nœ œ œ nœ 8 œ œ™ j œ q œ œ O J O J œ Fiddle 2 ## 5 j 4 3 ¢& 8 ™ œ œ œ œ œ œ™ 8 œ œ 8 œ œ j œ œ œ œ œ 5 ° ≥ ≤0 1 ≥1 ≤ ≥ ≤ ≥2 2 ≤ # 5 j 4 3 4 3 j # œ ™ œ œ 1 j œ œ ™ & 8 œO™ œ œ 8 œ œ œ 8 8 œ œ™ nœ 8 œ#œ O™ O O J 1 œ œ œ œ e rall. ##5 j 4 3 4 3 ¢& 8 ™ œ œ œ 8 œ œ œ 8 8 8 ™ j œ œ œ™ œ œ œ œ œ 10 2 2 ≤ 1 ≥1 1 ≤ –≥ 82 – ≥2 ≤ ≥ ≥ ° ≥ j P ≤ 2 j ≤ ≥ ≤ # 5 j nœ ™ j 6 œnœ ™ œ œ e 4 # œ O™ œ œ œ bœ œ œ œ #œ 1 œ ™™ & 8 œ œ O J O 8 œ 8 œ œ œ a tempo rall. ##5 j j 6 4 ¢& 8 œ œ œ œ œ œ 8 œ œ j 8 j ™ œ œ œ œ œ œ œ

14 0 2 1 1 ≥ 4 1 1 ≤ ° # ≤ ≥ œ≤ ™ œ œ ≤ ≥ ≤ ≥ ≤ ≥ # œ œ œœ œ ™ 3 4 jL & œ œ œO™ œ1 ™L 8 ™ 8 œ nœ™ œœ œœœ 1 œ™ œœ œœ œœ œ e a tempo ## 3 4 ¢& j œ œ œ 8 j 8 œ œ œ œœ ™ œ œ ™ ™ œ œ œ œ œ œ œ œ œ

20 0 3 3 2 2 ≥ 2 3 2 3 3 ≤ ≥ ≤ 1 ≤1 1 ≥2 ≤ ≥ ° # ≥ ≤ L ≥ L #3 4 œ™ œ bœ œ 3 œ 4 jL ™P ™L 4 ™ & 8 œ™ œnœ œ 8 œ 8 O œ œ 8 œ nœ œ œ #œ 8 œ œ œ #œ accel. ##3 4 3 4 4 ¢& 8 ™ 8 œ 8 ™ 8 ™ j 8 j œ œ œ œ œ œ œ™ œ TomH_1_9_AuldRobin14 SprFiddleDuet 7.2/7.0/10.5 Margins 10/15/15/15 & 17/10

Free Time q = 56

3 Fiddle1 1 1 1 ≤0 1 ≥1 ≤ ≤3 ≥ ° ≤ ≥ ≤ j ≥ P ≤ # 5 j nœ ™ 4 œ ™ 3 œnœ & # 8 œ O™ œ œ œ œ bœ œ bœ 8 nœ œ œ nœ 8 œ œ™ j œ q œ œ O J O J œ Fiddle 2 # 5 j 4 3 ¢& # 8 ™ œ œ œ œ œ™ 8 œ œ 8 œ œ j œ œ œ œ œ œ 5 ° ≥ ≤0 1 ≥1 ≤ ≥ ≤ ≥2 2 ≤ # 5 j 4 3 4 3 j # œ ™ œ œ 1 j œ œ ™ & 8 œO™ œ œ 8 œ œ œ 8 8 œ œ™ nœ 8 œ#œ O™ O O J 1 œ œ œ œ e rall. ##5 j 4 3 4 3 ¢& 8 ™ œ œ œ 8 œ œ œ 8 8 8 ™ j œ œ œ™ œ œ œ12: Waltzes œ& Slow œAirs 10 ≤ 1 ≥1 1 ≤ ≥ ≥2 2 ≤2 ≥ ≥ ° ≥ j P ≤ 2 j ≤ ≥ ≤ # 5 j nœ ™ j 6 œnœ ™ œ œ e 4 # œ O™ œ œ œ bœ œ œ œ #œ 1 œ ™™ & 8 œ œ O J O 8 œ 8 œ œ œ a tempo rall. ##5 j j 6 4 ¢& 8 œ œ œ œ œ œ œ 8 œ œ œ j 8 j ™ œ œ œ œ œ

20 0 3 3 2 2 ≥ 2 3 2 3 3 ≤ ≥ ≤ 1 ≤1 1 ≥2 ≤ ≥ ° # ≥ ≤ L ≥ L #3 4 œ™ œ bœ œ 3 œ 4 jL ™P ™L 4 ™ & 8 œ™ œnœ œ 8 œ 8 O œ œ 8 œ nœ œ œ #œ 8 œ œ œ #œ accel. ##3 4 3 4 4 ¢& 8 ™ 8 œ 8 ™ 8 ™ j 8 j œ œ œ œ œ œ œ™ œ 25 0 3 3 3 3 ≥0 1 1 1 1 ° ≤ ≥ ≤ ≥™ ≤ ≤ ≥ ≤ ≥ P ≤ ≥ ≤ # œ 5 L œnœ ™ L 4 # œ™ œ œ œ œ™ O O œ œ œ bœœ nœ œ œ œ œ & #œ 8#œ nœ œ œ™ O J O J 8 œ œ a tempo ## 5 j j 4 ¢& j 8 ™ œ œ œ œ œ œ 8 œ œ œ™ œ œ œ œ œ œ

30 ≥1 1 0 ≥2 ° ≥ ≤ ≥ ≤ ≥ ≤ ™L œ œ≤ ≥ ≤ ≥ ≤ 4 4 ## ™ œ œ œ œ œ œ 3 & œ œ œ ™™ œ œ œ œ œ œ 1 ™ L 8 e œ 1 œe™ œœ œ rall. # 3 ¢& # œ œ œ 8 œ œ œ œ œ ™ œ œ œ œ œ œ œ œ Auld Robin Grey The beautiful tune Auld Robin Grey was rhythmic treatment. It is not played this way written around 1800 by an Englishman, the by the younger generation of fiddle players Rev. William Leeves, to words by Lady Anne perhaps because published versions are written Barnard. In Tom’s family the tune was jokily in common time. Tom and Wattie’s version is referred to as ‘the fiddler’s headache,’ due no essentially a free treatment of 5/8 time and the doubt to its difficulty – with many accidentals, transcription is intended as an accurate portrayal the use of carefully controlled slides and a free of the tune as played. – 83 – Tom Hughes: Fiddle Style of the Scottish Borders

ToThemH_2 _Old5_OldR RusticusticBridg eBridge8 SprFidd leSolo3? with 16pt Jazz Coule. 7.2/8.0/10.80 cd 32 q = 56 Fiddle 1 1 ≤1 ≥1 1 ° # ≤ ≥ j P L ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 4 œ œ œ œ œ œ j L & 4 œ #œ œ œ œ œ œ e œ L ™ œ œ œ œ œ œ œ œ œ œ O œœ œO Fiddle 2 # 4 Œ ¢& 4 œ n˙ j œ œ œ œ œ œ œ œ ˙ œ œ œ œ 4 ≤ ° # >j ≥ ≤ ≥ j P L ≥ ≤ ≥ ≤ ≥ ≤ ≥ L ™ O œ œ œ œ œ œ j j & œœ œ œ œ #œ œ œ œ œ e œ L ™ œ œ O œœ œœ

# ¢& œ œ n˙ j #˙ n˙ œ œ œ œ œ ˙ 7 ≤ ° ≥ ≥ ≤ ≥ j ≤ ≥ ≤ ≤ # ≤ L ≥ j ≤ œ j ≥ ≤ œ œ j œ œœœ œ œ j ™ œ œ œ ™ & œ œœ œœO œO œ œ ˙ œ œ œ œ œ œ œ œ œ œ œe™ œe # j ¢& œ œ œ œ œ ™ ™ j œ œ œ œ w ˙ œ œ #œ œ œ œ œ- 11 ≥3 ≥2 ≤ ≥ 0 1 2 1 ≤ ° ≥ j ≤ ≥ ≤ ≤ ≤ j ≥ j ≥ ≤ # œ œ œ œ P #œe œ œ œ O L L ™ œ œ œ & œO œ œ œ œO œ œœ™œ œ œ œ œ #œ œ œ e œO O

# j j ¢& œ œ œ œ œ œ œ œ œ œ œ n˙ #œ œ œ œ œ nœ œ 14 ≥ ≤ ° # ≥ ≤ ≥ ≤ ≥ ≤ L ≥ j ≤ ≥ j j j œ œ œ œ œ œ ™ & œ œ e œ ™ œ œ œœ œ œ œO œ ˙ œ O œO™ œO œ O™

# ¢& j œ œ œ j ™ œ œ œ ™ œ œ œ œ œ œ œ œ œ ˙

Slow Version. Th 10 Oct 13. In 5 systems - more spacey. SprCoule used for slide into unisons and slide to E in bars 3, 12 and to B in bar 13. Checked and amended using Transcribe. Bars 1, 7, 15 redone. Could add more ﬁngerings? Speed checked at 56. Save as v4. – 84 – 31 Oct 13. Replaced wavy glissando by CouleDesc for downwad slides between notes e.g. bar 1, 5, 13. Save as v5. Composed by Thomas Peter Keenan (1866–1927), the song takes its name from an old bridge beside a mill in Castletownroche, County Cork. The composer is buried in the village. http://cityofoaks.home.netcom.com/tunes/OldRusticBridge.html T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. Layout to 7.2/8.0/10.25 new: SprFiddleOldRustic 12: Waltzes & Slow Airs

ToOldmH_2 _5Rustic_OldRust icBridgeBridgeF6 SMarchprFiddleS olo3 with 16pt Jazz Coule 7.2/8.0/9.25 15/15/15/15/ &cd 2 032/10

q = 120 1 ≥ ≤1 ≥1 ≤ ≥ 3 ≥ # ≤ %j j P ≤ ≥ . . ≤ ≥ ≤ ≤ 4 œ œ œ œ V œ j e ™ & 4 œ #œ œ œ œ œ œ L ™ œ œ œ œ œœœ œ œ O œ œœ œO œO O 4 ≥ ≤ ≥ ≥ ≤ ≤ ≥ 3 #L ™ ≤ ™ P ≥ ≤ ≥ . . ≤ ≥ ™ œ™ œ œ œ œ V œ e ™ & œœ œ œ œ œ #œ œ œ œ œ œ œ ™ O O œ O O œ œO œO œO 7 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ # œ  ™ ™ j ≤ œ O ≤ ≤ œ œ œ œ j ™ œ œ & œ œ œ œ œO œ œ œ œœe™ œ œ œ œ œ œ œ œ œ œ œ œ œ O O œ O O 11 1 2 ≥ j ≥ ≥ ≤ # œ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ™ ≥ ≤ #œ œ œ ™L œ œ P V & œ œ œ œ œ œ 1 œ nœ #œ œ œ™ œ œ #œ œ œ œ O œ œ O O 14 1.2. Last Time ≤. ≥. 3 ≤ ≥ ≤ ≥ ≤ % ≥ ≤ # ≥ ≤ ≥ œ ≤ ™ ≥ ≥ ≤ E e ™ œ œ œ œ & œ œ œ™ œ œ œ œ œ œ œO O œ œ œœe œ œ ˙ ˙E œ O O O O O œ O O O

The Old Rustic Bridge Composed by Thomas Peter Keenan (1866- phrasing and use of accidentals. Tom uses some 1927) and first published in 1881 in New York quite complex fingering such as in bar 12 where Fast Version. Setting 12, 13 April 2013. Slides into unison added as SprCoule with music by Joseph P Skelly, the tune takes a slide into unisons is followed by a further slide Fits 1 1name Oct 1 from3. Ch eanck eoldd a nbridged amen besideded wi tah Tmillran satcr ibe. into a double stop, and Wattie provides a nicely TCastletownroche,h 31 Oct 13. Repla cCountyed wavy Cork.glissan d Theos w icomposerth Coule. A djustharmoniseded the triplet ssecondpacings .part Save throughout. as vF4. Tdedicated 21 Nov 1 3the: Ti tsongle to 2to1 pMargarett. Tempo t ohis 12 sweetheart.6pt. 7.2/5.5 /9.0 i.e. SprFiddleSolo2. Save as vF5 (later his wife) and he is buried in the village. In the faster version, the Old Rustic Bridge March, the tune remains the same but the phrasing is Tom remembers this as a tune often played by his completely different with liberal use of snap father and grandfather in the house. The tune bowings, open ringing strings and fingered provides a challenge to the fiddle player with its double stops.

– 85 – Tom Hughes: Fiddle Style of the Scottish Borders

ToTam’smH_1_3_ TOldam'sO lLovedLoveS oSongng11 Sp rFiddleSolo3 7.2/7.5/10.00 cd 03 q = 80 Fiddle 1 j% ≤ ™ j ≤ ≥™ ° ≤ œ ≥ œ œ ≥ j œ # ™ œ œ œ œ œ œ ™ ≤ ≥™œ œ ≥ ≤ œ #3 œ œ ™ œ œ œ œ œ œ œ™ œ œ œ & 4 O ™ O O O ™ O O O Fiddle 2 ##3 ™ ™ ¢& 4 œ œ œ œ œ™ œ œ œ œ œ œ œ œ O O O œ œ œ 4 To Coda j ≥™ j ≤ j ° ≥ œ ≤ œ œ ≥ j œ ≥™ # œ≤ ™ œ œ œ œ œ œ ≤ ≥™œ ≤ œ ≥ ≤ œ œ #2 e œ O 3 O œ œ œ œ œ œ œ œ™ œ œ œ O & 4 O ™ 4 O ™ O O # #2 3 j ™ ¢& 4 4 œ œ œ œ œ™ œ œ œ œ ˙ œ œ œ™ œ œ œ œ 8 1. 2. j ≥™ j ≥™ ° j ≤ ≥™ œ ≤ œ œ œ≤ ≥ j ≤ ≥™ ≤ ≥ ≤ œ œ # 2 œ œ œ œ 3 œ œ œ œ œ ™ 2 œ œ œ œ 3 œ œ œ & #4 e ™ O 4 O ™ 4 O ™ 4 œ œ

# #2 j 3 ™ 2 j 3 ¢& 4 œ ˙ 4 œ œ œ 4 œ ˙ 4 œ œ œ œ œ 12 D.S. al Coda Coda ≤ ≥ ° # œ œ œ œ ≤ ≤ ≥ ≤ ≥ ≤ ™ ° # j ≤ # œ œ œ 2 œ œ œ œ œ œ œ œ # œ ˙ & O O 4 œO O ™ O & # # # 2 # j ¢& œ™ œ œ œ œ œ œ 4 œ œ œ œ™ œ ¢& œ ˙

Tam’sAs play eOldd by T Loveom Hu gSong/hes and TheWatti eBanks Robson ,of 19 8Kale0. Th eWater tune is often now played in the key of G and with the 2/4 bar regularised into 3/4. TomThe ir rneveregular 2 /had4 bar stitles could btoe ethesextended tunes to 3/4 w whichith a "sh ohert" sign above. playersGet Wattie 'ands to a disd hoftenis seco nnowds bo wplayedings. in the key of G. learnedTh 6 Sep 1when3. Ame nheded was. Mov aed boy. coda b aTher. Ch abeautifulnged slurs ba slowr 3. Ad ded tiesThe bars 3 irregular, 6 and impro 2/4ved. Wbarsiden ecand sys tbeems regularisedby selecting styl einto: 3/4 airSpr iTam’sngthyme OldFiddl eLove_Braes OSongMar. (gainedOther cha itsnge sname later ha vaftere chan ged this).– but part of the charm of the tune surely lies in manyStyle: S prequestsrFiddleDue fort7.5 _1Tom0.5 D Sto fo nplayt to 1 2‘thatpt. Sa volde as vlove6. song’ the varying pulse of the music, particularly in the andT 19 theNov 1reel3. Ti tThele to 2Banks1pt. Tem pofo tKaleo 12.6 pWatert. Style 7is.2 /named7.5/10.25 i.e. SprFshortiddleBr asecondesOMar.S part.ave as V 8. afterT 17 D theec 1 3area. Add ewhered stave b Tomrackets livedand sta vfores j omanyined by byears.arlines. The second tune The Banks of Kale Water S 26 Jan 13. Revisited green book video transcription. Alt bar 1 as part of ﬁrst repeat i.e. bar 9 to allow bowings as per video. In v10 I had reguThelarised slowmuch tairo 3/ 4is. Hgivenere is i t addedas played power in mix o fby 2/4 Wattie’s and 3/4. is also irregular as played. Tom was a little improvised harmony line and Tom’s occasional uncertain of the descending phrases in bars 9 useTom ofref ear resnapd to th bow.e tune a sSince the tun thee of " arecordingn Old Love S owasng:" - hence the tittole g11.iven . TWithhe tun ethe has additionprobably de rofive da frsingleom a pi pbare ret rineat thismarc h, releasedCastle Dan giner o1981,us, nam ethed af ttuneer the ihasnfam obecomeus Castle D popularouglas nea r Newcassectiontleton in th ande Sco tati srepeath Border sstructure,. But there are the cons itunederabl eis d ieasilyﬀences amongbetween T theom's youngertune and th egeneration published pipe of tu nBordere. Sir Wal tefiddler Scott u sed theregularised location and ea rintoly hist oar y32 of Cbarastl ereel. Doug las as the inspiration for his novel Castle Dangerous. The castle is still sometimes referred to by this alternative name.

– 86 – 12: Waltzes & Slow Airs

TomH_1_3b_BanksOfKale10 SprFiddleSolo3 7.2/8.0/9.0 Banks of Kale Water cd 03 q = 210

≤  ≥ ≥ ≤ ≤ j ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≥  ≤ ≥ # 2 œ œ œ œ œ œ œ œ œ œ œ j e j œ # œ œ œ œ O œ œ œ & 2 œ O œ œ œ œ œ œ œ œ O O œ O O 4 ≥ ≤ ≥ ≥ ≤ ≤ # œ œ ≥ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ œ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œe & O œO œO œ œ œ œ œ œ œ Oœ O O O 8 ≤  œ ≥ # œ ≥ ≤ j ≥ ™ ≤ ≥ œ œ œ≤ ≥ ≤ ≥ ≤ œ œ œ≥ ≤ ≥ ≤ ≥ ≤ œ œ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & O 12 ≥ ≤ ≥ ≥ ≤ ≤ # œ≥ ≤ œ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ œ œ œ ≥ ≤ ≥ ≤ ≥ ≤ # œ œ œ œ œ œ œ œ œ œ œ j œe œ œ œ œ œ œ & O œ œO œ œ œ œ œ œ œ O O œ O O 16 ≥ ≤ j # ≥≤ ≥ œe≤ ≥≤ ≥ e≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ œ œ œ ≥ ≤ j ≥ # œœœ œ œœœ œ œ œœœ œ œ œe œ œ œ œ ˙ Tom&H_1_3c_BanksOfKaleReel1 SprFiddleSolo3 7.œ2/8œ.0/9.œ0 œ œ œ œ œ O E OOO œ O O q = 210 (Regularised version: 32 bar reel)

Setting revise≤d Th 16 ≥May 13 against sound≥ from LP. Good. ≤ ≤ j ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≥  ≤ ≥ œ ≥ ≤ ≥ ≤ ≥ ≤ Check#ed 2Corfu 28 Mœ œay 1œ3. Rœeset tœhe tempo to œ210. j e j œ œ œ œ œ œ # œ œ œ œ œ œ œ O œ œ œ œ O œ œ F &27 Sep 213. AmendeOd. Repositioned graceO note slursO baœrs 3œ, 7œ. Addœed ties œbarsœ 2, œ4, O6. T 19 Nov 13. Title to 21pt. Tempo to 12.6pt. Style 7.2/8.0/9.0 i.e. SpOrFiddleSolo3. Save as v8. 5 S 25 Jan 13. Checked against green book and amended bowings for bars 9, 10, 11 as per Tom solo v22 - although ≥ ≤ ≥ ≥ ≤ ≤  hack b#owed in œ≥the≤ dueœt t≥ake.≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ œ œ ≥ ≤ j ≥ ™ ™ ≤ ≥ # œ œ œ œ œ œ œ œ œ j œe œ œ œ œ œ ™ ™ œ œ & O O œ œO œ œ œ œ œ œ œ O O O œ O O 9 ≤ ≤ # œ œ œ≥ œ≤ œ≥ ≤ ≥ ≤ œ œ œ≥ œ≤ ≥ ≤ ≥ ≤ œ œ œ≥ ≤ ≥ ≤ œ≥ œ œ œ œ≥ ≤ ≥ ≤ ≥ ≤ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

13 1. ≥ ≤ ≥ ≥ ≤ ≤ # œ≥ ≤ œ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ œ œ ≥ ≤ j ≥ ™ # œ œ œ œ œ œ œ œ œ œ œ j œe œ œ œ œ œ ™ & œO œO œ œ œ œ œ œ œ Oœ O O O O 17 2. ≤ j ≥ ≤ ≥ e≤ ≥ ≤ ≥ e≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ œ ≥ ≤ j ≥ # œœœ œ œ œ œ e œ œ œ œ œ œ & # œœœ œ œœœ œ œ œ œ œ œ œ œ œ œ O œ O OO œ O O O

Setting revised Th 16 May 13 against sound from LP. Good. – 87 – Checked Corfu 28 May 13. Reset the tempo to 210. F 27 Sep 13. Amended. Repositioned grace note slurs bars 3, 7. Added ties bars 2, 4, 6. T 19 Nov 13. Title to 21pt. Tempo to 12.6pt. Style 7.2/8.0/9.0 i.e. SprFiddleSolo3. Save as v8. T 14 Jan 13. After visit to JN attempt to regularise by amending bar 11 and adding a bar. Still not 16 bar B part. F 24 Jan 14. Amended after JN sent his proposed amendment by adding an extra bar 12, cutting bars 17 - 20 (as above) and letting the B part repeat. This is now amended in similar manner except that the bars 17 to 20 are used as a repeat of bars 13 - 16 so keeping the birl triplets in bars 17 and 18. Question the up bows starting bars 9 to 12 and bar 13. Should bar 13 have down bow start as bar 1? Bars 9, 10 etc bowings changed to match video as per green book. Could retitle this version as Banks of the Kale (or other): Banks of Kale Water (Reel). Tom Hughes: Fiddle Style of the Scottish Borders

Conclusion:

he first time I remember hearing Tom Tom played the fiddle with an old style grip – the Hughes play the fiddle was in June 1978 fiddle cupped in the palm of his left hand, his Tat Newcastleton, that gem of a traditional fingers fairly flat on the finger board, his elbow music festival just three miles the ‘right’ side of against his side and the fiddle not always against the Scottish border. Tom was sitting playing fiddle his chin. Tom maintained that he played with at a bench in the cobbled back yard of The Grapes his fingers usually on the finger board in chord Hotel in the village square. In different quarters shapes – lifting his fingers off when they were of the small courtyard several other sessions were not needed rather that placing fingers on the going strong. At Tom’s table were a couple of board one at a time. At the time the recording other fiddlers, at times playing together, at times project was started (ca. 1979), Tom knew of no taking turns. I had for a long time been interested other fiddle players who played with the same in different styles of fiddle playing and Tom’s or similar style – although Wattie Robson and style immediately impressed me as being distinct Tom achieved considerable unity of feel when from the usual Scottish styles and yet at the same they were playing together. When playing as time both Scottish and clearly traditional. Tom’s a member of the Border Strathspey and Reel playing included liberal use of ringing open Society, Tom had been required to sit at the back strings and double stopping (or “double string so that his different bowings or variations would work” as he called it), both being widespread not be heard. In competition playing, he had characteristics of older, but now rare styles – but sometimes been faulted by the judge for playing still found in Scandinavian fiddle style, in older double stops where they “werenae needed”. It Shetland fiddle styles and in American ‘Old Time’ was not difficult, however, to persuade Tom that fiddle music. his playing was of great interest and that his old style and distinctive repertoire should be valued None of Tom’s family could read music although rather than derided. Initially it had been intended in his latter years Tom had learned to read a little. to record several border fiddle players. But the His older tunes were all learned within the family inherently interesting nature of Tom’s style and his circle and Tom considered that his playing style unusual tunes and tune variants suggested that the was as he had learned it from his grandfather, project should be confined to Tom Hughes and his father and uncles – in particular from playing with distinctive fiddle repertoire and style of playing. his father. Tom’s unusual variants of tunes and some rare unpublished tunes in his repertoire are f the other fiddle players who joined evidence of the orally/aurally acquired nature of Tom and Wattie for these recordings, his repertoire. Othe most notable was Bob Hobkirk who was a highly rated player who had won the When Tom was younger, there were many musical Scottish Fiddle Championship at Perth in the families on the farms in the Borders but the early 1970s. Bob’s style was very much in the Hughes family in particular were famed in the single string melody tradition with just occasional early years of the 20th century with grandfather touches of a second string as can be heard in Henry and his three sons Thomas, Bob and Harry his solo recordings from the School of Scottish – all four being fiddle players but usually playing Studies made in 1973 (Border Traditions 2000). in a band as three fiddles with tambourine and Two other fiddle players who were recorded as tin whistle. After grandfather Henry died (in part of the project – Tom Scott, who joined in 1919) and Tom’s father and family continued to on some of the band tracks and Albie Tedham move from farm to farm they joined with other who is not included on the CD both played musicians to make up a band for dances – often very much in hack bow and single string style. with other workers on the same or nearby farms. A visit was also made to the Northumberland Some of these fiddlers had a style that Tom shepherd and fiddler Willy Taylor (1916-2000) considered as fitting with that of himself and his who had been recorded by Peter Kennedy for father – one such was Jim Kerse, farm steward at the BBC in 1954 and who later joined with Whitton, with whom they made up a band when Willie Atkinson on mouthorgan and Joe Hutton they were fee’d to Whitton in 1927 and who later on Northumbrian pipes to form The Shepherds joined Tom in his own Kalewater Band when Tom recording an album Harthope Burn (MWM 1031) was at Chatto from 1933 to 1947. in 1983. Bob Hobkirk’s style has been described – 88 – Conclusion

by Fred Freeman (Border Traditions 2000) as occasionally used a bow with a cork instead of light in comparison with Tom’s style as heavy. the frog where the thumb could be “worked” on The denoting of Tom’s style as ‘heavy’ seems a the cork to push it forwards or back to vary the misnomer. On the contrary, Tom’s playing is often bow tension. both delicate and sophisticated. The lightness of his touch is evident in many of his recordings and hile Tom’s use of a low curved bridge the use of double stopping and ringing strings is combined with his ability to change the not synonymous with heavy. If a term is needed Wtension in the hairs of the bow were to refer to his playing it should perhaps be simply perhaps essential for some aspects of his playing – ‘Old Style’ in the same way that the term Sean three note chords for example – there is no doubt Nós is used to refer to old styles of traditional that many aspects of his playing style can be singing and traditional dance in Ireland. achieved with conventional bridge and bow – but not perhaps with such ease. Every bit as impor- Tom had his fiddle and bow set up in a way that tant in achieving his Border style is understanding suited his style of playing. He used a fiddle with the specifics of his bowings – the snap bow in a less curved bridge that facilitated the playing particular. Tom had no knowledge of the ancestry of double stops, ringing strings and chords. Tom of his family earlier than his grandfather Henry used a conventional bow but with a low tension – Hughes (1846-1919) but it seems very likely that held with his thumb below the frog where it could the rich tradition of fiddle playing as seen in the be moved forwards on to the hair to increase the Hughes family and their tradition of fiddle and tension and where the pinkie could be placed tambourine making must have deep roots in the below the stick and the back of the frog to draw musical folk tradition of the Borders. the thumb back again when a springier bow with less tension was needed. Those with the desire to do so can now compare the elements of this ‘Border Old Style’ with other This is precisely the technique that was used styles: the North-East styles of James Scott Skinner by violinists in J S Bach’s time who could play and Hector MacAndrew, the Gow’s Perthshire chords by having the hairs of an arched bow style as played by Pete Clark, Irish styles from held under tension by the player’s thumb and Sliabh Luachra, Kerry and Clare, older Shetland relaxed for the performance of a chord allowing fiddle styles as documented by Tom Anderson the hairs to contact three or even four strings at and by Peter Cooke (1976) and with the playing one time – and Bach wrote music for the violin styles that the Scots emigrants took to Cape that was intended to be played with chords in this Breton and the ‘Old-Time’ fiddle styles of the way. Michael Sartorius (2014) is his The Baroque Southern Appalachians (Titon, 2000). There is no German Violin Bow quotes Georg Muffat in the doubt that the Hughes family Border style was preface to Florilegium Secundum (1698): absolutely suited to social playing at the fireside “In Angreifung des Bogens spielen die meisten and, when two or three fiddles came together to Teutschen, indem sie die Haare mit dem Daumen form a band with tambourine and tin whistle, this nach Bedarf andrücken, und seyend hierinnen von was exactly what was needed for the kirn dance, den Welschen, als welche die Haare unberührt lassen, the wedding celebration or the village hall dance. unterschieden.” Once the accordion, drums and amplification “When grasping the bow, most Germans were added to make the modern Scottish dance play while pressing the hairs of the bow with the band then there was little need for the fiddle to thumb as required, thus having the option of play other than the melody: double stops and tightening the hairs or leaving them loose.” decoration were irrelevant as they would not be heard above the louder instruments of the band. Tom recalled that his father and grandfather had It is good to see a revival of interest in small some bows where “the stick on those old bows acoustic groupings where the melodic, harmonic was bent the other way” – as in the Baroque and rhythmic characteristics of the fiddle can bow and, in a very primitive feature, they had once again be heard to valuable effect.

– 89 – Tom Hughes: Fiddle Style of the Scottish Borders

Tom’s Life & Music

Tam Hughes – born 10 October 1907 Butchercote, Mertoun Estate, St Boswells Whitton, 3m SW Morebattle (1927-1931) The Whitton Band (not named) (1927-1931) Butchercote, 5m NE St Boswells (till 1910) Tom Hughes – fiddle; Thomas Hughes (father) – The Family Band (pre 1910) fiddle; Jim Kerse (steward at Whitton) – fiddle . Henry Hughes (grandfather) – fiddle Miss Whitley (Morebattle) – piano Thomas Hughes (father) – fiddle and sometimes Jim Morton – fiddles Bob Hughes (uncle) – fiddle Playing all the kirns and dances in the area. Harry Hughes (uncle) – fiddle/ tambourine and tin whistle (sometimes). Beirhope, 12m S Morebattle, Kale Water (May term 1931-1933) Nisbetmill, 5m NW Jedburgh (1910) Informal Bands (1931-1933) Morebattle (1916) Howden 2m E Jedburgh (1917) When Tom got married in 1931 he moved to Grandfather’s fiddle making: Tom given his first Beirup (Beirhope) out into the hills up the Kale fiddle at age 7 – October 1914 Water and played with anyone who needed a fiddler: The Family Band (1912-1920) Tommy Graham (of Yetholm) – fiddle Henry Hughes (grandfather) – fiddle Jim Kerse (of Whitton) – fiddle Thomas Hughes (father) – fiddle Bob Hughes (uncle) – fiddle Chatto, 6m S Morebattle, Kale Water (1933-1947) Harry Hughes (uncle) – fiddle The Kalewater Band Henry often played tambourine in his latter years Tom Hughes – fiddle (or accordion when Willie and died in the flu epidemic 1919. Hall not available) Bill Douglas (shepherd at Chatto) – fiddle Mervinslaw, 1m S Jedburgh (May term 1920) Jim Kerse (Whitton) – fiddle The Family Band (1920) Willie Hall – accordion. Thomas Hughes (father) – fiddle Bob Hughes (uncle) – fiddle Ruletownhead, 6m SW Jedburgh Rule Water Harry Hughes (uncle) – fiddle/ tambourine and (1947-1959) tin whistle (sometimes). The Rulewater Band (1947-1948) Jock Thomson (Cleuch Head) – accordion The Orchard, 1m E Hawick (May term 1921-1925) Tom Hughes – fiddle Tom and his father – two fiddles (1921-1925) Mrs Corrie – piano and a drummer. Tom plays with his father for kirns, village hall dances and weddings around Hawick, up the The Move to Jedburgh (1959) Teviot, up Borthwick Water. Tom’s son Thomas took over at Ruletownhead in 1959 and Tom moved in to Jedburgh (aged 51) Bert Water’s Band (1921-1925) and, until he retired, he worked at several jobs in Bert Waters (Bedrule) – fiddle the local mills. Jim Morton – fiddle; Tom Hughes – fiddle Thomas Hughes (father) – fiddle Tom not only played fiddle but also tin whistle, Jim Cairney – piano mouthorgan, melodeon, accordion and the pipes. Bert Waters left in 1925 and went to Newcastle. He also had a pair of polished ivory bones and could play the tambourine as had been played Nether Raw, 1m SE Lilliesleaf (May term 1925-1927) with the family band in the early days. Adam Irvine’s Band (1925-1927) Adam Irvine – fiddle; Adam’s wife – piano (or Jim Tom Hughes & Wattie Robson Cairney – piano); Tom Hughes – fiddle The album Tom Hughes and his Border Fiddle was Thomas Hughes (father) – fiddle issued in 1981 by Springthyme Records (SPR Playing at Kirkton, Bowden, Appletree Hall and 1005). The album contained 19 tracks with 25 around Lilliesleaf. tunes and a booklet of fully transcribed tunes.

– 90 – Tom's Life & Music

Letters Thomas Hughes, Newbiggin-By-Sea, June 1981

In the final stages of preparing Dear Mr Shepheard the release of the LP recording of Tom Hughes an article was I would like to make Ref. to the article you put in the Southern written about the project and Reporter about the Jed fiddler – that is Tom (i.e. Tam) Hughes my cousin. His father Tom (i.e. Thomas Henry) Hughes, was published in several of the my uncle. My father Henry (i.e. Harry) Hughes was the eldest Border newspapers asking for of the family and there was a younger brother Bob and they all information about the Hughes played the fiddles at all the Border Dances. They were known Family and their fiddle tradition all over for their music. and for any photographs and My grandfather Henry Hughes also played the fiddle and also a request for knowledge made them. I can remember when I was a boy my father told of any of the fiddles or me that when they lived near Galashiels my uncle Tom (that is, tambourines made by Tom’s father of Tam Hughes of Jedburgh) was just a boy not even at grandfather Henry Hughes. school (and) my grandfather made a small fiddle for him. He Several letters were received could play all the Scottish tunes, so one day my grandfather and several photographs were was talking to a violin teacher in Galashiels and he told him loaned that were used in the about Tom. The teacher said he would like to hear him so my booklet and are also included in grandfather invited him to come and hear him. When he heard this book. him play Strathspeys & Reels he was amazed. He said if my grandfather would send him for lessons neither him nor his One of the letters was from family would never need to work again. Thomas Hughes, Newbiggin- Of course at that time which was in the late 1800s there was By-Sea in Northumberland no money and he couldn’t afford it, but he still played up till the dated June 1981. This Thomas time he died also my father played up till he died also my uncle was son of Henry (Harry) Bob played till his end. Hughes (born 1884), eldest son Thomas Hughes, Newbiggin-By-Sea, June 1981 of Henry Hughes – Grandfather of Tom Hughes of Jedburgh.1 Diana M Mabon (née Hunter), Jedburgh, September 1980 Another letter was from Mrs Diana M Mabon (née Hunter) a Dear Sir: neighbour of Tom’s in Jedburgh I was interested in your letter which appeared in last week’s dated 18 Sept 1980. Her father issue of the Kelso Chronicle & Jedburgh Gazette. I enclose a (born 1887) would have been a photo of my late father Adam (Yid) Hunter (born 1887) late closer contemporary of Tom’s Master Joiner, Oxnam Valley, Jedburgh. He was well known father (born 1880) rather than all over the Borders for his music. He played piano and fiddle. of Tom. He, like Tom Hughes, played at Kirns, to mention a few: Upper Nisbet, Harden Mains, and Oxnam Row, he was often joined No information was ever by Geordie Renton, rabbit catcher from Crailing. He would be found that led us to any of the seen with his fiddle strapped to his back and of course no other fiddles or tambourines made way of transport but his bike. by grandfather Henry Hughes. My uncle George also played the fiddle – he used to say The nearest was the lead that to my father, “You may be a fiddler but you will never be a came from Mrs Steel of Kelso, violinist.” George had been taught music and played with the daughter of Thomas Hughes great Scott Skinner. He also made fiddles of all sizes but I never the left handed fiddler of Kelso, found out where they all went to. My brother George also was a fiddler, he along with George Whillans, Mossburnford, formed a cousin of Tom’s father. His the Jedwater Band – that would be in the late 1920s or early fiddle, made by grandfather 30s. They also played all over the Borders, but the band broke Henry Hughes, was said then up when he moved to Edinburgh in 1935. Then we had what (in 1981) to be with Mrs Steel’s we called the Family Band made up of different members of the brother in England. family – my sister played the piano and still does so to this day. Diana M Mabon, Jedburgh, 18 September 1980 1. See Hughes Family Tree page 15.

– 91 – Tom Hughes: Fiddle Style of the Scottish Borders

Notes & References This section is available online with active URL links at http://goo.gl/cqx0g3 Symbols Used Bibliography To save space, the following symbols are used: � bibliographical source (written word): � Anderson, Paul (2010) Musical fingerprints of T audiovisual source; q audio source; the North-East Scotland fiddle style. In: Crossing � hear audio; � downloadable file; mOnLine; Over: Fiddle and Dance Studies from around % YouTube file. OnLine internet URLs are in the North Atlantic 3. Elphinstone Institute, the form of a string: http://goo.gl/pxXSbQ that University of Aberdeen (pp 176-183). will expand to the correct link. Dates of access to materials on the internet including YouTube are � Anderson, Tom and Swing, Pam (1979) given in the form [dd.mm.yy]. Hand Me Doon da Fiddle. University of Stirling. Places in the Borders: Map links � Bennett, Margaret (1994) Step-Dancing: Bedrule 5m SW Jedburgh m goo.gl/5GEaln Why we Must Learn From Past Mistakes. West Highland Free Press 14.10.1994. Beirhope 4m S Morebattle, Kale Water. m goo. m goo.gl/wdgcQe [19.07.14] gl/NwJKwY � Bowen, Geoff (1993) How to Play the Folk Butchercoat 5m NE St Boswells m goo.gl/ Fiddle. Yorkshire Dales Workshops. G41Oaz m goo.gl/OaSx0V [14.07.14]

Chatto 6m S Morebattle, Kale Water. m goo.gl/ � Bowen, Geoff & Liz (2012) Yorkshire Fiddle KCpbmg Tunes and Dances. Yorkshire Dales Workshops. m goo.gl/YwDvJh [14.07.14] Denholm 6m W Jedburgh m goo.gl/tIzVRP � Bremner, Robert (1751-1761) A Collection Howden 2m E Jedburgh. m goo.gl/pVzT Lb of Scots Reels or Country Dances, with Bass for Violoncello etc. Edinburgh. Hownam 5m S Morebattle. m goo.gl/O7p4vj � Bremner, Robert (1752) A Collection of Kirkton 3m E Hawick. m goo.gl/5m8iPk Scots Reels and Country Dances, etc (Part III), Edinburgh. Lilliesleaf 10m NW Jedburgh. m goo.gl/0Irhss � Collinson, Francis (1966) The Traditional Mervinslaw 1m S Jedburgh. m goo.gl/EQLda6 and National Music of Scotland. Routledge and Kegan Paul, London. Morebattle 6m SE Kelso. m goo.gl/973jhj � Cooke, Peter (1986) The Fiddle Tradition of Mowhaugh 10m S Yetholm. m goo.gl/7d9lH2 the Shetland Isles. Cambridge University Press, Cambridge, England. isbn 0-521-26855-9. Nether Raw 1m SE Lilliesleaf. m goo.gl/0Irhss � Dixon, William (1734) Wikipedia: The Nisbetmill 5m NW Jedburgh. m goo.gl/dRrVvC William Dixon Manuscript. m goo.gl/g8pGkr [14.07.14] The Orchard 1m E Hawick. m goo.gl/OovMC8 � Dixon, William (1734) His Tune Book. MS in Pennymuir 8m S Morebattle. m goo.gl/zgH4X7 the AK Bell Library, Perth, Scotland.

Ruletownhead 6m SW Jedburgh, Rule Water. � Dunmur, Ian (1984) Traditional Step Dancing. m goo.gl/lT2eFE m goo.gl/I3hehj [04.06.14]

Smailholm 4m W Kelso m goo.gl/TjyFXO � Ellis, Peter (2002) Old Time Dancing and Music Australian Heritage & Dance. Whitton 3m SW Morebattle. m goo.gl/spnRmk m goo.gl/lfU4sN [22.07.14] – 92 – Notes & References

� Emmerson, George S (1971) Rantin’ Pipe � Honeyman, Wm C. (1898) The Strathspey, and Tremblin’ String: A History of Scottish Dance Reel,and Hornpipe Tutor. Honeyman Music Music. McGill-Queen’s University Press, Publishing, Newport, Fife (Dundee), Scotland. Montreal. Republished Dragonfly Music, Northumberland (1988) and Catacol (2008) � Emmerson, George S (1972) A Social History of Scottish Dance Music. McGill-Queen’s T Hughes, Tom (1980) Tom Hughes and his University Press, Montreal. Border Fiddle. Video of Tom Hughes recorded in Jedburgh and Lilliesleaf by Robert Innes and � Eydmann, Stuart (2006) Unravelling the Peter Shepheard for Stirling University. (Lost). birl: using basic computer technology to understand . traditional fiddle decorations. In: Play It Like It Is: q Hughes, Tom (1981) Tom Hughes and his Bor- Fiddle and Dance Studies from around the North der Fiddle. Springthyme Records, Fife, Scotland. Atlantic. The Elphinstone Institute, University of q SPR 1005 (1981) � SPRC 1005 (1982) Aberdeen (pp 33-41). q Hughes, Tom (2014) Tom Hughes and his Bor- � Flett, JP & TM (1964) Traditional Dancing der Fiddle. Springthyme Records, Fife, Scotland. in Scotland. Routeledge & Kegan Paul, London. q SPRCD 1044 m goo.gl/wEuOlC [23.07.14]

� Flett, JP & TM (1967) The Scottish Country � Hunter, James (1979) The Fiddle Music of Dance: Its Origins and Development: I. Scottish Scotland. Chambers, Edinburgh. Studies XI, pp. 1-11. � Köhler, Ernst (1882) Violin Repository of � Flett, JP & TM (1967) The Scottish Country Dance Music. Edinburgh (1881-85). Dance: Its Origins and Development: II. Scottish � m goo.gl/070k3q [23.07.14] Studies XI, pp. 125-147. � McGibbon, William (1746-55) Collection of � Flett, JP & TM (1972) The History of the Scots Tunes, Edinburgh. Scottish Reel as a Dance-Form: I. Scottish Studies � m goo.gl/MK7NFD [03.06.14] XVI, pp. 91-119. � Martin, Christine (2002) Traditional Scottish � Flett, JP & TM (1996) Traditional Step- Fiddling. A Players Guide to Regional Styles, Bowing Dancing in Scotland. Scottish Cultural Press. Techniques, Repertoire and Dances. Taigh na Teud, Skye, Scotland. � Farne (2011) Social Dance Technique: The Rant Step. Folk Archive Resource North East. � Melin, Mats (2010) ‘Putting the Dirt Back m goo.gl/MXSKGH [05.07.14] In’: An investigation of step dancing in Scotland. In: Crossing Over: Fiddle and Dance Studies from q Garson Trio (1954) Scapa Flow: Instrumental around the North Atlantic 3. Elphinstone Insti- Music From Orkney, The Garson Trio of Dounby. q tute, University of Aberdeen (pp 215-227). Folktrax FTX-064. m goo.gl/dLwcIU and �mgoo.gl/2z5oSA [03.06.14] � Murray Neil, J. (2013) The Scots Fiddle: Tunes, Tales & Traditions of the Lothians, Borders & Ayr- � Gow, Niel (1784) A Collection of Strathspey shire. Neil Wilson Publishing. Reels with a Bass for the Violoncello or the Harpsichord. Edinburgh. T Nagle, Jimmy (2014.1) Tam’s Slow March and Tommy Hughes’ March � Gow, Nathaniel (1800) A Fourth Collection of % youtu.be/pHAk_oHZFdg [24.02.15] Strathspey Reels with a Bass etc Niel Gow & Sons. Edinburgh. T Nagle, Jimmy (2014.2) Copshie Hornpipe % youtu.be/vK_j5kM8yCE [29.09.14] � Greig, Gavin (1900) Manuscript of East Neuk o Fife for Skinner’s Harp and Claymore Collection. T Nagle, Jimmy (2014.3) Tam's Exercises m goo.gl/pxXSbQ [20.10.14] % youtu.be/i3rrOXVO8go [29.09.14] % youtu.be/6qspyQatocA [20.12.18] – 93 – Tom Hughes: Fiddle Style of the Scottish Borders

� O’Neill, Francis (1895) The Music of Ireland. T Tagg, Philip (2011) Scotch Snaps – The Big New edition, music reset and corrected. Ed. Picture. m goo.gl/zBP47R [20.12.18] Miles Krassen, Oak Publications (1976). and m goo.gl/L1uncK [20.12.18]

� Oswald, James (1740) The Curious Collection � Tagg, Philip (2012) Downloadable font of Scots Tunes, Edinburgh. XPTSymbols. m goo.gl/Kb5RFI [10.06.14]

� Oswald, James (1745-1758) The Caledonian � Tagg, Philip (2013) Discussion document con- Pocket Companion, Edinburgh. cerning the Reform of Basic Music Theory Terminol- � m goo.gl/M8Wsyn [04.06.14] ogy. � m goo.gl/fjB1PS [20.12.18]

� Playford, John (1663) Musick's Hand-Maid � Titon, Jeff Todd (2006) Old-Time Kentucky m goo.gl/yu2cPw [13.11.14] Fiddle Tunes. Univ. Press of Kentucky.

� Porteous, James (1820) A Collection of Strath- % Watson, Lori (2006) Scottish Borders Fiddle speys, Reels and Jigs arranged for the Pianoforte, m youtu.be/zKS8bB-dVv4 [04.02.14] Violin & Violoncello. Edinburgh. � Wedderburn, Robert (1549) The Complaynt � Robertson, Colin (2011) Hard Shoe Dancing of Scotland. e.g. m goo.gl/uUJHXw [10.11.14] in Scotland. m goo.gl/ZgMyXu [06.07.14] � Wikipedia (1). The Bones m goo.gl/I8SveH � Robertson, James Stewart (1884) The At- hole Collection of Scottish Dance Music. Reprinted � Wikipedia (2). The Bodhran m goo.gl/w36IBq Highland Music Trust (2008). q Robertson, Jeannie (1952) Bonnie Lass Come Scots Language and Dialect of Ower the Burn Kist O Riches the Scottish Borders: m goo.gl/44qss7 [06.07.14] Some words used by Tom Hughes: � Sartorius, Michael (2014) The Baroque Ger- aa – all; cast oot – fall out; couter – coulter, the man Violin Bow. m goo.gl/AKDCGJ [22.11.14] iron cutter in front of a ploughshare; fee’d – hired for a fee; haud off – go away; ley – unploughed � Seattle, Matt (1995) The Master Piper: Nine pasture; sock – ploughshare; thae – those; whiles Notes that Shook the World. A Border Bagpipe – sometimes; yince – once. Repertoire Prick’d down by William Dixon AD 1733. Dragonfly Music (1995). m goo.gl/VR7gN4 Other words can be easily accessed through the [20.12.18] online Dictionary of the Scots Language: http://www.dsl.ac.uk � Self, Susan (2002) Scottish Dance: Towards a Typological-Historical Approach. Studi Celtici 1. The Scots Language – extending from the Old m goo.gl/J9jnWe [20.12.18] Scots of the Makars (up to 1700) to the Modern Scots (after 1700) of Robert Burns and to the � Shepheard, Peter (1982) Tom Hughes: Border dialects of Scots that continue to this time – is Fiddle. English Dance and Song, 44(2), pp.8-10. descended from the Old Northumbrian dialect of Old English (up to 1100). Old Northumbrian � Skinner, James Scott. (1900) The Scottish is itself a sub-dialect of Anglian, as is Mercian, Violinist. Bayley & Ferguson, Glasgow. from which descends Standard English. The closest relative of Old English is Frisian; also close � Skinner, Scott (1904) The Harp and Claymore are the other West Germanic languages, and Collection. Bayley and Ferguson, Glasgow. particularly Dutch, Flemish and Low German. The Scandinavian languages, descended from Old � Skinner, Scott (1904) Culloden Day or The Norse form a North Germanic branch. Inverness Gathering. University of Aberdeen. m goo.gl/1ZDGcN [20.10.14] For more information on Scots Language go to: http://goo.gl/bgvg33 – 94 – Index of Tunes Index of Tunes Index of Tunes in the Book Tune Titles Page Tune Titles Page Auld Graden Kirn 78 Auld Robin Grey 82 Lady Mary Ramsay 65 Banks of Kale Water, The 87 Liberton Pipe Band 75 Barren Rocks Of Aden 67 Lilliesleaf Polka, The 76 Boys of Blue Hill 41 Marquis of Lorne’s Hornpipe 40 Braes O Mar (Solo) 60 Millicent’s Favourite 42 Braes O Mar (Duet) 61 Morpeth Rant, The 56 Champagne Charlie 77 Nut Brown Maiden 67 Cock Yer Leg Up 82 Off to California 46 Copshawholm Hornpipe 48 Old Rustic Bridge, The (Slow air) 84 Copshie Hornpipe 48 Old Rustic Bridge March 85 Cowie’s Hornpipe 44 Orange and Blue 65 Dundee Hornpipe. The 47 Pop Goes The Weasel 59 East Neuk O Fife, The 53 Redesdale Hornpipe 38 Farewell To Whisky 54 Redeside Hornpipe 51 Faudenside Polka 74 Rock and a Wee Puckle Tow 70 Flouers O Edinburgh 52 Roxburgh Castle 54 Frost Is All Over, The 72 Sidlaw Hills 62 Galloway Hornpipe 39 Soldier’s Joy, The 57 Glen Aln Hornpipe 50 St Patrick’s Day Jig 45 Greencastle Hornpipe 46 Stool Of Repentance 71 Hamnavoe Polka 77 Tam’s Old Love Song 86 Harvest Home 49 Tam’s Slow March 68 Harvest’s Long In Coming, The 49 Tam’s Untitled Hornpipe 43 Henry Hughes’ Favourite 79 Tam’s Victoria Waltz 81 High Road To Linton, The 55 Tam’s Wild Rose Strathspey 64 High Road To Linton (Slow) 55 Tell Her I Am 45 Huntsman’s Chorus, The 59 Teviot Brig 71 Inverness Gathering, The 66 The Triumph 58 Irish Washerwoman, The 73 The Wife She Brewed It 63 Jackson’s Morning Brush 73 Tommy Hughes’ March 69 Kelso Hiring Fair (Victoria Waltz) 80 Turkey In The Straw 45 Kildare Fancy, The 47 Varsovienne 82 Victoria Waltz 81

Copyrights Tom’s version of Sidlaw Hills is transcribed and March, The Lilliesleaf Polka and Copshawholm printed by permission of Mozart Allan. Two tunes, Hornpipe (or Copshie Hornpipe) all published Glen Aln Hornpipe and Redeside Hornpipe were by Springthyme Music. All other tunes are composed by Willie Atkinson and are printed with Traditional Arranged by Tom Hughes and Wattie his permission. Tom Hughes is recognised as the Robson and published by Springthyme Music composer of several of the tunes in the collection © 1981, 2015. including Tam’s Slow March, Tommy Hughes’

– 95 – Tom Hughes: Fiddle Style of the Scottish Borders CD Index Tracks on the Tom Hughes CD

1: Redesdale Hornpipe/ Galloway Hornpipe (Four 23: Farewell To Whisky/ Roxburgh Castle (Two fiddles, Tin whistle Jack, Guitar Brian) fiddles Tom & Wattie, Guitar Sid) Bedrule 781018. th100 Bedrule 780717. th28 2: Braes O Mar (Two fiddles Tom & Wattie) 24: Millicent’s Favourite/ Tam’s Untitled Hornpipe Bedrule 780714. th09 (Solo) Bedrule 780812. th34 3: Tam’s Old Love Song/ Banks of Kale Water (Two 25: Greencastle Hornpipe/ Off To California/ The fiddles Tom & Wattie) Dundee Hornpipe (Solo) Bedrule 780715. th12 Bedrule 780813. th47 4: Tam’s Victoria Waltz (Solo) 26: Boys Of Blue Hill/ The Harvest’s Long In Bedrule 780715. th11 Coming (Solo) Lilliesleaf 800317. thv34 5: Marquis Of Lorne’s Hornpipe (Solo) 27: Morpeth Rant (Solo) Jedburgh 800317. thv24 Bedrule 780715. th18 28: Morpeth Rant (Two fiddles Tom & Wattie, 6: Cowie’s Hornpipe/ St Patrick’s Day or Tell Her I Guitar Sid) Bedrule 780717. th32 Am/ Turkey In The Straw (Solo) 29: Kelso Hiring Fair (Solo) Bedrule 780812. th38 Bedrule 780812. th35 30: Lady Mary Ramsay/ Soldier’s Joy (Solo) 7: Lady Mary Ramsay/ Orange and Blue (Solo) Jedburgh 800317. thv6 Bedrule 780715. th15 31: The Triumph (Solo) Lilliesleaf 800317. thv40 8: Henry Hughes’ Favourite (Two fiddles Tom & 32: The Old Rustic Bridge (Two fiddlesTom & Wattie) Bedrule 780813. th41 Wattie) Bedrule 780813. th48 9: The Frost Is All Over/ Jackson’s Morning Brush/ 33: Auld Graden Kirn (Solo) Bedrule 780717. th30 Irish Washerwoman (Solo) 34: Liberton Pipe Band (Two fiddlesTom & Bedrule 780715. th17 Wattie) Bedrule 780715. th23 10: Sidlaw Hills/ The Wife She Brewed It (Solo) 35: Redeside Hornpipe (Four fiddles with Brian Bedrule 780812. th33 Guitar) Bedrule 781018. th99 11: Sidlaw Hills/ The Wife She Brewed It (Two fiddles Tom & Wattie, Guitar Sid) Musicians: Fiddles: Tom Hughes, Wattie Robson, Bedrule 780813. th51 Bob Hobkirk and Tom Scott. Tin whistle: Jack 12: The Huntsman’s Chorus (Solo) Carruthers. Guitars: Brian Miller, Sid Cairns. Bedrule 780715. th21 13: The High Road To Linton (Solo) Recordings made in Bedrule Village Hall 14, 15, Lilliesleaf 800317. th51/ Jedburgh 780715. thv32 17 July 1978; 12, 13 August 1978; 17, 18 October 14: Barren Rocks Of Aden/ Nut Brown Maiden 1978; Tom’s house (audio & video) in Jedburgh (Solo) Bedrule 780812. th37 and The Plough, Lilliesleaf 17 March 1980; 15: Champagne Charlie (Solo) Bedrule Village Hall 31 May 1980; at Tom’s house Bedrule 780813. th49 Jedburgh 30 May and 26 July 1980 and at Kinross 16: Auld Robin Grey (Two fiddles Tom and Wattie) Festival 15 September 1980. Bedrule 780813. th45 17: Faudenside Polka (Solo) Bedrule 780813. th43 The coding after each track gives the place of 18: The Rock and a Wee Puckle Tow/ Teviot Brig/ recording, the date as year/month/day and the The Stool Of Repentance (Four fiddleswith Springthyme/ Tom Hughes archive track number. Guitar Brian) Bedrule 781018. th101 19: Cock Yer Leg Up (Solo) Bedrule 781018. th79 Copyrights: All tracks Trad Arr Tom Hughes & 20: Flouers O Edinburgh/ East Neuk O Fife (Two Wattie Robson published Springthyme Music fiddles Tom & Wattie, Guitar Sid) except 10, 11 Sidlaw Hills Jim Watson (Mozart Bedrule 780717. th29 Allan), 22 Lilliesleaf Polka Tom Hughes published 21: Lady Mary Ramsay/ Orange and Blue (Two Springthyme Music and 35 Redeside Hornpipe fiddles Tom & Wattie, Guitar Sid) with permission of the composer Willie Atkinson. Bedrule 800531. thn1/15 © 1981, 2015 Springthyme Music. 22: Lilliesleaf Polka (Solo) Jedburgh 800317. thv24

– 96 – – 97 – Traditional Fiddle Music of the Scottish Borders

Tom Hughes and his family were all talented musicians – his grandfather Henry Hughes, father Thomas Hughes and Peter Shepheard has been a singer, musician and two uncles played together in a family band – two or three enthusiast for traditional fiddles, melodeon and tambourine – playing at the local music for many years. He events, country weddings, harvest home and hiring fair first remembers hearing Tom dances. Like his father and grandfather before him, Tom Hughes playing fiddle at the spent his working life as a ploughman on farms in the Border back of the Grapes Hotel countryside around Jedburgh. during the Newcastleton Music Festival of 1978 – Although Tom’s style includes many characteristic Scottish and so began a journey elements, it is quite different from any mainstream fiddle to bring recognition to an style or the dominant fiddle style of Scotland’s North East. outstanding tradition bearer Through Tom’s playing we are able to gain an insight into an who had inherited and preserved an old fiddle style old, traditional, fiddle style stretching back through Tom’s and an interesting repertoire. family well into the 1800s.

• Bowing techniques: Snap bow Scotch snap Driven bow Long bow • Triplet rhythm • Unisons & Slides • Double stops & Chords • Ringing strings • Playing in parts • Tune Types & Dances: Hornpipes & Marches Jigs & Reels Session in the Fox and Hounds in Denholm Country Dances Neil Barron (accordion), Rodger Dobson (accordion), Brian Miller (guitar) Waltzes & Slow Airs Bob Hobkirk (fiddle), Tom Hughes (fiddle), Jack Carruthers (whistle) Tom Scott (fiddle) and Wattie Robson (fiddle). Polkas, Strathspeys & Schottishes

Published in association with ISBN 978-1-906804-78-7 Springthyme Music www.springthyme.co.uk

scotlandsmusic

13 Upper Breakish Isle of Skye IV42 8PY • 13 Breacais Ard An t-Eilean Sgitheanach Alba 9 781906 804787 [email protected] www.scotlandsmusic.com ISBN 978-1-906804-78-7 Taigh na Teud